ADULT DRAWING SYLLABUSCOURSE 2: THE ART OF CONCEPTION

TO COMMAND LIKE A KINGTHE LAWS OF GOVERNANCE

LESSON 1: Disposition- Composition

Habits of patient comparison and accurate judgement will make your art precious, as they will make your actions wise; and every increase of noble enthusiasm in your living spirit will be measured by the reflection of its light upon the works of your hands.

Faithfully yours”

Ruskin

Conception; from Medieval Latin conceptum "draft, abstract," in classical Latin "(a thing) conceived," from concep-, past participle stem of concipere "to take in"

LESSON 1: THE PRINCIPLES OF DESIGN

The elements of design, as we have discovered, are the parts of an artwork (line,shape,colour, tone, texture, size, direction). These are like the ingredients of a cake (flour, choc drops, coconut...etc). The principles of design are the ways in which these elements are arranged to create an artwork. There are 7 principles: dominance, contrast, repetition, balance, variety, harmony and unity. How the elements and principles combine to make art is called composition.

“Composition” means to position with. Composition in art is the act of simplifying and organising to communicate to the viewer clearly and effectively. It is functional, serving a very specific practical purpose: to help communicate the picture’s meaning as effectively as possible.In composing, you should select and emphasise the things that aid in getting your idea across to the viewer, and subordinate or discard those which may distract and confuse. To do this one must establish a strong centre of interest. With more than one centre of interest the picture may seem confused and the composition tends to fall apart.

Successful compositions take place when there is a strong sense of unity amongst the elements, giving an artwork a sense of direction and purpose. The principles organise the elements to create a functioning composition, just as the cooking techniques bring together the ingredients to create a cake. While the elements may describe what an art work is, the principles explain what it does. In essence, former is like a noun and the latter a verb.

In 1848 Samuel Prout, the landscape painter described composition as, “ the grouping and arrangement of pictorial materials, to express the unity of an entire impression” .Consider how the following principles of design might bring about a unified composition.

REPETITION: the repeating of elements

VARIETY: changing of elements to add interest and avoid monotony

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DOMINANCE: when one element is more important than another

CONTRAST: the bringing together of opposing elements

BALANCE: distribution of visual weight in an artwork

HARMONY: when the elements relate to each other

UNITY : when the elements relate to a common idea

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EXERCISE:Principles of design explain what an artwork does rather than is- more about the form rather than the content- how rather than what. Therefore, the task is to create a drawing focusing entirely on what it does rather than what it is… in other words, ABSTRACTION

Create a series of non representational abstract designs using shapesBuild complexity by adding elements (line, shape, tone, texture, size, direction) using Principles (as above: repetition, variety, dominance, balance, contrast, harmony, unity))

LESSON 2: REPETITIONREPEAT; Latin repetere to attack again, demand return of, equivalent to re- re- + petere to reach towards, seekREPETITION: To establish and formalise the visual statement. The echo, the halo. Used to establish and stabilise forms; to make more prominent established work. When constant, it can be used to establish peace through succession.

"Repetition with variation is interesting, without variation repetition can become monotonous. The five squares on the left below are all the same. They can be taken in and understood with a single glance. When variation is introduced, the five squares on the right, although similar, are much more interesting to look at. They can no longer be absorbed properly with a single glance. The individual character of each square needs to be considered. If you wish to create interest, any repeating element should include a degree of variation." John Lovett

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THE EFFECT OF THIS PARADOX IS TO CREATE RHYTHM!

RHYTHM: a strong, regular repeated pattern of movement or sound; the measured flow of words and phrases in verse or prose as determined by the relation of long and short or stressed and unstressed syllables.

from Latin rhythmus "movement in time," from Greek rhythmos "measured flow or movement, rhythm; proportion, symmetry; arrangement, order; form, shape, wise, manner; soul, disposition," related to rhein "to flow,"

There are many different kinds of rhythm, often defined by the feeling it evokes when looking at it. • Regular: A regular rhythm occurs when the intervals between the elements, and often the

elements themselves, are similar in size or length. • Flowing: A flowing rhythm gives a sense of movement, and is often more organic in nature. • Progressive: A progressive rhythm shows a sequence of forms through a progression of

steps.

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EXERCISE: PATTERN MAKING(PATTERN; Middle English patron < Medieval Latin patrōnus model, of Latin patrōnus patron)Start with geometric patterns, cartesian then isometricMove to ornamentation (incorporating more organic patterns) - William Morris…etc

LESSON 3: VARIETY

Used in music composition

a number of different types of things, especially ones in the same general category; a kind or sort

a different form, condition, or phase of something:

from Latin variare "change, alter, make different,

The use of dissimilar elements, which creates interest and uniqueness.

