Tuesday, April 21, 2015

The Great Board of Finals Information



Drawing 3:
Final: Thurs, April 30, 8am

Folio3:
3.1 Movement/Collaboration Experiments (2 drawings)
3.2 Full Size Figure (Final In-Class Drawing)
3.3 Two Figures in Interior Space or Alternate Proposal (Final Homework Drawing)

Drawing 2:
Final: Thurs, April 30, 12:30pm

Folio 3:
3.1 In-Class Landscape at Farm Complex (22x30 Arches Paper)
3.2 Independent Homework Landscape or Alternate Proposal (22x30 Arches Paper)

Beginning Painting:
Folio 3 due in your cubbies (labeled, stacked in order) by 12pm, April 30

3.1 Kim Indirect Portrait (In-Class)
3.2 Self-Portrait (Homework)
3.3 Landscape Master Study (Small Panel)
3.4 Landscape at Farm Complex (2 Small Panels or 1 Medium Canvas)




Thursday, April 9, 2015

1043 - Drawing 2 - Folio 2

2.1 Head Study (Jody)
2.2 "Deep Value" Head Study (Jody)
2.3 Homework: "Dramatically Lit" Self-Portrait
2.4 Process Portrait Experiments (2 Drawings)
2.5 Four-Part Color Pencil Portrait (Jody)
2.6 Three Best Gestures

Due Tuesday, April 14. Good Luck!

Thursday, April 2, 2015

3033 - Drawing 3 - Folio 2

Drawing 3 - Folio 2 - Due Tuesday, April 7

2.1 Multimedia Drawing
2.2 Homework: Figure in Interior Space
2.3 Movement Drawing (craft)
2.4 Open Drawing(s) (3 sessions)
2.5 Five Best Gestures

Tuesday, March 31, 2015

3033 - Drawing 3 - A List of Contemporary Figurative Artists

Drawing 3 Students: As we have been working with the figure throughout the semester, I thought I'd provide a sampling of contemporary figurative artists. This list is by no means comprehensive; it is simply an offering of a small fraction of contemporary work that continues to take the subject of the human form into new realms:

Dana Schutz

Marcel Dzama

Nicole Eisenman

Jenny Saville

Kehinde Wiley

Maria Lassnig

Marlene Dumas

Philip Akkerman

Yi Chen

Erik Parker

Mickalene Thomas

Tomoo Gokita

Inka Essenhigh


Thursday, March 19, 2015

Neil Callander Gallery Talk

Join us TODAY for Neil Callander's gallery talk! March 19, Fine Arts Center Gallery, 3pm:

www.neilcallander.com


Tuesday, March 10, 2015

Thursday, February 19, 2015

3063 - Beginning Painting - Folio 1

Folio 1 

1.1 Grisaille Study
1.2 First Indirect Painting 
1.3 Homework: Grisaille (3-5 objects)
1.4 Homework: Indirect (same 3-5 objects, different configuration)
1.5 Direct Still Life (16 x 20")

Due Tuesday, Feb 26


3033 - Drawing 3 - Folio 1

Folio 1

1.1 Skeleton Study (craft)
1.2 Beautiful Scribble (one 2-day drawing or two 1-day drawings)
1.3 Homework: Self-Portrait (Alternate Identity)
1.4 "Academic" Value Drawing
1.5 Movement Drawings (pick 2)
1.6 Five Best Gesture Drawings

Due next Thursday, Feb 26

Good Luck!


1043 - Drawing 2 - Folio 1


1.1 Large Object Still Life
1.2 Museum Interior
1.3 Homework: Independent Interior Drawing

Due next Thursday, Feb 26

Good Luck!

Tuesday, February 17, 2015

Wednesday, February 11, 2015

3063 - Beginning Painting - Direct Painting

Here are a few examples of the direct painting technique we discussed yesterday (may also be referred to as "wet in wet" or "alla prima").


