Weekend to-do (due monday 4/20)

Weekend to-do (due monday 4/20)
  1. BRING to class on Monday = 3 ink drawings – HW not from class (see description below); paint brush; ink;
  2. READ or review chapters 1-5. You are responsible to know their content. Read and learn key terms and concepts.
  3. DRAWINGS: Three ink drawings for  critique on Monday
    • Each drawing is to be comoleted with a differnt nonart tool–beads, string, fork, knife, etc
    • All drawings are to be of smae still life you put together. Carefully consider your arrangement. Considered dramatic lighting.
    • Three drawings=three that you want to have graded, meaning you may have to make more than three.
    • These will probably gestural in nature but should also deal with light and shadow. I also suggest test running each tool yo find out what kind of marks are possible. The goal is not an outlined ink drawing. But to explore light, value and texture.

Here are some in-PROCESS sample drawings from class.   

 

 

 

  

      

Bring five or more copy machine self-portraits Wednesday 

Bring five or more copy machine self-portraits Wednesday 

we will be working on copy machine self portraits via value studies, using a grid, and erasure.

Here are some samples from today.

 

Willie

 

Willie

 

Marissa

 

Amanda

 

Carishma

 

Ileandra

 

Kayta

 

Kennedy

 

Cassandra

WeekEND to do list [for Monday, March 2]

WeekEND to do list [for Monday, March 2]

READ–Chapter 5

PREPARE–must bring Monday!!!

  • Stick your head/face on a copy machine
  • Make 10 different self portraits
  • Be emotive [make faces]
  • Print size should be 8 1/2 x 11
  • Bring to class Monday
  • Bring your charcoal and erasers

DRAWING

  1. From the photo printout
    (note copy below for those absent)
    enlarge and print out at 8 1/2 by 11.

    • Length wise, fold in half and then again.
    • Width wise, fold in half and then again.
    • Crease all folds
    • Unfold and smooth flat
    • Fold pattern

  2. In sketchbook
    • With pencil, extremely lightly make three vertical lines evenly spaced to subdivide the page
    • Make three horizontal lines to subdivide page
    • Note this mimics your photo print out
    • draw very light grid that matches fold pattern (but scaled to fit sketchbook page size)

  3. Using folds and page grid to locate image parts by location and scale, replicate photo image through the use of VALUE only…no lines…implied lines will occur where different value areas meet…Complete as we did in class. Here is sample Amanda was working on in class Wednesday

Photo options [Scale to page 8.5 by 11 and PRINT out]

weekEND to do list for Monday 2/16

weekEND to do list for Monday 2/16

Negative space drawings (2)

TEXT – review chapter 3 on line

DRAWINGS – TWO 2 negative space drawing (40 minutes min each)

Options. May be done via line or dark charcoal (see image below)

Some objects that might be interesting to use for this project–bicycles, hangers with bathing suits or bras hanging from them, a pile of chairs, a pile of paperclips, rubber bands and such, close up of brushes and combs…

Samples of in process drawings from class today…click


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Weekend 5 to do for Monday 2/16 (part one)

Weekend 5 to do for Monday 2/16 (part one)

Part 1 (assigned Monday 2/9)

1. Two drawings–Trace from phone or computer screen all black lines (black lines ONLY. Two drawings, same image raced. On newsprint or tracing paper. Tape into sketchbook

2. One drawing–2×3 newsprint. Redraw image used in previous 2 teachings, but fill the page, all 2×3′. It showed fill the page as though the page edges were the outer edges of image on phone.

If you were absent use this image to work from.

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Here are some examples for from today. In line chapter review CROSS CONTOURS.

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Week 4 MIDDY to-do [for Wednesday 2/4]

Week 4 MIDDY to-do [for Wednesday 2/4]

Model that!

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TEXT–review organizational line drawing

REVIEWpinterest draw that album

Follow Kathryn’s board draw that on Pinterest.

DRAWING–in sketchbook

  • 20 human gesture drawings
  • 1 minute minimum each
  • 2-4 figures pure page

PREPARE

  • bring 2/2 HW–blind double penciled self portrait + line taken for a walk
  • 20 human gesture drawings
  • all your art pencils, including charcoal pencil, clips

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Week 3: Mid-week to-do | full body self-portraits via blind contours with a hand mirror.

Week 3: Mid-week to-do | full body self-portraits via blind contours with a hand mirror.

