DRAWING 3rd year
I will be running additional drawing tutorials this week: Tuesday 1-3 (in my office)*.
As mentioned in class last week you need to pin-up your final drawings from both semester 2 briefs on the wall with your studio work. For most of you this will be one final drawing for 'every drawing is an object' and a series of monoprints. ( this is the group of prints designed to work together - ie not just your experiments from class - come see me on Tuesday if you're unsure). Your archive for each brief should be on the table.
Your final drawings must be accompanied by a concise conceptual statement explaining the ideas you were exploring through the drawings. You presentation of your work must be well considered.
CONSTRUCTION
I will also be running more construction tutorials on Thursday 1-3 (in my office)*.
Please hand-in your assignment by sliding it under my door by 9.30am Monday 12th Nov. Write your name on the whiteboard once you've handed it in.
You can hand it in early if you wish - on Thursday during tutorial time.
*Please sign up on the white-board next to my door. Please fill the earliest times first.
In both courses there are a number of you I haven't seen individually in the last couple of weeks. I expect you to sign up.
Showing posts with label Drawing Notices/Briefs. Show all posts
Showing posts with label Drawing Notices/Briefs. Show all posts
Tuesday
3rd Year Drawing - Sign Up
Hi,
As agreed last week I will make myself available for one hour after class today for sign-up time regarding the previous drawing project. Sign up on the whiteboard outside my office.
We will do same next Tuesday. This is in lieu of having no class in week 14.
Jacqui
As agreed last week I will make myself available for one hour after class today for sign-up time regarding the previous drawing project. Sign up on the whiteboard outside my office.
We will do same next Tuesday. This is in lieu of having no class in week 14.
Jacqui
3rd Year Drawing meet in the Interior seminar space
1pm
Please bring pen & paper to take notes.
Print out the brief too.... below.
Please bring pen & paper to take notes.
Print out the brief too.... below.
Wednesday
SECOND YEAR DRAWING
AIMS + PROCESS
For the next four weeks we will be learning about the craft and process of creating large architectural drawings in which atmosphere, light and materiality are communicated. Through this project you will also gain a greater understanding of drawing tools and their value to you the designer.
Each of you will be given drawings of a published project by a renowned architect. You are to read these working drawings, and from your translation of the project you will produce a sectional drawing that communicates atmosphere, interior light conditions, materiality and context.
Each week will be accompanied by a short lesson on a specific topic, and an accompanying exercise:
week 1 line
week 2 depth/hatching/using the back of the drawing film
week 3 removing material/negative space in the drawing
week 4 communicating the context of the project in the drawing
HAND-IN
At the end of the four week period you will have produced:
X4 A3 permatrace test sheets (produced in class)
X1 A1 permatrace drawing of the project
Monday
3RD Year Drawing Presentation
Hi Everyone.
Third Year Drawing will present in the upstairs seminar space tomorrow (tuesday) at 1pm.
Please ensure your work is up by 1pm as we have a large group to get through.
You should have your final drawing. This is your spatial idea resolved into a spatial drawing - an considered as a object or experience. You will also have your archive of your class work - although this is less important for the presentation.
If you have created a site specific drawing or installation you are free to present in alternative spaces.
Rumours are circulating that some students are not planning to come as their work is not complete. Once again, I insist that you all come as the presentation and discussion is an invaluable learning exercise for everyone - especially those who are behind.
Spread the word,
Jacqui
Third Year Drawing will present in the upstairs seminar space tomorrow (tuesday) at 1pm.
Please ensure your work is up by 1pm as we have a large group to get through.
You should have your final drawing. This is your spatial idea resolved into a spatial drawing - an considered as a object or experience. You will also have your archive of your class work - although this is less important for the presentation.
If you have created a site specific drawing or installation you are free to present in alternative spaces.
Rumours are circulating that some students are not planning to come as their work is not complete. Once again, I insist that you all come as the presentation and discussion is an invaluable learning exercise for everyone - especially those who are behind.
Spread the word,
Jacqui
Tuesday
3rd Year Drawing - week 7
As you will see in the post below we have an interim pin-up today.