Andy Pankhurst: 




Ken Kewley: 




Kimberly Trowbridge: 

3033 - Drawing 3 - Contemporary Figurative Painters

Here are the artists we discussed yesterday in our ongoing discussion about portraiture and self-portraiture as an exploration of multiple identities: 

Philip Akkerman: http://philipakkerman.com










Thursday, January 29, 2015

3033 - Drawing 3 - Cindy Sherman

Some examples of the work of Cindy Sherman, an artist who uses the template of self-portraiture to embody a variety of identities through means such as costume, setting, lighting, make-up, historical reference, narrative, etc. Her work should be useful as you consider your "alternate identity" self-portrait assignment: 





1043 - Drawing 2 - Large Object Still Life examples



ALL CLASSES - Next Week

As we've discussed, I will be out of town. Here are your assignments: 

Drawing 3: Work on your "alternate identity" self-portrait assignment (value drawing, arches 22 x 30" paper, charcoal). 

Sketchbook Assignment: Gordon, pg. 55, both drawings and label, due Tues, Feb 10. 


Drawing 2: Come into class during the regular time and make progress on your large object still life (value drawing, 18 x 24" strathmore). 

Sketchbook Assignment: Two Drawings - Van Gogh bedroom drawing master study & your own bedroom drawing inspired by Van Gogh's line quality. Due Tuesday, Feb 10. 


Beginning Painting: Two paintings (9 x 12") - Each should be a still life with 3-5 objects. Keep most objects simple, but choose one or two more complex, challenging objects. Use the same 3-5 objects with different arrangements for your two paintings. 

1.3 Grisaille (black and white) one-session direct painting
1.4 Color indirect painting, one layer of burnt sienna underpainting, at least two layers of color

Also, have a 16 x 20" panel prepared for class and your paintings completed on Tues, Feb 10. 

3033 - Drawing 3 Syllabus - Spring 2015

ART 3033: DRAWING 3 – FIGURE DRAWING
Spring 2015 – 3 Credit Hours, CRN: 11109
Section 001: T/R 8am-10:50am, Fine Arts 104
Instructor: John Norris, Associate Professor of Art
Office Hours: W: 8am-11am (by appointment)
E-mail: jnorris@astate.edu    Phone: 972-3050 ext. 3755
Blog: norrisartclass.blogspot.com

COURSE DESCRIPTION: Continuation of development of drawing skills and concepts. Students at this level should have well developed drawing skills and good understanding of drawing principles. Undraped life models will be provided. It is expected that students will spend a minimum of three additional clock hours per week on work outside the scheduled class time for each studio class. Students enrolled in the BFA programs must pass the BFA Review prior to enrollment in 4000 ART courses. Prerequisites, ART 1013, ART 1023, ART 1033 and 1043, ARTH 2583, ARTH 2593. May be repeated for credit.

STUDENT LEARNING OUTCOMES: Like Drawing 1 & 2, skills will be developed through technical exercises in class and homework assignments employing these techniques. The homework will allow students an opportunity to use their acquired skills creatively and to build off of the techniques they have learned in class.  This is a STUDIO CLASS; one which requires that students be actively involved in drawing exercises and contribute during critiques.  Thus, students must be present and punctual in order to fully participate. By the end of the course, students will be well versed in various aspects of drawing the human form, including gesture, anatomy, and proportion. Students will also become familiar with contemporary and historical figurative artists, investigate multiple approaches to process and media, and explore narrative and conceptual approaches to figurative drawing.

ATTENDANCE & CLASS PARTICIPATION: All late work will be counted off 10 points (aka one letter grade) for each class period late. For example: if your work merits a 93 but is 2 class periods late, then your grade will be a 73.  Participation counts as 25% of your grade and is based on the following considerations: 1. Being present, punctual, and prepared for class 2. Focus on and completion of exercises during class 3. Participation during critiques, discussions, and dialogues 4. Maintenance of the shared studio space, including cleaning up after work sessions, respecting shared tools and resources, and storing work and materials appropriately. After 2 absences, 10 points will be subtracted from your participation grade for each class missed. 20 points will automatically be deducted from your final participation grade if you miss the Final Critique.

