[Romel Madray]

On Part 1- Gesture and Structure – Master Analysis- head, at 19.45 remaining,Steve talks about the head tracking, but from looking at his analysis. i cannot tell for the Fechin head if he is tracking the cross contour lines to a vanishing point. Ie. if he is putting the head in perspective. Can anyone provide any information on this?

[Romel Madray]

At 8:09(time reamining) in this lecture, Steve discusses the shoulder blade separating out and creating a corner. Should I take this to mean that I am looking for forms that ride on top of the torso that bulge or separate out(via corners) and that I am looking to have these as structures?

[Romel Madray]

At 6:32(time remaining )Steve explained that it is the corner that is most important. Therefore to judge the placement of the corner of the exterior of the shoulder use the lateral axis and also the shruging muscle ends, where it bundles up. For the interior corner use it to measure in terms of measurement. Therefore use the insertion point of the latimus dorsi to estimate if my placement of the external corner was correct or if i sized the body part correctly. length or width wise(I added this on myself). therefore it is valuable to know where the insertion or ending point of the latimus is to make the estimate.

Also at 1:02(time reamining Steve explains) where corners are created, but I am not sure why he says corners are created there. Are the corners there created because they represent a change in plane? a change in muscle form on the torso

[Romel Madray]

Lovely

[Romel Madray]

Yup, that’s what I think and you can layer over. However, layer over too much and in equaal quantities you get muck , according to Bill.

The direction of light i believe would be highlighted by the form unless you are explicit stating that you want to create a certain mood or lighting situation. But with a 2/3 value system you can actually show form but in my view its limited. For example draw a box you will have three planes showing, white, black and grey, it will show form but to make the form stick you will need a shadow. That’s how i think of it anyway. I may be completely off key but that was my takeaway from the class on the notan, charisorio and line.

Still struggling to understand “passages” and how they work, if you have any take on them will appreciate

[Romel Madray]

There are some good ideas in the Athur Dow book but the author kinda takes a philosophical slant and really just goes off into a tangent without defining things. Kinda Airy- Fairy in the ether.

Good spacing according to him ” Appreciation of fineness of relations must always govern the method and form of composition” whatever that means.

With regard to the Arthur Dow book and what I was asking, I think its really designing a theme (picture) based on the rectangular shapes of No 29a and No 29b. However in the picture there are intersecting shapes and shapes within shapes, which makes it unclear. Then he goes into another tangent with an Example, which basically talks about a some Roman column and furniture, without really pointing to how this is relevant to image making or even pictorial design or the interaction of shapes.

The next chapters talk about landscapes without any reference to the rectangular organization of space.

I think I might suffer reading through it and probably not understand what the heck he is saying. A lot of people tout this book on you tube but if you read it it is confuffulling (just made my own word there)

[Romel Madray]

Hi Meghana , with regard to the design matrix, it is made in three ways line, notan or charisoruo. Your design will then depend on which one of these you find suitable. Regarding light and shadow patterns, just search for the shadows and the rest will be in light, remember that there are different types of shadows and just find them all. You can use a two value system or a three value system or even more depending. But i would personally just use 2 then graduate on wards depending of how deep I want the shadows to go. The design matrix is just the preliminary step to assess how you want to move on in the design

[Romel Madray]

This is one of the books mentioned by the instructor. If someone has read the book composition by Arthur Wesley Dow and Can explain the exercises please provide an example. Alternatively, if there are lectures by the lecturer that refer to this space division and principles of space division as exampled in the book, please let me know

[Romel Madray]

One of the books mentioned include Composition By Arthur Wesley Dow.. I was reading the above and trying to understand the exercise will link in below the second page I think I can only upload one image at a time. If anyone can show me a working example of what the author is referring to in terms of space division I would appreciate it

[Romel Madray]

Thanks for letting me know

[Romel Madray]

Thank you those cover up to week 3. But I can’t seem to find the other notes do you have any links to them. Not too sure how to search for these pdfs in New Masters

[Romel Madray]

Bill Perkins spoke about inplied lines and closure, especially for multiple ofcal points. Does anyone know examples of this used in abstract art? Still unsure how tone works in realtion to line but hopefully will figure it out.

[Romel Madray]

Bill Perkins references the notes from Disney Artist’s when they were creating animations based on previous art , does anyone know the name of the materials he is referring to.

 

Does anyone know where I can download the pdf’S notes and if the are available?

• This reply was modified 3 years ago by Romel Madray.

[Romel Madray]

Has anyone been able to get the pdfs?I find some challenges with this lecture and want to see of reading will help

• This reply was modified 3 years ago by Romel Madray.

[Romel Madray]

Anyone know where I can find the notes used by Bill Perkins. I am looking for the links for Week 3 and beyond to read, rather than having to pull up the videos.

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