Sketchbook 2

ZOE CAULFIELD
STUDIO THUR 1:30 PM

Sketchbook 2A Part 1
Fundamental Visual Vocabulary

2A Part 1
Subject: Pear
ContourBlind ContourLine Gesture-

2A Part 1
Subject: Pear
Cross ContourLine WeightOutline-

2A Part 1
Subject: Pear
EdgeFigure/GroundMass Gesture-

Sketchbook 2A - Part 2
Concept/Definition

Part 2

2) Sighting

4) Point of View
3) Proportion
1) Organizational Line

5) Picture Plane

Part 2

6) Value

8) Low Contrast

7) High Contrast

Part 2 Definitions
1.

Organizational Line- Vertical, horizontal, and diagonal lines that build the framework of the picture
plane. Actual and implied lines are included to aid construction of the image and provide proportion
between forms in the image.

2.

Sighting- Measurement of objects in relation of another, often using a thin sighting stick (pencil, ruler,
or other object) to compare lengths and angles between forms.

3.

Proportion- Relationship of size, color, quantity, etc. between two or more elements in a design.
There is a tendency for size to be measured with respect to the human body as a proportional
reference.

4.

Point of View- (Perspective) A way of implying 3-D figures and distance from a vantage point on a 2-D
surface. Objects that appear smaller are implied to be farther away, vs. larger objects which are in the
forefront.

Part 2 Definitions
5. Picture Plane- An imaginary plane located between the eye point and object being viewed. An
example could include a surface such as a window between a persons viewpoint and a scene on
the other side.
6. Value- Relative lightness or darkness of a color. Contrast in value defines different forms, while
gradation implies mass and volume. Greyscale (black to white) images rely on variations of value
to differentiate between forms of an image.
7. High Contrast- Where the range between light and dark (or white and black) is very large in an
image.
8. Low Contrast- Where the range between light and dark is very small in an image. In greyscale,
everything may appear in very slightly different shades of grey, either all being lighter tones,
medium tones, or dark tones.

Sketchbook 2A - Part 3
Composition and Format

Part 3
1.

Composition
a)

b)

The placement or arrangements of

forms/elements in a work of art that produce
an overall effect. Composition can enhance
theme or meaning.
I chose this image because of my familiarity of
the piece and artist from my childhood, as my
family had a print of it in our house for years. I
have always been particularly drawn to the
colors and how they contrast: yellow vs. purple,
yellow vs. teal-blue, and red vs. teal-blue. The
focal point isnt completely immediate,
however, I tend to follow the from the womans
face down to the bottom of the robe. I enjoy
the variation in lines between each differing
section of the image, and how the
complimenting flowers, with a lack of definite
outlines, meld into the woman and robe.

Henri Matisse. Purple Robe and Anemones. 1937.

Part 3

Caravaggio. Medusa. 1597.

1. Format
a)

Relates the size and shape of

a work of art (drawing,
painting, photograph, etc.),
either horizontally, vertically,
or unconventionally.
b) Orientation and framing are
important to an image
because it can help the
viewer read the image. If
an image is formatted
improperly, it may take away
from the aesthetic cohesion
of the composition.

M.C. Escher. Cycle. 1938.

Georges Seurat. A Sunday Afternoon on the

Island of La Grande Jatte. 1884.

Sketchbook 2B
I attended the Chinese exhibition at the Phoenix Art Museum.

Lecture Worksheets

Lecture 4

Lecture 5

Lecture 6