Drawing SC4: January 2015

Friday, January 30, 2015

Art and Fear Ch. 1

https://drive.google.com/file/d/0B3tjZk-Z_7oOUWJpRTk5Z1hLUWc/view?usp=sharing

Wednesday, January 28, 2015

Excellent work y'all! I can see how each and every one of you has really progressed in your work. Wow. I am so darned impressed! So this week a couple of things. firstly drawings....

Subject: things you use every day (toothbrush, hairbrush, milk carton, jewelry, coffee cup, etc)

1. do drawing utilizing value (with value chart with at least 3 different values) displaying hatching/cross hatching.

2.do drawing utilizing value (with value chart of at least 3 different values) - really push the value in what you draw in this second drawing!

Yes!!

Have a wonderful weekend you artists you. Make sure you catch up on your sleep if you can. Please bring your sketchbooks on Tuesday, I want to look at them while you are drawing. Yay!!

p.s. If you ever have any questions, please do not hesitate to email me.

ppss: check out graphite drawings on Pinterest and be inspired!:)

M.

Form/Modeling

Form is…•Is a term that is used to describe the visual appearance and shape of something. In a drawing form can be represented with lines and as a series of tones ( a range of values from light to dark) known as modeling.

Modelling…•Indicates the solidity and three-dimensional quality of a form, which is often enhanced or accentuated by light hitting the form and creating shadows.

•There are several different techniques to use for modeling, depending on which type of media you choose.

SHADING TECHNIQUES

Look at the drawing of the Astronauts. Here the artist creates a work so real it looks almost like a photograph. Do you know how this is done? One technique he uses to get this result is shading. Shading is the use of light and shadow give a feeling of depth.

There are four basic shading techniques

Hatching is drawing a series of thin lines running parallel, or in the same directiom .
Crosshatching is drawing lines that crisscross each other.
Blending is smoothly drawing dark values little by little by pressing harder on the drawing medium.
Stippling is creating dark values with a dot pattern.

Hatching

Hatched lines can be drawn close together to give a dense tone or quite freely, depending on texture and nature of image

•Hatching characteristics are that the lines are never blended together and remain vibrant.

•Is a form of hatching combining 2 or more sets of parallel lines that cross one another at an angle. They can be used to create a sense of form. (cross-hatching)

other techniques:

Bracelet shading is a series of curved parallel lines that give the impression of a tubular form the rounded effect that it produces on these trees gives an illusion of reality it does not need to be uniform and rigid – you can use it to go over swells, etc. Best with pen and ink or technical pens for this type of shading.

•Feathering attempts to blend tones optically so that while the individual marks are retained they can be overlaid to create a shimmering effect and lightness to what is seen.

Stippling

•Note there are many different ways of modeling depending on what type of media you choose. Each medium gives a characteristic set of marks you express.

•LOW KEY VALUE: Predominately dark values often used to create an effect of gloom, mystery, drama, menace, or. Heaviness

•HIGH KEY VALUE: Predominately light values often used to create an effect opposite of low key value, such as light-heartedness, delicateness, or whimsy

•Good to do a key when you are drawing and adding shading: deconstruct into at least 4 tones: light to dark

•VARIATIONS WITHIN LARGER SHAPES OF VALUE. Once the largest, simplest areas of shadow have been identified and blocked in, begin to note the subtle variations found within that larger, simpler shape. A large shape of middle tone value, for example, will often contain smaller passages of somewhat lighter and darker values

•THE SHAPE OF AREAS OF SHADOW AND LIGHT

•. - What is the shape of the shadow in its largest, simplest form, and how does that shape relate to the form in its entirety? Where is the shape located? How large or small is it in relation to the surrounding area? How does it relate to other shapes of value on the form in terms of size and position and darkness or lightness

•Single Hatch

•Cross Hatch

•Shade with value!!

•Secrets:

• to go light and follow the contour of the object you are drawing.