GRADING: Grading will be based on assignments (which will be submitted in portfolio form), your sketchbook, and class participation. The portfolios will make up 50% of your grade, and your sketchbook and class participation will each make up 25%.

A: 90 - 100%   B: 80 - 89%   C: 70 - 79%   D: 60 - 69%   F: 0 - 59%

Portfolio and sketchbook grades will be based on the following elements: 1) Indications that the student has understood the assignment and is employing its specific techniques. 2) a sense of quality showing that the students has invested a significant amount of time and focus into the assignment. 3) The overall success of the final image based on formal elements (composition, line quality, sense of light & volume, etc.) as well as creativity. AGAIN, TURNING IN ASSIGNMENTS LATE AUTOMATICALLY REDUCES YOUR GRADE.  IF YOU ARE CONFUSED ABOUT GRADING, FEEL FREE TO ASK QUESTIONS.

COURSE OUTLINE: We will be investigating several concepts that were covered in Drawing 1 & 2 and building upon them. Furthermore, we will fully investigate the figure in terms of anatomy, movement, process, and concept. In doing so, we will perform short-term formal exercises in class, create long-term multi-session drawings, and you will be given ambitious homework projects involving the figure.

1. We will discuss a new concept and do several exercises based     
    on this idea. We may also do readings and/or have slide talks.
2. We will do a series of more extended drawings connected to the concept.
3. We will do a series of sketchbook drawings to further investigate.
4. We will work on extended drawings inside/outside class that may take up
    to 2/3 weeks to complete.
5. We will critique the work and its relation to the concept as a class.

CLASS STRUCTURE (subject to change):

Figure – Skeleton Studies – Bridgman Anatomy / Proportion
Figure – Master Studies – Sketchbook
Figure – Gesture – Blind Contour - Moveable Masses
Figure – Anatomy / Proportion – Bridgman Sketchbook
Figure – Moveable Masses – Large Scale: Craft
Figure – Anatomical Studies – Head, Trunk - Sketchbook
Figure – Figure – Value – Self-Portrait
Figure – “Beautiful Scribble” – Large Scale
Figure – Anatomical Limb Studies – Arms - Sketchbook
Figure – Anatomical Limb Studies – Legs - Sketchbook
Figure – Figure in Interior – Large Scale
Figure – Value – Large Scale: Arches
Figure – Figure in Motion Studies – Large Scale: Craft
Figure – Multimedia Figure Studies – Large Scale
Figure – Final Projects (In-Class & Homework) – Large Scale

YOU WILL BE WORKING OUTSIDE OF CLASS REGULARLY. BE PREPARED TO COME INTO THE CLASS ROOM OUTSIDE OF CLASS AND TO WORK ON DRAWINGS AT HOME.

BOOK / BLOG: Students are required to purchase the following text:

How to Draw the Human Figure: An Anatomical Approach
by Louis Gordon

We will do regular readings from the book, and students will be expected to have the text with them at all times during class.  Handouts will also occasionally be made available. However, students will usually receive additional info, image examples, assignment specifications, and portfolio details via the following blog:

NORRISARTCLASS.BLOGSPOT.COM

You will be expected to check this regularly as part of your class participation. THE BLOG SERVES AS A SUPPLEMENT;
IT IS NOT A SUBSTITUTE FOR BEING IN CLASS.

MATERIALS: Students will be required to purchase the following materials. Most materials can be found at the ASU Bookstore and the Wolf Bookstore. Some will be available at Hobby Lobby and various hardware stores.

-9x12 Sketchbook (preferably Strathmore)
-18x24 pad of Strathmore Drawing Paper (preferably 400 series)
-18x24 pad of Newsprint
-drawing board with clips
-vine or willow (soft is best) charcoal
-conte crayon: black, white, sanguine
-sandpaper for charcoal sharpening
-compressed charcoal
-charcoal pencil
-shammy cloth
-gray kneaded eraser and white Factis-type eraser
-graphite pencils: 6H, 2H, HB, 2B, 4B, 6B
-pencil sharpener
-small box to contain materials

WE WILL DISCUSS THE PURCHASE OF INDIVIDUAL SHEETS OF HIGH QUALITY ARCHES COVER PAPER (30 X 22) FOR INDIVIDUAL PROJECTS AS WE PROCEED. ARCHES STONEHENGE OR RIVES BFK MAY ALSO BE USED AS SUITABLE SUBSTITUTES.