You must have your work printed and presented on the screens outside Rm 1159. Please tell your classmates.
Week 7 & 8
Identify in your work the spatial idea or spatial condition that interests you most.
Over the next 2 weeks until the crit in week 9 you will develop this idea further into an inhabited space AND present it as a finished ‘object / experience / event’ (reread your brief).
The aim of this final stage is to explore your spatial idea / condition through drawing and develop a space* through process of drawing. You will probably need to work through a series of drawings to get to your final drawing.
*The space you develop may be in the drawing itself OR you may consider the real space of the physical drawing as the space you are developing.
As per the brief you will also consider the physical/ spatial/ temporal qualities of the drawing itself. You will be designing the drawing as an object / experience.
Things to consider:
• materials of your drawing
• scale / size / proportion
• craft / construction of the drawing.
• hand crafted / mixed media / digital
• is there a time element to the drawing?
• relationship to the drawing’s site
• occupation of drawing
• colour / lack of colour
• composition, white space, text,
Your drawing could be something that:
• unfolds / is projected / is distributed around the building / is drawn onto a found object / is embroidered / is a film of the drawing process / is transparent / is animated / is very long and thin / is stencilled / is interactive.
Choose a format that relates best to your spatial idea / condition.
NOTE: You DO NOT have to have any digital component to your final drawing. You may use Photoshop to explore your ideas but craft the drawing solely from hand materials.
At the same time you will be assembling your archive.
You must have your work printed and presented on the screens outside Rm 1159. Please tell your classmates.
Week 7 & 8
Identify in your work the spatial idea or spatial condition that interests you most.
Over the next 2 weeks until the crit in week 9 you will develop this idea further into an inhabited space AND present it as a finished ‘object / experience / event’ (reread your brief).
The aim of this final stage is to explore your spatial idea / condition through drawing and develop a space* through process of drawing. You will probably need to work through a series of drawings to get to your final drawing.
*The space you develop may be in the drawing itself OR you may consider the real space of the physical drawing as the space you are developing.
As per the brief you will also consider the physical/ spatial/ temporal qualities of the drawing itself. You will be designing the drawing as an object / experience.
Things to consider:
• materials of your drawing
• scale / size / proportion
• craft / construction of the drawing.
• hand crafted / mixed media / digital
• is there a time element to the drawing?
• relationship to the drawing’s site
• occupation of drawing
• colour / lack of colour
• composition, white space, text,
Your drawing could be something that:
• unfolds / is projected / is distributed around the building / is drawn onto a found object / is embroidered / is a film of the drawing process / is transparent / is animated / is very long and thin / is stencilled / is interactive.
Choose a format that relates best to your spatial idea / condition.
NOTE: You DO NOT have to have any digital component to your final drawing. You may use Photoshop to explore your ideas but craft the drawing solely from hand materials.
At the same time you will be assembling your archive.
Monday
3rd Year Drawing Pin-up
This week we will be having an interim pin-up. It will be a good opportunity to see your work printed out.
Please have your work pinned-up and ready to go at 1pm outside Room 1159.
Present your studies that you will include in your 'archive' as well as at least one more developed drawing.
Think of this as a trial-run for your final presentation in week 9.
Before your pin-up spend some time thinking about:
Please have your work pinned-up and ready to go at 1pm outside Room 1159.
Present your studies that you will include in your 'archive' as well as at least one more developed drawing.
Think of this as a trial-run for your final presentation in week 9.
Before your pin-up spend some time thinking about:
- What is your most interesting/successful drawing?
- What are the spatial ideas/concepts this drawing presents?
- How can you use drawing to further explore these particular ideas/concepts for the remainder of the brief?
Tuesday
3rd Year Drawing - week 6 atmosphere & materiality
Present work from last week.
atmosphere
materiality
THINK ABOUT: Increasing your use of hand media.
The ‘look’ of your drawings – what differentials a ‘drawing’ from a photo montage? care, detail, implied information vs explicit. Consider composition, white space, line weight, tonal balance, strategic use of colour.