• Cross-contour – to imply the form.

•Watch your edges!!!

Sunday, January 25, 2015

interesting submissions

These were submissions from a couple of students (past and present) you may find interesting:

New App: It's called French Girls and you make an account and people post pictures of themselves and their picture is out there for any user to draw and you can also look through other users pictures and draw them! There's a lot of really cool ones. It's free and I know Apple has it, I'm not sure about androids though!

Review of Sighting

•Drawing from observation has challenges in accuracy than with other types of drawings. Drawing a three-dimensional form on a 2-dimensional surface of translation sometimes poses a problem.

•The process of sighting can assist with making this translation be successful.

•A sighting stick is the basic tool for the process of sighting.

•*Always keep your arm full extended and elbow locked when sighting. This establishes a constant scale, which is very important for sighting proportional relationships.

•You can tip stick left or right not front or backwards. *this can be tempting for establishing foreshortening.

•Trick: imagine the stick is within a 2D pane of glass – tip it front or back it will break.

•Use Monocular vision when sighting rather than binocular vision.•In still life when you have many objects in an arrangement to be drawn you must begin by establishing which object is your POINT OF REFERENCE. This is ideally an object that you can see in its entirety and that can be broken down in at least two relationships (height and width)

•A landmark is identifiable point on any form that you can refer back to. - an easily identifiable reference point.

•There are 3 essential uses for sighting that aid in observing and recording information accurately.

Application of sighting:

Relative Proportions

•Make relative measurement by measuring holding the stick with your thumb.

•Achieve relative Landmarks

•Establish relative measurement of the distance between any two parts or points on the form.

•With this you can establish greater accuracy in your drawings.

•To achieve relative proportions, begin with establishing the relationships between the total width of the object (distance from the farthest left to the farthest right point)

•By rotating the stick you can observe how many times the width of the form repeats itself in the height of the form

•You can then maintain the same relationship in drawing the form,
no matter how large or small you may choose to represent it.

•Sight what you perceive as the smallest measurement first, and
then compare it to the larger measurement.

•Always work from general to specific always recording the larger, simpler relationships before the detail.

•Sight from One Landmark to the next. Remember the landmark indicates any point on a form that you find and can refer
back to over and over again. Landmarks usually occur at places
when different parts of a form meet or come together (This is
called Point of Articulation). Or when there is a sudden directional change along the edges or surface of a form.

Sighting Vertical/Horizontal Alignment

Look for 3 or 4 landmarks horizontal or vertically to create plumb lines

This will allow for assistance in determining relative size and placement of objects in a complex arrangement of forms.

Thursday, January 22, 2015

Homework Week 2

Wow - hard but excellent work today team. You are all becoming very good at measuring what you see. This will help you become better artists. Always measure. It will really help develop your eye and help you succeed in becoming a kick-butt artist. You always get better at what you practice the most. Just keep doing it.

Homework Week 2

Do 2 drawings: 1.) draw a glass of water. - use a cylinder - make it awesome.
2.) draw a bottle of your fav. drink

Have a great weekend and take care of yourselves - See you Tuesday!!

Peaceout,

Myrna

Wednesday, January 21, 2015

Tuesday Class: Pencils/Charcoal/Elipse/Cylinder

Pencil 101

-B, 2B, 3B, 4B, 5B, 6B, 7B, 8B, Ebony

These are all SOFT pencils.

The most versatile of pencils, capable of very light to very dark marks, designed for general sketching and drawing.

_____________________________________________________

General Pencils:

•No. 1, No. 2, No. 2.5, No. 3, No. 4, H, HB, F

Very versatile, not in making a dark mark as a soft pencil but good for general sketching and drawing.

________________________________________________________

Hard Pencils

•H, 2H, 3H, 4H, 5H, 6H, 7H, 8H, 9H

Has a restricted range but can be very useful, makes a light, hard line, designed for drafting

Charcoal 101

Best use:

•For rough sketching and gesture.