1043 - Drawing 2 Syllabus - Spring 2015

ART 1043 : DRAWING 2
Spring 2015 – 3 Credit Hours, CRN: 11123
Section 002 : T/R 11am-1:50pm
Instructor: John Norris, Associate Professor of Art
Office Hours: W: 8am-11am (by appointment)
E-mail: jnorris@astate.edu    Phone: 972-3050 ext. 3755
Blog: norrisartclass.blogspot.com

COURSE DESCRIPTION: ART 1043 - DRAWING II - STUDIO ART. Continuation of ART 1033. Students become more skilled with visual elements and drawing principles. A broader range of materials and techniques will be used. Subject matter will include still life, draped life models, landscape, and imagined subjects. It is expected that students will spend a minimum of three additional clock hours per week on work outside the scheduled class time for each studio class. Additionally, the Art Major Core must be completed prior to the BFA Review. Students enrolled in the BFA programs must pass the BFA Review prior to enrollment in 4000 ART courses. Prerequisite, ART 1033.

STUDENT LEARNING OUTCOMES: Like Drawing 1, skills will be developed through technical exercises in class and homework assignments employing these techniques. The homework will allow students an opportunity to use their acquired skills creatively and to build off of the techniques they have learned in class.  This is a STUDIO CLASS; one which requires that students be actively involved in drawing exercises and contribute during critiques.  Thus, students must be present and punctual in order to fully participate.

ATTENDANCE & CLASS PARTICIPATION: More than 6 absences will result in a grade of F for the course. All late work will be counted off 10 points for each class period late (Example: if your work merits a 93 but is 2 class periods late, then your grade will be a 73).  Participation counts as 25% of your grade and is based on the following considerations: 1. Being present, punctual, and prepared for class 2. Focus on and completion of exercises during class 3. Participation during critiques, discussions, and dialogues 4. Maintenance of the shared studio space, including cleaning up after work sessions, respecting shared tools and resources, and storing work and materials appropriately. After 2 absences, 10 points will be subtracted from your participation grade for each class missed. 20 points will automatically be deducted from your final participation grade if you miss the Final Critique.


GRADING: Grading will be based on assignments (which will be submitted in portfolio form), your sketchbook, and class participation. The portfolios will make up 50% of your grade, and your sketchbook and class participation will each make up 25%.

A: 90 - 100%   B: 80 - 89%   C: 70 - 79%   D: 60 - 69%   F: 0 - 59%

Portfolio and sketchbook grades will be based on the following elements: 1) Indications that the student has understood the assignment and is employing its specific techniques. 2) a sense of quality showing that the students has invested a significant amount of time and focus into the assignment. 3) The overall success of the final image based on formal elements (composition, line quality, sense of light & volume, etc.) as well as creativity. AGAIN, TURNING IN ASSIGNMENTS LATE AUTOMATICALLY REDUCES YOUR GRADE.  IF YOU ARE CONFUSED ABOUT GRADING, FEEL FREE TO ASK QUESTIONS.

CLASS STRUCTURE (subject to change):

Perspective Refresher – Conceptual & Observational Exercises – Still Life
Line – Spacial Still Life – Sketchbook – Blind Contour
Value Refresher – Value Scale / Value Shape Exercises – Still Life
Space – Interior – Sketchbook
Space – Interior – Large Scale
Space – Exterior – Landscape
     Figure – Skull Studies – Anatomy / Proportion
Figure – Head Studies – Line
Figure – Head Studies – Value
Mixed Media – Abstraction
Process – Conceptual Approaches
Final Project - TBD

YOU WILL BE WORKING OUTSIDE OF CLASS VERY MUCH. BE PREPARED TO COME INTO THE CLASS ROOM OUTSIDE OF CLASS AND TO WORK ON DRAWINGS AT HOME.

