Hwk: 1/29 MUSCULATURE! Adding meat in the bones!

Hwk: 1/29 MUSCULATURE! Adding meat in the bones!

We are looking at the human anatomy and where things SHOULD be at this point in time. I want you to draw two PAGES of adult musculature for next class (on drawing paper, NO COLOR, full use of value and detail). Feel free to use any scientific source material you have available. Male OR female acceptable:

1. HALF FRONT/ HALF BACK (full page TOTAL). You only need to draw HALF of a front and HALF of a back. (cut top to bottom-- include left OR right side of each). These two HALVES can be drawn on the same page. 
2. SIDE VIEW (full page). Pick a side and draw musculature of a full adult, top to bottom, on a page.

We are (LITERALLY) adding meat on the bones at this point!!! Think about sub-structure (skeleton) and it's relation to the musculature in building a readable figure in space. 

An interesting (and ethically questionable!) series of work was put on display under the label of both ART and SCIENCE using real "plastinated" corpses to show the inner workings of the human body in action and at rest. One such iteration of this work is :

“Bodies: The Exhibition”        (currently on display at the Luxor in Las Vegas) 

http://en.wikipedia.org/wiki/Bodies:_The_Exhibition

http://www.vegas.com/attractions/on-the-strip/luxor-bodies/

http://www.dailymail.co.uk/news/article-1241931/Bodies-Revealed-exhibition-accused-putting-executed-Chinese-prisoners-show.html

Throughout the semester we will be discussing why we make art, what we are hoping to accomplish, audience, narrative, legibility, theme, function, labels, etc. One thing not often discussed, specifically in the world of figurative art (as there is usually a cognizance of circumstance from both parties, and payment for services) is the ethics of forced participation. This is not to imply anything one way or another about this particular body of work, simply food for thought about what we label art and how it is made. 

Have a productive week(end)! See you Monday!

Remember: Your "50 Drawings in 4 Hours" are DUE MONDAY as well!

Hwk: 1/27 SKELETONS and SUB-STRUCTURE!

Hwk: 1/27 SKELETONS and SUB-STRUCTURE!

We are looking at the human anatomy and where things SHOULD be at this point in time. I want you to draw two PAGES of adult skeletons for next class (on drawing paper, NO COLOR, full use of value and detail). Feel free to use any scientific source material you have available. Male OR female acceptable:

1. HALF FRONT/ HALF BACK (full page TOTAL). You only need to draw HALF of a front and HALF of a back. (cut top to bottom-- include left OR right side of each). These two HALVES can be drawn on the same page. 
2. SIDE VIEW (full page). Pick a side and draw the full skeleton, top to bottom on a page.

You are looking for body architecture at this point-- How the body is constructed and inhabits space. MASS, points of articulation, long bones, etc. This will be key to building our knowledge of the figure and how it acts in space.

Internet Research Project: Contemporary Drawing

Drawing II- OLIVER

Assignment 3

(Due: post to blog before class 2/17)

Internet Research Project:

Contemporary Drawing

OBJECTIVES: To learn more about contemporary approaches to drawing, to research independently, and to express informed opinions about your research in writing. This is to be posted to the class blog. Be professional in composition, grammar, and formatting. It is a resource for everyone.

• Go to  www.drawingcenter.org
• Click on the “Viewing Program”
• Explore many artists in different media and subject matter (see ‘keyword’ and ‘medium’ headings)
• List 10 artists whose work you like
• List 10 artists whose work you don’t like or don’t understand
• Choose the 3 artists who you feel the strongest connection to or reaction to from your lists- summarize their artists’ statements in a short paragraph; INCLUDE at least one image of their work that you feel strongly about in your post
• For these final three artists write a paragraph explaining why you feel strongly about his or her work.

NOTE: Be conscious of time commitment for this assignment. You will not gain anything from this assignment unless you spend time thinking critically about the research and information you are studying. Please spend several sessions working on this assignment. Use correct spelling and grammar. Think about what you are saying and how you are saying it.

Ten Experimental Drawings

Drawing II- OLIVER

Assignment 2

(1-5 Due: Wednesday 3/12, 6-10 Due: Wednesday 5/7)

Ten Experimental Drawings

Materials: OPEN

OBJECTIVES: To challenge your creative problem-solving skills and experiment with new methods, ideas, and approaches to making.

Assignment: Each week, for the next 10 or so weeks, you will be assigned an experimental drawing. You will need several sheets of 8.5 x11 paper, or paper that is approximately that size. You will be presenting each drawing in your “ITOYA Art Profolio” portfolio.