SKILLS: layer adjustments, layers filters & gradients, making shadows
Continue to work with your developed drawing from last week – alternatively if this was not completed take a one of your studies that has an interesting composition and/or interesting spatial qualities. Print an A4 black & white version of the drawing. Use pencil or pen to carefully trace over major lines (use a ruler as necessary). You may use other media if you wish. If you have already done one hand drawn layer you might wish to do this again. Your hand drawing can also be used to insert new lines/ planes/ surfaces in to the drawing.
Insert your hand drawing back into the digital image. When inserting the drawing think about how much of the digital image is visible. Be selective about parts of the digital are visible in the hand drawing. How visual information much is necessary to give drawing spatial properties? Less is more.
Now work up this drawing towards 2 studies (remember studies are quick exercises):
1. Atmosphere. Think of a word relating to atmosphere eg cold, vibrant, humid, cloudy, spooky, dark,…. Manipulate your drawing in terms of light, colour and shadow to create a sense of your chosen atmosphere.
How can hand media be used to contribute to your sense of atmosphere?
2. Materiality. Use the material, fabric/wallpaper and highly textured surface you collected early in the brief. Use these to add a sense of materiality to the image. Once again consider how much visual information is needed to convey materiality. Start by overlaying materiality on to key surfaces – some others could be left blank. Materiality can also be represented and not be literal in a photographic way. Think about hand-drawing materials.
Remember to consider the ‘look’ of your drawing. Consider composition, white space, line weight, tonal balance, strategic use of colour.
atmosphere
materiality
THINK ABOUT: Increasing your use of hand media.
The ‘look’ of your drawings – what differentials a ‘drawing’ from a photo montage? care, detail, implied information vs explicit. Consider composition, white space, line weight, tonal balance, strategic use of colour.
SKILLS: layer adjustments, layers filters & gradients, making shadows
Continue to work with your developed drawing from last week – alternatively if this was not completed take a one of your studies that has an interesting composition and/or interesting spatial qualities. Print an A4 black & white version of the drawing. Use pencil or pen to carefully trace over major lines (use a ruler as necessary). You may use other media if you wish. If you have already done one hand drawn layer you might wish to do this again. Your hand drawing can also be used to insert new lines/ planes/ surfaces in to the drawing.
Insert your hand drawing back into the digital image. When inserting the drawing think about how much of the digital image is visible. Be selective about parts of the digital are visible in the hand drawing. How visual information much is necessary to give drawing spatial properties? Less is more.
Now work up this drawing towards 2 studies (remember studies are quick exercises):
1. Atmosphere. Think of a word relating to atmosphere eg cold, vibrant, humid, cloudy, spooky, dark,…. Manipulate your drawing in terms of light, colour and shadow to create a sense of your chosen atmosphere.
How can hand media be used to contribute to your sense of atmosphere?
2. Materiality. Use the material, fabric/wallpaper and highly textured surface you collected early in the brief. Use these to add a sense of materiality to the image. Once again consider how much visual information is needed to convey materiality. Start by overlaying materiality on to key surfaces – some others could be left blank. Materiality can also be represented and not be literal in a photographic way. Think about hand-drawing materials.
Remember to consider the ‘look’ of your drawing. Consider composition, white space, line weight, tonal balance, strategic use of colour.
Sunday
Second Year Drawing: One Point Perspectives
COMPLETE: 03 September 2007
Find a site (somewhere that interests you in terms of its architectonic qualities), make detailed one point perspective sketches of your chosen space. Takes notes, photos, rubbings to help provide extra information about materiality, lighting, shadows and detailing,
Return to the studio to draw up 2 large finished instrumental drawings. Use colour, collage, or different media to highlight specific parts of the drawing.
STEPS: (For setting up both a sketch and instrumental perspective drawing).
- First draw the rear elevation. (This should be measurable and drawn to scale)
- Second faintly draw the horizon line (HL) this should be at eye level.Draw in a person if necessary.
- Third, locate a vanishing point (VP) on the horizon line. (This is usually in the centre of your sketch but not necessarily).
- Project wall, ceiling, floor lines from the vanishing point coming towards you.
