THURS. 12/6 FIgure Drawing

Isabel Martinez

Last night students wrapped up their introduction to drawing from the figure.  We started with a series of quick, exaggerated contour drawings. The objective was to intentionally distort areas of the body to draw the viewer's attention to these areas as well as "force" a foreshortened point of view. From there students continued with contour studies occasionally adding tone to create focal areas. Notice in Isabel's drawing above the heightened sense of awareness in the size and weight of the hands by employing a greater sense of line quality.

HOMEWORK #8 SELF-PORTRAIT

For the eighth and final homework assignment students are to render a self-portrait. We have two very different examples above. The top drawing is a traditionally rendered image addressing light and shadow as well as the textural qualities of the head and face. The drawing below it is a more conceptual piece with a very moving and powerful commentary on the frailty of life and the passing of time. The use of props brings added dynamics to the narrative.

WED. 12/5 Portraits cont.

Austin Krimont

Students continued working on portrait drawings. Austin's drawing above exhibits a good scale to the dimensions of the paper as well as strong handling of the volumes and structural elements of the skull and features. The subtle tonal changes add volume to the brow ridge and lock the eyes into place. Overall, the features are full and dimensional.

TUES. 12/4 The Figure

Dorothy Geiger, 25 min.

Phoebe Kobabe, 25 min.

Students began drawing from the "clothed" model last night. Dorothy's drawing above clearly illustrates her attention to the proportions and relationships of all the parts of the figure. Notice the many axis lines throughout the figure, in particular, the brow ridge, the shoulders and hips. Furthermore, she has addressed major landmark areas and joints with cross contours. It's a very strong "first time" drawing of the model.

Phoebe is more experienced with working from the model. She has quickly rendered the whole figure on the paper noting proportions including the bench supporting the figure. Close inspection reveals her thought process and the subtle adjustments to the forms from her initial layout of the figure. Her loose and rapid sketching in the beginning has allowed her time to render light and shadow as well.

PORTFOLIOS ARE DUE NEXT MON. & TUES.

Portfolios should be presented in a semi-professional manner with flat, clean drawings free of smudges and wrinkles or tears. Your portfolio may be store-bought or two pieces of cardboard duct taped at ONE end. Taping up your drawing pad is not a proper portfolio. Your portfolio should include only those drawings listed and nothing more (i.e. rulers, drawing pads, other drawings etc.)

Please note that some drawings do not pertain to both sections of Art 7A.

ART 7A
1. Midterm Drawings
2. Imaginary Space (Linear Perspective)
3. Ink (Bones M/W only) and Blocks
4. Texture
5. Color 1 and 2
6. Portraits: Planar Analysis and Value
7. Figure Drawings (T/Th only)

In a separate section
8. All homework
9. DHR

ART 7B
1. Contour
2. Gesture
3. Eye Level 1 and 2
4. Improvisation
5. Vanitas
6. Autobiographical Still life
7. Larger than Life
8. Light and Dark Rhythms
9. Imaginary Space
10. Texture Swap
11. Color 1 and 2
12. Portraits: Planar and Value
12. Figure Drawings
13. Homework
14. DHR

HOMEWORK #7 Color

On black paper (unlike the drawing above), arrange a still life of 5 to 7 small (real) objects using colored pencils. Choose a color scheme that complements the subject in mood and/or function. Pay attention to composition, negative space and eye level. You may include elements from your imagination.

MON. 12/3 Portraits: Planar Analysis

Susan Hix

Last night students began portrait studies employing the Planar Analysis technique. By addressing the planes of the head and face, all curved edges are straightened out creating a more angular and geometric visage. Remember that identifying the planes is important because it focuses attention on the skull structure underneath the flesh and features as well as providing the directional movements of the volumes and the values placed over them.