•Available in soft or hard stick form or soft or hard in pencil form.

Shapes:

•What we see around us can be simplified on paper in to a series of basic shapes.

•Most obvious shapes are cubes and spheres and it is helpful to see objects in these terms when you begin to draw.

•A square comes in handy when approaching objects of various sizes.

•Consider building a box for it to fit and work inwards.

Ellipse

•Thus, it follows the same rules as when you draw a circle: it contains arcs, it has 4 segments which are equal.

Using the idea of the ellipse and a cylinder is a great way to look at shapes and drawing objects.

Tips:

•Consider the outside and work inwards

•Think of a box and elliptical

•Keep ends even

Thursday, January 15, 2015

Week 1 Assignment

Wonderful work today y'all! I can see what wonderful artists you are and even better when you go through this course - y'all are gonna rock! Very awesome!!

Home Work this week is to do the following two drawings in your sketchbook:

1. to do a cross contour drawing of either your hand or foot.
2. to do a blind contour of a person or animal you love.

Please bring your sketchbook to class Tuesday and we will share results!!

Have a wonderful weekend and take care of your self!

Peaceout,
Myrna

Lecture 1: Contour

In class we spoke of line. Line is important in mark making or drawing. Horizontal line suggest a feeling of rest or repose with vertical lines suggesting height. Contour act to separate shapes, values, textures and colors.

A Contour is the line which define an edge or form - an outline. A Line Contour describes the outermost edge of a form as well as a change of plane within the form. As in the drawing above.

Contour= french for line.

Pure/linear Contour = outline of the drawing - the edge only like the silhouette of an object -

no information is give on the inside.

line describes the edge of the object being drawn.

Blind Contour = drawing an object using observation without looking at your paper while drawing the object

Cross-Countour = follows the landscape of the form

Modified Contour = similar to blind contour but you look at paper slightly

Rapid Contour = drawing references gesture drawings for quick reference of what you are seeing.

Wednesday, January 14, 2015

Quiz Introduction Day

1. What 2 orientations (positions) are used for drawing?

- vertical/horizontal (landscape/portrait)

2. When objects are rendered lighter in the foreground it is called:
Arial Perspective (also known as Atmospheric prospective)

3. Reflected light, cast shadows and surface interest are

best described as _________________ Texture

4. The primary tool used to render a stippling technique is a __________________

•

•TECHNNICAL PEN

•RAPID-O-GRAPH PEN

5. A drawing is started with:

all simple shapes laid out in composition

6. A highlight is:

c. the lightest part of a drawing

7.An artist squints his/her eyes while drawing to

d. Simplify shapes being drawn

8.When doing a drawing with graphite pencil, the artist show the intensity of a color by using a series of gray values and textures

9.When developing a drawing, the artist must show the light source:

b. with a definite direction

10.Converging lines, eye level and vanishing points are all associated with:

c. Perspective

Monday, January 12, 2015

SYLLABUS

Art 101-01 (9603) Foundation Drawing--Course Outline

2015 Section 01, T /TH 1-3:50 pm FAB Room 29

St. Clair County Community College

Professor: Myrna Pronchuk

Office: Art Office FAB
Phone: 615-974-2726

Email: mlpronchuk@sc4.edu/ myrnapronchuk@gmail.com No Text*
Office Hours: T/TH 12:00-1; 6:50-7:30
Class Blog: DRAWSPRING2015.BLOGSPOT.com
Class cancellation hotline: 810-989-5770

Textbooks: Will post reading abstracts to be discussed in class on Blog:

1. The Shape of Content: Ben Shahn, Harvard University Press, 1957

2. Excerpts from Art and Fear: David Bayles/Ted Orland, 1994

Course Rationale

To develop the process of observational drawing the student will develop foundational skills that will assist in fully rendering a successful within a varied format. The student will gain experience and comprehension of working with many mediums and styling and with still life, landscape and portraiture. The student will gain this exchange through experimentation of materials, continual work assignments in the sketchbook, portfolio development, critique, readings, continual upkeep of the class blog, and through a final capstone project with research paper.

