WATCH– PERSPECTIVE before Monday. The video is short and a very good explanation with accompanying images.
Campanion textbook video (9.5 minutes) on PERSPECTIVE.
READ–Chapter 6. Space (get through Circles and Cylinders in Perspective)
- Actual and Illusionistic Space in Drawing
- Figure/Ground Relationships
- Overlapping, Comparison of Size, and Placement to Show Space
- Showing Space with Linear Perspective
- Circles and Cylinders in Perspective
REVIEW–Light + Shadow (9.5 minutes)
Based on our egg drawings, I would like you to also review the light and shadow video (also about 9 minutes)
charcoal DRAW-forty to fifty minute ghost drawing working back and forth between gesture, smear, gesture, smear, erase, gesture, smear, etc. Set up your own themed still life (be sure to use three dimensional objects…a comb isn’t going to work very well, a brush and rolls of toilette paper might be great). Between each smear evaluate what is off in the drawing–closeness of objects, height, width, etc (studying the negative space between items from the still life will help you see misrepresentation in terms of scale, location, and three dimensionality in your drawing). Each successive drawing should be more actuate in terms of relational scale, orientation, and positioning of objects. Take your time…but draw loosely (gesture). It will be very evident if you try to shortcut (time) the process.
Here is a sample of this method applied to a self portrait
ghost drawing in process (gesture, smear, gesture, erase, repeat)
Here it is almost complete gesture ghost drawing (gesture, smear, gesture, smear, erase, gesture)
Here is a whole set of student still life ghost drawing samples LINK and LINK and LINK
TEXT-read chapter 4: value
BRING-RAG, charcoal, white EGGS, GUM ERASER, clips and such.
value and the 6 types of light
value and light
value and light
value, grayscale, light and eggs
TEXT – Finish reading chapter 3 on LINE (review GESTURE)
DRAWING in sketchbook—Take your time without being tight
- Head + shoulder blind contour self portrait with multi-penciled (30+) – use dramatic light. Tape two or three pencils together; Make 2 drawings; submit the best of two (each ~30 minute)
- Take a line for a walk out in a public space via single tool-pen or sharpie. (30 minutes+; don’t rush; it is like a blind contour but following various objects and structures around the room…its as though you are taking a line for a walk and it is carefully sniffing its way along a series of contours from point a to b)
PREPARE – bring all drawing tools, tape, etc, rubber bands or twisty ties, as always sketchbook, homework drawings. Dress in solid colors, preferable not black. Personally, I recommend picking up a 2×3 pad of newsprint…~7-12 bucks.
Friday night @ LHUCA, Firehouse Theatre
7 – 9 pm Artist Talk
Judy Pfaff, Artist
Judy Pfaff, Installation at Rice Gallery Houston
Saturday, January 31
4-5 pm Artist Talk
English Lecture Hall
Adela Andea, Artist
Adela Andea, Art Installation + Light Artist
Texas Sculpture Symposium (click image to access full pdf)
Click to access symposium pdf for schedule and details
Reminder that Monday is Martin Luther King Day = No school.
- PREPARE—Acquire all supplies from syllabus. Hand mirror, roll of whitish paper, thumbtacks, gator clips or tape to hold paper to wall, writing utensils. Prep for quiz over Ch 1+2.
- TEXT—Drawing-A sketch and text book, READ Ch 1-2 Introduction. COMPLETE—Large adjustable frame, see pg 16 (bring to class from now on), and to one side add incremental measurement markings to your adjustable frame…~1” a part, see pgs 18, 20, 22).
- DRAWING—Complete text readings first.
Panarama series: sit in the middle of any room. Draw what is straight in front of you. Do not turn head left or right, only up and down (~5’ w from you to ceiling). Turn 15 degrees and repeat on a new sheet of paper. Turn…continue at 15 degree increments, until you’ve completed 8 drawings (kind of like a clock beginning at 12—1.5—3—4.5—6—7.5—9—10.5). If not done consecutively, mark sitting location and noon spot so that you can return to finish series. Any single medium for all 8 drawings, may use 14×17” sketch pad or larger paper.
- SKETCHBOOK—make pocket on back of book or inside and store course docs. Adhere first day notes, quote, thoughts, drawings, etc in sketchbook. Date everything. Your sketchbook will house stuff that fits; your portfolio case will store the rest; your locker is for supplies.
Choose one definition for the word DRAW [any] that you find interesting and that relates to some experience you’ve had. AND TBA.
Syllabus PDF Downloadable
ART 1303. Drawing I: Introduction (3). Investigation of a variety of media, techniques, and subjects. Students develop perceptual, descriptive, and verbal skills with consideration of drawing as a conceptual process as well as an end in itself. Outside assignments. AP or portfolio waiver possible. Fulfills core Visual and Performing Arts requirement.
Six hours in class required studio participation each week. At least three hours of productive work outside of class each week is required to meet standards required by NASAD (9 hours total per week).
Students taking this course will acquire essential skills in drawing. It serves as a requirement for students majoring in Art History, Communication Design, Visual Studies and Studio Art. Students will develop the ability to observe, record, and understand the concrete world around them. They will also utilize drawing as a tool for visual thinking, and as one of the most direct forms of self-expression (more…)
[download as PDF]
INTRO + LINE
WEEK 1—Read Ch 1-2
1/14 W Rough Sighting + Line
Contour line. Contour, blind contour and cross contour. Cross contour and the illusion of mass and volume. The interlock of positive and negative space introduced. Artists: Matisse, Lachaise, Durer, Kokoschka, Cano, Tovish, Polke, Guston, comic books
WEEK 2—Read Ch 3 Line
1/19 M Holiday
1/21 W Blind/Slow Contour
Mark Making and Gesture line. Working from still life: Linear gesture, scribble gesture and sustained gesture. Organizational line drawing. Introduction of core forms, composition and scale. Reductive drawing. Artists: Kline, Giacometti, Degas, Chia, Daumier, Matisse, Lachaise. (more…)
ART FOUNDATIONS PORTFOLIO REVIEW
Foundations Reviews are required for all Art Majors. It is built into the courses Design I, Drawing I and Drawing II. These reviews help you practice putting together a portfolio, which is a useful preparation for both the BA and BFA track as well as the art/design fields in general. The Art Foundations Portfolio Review is intended to help students reflect on their first year and give them a chance to see an overview of the work they produce in multiple classes. It is also intended to help faculty guide students toward the best possiblities for their strenghts within the School of Art. Even though these review are run through the Drawing and Design Foundaitons classes, students will be encouraged to submit work from any of the other Foundatons classes they have taken such as Intro to Art, Technolgoy in the Arts, Design II, Art History Survey I and Art History Survey II. If you are an Art BA or BFA major or thinking about being a major, please fill out this form and submit to your Drawing I, Drawing II or Deisgn I instructor.
SIGN UP BY END OF SECOND WEEK OF SCHOOL WITH ME. FILL OUT FORM (2 copies)
Set up: March 2-6
Drawings from ART 1303 Drawing I & ART 2304 Drawing II
___Line composition to show contour line
___Value composition to show form and light
___Comps that incorporate negative space & entire page
___Comps that uses perspective to depict 3d spaces
Design Comps from ART 1302 Design I
___Figure/Ground Reversal Project
___Sketch Page Work
Three Dimensional Works from ART 2303 Design II
Digital Works from ART 2309 Technology in the Arts
Writing Sample from ARTH 1301 Art History Survey I & ARTH 2302 Art History Survey II
___optional written work
Assignments from ART 1100 Introduction to Art
Viewing: March 9-12
Deinstallation: March 13