Basic Drawing 01A:003:001 The University of Iowa, School of Art and Art History Fall 2013, Tuesdays and Thursdays 8:30 – 10:20 am 1609 Studio Arts INSTRUCTOR Instructor: Brian Prugh Email: firstname.lastname@example.org Office Address: 1826J Studio Arts Office Hours: M 12:20 – 2:20 pm, T/Th 8-8:30 am
Course Supervisor: Sue Hettmansperger Email: email@example.com Office Address: 1624 Studio Arts Office Phone: 319.335.0246
COURSE DESCRIPTION In much the same way that writing essays helps us learn to think, drawing from life helps us learn to see. In this course, drawing will be taught as a way of articulating vision; the purpose of this class will be to acquire a set of tools that allow you to see more deeply and to develop the complexity and integrity of your drawings as documents of visual experience. The course will cover a range of concepts, including line, form, composition, value, and space. We will discuss and engage with various systems of “rules” surrounding these concepts, always testing them against visual experience and with the recognition that one must know the rules of the game in order to effectively break them. The acquisition of a formal vocabulary with which to discuss drawing is an essential element in the development of a subtle visual understanding. The course will make use of texts from artists, art historians, and other sensitive visual thinkers to help you think critically about the visual concepts presented in class. We will also consider images from art history, video segments about living artists, and selections from film, music, and poetry to consider cross-connections between drawing, the visual arts, and other artistic endeavors. Perhaps the most significant goal of the course is to use drawing as an entry point into a consideration of the broader human concerns central to the arts and humanities.
IN-CLASS WORK In-class work will involve engagement both with visual concepts and with different ways of creating drawings. Students are expected to use techniques described in class, even though they may at first seem unfamiliar, difficult, or counter-productive. Drawing techniques described in class are aimed at giving the student greater expressive flexibility, but often take some adjustment and acclimation (and some bad drawings) before their expressive possibilities are realized. Please keep all in-class work, as a selection of in-class drawings will be turned in with the midterm and final portfolios. In-class assignments will be graded based on intensity of work, engagement with concepts presented and the medium used. Steady work throughout the class period is expected: please ask for guidance if you get stuck, lost, or just do not know where to take the drawing.
ATTENDANCE Due to the nature of this course, in which concepts are presented in classroom demonstrations and individual instruction happens during each class period, attendance at all classes is essential and mandatory. Three or more absences will result in a penalty of one letter grade; six or more absences will result in failure of the course. Three tardies are equal to one absence.
HOMEWORK As this is a 3 credit-hour course, students are expected to complete approximately 6 hours of work outside of class each week. Following is a brief overview of the expectations for this course. Assignments are due on the day they appear on the calendar. More detailed descriptions of each assignment are located in the sections after the calendar.
Readings: Supplemental readings will offer theoretical discussions of or thoughtful reflections on the concepts being considered in class. Students will be expected to have prepared the required materials before class. The required readings are on average fewer than 10 pages in length and should not require a substantial time commitment. Each Tuesday critique will begin with a brief student-led presentation and discussion on the readings for that day. You will be graded both on your presentation and on your participation in other student-led discussions; as such, it is imperative to come to class prepared.
Video Segments: Each week will have an assigned video segment from the art:21 series produced by PBS featuring living artists. Each segment is selected to pair a concept discussed in class with a living artist who engages with that concept in an interesting way. These segments provide a great opportunity to acquaint oneself with working artists in thoughtful, bite-sized chunks (approximately 10-min. each). All video segments can be accessed through ICON.
Sketchbook Assignments: Each week students will be expected to complete an exercise or series of exercises in their sketchbooks. These exercises are designed to help students develop their visual (and manual) understanding of the concepts presented in class. Sketchbook assignments often relate to the weekâ€™s drawing assignment and often need to be completed before beginning the Drawing Assignment. Sketchbooks will be collected periodically and evaluated for completeness, understanding of the concepts, and for the visual imagination of the solutions achieved.