For each completed Experimental Drawing, you will need to write an ‘Idea Sheet’ in response. This Idea Sheet will also be presented in the portfolio, on the opposing page, so that you can see the drawing and read the Idea Sheet simultaneously. Both the drawing and the Idea Sheet are due together.

You must use a different type of paper for each drawing. Some of the experiments will specify the type of paper, and if not specified, you must collect a variety of papers individually. I can make suggestions as to types of paper you might experiment with if you’re not sure.

Experimental Drawings 1-5 Due 3/12

Experimental Drawings 6-10 Due  5/7

Idea Sheet Instructions

After you complete each Drawing Experiment, you must write one page of responses to your work.  You may type and print this page or neatly and LEGIBLY write by hand your responses to the following questions:

1.     What materials did you use?

2.     What was the process of making this piece?

3.     What does this piece mean to you?

4.     Describe at least one way you could expand upon, change, or use this work in a new way.

Drawing Experiments

These drawing experiments are for your benefit as an artist. They may feel interesting, inspiring, frustrating, boring, weird, etc.  They are not drawings that you should rush or speed through carelessly. The more seriously you approach each project will determine your success and, ultimately, your possible points.

You do not need to do these experiments in order. CHOOSE TEN:

A.    Make a drawing using office supplies only, from the paper to the materials. Staples, highlighters, white out, or any material that is strictly an office supply and not a traditional or commonly used art material.

B.    Make the Ugliest Drawing Possible.

C.     Cut out a section of a map, a newspaper, or a chart. Modify the information or respond to the surface/visual information by drawing any way you would like, with your own materials/methods.

D.    Cut an unusual shape out of 8.5 x 11 paper. Create a drawing on/in the shape that seems to belong to that shape . Do not make the shape symbolic (heart, cross, moon, etc)

E.     Draw the sound of a jet engine.

F.     Capture the spirit of a color or favorite food.

G.    Make repetitive, continuous ‘marks’ on a single sheet of paper for an hour.

H.    Photocopy one or more three-dimensional found objects. Draw on this photocopy, reacting to the imagery.

I.      Draw something expensive in as much detail as possible.

J.      Make a drawing in response to something (a program, sitcom, news broadcast, commercial, etc) you saw on television.

K.    Using cut-up and pasted-on pieces of a coloring book or a ‘fuzzy poster’, create a work.

L.     Use ONLY drawing materials found in your kitchen

M.   Cover something in GLITTER and then draw the reflective detail

N.    Tell the most UPSETTING thing you have ever heard in your life in an image

O.    Feel FREE to create your own experimental drawings as well, but make sure you put THOUGHT and EFFORT into this. Ask me if you hit a kink at any point. PUSH YOURSELF! IF YOU ARE NEVER UNCOMFORTABLE AS AN ARTIST, YOU WILL NEVER GROW.

50 DRAWINGS IN 4 HOURS

Drawing II- OLIVER

Assignment 1

(Due: Monday, 2/3)

50 DRAWINGS IN

4 HOURS

Materials

-(50) 8.5x11” sheets of paper (open choice), NUMBERED, with DATE/ TIME EACH DRAWING TOOK, on bottom right corner

-Manila folder

-Any drawing media

Challenge! Create 50 drawings in 4 hours! You do not have to complete all of these drawings in a single sitting, but you MUST time yourself! The purpose of this exercise is to sharpen your skills of observation and get really comfortable just drawing a lot (the average time you should spend on each drawing is about 5 minutes; however you do not have to limit yourself to these parameters. If you spend 10 minutes on a drawing then you should do a bunch of quick 1 or 2 minute drawings.

You can draw anything you want, but your images MUST BE FROM LIFE (no photographs, imaginations, or digital repliactions). The media and stylistic approach to mark-making are open! (ex: Blind Contour, Continuous Contour, Gesture, Full Value, etc.). Try a range of tools and approaches, especially ones that seem more challenging. The idea is that you are really developing your awareness of your surroundings and in your process through the power of recording what you see.

I know this may sound somewhat scary, but try to see it as an interesting challenge - remember you don't have to spend a lot of time on any one drawing, and once you have finished with an image you are not to retouch it. This assignment is simply about drawing. It's not about perfection as much as it is about the process of seeing and recording the observed world.

All 50 images are due 2/3. Fewer than 50 will result in 0 points.

Drawings MUST be numbered 1-50 and contain the TIME/ DATE for each.