Category Archives: Uncategorized

Eleventh Class: Interior/Exterior

It’s all about light. How do you draw light?

Drawing project:  Interior/Exterior combines room interiors with landscape. For this project you will draw three large (full sheet), finished drawings.This class and the first half of the final class will be working classes.

We will put up the finished drawings in the last half of Week 12 for a final crit. Whatever you can’t get done in class is for homework.

It is a good idea to get your source material together for all three drawings ahead of time, and come prepared to work in class.

Drawing One: Full sheet of grey or toned paper (Ingres, or Canson Mi-Teintes are good), using black and white conté. FROM YOUR OWN PHOTOGRAPH, draw a view from the inside to the outside, through a door or a window. “Inside” could include still life elements on a table, room features, a figure, the door or window frame, curtains etc. “Outside” could be any kind of landscape, seascape, urban, suburban, or rural. We will do this in class, next week so bring the necessary supplies and source photos.You can start with light pencil. try using the side of the conté and a light touch. Try not to smudge or erase too much–let the white of the paper show through for maximum luminosity.

Drawing Two: charcoal on Stonehenge. A “diptych” (divide the paper into two halves by drawing a line down the middle). FROM YOUR OWN PHOTOGRAPHS. This will be a view from the outside to the inside. One side of the drawing will be day outside and darkened shadowy interior inside, and the second will be night outside with an artificially lit interior. Creative variations of this idea are welcome.

Drawing Three:  Medium, surface and size of your choice. Combine two (or more) different source photos, a room interior looking out to an jarring or unexpected exterior. These can be FOUND images, or your own photos. Either the interior or the exterior can be from the imagination, but not both. For this third drawing, collage and digital collage are acceptable approaches, which could save time.

Homework: Finish all 3 projects, but count on 1  hour during the last class for finishing touches. DETAIL IS NOT IMPORTANT. Go for a sense of light and shadow.

Next Class: Put up your work for a class crit. Put up your name as well, and I will take a photo for evaluation purposes (no portfolio submission this time) Please include

  • three final project drawings
  • four favourite figure drawings
  • your skull and skeleton and muscle drawings and a  few magazine skulls and skeletons

Bring snacks and drinks if you can!

Advertisements

Tenth Class: Final Interior/Exterior Project

Bring your source photos for a consultation/discussion about your final Interior/Exterior project.

Bring grey toned paper and black and white conté.

Ninth Class: The Figure and the skeleton on Prepared Paper 2

Model (Female) Focus on the skeletal structure.

Get ready for the final drawing project:  Interior/Exterior combines room interiors with landscape. For this project you will draw three large, finished drawings. I will be showing examples and explaining more next class.

It is a good idea to get your source material together for all three drawings ahead of time. You will have the second half of next class (Class Ten), all of Class Eleven, and the first half of Class Twelve to work on these. There will be no other homework so you can devote time to these.

Drawing One: Full sheet of grey or toned paper (Ingres, or Canson Mi-Teintes are good), using black and white conté. FROM YOUR OWN PHOTOGRAPH, draw a view from the inside to the outside, through a door or a window. “Inside” could include still life elements on a table, room features, a figure, the door or window frame, curtains etc. “Outside” could be any kind of landscape, seascape, urban, suburban, or rural. We will do this in class, next week so bring the necessary supplies and source photos.You can start with light pencil. try using the side of the conté and a light touch. Try not to smudge or erase too much–let the white of the paper show through for maximum luminosity.

Drawing Two: charcoal on Stonehenge. A “diptych” (divide the paper into two halves by drawing a line down the middle). FROM YOUR OWN PHOTOGRAPHS. This will be a view from the outside to the inside. One side of the drawing will be day outside and darkened shadowy interior inside, and the second will be night outside with an artificially lit interior. Creative variations of this idea are welcome.

Drawing Three:  Medium (including collage), surface and size of your choice. Combine two (or more) different source photos, a room interior looking out to an jarring or unexpected exterior. These can be FOUND images, or your own photos. Either the interior or the exterior can be from the imagination, but not both.

Homework for next week (Week 10): No drawing, but take source photographs and print them for interior/exterior drawings. Catch up on homework. Bring your source photos for a consultation/discussion, grey toned paper and black and white conté.

 

Eighth Class: The Figure and the skeleton on prepared paper

Model. Bring all drawing materials, newsprint, cartridge and Kraft or Manilla paper. This week we will focus on the skeletal structure of the body. Imagine the skeleton inside the figure and draw ones that you see making contact with the skin.

Also: Review of blind contour, semi-blind contour, cross contour, scribble drawing, gesture drawing.

If you miss this class, find someone to model for you (clothes optional), or draw figures from sports fashion magazines with skeletons in them, and various contour drawings.

Homework: Make 5 or more textured/coloured/patterned/toned surfaces to draw on for next class with the figure, based on a process borrowed from someone else in the class. Bring all your drawing stuff and a variety of paper for more figure drawing next class.

Seventh Class: Bones and Muscles

*********Portfolios are due at the beginning of class*****

In class assignment 1: In your sketchbook or on cartridge paper, using pencil, copy the provided drawings —Draw one full skeleton, one view of a skull, and one view of the muscles of the face and neck. Keep the rest for reference. Double the size and include the labels naming major bones or main parts of the skull.

**If you missed this class find online skeletons, skulls and anatomical drawings to work from.

In class assignment 2: Search the magazines in the class and find 6 figures (people, male or female) in dynamic or interesting poses. Use white and black china markers or other drawing materials to draw full skeletons in each of the figures. Label the major bones.

Assignment 3: Search the magazines in the class (or at home) and find 4 large heads (male or female). Use white and black china markers or other drawing materials to draw detailed skulls in each of the heads. Label the major parts.