Drawing Assignments: Drawing assignments are designed to challenge the student to work out concepts discussed in class in a larger, more fully-developed context. Assignments will be critiqued in class to address the concepts presented in the drawings, affording students the opportunity to discuss difficulties, frustrations or any questions they may have about the assignment. Drawing assignments, like the sketchbooks, will be evaluated for completeness, understanding of the concept, and for the visual imagination of the solutions achieved.
Presentation: Students will be asked to make a presentation (with a partner) on one assigned reading during the course. The two students presenting will work together to create a single presentation lasting 10-15 minutes. Presentations should involve a brief overview of the main point of the reading as well as 3-5 questions with which to lead a class discussion.
Essay: As part of the course, students will be expected to write a 1-2 page critical essay. The essay will center on a brief critical discussion of one art:21 segment of your choosing. Reference should be made to at least one additional art:21 segment (by way of contrast or comparison) as well as to one of the required readings for the course.
GRADING Grades for the course are based on two portfolios, in-class participation, a brief presentation, and a short essay. Attendance can affect your grade positively or negatively (see attendance policy below). The course grade is based on a point system. It is possible to earn a total of 1000 points for this course. The grading scheme is as follows: Midterm Portfolio: 350 total points Drawing Assignments: 150 points In-Class Drawings: 100 points Sketchbook: 100 points Final Portfolio: 450 total points Drawing Assignments: 200 points In-Class Drawings: 125 points Sketchbook: 125 points Participation: 100 total points Midterm Participation: 50 points Final Participation: 50 points Presentation and Essay: 100 points Letter grades will be assigned according to the total number of points received. Plus-minus grading will be used.
LIST OF READINGS (in assignment order) Michael Fried, “Two Bookcases,” from Menzel’s Realism Ben Lerner, “Dedication” and first two poems in “Mean Free Path” from Mean Free Path Benjamin Sutton, “Inside the Artist’s Studio: Dawn Clements in Greenpoint” Rudolf Arnheim, “Form,” from Art and Visual Perception Walt Whitman, “Crossing Brooklyn Ferry,” from Leaves of Grass Charles Bouleau, from The Painter’s Secret Geometry “The Frame” “The Musical Consonances” Leon Battista Alberti, from De Pictura John Luther Adams, “Clouds of Forgetting, Clouds of Unknowing” David Hockney: Secret Knowledge: Rediscovering the Techniques of the Old Masters Wallace Stevens, “The Idea of Order at Key West” Anton Chekhov, “The House with a Mansard, or An Artist’s Story” T. S. Eliot, “East Coker”
SUPPLEMENTAL MATERIALS George Bridgman, Bridgman’s Life Drawing Hirokazu Kore-Eda (Director), After Life [DVD, shown in class]
Unit 1: Line
T – 8/27: Course syllabus and introductory lecture. R – 8/29: Building up a drawing with different kinds of lines. (Pencil) READING: Michael Fried, “Two Bookcases”; and Ben Lerner, “Dedication” and first two poems in Mean Free Path (Readings | pp. 1-13) ART:21: Glenn Ligon
Unit 1: Line
T – 9/3: Critique. Gesture drawing and texture with line in still life. (Pencil, ink, vine charcoal) SKETCHBOOK ASSIGNMENT #1: 25 gesture drawings from a public place DRAWING ASSIGNMENT #1: Book of Lines READING: Sutton, “Dawn Clements in Greenpoint” (Readings | pp. 14-18) ART:21: Mark Bradford R – 9/5: Gesture drawing from the model. (Ink, vine charcoal)
Unit 2: Form
T – 9/10: Critique. Projecting form: presentations on the cube, the cylinder and the cone. (Pencil, vine charcoal). Lab day: creating shapes from projections. SKETCHBOOK ASSIGNMENT #2: 25 more gesture drawings DRAWING ASSIGNMENT #2: Dorm Room Drawing READING: Rudolf Arnheim, “Form” (Readings | pp. 19-28) ART:21: Lari Pittman R – 9/12: Drawing forms from still life. (Pencil, vine charcoal)
Unit 2: Form
T – 9/17: Critique. Drawing forms from life: breaking down compound forms into component parts. (Pencil, vine charcoal) SKETCHBOOK ASSIGNMENT #3: Forms rotating in space DRAWING ASSIGNMENT #3: Cubes and Cylinders READING: Rudolf Arnheim, “Form” cont’d (Readings | pp. 29-37) ART:21: Martin Puryear R – 9/19: Looking for an essential form. (Pencil, vine charcoal)
*Please note that DRAWING ASSIGNMENT #4: Essential Form is due online by 5 pm Monday, September 23 for class on Tuesday, September 24.
