Tuesday, May 3, 2011
Monday, May 2, 2011
Professor Self Evaluation
Self Evaluation-J Hays Spring 2011 Drawing I 1210 90 T/TR 1:00-3:40
GOALS: My goals for teaching this class were to develop and maintain a cumulative learning process for fundamentals of drawing. I wanted to supplement in-class drawing with a good Drawing Workbook for student reference.
OBJECTIVES: The main focus of the class was to teach and draw from direct observation of the still life and reinforce these lessons by assigning major homework. I tried to change the still life each week, bringing in items that reinforced the techniques and skills we were learning for that week and reinforcing that we draw what we see, not what we think we see. I prepared to teach the class, supplemented with handouts and gave demonstrations on specific drawing techniques.
PROJECTS: The in-progress critiques were key, although students still waited until the last minute. I have no idea how to better address this (“you can lead a horse to water...”). We lost some momentum in class after Spring Break because we had several artist talks. These are important and I was glad we had them for class time. In a perfect world, these would be in the evening outside of class and mandatory, so as not to take up class time.
The Artist Essay was a really good assessment of student thinking. The next Major assignment was the Mid Term Bag still life. Most worked reasonably hard on this assignment, but some did not even considering the amount of time given to complete it.
The grid homework assignment was an effective way to address how one grids off a photograph to reduce or enlarge its size. This was so student would be familiar with this technique for the Jefferson Street and Final Self Portrait project (although, unfortunately students did not necessarily use it when using photo reference).
In general, there was a lot of momentum gained after Spring Break and students could sustain their drawings for longer amounts of time. At this time most of the class figured out that projects takes time and effort, and that late projects can hurt one’s final grade.
At the end of the semester we lost a bit of time for exploring color, but what we did explore was convincing (ink, watercolor and colored pencils).
The Jefferson Street books were, on the whole, very good. They were well constructed, well drawn and were a good way to talk about perspective in a real world sense. The Old Master Self Portrait was less than great. Many students did not put in the time necessary to complete a major Final assignment. I was really disappointed by the lack of ambition and follow through.
TIME/EFFORT: A frustration was that students are not drawing enough outside of class- but I always think this. Students who have seen the most success are the ones that have drawn the most, been to each class (on time) and worked on their own. More sketchbook homework assignments and ideas coupled with still life work partially addressed this. The other half must come form the student’s desire to learn. I took up the sketchbook once before the end of the semester, giving pointers and suggestions. I also supplied an “ideas” sheet when students asked.
The Drawing Workbook was a good thing- instead of endless handouts. The students could read ahead for ideas, etc. I included a calendar for students this year in the workbook- so they had all the due dates visually in front of them. They changed a bit, but students need to manage time better.
VISITING ARTISTS or FIELD TRIPS: We hosted Aimee Miller, Kaleena Tucker’s talk on GD and my talk on Professional Development. We will go to the NPL Barry Moser show as a class. We also watched th “Made Here” series, very good, as supplement.
I feel that most students gained insight on how to see, how to train your hand to draw what you see, not what you think you see. Many students have suffered from not attending class or attending late, thus missing intros to class. Others have suffered from a) missing class and b) not trying at all to make up anything they missed in their absence.
I intended to bring in artists books each Tuesday (Old Master) and Thursday (contemporary)-will schedule these out better next time. I also gave quizzes to cover course work and informative conversations.
I began a blog just for sketch booking and visual journals.
GOALS: My goals for teaching this class were to develop and maintain a cumulative learning process for fundamentals of drawing. I wanted to supplement in-class drawing with a good Drawing Workbook for student reference.
OBJECTIVES: The main focus of the class was to teach and draw from direct observation of the still life and reinforce these lessons by assigning major homework. I tried to change the still life each week, bringing in items that reinforced the techniques and skills we were learning for that week and reinforcing that we draw what we see, not what we think we see. I prepared to teach the class, supplemented with handouts and gave demonstrations on specific drawing techniques.
PROJECTS: The in-progress critiques were key, although students still waited until the last minute. I have no idea how to better address this (“you can lead a horse to water...”). We lost some momentum in class after Spring Break because we had several artist talks. These are important and I was glad we had them for class time. In a perfect world, these would be in the evening outside of class and mandatory, so as not to take up class time.
The Artist Essay was a really good assessment of student thinking. The next Major assignment was the Mid Term Bag still life. Most worked reasonably hard on this assignment, but some did not even considering the amount of time given to complete it.
The grid homework assignment was an effective way to address how one grids off a photograph to reduce or enlarge its size. This was so student would be familiar with this technique for the Jefferson Street and Final Self Portrait project (although, unfortunately students did not necessarily use it when using photo reference).
In general, there was a lot of momentum gained after Spring Break and students could sustain their drawings for longer amounts of time. At this time most of the class figured out that projects takes time and effort, and that late projects can hurt one’s final grade.
At the end of the semester we lost a bit of time for exploring color, but what we did explore was convincing (ink, watercolor and colored pencils).
The Jefferson Street books were, on the whole, very good. They were well constructed, well drawn and were a good way to talk about perspective in a real world sense. The Old Master Self Portrait was less than great. Many students did not put in the time necessary to complete a major Final assignment. I was really disappointed by the lack of ambition and follow through.
