POLYGONS KNOWING LENGTH OF THEIR SIDE. GENERAL METHOD FOR INSCRIBING POLYGONS

UNIT 06: POLYGONS

EXERCISE 09: POLYGONS KNOWING LENGTH OF THEIR SIDES. GENERAL METHOD FOR INSCRIBING POLYGONS

In this case what we know is the length of the side of the polygons.

First thing you have to do is dividing drawing sheet into 5 parts:

1. PENTAGON KNOWING ITS SIDE. S=3 cm.

STEPS:

 

2. HEXAGON KNOWING ITS SIDE. S=3 cm.

STEPS:

3. HEPTAGON KNOWING ITS SIDE. S=2.5 cm.

STEPS:

4. OCTAGON KNOWING ITS SIDE. S=2.5 cm.

STEPS:

 

5. GENERAL METHOD FOR INSCRIBING POLYGONS IN CIRCLES.

This method will be used only when the polygon does not have a particular construction, nor can it be obtained as a multiple of another, since this procedure has inherent great imprecision.

It is used to draw polygons inscribed in a circle of any number of sides.

The greater the number of sides, the greater the imprecision.

We are going to use it to draw an inscribed decagon in a circle r=3.5 cm.

STEPS:

 

Complete drawing sheet:

 

POLYGONS INSCRIBED IN CIRCLES

UNIT 07: POLYGONS

EXERCISE 8: POLYGONS INSCRIBED IN CIRCLES

If a polygon has all its vertices on the circle, we say that it is inscribed in a circle.

Firs thing you have to do is dividing the drawing sheet into 6 equal parts; just in case you don’t remember how to do it:

Then draw in the center of each of the 6 boxes a 3 cm radius circle.

1. PENTAGON INSCRIBED IN A CIRCLE.

STEPS:

 

2. HEXAGON INSCRIBED IN A CIRCLE.

SETPS:

3. HEPTAGON INSCRIBED IN A CIRCLE.

STEPS:

4. OCTAGON INSCRIBED IN A CIRCLE.

STEPS:

5. NONAGON INSCRIBED IN A CIRCLE.

STEPS:

6. DECAGON INSCRIBED IN A CIRCLE.

STEPS:

Complete exercise:

 

STOP-MOTION 2017

Here you can watch the final products of our Stop Motion project:

Congrats! You are the best!

Sanfer Festival:

Olympics:

Basket:

Sports:

Our TV

Bomb:

Boxing:

Superdrop:

Rubic Cube:

Extreme Race:

Tiger Ball:

Cars:

Bratz:

Pac-Man:

Drawings:

POP-UP BOOK

2016 is the 5th centenary of the death of Jheronimus Bosch, one of the most enigmatic and influential artists of the Renaissance. The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. So, this year we are going to focus the creation of our Pop-up on its masterpiece “The Garden of Earthly Delights” which has been digitized by Prado Museum.

Our third year students have already finished  their own masterpieces:

Alberto Valcárcel, Sergio Uceda y Javier García:

Roberto Berbia, Diego Colero y Estela Villanueva:

Julia González, Karla Martínez y Laura Roca:

Claudia de Lorenzo, María Martínez y María Rodríguez:

Laura Gancedo, Sara Roldán y Lucía Ponga:

Alicia Bolaños, Lucía Cerezo e Ignacio Clavel:

Valeria Álvarez, Sara Lázar y Nerea Maillo:

Patricia Pérez, Claudia Sanz y Claudia Villoldo:

Pablo Suárez, Alba López y Álvaro Parcero:

 

 

 

 

EXERCISE 01: COLLAGE

UNIT 01: PRINCIPLES OF PERCEPTION

EXERCISE 01: COLLAGE

The goal of the project was to create a series of three collages that together, demonstrated the six main gestalt laws of composition. Each composition had to center around two laws and was to be made up of found images reproduced on a photocopier, with variety being added through adjusting contrast, scaling, mirroring, and otherwise manipulating the images using the copier.

The materials allowed were:

– A drawing sheet.

– Two paper sheets of the same colour to create the background.

– An image that you can choose.

– Two or more photocopies of that image in black and white.

– Scissors.

– Glue stick.

Here you can see the result of the exercise:

Serie 1: Martín Pérez-Bernardo, Pablo Suárez y Rodrigo González
1. Continuity, Similarity, Proximity, Closure
2. Figure and Background
3: Pragnanz, Similarity, Proximity

Serie 2: Olga María Welti, Valeria Álvarez y Natalia Fernández
1. Continuity, Similarity, Proximity
2. Figure and Background
3. Pragnanz, Closure

Serie 3: Patricia Pérez, Claudia Sanz y Claudia Villoldo

1. Continuity, Similarity, Proximity
2. Closure, Similarity
3. Pragnanz, Figure and Background

Serie 4: Claudia Aguado, Eloy Alonso y Silvia Lorenzo

1. Continuity, Proximity
2. Similarity, Closure
3. Pragnanz, Figure and Background

Serie 5: Claudia de Lorenzo, María Martínez y María Rodríguez

1. Continuity, Similarity, Proximity
2. Figure and Background
3. Pragnanz

Serie 6: Andrea Antúnez, Carla Caso y Lidia Lorenzo

1. Pragnanz, Continuity
2. Proximity, Closure, Similarity
3. Figure and Background

POP-UP BOOK

2016 is the 5th centenary of the death of Jheronimus Bosch, one of the most enigmatic and influential artists of the Renaissance. The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. So, this year we are going to focus the creation of our Pop-up on its masterpiece “The Garden of Earthly Delights” which has been digitized by Prado Museum.