- Draw in horizontals
- Add people. (Peoples eyes should intersect the horizon line when standing, children and sitting people will be below the horizon line).
Instrumental drawing:
- Set up your finished instrumental perspective byreferring to your sketches and notes.
- Draw as per previous steps
- Add texture, light, shade
- Draw our eye to specific parts of the drawing through the use of colour and or texture. You may want to focus in on specific objects, furniture or an interesting architectural feature.
- Experiment! Try to distort and exaggerate parts of the perspective by zooming in on chosen features. This will require thoughtful planning, consider the compostion of your drawing on the page.
TIPS to get started:
- Begin by drawing small sketches of the space, this keeps your sketches manageable
- Draw in all the outlines softly, work up your line weights and shading once you have drawn in the outlines of all the major elements.
-Do not use a ruler, draw freehand.
FINAL REQUIREMENT:
1. Sketch/note drawings
2. x2 finished instrumental perspective (no smaller than A3)
Find a site (somewhere that interests you in terms of its architectonic qualities), make detailed one point perspective sketches of your chosen space. Takes notes, photos, rubbings to help provide extra information about materiality, lighting, shadows and detailing,
Return to the studio to draw up 2 large finished instrumental drawings. Use colour, collage, or different media to highlight specific parts of the drawing.
STEPS: (For setting up both a sketch and instrumental perspective drawing).
- First draw the rear elevation. (This should be measurable and drawn to scale)
- Second faintly draw the horizon line (HL) this should be at eye level.Draw in a person if necessary.
- Third, locate a vanishing point (VP) on the horizon line. (This is usually in the centre of your sketch but not necessarily).
- Project wall, ceiling, floor lines from the vanishing point coming towards you.
- Draw in horizontals
- Add people. (Peoples eyes should intersect the horizon line when standing, children and sitting people will be below the horizon line).
Instrumental drawing:
- Set up your finished instrumental perspective byreferring to your sketches and notes.
- Draw as per previous steps
- Add texture, light, shade
- Draw our eye to specific parts of the drawing through the use of colour and or texture. You may want to focus in on specific objects, furniture or an interesting architectural feature.
- Experiment! Try to distort and exaggerate parts of the perspective by zooming in on chosen features. This will require thoughtful planning, consider the compostion of your drawing on the page.
TIPS to get started:
- Begin by drawing small sketches of the space, this keeps your sketches manageable
- Draw in all the outlines softly, work up your line weights and shading once you have drawn in the outlines of all the major elements.
-Do not use a ruler, draw freehand.
FINAL REQUIREMENT:
1. Sketch/note drawings
2. x2 finished instrumental perspective (no smaller than A3)
Tuesday
3rd Year Drawing - week 5 layers
layers: transparency, opacity, reflection
Present one image from your work on depth from last week.
THINK ABOUT: What is opacity? What is transparency?
How can these be created in drawing?
How does transparency and layering create new spatial possibilities for a space?
How does layering give a sense of materiality?
Consider the ephemeral, ambiguous, intangible and edgeless vs the concrete, solid, & permanent.
Can you use an ephemeral image to generate something concrete?
SKILLS: Masks (varying transparency), Adjustment layers, Actions & Batch processing, text for selections
TASK:
Generate the following 2 carefully crafted mixed media studies:
1. 20min exercise:
Take a completed ‘study’ from week 2 (scale). Make a simple study demostrating use of transpareny, opacity and reflection to create layers in the space. This might involve layers that allow surfaces, materials or people to be viewed through other materials. In this study explore how the individual surfaces can be layered to create interesting spatial relationships.
2. Work on a more developed drawing:
Take a completed ‘study’ from last week. This drawing generated suggestions of space by exploring depth in your interference patterns. This week develop this drawing further towards being a physical or solid space using layering (transparency, opacity and reflection) in various parts of the drawing.
You might wish to begin by printing the image and tracing with sharp pencil (and ruler?) onto tracing paper to establish clear lines to further organise you image into surfaces. Scan this in and superimpose it onto the drawing.
When creating layering in the image continue to consider issues of depth & 3 dimensionality from last week.
