When Viewing Examples of Student Work:

Often a single example of work may not demonstrate all the required objectives for a particular assignment. Instead students should collectively consider: the required objectives for each assignment, the multiple examples presented on this blog and during in class presentations. As well ideas discovered through a student's independent research in combination with various examples and ideas presented by instructor will ultimately be the best approach for synthesizing ideas and reaching the requirements (and unique outcome) for any particular course project.

Thursday, April 6, 2017

Assignment 1: Blind Drawing - Process Drawing with Feel and Memory (Drawing Studio 2 Assignment)

Blind Drawing Assignment Text & Examples of Work

Supplies Required:
• Some sort of blindfold (or anything that will completely block your
eyesight from viewing your drawing while you draw)

• Chalk or Oil pastels (preferably oil pastel – if using oil pastel you
will need something to scrape and scratch the oil pastel away)

Charcoal  material no longer allowed to be used in school of art

• Rubber Eraser for subtracting chalk pastel, charcoal, chalk line
dust, or graphite powder. As well pencils, markers, and coloured pencils

• Stencils and Templates (as shown in class and also see below at the bottom of this post):
An assortment of organic and geometric stencils and templates at
various scales should be used to maximize the shape variations and
compositions in your drawings. Some stencils/templates should be
considerably larger than your hand while others may be same size and
smaller than your hand.

To make stencils: cut out (or tear) shapes in materials such as paper and or cardboard (the shaped hole in the material is the stencil, the shape removed from the material to create the shaped hole is the template). Geometric shapes may include squares, rectangles, circles and triangles and a combination of those shapes. As well organic shapes may include blob shapes and/or bean shapes and/or asymmetrical clover shapes. Or you may find some ready made stencils or templates that are abstract. The more ambiguous and abstract the stencil is the more successful your drawing will be in reaching the assignment objectives. As you draw blind folded you will feel each cut out stencil and template to trace and layer shapes in your drawing using an additive and subtractive process.

• White or off-white paper, 18 x 24 inches minimum in size, 3-4 sheets
of drawing paper (white cartridge paper is suggested but it is only one
option in terms of white or off-white paper).

• (Optional) Chalk line dust or graphite powder – if you use either of
these mediums bring a dust mask.

Student Examples and Historical Reference:
Further explanations will be given in class. Some
examples of previous students work (are posted below)
Here are also some historical examples related to the assignment by Robert
Morris
’s Blind Time Drawings (Began series Circa 1970s).

Purpose of Assignment:
• Increase the awareness of other senses. In particular this assignment
focuses on the sense of; touch, the variety of pressures applied to
drawing tools, and the emphasized awareness of arm, hand and finger
movements while drawing.

• Becoming aware of one’s own body in relation to drawing.

• Becoming sensitized to the physicality of drawing mediums and to the
physical variations of the layers in a drawing.

• Allow chance to take place and letting unexpected accidents to happen
which will give new ways of approaching drawing when considering formal
issues of abstraction. Overall this is opening up the possibility for
intuition and instincts to play a greater role in the drawing process.

• Offer students a variety of options/alternatives to their usual
system of drawing and or to traditional methods of drawing.



Evaluation criteria:

Variation of interesting stencil and template shapes

Variation of drawing materials

Maximized layering process in major parts of drawing

Physical presence of materials on surface

Variation of mark making

Experimentation and innovation

Overall uniqueness


Here are some examples below of stencils and templates cut into 2 -dimensional geometric shapes most of these examples below are not symmetrical.  Stencils and templates using organic shapes are also required for assignment. 









Here are some blind fold drawing examples completed by students. These examples represent only a small sample of potential outcomes for assignment.






Wednesday, April 5, 2017

Assignment 2: Two Options Assignment (See Links)

Assignment 2: Two Options Assignment (Investigating Composition with Layering and Editing) (30%)
The work should demonstrate a variety of formal concerns in the picture plane such as the use of colour, shapes, scale shifts, composition and mark making using primarily drawing materials. You have the option of developing collaged materials into the drawing.
Choose one of the assignments:
Option A:
OR
Option B:

Assignment 2: (Option A) Pure Abstraction/Modernist Drawing Assignment (Drawing Studio 2 Assignment)


Pure Abstraction/Modernist Drawing Assignment (Assignment Text and Examples):
Intuitively exploring the formal languages and physicality of materials within the drawing discipline

Assignment Instructions and Objectives:
Complete a large-scale drawing (3 x 4 feet) with 3 or 4 small studies that emphasize concepts OR 4 smaller drawings 18 x 24 inches each with small studies demonstrating the language of drawing.
(The Language of Drawing meaning the physical act of drawing with traditional drawing materials as a language in itself).
The work should demonstrate a variety of formal concerns in the picture plane such as the use of colour, shapes, scale shifts, composition and mark making using primarily drawing materials. You have the option of developing collaged materials into the drawing provided the above objectives and the points below are followed. All attempts should be made in the drawing assignment to not reference anything representational.

1) Your drawing should consist of as many forms and spaces as possible with a complex but unified composition in each work. Consider intervals between elements and allow for focal points where there are areas of multiple overlapping shapes that interact with each other while simultaneously interacting within the overall composition.