BOOK / BLOG: We will NOT purchase a text for Drawing I. However, you will often be given information in the form of a class blog:

NORRISARTCLASS.BLOGSPOT.COM

You will be expected to check this regularly as part of your class participation. The blog will serve as a supplement; not as a substitute for being in class. It will provide images, examples, portfolio lists, etc.

MATERIALS: Students will be required to purchase the following materials. Most materials can be found at the ASU Bookstore and the Wolf Bookstore. Some will be available at Hobby Lobby and various hardware stores.

-9x12 Sketchbook (preferably Strathmore 400 series)
-18x24 pad of Strathmore Drawing Paper (preferably 400 series)
-18x24 pad of Newsprint
-drawing board with clips: a 25 x 28 piece of masonite will work
-vine or willow (soft is best) charcoal
-sandpaper for charcoal sharpening
-compressed charcoal
-shammy cloth
-gray kneaded eraser and white Factis-type eraser
-graphite pencils: 2H, HB, 2B, 4B, 6B
-pencil sharpener
-small box to contain materials
-spray fixative


WE WILL DISCUSS THE PURCHASE OF OTHER MATERIALS FOR INDIVIDUAL PROJECTS AS WE PROCEED.

3063 - Beginning Painting Syllabus - Spring 2015

ART 3063: PAINTING
Spring 2015 – 3 Credit Hours, CRN: 11220
Section 001: T/R 2pm - 4:50pm, Fine Arts Building – 104
Instructor: John Norris, Associate Professor of Art
Office Hours: W: 8am-11am (by appointment)
E-mail: jnorris@astate.edu    Phone: 972-3050 ext. 3755
Blog: norrisartclass.blogspot.com

COURSE DESCRIPTION (from the Undergraduate Bulletin): Introduction to composition and techniques in painting media. It is expected that students will spend a minimum of three additional clock hours per week on work outside the scheduled class time for each studio class. Students enrolled in the BFA programs must pass the BFA Review prior to enrollment in 4000 ART courses. Prerequisites, ART 1013, ART 1033, ART 1043.

STUDENT LEARNING OUTCOMES: Skills will be developed through technical exercises in class and homework assignments employing these techniques. The homework will allow students an opportunity to use their acquired skills creatively and to build off of the techniques they have learned in class.  This is a STUDIO CLASS; one which requires that students be actively involved in daily exercises and contribute during critiques.  Thus, students must be present and punctual in order to fully participate.

ATTENDANCE & CLASS PARTICIPATION: All late work will be counted off 10 points (aka one letter grade) for each class period late. For example: if your work merits a 93 but is 2 class periods late, then your grade will be a 73.  Participation counts as 25% of your grade and is based on the following considerations: 1. Being present, punctual, and prepared for class 2. Focus on and completion of exercises during class 3. Participation during critiques, discussions, and dialogues 4. Maintenance of the shared studio space, including cleaning up after work sessions, respecting shared tools and resources, and storing work and materials appropriately. After 2 absences, 10 points will be subtracted from your participation grade for each class missed. 20 points will automatically be deducted from your final participation grade if you miss the Final Critique.

GRADING: Grading will be based on assignments (which will be submitted in portfolio form), and class participation. The portfolios will make up 75% of your grade, and class participation will make up 25%.

A: 90 - 100%   B: 80 - 89%   C: 70 - 79%   D: 60 - 69%   F: 0 - 59%

Portfolio grades will be based on the following elements: 1) Indications that the student has understood the assignment and is employing its specific techniques. 2) a sense of quality showing that the students has invested a significant amount of time and focus into the assignment. 3) The overall success of the final image based on formal elements (composition, line quality, sense of light & volume, etc.) as well as creativity. AGAIN, TURNING IN ASSIGNMENTS LATE AUTOMATICALLY REDUCES YOUR GRADE.  IF YOU ARE CONFUSED ABOUT GRADING, FEEL FREE TO ASK QUESTIONS.