Use your textured surface, material & ordered pattern (week 3) to create interesting surfaces and layers. Use your person or figurine to inhabit and give scale to your image.
HOMEWORK
By now you should have a minimum of 9 ‘studies’ from each of our classes. This week think design a composition for the ‘archive’ you will make from these. You may wish to scan material onto which you can overlay your images. Think about text…. will you scan hand written text? cut-out found text? text in photoshop? text made of texture???
Prepare one study ready for your archive to discuss next week in class. Organise it so this can be used as a template.
Present one image from your work on depth from last week.
THINK ABOUT: What is opacity? What is transparency?
How can these be created in drawing?
How does transparency and layering create new spatial possibilities for a space?
How does layering give a sense of materiality?
Consider the ephemeral, ambiguous, intangible and edgeless vs the concrete, solid, & permanent.
Can you use an ephemeral image to generate something concrete?
SKILLS: Masks (varying transparency), Adjustment layers, Actions & Batch processing, text for selections
TASK:
Generate the following 2 carefully crafted mixed media studies:
1. 20min exercise:
Take a completed ‘study’ from week 2 (scale). Make a simple study demostrating use of transpareny, opacity and reflection to create layers in the space. This might involve layers that allow surfaces, materials or people to be viewed through other materials. In this study explore how the individual surfaces can be layered to create interesting spatial relationships.
2. Work on a more developed drawing:
Take a completed ‘study’ from last week. This drawing generated suggestions of space by exploring depth in your interference patterns. This week develop this drawing further towards being a physical or solid space using layering (transparency, opacity and reflection) in various parts of the drawing.
You might wish to begin by printing the image and tracing with sharp pencil (and ruler?) onto tracing paper to establish clear lines to further organise you image into surfaces. Scan this in and superimpose it onto the drawing.
When creating layering in the image continue to consider issues of depth & 3 dimensionality from last week.
Use your textured surface, material & ordered pattern (week 3) to create interesting surfaces and layers. Use your person or figurine to inhabit and give scale to your image.
HOMEWORK
By now you should have a minimum of 9 ‘studies’ from each of our classes. This week think design a composition for the ‘archive’ you will make from these. You may wish to scan material onto which you can overlay your images. Think about text…. will you scan hand written text? cut-out found text? text in photoshop? text made of texture???
Prepare one study ready for your archive to discuss next week in class. Organise it so this can be used as a template.
3rd Year Drawing - week 4 depth
depth & 3 dimensionality
THINK ABOUT:
Rather than simply using pattern as a 2D surface (as we did last week) we will use your figure/ground patterns to generate new spatial propositions.
SKILLS: Layer filters, gradients, Masks,
TASKS:
1. Blow up one of your figure / ground patterns to a scale at which it can be occupied.
2. Overlay blocks of colour, tone and shading to enhance the depth of your pattern and explore spatial options. Consider using textures as well as flat colour. Use digital and hand media.
3. Insert elements from your magazine, your people/figurine and landscape postcard to explore the spatial potentials of your pattern.
4. Create (3+) images employing the following strategies for creating depth and 3 dimensional form:
• layers in space – foreground, middleground, background – cuts / penetrations to create relationship between inside & outside
• aerial perspective – tonal change front to back, clarity of detail…
• colour – dominant vs recessive colour, saturation vs desaturation.
5. Use hand media with these digital images in a way that further develops the sense of depth and 3 dimensionality in these images.
HOMEWORK:
Develop these images in & out of hand & digital media (multiple times).
Present these images next Tuesday.
THINK ABOUT:
Rather than simply using pattern as a 2D surface (as we did last week) we will use your figure/ground patterns to generate new spatial propositions.
SKILLS: Layer filters, gradients, Masks,
TASKS:
1. Blow up one of your figure / ground patterns to a scale at which it can be occupied.
2. Overlay blocks of colour, tone and shading to enhance the depth of your pattern and explore spatial options. Consider using textures as well as flat colour. Use digital and hand media.
3. Insert elements from your magazine, your people/figurine and landscape postcard to explore the spatial potentials of your pattern.
