Students will be able to demonstrate research and creative exploration outside the traditional means of art making.
Materials
Any materials you choose – or none at all
Sketchbook Mini-Assignments
Read “Artists Draw a Blank” and take notes in your sketchbook. How do works like these justify themselves as art? What questions are the artists asking?
Read “Conceptual Art” and take notes in your sketchbook.
Students will demonstrate ability to draw from observation while using continuous contour to describe form. Students will display proficiency in compositional design.
Materials
Size—18”x24” Drawing paper—available in class (NO NEWSPRINT PLEASE)
Media—Graphite pencils (H or HB) + erasers + black fine Sharpie or Micron pen
For this assignment you will complete 1 detailed modified contour line drawing of yourself and your environment—from observation. No use of photos is allowed!
Project
Draw with a singular descriptive contour line and emphasize the unique contours around and across each form you draw. Work slowly and attentively to avoid creating a generic or oversimplified representation. Some distortion and exaggeration is ok but do your best to mark the contours that describe volume around each form you draw. Begin lightly with pencil and make corrections with an eraser as you go. Use an ink pen or black, fine-point Sharpie at the end to make your drawing stand out. Be sure to fill the rest of the page with details from your environment!
What to avoid
-Don’t use a rapidly applied sketching line -Don’t oversimplify your features—drawing what you see, not what you think you see. -Don’t fill in or shade any areas -Don’t forget to add your background environment!
Project tips
-Find a creative placement for your mirror to capture you and your background environment -Use strong lighting to create bold shadows on your face and clothing. Follow these borders with contour lines on your drawing. -Description & details!!! Get into it!
Notes and Examples
Contour Line
“A line that delineates both the outside edge of an object and the edges of planes, as opposed to outline, which delineates only the outside edge.” – Drawing A Contemporary Approach
Pablo PicassoPablo PicassoEgon ShieleEgon ShieleEgon ShieleEgon Shiele
Blind Continuous Contour Drawing:
Nope, you can’t look at your paper while drawing
Slow and continuous singular line
Follow outer edges of form + borders of light and shadow that describe the surace contours
Be as descriptive as possible! Note subtle changes that define edges, textures, volume and form
Students will learn the basics of mark making using traditional drawing pencils. Students will be able to create and explore a variety of marks.
Info
“Marks are the alphabet that forms the words that make the prose, and are the elements with which the drawing is made. Mark-making is the broad term used to include all marks that are made visible as a manifestation of applied or gestural energy. It is the gestural language of drawing, and marks are the component parts within it. There are an infinite number of marks possible, and our nomenclature for them is very limited – lines, dots, dashes, smudges, etc. It is difficult to refer to specific marks, and know that the term adequately communicates its intended meaning. Everybody makes his or her own unique set of marks and every medium has its own particular quality of mark.” (from Drawing Projects: An Exploration of the Language of Drawing)
Materials
Plain White Drawing Paper, 18″ x 24″
Drawing Pencils
Charcoal
Eraser
Chamois
other as needed
Sketchbook Mini-Assignments
1. Using your sketchbook and a number 2 pencil, create 2 entire pages of various marks. Try to create as many different types as possible. 2. Using a different media – marker, pen, charcoal – create another 2 pages in your sketchbook. How does a different media produce different results? 3. Watch the videos linked below and take notes on them in your sketchbook. Do you identify with drawings that are more spontaneous or planned out? If you have someone else do the work, as is the case with Sol Lewitt’s drawings, is it still art? Why or why not?
Project
Using a large sheet of 18″ x 24″ white drawing paper, create a drawing using as many different marks as possible. While you explore as many variations of mark making as possible, your finished drawing should have some form of composition. It should not look like a random collection of lines, but a purposeful exploration of line.
You will be doing two of these drawings.
The first drawing should be based on responding to the drawing as it comes. If you have a dark area, what would a light area look like next to it? Lots of smooth marks, what about contrasting them with rough marks?