Unit 2: Form
M – 9/23: *DRAWING ASSIGNMENT #4: Essential Form Due online by 5 pm. T – 9/24: Critique. Forms of the body: presentation on Egyptian and Greek sculpture, basic forms of the skeleton. Understanding how the body works. (Pencil, vine charcoal) SKETCHBOOK ASSIGNMENT #4: Bridgman DRAWING ASSIGNMENT #4: Essential Form READING: Walt Whitman, “Crossing Brooklyn Ferry” (Readings | pp. 38-41) ART:21: Bruce Nauman R – 9/26: Figure drawing using “boxes” to define volumes of the body. (Vine charcoal)
Unit 3: Composition
T – 10/1: Critique. Introduction to Composition: presentation on positive/negative space. Compositional terms. Compositions with silhouette forms. *Midterm Critique sign-up sheet. SKETCHBOOK ASSIGNMENT #5: Ten portraits/self-portraits DRAWING ASSIGNMENT #5: Full-length self-portrait READING: Charles Bouleau, “The Frame” (Readings | pp. 42-52) ART:21: Kerry James Marshall *ASSIGNMENT FOR THURSDAY: Find two images from current shows in galleries to illustrate opposing tendencies within your assigned term. R – 10/3: Museum Trip: Meet at the UIMA on the third floor of the IMU.
*Please note that Midterm Portfolio images are due online no later than 8:30 am Tuesday, th October 8 , regardless of your critique time. These images will take time to prepare and upload: do not wait until the last minute to do so.
Week 7 T – 10/8: MIDTERM CRITIQUES. *Images must be uploaded by 8:30 am. (Please refer to the Assignments section for complete details.) R – 10/10: MIDTERM CRITIQUES
Unit 3: Composition
T – 10/15: Reconstructing a drawing based on geometrical analysis. NO SKETCHBOOK or DRAWING ASSIGNMENTS THIS WEEK READING: Bouleau, “The Musical Consonances” (Readings | pp. 53-61) ART:21: Robert Mangold R – 10/17: Work Day: Use geometrical skeleton to create your own composition. *Bring to class: still-life objects.
Unit 4: Space
T – 10/22: Lab day: Working out Alberti’s theories. One, two and three-point perspective. SKETCHBOOK ASSIGNMENT #6: 5-10 sketches (geometrical skeleton) DRAWING ASSIGNMENT #6: Still Life Geometry READING: Leon Battista Alberti, from De Pictura (Readings | pp. 62-70) ART:21: Sarah Sze, Maya Lin R – 10/24: Hallway Drawings.
Unit 4: Space
T – 10/29: Working out space intuitively: long drawings in class. SKETCHBOOK ASSIGNMENT #7: Five interior architectural views of ABW. DRAWING ASSIGNMENT #7: Interior Architectural View READING: John Luther Adams, “Clouds of Forgetting” (Readings | pp. 71-74) LISTENING (optional): John Luther Adams, “Clouds of Forgetting, Clouds of Unknowing” (link available on ICON) ART:21: Rackstraw Downes R – 10/31: Drawing outside (weather permitting): giving space structure. *Please note that DRAWING ASSIGNMENT #8: Losing Perspective/Finding Perspective is due online by 5 pm Monday, November 4 for class on Tuesday, November 5.
Unit 4: Space, Unit 5: Value
M – 11/4: *DRAWING ASSIGNMENT #8: Losing Perspective/Finding Perspective Due online by 5 pm. T – 11/5: Perspective Walk. SKETCHBOOK ASSIGNMENT #8: Five landscapes READING: David Hockney, Secret Knowledge (Readings | pp. 75-88) ART:21: James Turrell R – 11/7: Thinking in Value: presentation on camera obscura. Value exercises with white, gray and black papers. *Bring to class: a magazine, several sheets of black and gray paper.