4. Create (3+) images employing the following strategies for creating depth and 3 dimensional form:
• layers in space – foreground, middleground, background – cuts / penetrations to create relationship between inside & outside
• aerial perspective – tonal change front to back, clarity of detail…
• colour – dominant vs recessive colour, saturation vs desaturation.
5. Use hand media with these digital images in a way that further develops the sense of depth and 3 dimensionality in these images.
HOMEWORK:
Develop these images in & out of hand & digital media (multiple times).
Present these images next Tuesday.
Friday
Second Year Drawing - 13 August
Axonometric drawing workshop
“Perspective limits space; it has made it finite, closed (. . . ) Suprematism has extended the apex of the finite visual cone of perspective to infinity ( . . ) It has broken through the lampshade of the blue heavens.”
El Lissitzky quoted in Allen S. (2000)
Using the orthographic drawings provided* make an axonometric (plan oblique) drawing on your stretched water colour paper. Make the initial drawing with light, careful, precise, “whispering” lines. Don’t be afraid of drawing in lines for the construction of the axonometric.
Begin by drawing the entry level plan. As you do this consider the composition of the page.
From section A, section C, and the north and east elevations measure the vertical heights and transcribe these directly into your axonometric drawing. Remember axonometric drawing is measurable, horizontal distances and vertical heights can be directly takes for the orthographic drawings.
One you have the bare bones of the drawing, deduct from the information you have to imagine and draw the interior.
Decide what you will reveal and what you will conceal as you make your drawing.
Next week we will begin to use water colour to render these drawings.
*Drawings of Villa DallAva, St Cloud, Paris, completed 1991. From Koolhaas, R & Mau, B. (1995) S,M,L,XL. NY, Monacelli Press. For photographs of this project shown here.
Tuesday
3rd Year Drawing - week 2 scale
scale - understanding occupation of space.
THINK ABOUT: How to create a sense of scale?
TASKS:
1. Interior of the object: Blow up a photo or scan of the inside of your object to an unrecognisable scale.
2. Cut out your small object, your figurine, your sign and/or a person. You don't have to use all of these items.
3. Establish 3 images which explore 3 different conditions of scale. Think of a word for each idea of scale you are trying to explore.
HOMEWORK: Print these images and manipulate each by hand to further explore your idea of scale – use different techniques. Try to including a ground plane or other planes/surfaces.
THINK ABOUT: How to create a sense of scale?
TASKS:
1. Interior of the object: Blow up a photo or scan of the inside of your object to an unrecognisable scale.
2. Cut out your small object, your figurine, your sign and/or a person. You don't have to use all of these items.
3. Establish 3 images which explore 3 different conditions of scale. Think of a word for each idea of scale you are trying to explore.
HOMEWORK: Print these images and manipulate each by hand to further explore your idea of scale – use different techniques. Try to including a ground plane or other planes/surfaces.
3rd Year Drawing - week 3 pattern
pattern / texture = surfaces and skins.
THINK ABOUT:
What are examples of patterns? decorative, bricks, mosaic tiles…
What are features of patterns? colour, rhythm, repetition, proportion, rotation, mirroring, scale, order, structure often decorative, flat.
History of pattern – relationship with style, period, social, cultural.
What is the diff between pattern, texture, relief and form/space? scale?
Possibility of using pattern as a generative tool….
TASKS:
1. Generating Pattern…
2. Closely consider your fabric/wallpaper pattern. List its formal characteristics.
3. Use one or more of the following: your object from nature, your graffiti, your textured surface
4. Cut out one element or shape from your image.
5. Make your image(s) monochromatic.
6. Create an example of a ordered flat pattern based on the principles of your found pattern (will end up quite different from the found pattern).. At some stage in this process you must print this pattern and work into it with hand media – rescan – this can be before or after you tile it.. (30mins)
7. Pattern in space…. [Insert your pattern into a copy of one of your images from last week – as a permeable screen.] use magic wand or select colour range. (20mins)
8. Patterns to create space…. Create an example of and interference pattern (over lapping, irregular) using your object from nature, your graffiti, your textured surface
9. How can you create 3 dimensionality in patterns? Save copies and play with figure/ ground relationships (colour & tone). Use hand media. (30mins)
HOMEWORK:
Develop your 2D pattern with hand media. Rescan for next week.
