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Foundation Drawing

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Rachel Farrington

on 11 September 2013

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Transcript of Foundation Drawing

DOCUMENTS
Line
Foundation Drawing
Contour
Composition
Value
Perspective
One Point
Portraits
Proportions
ARTS 151
Syllabus
Foundation Drawing ARTS 151

Rachel Farrington
Office Hour: 30 minutes before and after class
rachelmfarrington@hotmail.com
rmfarrin@coloradomesa.edu

Course Description: Development of the artist's perceptual drawing skills. Traditional drawing media stressed. Focus on the nature of drawing, historical traditions and contemporary processes. Elements of this course are also designed to stimulate student's thinking regarding the relationship of the life of art making and their personal views and experiences.
Course Objectives:
Develop strong perceptual drawing skills using a variety of techniques and media
Enhance visual problem solving skills
Introduce conceptual approaches to art making
Utilize drawing as a method of idea generation
Create well-crafted, finished products
Art Department Student Learning Outcomes:
1. Interpret and apply formal elements and principles of design
2. Demonstrate application of tools, materials, techniques, and proper use and care for equipment through quality craftsmanship
3. Develop individual response through concept and theory beyond formal elements to create personal content.
4. Communicate clearly regarding the critical analysis of art and design both historical and contemporary
5. Develop practical skills for entry into a professional career in art and design
Student Learning Outcomes one and two will be assessed in ARTS 151.

Classroom Policies:
Please be respectful, honest, and engaged
Class starts on time
Wear clothing suitable for studio conditions
No food/ Drinks with lids only
No texting/phone calls
No ipods during lectures/demos

Optional Suggested Reading:
ArtNews, ArtForum, Art in America, or Juxtapose Magazines - a subscription to one or more of these is highly recommended
A Guide to Drawing - Daniel Mendelwitz, Duane Wakeham, and David Faber
Drawing on the Right Side of the Brain - Betty Edwards
Requirements:
6 Homework Assignments - 100 pts each
Homework assignments will be handed out at the beginning of class on the scheduled date and are due on the scheduled due date. I will accept homework early (if you know you will be absent on the due date) but I do not accept late work.
Sketchbook - 300 pts.
I require you to keep a sketchbook for the duration of the semester. The subject matter is completely open but I would like to see you using techniques from class. You must have at least 3 sketches per week (hopefully more) and I will check off your work on a regular basis. The sketchbook should be included in the final portfolio.
Final Porfolio - 400 pts.
Portfolio will consist of one in class drawing per week, chronologically placed and all 6 homework assignments. Drawings should be finished, signed, and clean (sprayed with fixative if charcoal). Please put the drawings in a cardboard folder or professional portfolio. Include your final paper and your sketchbook in the folder.
Final Paper- 100 pts.
Two page paper that discusses:
a) Your strengths/weaknesses as a draftsman
b) Your role as an artist. If a studio major, do you have thoughts about the direction of your art? Are you interested in social issues, emotional response, formal design elements, science/nature, philosophy, etc, etc? A mix of ideas is great, I just want you to begin discussing your thoughts. If a graphic designer, what are your goals for your career? If a hobby artist, what are your goals for your art? How do you see your art affecting you personally or others?
Typed, double spaced, 12pt font

Grading: Grades will be based on the completion of all assignments, active participation in class, and attendance. After 3 absences your final grade will drop one letter per absence. The work is to be of the highest caliber and timely completion of assignments is expected.
Scale:
A-1360-1400 pts.-Student demonstrates highest level of devotion to the process of learning and the application of that knowledge. Excellence in craftsmanship, exhibits tremendous growth, highly creative. The paper will reflect in depth processing and critical thinking.
B- 1220-1360 pts.-Student is above average in craftsmanship, quality of assignments, creativity and growth. Student will have a good, well-written paper.
C- 1080-1220 pts.-Student is average in content and quality of assignments, attendance, and preparation. Paper will be passable.
D- 940-1080 pts.-Below average in quality of work and inconsistent in preparation and attendance. Exhibits little growth or understanding of concepts covered.

