This week's assignment is two-fold: First, to do a series of gesture drawings (see below), and second, to finish the perspective drawing you made in church two weeks ago. Many of you will need to return to the church to complete your church drawing, and this is a good week to do this, since your gesture homework will not take long to complete.
GESTURE DRAWINGS: ANIMATE AND INANIMATE OBJECTS
The purpose of this assignment is to further explore gesture, both in animate and inanimate objects. With gesture studies, what you're looking for is the essential character or the internal nature of a thing as it exists at a particular moment in time. Gesture drawings are fast drawings which seek to capture something essential about your subject with as few marks as possible (and no details at all).
With animate beings such as people and animals, essential character is expressed through the subject's physical postures and movements (i.e., the "body language"), and to grasp the gesture requires that you enter into a kind of empathy with your subject. When doing gesture drawings of inanimate objects such as rocks, shoes, and tables, a similar kind of empathy occurs, although in this case it is clear that the feeling is coming entirely from you; you are endowing the thing with human attributes that it does not itself have. The challenge with inanimate objects, then, is two-fold: first, to find the gesture, and second, to convince the viewer that the feeling or character is coming from within the thing itself.
Note: There are many things that seem to fall somewhere in between the two categories of animate and inanimate. Trees are one example, and as such they can be very expressive "inanimate" subjects.
Using conte crayon, make a series of 8 gesture drawings: 4 of people or animals, and 4 of inanimate objects. Since you may want to draw outside or in a public space for this assignment, you may use smaller paper. My suggestion is to divide two pieces of your sketch vellum into 8 separate sheets, each 9” x 12”. A good way to do this is to fold the paper along center axes and rip at the folds until you have all 8 sheets. As always, keep in mind that presentation matters; the degree of care you take with your paper will be reflected in your grade for the assignment.
Monday, October 31, 2011
Picasso drawing with light
Dear class,
For your reference, here is the image we looked at today. It's a photograph taken by Gjon Mili in Paris in 1949.
For your reference, here is the image we looked at today. It's a photograph taken by Gjon Mili in Paris in 1949.
Tuesday, October 25, 2011
Cathedral drawings and materials notice
Dear class,
First, since a number of you were unable to finish your drawings yesterday at the cathedral, I am going to give that (i.e., finishing the drawings) as a secondary assignment for the week following next week's class. Not to worry! The primary assignment for that week will be quick and will require only about an hour of your time. You can plan to put the remaining five or so hours into finishing the drawing you started at the church. To do this you can either return to the church on your own time (check its hours before going: www.stjohndivine.org), or, if you feel you have all the perspective right, you can use your memory, imagination, and other drawing skills to bring the drawing up to the level of a work of art. I look forward to seeing what you come up with.
This week, however, you should focus on your Imaginary Cityscape assignment.
Finally, please bring two black Conte Crayons to class next week. We will be beginning our figure studies using a live model, and it's imperative that you have the Conte Crayon for this session.
First, since a number of you were unable to finish your drawings yesterday at the cathedral, I am going to give that (i.e., finishing the drawings) as a secondary assignment for the week following next week's class. Not to worry! The primary assignment for that week will be quick and will require only about an hour of your time. You can plan to put the remaining five or so hours into finishing the drawing you started at the church. To do this you can either return to the church on your own time (check its hours before going: www.stjohndivine.org), or, if you feel you have all the perspective right, you can use your memory, imagination, and other drawing skills to bring the drawing up to the level of a work of art. I look forward to seeing what you come up with.
This week, however, you should focus on your Imaginary Cityscape assignment.
Finally, please bring two black Conte Crayons to class next week. We will be beginning our figure studies using a live model, and it's imperative that you have the Conte Crayon for this session.
Monday, October 17, 2011
Homework Assignment #6, due Monday, October 31st
(For information about our off-site class see post below.)