TIME/EFFORT: A frustration was that students are not drawing enough outside of class- but I always think this. Students who have seen the most success are the ones that have drawn the most, been to each class (on time) and worked on their own. More sketchbook homework assignments and ideas coupled with still life work partially addressed this. The other half must come form the student’s desire to learn. I took up the sketchbook once before the end of the semester, giving pointers and suggestions. I also supplied an “ideas” sheet when students asked.
The Drawing Workbook was a good thing- instead of endless handouts. The students could read ahead for ideas, etc. I included a calendar for students this year in the workbook- so they had all the due dates visually in front of them. They changed a bit, but students need to manage time better.
VISITING ARTISTS or FIELD TRIPS: We hosted Aimee Miller, Kaleena Tucker’s talk on GD and my talk on Professional Development. We will go to the NPL Barry Moser show as a class. We also watched th “Made Here” series, very good, as supplement.
I feel that most students gained insight on how to see, how to train your hand to draw what you see, not what you think you see. Many students have suffered from not attending class or attending late, thus missing intros to class. Others have suffered from a) missing class and b) not trying at all to make up anything they missed in their absence.
I intended to bring in artists books each Tuesday (Old Master) and Thursday (contemporary)-will schedule these out better next time. I also gave quizzes to cover course work and informative conversations.
I began a blog just for sketch booking and visual journals.
Sunday, May 1, 2011
Thursday, April 28, 2011
Friday, April 22, 2011
Monday, April 18, 2011
Tuesday May 4, NPL exhibition and studio visit
We will be meeting at the Nashville Public Library to view an exhibition of work by Barry Moser, then going to an artist's studio.
A Sort of a Thing in a Dream: Barry Moser’s Alice Illustrations
January 14 – May 8, 2011
Conference Center Art Gallery, first floor
“And what is the use of a book,” thought Alice, “without pictures or conversations?”
The adventures of Alice in Wonderland and Through the Looking-glass have inspired many artistic visions. Come explore the illustrations of Barry Moser, one of America’s most renowned woodblock artists, and see these stories from a new perspective.
A Sort of a Thing in a Dream: Barry Moser’s Alice Illustrations
January 14 – May 8, 2011
Conference Center Art Gallery, first floor
“And what is the use of a book,” thought Alice, “without pictures or conversations?”
The adventures of Alice in Wonderland and Through the Looking-glass have inspired many artistic visions. Come explore the illustrations of Barry Moser, one of America’s most renowned woodblock artists, and see these stories from a new perspective.
Wednesday, April 13, 2011
Self Eval uation-due with Portfolio AP 26
Student Self Evaluation Spring 2011 Drawing I 1210 92 T/TR 1:00-3:40
Please answer the following questions based on your output and involvement in the class. Use your syllabus and course hand-outs for reference. Two pages, doubles spaced in paragraph form.
What were your goals for taking the Drawing Fundamentals course?
What have you done to contribute to your success in this class?
What changes would you make in improving your learning for this class?
Do you feel your Drawing skills and knowledge were enhanced because of the class? Have you met the course objectives?
From Course Syllabus:
To learn to visualize and interpret what one sees within a spatial environment.
To achieve coordination between hand, eye, and mind.
To become familiar with basic drawing vocabulary, media, and visual elements (line, shape, value, texture, scale, space, etc.) and to gain understanding of how you’re drawing choices affect content and expression.
To expand critical thinking and observational skills.
To develop an attitude of creative exploration.
To become familiar with historical and contemporary figurative traditions in art.
To build a basic understanding of contemporary drawing as an independent art form as well as a process to support other media.
To successfully complete all work in and out of class.
Did you commit to coming to class and if so, were you punctual? How has attendance helped or hindered your involvement in the class?
Did you use the opportunity to get class materials from mytsu, did you commit to checking the class page at least once a week?
Were your present for/did you participate in group critiques and discussions?
Did you sustain good work habits, giving your best effort with each drawing experience and coming to class prepared and on time with finished work and supplies needed for each session?
Did you spend at least as much, if not more, time drawing and reading outside of class as you do in class (6 hours a week)?
Did you complete assignments thoroughly and turn them in on time? If not, why?
Did you continue your drawing inquiry by keeping a sketchbook (“visual diary” or “research workbook”) to further interact with the concepts and skills we are learning (at least 50 pages)? If not, why?
Were you present for beginning of class lectures and artist presentations? How did they affect your knowledge of drawing?
When you were confused or had questions on the work or your absences, did you seek to speak with your professor promptly?
In what ways could the class improve?
What grade, overall, do you think you deserve in this class? Please be specific in your response, carefully including reasoning behind your thesis.
Please answer the following questions based on your output and involvement in the class. Use your syllabus and course hand-outs for reference. Two pages, doubles spaced in paragraph form.
What were your goals for taking the Drawing Fundamentals course?
What have you done to contribute to your success in this class?
What changes would you make in improving your learning for this class?
Do you feel your Drawing skills and knowledge were enhanced because of the class? Have you met the course objectives?