Unit 5: Value
T – 11/12: Creating value with ink and wash (Ink, bamboo pen and brushes, 3 cups for mixing, paper for drawing with ink). Introduction of final project. SKETCHBOOK ASSIGNMENT #9: Ten ink and wash drawings DRAWING ASSIGNMENT #9: Camera Obscura READING: Stevens, “The Idea of Order at Key West” (Readings | p. 89) ART:21: Ai Weiwei R – 11/14: Figure drawing with ink and wash.
Unit 5: Value
T – 11/19: Introduction to creating value with charcoal: presentation on charcoal. City skyline still lives. SKETCHBOOK ASSIGMENT #10: Five sketches for final drawing DRAWING ASSIGNMENT #10: Final Drawing: Preliminary Sketch READING: Chekhov, “An Artist’s Story” (Readings | pp. 90-106) LISTENING: Steve Reich, “WTC” R – 11/21: Creating form with value: Fabric and drapery.
*11/24 – 11/30: THANKSGIVING RECESS
Unit 5: Value
T – 12/3: Rough draft critique. Drawing the figure with value. SKETCHBOOK ASSIGMENT #11: Five sketches of objects in directed light DRAWING ASSIGNMENT #11: Final Drawing: Rough Draft READING: T. S. Eliot, “East Coker” (Readings | pp. 107-114) ART:21: Sally Mann R – 12/5: **ESSAY DUE AT THE BEGINNING OF CLASS.** *Final Critique sign-up sheet. Drawing the figure with value in space.
Week 16 T – 12/10: FINAL CRITIQUES. *Images must be uploaded by 8:30 am. (Please refer to the Assignments section for complete details.) R – 12/12: FINAL CRITIQUES
SKETCHBOOK ASSIGNMENTS Sketchbook Assignment #1. Make 25 gesture drawings of figures from a public place. You may draw multiple figures on a page, and may draw them either individually or in groups. Try to capture individuals in a variety of poses, working quickly from top to bottom and back up again with continuous lines to establish quickly, through the gesture of your pencil, the pose which the figure is holding. Sketchbook Assignment #2. Make 25 more gesture drawings of figures from a public place. Sketchbook Assignment #3. See the handout “Forms Rotating in Space” in the Supplemental Materials section. Sketchbook Assignment #4. Copy the illustrations from Bridgman’s Life Drawing (please refer to the Supplemental Materials section) to continue work on breaking down the body into its basic volumetric components. Sketchbook Assignment #5. Draw ten portraits/self-portraits. Work at a variety of different scales, from half-length to close-up compositions with the figure. For best results, show the head in a ¾ view: this helps (especially in self-portraits) to overcome the familiarity of the visage seen straight-on in a mirror. SKETCHBOOKS WILL BE TURNED IN AT THE TIME OF YOUR MIDTERM CRITIQUE. Sketchbook Assignment #6. Draw 5-10 sketches of the geometrical skeleton you intend to use to create your still life composition. There will be in-class time for transferring the sketches from your sketchpad to the large sheet of paper. Sketchbook Assignment #7. Draw five interior architectural views of Art Building West. Choose different spots to draw from with a range of complexity. Sketchbook Assignment #8. Draw five landscape views as you walk around looking for your vantage point for the “Losing Perspective” drawing assignment. One of the landscapes should be drawn from the spot you choose. Sketchbook Assignment #9. Thinking in value: draw ten ink and wash drawings after the manner of your in-class collages. You may draw any subject you like (although it must be drawn from life). Work on breaking down what you see into blocks of value instead of solid forms, using three shades of ink wash to construct the drawings. Sketchbook Assignment #10. Create a compositional architecture for your final drawing, working your ideas out in at least five sketches. Sketchbook Assignment #11. Make five sketches in pencil of objects in directed light. SKETCHBOOKS WILL BE TURNED IN AT THE TIME OF YOUR FINAL CRITIQUE.