Generates interest within a work. Keeps the eye moving within a work.

THE PARADOX OF CHANGE: repetition with consistency v change

When put in conflict with variety (Latin variare "change), repetition it can be used to generate rhythm and energy. Such energy can promote direction and movement within a work.

Elements in an artwork do not move, but they can guide our eyes to do so. By looking at changing relationships among elements, movement can be found. In such a case, movement can be defined as any pattern of change that exists within the general mass of a sculpture. Such movement can be recognised by relating what CHANGES to what stays CONSTANT in repetition, eg. the flow and direction of hair cut the same size.

Change gives character, whereas consistency gives power. “By change he gives them pleasantness, and by consistency value: by change he is refreshed, and by perseverance he is strengthened” Ruskin

Variance: the act of changing objects, to create interest and avoid monotony. A composition may be strong, but is it alive! Keeping something consistent creates strength whereas variety refreshes. “A change is as good as a holiday”.Variety is best appreciated when in tension with regularity (or repetition). With no regularity variety disappears into a series of isolated events. With more regularity distinctions become more apparent and comparable. However, with too much regularity variety disappears and we are left with monotony.

Movement of tone from dark to light can add interest and dynamism to a shape. A gradation from dark to light will cause the eye to move

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along a shape, as illustrated.

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VARITY ADDS INTEREST : why go dark when you can fade? Why go parallel when you can taper? Why go straight when you can curve? Why curve when you can spin and spiral, to create a sense of rhythm and swing. Variety ironically can give elements a more unity by promoting a rhythmic sense of direction.

EXERCISE:- following from last week's exercises in geometric and ornamental patterns, identify with the pattern of change in the selected examples and explore the possibilities of variety that have been employed.

A thought from Samuel Prout: when assessing a composition consider variety: whether any element could be removed or added to contribute to the general effect.

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LESSON 4: DOMINANCE

from dominus "lord, master," literally "master of the house," from domus "home"

Putting things in the right order

Conceiving ideas with dominant elements: biggest direction first, shape first, line first, tonal relationship first, size first…etc. Question of which is the leading element: Rubbo challenges Ashton to a duel

Importance of Broad conceptions- simplification first- less is more

Dominance brings attention to a focal point (focal point from Latin focus "hearth, fireplace", also figuratively, "home, family", sense transfer to "centre of activity or energy") or centre of interest.

Centre of interest: one part of the artwork to which the eye is eventually led. "this feature will be more [prominent]...than the rest and the others shall group with it in subordinate positions". RuskinThe secret to uniting the ship is having a strong commander. Dominance deals with the art of governance (Latin gubernare: to steer a ship). This means establishing a hierarchy of elements, discerning between dominant and subordinate values. There is no room for democracy in an artwork (Robert Beverly Hale).

However, like a good leader, it should dominate yet never overpower the overall composition. The entire composition should operate to emphasise and support the centre of interest and subordinate or discard distractions

And this principle holds through vast scales of arrangement; so that in the grandest [p. 165] compositions, such as Paul Veronese's Marriage in Cana, or Raphael's Disputa, it is not easy to fix at once on the principal figure; and very commonly the figure which is really chief does not catch the eye at first, but is gradually felt to be more and more conspicuous as we gaze. . . .

JOHN RUSKIN

Put a straight edge on the pupil of the eye on your right and note how accurately Ingres has done this with the line on the coat (I); the line on the pocket (J); the: the line where the cravat meets the lapel (K); th e line of the collar (L); and the right hand side of the coat line above the hand (M). This last line, if extended, would just touch the tip of the bow.ROBERT BEVERLY HALE

LESSON 5: CONTRAST

There are dark shadows on the earth, but its lights are stronger in the contrast. Charles Dickens

CONTRAST: to compare in order to show unlikeness or differences; note the opposite natures, purposes, etc., of:Latin *contrastare "to withstand," from Latin contra “against”

Contrast is the bringing together of opposing elements eg. contrast in tone- light / dark. Contrast in direction - horizontal / vertical. Contrast in line – straight/curvy etc .

It creates interest and pulls the attention toward the focal point

THE TENSION OF OPPOSITES

1. Contrast introduces conflict.

2.Conflict provides tension.

3.Tension is necessary to support structure.

4. A successful sculpture will demonstrate a reconciling of contrasting parts, coming together to form a complex whole; a paradox.

Contrast is also used to promote emphasis and generate energy within a composition.

