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Typical
Criticisms: Research
•)
Look
at what the photograph is telling you. Draw what it tells you and
don’t just copy the photograph.
•)
The
drawing is sloppy. Remember what you learned in drawing class.
•)
Sharpen
your pencil!
•)
I
would try some alternate positioning. This one looks too much like
a flat cut-out. Remember, you want to build in the illusion of volume
and space.
•)
Play
around with proportions. Feel free to take liberties because sometimes
the communication and image are stronger with distortion.
•)
I
would suggest that you make a detailed drawing of this section because
when you enlarge the scale, it will be important to know how this
form relates to that one.
•)
I
think you need more research material. You might try the library
or go to the zoo. You need a better understanding of forms and transitions.
•)
Your
drawing is not clear, leave out the shading and concentrate on showing
how the forms relate.
•)
Your
sketches are scattered willy-nilly over the page. Organize your
sketches in a readable and professional manner.
Typical
Criticisms: Working Drawing
•)
Draw
through so you can better see the form and relationships.
•)
You
need to draw in the axis to see relative size of areas on either
side.
•)
You
need to draw the spine in order to place the limbs at a right angle
to the axis and establish perspective.
•)
Try
exaggerating that curve.
•)
You
used a curve here when you really needed a point to show this form
going behind that one.
•)
Put
the rectangle in perspective and let each foot touch each line to
describe the space occupied.
•)
Go
back to your research sketches to see how this relates.
•)
Play
around more with proportions. Try lengthening the legs and reducing
the size of the head.
•)
Do
a fill-in, put it up on the board and study it to see what you can
do to strengthen the image and enhance the illusion of dimension.
Typical
Criticisms: Refinements
•)
Go
back and do more refinements. See if you can further enhance the
volumetric qualities. Find those relationships that best show volume
and exaggerate them.
•)
Pin
it up and study it. Look for how many of the white lines can be
eliminated.
•)
Do
another where the white lines are even thinner and put it up with
this one and see which is best.
•)
Do
one with less white line and put the two up on the board and study
them.
•)
The
texture is lousy. It is uncontrolled. This is not a painting class.
•)
You
have flattened the shape by how you applied the texture.
•)
The
texture must lay on the form in a manner that describes the dimensional
qualities of the form.
•)
The
texture for this is different from that. Make the distinction.
•)
You have scales and several very different kinds of fins.
The surface of the tail is different from that of the pectoral fins.
•)
You
need to explore different textures to convey these differences.
Presentation
Visually
center on a 16-inch square board using brush and black plaka. Attach
a tracing paper flap to protect the image.
Note
This
past year the final assignment was changed to merge the major and
minor classes as well as to include an element from the letterform
class into the composition.
The
last design exercise was a 15 x 15 inch black and white composition
based on selecting a topic from a list provided by the teacher.
Design principles were expected to be demonstrated in the major
composition. The word chosen by the student to illustrate is hand-lettered
and it becomes an integral part of the composition.
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