The second drawing should primarily be based on geometric patterns and grids. You may have some responsive drawing, but the majority of the drawing should be geometric and controlled
Students will demonstrate technical proficiency using conte crayon. Students will be able to accurately render observed value changes and forms through their drawings. Students will be able to create engaging and interesting compositions.
Mini-Assignments
Conte can be a very fussy material. It does not erase well and when black and white conte are blended, the grey that is made is not very attractive. These mini-assignments are designed to help you get the most from the material. 1. Take a sheet of paper and crumple it up. Set it on a table and light it so that the shadows are not too harsh. In your sketchbook, use black conte to draw the sheet of paper. Focus on trying to draw the soft shadows; this will mean that you will have to control how hard you press down with the conte. Once conte is applied, it is very difficult to erase, almost impossible. 2. Using a sheet of grey paper or a brown grocery bag, draw the same piece of crumpled paper. This time however, use both black and white conte. Experiment with blending the conte with paper towels, rags, chamois and blending stumps.
Materials
Sketchbook 18” x 24” sheet of gray drawing paper Black and White Conte Kneaded Eraser Viewfinder
Mini-Assignment
1. Work out several different compositions in your sketchbook 2. Create a 10 step value scale in your sketchbook.
Process
After setting up the still life of mannequin legs, use your sketchbook and a viewfinder to locate and draw interesting compositions. Sketch out multiple compositions from different positions in your sketchbook. Zoom in close, squat or kneel, stand on a stool to find the most engaging composition. After you have chosen the best composition, use black and white conte to work out the drawing on the 18” x 24” sheet of gray drawing paper.
The goal of this assignment is to focus on values, composition and proportion. Try to choose a portion of the still life that gives you the widest range of values to work with. As you are drawing, step back and look at your work. Hang it on the board and back up 10 – 20 feet so you will better understand how the values are working. Squint. Pay close attention to proportions. Remember to always start with the gesture and work out the composition, movement, and proportions at the gesture level. Once the gesture is complete you should start working in the values. Your drawing should look like the still life. Objects that are round and smooth should appear round and smooth in your drawing. Items that are rough should appear rough.
1. Research cell and plant structures, fungi, lichens, wood, dendrites, cells, algae, hyphae, fabric and pattern. Use the websites isomorphology.com and n-e-r-v-o-u-s.com as a starting point. 2. Include at least 20 different images of the above materials. These can be drawings, photos or print outs. 3. Read and take notes – Gemme Anderson Isomorphology (2.7mb PDF)
Assignment
Create one large drawing that explores pattern and line. You can use multiple different patterns or one pattern repeated over and over, perhaps shifting the scale from smaller to larger. You may use graphite (keep the tip sharp), colored pencils, sharpie and ink. You should use ink to help you create value and three dimensionality.
The drawing does not have to be of any “thing” and may just be pattern (from natural elements) for the sake of exploring pattern. Think about composition and where you are leading the viewer to look. Are you going to have so much pattern that the drawing becomes afocal (no focal point) or are you going to have areas that have more details and some areas with less? Use moss, mushrooms, lichen, etc as a source of inspiration.
Some notes on Isomorphology
Drawing and handling each specimen enables close observation, revealing unexpected comparisons of form. Observational drawing involves hand-eye coordination, analysis, delineation, abstraction, improvisation, collage and deep concentration. Perception of the object is a process of transition from experience to judgement, insight to application.
Trained Judgement
Concentrated observation within the act of drawing creates new perceptual knowledge. The morphology is observed in detail – activating the process of comparison. Each form observed joins a bank of knowledge in the observer’s mind and each new drawing experience triggers a different formal memory stored in this bank. Each drawing adds value to each drawing previously made, and vice versa.