From Course Syllabus:
To learn to visualize and interpret what one sees within a spatial environment.
To achieve coordination between hand, eye, and mind.
To become familiar with basic drawing vocabulary, media, and visual elements (line, shape, value, texture, scale, space, etc.) and to gain understanding of how you’re drawing choices affect content and expression.
To expand critical thinking and observational skills.
To develop an attitude of creative exploration.
To become familiar with historical and contemporary figurative traditions in art.
To build a basic understanding of contemporary drawing as an independent art form as well as a process to support other media.
To successfully complete all work in and out of class.
Did you commit to coming to class and if so, were you punctual? How has attendance helped or hindered your involvement in the class?
Did you use the opportunity to get class materials from mytsu, did you commit to checking the class page at least once a week?
Were your present for/did you participate in group critiques and discussions?
Did you sustain good work habits, giving your best effort with each drawing experience and coming to class prepared and on time with finished work and supplies needed for each session?
Did you spend at least as much, if not more, time drawing and reading outside of class as you do in class (6 hours a week)?
Did you complete assignments thoroughly and turn them in on time? If not, why?
Did you continue your drawing inquiry by keeping a sketchbook (“visual diary” or “research workbook”) to further interact with the concepts and skills we are learning (at least 50 pages)? If not, why?
Were you present for beginning of class lectures and artist presentations? How did they affect your knowledge of drawing?
When you were confused or had questions on the work or your absences, did you seek to speak with your professor promptly?
In what ways could the class improve?
What grade, overall, do you think you deserve in this class? Please be specific in your response, carefully including reasoning behind your thesis.
Time line for end of semester
Thurs April 14, ink and water based drawing
Tues April 19, continue water with color
TH April 21, continue with color, colored pencils and still life
TUES APRIl 26- PORTFOLIOS DUE
Thurs APril 28, Final Crit of Self POrtrait
Final Schedule- , either May 4th or May 6th (exam schedule does not accommodate studio courses that well) will meet at NPL and downtown studio
Tues April 19, continue water with color
TH April 21, continue with color, colored pencils and still life
TUES APRIl 26- PORTFOLIOS DUE
Thurs APril 28, Final Crit of Self POrtrait
Final Schedule- , either May 4th or May 6th (exam schedule does not accommodate studio courses that well) will meet at NPL and downtown studio
Due April 28th- self portrait
Self Portrait
Final Drawing Project
Based on Old Master work
Due: Thursday April 28
No exceptions
Announced : Thursday April 7
-30 x 40, paper of your choice (not newsprint)
-20 points PART OF GRADE for seeing me on April 19 with an in- progress work and questions (if you use photo reference you must clear the image with me here)
-choose medium from below
-at least 5 thumbnail studies in sketchbook
The objective for this assignment is a well-resolved (finished, completed) drawing that leverages the full range of values (dark to lights) and linear qualities that we have explored in class. In addition, pay attention to composition and accuracy (line variety- width, weight, accuracy). You should be thinking about all the ways we’ve learned to draw in class (including gesture, contour, line accuracy and value, line weight, clock angle).
--You are allowed to use photographs for reference and gridding, however you MUST clear the photo with me before you begin (the work depends on a good solid high resolution image- no cell phone images or bad print outs OR using the digital screen for reference).
--Use the mirror to make at least 5 sketches for research in your sketchbook.
-Paper of your choice (toned or white), NOT newsprint or the other side of a bag. You should choose a nice drawing paper from the art store
- 30 x 40, taped off edges
-Choose ONE of the following: Conte, Charcoal pencils, Prismacolor, 4 good pastels (not cheap ones and no more that 4 colors) or drawing pencils (be consistent, to not mix). You ARE allowed to use colored pencils in COLOR, but not Pastels.
Final Drawing Project
Based on Old Master work
Due: Thursday April 28
No exceptions
Announced : Thursday April 7
-30 x 40, paper of your choice (not newsprint)
-20 points PART OF GRADE for seeing me on April 19 with an in- progress work and questions (if you use photo reference you must clear the image with me here)
-choose medium from below
-at least 5 thumbnail studies in sketchbook
The objective for this assignment is a well-resolved (finished, completed) drawing that leverages the full range of values (dark to lights) and linear qualities that we have explored in class. In addition, pay attention to composition and accuracy (line variety- width, weight, accuracy). You should be thinking about all the ways we’ve learned to draw in class (including gesture, contour, line accuracy and value, line weight, clock angle).
--You are allowed to use photographs for reference and gridding, however you MUST clear the photo with me before you begin (the work depends on a good solid high resolution image- no cell phone images or bad print outs OR using the digital screen for reference).
--Use the mirror to make at least 5 sketches for research in your sketchbook.
-Paper of your choice (toned or white), NOT newsprint or the other side of a bag. You should choose a nice drawing paper from the art store
- 30 x 40, taped off edges
-Choose ONE of the following: Conte, Charcoal pencils, Prismacolor, 4 good pastels (not cheap ones and no more that 4 colors) or drawing pencils (be consistent, to not mix). You ARE allowed to use colored pencils in COLOR, but not Pastels.