Our third year students continue working on their own pop ups:

 

 

 

 

 

POP-UP BOOK

2016 is the 5th centenary of the death of Jheronimus Bosch, one of the most enigmatic and influential artists of the Renaissance. The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. So, this year we are going to focus the creation of our Pop-up on its masterpiece “The Garden of Earthly Delights” which has been digitized by Prado Museum.

Our third year students have already started creating their own masterpieces:

Another group of third year students also working on their projects:

MATERIALS

• PENCIL OR MECHANICAL PENCIL



• TECHNICAL PENS (0.8, 0.4, 0.2)



• RUBBER



• RULER



• SET SQUARE: Both of them are right triangles: one with 90-45-45 degree angles, the other with 30-60-90 degree angles.



• DIN A-4 DRAWING SHEETS
• COMPASS



• FOLDER: You must keep all your drawing sheets inside it.

Remarks about the material:
1. It is better for drawing not to use a soft eraser as they tend to blur the paper.
2. As for the pencil it is very important that if you don’t have a mechanical pencil you have to keep your pencil correctly sharpened.
3. As for the technical pens you are allowed to use disposable felt-tips as long as they are the required three thickness so as to perform the exercises and be able to distinguish data, auxiliary lines and solutions.
4. As for the set square you can find it both with a bevel edge or without, it is better to buy the ones without because they are easier to use for drawing parallel and perpendicular lines.
5. It is not necessary for you to buy the School’s drawing sheets as far as they are DIN A-4 (21 x 29,7 cm.) and they have the box for the title, date, pupil’s name and group.
6. The ruler must be at least 30 cm. long to be able to draw and divide the drawing sheet.
7. You can either use DIN-A4 notebook or DIN-A4 sheets of paper as long as they are organised in a folder or file.
8. The compass must be as balanced as possible and with a proper adapter to draught your works.

EXERCISE 01: COLLAGE

UNIT 01: PRINCIPLES OF PERCEPTION

EXERCISE 01: COLLAGE

In order to start working with principles of perception, we are going to create a collage. We are going to work in groups of three people.

The goal of the project was to create a series of three collages that together, demonstrated the six main gestalt laws of composition. Each composition had to center around two laws and was to be made up of found images reproduced on a photocopier, with variety being added through adjusting contrast, scaling, mirroring, and otherwise manipulating the images using the copier.
The materials allowed are:
– A drawing sheet.
– Two paper sheets of the same colour to create the background.
– An image that you can choose.
– Two or more photocopies of that image in black and white.
– Scissors.
– Glue stick.
Here you can see some examples of different collages created by some current collagists. Most of them are based in deconstructivism and Gestalt laws.

Same exercise created by Studentshow.

Collage 1.
Principals Used: Repetition and Containment.

Collage 2.
Principals Used: Continuity and Proximity.

Collage 3.
Principals Used: Closure and Grouping.

PRINCIPLES OF PERCEPTION

OPTICAL ILLUSION

An image in which we can perceive something that is not physically in the image, can be interpeted in different ways or represent impossible perspectives.

Akiyoshi Kitaoka

M.C. Escher

GESTALT PRINCIPLES OF PERCEPTION

Gestalt (which means the whole thing in German) psychology attempts to understand psychological phenomena by viewing them as organised and structured wholes rather than the sum of their constituent parts. In the 30s and 40s Gestalt psychology was applied to visual perception, most notably by Max Wertheimer, Wolfgang Köhler, and Kurt Koffka who founded the so-called gestalt approaches to form perception. More specifically, they tried to explain human perception of groups of objects and how we perceive parts of objects and formwhole objects on the basis of these.

1. 1. LAW OF PROXIMITY: Elements of an image that are closer to each other are perceived as a figure or a group.

1. 1. LAW OF SIMILARITY: Elements of an image that are similar or the same are perceived as a unit.

1. 1. LAW OF PRÄGNANZ (PAST EXPERIENCE): The tendency to interpret ambiguous images as simple and complete, versus complex and incomplete. Reality is organized to the simplest form possible.

1. 1. LAW OF FIGURE AND BACKGROUND: In an image, figure and background cannot be perceived simultaneously.

1. 1. LAW OF CLOSURE: our sight tends to complete unfinished shapes or figures whent the contours are arranged in a continuous, specific direction.

1. 1. LAW OF CONTINUITY: Elements that are arranged in the same direction are perceived as a unit.