Catalog Description

This course will introduce students to freehand drawing, emphasizing creative expression and astute observation through the use and exploration of various drawing media. Students will concentrate on the fundamentals, knowledge, attitude and skills (e.g. line, volume, tone, texture, perspective, observation and composition) necessary for the development of visual imagery. The emphasis in the course is on observational drawing, working from real-life, geometric and organic forms. This course is typically directed to all art majors and is recommended as prerequisite to most studio art classes. Students may take this course concurrently with other entry-level art classes.

Prerequisite: None

3 credits, plus 3 contact hours = 2 lecture, 4 laboratory

Academic Accommodations

SC4 will provide reasonable accommodations to students with disabilities in accordance with ADA, provided such accommodation does not fundamentally alter the nature of the program, cause undue hardship on the college, or jeopardize the health or safety of others.

Course Objectives

Students who successful complete this course will demonstrate these skills and/or knowledge:

1. Demonstrate the ability to use the various drawing media in the execution of a drawing;

2. Demonstrate the use of various line concepts, functions, and qualities in relationship to any subject matter being drawn;

3. Apply the various shading and value techniques that will enhance and complete the variety of forms being drawn;

4. Compare and contrast the theory of perspective based upon certain known premises;

5. Compare and contrast effective methods of embodying a complex of ideas into convenient shorthand and readily recognize forms for a non-verbal visual communication;

6. Discuss and visually demonstrate the various concepts dealing with diagrammatic drawings, juxtaposition, foreshortening, composition and positive and negative space;

7. Demonstrate a sound working knowledge of all basic fundamentals necessary to complete a drawing successfully.

Course Requirements

· Completion of weekly Sketchbook assignments to be handed in mid-term and final – In-class sketchbook weekly update and share with class

· Two written test quizzes

· Participation and attendance at class critique

· Reading discussion and oral quiz

· Portfolio – completed - hand-in midterm and end term

· Capstone Project with research paper - including presentation and critique

(Research paper must be done MLA styling, double space, research 2 artists)

· Late hand-ins of work, including Portfolio and Capstone projects will loose one whole letter grade for each class day they are late, beginning with the due date.

· Any readings, quizzes, cannot be made-up for any reason whatsoever.

· Attend all classes. More than three absences will lower your final grade one full grade (ie. A to B). More than four unexcused absences will keep you from passing the course.

· Come to class on time. 3 tardies = 1 absence.

· Disabilities that need an accommodation must be reported to the Academic Achievement Center.

· No Audiotaping of class, unless needed for accommodation needs my permission on a daily basis. Videotaping just isn’t going to happen.

· INCOMPLETE GRADES only can be given when there is reasonable chance the student can finish the work. The amount of work allowable is small. Also, I must be contacted well before grades are due in the Record’s Office. It has been my experience that very few incomplete grades are actually completed by the contracted date. When this happens, the “I” grade turns into an E.

· ELECTRONICS POLICY: No outside buds to be allowed in class.

· CANCELLED CLASSES, snow days, disasters (natural or otherwise) happen. If class is cancelled, we will do the assigned work the very next day we meet.

· NETWORKING is always a good idea since life is so unpredictable. I encourage you to get the phone numbers of a few classmates. Always, of course, you can contact me, too.

· Notify instructor of absence by email. Due to the tight schedule I will not go over the missed classes in class time-you will be responsible to make an appointment and meet with me during office hours to review what you have missed.

· Be professional by meeting all deadlines for sketches and finished art.

· Contact instructor via email for appointment for extra assistance.

· Work load: 6 hours of work outside class is required each week.

