PORTFOLIO ASSIGNMENT #2 - LINE SENSITIVITY

ASSIGNED: monday, September 8th

In-Progress  Critique: Monday, September 15th (Creature created, drawing planned out)
FINAL CRITIQUE: Wednesday, September 17th

FINAL DUE DATE: Monday, September 22nd @ Beginning of Class

ASSIGNMENT – Create a still life by putting together found objects to create a creature within an environment —real or imaginary—which you will then draw using line sensitivity. Anything available to you can be used in creating this creature within an environment. The only restrictions are that no glue can be used. In joining things together in whatever way necessary to achieve the desired results, you may use tape of any kind, string, paper clips, straight pins, safety pins—whatever will work to combine composite parts into a creature of your choosing. All elements used should be drawn, including the materials used to fasten or join things together. Composition is an important component of this project, as you will need to consider the placement, scale and best viewpoint of the creature(s). 

MATERIALS:

•  Sighting Stick and Viewfinder 

•  18”x24” Strathmore Drawing Paper 

•  Graphite Pencils (all of ‘em!) 

•  Objects for creating creature and environment 

STEP BY STEP

1. Create your creature and environment. 

You may use anything at all to create your creature and its environment. The only restrictions are that the creature must be comprised of 2 or more objects, and you cannot use glue to attach them to each other. Composition is an important component of this project, as you will need to consider the placement, scale and best viewpoint of the creature(s). 

2. Plan out Drawing (Use 4H or 2H) 

-Use sighting and a viewfinder to plan out your composition on the paper. Take your time and make sure you have proportions correct before moving forward. 

*All elements used should be drawn, including the materials used to fasten or join things together. 

3. Add Line Variation (Using HB-8B) 

Remember the 3 Qualities of line variety (listed above). Remember to give more detail and contrast to those things in the front of your composition. Be sure to relay the texture of the object with your line quality as well. Remember Sensitive line conveys a strong sense of volume, mass, form, weight, dimensionality, and space. This is the fun part! 

4. It’s ok to add imagined objects! Get creative and use your imagination. 

LINE SENSITIVITY – Sensitive line is sensitive in its description of and response to both inner and outer contours or edges of an object. It registers minute changes or differences found along contours or edges. Sensitive line conveys a strong sense of volume, mass, form, weight, dimensionality, and space. 

3 QUALITIES OF SENSITIVE LINE:

1. Weight – The thickness or thinness of the line. 

2. Value – The darkness or lightness of the line. 

3. Texture – The roughness or smoothness of the line. 

APPLICATIONS OF LINE SENSITIVITY:

1. Light and Dark or Light Source – edges are lighter near the light source and dark within the shadow area.  

2. Weight and Tension – Where weight is supported, either visually or in reality, a darker or heavier line can be used. Whereas, where weight is suspended or there is lack of tension, a lighter more delicate line can be used (ex: the folds and creases of fabric). 

3. Spatial Sequence – Darker lines come forward and light lines recede or move back in space. The objects closer to you should have darker, crisper lines than the objects farther away. This applies not only to spatial relationships between various objects, but also to spatial relationships within a single object that is 3-dimensional. 

4. Overlapping – Similar to Spatial Sequence, Line sensitivity can be applied where edges of objects overlap other edges of objects within your picture plane. Consider where two edges of objects overlap – darkening the edge of the object that is in front will help to bring that object forward, differentiating it from the one behind it. 

5. Strength or Force of an Edge – Not all edges are equal in strength or force. Most exterior edges, where a form meets negative space, are firm and definite. Interior edges however can range from firm to fairly gentle. (think of the interior creases of a bulb of garlic). 

6. Focal Points/Degrees of Importance – This method implies the development of focal points in a composition through greater development of line. Areas of greater or lesser importance are described to a greater or lesser degree through line.  

STUDENT EXAMPLES