WEEK 1 ASSIGNMENTS 3 NE ERS Fundamentals of Drawing and Perspective ‘ACADEMY Assignment 1 Contour Drawing and Enveloping. EL PFE 1 Block the malor shapes ofthe obyectsyou fi? Utne enveloping to help get your help your ig 3 Follow the steps Renae scussed rr are drain. sefne your drawing, the Live Gass session io bring your dawings to a ‘competion, In this assignment, explore contour drawing and enveloping using organic forms. ‘Consider how you are holding your ‘Complete two (2) contour drawings from the photo references provided using graphite pencil and how affects your drawing Peenails. You can do both drawings on a single sheet of 18x24" drawing paper or draw = angles. them separately on your sketchbook. Pay attention to the relations between objects, while drawing s multiple objects in the same space. ‘The full step-by-step process of drawing a stil life should generally follow this pattem: 1LEnvelope 2. Primary Shapes 3. Loose Refinement (this is a good time to use measuring, negative shapes and plumb lines) 4. Tight Refinement 5. Line Accents and Clean Up Materials: Graphite pencil, sketchbook or drawing paper New Masters Academy & 1WEEK 2 ASSIGNMENT MASTE RS, Fundamentals of Drawing and Perspective ‘ACADEMY Assignment 1 Contour Drawing and Enveloping. 1i¢1 the youre crue pac each chet 12 conser each abjers poprton and how tthe anangenert theymlac ech tee In this assignment, place each object accurately within the arrangement with correct Consider how you are holding your: proportions, shape and perspective using the tools and methods discussed inthis pena and hw taets our aweg lesson. Draw through each object and show the back edges as well as the front. Make angles. ‘your transparencies lighter and the visible edges darker, and use the technique of ‘contour drawing to accent your lines. Complete these two (2) drawings in your drawing, pad or sketchbook using graphite pencils. Use lighter pencils in the beginning, darker Pencils toward the end. Follow this drawing process: 1. Envelope 2. Primary shape placement 3. Loose shaping 4. Comparative measuring (Get one object right and then use that object's ‘measurements against other objects) and plumb lines Tight Shaping ‘Accent your lines and clean up the drawing ae Materials: Graphite pencil, sketchbook or drawing paper New Masters Academy & 1WEEK 3 ASSIGNMENTS MASTERS Fundamentals of Drawing and Perspective ‘ACADEMY Assignment 1 Cross Contour 11 Think about how each shape has ts own ‘unique characteris in fom. In this assignment, draw a full stl life consisting of geometric and organic forms. Use Take your time to get all the proportions the photo reference provided by NMA In the lesson page. Start by drawing the stil fe accurate as possible. as you normally would, applying al the processes taught in class to this point. When the contour drawing Is complete, apply a cross-contour grid surface across each form in the stil if. The cross-contour lines should be alte lighter than the hard edges of ‘each form to avoid any visual confusion. ‘Materials: Graphite or charcoal and drawing paper Assignment 2 Negative Shapes g.2 Look atthe negative shapes not the deals of the indvidul objects. In this assignment, complete a drawing using the photo references provided by NMA. Sill take your me to make sure you Draw on the background shapes. Do not draw any detail in the positive shapes, those hhave the comect proportions to the neg- should be left completely blank. Dontt focus on the individual objects, but rather the alive shapes. shapes the objects create in the background and their relationships to one another. ‘Materials: Graphite or charcoal and drawing paper New Masters Academy & 1WEEK 4 ASSIGNMENTS + MASTERS Fundamentals of Drawing and Perspective Live Class ‘ACADEMY Note: There are three (3) assignments in this Assignment PDF Assignment 1 One-Point Perspective F.1 Ute this as example of one-point perspec Using the principles of -point linear perspective, construct 10 boxes on a page with 4 Follow these 4 steps forthe inal setun boxes above the horizon line, 4 below the horizon line and 2.on the horizon line. ty |. Tum your paper honzontal ina land 10 make the boxes look like cubes: the front plane should be a perfect square and the scape format depth of each box should appear to be consistent with the dimensions of the frontal 2 Lightly craw a horizontal ine perfecty plane. ‘entered on the page (measure on the {eft and right of the paper witha ruler) In the process, try your best to keep horizontal and vertical edges of