Abstraction
A necessary process of abstraction occurs during the observational drawing process. All knowledge of the object and its conventional context and name are forgotten; what is left is an involvement in the form of the specimen. The concentration shifts from drawing the whole to drawing a series of parts. This process, which concentrates on form, trains the artist to abstract: to draw and to play with the form, eventually without observing the object and thus entering a new realm of understanding.
Fully explores value, surface texture, mark-making and composition in ink and pen.
Reflects the conceptual and literal contrast of interior and exterior in an interesting manner.
AssignmentDescription / Instructions
For this assignment you will be creating a composition based on the idea of contrasting an object’s interior contents with its exterior shell. Examples of subject matter might be one of the following: a purse, a fruit or vegetable, a toolbox, a refrigerator, a car, a backpack, a body, etc… Think broadly about this subject matter and brainstorm several ideas. Create your composition with via collaged imagery and/or photography Photograph your composition for reference during the development of your drawing.
Your final composition should be no smaller than 16”x20” and no larger than 18”x24.” Lightly sketch your composition on a full sheet of paper in graphite and trim your final drawing to when it is complete for presentation.
With an ink pen and variable sized nibs, build up the values and textures in your composition with a mark-making method of your choice—hatching, cross hatching, scribbled lines, etc… Your drawing marks should be short, repetitive and use a hatching-like technique to build areas of value and establish a sense of volume in your composition. Remember that this is an ADDITIVEprocess. Sequence your drawing to find all of the middle tones first and proceed to build the darkest areas slowly.
Leonardo De Luzio
Specific Material Requirements
Drawing paper (18”x24”) Black India ink Water Ink pen & nibs Small jar(s) with lids
Tips
*Remember to avoid outlining objects with solid contour lines. Use broken lines instead.
*Start your drawing with diluted ink! Dip the pen tip into 100% ink, blot, then dip into water, blot, then draw.
Create a drawing of hallway or interior space that
Is accurately measured (proportion and scale),
Utilizes correct linear perspective (vanishing point(s))
Establishes a deep sense of space (foreground, middle ground & background)
Includes descriptive details and characteristics of the space (doorways, windows, furniture, etc…)
Project Considerations
Remember that the tops and bottom lines on any architectural details along the receding walls will recede back toward the vanishing point. (doors, baseboards, windows, recessed hallways, signs, etc)
To prevent smudging while you work, keep clean sheet of paper under your hand while you are drawing, especially while you are using the softer pencils.
Find a suitable space to work. A hallway or large room where you have enough distance to measure from floor to ceiling with your sighting stick will work well. Be sure to sit on a chair so that your eye level is not too low to the floor.
Use a sharpened H or HB pencil to lightly begin your drawing. Follow the measuring directions on the next few pages to set up your space, starting with identifying and measuring the basic proportions of the room/hallway and then identifying the vanishing point from your fixed position. Feel free to walk across the room/hallway and mark the vanishing point on the wall with some tape!
Once your drawing is accurately mapped out begin adding in description and details that define the interior space. (Doorways, large furniture, windows, etc…) These details will help establish the foreground, middle ground and background.
Add expression to your drawing with varying line weight to emphasize overlapping forms and the illusion of distance. (Lighter line weight with forms farther away)
Setting up your drawing…
Step 1: Locate and measure the front of the space. Use this frame as a unit of measure.
Step 2: Locate your fixed position (eye level & vanishing point)
Step 3: Locate vertical lines of the far end of the hallway walls
Step 4: Locate the top & bottom corners of the front and back end of the hallway walls.
Students will demonstrate appropriate techniques for using India ink on watercolor paper through the progressive building of layers.
Students will be able to accurately illustrate value changes and depth through the use of India ink.
Info
With your previously completed contour drawing created on watercolor paper, use India ink to create an engaging and contrasting value study painting. Using a cup of water, thin the India Ink until you have a very light grey. You can use this light grey to build up subtle value changes throughout your drawing.
