Tuesday, October 11, 2016

1043 - Drawing 2 - Folio 1

Due this Thursday, October 13:

1.1 Large Object Still Life
1.2 Museum Interior (22 x 30 Arches)
1.3 Campus Exterior (22 x 30 Arches)
1.4 Homework: Interior or Exterior of your choice

Good luck!

Thursday, September 29, 2016

3033 - Drawing 3 - Folio 1

Drawing 3: Folio 1 is due on Thursday, October 6. Remember, the folios should be compiled, in order and ready to turn in at the beginning of class. We will have a critique on Thursday. You do not need to bring drawing materials

Folio 1:

1.1 Skeleton Study (craft)
1.2 "Beautiful Scribble" - Two 1-day drawings
1.3 "Academic Nude" value drawing
1.4 Homework: Alternate Identity Self-Portrait
1.5 "Geometric Forms" Figures - Two 1-day drawings
1.6 Five best gesture drawings

Tuesday, August 30, 2016



This project’s purpose is two-fold: 1) to introduce us to abstract painting by examining its connection to observational painting and 2) to get the semester ball rolling with a quick, small project that will get us back in the studio and working.

Abstraction, put simply, means removing something from its original source. If you think about, talk about, take a photo of or make a drawing of an object, those ideas, words, photographs or drawings are not the object itself; they are all, on some level, an abstraction of that original object. However when we think about “abstraction” in terms of painting, we tend to think of something else. Paint splatters, huge swaths of color, energetic gestures or geometric patterns come to mind. Therefore, to really begin investigating abstraction, we need to first examine what abstraction really means and how in fact it can mean many things at once. This project is designed to get us thinking about these issues through a simple exercise.

First, we are each going to make a simple “abstract object” sculpture. Choose a basic, easily workable material (cardboard, wood, construction paper, etc). Use your chosen material to make a small (between 8”-18” or so) three-dimensional geometric form. This form should not represent a recognizable object, it should simply be a shape that is three dimensional and geometric. It can be as basic as a cube or a pyramid, or it can be something slightly more complex. Once you have completed the form, you are going to paint it (I recommend acrylic, or you can gesso it and paint it with oil). Paint each side of the object differently. One may be a plain white, one may have stripes, one may be a bright green with dots, etc. Never repeat the same side twice. Try to make the colors work together. Make something that is aesthetically appealing.

Second, we are going to bring our new abstract object to class and make an observational still-life painting of it. You will set your painting up on a surface, light it, choose a background, and then paint it as faithfully as you can using your observational painting skills. We may choose to cluster several of the objects together. Your painting should be somewhere between 16 x 20” and 18 x 24”. You can work indirectly with an underpainting, or go straight into working with color. We will spend this time trying to make the most accurate painting we can and shaking some of the rust off for those of us who haven’t painted in a while.

The final result will be a representational painting of an abstract object. Does that make it an abstract painting as well? Maybe the line between the two is less clear than one might think. This project will hopefully get us thinking about these questions and allow us to move towards abstraction, but in a way that is connected to how we’ve worked in the past.

Project Schedule

Thursday, August 25: Introduction to Project
Homework: Make your “abstract object” sculpture over the weekend. It should be completely finished and ready to be the subject of our painting by Tuesday.

Tuesday, August 30: We will set up our abstract objects and begin our paintings of them.

Thursday, Sept. 1: We will continue work on them.
Homework: Finish your abstract object painting.

Tuesday, Sept. 6: We will critique the paintings and I will introduce Project 2.

Images Below: Victor Pesce (studio), Victor Pesce, Jessica Stockholder, Andrew Holmquist, Richard Tuttle


Tuesday, April 26, 2016

All Classes - FINALS - Times/Folios

Hi All, 

Below is all Finals information. Let me know if you have questions. Cheers, John

Drawing 3: Final Critique, 8am, Thursday, May 5

Final Folio: 
3.1 Large Scale Figure Study (in-class)
3.2 Multiple Figures in Interior/Exterior Space (homework)

Drawing 2: Final Critique,  12:30pm, Thursday, May 5

Final Folio: 
3.1 Landscape Drawing (in-class, at farm complex)
3.2 Open Homework Drawing

Beginning Painting: Final Folio due in cubby by noon, May 10

Final Folio: 
3.1 Landscape
(in-class at farm complex, two small paintings or one medium/large painting)
3.2 Open Homework Painting (18 x 24" or larger)

You can pick up all paintings in your cubby after 3pm on May 12. At that time, please retrieve all materials and clean out your cubby. 