Drawing Assignment #1: Book of Lines Purchase a small pad (approximately 9”x12”) of sketch paper: be sure that it is durable enough to handle ink, as we will be using it for ink drawings later in the course. Take four pieces and fold them in half. Staple twice along the folded edge to make them into a booklet. The booklet has 16 total pages, including the front and back covers. You will be using the booklet to catalogue a variety of different lines (11 kinds of lines in total) that we talked about in class. Choose three objects, and use them to create a small still life. You will make one drawing per page. For the first 11 drawings, draw the still life using only one kind of line. For instance, when th using contour lines, you will draw only the contours and not include any hatching. For the 12 drawing in the book, you will use ALL of the kinds of lines to draw the still life. In each of the drawings you must exhibit lines of varied: Weight (heavy – medium – light) – use different pencils and different hand pressures to achieve this variety Speed (slow – medium – fast) – make the lines at different speeds, do not simply “get into a groove” and make all of the marks at the same pace Rhythm (fast – slow, tight – loose, regular – syncopated, orderly – chaotic, rock – hip-hop, etc.) – rhythm has to do with how the lines function together, so relate lines to each other in different ways The book will be structured in the following way: PAGE
1 (front cover)
Gesture drawing (pencil rarely leaves the page)
Cross contour lines
Cross hatching lines
Revised lines (show all “misses”)
Hooks, squiggles, scribbles, etc: choose 5 distinct marks
“The kitchen sink”: use all of the marks to create a two-page drawing of the still life (not the kitchen sink).
16 (back cover)
Drawing Assignment #2: Dorm Room Drawing Using freezer paper or another material such as sketch paper, create a three foot by six foot piece of paper. With your ink and bamboo pen, create gesture drawings of everything in your room. Sit down in the center of your room with your piece of paper folded up on your lap. Begin drawing. Look slowly around you, and move from item to item, floor to ceiling, and left to right (or right to left), allowing the drawing to spill naturally onto the next section of paper. Do not worry if the sections do not match up exactly; the purpose of this exercise is to keep drawing. Try to create the drawing so that you reach the end of the paper at the same time you have turned all the way around in your chair.
Drawing Assignment #3: Cubes and Cylinders Find or construct (out of paper, perhaps) 8 boxes and 8 cylinders. Arrange them on at least five different planes. (You could set them on steps, stack boxes on top of one another, or use books or other items to create variations in planes within your drawing.) Draw the boxes using only revised lines (i.e., don’t worry about any details). Do not use an eraser, though please do use a variety of pencils to create marks of variable weight. Allow your “mistakes” to create the linear rhythm. Make your marks in such a way that the drawing looks slow and considered. Complete this assignment on one sheet of your 19” x 24” Bristol drawing paper.
Drawing Assignment #4: Essential Form On one of your Bristol sheets, in vine charcoal, make a drawing of one of the animal dioramas in the Museum of Natural History’s Hall of Mammals (the museum is located in MacBride Hall). You will be working to reduce this drawing to an essential form through a series of simplifications. Begin by drawing observationally, and work the drawing through a series of at least five different stages to arrive at a final, simplified form. At the completion of each of the five stages of the drawing, take a photograph of the drawing. Use Photoshop to crop the image, adjust the color balance, and resize the image so that it is a JPEG no larger than 1000 pixels on a side. Please title your images as follows and upload them to the drop box on ICON: LASTNAME_DA4_1.jpg (Essential Form Stage 1) LASTNAME_DA4_2.jpg (Essential Form Stage 2) LASTNAME_DA4_3.jpg (Essential Form Stage 3) LASTNAME_DA4_4.jpg (Essential Form Stage 4) LASTNAME_DA4_5.jpg (Essential Form Stage 5)
Drawing Assignment #5: Full-Length Self-Portrait Using vine charcoal on one of your Bristol sheets, draw a self-portrait (or portrait of a friend) in which the whole figure is visible on the page. Remember, the vine charcoal will not admit of a tremendous amount of detail, especially in the face, so you will need to simplify the figure and work with the medium to arrive at a satisfying image. Please do not use pencil or charcoal pencils to supply details: allow the image to remain somewhat abstract.
