DRAWING I: MONDAY, MAY 3, 10:15AM
DRAWING II: MONDAY, MAY 3, 2:45PM
DRAWING III: WEDNESDAY, APRIL 28, 2:45PM
Friday, April 23, 2010
DRAWING III: MASTER STUDY OPTIONS
In Order:
1. Thomas Eakins, Portrait of Susan MacDowell Eakins, 1899
2. Lucian Freud, Reflection Self-portrait, 1985
3. Frans Hals, Jester with a Lute, c. 1623-1624
4. Diego Velázquez, Portrait of Juan de Pareja, c. 1650
1. Thomas Eakins, Portrait of Susan MacDowell Eakins, 1899
2. Lucian Freud, Reflection Self-portrait, 1985
3. Frans Hals, Jester with a Lute, c. 1623-1624
4. Diego Velázquez, Portrait of Juan de Pareja, c. 1650
ALL CLASSES - FINAL HW ASSIGNMENTS
DRAWING I:
Create an ambitious representational drawing in which the object or objects you choose to draw serve as a stand-in for something else. It could be something as specific as a person, event, place, etc. or something less specific such as a concept, set of ideas, etc. Do not tell anyone else what your object(s) are standing in for. This will make the critique more interesting. The subject matter should relate to what we've covered in class to some degree.
DRAWING II:
OPEN DRAWING. As long as the subject matter relates to what we've covered in class, then you have as much freedom as you want with this one. Talk to me if you have specific concerns or questions.
DRAWING III: 3 Options for Final Homework Assignment
1. Do a large scale master study of a master painting or drawing on Arches or BFK Rives in charcoal. I will provide a handful of potential works to choose from on the blog: norrisartclass.blogspot.com. You may also seek out a different masterwork to recreate. If you do so, you MUST GET IT APPROVED before classes end.
2. Create your own work using some of the language and/or methods of a living, contemporary artist as a starting point. Example 1: Choose as a starting point Kara Walker’s use of silhouettes to create a multi-figure narrative. Example 2: Choose as a starting point Paula Rego’s method of adorning models with props and costumes to suggest a character/narrative from a particular work of literature or drama. If you choose this option you will be creating your own composition, but using your chosen artist as a jumping off point. You MUST GET YOUR CHOSEN ARTIST APPROVED before classes end. Large Scale: Arches, BFK Rives, or Craft. Talk to me if you have other ideas about materials.
3. Do a two figure composition in a setting. Include the majority (if not all) of both figures and draw them in an actual environment that you set up with models. Think of what kind of narrative or tension you might create when using two models rather than one. Large Scale: Arches, BFK Rives, or Craft. Talk to me if you have other ideas about materials.
Whichever option you choose, narrow down your ideas early on and get started as soon as possible. This and your final class drawing will be the most important drawings of the semester in terms of your grade. With the homework, really try to take what you’ve learned about the figure and apply it to something creative that really interests you as a young artist.
Create an ambitious representational drawing in which the object or objects you choose to draw serve as a stand-in for something else. It could be something as specific as a person, event, place, etc. or something less specific such as a concept, set of ideas, etc. Do not tell anyone else what your object(s) are standing in for. This will make the critique more interesting. The subject matter should relate to what we've covered in class to some degree.
DRAWING II:
OPEN DRAWING. As long as the subject matter relates to what we've covered in class, then you have as much freedom as you want with this one. Talk to me if you have specific concerns or questions.
DRAWING III: 3 Options for Final Homework Assignment
1. Do a large scale master study of a master painting or drawing on Arches or BFK Rives in charcoal. I will provide a handful of potential works to choose from on the blog: norrisartclass.blogspot.com. You may also seek out a different masterwork to recreate. If you do so, you MUST GET IT APPROVED before classes end.
2. Create your own work using some of the language and/or methods of a living, contemporary artist as a starting point. Example 1: Choose as a starting point Kara Walker’s use of silhouettes to create a multi-figure narrative. Example 2: Choose as a starting point Paula Rego’s method of adorning models with props and costumes to suggest a character/narrative from a particular work of literature or drama. If you choose this option you will be creating your own composition, but using your chosen artist as a jumping off point. You MUST GET YOUR CHOSEN ARTIST APPROVED before classes end. Large Scale: Arches, BFK Rives, or Craft. Talk to me if you have other ideas about materials.
3. Do a two figure composition in a setting. Include the majority (if not all) of both figures and draw them in an actual environment that you set up with models. Think of what kind of narrative or tension you might create when using two models rather than one. Large Scale: Arches, BFK Rives, or Craft. Talk to me if you have other ideas about materials.
Whichever option you choose, narrow down your ideas early on and get started as soon as possible. This and your final class drawing will be the most important drawings of the semester in terms of your grade. With the homework, really try to take what you’ve learned about the figure and apply it to something creative that really interests you as a young artist.
FINAL FOLIO - ALL CLASSES
FINAL FOLIO:
3.1 Final In-class Drawing
3.2 Final HW Drawing
Due during your FINAL PERIOD. YOU MUST SHOW UP TO THIS FINAL CRITIQUE IN ORDER TO TURN THE FINAL FOLIO IN.
GOOD LUCK!
3.1 Final In-class Drawing
3.2 Final HW Drawing
Due during your FINAL PERIOD. YOU MUST SHOW UP TO THIS FINAL CRITIQUE IN ORDER TO TURN THE FINAL FOLIO IN.
GOOD LUCK!
Friday, April 16, 2010
Drawing 1,2,3 Folios: Due Monday, April 19th
Drawing I - 1033 - Folio 2
2.1 Value Scale Studies
2.2 Local/Complex Value Still Life
2.3 HW: 12 Object Value Still Life*
2.4 Drapery Study*
2.5 Skull Study
Drawing II - 1043 - Folio 2
2.1 Long Value Head*
2.2 HW: Repitition*
2.3 In-Class Exterior
2.4 HW: Exterior*
2.5 Plant Study
2.6 Conceptual/Observational Drawing
Drawing III - 3033 - Folio 3
2.1 HW: Figure/Interior*
2.2 Long, Full Figure on Arches*
2.3 Umbrella Figure
2.4 OPEN
DUE MONDAY, APRIL 19TH
GOOD LUCK!
2.1 Value Scale Studies
2.2 Local/Complex Value Still Life
2.3 HW: 12 Object Value Still Life*
2.4 Drapery Study*
2.5 Skull Study
Drawing II - 1043 - Folio 2
2.1 Long Value Head*
2.2 HW: Repitition*
2.3 In-Class Exterior
2.4 HW: Exterior*
2.5 Plant Study
2.6 Conceptual/Observational Drawing
Drawing III - 3033 - Folio 3
2.1 HW: Figure/Interior*
2.2 Long, Full Figure on Arches*
2.3 Umbrella Figure
2.4 OPEN
DUE MONDAY, APRIL 19TH
GOOD LUCK!
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