COURSE OUTLINE: We will be covering a wide range of introductory techniques and processes associated with the act of oil painting, from the very beginning stages of preparing a surface, through the various approaches of building a surface and developing an image, and finally to the end stages of presentation and documentation. In doing so, we will perform short-term formal exercises in class, create long-term multi-session paintings, and you will be given ambitious homework projects.

1. We will discuss a new concept and do several exercises based     
    on this idea. We may also do readings and/or have slide talks.
2. We will do one or more extended paintings connected to the concept.
3. We will work on extended paintings outside of class that may take up
    to 2/3 weeks to complete.
4. We will critique the work and its relation to the concept as a class.

CLASS STRUCTURE (subject to change):

Painting – Materials – Preparing a surface
Painting – Still Life – Short Term Monochromatic Paintings – Transparent
Painting – Still Life – Short Term Grisaille Paintings – Opaque
Painting – Stilll Life – Short Term Color Shape Paintings – Transparent/Opaque
Painting – Still Life – Long Term Still Life with Underpainting
Painting – Still Life – Long Term Direct Painting Still Life
Painting – Portrait – Short Term Monochromatic Paintings
Painting – Portrait – Long Term Portraits with Underpainting
Painting – Portrait – Self Portrait
Painting – Portrait – Abstraction and the Human Form
Painting – Landscape – Short Term Landscape Paintings
Painting – Landscape – Long Term Landscape Paintings
Painting – Final Project

YOU WILL BE WORKING OUTSIDE OF CLASS REGULARLY. BE PREPARED TO COME INTO THE CLASS ROOM OUTSIDE OF CLASS AND TO WORK ON DRAWINGS AT HOME.

BOOK / BLOG: There is no textbook required for this class. Handouts will occasionally be made available. Students will usually receive additional info, image examples, assignment specifications, and portfolio details via the following blog:

NORRISARTCLASS.BLOGSPOT.COM

You will be expected to check this regularly as part of your class participation. THE BLOG SERVES AS A SUPPLEMENT; IT IS NOT A SUBSTITUTE FOR BEING IN CLASS.

MATERIALS: Students will be required to purchase the following materials. Most materials can be found at the ASU Bookstore, Hobby Lobby, and hardware stores. You might also do well to just go online and make an order to acquire your materials: dickblick.com, aswexpress.com, danielsmith.com, etc.

PAINT (Windsor & Newton Winton Oil Colors are recommended):

-Burnt Sienna, 200ml                     -Titanium White, 200ml
-Yellow Ochre, 200ml                     -French Ultramarine, 200ml
-Alizarin Crimson, 200ml              -Viridian Hue, 37ml
-Burnt Umber, 37ml                       -Sap Green, 37 ml                            
-Cadmium Yellow Hue, 37ml       -Cadmium Red Hue, 37ml                       
-Ivory Black, 37ml                          

Optional:
-Raw Umber, 37ml                          -Prussian Blue (37ml)
-Chromium Oxide, 37ml                -Naples Yellow Hue, 37ml

BRUSHES
Natural Bristle Hair Oil Painting Brushes (Filbert or Flat style):
Sizes #2, 4, 8, 12


TOOLS
-Mixing Knife                                                -Razor Blade and holder
-Paper Towels                                  -Solvent Holder
-Bar of Soap                                                -Toolbox for Materials
-Turpenoid (at least 1 liter)                        -Silicoil Brush Tank





SURFACES:

You will be required to regularly provide surfaces on which to paint. They will generally be primed masonite and canvas. We will discuss acquiring and preparing these surfaces in class.


AT THE BEGINNING OF THE SEMESTER, CERTAIN MATERIALS WILL BE PROVIDED FOR YOU (BRUSHES, GESSO, MEDIUM)). YOU WILL HAVE TO REPLACE THESE MATERIALS INDIVIDUALLY AS THEY RUN OUT. WE WILL DISCUSS THE PURCHASE OF OTHER MATERIALS FOR INDIVIDUAL PROJECTS AS WE PROCEED.