Tuesday, March 29, 2011
Wednesday, March 23, 2011
March 15-22, Weeks 9 and 10
March 15-
Intro perspective, turned in sketchbooks for grade, still life using practical perspective
March 17-
Drew from life, outside, building perspective
March 22-
Assigned Jefferson Street book project- walked through making an accordion book:
Small Book Project
Jefferson Street Perspectival Drawings
DUE Tues April 5, 2011
In progress crit- Thurs March 31
You will make small scale drawings of actual buildings and storefronts on Jefferson Street.
You will then create a small accordion book of the drawings that speak to a loose narrative about Jefferson Street.
Begin with getting paper (size = ONE 19” x 26” to begin, fold/tear in half, then you will have TWO pages
(either 9.5” x 13” or 13” x 19”—depending on if you will make a “landscape” or “portrait” oriented book)
to attach together and fold.
Your book must be neat and complete and contain at least three drawings of buildings (can be the same one at dramatically different angles) and at least three up-close details of textures on the buildings.
Each person's book should be unique. Every part of the book should be taken into consideration and craftsmanship is important. The backs and the fronts of the pages should be addressed in some way as “covers”.
Objectives:
-to show preparation for an in progress critique (worth 10 points of final grade)
of your work on Thursday March 31 beginning of class
-to learn to use pencils effectively as drawing media (using fine lines en masse to create value)
-to demonstrate practical knowledge of one, two and three point perspective
-to demonstrate knowledge of how to draw texture
-explore Jefferson Street (in pairs, if possible- be safe!)
-to explore drawing as a narrative tool (remember examples in class) in book form (linear narrative)
-to show craftsmanship of accordion-style book, complete with covers and pages, begin with a sheet of 19” x 26” Strathmore paper (Ms. J will supply on 3. 22)
-use sketchbook for thumbnails, plan the book before you use your paper!
-to create a front and back cover to protect and introduce your book
Intro perspective, turned in sketchbooks for grade, still life using practical perspective
March 17-
Drew from life, outside, building perspective
March 22-
Assigned Jefferson Street book project- walked through making an accordion book:
Small Book Project
Jefferson Street Perspectival Drawings
DUE Tues April 5, 2011
In progress crit- Thurs March 31
You will make small scale drawings of actual buildings and storefronts on Jefferson Street.
You will then create a small accordion book of the drawings that speak to a loose narrative about Jefferson Street.
Begin with getting paper (size = ONE 19” x 26” to begin, fold/tear in half, then you will have TWO pages
(either 9.5” x 13” or 13” x 19”—depending on if you will make a “landscape” or “portrait” oriented book)
to attach together and fold.
Your book must be neat and complete and contain at least three drawings of buildings (can be the same one at dramatically different angles) and at least three up-close details of textures on the buildings.
Each person's book should be unique. Every part of the book should be taken into consideration and craftsmanship is important. The backs and the fronts of the pages should be addressed in some way as “covers”.
Objectives:
-to show preparation for an in progress critique (worth 10 points of final grade)
of your work on Thursday March 31 beginning of class
-to learn to use pencils effectively as drawing media (using fine lines en masse to create value)
-to demonstrate practical knowledge of one, two and three point perspective
-to demonstrate knowledge of how to draw texture
-explore Jefferson Street (in pairs, if possible- be safe!)
-to explore drawing as a narrative tool (remember examples in class) in book form (linear narrative)
-to show craftsmanship of accordion-style book, complete with covers and pages, begin with a sheet of 19” x 26” Strathmore paper (Ms. J will supply on 3. 22)
-use sketchbook for thumbnails, plan the book before you use your paper!
-to create a front and back cover to protect and introduce your book
Thursday, March 3, 2011
spring break-sketchbooks
I am NOT taking up sketchbooks with your portfolios. please take them with you for your break and I will see them after you are back ( March 15th)
Tuesday, March 1, 2011
Reminder: SKbks and Portfolios DUE TH March 3rd!!!
PORTFOLIOS and Sketchbook DUE _March 3, 2011__
Portfolio
Label all work
It must be in portfolio IN THIS ORDER
Take off all tape
If you cannot locate any of the drawings, you must produce them again
______ 5-Portfolios must be neat, tidy and clean (can accommodate 24 x 36 papers NOT folded)
______ 5- Insert one page of newsprint between each drawing
______ 5- SPRAY FIX all drawings before turning in
______ 5- No MORE items than listed should be in the portfolio (12 total)
Items to include:
In Class Work:
______ 10-2 gesture drawings on newsprint
______ 10- 2 contour line (blind or modified blind) on newsprint
______ 10- 2 drawings exploring figure/ground shapes on newsprint
______ 10- 2 drawings exploring value on newsprint
______ 10- 2 more drawings of your choice
Homework: Major
______ 20- 2 drawings- Bags, Rives BFK
______ 10-overall demonstration of key concepts of line, shape, composition, value and overall improvement
Sketchbook:
______ 50 points, You must have at least 50 pages completed in your sketchbook
Sketchbook Requirements: Mid Terms
Sketchbook Requirements: 50 pages
5 head studies (informal, out and about)
5 figure studies (informal, out and about)
5 still lifes-- from home or tsu set up
10-contour line studies of still life, objects in home, etc.
