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