NOTE: In coordination with Educational Access Services, reasonable accommodations will be provided for qualified students with disabilities. Please contact EAS at 248-1856, or in person at 1020 Elm Ave., across the street from Monument Hall. Please meet with the instructor the first week of class to discuss accommodations for this class.
Course Outline

Course Outline:
Week 1
Jan 22- Introduction, Syllabus, Materials and Mechanics, Still Life Demo
Homework # 1 Handout- Earliest Childhood Memory
Jan 24- Still Life Drawing Line Drawing - Massing, Intuitive Gesture, Blind Contour
Week 2-
Jan 29- Proportion and Relationships, Line Drawing- Contour, Line Direction and Sensitivity
Jan 31- Organic Still Life Line Drawing - Contour, Adding Variety, Critique of Homework # 1
Homework # 1 Due
Homework #2 Handout - Positive/Negative Space Household Objects
Week 3
Feb 5- Understanding Composition- Organic Still Life
Feb 7- Positive/Negative Space
Week 4
Feb 12- Perspective - Boxes Still Life
Feb 14- Perspective (ellipses)- Bottles Still Life
Homework # 2 Due
Homework #3 Handout - Playground
Week 5
Feb 19-Cross Contour- Ribbon Drawing
Feb 21- Proportion and Composition
Week 6
Feb 26- Outdoor Landscape Studies (weather permitting)
Feb 28 -Movement and Gesture - Bring something for the "Dropping Game".
Week 7
Mar 5 -Architectural Exteriors
Mar 7 - Architectural Interiors
Week 8
Mar 12 - Introduction to Values - Value Scale- Elements of Light/Shadow- Diffused Light
Mar 14 - Diffused Light Still Life, Spheres/Boxes, Edge Control
Homework # 3 Due
Homework #4 Handout - Issues with the Land
Week 9
Mar 19- Outdoor Landscape with Value (Weather Permitting)
Mar 21 - Diffused Light Still Life - Shadow Shapes - Edge Control
Week 10
Spring Break
Week 11
April 2 - Oblique Light - Cast Bust - Tenebrism and Chairoscuro
April 4 - Backlight - Still Life
Week 12
April 9 - 2-Day Oblique Light - Animal Skulls
April 11 - Oblique Light Skull Drawing Cont.
Homework # 4 Due
Homework #5 Handout-Modern Mentor (Magazine Assignment)
Week 13
April 16- 2 -Day Direct Light - Cast Bust
April 18 - Direct Light - Cast Bust
Week 14
April 23- Texture and Variety - Abstraction of Still Life
April 25- Creating Unity - Abstraction of Still Life
Homework # 5 Due
Homework # 6 Handout- Self Portrait
Week 15
April 30- Intro to Portraiture - Drawing from life (each other)
May 2- Portraiture - Profile and 3/4
Week 16
May 7- Portraiture - Working from a Live Model
Homework # 6 due
May 9 - Portraiture - Working from a Live Model
Portfolio, Sketchbook, and Paper Due
Week 17
Finals
Materials

8 x 10 or larger sketchbook
18x24 Newsprint Pad (smooth)
24x26 Hardboard / Sketchboard
1 Box Vine Charcoal
Kneadable Eraser - Extra Large
Gum Eraser
Charcoal Pencils (soft and medium) or Soft Woodless Graphite Pencils
Chamois Cloth
1" Masking Tape (this stuff is like gold in the art dept!)
1 can Low Odor Workable Fixative
A few soft hair brushes (Sumi would be great)
Optional - Prisma Colors, Ink, Pastels, or any other drawing media you might want to experiment with towards the end of the semester
Homework Assignments
Project # 1 - Earliest Childhood Memory
Many artists have a conceptual framework that uses memory as a point of departure. Below are the works of Shannon Bool, Tim Gardner, and Susan Rothenberg, respectively. Each artist uses remembered imagery to explore different ideas.