Drawing Assignment #6: Still Life Geometry Based on the concepts discussed in the Bouleau reading and in class, create a geometrical skeleton for a still life drawing. We will have a work day on Thursday in which you can receive feedback on your construction. Once you have arrived at a geometrical skeleton, arrange a number of still life elements, aligning them with the geometrical scheme. Your drawing should aim to incorporate the formal and spatial relationships generated by the still life objects into the geometrical scheme in an engaging and challenging way. Please draw in the lines that form the geometrical skeleton in pencil, leaving them visible in the final drawing. You may draw the still live elements with either pencil or vine charcoal.
Drawing Assignment #7: Interior Architectural View Choose one of the interior architectural views of ABW from your sketchbook and create a fullydeveloped drawing from that position. You will need to choose the perspective system best suited to articulating what you find engaging about the space. Remember to continuously check your drawing visually against what you see; do not let a perspectival scheme alone determine your placement of lines and planes. There should be some back and forth between your observation of the space and the system you are using to establish spatial relationships. The drawing should be in pencil on a Bristol sheet.
Drawing Assignment #8: Losing Perspective/Finding Perspective Begin at the center of the footbridge that crosses the river between the IMU and the Technology Building (please refer to the Perspective Walk Map in the Supplemental Materials section). Walk around the area. Look at things. Think about your position within the landscape as you walk around, and consider the way that what you see and how you see it affects your awareness of your body and what you are looking at. Choose a spot to look from in which what you see from that space is particularly engaging or interesting. Use the materials at hand to create some sort of marker for the spot. You should mark the spot in such a way that as we look for the marker we will be able to see what you have marked the spot with, but that someone passing the spot would not necessarily notice it as a marker. It should be temporary and should not require any “clean-up” to eliminate. Be sure that the marker is in place before the class visits the spot. Once you have chosen a place and marked the spot, put a marker on our class Google Map in the location of your spot. Include a description of the spot and what you were looking at. We will use the Google map to chart a course for our class Perspective Walk, stopping and looking at the world from each student’s perspective.
Drawing Assignment #9: Camera Obscura Turn your dorm room or a closet into a camera obscura. This will require some invention; you might use aluminum foil to block out light from the windows, for instance, and punch a small hole in the foil to project an image from outside your the window into your room. Set up a Bristol sheet so that the image is projected onto it, then create a drawing of the projected image using vine charcoal (with compressed charcoal for extreme darks if necessary). Use the projected image as a guide to define areas of lighter and darker values, and focus on creating the image optically instead of through an analysis of form.
Final Drawing Assignment: Memory Drawing With the film After Life in mind, choose a significant memory from your life to form the basis of your drawing. You will re-create this memory in a drawing. First, you will need to create a geometrical skeleton upon which to “hang” a depiction of your memory. Second, you will work from a “mock-up” of the situation, drawing observationally and placing figures in space in an engagement with your geometrical construction. You will work on this drawing over the last three weeks of class, receiving feedback on two separate occasions which you should incorporate into your final drawing.
Drawing Assignment #10: Preliminary Sketch of Memory Drawing Working on your 9”x12” drawing paper, create five ink and wash sketches for your final drawing. Use a pencil to mark off the geometrical skeleton that you will be using for your final drawing and then work in ink and wash to create a sketch of how you will use value to structure your composition (you might try out different geometrical skeletons, potential light sources, and value structures in the sketches).
Drawing Assignment #11: Rough Draft of Memory Drawing Using any medium on a Bristol sheet, create a rough draft of your final drawing. This should be a well-developed version of your final drawing: the more fully worked-out the drawing is, the better feedback you will receive on the work. Based on the feedback you receive in the critique, you may either re-work this drawing (in which case, please photograph the rough draft before going back into the drawing) or begin a new drawing for your final draft. The final draft of your memory drawing is due with the Final Portfolio.