10-gesture studies of still life, objects in home, etc.
5-thumbnails for larger works
10-free choice
You can always make more than these, but you must AT LEAST have theseAT LEAST have these
Portfolio
Label all work
It must be in portfolio IN THIS ORDER
Take off all tape
If you cannot locate any of the drawings, you must produce them again
______ 5-Portfolios must be neat, tidy and clean (can accommodate 24 x 36 papers NOT folded)
______ 5- Insert one page of newsprint between each drawing
______ 5- SPRAY FIX all drawings before turning in
______ 5- No MORE items than listed should be in the portfolio (12 total)
Items to include:
In Class Work:
______ 10-2 gesture drawings on newsprint
______ 10- 2 contour line (blind or modified blind) on newsprint
______ 10- 2 drawings exploring figure/ground shapes on newsprint
______ 10- 2 drawings exploring value on newsprint
______ 10- 2 more drawings of your choice
Homework: Major
______ 20- 2 drawings- Bags, Rives BFK
______ 10-overall demonstration of key concepts of line, shape, composition, value and overall improvement
Sketchbook:
______ 50 points, You must have at least 50 pages completed in your sketchbook
Sketchbook Requirements: Mid Terms
Sketchbook Requirements: 50 pages
5 head studies (informal, out and about)
5 figure studies (informal, out and about)
5 still lifes-- from home or tsu set up
10-contour line studies of still life, objects in home, etc.
10-gesture studies of still life, objects in home, etc.
5-thumbnails for larger works
10-free choice
You can always make more than these, but you must AT LEAST have theseAT LEAST have these
Saturday, February 26, 2011
review: value
On Tues (Feb 22) and TH (Feb 24) we basically introduced value, as it pertains to your bag project (due Tues March 1). remember to think about three major "masses" of value, high middle and low (white, grey, black). (mage: brett alcorn, u mass lowell, 2005)
Wednesday, February 23, 2011
Reminder- Bags project DUE TUES MARCH 1!!
See project description and follow all directions carefully.
Tuesday, February 22, 2011
Ads, etc inspired by 80's artist, Robert Longo
Think "Take on Me" by AHA, but add IPod and Bottega Veneta.
Friday, February 18, 2011
weekend gridding homework
Weekend Gridding Assignment
Due Tues Feb 22, 2011
WHAT: 1 drawing in pencil, made from gridded images or photographs
PAPER: Drawing paper, not newsprint or typing paper
SIZE: 8 x 12
MEDIUM: Drawing pencils (NOT charcoal pencils)
OBJECTIVE: One well-resolved (finished, completed) drawings that leverage the full range of values (dark to lights) that we have explored in class. In addition, pay attention to composition, line quality, value, and accuracy (line variety- width, weight, accuracy). You will use the gridding technique as a way in which to “blow up” or “scale” and image larger than life.
Work must be tacked to wall at the beginning of class (with tape taken off the drawings). If you cannot attend class then your must give your work to someone else to get full credit for assignment (regardless of excuse). Be prepared to critique.
How to Grid: Always use a ruler and straightedge
SIMPLE INSTRUCTIONS
1) You must keep proportion in mind, measure your reference image, it should be 4 x 6 for this assignment
2) Measure paper 8 x 12
3) Grid off reference image at one inch intervals
4) Your 8 x 12 drawing will be at a 1:2 ratio, reference : finished drawing
5) Grid off 8 x 12 at two in intervals
6) Draw each square as from reference, using values and line quality. If you are drawing figures or faces, try turning the reference image upside down to trick your brain.
DETAILED INSTRUCTIONS
• Choose a clear image. You may need to scan and print out a small photograph.
• Decide on your grid size (in this case, 2” sq for the final, 1” sq for the photo)
• Draw the grid, making sure your lines are fine, straight and clear. A valuable photo can be placed in a plastic sleeve or wrapped in cling film.
• Using a sharp, medium pencil, lightly draw a grid on your paper. You can enlarge or reduce the size, but don't do it mathematically. You are judging rough proportions by eye, not measuring distances.
• To draw the image, you may wish to work methodically from one side of the image, or just begin with the most obvious features.
• Edges and strong changes of tone make clear shapes in the photograph. Where one of these shapes crosses a grid-line, count how many grid-lines from your reference point the grid-line is.
• Judge how far the shape is along the square, then count across and mark this at the same point on the grid-line in your drawing.
• Do the same again, further along the same shape. Mark the point where the shape meets another grid-line, then join the two, following any bumps or curves in the shape in the photograph.
• Make sure you have drawn outlines for all the key parts of your drawing. Less defined areas, such as a patch of shade or highlight, may be roughly indicated too.
• Carefully erase your grid lines, repairing outlines as you go. Now you are ready to start shading your drawing. Take your time, and make sure you use a full range of tone.