If you make the ink too dark and apply it to the paper, there is no way to lighten it up. Take your time and allow the ink to dry between layers. When your India ink drawing is dry, hang it up on the board. Does the drawing grab your attention and make you want to come in for a closer look? Once you do come in for a closer look, are there enough details to keep you interested or were you able to see everything from afar?
Materials
Sketchbook
Contour drawing completed on watercolor paper
Small paint brush
India Ink
Cup
Water
Sketchbook Mini-Assignments
1. Using a houseplant or bush from outside, draw the negative space surrounding the plant using contour drawing. Negative space is typically the space around an object. Positive space is usually the object itself. (see this link for more information). After you have drawn the negative space, fill it in with graphite or marker. Do 3 of these in your sketchbook.
Project
On a small sheet of watercolor paper, create a contour drawing of your feet. Bring this to class for the Ink Demo.
Using one of the compositions you created for the contours assignment, create a detailed contour drawing in Sharpie on watercolor paper. Focus on using both thick and thin lines. Thin lines will appear further back in space while thicker lines will appear closer. After you have completed the drawing, fill in the values using India ink of different shades, working from light to dark.
1. Develop observational, compositional and conceptual problem-solving skills (supports PLO 6). 2. Demonstrate proficiency in the use of basic drawing media (supports PLO 6). 3. Demonstrate various drawing techniques (supports PLO 6). 4. Develop critical thinking skills as they apply to the visual arts (supports PLO 4 and 6).
Materials
Newsprint
Vine Charcoal
Info
Gesture drawing explores the form and movement of an object in space, as your eye follows its shape. Often it may look quite realistic, but more often gesture drawings will have just a sense of the overall form. Gesture drawing isn’t an outline, nor is it an abstract drawing. It might not always look realistic though, because it isn’t trying to represent the figure in a photographic way, but trying to suggest the essential feeling of the subject.
Imagine you are describing the object with your hands as you talk to someone – those hand gestures are very like those you make when gesture drawing. The marks are quick and deliberate. You look at the subject and try to sum it up with a few marks, as you might describe it in a few words. Because you don’t have much time, each word – each mark – in a gesture drawing must say something significant about the subject.
When creating a gesture drawing, according to Kimon Nicolaides in ‘The Natural Way to Draw’, “you should draw, not what the thing looks like, but what it is doing. You need to ‘sense’ the thing that you are drawing. Is it fluid and soft, or spiky and hard? Is it coiled like a spring, or off-center and asymmetric, or is it solid and balanced?
By nature gesture drawing tends to be done rapidly. Loose, often circular marks capture the flow of forms. Look at the whole object and notice points of tension, direction of weight or pressure, spaces, protrusions into space.
Sketchbook
5 gestures of living objects and 5 gestures of non-living objects. These should be done with pencil in your sketchbook, drawn from life and should be done in less than a minute each.
Check out one book from the library, preferably from the Art section. You can also find images online but they need to be of real things – not images of paintings or other 2 dimensional works. Flip through the book and find 20 images that are visually appealing. Draw each of these images in your sketchbook. 1 page per image (you can draw on the back and front). Do these as quickly as possible but not more than a minute each.
Answer these questions in your sketchbook: Why do we begin with gestures? What is the role of empathy in drawing? What does “movement” have to do with it? In what ways does gesture inform us in our drawing?
Project
Students will set up a table with a low stool or box on top. They will then cover this with a white fabric, black fabric, or striped fabric. Students will be instructed on how to correctly set up a still life using a 3 stage method (ground, table, and stool). Students need to create areas of interest on all sides. Students will also be directed to look for good compositions.
Gestures are designed to capture movement and overall form, not detail. This type of drawing should be done with the whole body, especially the arm.
Examples
1 Minute Gesture (5, drawing different objects each time) 2 Minute Gesture (15, rotate to the right for each drawing) 1 Minute to 5 Minute (3, start with only 1 minute, then allow students to add details) 5 Minute (3, change positions, low, medium, high)
