Unit 2

Shape, Form, and Space

Shape is a two-dimensional (2D) area of enclosed space defined by other elements of art, such as lines, colors, textures, or other shapes. Shapes are inherently flat and can be either geometric or organic.

Form refers to an object that is three-dimensional (3D) and encloses volume, having length, width, and height. A form is a shape in three dimensions, and, like shapes, can be geometric or organic.

Geometric forms are forms that are mathematical, precise, and can be named, as in the sphere, cube, pyramid, cone, and cylinder. A circle becomes a sphere in three dimensions, a square becomes a cube, a triangle becomes a pyramid or cone, etc. Geometric forms are typically found in man-made objects and architecture, though they are present in some naturally occurring objects such as crystalline structures as well.

Organic forms are those that are free-flowing, curvy, and are not symmetrical or easily measurable or named. They most often occur in nature, as in flowers, branches, leaves, puddles, clouds, animals, the human figure, etc.

Space refers to distances or areas around, between, and within components of a work of art. Space can be positive or negative, open or closed, shallow or deep, and two-dimensional or three-dimensional.

Positive Space is the area within a work of art that is taken up by the actual objects or subjects.

Negative Space is the background of a work of art, or the areas around, above, below, or within the objects or subjects of the artwork.

Look at the "Face Vase" image to the right. If you are seeing a vase, then you are seeing the white area as the positive space and the black areas become the negative space. If you are seeing faces, then you are seeing the black areas as the positive space, and the white area as the negative space.

Positive/Negative "Face Vase"

A grouping of objects in a still life is a great place to start thinking about positive and negative space. Look at the still life painting below. While it might be tempting to look at each object within the still life as its own individual shape, it can be more effective to think of them as a group. The way they interact with each other and with the background is the most important dynamic at work here. You can think of the group of objects as positive space and the space around and between the objects as negative space. If we look at it this way we see something like the image on the right.

When creating a work of art from observation, it can be extremely beneficial to focus on drawing the negative space that you see instead of drawing individual objects. This can help artists to avoid drawing the symbols and ideas of objects instead of what they are actually seeing, and will help create more accurate proportions within your artwork.

Space techniques are also used to create the illusion of three-dimensional depth within a flat, two-dimensional work of art. These techniques include:

Overlapping: partially covering one object with another makes the one in front appear closer.
Value and Shading: adding light and shadow to the surface of objects will make them appear as three-dimensional forms.
Placement: objects placed lower on the page appear closer to the viewer, higher on the page appear further away.
Size: larger objects appear closer, smaller further away
Atmospheric Perspective: objects that are further away from the viewer appear lighter in value, intensity detail and focus.
Linear Perspective: a system of drawing developed during the Renaissance. It uses lines that converge on vanishing points to achieve a more realistic illusion of space.

Unit 2 Assignments and activities

Positive/Negative Shape Practice

Students will create a series of positive/negative drawings based upon a combination of shapes and objects presented on an overhead projector in class. Students will focus on drawing the negative shapes that they are seeing with a focus on accurate proportions.

Positive/Negative Plant Drawing

Students will create a series of observational drawings of a faux plant, focusing on drawing negative shapes. Students will choose their strongest drawing and divide it in half either vertically, horizontally, or diagonally and then fill in the negative shapes on one side and the positive shapes on the other using black sharpie or permanent marker. This drawing should be completed in your sketchbook.

One and Two Point Perspective Practice

Students will learn the concepts of linear perspective (both 1 and 2 point) and apply them to create a series of drawings of basic and complex 3-dimensional forms.

Requirements:

Minimum of 10 forms in 1 point perspective, at least 3 must be overlapping.
Minimum of 7 forms in 2 point perspective, at least 3 must be overlapping.

Linear Perspective Project

Students will create a linear perspective drawing utilizing one or two point perspective.

Requirements:

Utilize One (1) OR two (2) point perspective to create a drawing of either a cityscape or an interior space.
Fill one full sketchbook page (or 9" x 12" drawing paper) with your drawing.
Be creative and original. Draw from observation if possible.
Include a minimum of either:
- Cityscape:
  - 8 buildings, including doors, windows, signs, etc. on all surfaces.
  - 2 streets, including an intersection.
- Interior Space:
  - 1 interior room with at least 3 pieces of furniture (3-dimensional forms inside the room).
  - Doors, windows, pictures, lights, rugs, flooring, tiles, etc. on all surfaces of the room (all walls, floors, ceilings).
All line work completed in black pen.

Art I Perspective Sketchbook Assignment with QR codes.docx

Photograph demonstrating atmospheric perspective.

Atmospheric Perspective Project

Students will learn and apply the concepts of Atmospheric Perspective and the various non-linear methods of creating the illusion of deep three-dimensional space to create a watercolor painting of a mountain range. Students will then learn about various species of trees and add silhouette trees in the foreground of their painting using Sharpie and Micron pen.

Project Requirements:

Must have 5 distinct values and layers of mountains, with the lightest mountain ridge at the top and the darkest at the bottom.
Must create varied, realistic shapes for the mountains, with a variety of peaks and valleys.
Each layer of watercolor must be painted and allowed to dry before painting the next layer. Start with the lightest value, at the top of your page, then gradually increase the value of your paint with each layer, moving down on the page as you do.
Must include at least one tree in silhouette in the foreground. Trees will be drawn on top of the completed watercolor painting using sharpie and micron.

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