While contrast can create tension and energy in an artwork, too much contrast can destroy unity and lead to chaos and confusion. It is therefore necessary to maintain some similarities within a work if a convincing sense of contrast is to be achieved.

The major contrast in a painting should be located at the centre of interest. Too much contrast scattered throughout a painting can destroy unity and make a work difficult to look at. www.johnlovett.com/test.htm

LESSON 6: BALANCE

a state of equilibrium or equipoise; equal distribution of weight, amount, etc.Latin bilanc- (stem of bilanx with double scales; Latin bi- bi-1+ lanx metal dish, pan of a pair of scales) balancé; a swaying step performed in place in which the weight is lightly shifted from one foot to the other

IN ART: The harmonious relationship between opposing elements within a work. This can be achieved in a variety of ways to achieve multiple effects. However, if it is discarded an artwork can lose its sense of unity and purpose. Often differing elements are used to attain a varying sense of accord. Has its origins in figurative art; the human figure being the only creature able to balance on two feet (medial line of balance under pit of the throught).. Explores the reconciliation of contrast within a work, such as the relationship of gesture to gravity

Balance can be either symmetrical, asymmetrical or radial. Balance also refers to a sense that dominant focal points don't give a feeling of being pulled too much to any specific part of the artwork. Balance can be achieved by the location of objects, volume or sizes of objects, and by color. It can also be achieved by balancing lighter colors with darker colors, or bold colors with light neutral colors.

Horizontal symmetry, Approximate horizontal symmetry, Radial symmetry, Asymmetry

All artworks (figurative, still life or landscape) require an element of balance: to give the overall composition weight and substance and to bring it together as a unified whole. For a composition to be balanced there must be: (a) an even distribution of weight or (b) a central focus of weight.

Even distribution of weight

can be achieved through symmetrical and asymmetrical balance. Symmetrical balance occurs when elements are the same side to side or bottom to top (the butterfly effect), balanced around a central axis: horizontal, vertical or diagonal.

Asymmetrical balance occurs when elements are different yet still manage to balance due to complimentary values. Eg a large-light form opposite a small-dark form, or a distant heavy form opposite a close light form. Often there is one dominant form that is offset by many smaller forms. In general, asymmetrical compositions tend to have a greater sense of visual tension. Asymmetrical balance is also known as informal balance.

Often a effect of asymmetrical balance is achieved by throwing the focus of attention across the frame from the subject using “talk space” and “walk space”

Balance in design is similar to balance in physics

� A large shape close to the centre can be balanced by a small shape close to the edge. A large light toned shape will be balanced by a small dark toned shape (the darker the shape the heavier it appears to be) www.johnlovett.com/test.htm

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LESSON 7: HARMONY

Definition: an agreement; accord; Greek harmonía: joint, framework, agreement,

harmony, akin to hárma chariot, harmós joint, ararískein to join together;harmos "fastenings of a door; shoulder,”

Definition: agreement in action, opinion, feeling (Collins). Harmony in composition occurs when separate elements work in a similar manner, eg organic shapes, flowing lines, cool colours...etc. What most people think of when they are getting dressed- who aren't cool.

Harmony/Unity DistinctionHarmony relates elements togetherUnity relates elements to a common ideaHarmony: how elements relate to the overall formUnity: how elements relate to the overall content.

Harmony of inherent qualities of material, ie grain of the wood, vain of the stone.

Harmony: how reality connects to the self- perspective. By taking notes of harmonious elements helps establish point of view. Once an artist has decided upon a particular point of view much care must be taken to maintain consistency. Horizon, principals vanishing point. Rules of perspective. Parallel lines, receding, horizontal, vertical lines. Harmony in composition provides consistency, contributing to unity. Avoids distractions enabling the eye to move uninterrupted across the work.

Acknowledging harmony among elements can contribute to a general feeling or atmosphere in an artwork, such as the long lanky limbs of Gothic sculpture or the mysterious resonance of Aboriginal dot paintings. However, it can't direct or produce ideas/ melody

LESSON 8: UNITY (THE TRINITY)

Unity: the state of being one; oneness. Latin ūnitās, equivalent to ūn (us) one

A design may be attractive but without unity the design falls short- like a nice guy who is a bit uselessUnity needs to provide impact- more than making it look the way it looks it needs to work the way it works" Tom BassHarmony may be expressed in the rank and file of the army, whereas unity is the expression of the high command.

