The first summer session begins on Tuesday, six weeks of intensive drawing. Like last summer's very successful 'series' project, we will again work on developing individual serial images based on individual ideas, and the only themes are commitment and imagination.
The four images above are by Hilary Brace. They are each created with charcoal on frosted mylar, with the largest dimensions being roughly 3.5" x 9". Although they are all small in scale, the sensation of space is immense. The drawings have a sense of the real, capturing the forms of nature. However, they are invented images and the compositions were built from imagination. Even if these views had been drawn from specific places, the shifting formations of clouds would never look the same for long; each scene would ultimately be clarified in the mind's eye of the artist.
Brace drew skies, mist, and clouds; nevertheless, the real subject is invented light, dramatized with chiaroscuro and atmospheric perspective. Light and dark values compose each image. They are created reductively by erasing into the darks of the charcoal.
Some issues and ideas concerning a series:
Artists work with the ideas that have meaning for them on a personal and/or societal level.
The time period in which the work was done often determines relevant social issues that influence the artistss attitude in their drawings.
As an artist you must move beyond exercises, connecting your drawings with personal concern and stylistic approach.
Wow! Those clouds are really amazing. I enjoyed the spring session, can't wait to follow the summer session's progress and creativity on the blog.
ReplyDeleteGood Luck and have fun!
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ReplyDeleteI don't suppose we could explore some of the qualities of the various papers you mentioned on the syllabus Brian? Or would you have samples of work done on them? Also, drawing on mylar?????? Like we used for the printmaking? I'm just picturing it as being clear and all I can think of that you could use would be the black markers???
ReplyDeleteI'm so excited about participating in another Summer drawing course...I am currently developing a few different ideas I have regarding the series. Can't wait to get started!
ReplyDeleteSee you soon!
Connie, it's frosted mylar, like the kind that David Morrison drew on during his visiting printmaker session. Look back at the post on INTALYO to see examples of that work. And, yes, we can look at some paper samples. I do have some examples that I can bring in. I'm excited that you're excited, Aberlyn, it'll be a fun six weeks. Jennifer, glad you'll be stopping by from time to time. Come draw with us some day if you'd like.
ReplyDeleteThanks Brian. I think I even made note of it in my sketchbook, but if I missed it I'll check the blog.
ReplyDeleteAberlyn, I'm where you're at that I'm already kind of thinking out my series a bit and it's already morphing. Amazing how this process does that.
Thank you for the presentation on papers today. That was exactly what I was looking to learn. My concern was I would come up with an idea for the series imparticular and find that the paper I invest in wouldn't be appropriate for the project. I don't know about others but I think in the F100 a lot of us that aren't familiar fall into the Stonehenge rut. I know I did.
ReplyDeleteConnie, you can't go wrong with Stonehenge. It's a flawless, white vellum surface that makes it ideal for drawing and painting with either pastels, pencil, charcoal, acrylics, and/or watercolor.
ReplyDeleteStonehenge is a really popular paper because of its versatility, it's machine made of 100% cotton rag, buffered and acid free. It has an even, soft surface with slight tooth and a fine, even grain with two deckle edges. It'll be interesting to see the driver's license drawings on thursday, especially by the person who selected that paper in particualr. In fact, seeing the different materials on the variety of surfaces should teach us all a lot.
I actually have a lot of Stonehenge left over from the printmaking class. But, you know me and my toys. :) I took a piece of the Archer (sp?) Cover paper for mine. From what you said it might work well for what I'm thinking with the series. I'm going to play with it today and tonight a bit and see what results I get. I'm even going to try the water color on it. You've seen my water colors. Do you think for the series I should try some of the water colors you suggested in printmaking? I think you said the difference is you add it to the water versus the cubes. I know I've seen some tubes at Hobby Lobby of that. I don't recall the brand or if you specifically said one. But, they were water soluable and you put a dab in the water rather than dabbing a wet brush on the paint cube. For this I'll use the same ones I used in printmaking. The one thing I did find is I'll need a bigger brush than I have. I played in my watercolor sketchbook last night and if I use to small of a brush I don't get the paint on evenly when I block in and by the time I blot it the paint had started to absorb. (Hobby Lobby has 40% off coupon. Woo hoo! Good brush!)