THINK ABOUT:
What are examples of patterns? decorative, bricks, mosaic tiles…
What are features of patterns? colour, rhythm, repetition, proportion, rotation, mirroring, scale, order, structure often decorative, flat.
History of pattern – relationship with style, period, social, cultural.
What is the diff between pattern, texture, relief and form/space? scale?
Possibility of using pattern as a generative tool….
TASKS:
1. Generating Pattern…
2. Closely consider your fabric/wallpaper pattern. List its formal characteristics.
3. Use one or more of the following: your object from nature, your graffiti, your textured surface
4. Cut out one element or shape from your image.
5. Make your image(s) monochromatic.
6. Create an example of a ordered flat pattern based on the principles of your found pattern (will end up quite different from the found pattern).. At some stage in this process you must print this pattern and work into it with hand media – rescan – this can be before or after you tile it.. (30mins)
7. Pattern in space…. [Insert your pattern into a copy of one of your images from last week – as a permeable screen.] use magic wand or select colour range. (20mins)
8. Patterns to create space…. Create an example of and interference pattern (over lapping, irregular) using your object from nature, your graffiti, your textured surface
9. How can you create 3 dimensionality in patterns? Save copies and play with figure/ ground relationships (colour & tone). Use hand media. (30mins)
HOMEWORK:
Develop your 2D pattern with hand media. Rescan for next week.
Friday
2nd Year Drawing: references and equipment
References from class today:
Allen, S. (2000) Practice, architecture, technique and representation.
Bois, Y. (1981). The metamorphosis of axonometry. Daidalos, 1, 41-58.
Eindhoven Municipal van Abbemuseum. (1990) El Lissitzky 1890-1941 Architect, painter, photographer, typographer.
Riley, T. "Light Construction." (Suddenly the Unitec library does not seem to have this book! I will follow this up with the librarian.
Schneider, B. (1981). Perspective refers to the viewer, axonometry refers to the object. Daidalos,1, 81-95.
Next week you need:
T square
adjustable set square
pencil (clutch is best) and sharpener
2x watercolour brushes
1x tube of watercolour paint
clean plastic containers
Monday
DESN7301IN 3rd YEAR DRAWING & DESIGN DOCUMENTATION
ASSIGNMENT 3every drawing is an object
1 investigate space
The ‘every drawing is an object’ brief examines the exploratory role of drawing. Drawing is more than the communication of a design or building. In Interior drawings are tools for interrogating and developing ideas, space and its occupation. Drawing is an act of inquiry and imagination. This brief involves set weekly drawing tasks that explore various specific Interior spatial concerns.
2 craft
Digital and hand crafted media are often seen as distinct unrelated approaches in drawing. In this brief we will slide in and out of digital media. Spatial ideas will be developed in Photoshop, printed on various surfaces, inscribed upon, cut, reconfigured, and rescanned in a continual cyclical process.
3 drawings in space
Drawings have rich and multiple spatial qualities. As designers we investigate and construct ‘virtual’ spaces through line, tone and pixels, while overlooking the intrinsic spatial nature of the drawing itself. Every drawing is an object with substance, texture, and materiality. It is produced and received in real space and time. Whether you are bending over to study a detailed lithograph, running your fingers over dense watercolour paper or unfolding a wrapped set of digital prints, the drawing is a tactile, and temporal experience. In this brief we will critically consider and design the drawing as an object in space.
In this brief you will:
- generate a broad series of exploratory drawings or ‘studies’ in response to set tasks in class. These ‘studies’ complied into an archive. Each study will be graphically considered to include labels of the task and record of process.
- shift back and forwards between digital and hand media. All drawings must be printed and hand manipulated.
- critically engage with and analyse the spatial possibilities of your drawings.
- assemble a drawn object / experience / event from your investigative drawings. This must include in some form the initial object from which you generated your spaces.