Unity is enveloped in the function of the design- providing direction and purpose. The function of any design is to communicate a message (design- a sign). Unity is embodied as a reflection of the content- as expressed in the the design.Unity, therefore, is a gesture of belonging- how the form belongs to the content- an expression of where the design is heading (the melody- as opposed to harmony)Ultimate aim of unity is to provide absolute beauty: when form meets content e.g. Van Gogh's lovingly painted old shoes or the beautiful-ugly portraits of Northern Renaissance Relativism (Durer...etc)Unity as an expression of a sign reflects three parts1. the subjective experience of the self (the artist)2. the objective experience of reality (the apple)3. the creative experience of the artwork (a drawing of an apple)

These three parts are thrown together to form a symbol (“syn” : together, “bole”; throw):the three point semiotic structure that supports the sign (eg the artist's impression of an apple expressed as a drawing). What carries meaning then is not the individual parts, (which as a symbol is abstract), but their relationships, much like numbers in mathematics.

Unity, however, must remain detached, as a reflection of these parts (not a projection). Failure to do so will inevitably lead either of the three great pitfalls:1. preconceptions of self (narcissism)2. misconceptions of reality (literalism)3. ilconceptions of artwork (obsession)

This eventuality of the symbols defining the symbolised is a recipe for mediocrity at best, fanaticism at worst, ultimately leading to the tight end of the creative spiral, like Breugel’s Tower of Babel, producing a sense of the unity that is isolated and falls apart with each subsequent layer of complexity.

However, if the artist is able to "keep their powder dry" and resist the temptation to obsess over the individual parts, the yeast of unity may be allowed to arise. The art form can then transform into its proper semiotic function, as a sign, that sends us spiralling upward towards a greater unity with the rest of our lives, in an expansive manner, like a fantastic Tchaikovsky Symphony.

coinsRADIATION: Everything appears to curve as it essentially radiates from a centre-point- like the canopy of a tree. “It should always give the impression, whether carved or modelled, of having grown organically, created by pressure from within” Henry Moore. The most perfect and simple connection of lines… BY THEIR ALL SPRINGING FROM ONE POINT, OR CLOSING TOWARD IT” Ruskin. Like branches toward the sun or tired limbs toward the earth’s core.

LESSON 9: PERSPECTIVE INTROa technique of depicting volumes and spatial relationships on a flat surface.Latin perspectus "clearly perceived," past participle of perspicere "inspect, look through, look closely at," from per- "through" (see per ) + specere "look at"

Learn to see things through the language of perspective. Introduced through the looking glass.

LINEAR Perspective is the study that deals with the appearance of objects as regards their size and the direction of their lines seen at varying distances and from any point of view.

Rex Vicat Cole, Perspective For Artists 1921

THE HORIZON

…a distant imaginary line parallel to the front of our face and stretching across the view at the actual height that our eye is from the ground.

LESSON 10: PERSPECTIVE COMPLEX“Rules are to be considered as fences placed only where trespass is expected”. - Sir Joshua Reynolds

RULE 3: ALL RECEDING LINES THAT ARE IN NATURE PARALLEL TO ONE ANOTHER IF INCLINED UPWARDS APPEAR EVENTUALLY TO MEET AT A SPOT THAT IS IMMEDIATELY ABOVE THAT SPOT WHERE THEY WOULD HAVE MET IF THEY HAD BEEN LEVEL LINES

Level receding lines pointing to the right or left. It is obvious that if you hold a ruler level but point it to the right- so that one corner of it is nearest to your face- the side lines of it will tend to a spot on the horizon on the right side. You will, however, notice the two ends (because they also recede) also tend to a spot on the left-hand side of the horizon (shown below). This is also known as multiple point perspective.

Depths found by diagonals and a receding scale . To find the centre of any rectangular form we draw diagonal lines from corner to corner. This applies equally well to any shape foreshortened by perspective.

If we add an upright where the diagonals meet we divide the form in two halves, of which the nearer appears to be the larger.

If we add another diagonal where the upright ends we can add another half to its length. this can be added on and on to achieve a receding scale of evenly spaced objects into the distance as illustrated below.

If a level square is drawn and its diagonal it continued to the horizon to create another vanishing point, we can find the depth of any other square with the same proportion wherever we wish it to be. Using this technique we can create a great chess board (below right)

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Creating a set of steps. Draw step A, being careful to get the correct depth for the tread compared to the height of the step. Across the side of the step from corner to corner draw the line 1-2, and continue it until it is above the “level” Vanishing Point, in order to find the “uphill” Vanishing Point. Run lines from the “uphill” VP to to the other three corners on the front of the step. Make the front of step B (2-3) the same height as the back of step A (4-2). You will then see that the height of each step can be obtained by upright lines (such as 2-3 and 6-5) drawn between sloping lines.