PRESENTATION The presentation is an opportunity to connect the readings with the drawing techniques we are discussing in class. Students will present in pairs. Please meet with the professor before your presentation to discuss your ideas about the presentation and any questions you have about the reading. The presentation will consist of three basic parts: 1. A brief summary of the major points of the reading (2-3 minutes) This will involve a summary of the argument, discussion of the major points and, perhaps, reading some key passages and talking about what they mean. 2. A discussion of the concepts in the reading that are relevant to the course (2-3 minutes) Students should identify 2-3 concepts in the reading that are applicable to our study of drawing. This portion of the presentation should discuss the concept as it appears in the reading and the concept as we work with it in drawing. 3. Discussion questions: what can we learn about drawing from the reading? (8-10 minutes) The final part of the presentation will be a discussion of what we can take away from the reading and apply to our study of drawing. For this portion of the presentation, students should develop 3-5 open-ended discussion questions to start a class discussion based on the concepts discussed in the second part of the presentation. It is the responsibility of the class to respond to these questions and engage in a productive discussion. Presentations will be evaluated in two ways: the presenters will be assessed for their preparedness and ability to verbally discuss visual concepts (this will determine the grade for the presentation) and the class will be assessed for its responses to the discussion questions (this will be factored into participation grades).
ESSAY Write a 1-2 page essay discussing an artist from one of the assigned art:21 segments. You should conceive of this as a response to the artist’s work (that is, it should read as a coherent, unified essay), but please address each of the following questions in the essay: 1. Why did you choose this artist? What aspect of their practice is interesting to you? 2. How does this artist use one of the concepts discussed in the class in an engaging or innovative way? 3. How is this artist’s use of this concept similar to or different from that of another artist featured in an art:21 segment? 4. How does this artist’s work relate to one of the readings assigned in this course? 5. What has this artist shown you about what art is or what is possible in drawing / art? Use 12-point font and standard margins. Type your name and the name of the artist in the upperleft hand corner of the essay – no cover sheets, please. If the essay is more than one page, please staple it in the upper left-hand corner. This essay should be written in your own words, and there should be no need for quotes or citations. If you have any questions about citing sources, please talk to the professor. Essays will be evaluated for completeness, clarity, understanding of the concepts discussed and insight into the artist’s practices. While grammar will not, strictly speaking, form a part of the grade, students should be advised that poor grammar, typos and other mistakes interfere with the reader’s ability to understand what is being said. Students are strongly advised to have someone proofread their essay before turning it in (in addition to running a spelling and grammar check on the computer). th
The essay is due on Thursday, December 5 at the beginning of class. Late essays will be docked 5 points. Essays more than one week late will not be accepted.
MIDTERM PORTFOLIO th
*Midterm Critiques: October 8 and 10 (schedule will be determined in class on October 1 and posted on ICON by 5pm that day). The Midterm Critique involves two components: 1) a 10-15 minute 1-on-1 critique of your Midterm Portfolio with the professor; and 2) the preparation and upload of a digital Midterm Portfolio to ICON. *Please bring the following items to your critique: o o o o o o o
Five in-class drawings of your choosing Drawing Assignment #2 Drawing Assignment #3 Drawing Assignment #4 Drawing Assignment #5 Sketchbook Book of Lines (Drawing Assignment #1)
