The Expressive Figure 2_25_2021

 The Expressive Figure

Expressive Figure Assignment

Materials:

• Hake Brush
• Sumi Brush
• Taklon Synthetic Round
• Da Vinci Casaneo Quill Mop
• Reed Pen/Quill
• Chinese Ink
• Chinese Ink diluted 1:3
• Titanium White Gouache/ Gesso
• Dark Ground paper/Canson Mi Tientes black or dark color 
• Wan Nian HEI Xuan Black Paper.
• Paper Towel
• Sea Sponge

Concept: On dark ground paper and using the aqueous media ( brush with white watercolor/ink), mass the LIGHT shapes with special emphasis on preserving the band of LIGHT that moves vertically along the form adjacent to the edge of shadow CAMBER. You are in effect working in a REDUCTIVE manner.

Draw at least three poses using this light on dark ground technique , paying close attention to the camber and the column of light .

1. Using TAKLON SYNTHETIC ROUND, QUILL MOP,  SUMI BRUSH,   or similar equivalent brush, paint light shapes/mass using white watercolor color of choice.

2.Using  a more PRECISE brush/tool ( REED PEN, SUMI BRUSH or equivalent) work back into shadow shape with watercolor or ink to describe the edges of volume

3. Using a PAPER TOWEL, SEA SPONGE or equivalent, soften the lost and found edges.

Suggested Experimentation:

Be careful to preserve the light column and the movement of light in three dimensions.

Lost and found edges are determined by the abruptness of planar deviation as well as soft tissue/bone contrast. Soft tissue disperses the light whereas bone reflects the light more completely

Notice how the light moves diagonally across the figure from the upper right skimming across to the upper thigh on the shadow side. Also evident is the cylindrical cast shadow of her left leg across her right leg.

Notice how cast shadows "MOVE" across the volumes, describing their form.

The Expressive Figure 2_18_2021

 The Expressive Figure

Expressive Figure Assignment

Materials:

• Hake Brush
• Sumi Brush
• Taklon Synthetic Round
• Da Vinci Casaneo Quill Mop
• Reed Pen/Quill
• Light Red Watercolor
• Sepia Watercolor
• Brown Madder Watercolor
• Chinese Ink
• Chinese Ink diluted 1:3
• Soapy Water
• Paper Towel
• Sea Sponge

Concept: Using the aqueous media (brush with watercolor), mass the shadow shapes and isolate pigment along the camber with special emphasis on preserving the band of LIGHT that moves vertically along the form adjacent to the edge of shadow CAMBER. This area of light is untouched by the dispersion of watercolor and remains dry. You are in effect working in a modified ADDITIVE manner- with the caveat that you are only adding darks- the lights are already evident in the tone of the paper.

Draw at least three poses using these textural dispersion techniques, paying close attention to the camber and the column of light of dry white paper.

1. Using TAKLON SYNTHETIC ROUND, QUILL MOP,  SUMI BRUSH,   or similar equivalent brush, paint shadow shapes/mass using watercolor color of choice.

2.Using  a more PRECISE brush/tool ( REED PEN, SUMI BRUSH or equivalent) work back into shadow shape with watercolor or ink to describe the camber/ shadow core.

Recomendation: merely touch the ink laden pen nib/brush to the edge of the camber wet areas and observe how the ink behaves within a wet dispersion.

3. Using a PAPER TOWEL, SEA SPONGE or equivalent, soften the lost and found edges along the camber as it moves against the light column.

Suggested Experimentation:

Be careful to preserve the light column.

Lost and found edges are determined by the abruptness of planar deviation as well as soft tissue/bone contrast. Soft tissue disperses the light whereas bone reflects the light more completely

Notice how the light moves diagonally across the figure from the upper right skimming across to the upper thigh on the shadow side. Also evident is the cylindrical cast shadow of her left leg across her right leg.

Notice how cast shadows "MOVE" across the volumes, describing their form.

Keira Leilani Stills

The Expressive Figure 2_11_2021

 The Expressive Figure

Expressive Figure Assignment

Materials:

•  Graphite Lead Penci 4B
• Hake Brush
• Sumi Brush/ Squirrel Mop Quill
• Reed Pens   
• Sumi Ink diluted 1:3 water
• Sumi Ink Full Strength 
• Sepia Watercolor                                                                                                      

• Light Red Watercolor
• Soapy water 

Concept: Using the aqueous (brush with watercolor/ink) media, describe the shadow shapes and isolate pigment along the camber. Experiment with how the pigment can bloom using dispersion techniques and soapy water

Draw at least three poses using these textural dispersion techniques, paying close attention to the camber.

1. Using a SOFT GRAPHITE PENCIL   4B, indicate the silhouette or the contours of the figure.

2. Using SQUIRREL MOP,   SUMI BRUSH,   or similar equivalent brush, paint shadow shapes using ink/watercolor color of choice.

3.Using  a more PRECISE brush/tool ( REED PEN, SUMI BRUSH or equivalent) and

 describe the camber/ shadow core.

Recomendation: merely touch the ink laden pen nib/brush to the wet areas and observe how the ink behaves within a wet dispersion.

Suggested Experimentation:

Use areas of black as "resting spots" for the eye.

Joe Stills

The Expressive Figure 2_4_2021

 The Expressive Figure

Expressive Figure Assignment

Materials:

•  Graphite Lead Penci 4B
• Hake Brush
• Sumi Brush/ Squirrel Mop Quill
• Reed Pens   
• Sumi Ink diluted 1:3 water
• Sumi Ink Full Strength                                                                                                           Sepia Watercolor

Concept: How flooding an area of the paper with water creates an electrostatic barrier within which pigments can react and flow. Notice also how dry paper affects line quality and texture.

Draw at least three poses using the positive and negative textural dispersion techniques

1. Using a SOFT GRAPHITE PENCIL   4B, indicate the silhouette or the contours of the figure.

2. Using SQUIRREL MOP,   SUMI BRUSH,   or similar equivalent brush, wet either the interior or exterior of the shape (positive or negative).

3.Using  a more PRECISE brush/tool ( REED PEN, SUMI BRUSH or equivalent) and

 CHINESE INK, SEPIA WATERCOLOR or DILUTE CHINESE INK,

merely touch the ink laden pen nib/brush to the wet areas and observe how the ink behaves within a wet dispersion.

Suggested Experimentation:

Observe how the Chinese ink dissolves into the wet sepia.
Observe how the ink on dry paper retains its sharp edges, at the same time blooming and flowing into the sepia where it touches the wet area.
Observe the combing effect that a semi-dry Hake or Sumi brush exhibits on dry paper.
Use areas of black as "resting spots" for the eye.

Heff Stills

Reference