Remember that the edge of one shape determines the edge of another shape. In this lesson you will be concentrating on the shape of nothing, the negative shapes that you see surrounding the positive objects. You will be using what you know about balance to make a composition in which the negative space holds as much importance and interest as the positive.
Taking pictures:
Think about Imogen Cunningham and the way she used space.
Working in pairs, use a digital camera to record several images each that make excellent and effective use of positive and negative space.
Pay particular attention to how the shapes are broken up in your (camera) viewfinder.
Import into iphoto
Import your partner's and your images into iPhoto. Import onto each of your computers, so that you each have your own photographs.
Both you and your partner should choose the MOST EFFECTIVE compositions from your photographs. Share ideas.
Print a contact sheet
Each of you will print a contact sheet. Select the images, choose file, print, contact sheet. Choose "customize" and move the slider to 5, so that the images will fit on one page. Print.
Please put your names on the bottom of the sheet. Be prepared to defend your choices.
Touch at least three edges of the paper.
As you look at and draw the negative shapes, try not to name the positive ones—try to simply look at the relationships between shapes: placement & size/proportion.
Begin by choosing one of the objects in the room.
Divide a 9 x 12 sheet of paper in 4 by folding the paper in half and then again in half.
Using a view finder, look at the negative space around your object and find one-two compositions that you think are interesting and compelling to look at.
Sketch these possibilities in your small rectangles. A sketch is a quick drawing to get the placement of objects where you want them; it is not a detailed drawing. (Artists sometimes refer to these as “thumbnail sketches.”) Your sketch will probably take no longer than 10 minutes to complete.
Check in with your table mates to see if you agree with the composition that has the most potential.
Move onto another object and do the same exercise in your other small rectangles. Move around until you have filled each rectangle.
Consult with a partner to determine the composition that most effectively activates the positive and negative space to make a dynamic composition. Hang onto your thumbnail sketches until the end of the project!!
Move to the 9 x 12 watercolor paper and look again at the still life. With your viewfinder, find the chosen composition again and draw it on your big paper, lightly with pencil.
Experiment on scrap watercolor paper, practicing with the brush and ink with which you will fill your background.
Fill in the negative space of your drawing, using brush and wash. Please do NOT outline the positive/negative space.
When the work is completely dry, erase and lighten your pencil lines.
The negative space should be what our eye is first drawn to; you will need to use a value method that is relatively dark. The wash should come right up to the edge of your positive, helping cover your initial lines of the shapes.
HANG ONTO YOUR THUMBNAIL SKETCHES!!! YOU WILL NEED TO HAND THEM IN WITH YOUR WORK.