2) Space should vary from deep to shallow with a variety of line and shapes. Also consider variations of visual weight in the line and shapes.

3) Avoid literal or conventional methods to depict shallow and deep spaces. (Rely on overlapping of elements instead of depicting converging planes to vanishing points). Spaces and forms can be fragmented and or abstracted through experimentation with drawing materials.

4) Consider the reality of the drawing medium (language of the medium) on the 2 dimensional surface of your picture plane. (thick and thin applications of drawing mediums and mark making) and consider your options in terms of a surface. Some areas will require numerous layers of drawing materials while other areas will work with minimal applications of materials. As well during the drawing process some areas of the drawings should involve scraping and erasing.

Suggested Drawing Materials:
-It is suggested people use the coloured oil bars for this assignment but many other options are also available in conjunction with the oil bars.

-Drawing materials such as oil or chalk pastels that cover large areas of your drawing quickly and offer good colour and have strong physical presence on the drawing surface allowing for an investigation of mark making will also work as well.

-Over all you can use all other types of coloured drawing materials for detail work such as coloured pencils, coloured inks and coloured markers, but keep in mind these should not be your primary drawing tools since they do not cover a large area quickly nor do they offer any sort of physicality in terms of the mediums presence or mark making.

-As well you may use acrylic or watercolour as a base or intermittently as long as the work emphasizes drawing materials.

-It is recommended that you use a fairly thick paper as your drawing surface. Some people have used canvas in the past but keep in mind the texture of the canvas causes the drawing materials to erode and ware out considerably quicker than if paper was used for a drawing surface.

-This 3 x 4 feet work can be one large sheet of paper or it may be smaller sheets of paper joined together. Consider how the seems of smaller paper will be integrated into the drawing and or hidden in the drawing.

Studies or Smaller Preliminary Works:
The purpose of the studies is to assist you in the investigation of this assignment. All the objectives do not have to be met in each study but rather should be used to take risks and experiment with to find all the required objectives. The studies are not about making something small and then duplicating that small study at a large scale. Instead the studies and the larger work should feed off each other.

During the process of making the assignment there should be a back and forth of working between the studies and the large work (especially at the beginning stages of the drawing) As well studies may include manipulations of digital photos of the large work taken while in progress. In general it is strongly recommended that you photograph the work in progress and periodically make some inexpensive prints at home to work on in order to consider all potential directions to develop the work. Overall experiment and investigate various options thoroughly with the studies and the large work.

Steps of Process to Consider for Developing Drawing(s):
Avoid having every formal and conceptual component of your drawing pre-planned or “figured out” before you begin. This will eventually suffocate any desire to work, because it is almost impossible to pre-plan every step in the process and get positive results.

If you are stuck with no ideas it is best to immediately start drawing with vague ideas and some random organic and geometric shapes such as in some of the examples posted below.

Prepare yourself mentally for a process of: risk, unexpected direction, layering, reworking, researching, making small preliminary works, applying criticism, generally experimenting with conviction in your drawing, and you will have a very successful work or series of works.

Optional Readings (Assistance in developing assignment):
Also there is the option to consider excerpts from Search for the Real a small book by Hans Hofmann, or excepts from survey books such as Art Speak by Robert Atkins (small book), The Visual Arts: a history by Hugh Honour and John Fleming, 7th edition p 844, and essays: Modernist Painting by Clement Greenberg. Considering the Hofmann, Atkins, Honour/Fleming and Greenberg's readings may assist you when developing ideas in your drawing.

For a broader view outside the modernist drawing assignment objectives other texts such as Art of the Postmodern Era, by Irving Sandler, Contemporary Art: Art since 1970 by Brandon Taylor, Five Faces of Modernity by Matei Calinescu and essay: Action Painting: Crisis and Distortion by Harold Rosenberg. These other texts offer debates, alternatives and opposition to Greenberg’s ideas regarding Modernism.


EXAMPLES for GUIDANCE 
The examples presented here for the Modernist assignment are meant as a guide. Not all examples below meet all of the objectives for the assignment but instead offer a range of partial ideas that can be cohesively comprehended, synthesized and applied to the specific requirements of the modernist assignment in a unique and innovative manner. 

For additional student examples of a similar assignment from my painting courses please view the following link:
http://derekbruecknerpaintingcoursesimages.blogspot.com/2009/09/modernist-pure-abstraction-assignment_09.html

an excellent study that is 18 x 24 inches (studies for this assignment may be smaller and hopefully a little less floral with less spiral shapes)


an excellent study that is 18 x 24 inches (studies for this assignment may be smaller and hopefully a little less floral with less spiral shapes)