Due Tues Feb 22, 2011
WHAT: 1 drawing in pencil, made from gridded images or photographs
PAPER: Drawing paper, not newsprint or typing paper
SIZE: 8 x 12
MEDIUM: Drawing pencils (NOT charcoal pencils)
OBJECTIVE: One well-resolved (finished, completed) drawings that leverage the full range of values (dark to lights) that we have explored in class. In addition, pay attention to composition, line quality, value, and accuracy (line variety- width, weight, accuracy). You will use the gridding technique as a way in which to “blow up” or “scale” and image larger than life.
Work must be tacked to wall at the beginning of class (with tape taken off the drawings). If you cannot attend class then your must give your work to someone else to get full credit for assignment (regardless of excuse). Be prepared to critique.
How to Grid: Always use a ruler and straightedge
SIMPLE INSTRUCTIONS
1) You must keep proportion in mind, measure your reference image, it should be 4 x 6 for this assignment
2) Measure paper 8 x 12
3) Grid off reference image at one inch intervals
4) Your 8 x 12 drawing will be at a 1:2 ratio, reference : finished drawing
5) Grid off 8 x 12 at two in intervals
6) Draw each square as from reference, using values and line quality. If you are drawing figures or faces, try turning the reference image upside down to trick your brain.
DETAILED INSTRUCTIONS
• Choose a clear image. You may need to scan and print out a small photograph.
• Decide on your grid size (in this case, 2” sq for the final, 1” sq for the photo)
• Draw the grid, making sure your lines are fine, straight and clear. A valuable photo can be placed in a plastic sleeve or wrapped in cling film.
• Using a sharp, medium pencil, lightly draw a grid on your paper. You can enlarge or reduce the size, but don't do it mathematically. You are judging rough proportions by eye, not measuring distances.
• To draw the image, you may wish to work methodically from one side of the image, or just begin with the most obvious features.
• Edges and strong changes of tone make clear shapes in the photograph. Where one of these shapes crosses a grid-line, count how many grid-lines from your reference point the grid-line is.
• Judge how far the shape is along the square, then count across and mark this at the same point on the grid-line in your drawing.
• Do the same again, further along the same shape. Mark the point where the shape meets another grid-line, then join the two, following any bumps or curves in the shape in the photograph.
• Make sure you have drawn outlines for all the key parts of your drawing. Less defined areas, such as a patch of shade or highlight, may be roughly indicated too.
• Carefully erase your grid lines, repairing outlines as you go. Now you are ready to start shading your drawing. Take your time, and make sure you use a full range of tone.
Review TH Feb 17 class
Worked with mechanical aids to perception: straigedge and view finder. Also techniques using those aids including site measuring and clock angle. We have begun to synthesize what we have learned so far- moving into value on Tuesday.
Donna presented on Vermeer.
I introduced howework (gridding) due on Tuesday. If you were not in class you need to see the handout on mytsu or see another student.
Donna presented on Vermeer.
I introduced howework (gridding) due on Tuesday. If you were not in class you need to see the handout on mytsu or see another student.
Due Tues March 3rd- Portfolios!!
Drawing Fundamentals 1210-HAYS
PORTFOLIOS and Sketchbook DUE _March 3, 2011__
Label all work
It must be in portfolio IN THIS ORDER
Take off all tape
If you cannot locate any of the drawings, you must produce them again
______ 5-Portfolios must be neat, tidy and clean (can accommodate 24 x 36 papers NOT folded)
______ 5- Insert one page of newsprint between each drawing
______ 5- SPRAY FIX all drawings before turning in
______ 5- No MORE items than listed should be in the portfolio (12 total)
Items to include:
In Class Work:
______ 10-2 gesture drawings on newsprint
______ 10- 2 contour line (blind or modified blind) on newsprint
______ 10- 2 drawings exploring figure/ground shapes on newsprint
______ 10- 2 drawings exploring value on newsprint
______ 10- 2 more drawings of your choice
Homework: Major
______ 20- 2 drawings- Bags, Rives BFK
______ 10-overall demonstration of key concepts of line, shape, composition, value and overall improvement
Sketchbook:
______ 50 points, You must have at least 50 pages completed in your sketchbook
______ TOTAL Portfolio Grade
PORTFOLIOS and Sketchbook DUE _March 3, 2011__
Label all work
It must be in portfolio IN THIS ORDER
Take off all tape
If you cannot locate any of the drawings, you must produce them again
______ 5-Portfolios must be neat, tidy and clean (can accommodate 24 x 36 papers NOT folded)
______ 5- Insert one page of newsprint between each drawing
______ 5- SPRAY FIX all drawings before turning in
______ 5- No MORE items than listed should be in the portfolio (12 total)
Items to include:
In Class Work:
______ 10-2 gesture drawings on newsprint
______ 10- 2 contour line (blind or modified blind) on newsprint
______ 10- 2 drawings exploring figure/ground shapes on newsprint
______ 10- 2 drawings exploring value on newsprint
______ 10- 2 more drawings of your choice
Homework: Major
______ 20- 2 drawings- Bags, Rives BFK
______ 10-overall demonstration of key concepts of line, shape, composition, value and overall improvement
Sketchbook:
______ 50 points, You must have at least 50 pages completed in your sketchbook
______ TOTAL Portfolio Grade
Mid Term Sketchbooks Due Th March 3-NOTE CHANGE!!!!
