Brian’s drawing lesson today we reviewed our sketches as a group, Brain gave positive and constructive critique on our productions, one being the perspective of circular objects for instance a tin of beans. The higher your perspective is to the tin the more circular and rounded the bottom surface of the tin would be, as apposed to more rounded the ellipse on the top.
Moreover, he discussed with us vanishing points, these are essential in interior design, we use them to show clear scale and proportion within a drawing with accurate use of perspective. He spoke about most objects having two points of perspective, one closer, meaning the lines are steeper and more acute towards a vanishing point, and one further away leaving the lines more of a relaxed obtuse in terms of angle. When following these rules you can show a clear demonstration of shape size form and direction.
When drawing an object, it is important as a designer to create a sense of dymention. To do this there are a number of simple but effective techniques that can help us do this, if you have the knowledge to do so. A lot of the basics for doing this comes from knowing where the light source is coming from, and which parts of the object it would hit if the object was in a real life scenario, for instance if the light source is coming from infront of the object, it would be wise to place white highlights at all the leading points in the sketch, and not towards the back. i.e
You can see here I have followed the same principle when working with kuricolour. I mixed things up a little by using two different colours and concentration of each one. I achieved this by layering the kuriolour once it had dried to get different variations, and also left some spaces white to allow for the sense of light and reflection to come through. Although i feel this sketch works well, i found that when adding the shadow to my sketch, I lost a lot of the quality I had achieved, so in future i found that by using complementary colours for the shadow, this would give a great sense of separation with the colour, that will remain complementary to one another, and not look out of place.
We looked into do reproducing someinterior ketches using kuricolour, woking the pens in layers to create different tonal variations, and also, looking into the use of colour scheme, and applying the corect colours nexto eachother to make the interior look realistic, and sophisticated but also accurate. I found that my limitation of kuricolour colours would affect my abilities to layer, as I had such such bold choices that i found my piece looked overwhelmed quite quickly.
Evidently in Brian’s beautifully presented example, he has used an exelent choice of colours to distinguish between for and background. He has commonly used pastel shades which he has then applied heavier tones, and this works very well together.
In the class we worked quickly on an interior, and practiced using the kurecolour pens to achieve depth colour and tone. I struggled with the layering of the correct colours as Kurcolour defiantly takes practice to become sufficient in it.
I understood that I needed a wider range of kurcolours but decided to have another go at interior sketching with kurecolour as I know practice makes perfect. I am more pleased with this outcome as it it more descriptive and I have been able to layer some colours more effectivly. I understand that if I had a range of grey coloured pens I would be able to achieve a greater sense of depth and tone.
Although picture quality is poor I am pleased with my efforts and feel I have defiantly made some improvement.