your boxes from 3.Lighty draw a vertical ine down the tiling. In other words, the vertical edges should be perfectly parallelto the side edges idle ofthe page using a ruler to of your paper, and the horizontal lines should be perfectly parallel to the top and measure bottom edges of your paper. All the receding lines must converge at the vanishing 4 Puta dot in the middle ofthe horizon point in the middle. Ine where the vertical ne intersects Before drawing the boxes, lightly cle where each one is going to be on the page. You can vary the sizes but make sure you can fit all 10 boxes. Draw each box using full transparency, Draw all front and back edges of each box. The transparent edges a litle lighter and the visible edges a litle darker. Accent the lines at the comers of each box ‘Materials: Graphite or charcoal and drawing paper New Masters Academy & 1Fundamentals of Drawing and Perspective Live Class Assignment 2 ‘Two-Point Perspective 'g.2 Uae ths as example of two-point perspec: Using the principles of 2-point linear perspective, construct 10 boxes on a page with 4 boxes above the horizon line, 4 below the horizon line and 2 on the horizon line. Try to ake the boxes look like cubes, so that the depth of each side plane appears equal 10 its height. keep the vertical edges parallel to the side edges of the paper, and make sure the diagonal edges converge at the two vanishing points. Before drawing the boxes, lightly cle where each one is going to be on the page. You can vary the sizes but make sure you can fit all 10 boxes. Draw each box using full transparency. Draw all front and back edges of each box. Draw the transparent edges a litle lighter and the visible edges a tle darker. Accent the lines at the corners of each box. ‘Materials: Graphite or charcoal and drawing paper New Masters Academy & NEW MASTERS ‘(ACADEMY Follow these 4 step for the inal setun: 1L1um your paper honzontally tna land scape format 2. Uighaly draw a honizontal ne perfectly ‘entered on the page (measure on the left and right ofthe paper witha ruler) 3.Lightly draw-a vertical ine down the ‘middle ofthe page using a ruler to measure 44 Puttwo dots on the honzon line a the very ends near the edge ofthe paperFundamentals of Drawing and Perspective Live Class Assignment 3 Three-Point Perspective : Using the principles of 3-point linear perspective, draw 4 cubes from a bird's eye view below the horizon line. For this assignment, you have the option of using aunlary vanishing points to create true cubes with equal lengths on all sides. In 3-point perspective, the edges of each cube will converge at one of three vanishing points. Before drawing the boxes, lightly cre where each one Is going to be on the page. You can vary the sizes but make sure you can fit all 4 boxes within the triangle that is formed by the three vanishing points. ‘Materials: Graphite or charcoal and drawing paper New Masters Academy & NEW MASTERS ‘(ACADEMY Follow these 4 steps forthe inital setup: |. Tum your paper vericaly In a portat format 2. Lighty craw a horizontal line betow the top edge ofthe paper 3. Lightly draw-a vertical ine down the ‘middle of the page using your ruler to 4 Put two dots atthe very ends of the: horizon tne, and a third dot atthe bo tom ofthe vertical center line. These will bbe your primary vanishing points.WEEK 5 ASSIGNMENTS + MASTERS Fundamentals of Drawing and Perspective Live Class ‘ACADEMY Assignment 1 One-Point Perspective Interior F.1 Use he reference provided by NWA on this lesson page. For this assignment, we are applying the principles of one-point linear perspective Tiy your best to get the proportions and 10 draw an interior space. Namely, we will recreate the attached photo below using, placement of things in the drawing as ‘one-point perspective to keep the receding edges aligned toward a singular vanishing accurate as possible. The most important Point. thing Is that the environment canforms to the rules of perspective, and the ‘To set up the drawing, fist identify the correct format for the image (horizontal or receding edges angle toward the central vertical, then find the hortzon line, the centerline, and the central vanishing point. vanishing point Finally, draw the “picture plane,” or the rectangular borders that will frame your drawing within the page. (Once the vanishing point is established, use a ruler to lightly draw a series of guides radiating from the central vanishing point across the entire page. These lines will allow Us to approximate the angles of the receding planes