ReplyDeleteConnie, the kind I was talking about in printmaking is probably not made any more. I just found my set here at home and it looks really old, although the colors are still liquid. It's called "Dr. PH. Martin's Radiant Concentrated Water Colors", that's what's stamped on the side. Each bottle says "Synchromatic Transparent Water Color". The set contains 14 little bottles with an eye-dropper top, so that you can add one drop of color to water. The colors are very intense. They are totally transparent. Since you're going to be drawing over the watercolor, I think the set you have will work just fine, but you'll want to explore the possibilities.
ReplyDeleteI like the water colors as Brian suggested, but my favorite now are the acrylic inks in the same type little bottles. I get more control when working over them with other media. Here is the link to Preston's inks page. Make sure you find acrylics. All the inks are listed here. They have several brands depending on the budget. I prefer the FW brand.
ReplyDeleteDo you mix them with something or apply them directly Shawn? I'm definately trying to achieve a very subtle background to the drawings. Almost like what I did on the one print of Durer's hand in printmaking.
ReplyDeleteYou two are the best! :)
http://www.dickblick.com/products/dr-ph-martins-radiant-concentrated-watercolor-sets Sweet! I'll have to wait till next week, but I own 'em!
ReplyDeleteConnie, the acrylic inks behave basically like the watercolor. They just are not as water-soluble when they dry. Water color pigment is deposited on the paper when it dries and some is absorbed into the fibers. Acrylic inks bond when they dry like acrylic paint becoming plastic, For me, they just are just a more stable base when mixing media. your mileage may vary.
ReplyDeleteNice first day. Some good work. For those of you fighting the concept of drawing a background or negative spaces, here is a video that will show you better than words. It really makes drawing easier and cleaner. You don't need to use this exact method, but you will get the idea. Let the background do the work. Browse around. You can pick up some great tips by watching someone else.
ReplyDeleteThat's an interesting video, Shawn. The use of frisket film is very effective at keeping edges clean and sharp, but it often makes shapes look as though they are pasted into an image because their edges are almost too sharp. I use to use that stuff a lot when I worked with airbrush.
ReplyDeleteI would not recommend that method at all. I just love that it gets the point across so well. Use the negative spaces. They help.
ReplyDeleteI'm thinking you could almost use a ruler to get a bit of an edge for that effect rather quickly.
ReplyDeleteShawn, can I ask a favor? If I bring in a small jar on Monday would you mind if I get just a dab of the ink from you to test out? If I'm understanding you mix it with water still? I'm thinking I can test it out at least on a scrap of Stonehenge and my cheap water color sketch pad to see the effect before I purchace what I need for my series.
ReplyDeleteSure, Connie, I always have some with me anyway. But, don't get too caught up in the media and materials. It is really fun to experiment with new media and surfaces. Just make sure you spend enough time actually drawing. Nobody will notice expensive paper or what ink you used if the drawing is not up to par. Have fun, but stay focused. This is a really short semester. I already feel behind. So much to do.
ReplyDeleteThanks. I am Shawn. I remember last year though too. One thing, although I realize there's just never enough hours in the day I am ahead of last year at this point. I was still trying to figure out WHAT to draw for the series at this point. It was very stressful. And it wasn't until midterm critique that you suggested drawing on canvas for my series. I am practicing the drawing, but I'm playing with the media and materials while I do. Today I'm pulling out the Stonehenge to see how it feels on that. I will say one thing. After drawing on the Arches that night and then using the pastels in class on Thursday I really fell in love with the Arches. There was virtually no dust!
ReplyDeleteI spent yesterday doing a bit of philosphy homework and watching videos of artists that combine the watercolor and pastels. There were several techniques I found interesting. I didn't know you could work with the wet paint and the pastels for different effects. And there was an artist that does a base of watercolor, then pastels and then adds more watercolor to blend the two more together. She kind of went back and forth. Honestly, I would have thought it would have just made a huge mess!