Homework due Wednesday: one 30-40 minute blind contour curled up in front of a mirror [ie. sit on bathroom counter, vanity, if a dorm community pot–curl up on a stool…adapt to your space and social comfort if public…if possible, add dramatic light with a desk lamp or something).

I missed a few of you. Sad face, my bad.

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weekend 2 to do list [prior to 1/27] – blind contour drawings

weekend 2 to do list [prior to 1/27] - blind contour drawings

Blind contour with a hand mirror

REVIEW—online samples of blind contour. Note line qualities –continuous line. Though shaded and light areas are demarcated, they are not darkened in. The light and shadow shapes reveal the contour (the elevation shifts and interplay).


TEXT—READ Ch. 3 Lines.


DRAWING—Warm up and then five hands and two feet @ ~ 20-30 minutes each.

  1. MATERIALS: sketchbook, charcoal pencils from kit, a dominant light source (lamp?).Follow Kathryn’s board Contour on Pinterest.
  2. METHOD for Warm up: Draw (3 drawings; 10 minutes each; set timer) a blind contour with a continuous line OF your dominant hand (if you are right handed, then your right hand is the passive model and your left hand is the active artist) with your recessive hand. Here is how: As explained by Jane Rosen. “Con Tornare: Latin for ‘with the turn of the form.’ Begin by putting the hand to be drawn into an unusual and contorted position. As you gaze at the mountains and valleys of your hand and the intricate road map of lines that traverse over and around its form, try to slow down your “looking” until you begin to see a line over the form of this strange object (your hand) that clearly shows its path to you. Pick up your charcoal pencil with your left hand (recessive) and lever it as you would a cue stick in pool. Ask your eye and hand to travel at the same speed over the longitudes and latitudes of the form, registering every impression as if were an ant with ink on its feet traveling over and around your hand. Remember to think through touch, as if you were trying to locate your keys in your pocket. Work with the complete conviction of touching over hills and into crevices, perhaps speeding up a little as you travel down hill and go more slowly as you lift up and over a form (consider lightening your pressure on the uphill and increasing it on the down hill slopes). You can use line to indicate the path of the eye and the sensation of traveling. In other words, you are tracing the path of activity much like an electrocardiogram traces the activity of the heart.

    This is an exercise to allow a meeting of two very different ways of seeing. The eye/mind says ‘finger’, but the sense of traveling over it, around the knuckles, back and forth over the creases, in and out of the illusory space, says a wordless swoosh of an inner movement of form, which is a sound. This sound is a line. This line is a tracing of movement, like the sound of the waves traveling over and back and forth simultaneously etching the sand and the cliff. It is a movement with lift and crescendos, and the line that draws it is a tracing of a movement over these forms. That line is simply a tracing of the movement of the registration of touch is an elusive but powerful key to the study of seeing. You are not trying to draw what the hand looks like. In fact, you are drawing with your “wrong” hand, which frees you of the need for accuracy or likeness imposed by your logical mind. The line you are drawing is an absolute registration of the sensation of touch: not what the form looks like, but what touching the form looks like.This hand study has no beginning or end. It is an exercise in seeing. As Leonardo said ‘To draw is to learn how to see!’ We are beginning a new adventure in finding a new way of seeing. There is nothing right or wrong in the result. The result is irrelevant. This is a study, which seeks to discover; we are seeking a discovery, not a result. We are asking a question.”

  3. Five hands and two feet Blind contour composition

    METHOD for blind contour – five hands and two feet (developed by Jane Rosen):“For this extended exercise, or study, you will do a large-scale drawing (around ~18 x 42 inches; newsprint, a piece from your white roll, or better) of five hands and two feet. You may use a range of pencils, or India ink and pen. The blind contour method must be used for at least four of the seven studies. Be aware of the thickness and thinness of your line as well as lines that can be implied without being completely drawn. Think of Michelangelo study pages — he was a master of contour.

    To compose the page so that it becomes more than just a study, you might consider the following: scale, placement on the page, overlapping. Observe how Leonardo composes his studies at right. Your goal is to sustain 2 1/3 to 3 hours of study of the hand and feet. Contour is ideal for spending time “feeling” each wrinkle, crease, change of direction.”

 

 

 

 

 


PREPARE next class—(1) bring your warm up and five hands and two feet drawing (we will look at them together), (2) a three dimensional object that can be held in your hand or larger, (3) a long stick or yard stick, tape (or rubber bands), (4) full set of pencils plus charcoal pencils, (5) white paper, white paper roll, sketchbook. (6) Potential Quiz Ch 3.

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