54 x 36 inches

56 x 36 inches

60 x 36 inches

36 x 60 inches
















Advanced Painting 4 x 4 feet mixed media and paint on collaged paper Spring 2005


Advanced Painting 4 x 4 feet mixed media and paint on collaged paper Spring 2005


Advanced Painting 4 x 4 feet mixed media and paint on collaged paper Spring 2005


Advanced Drawing 1 Winter 2004


Stage 1 Advanced Drawing 1 Spring 2002


Stage 2 Advanced Drawing 1 Spring 2002


Stage 3 Advanced Drawing 1 Spring 2002


Stage 4 Advanced Drawing 1 Spring 2002


Stage 5 Advanced Drawing 1 Spring 2002


Stage 6 Advanced Drawing 1 Spring 2002

Assignment 2: (Option B) ECLECTIC - PLURALIST ASSIGNMENT (Drawing Studio 2 Assignment)

ECLECTIC/PLURALIST ASSIGNMENT

Complete a large-scale drawing (3 x 4 feet) with 3 or 4 small studies/preliminary works that emphasize concepts OR 4 smaller drawings 18 x 24 inches each with small studies demonstrating the language of drawing. (The Language of Drawing meaning the physical act of drawing with traditional drawing materials as a language in itself).

This assignment in many ways is about trying to combine (and or collage) as many types of styles, images and sensibilities as possible but in a unified manner that is complex and unique.

These styles, images and sensibilities should come from a variety of cultural, historical and contemporary contexts.

The formal objectives of the Eclectic/Pluralist Assignment require a consideration of the objectives from the Pure Abstract Assignment but will also require the additional objectives of synthesizing the broadest ranges possible of imagery, styles and sensibilities.

Image sources in the Eclectic/Pluralist Assignment should include a combinations of all points listed below:

1) representational (realistic) drawing from observation

2) abstraction and mark making (modernist assignment)

3) pop art styles and advertising

4) graphic design and or illustration drawing styles

5) drafted diagrams and or drawn images of objects, or machines, or architecture

6) drawing that interprets media imagery from television, movies, magazines and the internet (interpretation of lens based mediums such as photography, video, and film)

7) drawing styles and images from art history, or folk art or arts and crafts

8) drawing that present imagery and styles of drawing from non western cultures such as Asian, African, South American or Aboriginal cultures


Suggested Drawing Materials: 
It is suggested people use the coloured oil bars for this assignment but many other options are also available in conjunction with the oil bars. Drawing materials such as oil or chalk pastels that cover large areas of your drawing quickly and offer good colour and have strong physical presence on the drawing surface allowing for an investigation of mark making will also work as well. Over all you can use all other types of coloured drawing materials for detail work such as coloured pencils, coloured inks and coloured markers, but keep in mind these should not be your primary drawing tools since they do not cover a large area quickly nor do they offer any sort of physicality in terms of the mediums presence or mark making. As well you may use acrylic or watercolour as a base or intermittently as long as the work emphasizes drawing materials. It is recommended that you use a fairly thick paper as your drawing surface. Some people have used canvas in the past but keep in mind the texture of the canvas causes the drawing materials to erode and ware out considerably quicker than if paper was used for a drawing surface. This 3 x 4 feet work can be one large sheet of paper or it may be smaller sheets of paper joined together. Consider how the seems of smaller paper will be integrated into the drawing and or hidden in the drawing.

Studies or Smaller Preliminary Works: 
The purpose of the studies is to assist you in the investigation of this assignment. All the objectives do not have to be met in each study but rather should be used to take risks and experiment with to find all the required objectives. The studies are not about making something small and then duplicating that small study at a large scale. Instead the studies and the larger work should feed off each other. During the process there should be a back and forth of working between the studies and the large work (especially at the beginning stages of the drawing) As well studies may include manipulations of digital photos of the large work taken while in progress. In general it is strongly recommended that you photograph the work in progress and periodically make some inexpensive prints at home to work on in order to consider all potential directions to develop the work. Overall experiment and investigate various options thoroughly with the studies and the large work.

Steps of Process to Consider for Developing Drawing(s): 
Avoid having every formal and conceptual component of your drawing pre-planned or “figured out” before you begin. This will eventually suffocate any desire to work, because it is almost impossible to pre-plan every step in the process and get positive results.

If you are stuck with no ideas it is best to immediately start drawing with vague ideas and some random organic and geometric shapes such as in some of the examples posted below.

Prepare yourself mentally for a process of: risk, unexpected direction, layering, editing, which includes sacrificing parts in the work, reworking, researching, making small preliminary works, applying criticism, generally experimenting with conviction in your drawing, and you will have a very successful work or series of works.

Optional Reading (Assistance in developing assignment): 
Essay: The Flatbed Picture Plane by Leo Steinberg


(Some points may require more than one example while others points may be required in a less significant way)








Detail


Detail



Detail












Detail



Detail







Detail






This work does not meet all the required objectives for the assignment but is using cartoon and illustrations in an interesting way. The imagery is utilizing a unique combination of various scales of similar imagery, variations of opaqueness and transparency, and use of asymmetrical pattern with large linear elements.




46 x 36 inches

50 x 36 inches

 47 x 36 inches


Painting 1 Winter 2003


Painting 1 Winter 2003


Basic Design Summer 2006
The above work does not present all of the criteria for the Pluralist Assignment but does demonstrate an interesting combination of abstraction and a pop or cartoon style