IAT 208 Drawing as Inquiry

1. IAT 208 Drawing asInquiry • LECTURE: 2 • Spring 2012

2. Important dates • Select Three Practitioners of a single, chosen style or genre that you • Week 4: Research: [20%] • Week 7: Mid-Term: [30%] • Week 13: Journal Project: [35%] • Week 12: Theory Quiz: [10%] • On-going: Participation: [5%] • Week 12: Bonus Project: [5%] • Total: 105%

3. What Exactly is Drawing? • Therefore, it is impossible to make a drawing unless the artist has a clear understanding of the type of drawing that is to be created, and the visual language that is to be used which will give form and expressive dynamics to the drawing. • This is often forgotten or misunderstood by most teachers of drawing.(Stanyer, The Complete Book of Drawing Techniques) http://www.mathacademy.com/pr/minitext/escher/drawing_hands.gif http://www.utm.utoronto.ca/cvmc/aah/graphics/images/drawing.jpg

4. Sketches and Drawings • http://www.bbc.co.uk/schools/gcsebitesize/art/images • Here are two Renaissance artist drawings: Michelangelo figure study on the left and da Vinci figure study on the right. Which one is the sketch? http://www.telegraph.co.uk/arts/graphics/2006/03/14/pic4.jpg

5. The Experience of Drawing: What We will be Covering this Term

6. Value Sketches • Values are the degrees of light and darks in a drawing. A value sketch is used to observe a subject without regard for structural or proportional accuracy. Here, the artist focuses on the light and darks of your subject. • http://www.durochers.org/journal/uploaded_images/pumpkin-723713.jpg

7. Drawing Basic Shapes

8. Structural Sketching • A structural sketch helps you see how a subject is constructed. Look for basic shapes such as squares, rectangles and circles. Then ask yourself how they relate to one another. Before you pick`` up your pencil to sketch your still life object, take a minute to study your object. 1 2 3

9. The Three Types of Linear Perspective: • Two-Point Perspective: • Edge of box against glass • Two kinds of lines-vertical and perspective • One-Point Perspective: • Side of Box against glass. • 3 kinds of lines- vertical, horizontal, and perspective. • Three-Point Perspective: • Corner of box against glass • 1 kind of line-perspective.

10. Drawing Faces B C Valentin Serov (1865-1911) Self Portrait Whistler: http://www.dia.org/collections/AmericanArt/ images/tonalism/t1.jpg

11. Drawing the Human Figure

12. Preparing your Portfolio • Your portfolio tells a prospective employer, judge or professor about your workmanship, skills and talents. • A sloppily presented portfolio can have serious repercussions if you hare applying for a placement or job. (Marquand, How to Prepare Your Portfolio: A Guide for Students and Professionals) http://www.drawright.com/images/prtdrw3.jpg

13. Rapid Visualization

14. Research Project Deliverables • Select Three Practitioners of a single, chosen style or genre that you admire (e.g. traditional comic books, pop artists, industrial designers, architects, fine artists etc.) Alternatively, they can be from different historical eras or a mixture of designers, architects, illustrators, and artists. • Choose 3 examples of work from those three practitioners (of the same style) from books, magazines etc. and scan them. • These 3 scans will be inspirations for your work. • Create 3 drawings ‘using the style’ of those artists, using subject matter of your choice. Van Gogh landscape setting in Langley. • **This is not a tracing or copying exercise. You are not to reproduce the artist’s work but imagine that you are in their shoes, using their style technique, and visual mediums. • DUE: Week 4

15. Research Project: Drawing from the Masters • One of the best ways to really see how an artist does his drawing is to try and make a copy of it, or a portion; just to get a feel of the marks that the artist makes. • This is useful because as you try to recreate the same marks, you may discover that the drawing ‘utensil’ may have been used in a way that you may not have yet tried or experienced. • This will lead to a broadening of your drawing skills and experience. (Barber, The Complete Book of Drawing. 2008.) http://washingtonbureau.typepad.com/photos/uncategorized/2007/07/30/img_0242.jpg

16. Research Project: How to use a drawing grid http://drawsketch.about.com/cs/mechanicalaids/a/grid_drawing.htm

17. Research Project: Drawing from the Masters • Leonardo da Vinci (1459-1519)

18. Research Project: Drawing from the Masters Michelangelo's 'Phaeton' of 1553 Gallerie dell Accademia

19. Research Project: Drawing from the Masters • Francisco José de Goya y Lucientes(30 March 1746 – 16 April 1828) Repentance "Le repentir

20. Research Project: Drawing from the Masters Jean-Auguste Ingres (1780-1867) Portrait of Victor Baltard's wife (born Adeline Lequeu) and their daughter Paule c. 1836

21. Research Project: Drawing from the Masters Seurat’s “Eden Concert,” conté crayon, gouache, chalk and ink on paper, around 1886-87, at the Museum of Modern Art.