as we freehand the intial lay-in of, the drawing. Once most of the drawing Is in place, we will then use rulers to straighten ‘our edges and clean up the drawing, ‘Materials: Graphite or charcoal and drawing paper New Masters Academy & 1Fundamentals of Drawing and Perspective Live Class Assignment 2 ‘Two-Point Perspective Interior Fi 2. Use the reference provided by NAMA on ths lesson page. For tis assignment, we are applying the principles of two-point linear perspective to ‘draw an interior space. This time there will be two (2) vanishing points on ether side of the page, and the edges of the receding planes will pinch toward those two vanishing points, ‘To up the drawing, identiy the correct format for the Image (horizontal or verticab, then find the horizon line, the center line, and the two vanishing points on either side of the page. Draw the rectangular picture plane, and then use a ruler to lightly draw a series of guides radiating from the two (2) vanishing points across the entire page. Where ‘exactly these elements are placed will determine how faithful your drawing will be to the reference photo. The guidelines wil allow us to approximate the angles of the receding planes as we {freehand the initia lay in of the drawing. Once most of the drawing isin place, we will then use rulers to straighten our edges and clean up the drawing, ‘Materials: Graphite or charcoal and drawing paper New Masters Academy & NEW MASTERS ‘(ACADEMY ‘Hy your best to get the proportions and placement of things n the drawing as accurate as possible, the most important thing Is that the environment canforms to the rules of perspective, and the receding edges angle toward he 190 (2) vanishing points.WEEK 6 ASSIGNMENT ey Fundamentals of Drawing and Perspective Live Class ‘ACADEMY Assignment 1 ‘Three-Point Perspective Interior Fi. 1 Use the reference provided by NWA on this lesson page For this assignment, we will use a guide system to recreate the photo provided by Ty your best to get the proportions and NAMA on the lesson page, applying the principles of 3-point linear perspective. This placement of things in the drawing as drawing will necessarily Involve some editing of the smaller details, Construct the larger accurate as possible. The most important structures, apply some moderate details, and leave out the smaller details. thing Isto ensure thatthe edges in your ‘eawing angle toward the 3 vanishing ‘The guides wil allow you to freehand your initia lay in of the drawing without needing points estabished in your inal setup, ‘a tuler to extend all your lines to the three vanishing points. After free handing the which includes a rectangular picture larger structures in your drawing, you will hen use a ruler to refine your drawing with plane, three vanishing points, and a se darker, straighter edges. ries of ighay-crawn guides radiating out ‘Materials: Graphite or charcoal and drawing paper fiom the three vanishing points. New Masters Academy & 1WEEK 7 ASSIGNMENT Y NEW ens Fundamentals of Drawing and Perspective Live Class ‘ACADEMY Assignment 1 ‘Sphere Drawing on Gray Toned Paper 1.1 There sno reference mage oe om tis week. For this assignment,draw a sphere on gray-toned paper using black and white charcoal Keep in mind the direction the ight is penalls. The drawing showcases your knowledge of the eight elements of light and. ‘ting your sphere shadow and should be done without any photo reference. Set up the direction of your light source first, and make sure the form shadows and ‘ast shadows of the sphere comrespond to the light source. Siart with a simple two- value statement of light and shadow, and then bulld up the lighter and darker values. Remember to keep the values contained within their respective range once you establish the light mass and shadow mass. Avoid putting white In the shadow mass or poling black in the light mass. ‘Materials: Charcoal (black and white) and toned paper New Masters Academy & 1WEEK 8 ASSIGNMENT Fundamentals of Drawing and Perspective Live Class Assignment 1 ‘Shaded Pumpkin Drawings For tis assignment, draw the two pumpkins below and study the eight (8) elements Be sure to efferentiate the local colors of of light and shadow: highlight, center light, half tone, transition tone, core shadow, the two pumpkins. The orange pump. reflected light, pit shadow and cast shadow. kin should have an overall darker value range due tothe darker local color Do the drawings on gray toned paper using black and white charcoal pencils, Start by ‘simplfVing the objects