IMAGINARY CITYSCAPE:
Important note: This is a two-week assignment. It will be due on the Monday after our off-site class, but please consider it a more substantial assignment than the others (i.e., plan to spend 12 rather than 6 hours on it). Don't wait until the night before it's due to start working!
In this assignment, you’ll be setting up a small tabletop “cityscape” with cardboard boxes and making a drawing that transforms the boxes into buildings in an imaginary city. The purpose of this assignment is twofold: first, to practice using sighting to draw objects in linear perspective, and second, to exercise your imagination in the creation of an interesting and dynamic drawing.
Please follow the instructions below:
1. Creating your tabletop cityscape: Begin by collecting at least three cardboard boxes of varying sizes and dimensions. You may also want to include some cylindrical objects such as tubes or some other more eccentric shapes, but be sure to include at least three standard rectangular boxes. Arrange your boxes (face down for best results) in an interesting way. Establish a fixed view on the set-up that you can continue to work from for the duration of the assignment.
2. Transforming your boxes into buildings: Using online resources or the SVA library, collect a variety of images of buildings and architectural elements that you want to import into your cityscape. You may choose from absolutely any style or period, and although your drawing should hold together as a single image, your architectural elements need not “make sense” (in other words, feel free mix and match styles and periods). As long as the perspective and proportions are accurate, your city can be as unreal or otherworldly as you want it to be.
3. Making your drawing: Begin by drawing the boxes using sighting only (no rulers). Since you will be adding doors and windows and other such things, keep the initial drawing light and general (i.e., map out the general shapes first). When you feel satisfied that the angles and proportions of the boxes are right, begin to import elements from you reference material. Each building should have several elements such as the following (although other items may certainly be included): windows, doors, balconies, awnings, columns, etc. Exactly what you choose to include is up to you; the idea is to create a visually compelling drawing that makes the viewer want to “step into” your imaginary city.
As always, give great consideration to your composition.
Materials: You may use either charcoal, charcoal pencil, conte crayon (if you’ve had experience with it), Ebony pencil, or whatever combination thereof for this assignment.
IMAGINARY CITYSCAPE:
Important note: This is a two-week assignment. It will be due on the Monday after our off-site class, but please consider it a more substantial assignment than the others (i.e., plan to spend 12 rather than 6 hours on it). Don't wait until the night before it's due to start working!
In this assignment, you’ll be setting up a small tabletop “cityscape” with cardboard boxes and making a drawing that transforms the boxes into buildings in an imaginary city. The purpose of this assignment is twofold: first, to practice using sighting to draw objects in linear perspective, and second, to exercise your imagination in the creation of an interesting and dynamic drawing.
Please follow the instructions below:
1. Creating your tabletop cityscape: Begin by collecting at least three cardboard boxes of varying sizes and dimensions. You may also want to include some cylindrical objects such as tubes or some other more eccentric shapes, but be sure to include at least three standard rectangular boxes. Arrange your boxes (face down for best results) in an interesting way. Establish a fixed view on the set-up that you can continue to work from for the duration of the assignment.
2. Transforming your boxes into buildings: Using online resources or the SVA library, collect a variety of images of buildings and architectural elements that you want to import into your cityscape. You may choose from absolutely any style or period, and although your drawing should hold together as a single image, your architectural elements need not “make sense” (in other words, feel free mix and match styles and periods). As long as the perspective and proportions are accurate, your city can be as unreal or otherworldly as you want it to be.
3. Making your drawing: Begin by drawing the boxes using sighting only (no rulers). Since you will be adding doors and windows and other such things, keep the initial drawing light and general (i.e., map out the general shapes first). When you feel satisfied that the angles and proportions of the boxes are right, begin to import elements from you reference material. Each building should have several elements such as the following (although other items may certainly be included): windows, doors, balconies, awnings, columns, etc. Exactly what you choose to include is up to you; the idea is to create a visually compelling drawing that makes the viewer want to “step into” your imaginary city.
As always, give great consideration to your composition.