All drawings will be considered in terms of:
- composition / white space
- size
- colour / tone
- text
- lineweight
- materiality of the drawing itself: ie paper/ other surfaces/ objects
Ingredients:
Collect & bring to class one of each of the following items:
- an object with an inside.
- a photo/scan of a highly textured surface
- a photo/scan of highly patterned fabric or wallpaper.
- a photo/scan of a material
- a home or interior magazine pre-dating 1975.
- a photo/scan of an adult performing an activity (whole body shot).
- a photo/scan of child (whole body shot).
- a landscape postcard.
- a photo/scan of a sign.
- a photo of graffiti.
- a small object less than 4cm in size.
- a figurine.
- a photo or drawing of an object from nature.
HAND IN
- Pin-up and present your object / experience / event:
- 1pm Tuesday 18 September (Week 9) in Rm 2144
- Hand in bound archive of exploratory drawings/ studies.
- Create a flickr site to share your work with your peers.
- Final hand-in and assessment of the years work:
ASSESSMENT CRITERIA FOR 7302IN Drawing:
drawing media & process skills 33.3%
critical evaluation skills 33.3%
communication through drawing 33.3%
Wednesday
3RD YEAR DRAWING
Hi third years,
We have a fun and exciting brief lined up for this semester. It will be introduced in full on Tuesday BUT in the meantime you need to gather together these crucial 'ingredients' and have them ready for next Tuesday's class.
Please source one of each of the following items:
1 An object / thing with an interesting interior. If possible bring the object. Document its interior through digital photography / scanning. Ideas: handbag, old tv, a favourite coat, jewellery box, picnic basket, fridge, think laterally...
2 a photo/scan of an adult performing an activity (whole body shot).
3 a photo/scan of child (whole body shot).
4 a photo/scan of a figurine. eg Army man, Wonderwoman, russian doll, Barbie, puppet
5 a photo/scan of a interesting sign.
*All photos or scans must be high resolution - ie 300pdi. No internet images!
Bring your digital camera to class if you have one.
You will also need paper and basic drawing media.
Drawing will be run in the Red & Blue Labs on Tuesdays 1.30-3.30pm.
Please spread the word to your classmates.
See you on Tuesday,
Jacqui
Saturday
SECOND YEAR DRAWING
Please bring in all of the drawings you have done this year.
Put them in an envelope or folder with your name on the front and the name of the course.
Leave this on top of your desk next to your studio work.
All drawing and studio work must be in by 9am Monday 18 June. Any work handed in after this date will not be marked.
Put them in an envelope or folder with your name on the front and the name of the course.
Leave this on top of your desk next to your studio work.
All drawing and studio work must be in by 9am Monday 18 June. Any work handed in after this date will not be marked.
Monday
SECOND YEAR DRAWING
PROJECT FIVE
CONSTRUCTING ELEVATIONS
WEEK ONE:
Make five freehand elevation drawings of your building. Refer to the drawings done in class, use the same techniques explored through these exercises.
WEEK TWO:
Select one elevation.
Make an instrumental drawing of your elevation.
FINAL REQUIREMENT:
1. Five freehand elevations
2. One instrumental elevation.
1. Five freehand elevations
2. One instrumental elevation.
USE THE FOLLOWING:
Pen and Ink.
Graphite
Colour pencils
Eraser
A sharp mechanical pencil for instrumental drawing.
CONSIDER:
- Proportion, geometry, form.
- Entranceways, windows and other openings.
- Materiality, surface.
- Composition of your drawings on the sheet.
REFERENCE:
Pen and Ink.
Graphite
Colour pencils
Eraser
A sharp mechanical pencil for instrumental drawing.
CONSIDER:
- Proportion, geometry, form.
- Entranceways, windows and other openings.
- Materiality, surface.
- Composition of your drawings on the sheet.
REFERENCE:
Ching, F. Architectural Graphics
A useful reference for the conventions of technical drawing.
Thursday
Year 3 Perspective Drawing Project
Some recent examples of Year 3 student work, exploring perspective drawing practices using a range of different media and techniques.
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