Category: Foundation Drawing 2 – G5
Final Assignment Process 6 [Foundation Drawing II]
I found this picture online and thought that the lighting was somewhat similar to the kind of artificial lighting I wanted to achieve with my final. A top down, slightly back lighting (somewhat like the inside train lights above behind the front people’s heads) and the side lighting (somewhat like the slight lighting from outside the train – the train station lights).
I sketched this to better understand the kind of lighting I need for my final, the dramatic lighting is from top down.
I tried to do another one, but with two lighting points, from the top and left side.
Final Assignment Process 5 [Foundation Drawing II]
I went to look at some books to see if there were any things I can use or apply.
“The squareness … helped exaggerate the roundness of the … through contrast.” I can apply this to my train settings whereby the organic(or relatively round head forms) contrast with the straight horizontal and vertical lines found in the train environment.
Here, the artist groups the objects together, such at the bar stools in the relatively central area. The people are silhouettes, some parts standing out from the background and other parts blending in with the surroundings. I like how there seems to be a light source, the right of the sketch seems to be a full length window or entrance, while the left bar area is darker.
Here, it shows how the mood of the painting can be vastly different all due to the addition of a light source. Left, the light source from a doorway makes the painting more lively. It draws our attention to the ballerina on the left that is brightened up by it. I can take note of this by adding a bright/light area to my train settings to engage the audience.
The full length window allows light into the cafe scene. The highlighted edges of the chair or table tops are exaggerated. This creates an illusion of light streaming into the cafe. I can take note of this and apply this to the top of the heads of the commuters on the trains, assuming the brightest light source is the ceiling lights.
Final Assignment Process 4 [Foundation Drawing II]
Prof told me to be cautious of the spacing of each vertical and horizontal line, to curate the speed of the viewer’s eyes. I tried rough sketches of the spacings to get a better view and decide.
Final Assignment Process 3 [Foundation Drawing II]
Following feedback from the previous process post, Prof suggested I include more of the train environment instead of just the people themselves.
Final Assignment Process 2 [Foundation Drawing II]
Since I don’t know what I’m gonna do for the final layout, I decided that for the next week, I’ll be observing people in different environments.
So for today, as I traveled back to NTU hall on the train, I drew/sketch the people opposite me.
Final Assignment Process 1 [Foundation Drawing II]
I’m still not sure what I’m going to do yet, so I went to the ADM library to look for books to look at how good painters designed and painted their master pieces.
I observe these images and tried to identify the big tonal value groups.
Lise with Parasol (1867) – Pierre-Auguste Renoir
Portraits de MEP et de Mlle LP Portraits of Edouard and Marie-Louise Pailleron (1881) – John Singer Sargent
Ramon Subercaseaux in a Gondola (1880) – John Singer Sargent
The Floor Scrapers (1875) – Gustav Caillebotte
Fete Familiale The Birthday (1885) – John Singer Sargent
Tonal value can create different moods so I have to be conscious of that too in the final.
I’ll continue to think about what I want to do for my final…
Copy Master Assignment [Foundation Drawing II]
1. Copy one master drawing of figures or figurative parts during renaissance.
Self Portrait II by John Singer Sargent
For this work, I chose to focus on his beard-mouth area.
For this work, I chose to focus on the subject matter’s right eye.
2. Copy a portion of a painting (with figures) in Black and White or colors by either one of these artists: John Singer Sargent, Joaquin Sorolla, Ilya Repin, Ander Zorn, Andrew Wyeth, Abram Arkhipov or Winslow Homer
Elsie Palmer by John Singer Sargent 
For this work, I chose to focus on the drapery of her sleeve and skirt(of her dress) on the right of the painting.
Foreshortening Exercise [Foundation Drawing II]
Today we practiced foreshortening poses. It’s very disconcerting sigh.
We did quick 10 mins sketches. It forced me to be sure of my strokes and just roll with it. (Actually it felt quite good to be sure of myself, even if I’m wrong)
I cheated and made the width of the chair smaller so I could fit it into the frame. I sat on the floor so I had this sort of bottom-up view.
Memory Training Portraits [Foundation Drawing II]
I can’t remember what was the purpose(meaning: learning point) from doing the sketch of the object…
The next exercise was to draw this portrait head placed on a pedestal. I’ve been avoiding drawing heads in my other works as I don’t know how, so this really made me tackle one of my fears.
Later, using the same fake head, we were given 3 mins to memorize the face and draw for a while till we can’t remember anymore. Then we were allowed to look at it for 3 mins again, and the cycle continues. I was very distracted by features at first. Prof suggests that we do the outlines first, using straighter lines as curved lines may confuse us as we are not proficient “see-ers” yet. Understanding the eyeball part helped me a lot too. For this drawing, I realized I drew the nose way too long.