Materials: You may use either charcoal, charcoal pencil, conte crayon (if you’ve had experience with it), Ebony pencil, or whatever combination thereof for this assignment.
Information for off-site class next week
Next week we’ll be having an off-site class at the Cathedral of St. John the Divine in upper Manhattan. We’ll be drawing inside the cathedral all day, making use of its enormously high ceilings and interesting interiors. Throughout the course of the day I'll be walking around talking to each of you individually. By the end of the day I expect to see one complete drawing (one that is fully "fleshed out" with a full range of values) that demonstrates your grasp of perspective. Below are the guidelines for the trip.
1. What to bring: You will need your newsprint pad, some metal clips, a charcoal pencil (no loose charcoal, since it’s messy), an eraser, some paper towels, and a paper bag for pencil sheddings and other trash. Please keep in mind that the cathedral is very welcoming and friendly to artists (it has a Keith Haring sculpture in one of its rooms), and we want our behavior to match its generosity. Please be respectful by cleaning up after yourselves throughout the day.
2. Where to go: The cathedral is located at 1047 Amsterdam Avenue, between W.111th St. and W. 112th. To get there by subway, take the 1 or 9 train to 110th St. and Broadway. (If you get lost, you can call the cathedral at (212) 662-6060, or else call me on my cell at (607) 435-6908.) We will meet at 1:30pm inside the main entrance. If you arrive late (strongly discouraged!), come find us.
3. Cathedral info: For more info on where we’re going, go to the cathedral’s website: www.stjohndivine.org.
4. Admission fee: There is a suggested fee of $4 to enter the cathedral. Please come prepared to give whatever you can.
1. What to bring: You will need your newsprint pad, some metal clips, a charcoal pencil (no loose charcoal, since it’s messy), an eraser, some paper towels, and a paper bag for pencil sheddings and other trash. Please keep in mind that the cathedral is very welcoming and friendly to artists (it has a Keith Haring sculpture in one of its rooms), and we want our behavior to match its generosity. Please be respectful by cleaning up after yourselves throughout the day.
2. Where to go: The cathedral is located at 1047 Amsterdam Avenue, between W.111th St. and W. 112th. To get there by subway, take the 1 or 9 train to 110th St. and Broadway. (If you get lost, you can call the cathedral at (212) 662-6060, or else call me on my cell at (607) 435-6908.) We will meet at 1:30pm inside the main entrance. If you arrive late (strongly discouraged!), come find us.
3. Cathedral info: For more info on where we’re going, go to the cathedral’s website: www.stjohndivine.org.
4. Admission fee: There is a suggested fee of $4 to enter the cathedral. Please come prepared to give whatever you can.
Monday, October 10, 2011
Sol LeWitt
(For this week's assignment see post below.)
Dear Class,
Since we happened upon some sculptures by Sol LeWitt in City Hall Park today, I thought I'd show you some of his signature wall drawings, which are absolutely wonderful. LeWitt was an American artist who is generally associated with Conceptual Art. What makes his drawings "conceptual" is that he didn't execute any of them himself; instead, he came up with sets of rules for his team of assistants to follow. The team would follow the rules laid out by the artist, and the result would be the monumental works you see below (thus, the artist's hand had no part in the work itself).
Dear Class,
Since we happened upon some sculptures by Sol LeWitt in City Hall Park today, I thought I'd show you some of his signature wall drawings, which are absolutely wonderful. LeWitt was an American artist who is generally associated with Conceptual Art. What makes his drawings "conceptual" is that he didn't execute any of them himself; instead, he came up with sets of rules for his team of assistants to follow. The team would follow the rules laid out by the artist, and the result would be the monumental works you see below (thus, the artist's hand had no part in the work itself).
Homework Assignment #4
PROTEST DRAWING:
This week's assignment is to make a drawing that both depicts some aspect of what we saw today and that conveys something of the emotional range you experienced while in Liberty Park.
Begin by selecting a photograph either from the media or from Karen's collection of images (as she is the only one of us who had a camera today). Spend some time on your choice of image, and choose one that seems representative of the scene we witnessed today.