Thursday, April 7, 2016

All Classes - Next Week


As you know, I will be out of town next week for an exhibition. Your assignments are all written on the dry erase board in the room (image above), but I also wanted to include directions here:

Drawing 3: 

1) Make progress on your 2.5 Figure in Interior Space homework assignment. It will be due on Thursday, April 21 along with your completed Folio #2. 

2) Sketchbook #7: Recreate the drawings of the foot from the Bridgman handout. Due Tuesday, April 19.

Drawing 3 Folio #2 (Due Thurs, April 21):
2.1 Straight Line Construction (Two 1-day drawings)
2.2 Movement Drawing (craft paper)
2.3 Layered Drawing (Arches)
2.4 Space/Ladder Drawing (materials open)
2.5 HW: Figure in Interior
2.6 Multi-Media Drawing
2.7 Five Best Gestures

We will put in one more session on 2.6 on Tuesday, Apr 19, then the folio is due the following class (Thurs, Apr 21).

Drawing 2:

1) Make continued progress on 2.4 Self-Portrait homework assignment. Remember, this should be drawn from life and observed by looking at a mirror while drawing.

2) Begin and make significant progress on 2.6 Abstract Repetition/Mark-making Assignment (described in previous post)

Bring both in on Tuesday, Apr 19. We will discuss the works in progress and continue working on 2.6 in class. Folio #2 is due the following class:

Drawing 2 Folio #2 (Due Thurs, April 21):
2.1 Value Skull Drawing
2.2 Long Value Head (Joe)
2.3 Value Head / Low Light (Joe)
2.4 HW: Self-Portrait
2.5 Tactile / Blind Self-Portrait
2.6 Abstract Repetition/Mark-Making Assignment
2.7 Three Best Gestures

Beginning Painting: 

Make significant progress on your 2.3 Self-Portrait homework assignment. You will bring this work in on Tuesday, April 19, and we will discuss your work in progress. Remember, this can be done using a direct or indirect method - your choice. It should however be observed by looking at a mirror and painted from life. We will continue work on our head study of Erica that Tuesday as well. 

1043 - Drawing 2 - Abstract Repetition & Mark-Making Assignment

Drawing 2 – Norris
Abstract Repetition & Mark-Making Assignment

Drawing Utensil: You decide, anything except the utensils we use in class (charcoal, graphite, etc). It could be ballpoint pen, sharpie, chalk, stamps, stickers, collage materials, etc.
Paper: One sheet of 22 x 30” Arches Stonehenge or Arches Cover paper. You can purchase individual sheets at the bookstore. Tape off a carefully measured, one-inch border before you begin.

In our early drawing classes, we typically use marks to build an image of a real-life subject we are trying to recreate on the picture plane. The marks might be expressive and varied, but they ultimately exist in order to achieve an illusion of reality, translated from three dimensions down to two. For this assignment, we are going to allow the marks to take the spotlight and be the actual subject of the drawing. We will not be creating an image based on observing the world around us, we will be making work that is more abstract in nature and defined by a process driven by mark-making, repetition, and intuition.

1)    Choose a single mark that will be repeated over and over again throughout the drawing. Choose your mark carefully. It should be a mark that is important, compelling, or confounding to you. It will be repeated literally hundreds (if not thousands) of times, so it should be something that will remain interesting to you over time.
2)    The mark can be varied in terms of size, color, material, etc. or it can remain exactly the same throughout the piece. However, the largest version of the mark should be no more than one square inch.
3)    The definition of “mark” is very broad here. It might not be made using a traditional drawing method. It may even be a collage element that is adhered to the paper. Or perhaps it will be a stencil or a stamp. Be creative. Try to come up with something nobody else will have imagined.
4)    You may wish to create a grid, plan, or specific method with which to repeat your mark in order to establish a particular layout or composition; or you may simply repeat the mark in a more intuitive manner, letting each one tell you where to go next.
5)    These marks are not coming together to create an image of a subject; the marks themselves are the subject.

6)    Even though we are not seeking to create an image, the piece should still feel ambitious, well-crafted, and considered. Try to think of an element that will unify the piece: a consistent texture or pattern, layers that create a fade or movement, alternating colors or other variations that create a consistent composition or design, or simply repetition that is so exact that it gives the work substance and a sense of craft.

     Artists we looked at in reference to this assignment: 

Ignacio Uriarte

Agnes Martin
Yayoi Kusama

Tauba Auerbach

El Anatsui

Tuesday, April 5, 2016