22. Research Project: Drawing from the Masters • Henri Toulouse-Lautrec (1864-1901): Madame Palmyre with Her Dog, 1897

23. Research Project: Drawing from the Masters • Two Tahitian Women, 1899Paul Gauguin (French, 1848–1903)Oil on canvas

24. Research Project: Drawing from the Masters MATISSE, Henri; REVERDY, Pierre. Les Jockeys Camoufles 1907.

25. Research Project: Drawing from the Contemporary Masters •  Lucian Freud, Large Head, etching courtesy Museum of Modern Art New YorkJanuary 2008, Lucian Freud:

26. Research Project: Drawing from the Contemporary Masters •  Lucian Freud, Pluto Aged Twelve, etching courtesy Museum of Modern Art New YorkJanuary 2008, Lucian Freud:

27. Research Project: Drawing from the Contemporary Masters • Jenny Saville, Portrait, 1970 -

28. Research Project: Drawing from the Contemporary Masters • Oscar and Bosie by Elizabeth Peyton,

29. How to Depict Form on a Flat Surface • The artist has to experiment and practice in order to be able to understand the language of shape and form and then to manipulate it. • In this lecture, we will examine ways to define form and shape. http://farm4.static.flickr.com/3285/2986178302_a1663ab46f.jpg

30. Form and Shape • The human eye sees shape, light, shade and texture. It actually doesn’t see much else. • However, the human mind processes these ‘objects and translates them into recognizable images and scenes. • S(Barber, The Complete Book of Drawing. 2008.) http://www.holisticeducator.com/perception.jpg

31. Form and Shape • So, when one says that they have seen a dog, car, bus, tree or person, these are just names with which we associate a certain shape or form. • Think of shape as being the outline visual impression we get of something, and it constantly changes depending on our viewpoint. (Barber, The Complete Book of Drawing. 2008.) http://www.holisticeducator.com/perception.jpg

32. Creating Form or the Illusion... • The sophisticated recognition system we possess has to be persuaded to interpret shapes as three-dimensional form. • One way to do this is produce an effect that will read as form, although in reality this may comprise an arrangement of lines and marks. • (1) A diagrammatic form is often used in atlases to represent the world. Why is it that this particular arrangement of lines inside a circle portrays a convincing rendition of the globe with its latitude and longitude lines. • (Source: Barber, The Complete Book of Drawing. 2008.) • (Image: Barber, The Complete Book of Drawing. 2008.)

33. Creating Form • (2) Let’s take it a stage further. In this drawing of a bleached out photograph of an onion the striations or lines make the same point. • We recognize this kind of pattern and realize what we are looking at is an spherical object which sprouts or an onion • (3) Here, the drawn effect of light and shade is so convincing from our experiences that we recognize the shape as a piece of fruit. • (Image: Barber, The Complete Book of Drawing. 2008.) • (Source: Barber, The Complete Book of Drawing. 2008.)

34. Creating Form • (4) When one looks at this hexagon divided into rectangles or parallelograms of light, dark and medium tones, we tend to interpret it as a cube or block shape. • (Source: Barber, The Complete Book of Drawing. 2008.) • (Image: Barber, The Complete Book of Drawing. 2008.)

35. Creating Form • (5)These scribbled lines and marks can be seen as a human form engaged in a sport. • Of course, they are not really those things, but there are enough clues to prompt our memory to remind us of forms we have seen. • The mind quickly fills in the details when a form is rudimentary. • (Source: Barber, The Complete Book of Drawing. 2008.) • (Image: Barber, The Complete Book of Drawing. 2008.)

36. How to Depict Form on a Flat Surface • Light and shade can also give us some ideas too as to the way form alters as light plays on it and how shadow is formed in the areas ‘blocked’ away from the light. • The result gives the eye an under-standing of solidity as only solid objects can have some parts in light and other areas in shadow. • (Source: Barber, The Complete Book of Drawing. 2008.) http://farm1.static.flickr.com/158/438315761_8f38fe8128.jpg

37. Approaches to Form • The Italian painter Giorgio Morandi had a particular vision of form that is like few others. • His etchings of still-life subjects have a dark-life solidity about them as in this example. • He achieved this effect by layering on fine lines of cross-hatching which, when combined, create very dramatic darks and lights. • (Image: Barber, The Complete Book of Drawing. 2008.) • (Source: Barber, The Complete Book of Drawing. 2008.)

38. Approaches to Form:The Human Figure • Otto Greiner’s approach to form is similar to that of a classical artist with his careful handling of the light and shaded areas. Notice how some lines on the drawing follow the contours around the form and sometimes to go across it. • (Source: Barber, The Complete Book of Drawing. 2008.) • (Image: Barber, The Complete Book of Drawing. 2008.)

39. Approaches to Form • What are some of the techniques that we can use to portray form convincingly so that the onlooker sees a solidity that is in fact merely suggested? • On this slide we see the human form, probably the most difficult form to draw. • These show varying techniques to analyze form. There is no one correct way of doing this • (Source: Barber, The Complete Book of Drawing. 2008.) • We can draw lines around the sections of form to give us a sort of computerized visions of the dimensions of the shape- as in this reclining figure. • (Image: Barber, The Complete Book of Drawing. 2008.)

40. Approaches to Form • Another approach is to delineate the different surfaces by drawing marks that are similar to the facets or marks you get on a wooden sculpture. • (Image: Barber, The Complete Book of Drawing. 2008.)

41. Demonstration: Lines into Shapes • (Drawing for the Absolute Beginner, Willenbrink)

42. Demonstration:UsingTone • Using Tone: There are many ways of using tone, depending on the effect you are trying to achieve and the materials you are using. The techniques shown here are the ones you will find most useful and effective over a broad range of still-life drawing. (Drawing for the Absolute Beginner, Willenbrink) http://www.jdarts.com.tw/images/638-0002.jpg • (Drawing for the Absolute Beginner, Willenbrink)