Optional: Glue your skeleton figures and/or skull heads to a surface to create a narrative.

Homework: Finish for homework. Also, for next week find or make textured/coloured/patterned/toned surfaces to draw on for next class with the figure. Invent a process and document what you did. Use traditional or unusual materials. Bring all your drawing stuff and a variety of paper for figure drawing next class.

Sixth Class: Space and Place

https://www.youtube.com/watch?v=on2FKHDsaCM

Slide presentation: Linear perspective review

Warm up: find the vanishing points and horizon lines on the photos provided.

AppleMarkcornerliving2new-york-city-street-wallpaper-1office building 2 point

In class assignment:  1) In your sketchbook, in pencil, sketch at least three different spaces inside or outside VISA, including interior or exterior architectural elements (buildings, parts of buildings).

Homework: Finish for homework. Also, make at least one drawing exaggerating, reversing, altering the rules, (curving the horizon line, or using axiomatic, reverse, distorted, different horizons and vanishing points). Next,complete a drawing ignoring the rules, showing in any way you wish multiple views or aspects of a place.

Bring for next class: Sketchbook, cartridge paper, pencils, erasers, markers and white gel pens if you have them, as well as black and white china markers if you have them.

 

***Portfolios are due at the beginning of next class. Put together a portfolio of all your work so far. A cardboard portfolio (bought for a few dollars at an art store, or made with salvaged cardboard and duct tape) is fine. NO ROLLED UP PAPER IN A BAG. Make sure the work in flat and secure. Make sure your name is on it and include your sketchbook with your name on it. I will be giving everyone some brief written feedback, and I will be giving a midterm mark, including a mark for your presentation.

Checklist: Please include all of these drawings:

  • Drawing with a tactile object (touching the object while blindfolded)
  • 4 drawings based on your shadow box (blind contour, semi-blind contour, charcoal value drawing, detailed pencil drawing in sketchbook, and optional found surface drawing)
  • Transforming an object into another object drawing
  • 7 daily blind contour drawings of an object that is meaningful or symbolic
  • 10 rectangles different sizes with the same proportion
  • 10 more rectangles, divided in a grid different sizes with the same proportion
  • Drawing of the chalkboard, window, or wall
  • drawing based on photo of object in midair, gridded and sized up (made larger)
  • 2 drawings in your sketchbook based on your photo, but much smaller
  • 2 sketchbook drawings of an outdoor structure, two different sizes
  • At least three perspective drawings following the rules, one altering the rules, and one ignoring the rules
  • a large drawing (about 18″ x 24″) in response to one of the artists you learned about in the presentations (please include an explanation as to which artist you are responding to and in what way)

 

 

Fifth Class: Proportion

****Mid-term portfolios will be due at the beginning of class in Week 7, March 8****

Group discussion of finished “transformation drawings.” Lay out the drawings on the table and we’ll go around as a group for a brief discussion.

In-class assignment one (no math or measuring):

  • Draw a rectangle in your sketchbook. Without measuring, draw the same rectangle 10 more times in various sizes from tiny to very large, at random angles.
  • See the squares within the rectangles. Draw a rectangle in your sketchbook. Without measuring, divide the rectangle into a square plus a leftover smaller rectangle (a long rectangle might consist of two or more squares). Draw the rectangle 10 more times in various sizes from tiny to very large, at random angles.
  • In your sketchbook, draw the chalkboard, wall or windows in the class. Before you start, judge the relative proportions by closing one eye and holding out your pencil with a locked elbow, to see how wide the chalkboard is compared to its height. I will demonstrate in class how to do this. Ask yourself “how many times does the height fit in to the width?’ Two times? One and a half?
  • optional: Draw the chalkboard, wall or windows again but much bigger.
  • optional: Choose a large object in the room. Imagine the object fitting into a rectangle of a particular shape. Judge the relative proportions by holding out your pencil. Draw a rectangle with these proportions on a page in your sketchbook as large as possible, then observe and draw the object inside the rectangle.

In-class assignment two (some math and measuring)

http://www.basic-mathematics.com/proportion-calculator.html

  • Crop one of the photographs you brought in to improve the composition. Use a ruler and, using a pen, marker or pencil, draw a rectangle on the photo. Measure the rectangle.
  • Using cross multiplication or a proportion calculator, or double or triple your measurements. Measure and draw a large rectangle of the same proportions on a large sheet of cartridge paper.
  • Divide both the small photo rectangle and the large rectangle into four using the corner to corner method to find the centre point. Divide the rectangle into four (draw two diagonal lines from corner to corner, then draw vertical and horizontal lines that meet at the centre point). Divide each quadrant the same way. You can further divide any area that has a lot of detail.
  • Use whatever medium seems appropriate and “size up” your photo carefully observing the shapes you see in each section. Look at both negative and positive shapes.
  • Check the accuracy of your drawing by standing back several feet and “sight-size” by holding up your source photo at arms length, making it appear the same size as your larger drawing.

Homework: In your sketchbook, draw two rectangles that are much smaller than your photo source. Keep the same proportion. Make two quick drawings based on your photo source. Also, In your sketchbook draw an outdoor structure (sculpture, totem pole, architectural feature of a building, an entire building, etc.) in two different sizes. Imagine the structure fitting into a rectangle of a particular shape. Judge the relative proportions by holding out your pencil. Draw a rectangle with these proportions then observe and draw the object inside the rectangle.

Your drawing based on one of the artists in the presentations will be due in Week 7 along with your midterm portfolio, so continue working on it.

Bring for next class: Sketchbooks, cartridge paper, pencils, erasers, and a large ruler. Find and watch online videos reviewing one point and two point perspective.