Sketchbook Requirements: 50 pages
5 head studies (informal, out and about)
5 figure studies (informal, out and about)
5 still lifes-- from home or tsu set up
10-contour line studies of still life, objects in home, etc.
10-gesture studies of still life, objects in home, etc.
5-thumbnails for larger works
10-free choice
You can always make more than these, but you must AT LEAST have these
5 head studies (informal, out and about)
5 figure studies (informal, out and about)
5 still lifes-- from home or tsu set up
10-contour line studies of still life, objects in home, etc.
10-gesture studies of still life, objects in home, etc.
5-thumbnails for larger works
10-free choice
You can always make more than these, but you must AT LEAST have these
Due Tues, March 1- Paper Bag Drawings (mid term)
Two Drawings of
paper bags from still life
DUE: Tuesday, March 1st
beginning of class
Paper: RIVES BFK (22 x 30)
Medium: Black Conte
Presentation: Taped/masked edges
Description:
-Two drawings of three paper bags which by their rendering and composition give the illusion of movement.
-At least 4-5 thumbnails to develop composition.
-Use Full range of values
-Develop sense of perspective employing site measuring and clock angle technique
Objectives
-To demonstrate knowledge of observed relationships between line and shape
-To use a full range of values/light and dark
Understand through demonstration of lights (whites) and darks (blacks)
-To present a work in a professional, clean manner for critique
-Heavy drawing paper, not newsprint
-Using vine and conte (make sure to spray before class)
-Tape edges while you are working and take off before class critique
-To understand how to critique one another’s work in a productive manner
-To learn to see (and demonstrate that you see) more clearly shapes and objects that are familiar to you
-Fully demonstrate a range of liner qualities (curved, angular, fine, hard, sharp, delicate, bold, rhythmic)
-Make at least 4-5 examined (take time!) “studies” in your sketchbook before doing your 2 drawings. Think about composition (how the drawing will be composed, shapes, etc)
Tues Feb 15 review-essay presentations and sketches
Thank you to all who turned in your essay and gave thoughtful presentations on the contemporary artist you reserached.
We worked a bit in the sketchbooks from the still life after I introduced thumnail sketches. Note that you'll need at least 4-5 of these for your mid term project (Paper Bag drawings Due march 1).
We worked a bit in the sketchbooks from the still life after I introduced thumnail sketches. Note that you'll need at least 4-5 of these for your mid term project (Paper Bag drawings Due march 1).
Tues Feb 15 review-essay presentations and sketches
Thank you to all who turned in your essay and gave thoughtful presentations on the contemporary artist you reserached.
We worked a bit in the sketchbooks from the still life after I introduced thumnail sketches. Note that you'll need at least 4-5 of these for your mid term project (Paper Bag drawings Due march 1).
We worked a bit in the sketchbooks from the still life after I introduced thumnail sketches. Note that you'll need at least 4-5 of these for your mid term project (Paper Bag drawings Due march 1).
Friday, February 11, 2011
Julie Mehretu's work, and 2.10 review
Review of Thursdays Class:
-Julie Mehretu Essay/Review
-J. M quiz- 10 points
-Discussion on JM work, making, Art 21 video
see here:
http://www.pbs.org/art21/artists/julie-mehretu/
-Julie Mehretu Essay/Review
-J. M quiz- 10 points
-Discussion on JM work, making, Art 21 video
see here:
http://www.pbs.org/art21/artists/julie-mehretu/
Thursday, February 10, 2011
Artist BIo Essays Due Feb 15th
Rubric for grading:
Student Name Artist Name
Grade/100
Grading
YES / NO Feb15th, on time, beginning of class
__________/40 Intro Biographical material on artist
--an adequate introduction explaining the where, when, why and who information on the artist
--descriptive of work of artist, subject matter, title, formal qualities (color, size, composition, and style)
-- using the visual language we have studied this far in the class (elements of design)
-- express your personal opinion about the work of the artists you are studying
________/40 grammar/punctuation, spelling, overall writing narrative
_________/10 3 works cited-should be real a book from the library
_________/10 double spaced, typed
Student Name Artist Name
Grade/100
Grading
YES / NO Feb15th, on time, beginning of class
__________/40 Intro Biographical material on artist
--an adequate introduction explaining the where, when, why and who information on the artist
--descriptive of work of artist, subject matter, title, formal qualities (color, size, composition, and style)
-- using the visual language we have studied this far in the class (elements of design)
-- express your personal opinion about the work of the artists you are studying
________/40 grammar/punctuation, spelling, overall writing narrative
_________/10 3 works cited-should be real a book from the library
_________/10 double spaced, typed
Wednesday, February 9, 2011
Class Tues Feb 8th-Mechanical Aids to Perception
1) graded sketchbooks
2) theopolis presented in michelangelo
3) reviewed drawing from thursday
4) introduced straightedge and site measuring
HOmework: Ready Essay handout on Julie Mehretu- QUIZ on thursday 2.10
2) theopolis presented in michelangelo
3) reviewed drawing from thursday
4) introduced straightedge and site measuring
HOmework: Ready Essay handout on Julie Mehretu- QUIZ on thursday 2.10
Thursday, February 3, 2011
Robert Henri: Seeing
"It is harder to see than it is to express. The whole value of art rests in the artist's ability to see well into what is before him."
