September18
Theme #3: Chiaroscuro
Project |
Instructions |
Supplies |
| Tonal scales | ||
| Draw five series of 8, 1" X 1" squares across the paper | Bristol | |
| Create tonal scales using pencils, pen & ink and charcoal | Pencils | |
| Three scales should be created with pen & ink: hatching, cross hatching and stippling | Pen & ink | |
| Charcoal | ||
| Object scales | ||
| Depict a ball, a cone, and a box using each of the methods and materials explored in your tonal scales | Bristol | |
| Pencils | ||
| Pen & ink | ||
| Charcoal | ||
| Chiaroscuro drawing | ||
| Execute a final work in one of the methods/ materials explored in the tonal and object scales | Drawing paper | |
| Student's choice |
Examples and Inspiration
Value is the gradation of light to dark across the surface of a form. Value is determined by the natural color of the object and by the degree of light that strikes it. Chiaroscuro is a dramatic gradation of light and dark especially used to create the illusion of a rounded, three-dimensional form. |
value scale from 100% white to 100% black
Betti, Claudia and Teel Sale. Drawing: A Contemporary Approach. Fourth edition. Fort Worth: Harcourt Brace College Publishers, 1980.
Value in assorted media and technique |
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Pencil |
Charcoal
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Fichner-Rathus, Lois. Understanding Art. Seventh ed. Australia: Thomson Wadsworth, 2004. |
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Hatching |
Cross-Hatching |
Stippling |
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Fichner-Rathus, Lois. Understanding Art. Seventh ed. Australia: Thomson Wadsworth, 2004. |
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Light on rounded and angular forms
Betti, Claudia and Teel Sale. Drawing: A Contemporary Approach. Fourth edition. Fort Worth: Harcourt Brace College Publishers, 1980.
Six categories of light as it falls over a form
Betti, Claudia and Teel Sale. Drawing: A Contemporary Approach. Fourth edition. Fort Worth: Harcourt Brace College Publishers, 1980.
In a drawing, value can be created in a number of interesting ways...
Robert Kogge. Untitled. 1989. Graphite on canvas.
Betti, Claudia and Teel Sale. Drawing: A Contemporary Approach. Fourth edition. Fort Worth: Harcourt Brace College Publishers, 1980.
Robert Longo. Untitled. 1978. Charcoal on paper. 30" X 40".
Betti, Claudia and Teel Sale. Drawing: A Contemporary Approach. Fourth edition. Fort Worth: Harcourt Brace College Publishers, 1980.
Giorgio Morandi. Nature Morte au Gros Traits. 1931. Etching.
Betti, Claudia and Teel Sale. Drawing: A Contemporary Approach. Fourth edition. Fort Worth: Harcourt Brace College Publishers, 1980.
Ugo Rondinone. No. 249 Twentyfirstofseptemberthwothousandandone. 2001. Ink on paper.
Hoptman, Laura. drawing now: eight propositions. New York: The Museum of Modern Art, 2002.
Pierre-Paul Prud'hon. La source. c. 1801. Black and white chalk on blue-gray paper.
Fichner-Rathus, Lois. Understanding Art. Seventh edition. Australia: Thomson Wadsworth, 2004.
Albrecht
Dürer. Four Horsemen of the Apocalypse. 1497-98.
Stokstad, Marilyn. Art History. Revised Second ed. Vol.
2. New York: Prentice Hall Inc., and Harry N. Abrams Inc., 2005.
Herbert Bayer. Metamorphosis.
1936.
20th Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
Artemisia
Gentileschi. Judith Beheading Holofernes. c. 1620.
Cumming,
Robert. Great Artists. New York: Dorling Kindersley Limited, 1998.
Georges
Seurat. A Sunday Afternoon on La Grande Jatte. 1884 - 86.
Stokstad, Marilyn. Art History. Revised Second ed. Vol.
2. New York: Prentice Hall Inc., and Harry N. Abrams Inc., 2005.
Detail
of Sunday on La Grande Jatte
Preble, Duane, Sarah Preble and Patrick Frank. Artforms. Seventh ed. Prentice Hall, Upper Saddle River, NJ, 2002.
Willem de Kooning. Still Life:
Bowl, Pitcher and Jug. c. 1921.
Fineberg, Jonathan. Art Since 1940: Strategies of Being.
Second edition. Upper Saddle River, New Jersey: Prentice Hall, 2000.
Raymond Pettibon.
Untitled (To Do What). 1995.
Riemschneider,
Burkhard, and Uta Grosenick. Art at the Turn of the Millennium. Taschen,
Koln. 1999.