Using a full sheet of newsprint and charcoal or graphite create a drawing loosely based on your earliest childhood memory. It can be illustrated didactically or in the form of symbolist based narrative. I will be grading on the following criteria:

Creativity- Image making as exploration, striving to go beyond the known, and experimentation
Ambition- Level of involvement, energy, idea, craftsmanship
Authenticity- Personalizing the concept, content, and making a convincing drawing
Subject Matter - The work is based on an early childhood memory
Blind Contour
Ellsworth Kelly
Gestural Contour
Henri Gaudier-Brzeska
Intuitive Gesture
Honore Daumier
Alberto Giacometti
Line Direction
Hatching
Cross Hatching
Philip Pearlstein
Line Sensitivity
Broken Line
Peter Paul Reubens
Julie Mehretu
Larry Rivers
Da Vinci
Ingres
Cross Contour
Line Variety
Project # 3 - Playground
Performance and video artist Matthew Barney uses drawing to generate ideas and develop large scale installations. Isamu Noguchi sketches his ideas before creating his famous public play sculptures and playgrounds.













In this highly imaginative and open assignment, I want you to sketch out a complex idea for a public play space. I want you to think about the ways in which culture uses play and how it can affect community. Also consider the type of space in which you would like to play. Remember --Art is FUN! Use the provided paper and charcoal or graphite. Signed and sprayed.
Project # 2 - Positive/Negative Space with Household Objects
Some artists are highly process oriented and use invented exercises to create works of art. Ingrid Calame meticulously traces stains from the sidewalks of busy city streets and then systematically layers them into complex "colour maps".











This is a formalist exercise with room for visual creativity. Collect 5-10 household objects and arrange them into an interesting composition. Using charcoal or soft graphite, draw only the negative space. Signed and sprayed.
Project # 4- Issues with the Land












For this assignment I want you to consider how artists have made work about land over the centuries. Your response to "issues with the land" can be as simple as a contemporary rendering of a landscape, such as Veja Celmins (above), or as complex as a formal illustration for a land-based installation. Work can be of the drawing media of your choice, but it must be on the provided paper. Signed and sprayed (if charcoal).
All homework assignments will be judged on the following criteria:

Creativity- Image making as exploration, striving to go beyond the known, and experimentation

Ambition- Level of involvement, energy, idea, craftsmanship

Authenticity- Personalizing the concept, content, and making a convincing drawing

Subject Matter - The work follows the subject matter of the assigned topic.
Project # 5 - Modern Mentor












For this assignment you are required to purchase the current edition of ONE of the following magazines: Art Forum, Art News, Art in America, or Juxtapoz. Pick an artist from the magazine whose work you admire. Create a drawing on the paper provided that references the work of the artist. Be inspired by those who are ahead of you. Use the provided paper and the drawing media of your choice. Sign and spray the work and attach the article from the magazine.
Project # 6 - Self-Portrait
Artists have always drawn themselves. You are a model anytime you need one and in this assignment you will be adding to the rich history of the self-portrait.















You are required to draw yourself FROM LIFE (in a mirror) using a front or 3/4 portrait. Do not draw from a photograph...I will find out! Use the paper provided and charcoal. Sign and spray.
Closed/Open
Composition
Dominance - Kandinsky
Visual Path - Rembrant
Triangles - Da Vinci
Radiation - Joe Suzuki
Spiral - Caravaggio
Repetition - Cy Twombly
Visual Path (Linear) - Da Vinci
Variety - Karen Kunc
Rythym - Mark Tobey
Circle - Matthew Ritchie
Repetition - Paul Noble
Texture - Wangechi Mutu
Proximity - Michael Landy
Proximity - Toba Khedoori
Grids - Ellen Gallagher
Balance - Symmetrical - Roland Flexner
Balance - Asymmetrical - Kelly McLane
Two Point
Three Point
Value Scale
Parts of Light and Shadow
Atmospheric Perspective
Linear and Atmospheric - Pisarro
High Key Drawing
Low Key Drawing
Middle Key Drawing
Baroque - Theatrical - Chairoscuro
lost edge
Lighting the Portrait
The Portrait and Line
Memed Erdener
Full transcript