Robert Henri: Drawing
"Drawing is not following a line on the model, it is drawing your sense of the thing."
Robert Henri: On Bad Drawings
"Keep a bad drawing until, by study, you have found out why it is bad."
Tuesday, February 1, 2011
Feb 15th--Artist Essay-Assigned Artists
Turn in 3 things
1)Draft
2) reverse outline that you buid from your draft (this will expose gaps and flaws in your writing).
3)final paper
see pages 31-32 in drawing workbook for details
Contemporary Artist
Donna W.-Carrie Mae Weems
AG.-Layla Ali
TJ.-Trenton Doyle Hancock
RC.-Mark Bradford
Kelsey K
ML.-Andrea Zittell
BL.-Ellen Gallagher
AP.-Kerry James Marshall
JR.-Kara Walker
DB.-Julie Mehretu
CR.-Paul Pfeiffer
KS.-Martin Puryear
SS.-Do Ho Suh
1)Draft
2) reverse outline that you buid from your draft (this will expose gaps and flaws in your writing).
3)final paper
see pages 31-32 in drawing workbook for details
Contemporary Artist
Donna W.-Carrie Mae Weems
AG.-Layla Ali
TJ.-Trenton Doyle Hancock
RC.-Mark Bradford
Kelsey K
ML.-Andrea Zittell
BL.-Ellen Gallagher
AP.-Kerry James Marshall
JR.-Kara Walker
DB.-Julie Mehretu
CR.-Paul Pfeiffer
KS.-Martin Puryear
SS.-Do Ho Suh
Monday, January 31, 2011
Thursday, January 27, 2011
Thursday 1.27 re-cap
Gesture drawings
Finding positive/negative shapes in gesture drawings
Homework: Read page 18 in workbook
make 5 blind countour drawings and 5 contour drawings in sketchbook. use household objects, purses, shoes, chairs, pets, etc
Finding positive/negative shapes in gesture drawings
Homework: Read page 18 in workbook
make 5 blind countour drawings and 5 contour drawings in sketchbook. use household objects, purses, shoes, chairs, pets, etc
Old Master Artists for short presentations on Tuesdays
2.1-AG-Leondardo Da Vinci
2.8-TJ-Michelangelo
2.15-DW- Vermeer
2.22-RC-Hans Holbein the Elder
3.1-KD-Caravaggio
3.15- ML- Goya
3.22-BL- Bottecelli
3.29-AP- Raphael
4.5-JR-Filippo Brunelleschi
4.12-DB-Ingres
4.19-CR-Albrecht Durer
4.26 -KS- Artemesia Gentileschi
4.26-SS-El Greco
2.8-TJ-Michelangelo
2.15-DW- Vermeer
2.22-RC-Hans Holbein the Elder
3.1-KD-Caravaggio
3.15- ML- Goya
3.22-BL- Bottecelli
3.29-AP- Raphael
4.5-JR-Filippo Brunelleschi
4.12-DB-Ingres
4.19-CR-Albrecht Durer
4.26 -KS- Artemesia Gentileschi
4.26-SS-El Greco
Wednesday, January 26, 2011
Re cap Tues 1.25
Quiz 1
Rembrandt
Contour-isolation of object, seeing
Gesture-relating objects of the still life
Collaborative gestures- paper knots
On Th 1.27:
Will assign Old Master Artists to each person to present on Tuesdays
Field trip to library
Gesture
Positive/Negative shape
Homework for weekend-contour and gesture drawings
Rembrandt
Contour-isolation of object, seeing
Gesture-relating objects of the still life
Collaborative gestures- paper knots
On Th 1.27:
Will assign Old Master Artists to each person to present on Tuesdays
Field trip to library
Gesture
Positive/Negative shape
Homework for weekend-contour and gesture drawings
Tuesday, January 25, 2011
Gesture Drawing
Remember- that gesture is like flying over a landscape with a helicopte, it's "big picture" and rapid. Contour drawings are more like treking slowly by foot over the terrain, feeling out each surface.
Friday, January 21, 2011
Homework due jan 25th
Draw an egg from direct observation not from a photo. In sketchbook.
In-class work on TH Jan 20: student work powerpoint, review of vocabulary for quix on Tuesday Jan 25th, contour line (modified and blind) and continuous line drawings.
MUST HAVE YOUR OWN MATERIALS ON TUESDAY, JAN 25TH
In-class work on TH Jan 20: student work powerpoint, review of vocabulary for quix on Tuesday Jan 25th, contour line (modified and blind) and continuous line drawings.
MUST HAVE YOUR OWN MATERIALS ON TUESDAY, JAN 25TH
Wednesday, January 19, 2011
Tuesday, January 18, 2011
Tues Jan 18th
in-depth syllabus talk
materials talk
how to stand talk
assignment due jan 20th: creative autobiography
materials talk
how to stand talk
assignment due jan 20th: creative autobiography
Thursday, January 13, 2011
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