into a generalized two-tone value statement (tone of the paper for light mass and a mid-dark gray for shadow mass). Follow the rules of simultaneous contrast, and keep the values contained within their respective range once you establish the light mass and shadow mass. Avold putting white In the shadow mass or poling black in the light mass. ‘Materials: Charcoal (black and white) and toned paper New Masters Academy &WEEK 9 ASSIGNMENT + MANcERS Fundamentals of Drawing and Perspective Live Class ‘ACADEMY Assignment 1 ‘Three-Value Statement For the frst step of this assignment, draw the stil life below as a Three-Tone Value Take your time to do through each of the ‘Statement on gray toned paper. The three tones are dark gray, middle-dark gray, and steps to Improve your leaning outcome middle gray (the tone of the paper). Inthisassignment 1LStart by enveloping and placing in primary shapes. 2, Measure and refine the objects. Make sure the proportions, size and placement of objects are correct before moving on to shading. 3. Map out the shadow shapes. 4.Block in the shadow shapes in middle-dark gray and establish a Two-Tone Value ‘Statement 5. Block in background tones 6. Introduce the dark gray and establish a Three-Tone Value Statement. Make sure to consider the local color of the objects. 7.Blend and refine. For the second step of this assignment, expand the value range and introduce the ‘white charcoal. Bulld up the light masses using white charcoal and refine the deals in the shadow shapes using black charcoal. Make sure to maintain the value structure as you put in the details. ‘Materials: Charcoal (black and white) and toned paper New Masters Academy & 1WEEK 10 ASSIGNMENT Fundamentals of Drawing and Perspective Live Class Assignment 1 Gray Toned Paper Long Drawing Ny Choose one (1) ofthe three (3) stil life setups to do a long drawing on gray toned paper using white and black charcoal, The toned paper used in this assignment should preferably be 18 x 24 inches or larger for a mote refined drawing. We are going to follow the same process as in the last session and establish a three-value breakdown before completing the drawing in full value. ‘Tape your borders with artist tape to get a more polished drawing. Make sure the proportions, size, and placement of objects are correct before moving on to shading, ‘Maintain the value structure as you putin the details. Consider the local color surface uality/texture of the objects as you refine the drawing, ‘Materials: Charcoal (black and white), artist tape, and toned paper New Masters Academy & g /ACADEMY e Your lime fo go through each ofthe sieps t improve your leaning outcome inthis assignmentWEEK 11 ASSIGNMENT Fundamentals of Drawing and Perspective Live Class Assignment 1 Dark Gray Toned Paper Long Drawing For our final stil fe drawing, we are going to draw on a sheet of 18 x 24” Canson Mi Remember to tape your borders and Teintes DARK Gray Toned Paper. The only real difference between working on Dark Gray work on the smooth side ofthe paper Paper as opposed Steel (Middle) Gray Toned paper is you will lend to use more white charcoal in the light masses, and you usually need less black charcoal n the shadow masses. Follow the same process asin the last session and establish a three-value breakdown before we finish the drawing in full value the following session, Make ‘sure the proportions, size and placement of objects are correct before moving on to shading, Choose one (1) ofthe stil Ife photos provided by NMA in the lesson to draw from, This session just to lay in the value structure in three tones. Next session, we will proceed 10 finish the drawing in full value. Refrain from using any white charcoal this session. ‘Materials: Charcoal (black and white, artist tape, and toned paper New Masters AcademyWEEK 12 ASSIGNMENT MASTERS Teer /ACADEM Fundamentals of Drawing and Perspective Live Class Assignment 1 Dark Gray Toned Paper Long Drawing - Part Two In this assignment, complete the final long drawing from the last session in full value Remember to tape your borders and by adding white charcoal and refining the details. Use the same photo reference \woxk on the smooth side ofthe paper provided by NMA on the lesson page. Build up the light mass and elaborate the shadow mass. Establish a hierarchy when rendering the stil fe and show the different local colors and textures of objects. We will have a final ctique in the following session. ‘Materials: Charcoal (black and white), artist tape, and toned paper New Masters Academy &