*It is imperative that you arrive at your assigned critique time on time. Students who are late to their critique will receive a penalty of 30 points on the portfolio. Be sure to arrive at the critique ten minutes before your assigned time so that you can put up your drawings during the critique of the person ahead of you. In addition to being brought to your critique, the five in-class drawings and Drawing Assignments #s 2 - 5 must be photographed and uploaded to ICON (the Sketchbook and Book of Lines will be collected at the time of the critique; no digital images are required of these two items). As with Drawing Assignment #4, please crop and color correct the remaining homework assignments and the five in-class drawings. Save them as JPEGs no larger than 1000 pixels on a side. Title the images as follows: o Image 01: (the first in-class drawing of your choice) LASTNAME_MIDTERM_01.jpg o Image 02: (the second in-class drawing of your choice) LASTNAME_MIDTERM_02.jpg o Image 03: (the third in-class drawing of your choice) LASTNAME_MIDTERM_03.jpg o Image 04: (the fourth in-class drawing of your choice) LASTNAME_MIDTERM_04.jpg o Image 05: (the fifth in-class drawing of your choice) LASTNAME_MIDTERM_05.jpg o Image 06: (Drawing Assignment #2: Dorm Room Drawing) LASTNAME_MIDTERM_06.jpg o Image 07: (Drawing Assignment #3: Cubes and Cylinders) LASTNAME_MIDTERM_07.jpg o Image 08: (Drawing Assignment #4: Essential Form Stage 1) LASTNAME_MIDTERM_08.jpg o Image 09: (Drawing Assignment #4: Essential Form Stage 2) LASTNAME_MIDTERM_09.jpg o Image 10: (Drawing Assignment #4: Essential Form Stage 3) LASTNAME_MIDTERM_10.jpg o Image 11: (Drawing Assignment #4: Essential Form Stage 4) LASTNAME_MIDTERM_11.jpg o Image 12: (Drawing Assignment #4: Essential Form Stage 5) LASTNAME_MIDTERM_12.jpg o Image 13: (Drawing Assignment #5: Full Self-Portrait) LASTNAME_MIDTERM_13.jpg th
*Images must be uploaded no later than 8:30 a.m. on Tuesday, October 8 . Late submissions will be docked 30 points. Submissions more than one week late will not be accepted. Note that if you turn in your portfolio late and are also late to your critique, your Midterm Portfolio grade will be lowered by 60 points (a total of two full letter grades).
FINAL PORTFOLIO th
*Final Critiques: December 10 and 12 (schedule will be determined in class on December 5 and posted on ICON by 5pm that day).
As with the Midterm Portfolio, select five in-class drawings to include with your Drawing Assignments in the Final Portfolio. Bring all five in-class drawings along with Drawing Assignments #s 6-11 and the Final Draft of your Memory Drawing as well as your Sketchbook with you to the critique. (You will turn in your Sketchbook, which will be available in the classroom th by Monday morning, December 16 .) Final Portfolio Checklist: o o o o o o o o o
Five in-class drawings of your choosing Drawing Assignment #6 Drawing Assignment #7 Drawing Assignment #8 Drawing Assignment #9 Drawing Assignment #10 Drawing Assignment #11 Memory Drawing Final Draft Sketchbook
Once again, please photograph and edit images of each of your five in-class drawings and the drawing assignments. Save them as JPEGs no larger than 1000 pixels on a side. Title the images as follows: o Image 01: (the first in-class drawing of your choice) LASTNAME_FINAL_01.jpg o Image 02: (the second in-class drawing of your choice) LASTNAME_FINAL_02.jpg o Image 03: (the third in-class drawing of your choice) LASTNAME_FINAL_03.jpg o Image 04: (the fourth in-class drawing of your choice) LASTNAME_FINAL_04.jpg o Image 05: (the fifth in-class drawing of your choice) LASTNAME_FINAL_05.jpg o Image 06: (Drawing Assignment #6: Still Life Geometry) LASTNAME_FINAL_06.jpg o Image 07: (Drawing Assignment #7: Interior Architectural View) LASTNAME_FINAL_07.jpg o Image 08: (Drawing Assignment #8: Losing/Finding Perspective) LASTNAME_FINAL_08.jpg o Image 09: (Drawing Assignment #9: Camera Obscura) LASTNAME_FINAL_09.jpg o Image 10: (Drawing Assignment #10: Preliminary Sketch) LASTNAME_FINAL_10.jpg o Image 11: (Drawing Assignment #11: Rough Draft) LASTNAME_FINAL_11.jpg o Image 12: (Memory Drawing: Final Draft) LASTNAME_FINAL_12.jpg *Images must be uploaded no later than 8:30 a.m. on Tuesday, December 10th. Students who are late to their Final Critique will have their Final Portfolio grade lowered by 40 points. Late digital portfolios are accepted but will be penalized 40 points. Once again, the student will be penalized a total of 80 points (two full letter grades) if he or she is both late to the critique and turns in the portfolio late. Submissions more than one week late will not be accepted.