ACADEMIC DISHONESTY: Plagiarism, or having someone else write all or part of your papers will not be tolerated. Cheating, in any form is not tolerated. If I detect plagiarism or intentional cheating, I will fail you for that assignment with an E grade of 0%. If the academic dishonesty is blatant, repeated, or damages a classmate’s grade or impeded his or her chance for success, I might add further penalties including a E grade for the entire course. These acts of academic dishonesty might be reported to the college, and the college might take action against you as well. Consult the College Catalog for more details. Proven cases of academic dishonesty are recorded on your transcripts, and they will follow you wherever you go. It’s just not worth the consequences. Remember this too, unintentional, accidental, plagiarism is still cheating, and can bring similar penalties.

CLASSROOM CONDUCT: Any behavior that disrupts class, threatens physically or verbally, or intimidates any member of the class is absolutely out of line with good conduct in any classroom and especially a college classroom since we are supposed to be mature adults. A classroom, the hallway, or any instructor’s office is not your personal venue for venting your frustrations or unsolicited opinions. Check your ego at the door and allow your classmates and the instructor his or her chance to talk. Remember this: a college class is not a democracy. The teacher has absolute say, and even though we welcome input, what happens or doesn’t happen in the classroom ultimately is up to the instructor. When you sign up for and attend a college class, you’ve signed on with the implied intent of proceeding with mutual respect. If you exhibit behavior that is threatening or disrespectful, you might be asked to exit the classroom for that meeting time, and you could be removed from the class permanently (after due process, of course). Security might be called in if the teacher so chooses.

**A NOTE ON COURSE AND DISCUSSION CONTENT: Be aware that art and literature can be very frank on issues of politics, religion and human sexuality. If some of the art and literature’s or the discussions’ attitudes or language should so offend your sensibilities that you feel it might be difficult for you to participate in open discussion, let me know so that I might find another way to engage you in the course material. Even so, you still will be responsible for being evaluated on the content of the syllabus.

Course Grading

If you are having difficulty with one or more parts, it is your responsibility to meet with me during office hours so I can help you resolve any issues. Please email me at any time to ask for further clarification, or set up an appointment. Extra credit may be offered and cannot exceed 10% of your total grade.

*Sketchbook: (25%) -A sketchbook will be used and maintained to work out ideas and process. It is expected that you create 2 or more sketches each week for a minimum total of 28 sketches. Sketchbook must be brought in each class with work sketches completed. * To be turned in with portfolio (division of values: Completed assigned sketches 50%; Rendered Assigned Focus 50%)

*Portfolio: (45%)- We will draw everyday. Most work done in class will make-up your midterm and final portfolios. Your portfolio grade is dependent on attendance, attitude and effort. (division of values include two portfolio hand-ins. Graded on comprehension of concept and technique)

*Projects: (30%)- We will complete project drawings through out the semester that will be graded separate from your portfolio including capstone. These drawings will focus on a theme or a problem that each person will solve individually. (division of values: Capstone: 20%; Reading/Writing/Presentations 10%)

Supplies

Most supplies will be provided and paid for in lab fees. A sketchbook is required in addition. You may choose to purchase additional supplies to experiment with as the semester progresses. This is purchased at Sc4 Store

Sketchbook 8 ½ x 11 11.60/ea. *NOTE: THIS IS TO BE A NEW SKETCHBOOK

Work Schedule

***The following "schedule" is the best approximation at this time of what will happen in this class. However, the course content and the timing of the assignments might vary from this schedule in order to meet the particular needs of this class:

01/13 Week 1: Class procedures, materials, syllabus, expectations;

01/15 Intro to line in drawing, contour, blind contour, modified contour, gesture/rapid contour drawing

HOMEWORK: *Purchase sketchbook

*Blog – do assignment on blog

01/20 Week 2: Topic- Elipses.

01/22 Changes in ellipse for size, intersecting ellipses, multiple ellipses. Intro to Cubes. Working into the still life.