Spring 2010

We're about to start another semester exploring the drawing process and its supporting foundation of the basics, although it seems like we just finished the fall semester. Gosh, I guess we did. I've posted the syllabus on ONCOURSE so that you can have early access to the supply list and the class calendar.  There have been a few changes since last semester, which we'll discuss on Tuesday evening during our first meeting. Between now and then, please peruse our blog over the past few semesters to see and read what some of the previous F100 classes did with projects and how they responded to some of the discussions. I think you'll enjoy it.  See you Tuesday evening. 

Final Projects

The group critique started with groups of four critiquing four other drawings from another group. We had tried this process before, but this time all the kinks got worked out before hand and the discussion process was very productive and constructive.

After the group critique, Kirsten, Craig, and Lori kept going after everyone else had left the studio.

Tana Tidd's horse gear.

Sam Chumley's self portrait with mask.

Lacy Crouthamel's self portrait with mask.

Jessica Hagedorn's autobiographical still life.

Craig Banks' worm's eye view still life.

We got the things wrapped up on December 8 with our best critique of the semester. Unlike previous sessions, this one was engaging until the very end, and then there were a few who stayed longer to continue discussing the drawings. It was pretty amazing to see how much growth there had been in every one's work, and for many this was a first time experience with drawing.

Once I started to review the portfolios that growth became even more evident, and there seemed to be a direct correlation between the development of drawing skills and activity in the sketchbooks. To those who used their sketchbooks to increase observation and manual skills, I hope you too can see the improvements.

Good job everyone and hope to see you next semester.

Drawing toward the final project...

Tana Tidd

Richelle Greenblat

Jessica Hagedorn

Gilbert Garcilazo

First, I didn't get the chance to get examples shot of the alternative self portaits, so I'm including a few here that were submitted a little later that I still had in my office.

The final project has been assigned so everyone is on their way to getting fully absorbed in the details of that. Options include a "worms-eye" or a "bird's-eye" view of a still life, no horizon line or back edge; an additive and reductive drawing of a still life with interesting and engaging forms; a self-portrait with a mask, and finally an open-ended option that was to be presented as a proposal with to-scale sketches. I had one of those, but the plan has since changed back to one of the other options. So we'll essentially be looking at a group of drawings based on option #1, #2, or #3. I'm sure there may be variations on those, but as long as the gist of those ideas is there, then the only surprises will be in the strength of the executions of the images. I anticipate a group of drawings that will clearly exhibit strong developments in the skills and comprehension of composition, effective use of the art elements, critical thinking skills to resolve the creative problems that manifest during the execution, ideas that are well considered and unique, and well crafted final projects.

We won't be meeting until after the Thanksgiving break on December 1, so I am hopeful that everyone will utilize whatever time they can grab over the holiday to explore this final project. Have a great Thanksgiving!

Alternative Self Portraits

The next out-of-class project has been assigned and everyone is well on their way to having a new "best effort" for our November 5 critique. Some examples of this project from last spring can be found by going back to April 8, 2009 to the "Hidden Places" post.  In fact there are a few of those shooting into the purse images that are also subjects this go-around. I know there was some frustration with the previous project because there was so much of the same thing (i.e., popcorn, grapes, goldfish, sunflower seeds, etc.), but this time I expect you'll enjoy the process more since you are doing more self-exploration with the images. The critique will be more engaging as well since there will have to be some discussion about "who" we are in those drawings. Hope they're going well, there are ten more days for this self exploration, make the quality of time good.

The last Course

Kevin's grapes.

Heather's Goldfish.

Gilbert's Popcorn.

Craig's Pineapple.

Brittany's Sushi.

Here are some of the food drawings that came in this week after some revisions based on critique comments. They look pretty yummy!

Yum, yum!

Will Goolsby's Sunflower Seeds

Tana Tidd's Chex Mix

Sam Chumley's Saltines

Lori Richie's Nutter Butter

Kirsten Goodman's European Waffers

Grace Stetenbenz's Animal Crackers

The midterm drawing projects of food magnification have arrived on the table and there are several tasty images. This was, of course, a big project and took considerable time and effort, lots of looking and lots of mark-making, but I think it's a project that always indicates a considerable level of development in the working process of beginning drawing students. If for nothing else but to recognize that the effort will expand skills significantly, skills in drawing and skills in seeing and recognizing the subtleties of our world.  Commitment to be the best you can be in any project, in any studio class, is always the ultimate goal, and there were many fine examples of that in this group of images. I have included a few with this post that were at a stage of finishedness (is that a word?). I'll look forward to seeing how they all get finished and resolved by next Thursday.

FOOD MAGNIFICATION

Tomorrow will be an in-class working day for the food project.  While you're working on your drawings, I'll meet with each of you for a brief look and discussion about where the drawing is, where it's going, and what needs to happen to get it there.  Again, this is a time intensive project, so investing a few hours a day is a really good plan.

A good test to measure how your drawing is going is to take two pieces of white paper, cut a one inch square in one and a three inch square in the other.  Then place the one inch square over one of the gridded sections of your image, and the three inch square over the corresponding square of your drawing. Now squint your eyes and see if the drawing matches the value range of the image you're working from.  If they match, you're in good shape.

See you tomorrow.