Using any of the drawing media we have used so far this semester (or pen), make a drawing based on your selected image. Feel free to simplify (or alter, distort, exaggerate, etc.) the forms in the image; in the end, your drawing should be a stand-alone work of art independent of the image that inspired it.
Concentrate on using your mark-making, your selected tonal range, and your use of negative space to evoke the emotion you want to convey rather than relying solely on the narrative depicted in your image. The challenge of this assignment is essentially to make a drawing that is more powerful -- more emotionally compelling -- than the photograph. Remember that formal elements (i.e., mark, line, shape, tone, negative space, composition) themselves speak volumes.
This week's assignment is to make a drawing that both depicts some aspect of what we saw today and that conveys something of the emotional range you experienced while in Liberty Park.
Begin by selecting a photograph either from the media or from Karen's collection of images (as she is the only one of us who had a camera today). Spend some time on your choice of image, and choose one that seems representative of the scene we witnessed today.
Using any of the drawing media we have used so far this semester (or pen), make a drawing based on your selected image. Feel free to simplify (or alter, distort, exaggerate, etc.) the forms in the image; in the end, your drawing should be a stand-alone work of art independent of the image that inspired it.
Concentrate on using your mark-making, your selected tonal range, and your use of negative space to evoke the emotion you want to convey rather than relying solely on the narrative depicted in your image. The challenge of this assignment is essentially to make a drawing that is more powerful -- more emotionally compelling -- than the photograph. Remember that formal elements (i.e., mark, line, shape, tone, negative space, composition) themselves speak volumes.
Monday, October 3, 2011
Notebook Reminder and Assignment #4
NOTEBOOKS: Please bring your notebooks with you to class next week for the first check of the semester.
THE DRAMA OF LIGHT AND SHADOW:
Picking up where we left off in class, this assignment is about further exploring the “logic of light” and the key role it plays in drawing.
Begin by obtaining a clamp lamp that you can use to shine strong “directional” light onto a tabletop or desk. Next, select an object to draw that creates interesting shadows but that is not too detailed (things with patterned surfaces are not recommended).
For this piece you will be drawing your object twice, dramatically altering the direction of the light source between the two times. Spend some time playing around with the lamp, paying particular attention to the shadows cast by your object. Be sure to move the lamp and not the object, and choose two lighting situations that create shadows that differ considerably from each other.
Using charcoal and/or charcoal pencil, make a single drawing on your regular homework paper that incorporates both sets of light and shadow configurations. The two drawings can sit side by side on your paper, but arrange them so that they relate to each other in an interesting way (don’t divide the picture plane with a line!). Concentrate on drawing the tonal values (highlights, shadows, and mid-tones) as interlocking shapes. Keep the shapes general and simplified.
Materials: Charcoal, charcoal pencil, eraser.
THE DRAMA OF LIGHT AND SHADOW:
Picking up where we left off in class, this assignment is about further exploring the “logic of light” and the key role it plays in drawing.
Begin by obtaining a clamp lamp that you can use to shine strong “directional” light onto a tabletop or desk. Next, select an object to draw that creates interesting shadows but that is not too detailed (things with patterned surfaces are not recommended).
For this piece you will be drawing your object twice, dramatically altering the direction of the light source between the two times. Spend some time playing around with the lamp, paying particular attention to the shadows cast by your object. Be sure to move the lamp and not the object, and choose two lighting situations that create shadows that differ considerably from each other.
Using charcoal and/or charcoal pencil, make a single drawing on your regular homework paper that incorporates both sets of light and shadow configurations. The two drawings can sit side by side on your paper, but arrange them so that they relate to each other in an interesting way (don’t divide the picture plane with a line!). Concentrate on drawing the tonal values (highlights, shadows, and mid-tones) as interlocking shapes. Keep the shapes general and simplified.
Materials: Charcoal, charcoal pencil, eraser.
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