ANALYTIC STILL LIFE ROTATION
This week, you will return to your still life. You will perform an analysis of the forms of your still life objects. Please make sure your still life still has three different objects.
From Francis Ching’s Design Drawing:
“Unlike contour drawing, in which we proceed from part to part, analytical drawing proceeds from the whole to the subordinate parts and finally the details. Subordinating parts and details to the structure of the overall form prevents a piecemeal approach that can result in faulty proportional relationships and a lack of unity.”
1. Using light, freely drawn lines, block out a transparent volumetric framework for your forms. Imagine a transparent box whose sides touch the front, back, top, bottom, and both sides of an object, establishing the objects boundaries. These lines are also called regulating lines. We can use these lines to locate points on surfaces, find centers, express perpendicular and tangential relationships, and establish offsets. These lines do not only map the exterior boundaries of the objects, but as they are imaginary, they can cut through forms and extend through spaces as they link, organize, and give measure to the various parts of an object or composition. Since these lines are very very light, they can be confirmed or adjusted as you continue with the drawing. Do not erase these lines. They are the trace of your eye’s investigation. They reveal the constructive process.
From Ching's Design Drawing. Showing two stages of bottles drawn with regulating lines.
2. Begin to draw the contours of your objects, using the volumetric blocks as guides to proportion and placement, and gauges for angles. Through this method you should be able to convey a convincing sense of volume occupied by the form. Working in this way prevents the appareance of flatness that can result from concentrating too much on surface rather than volume. Now, if you’d like and know how, (but this is not necessary, as we will look at tone in future classes) you may add some shading to further render the appearance of volume.
3. Rotate your still life as you did last week, creating 12 drawings, using steps 1&2 above. Make sure the center of your still life is also the center of rotation. Mark on the drawing where the center of your still life’s rotation hits on the table, and transfer that mark to each drawing. Create oval guides touching the corners of your construction boxes. From one drawing to the next, the edges of your still life will follow these oval paths. Be sure to register your drawings, making sure the proportions of the objects are consistent from drawing to drawing, and the still life’s position on the page does not drift. Make sure the drawings complete a full rotation, and the position of the first drawing matches the position of the last. When looped, we should not be able to detect which drawing you made first. In other words, it should create a seamless loop.
4. Scan your drawings and export a quicktime. Make sure you scan them in a consistent way so you do not unintentionally create drift. When you make your quicktime, you will be either be exporting your drawings at 720×540 pixels (a 4×3 format), or 1280×720 pixels (a 16×9 format), so be sure your drawings fit within one of those dimensions. You can bring them into Photoshop and size them there, again making sure you do it consistently. (In Photoshop, you can even color-correct or tweak minor drifting if you so choose.) Make sure your images are labeled chronologically. Using Quicktime Pro 7, open an image sequence, select your first image, and open at 15fps. Finally, export a .mov of your still life:
File > Export > Movie to Quicktime Movie
Options: Settings: Compression: H.264
Frame Rate: 15fps
Size: 1280×720 or 720×540
Uncheck sound and prepare for internet streaming
Please label your .mov yourname_analyticstilllife.mov and put it in your folder.
Also, please get a sketchbook for class if you do not have one yet.