Derek Brueckner's Drawing Courses Information and Examples of Student Work

Thematic B & W Interior/Exterior Assignment

2012-01-29T20:06:00.000-08:00

oil pastel 24 x 18 inches

Drawing Studio 1 course

acrylic and ink 18 x 24 inches

Drawing Studio 1 course

black and white conte 24 x 18 inches

Drawing Studio 1 course

21 Items/Elements Exterior Assignment

2011-01-20T19:28:00.000-08:00

This assignment is about doing a drawing involving a landscape that includes a narrative or metaphorical narrative depicting the list of elements (listed below) from your imagination. The drawing can be as realistic or surreal as people wish provided the work presents a narrative with layered thematic content that is unique. Consider details, specific characteristics and contexts for each item/element to make your narrative unique. This assignment is about being given specific parameters and demonstrating the ability to be innovative and unique within those specific parameters.

The examples below do not address all the objectives of the assignment but are very good examples to consider. As in all assignments the goal is to have an original, unique and ambitious work when completing the objectives of the assignment.

Out of the list below you are required to depict the following 21 elements into you work:

1) House with one window that allows the viewer to see inside the house.

2) Cityscape or mountain range on the horizon in the background to suggest deep space in the picture.

3) Sculpture

4) Person riding their bike, skateboard, or rollerblading

5) Road

6) Fence

7) Shed or outhouse with entrance open allowing the viewer to see inside

8) Two people inside or outside who own/rent the house (these two people are in addition to the person riding their bike, skateboard or rollerblading)

9) Car

10) Boat, kayak or canoe

11) Flowers

12) 6 birds

13) Performance artist (historical or created)

14) Clothes line with clothes that signify the couple that are living in the house.

15) Garbage can and recycling container

16) Grass

17) River or stream

18) Tree

19) Bill board

20) Lawn furniture

21) Tunnel entrance in the landscape that connects to road

Check course syllabus for due date of this assignment.

Final Drawing Assignment

2011-01-10T15:39:00.000-08:00

The following assignments are suggestions meant to serve as a guide. This list is not inclusive. You may wish to work on one assignment or combine ideas of various assignments. See assignments1-6 listed below.

Projects may include a choice of: one large work (3 x4 feet) or a series, or an installation, or performance, etc. All work must include studies or small preliminary works. Half a letter grade will be deducted if studies/small preliminary works are not included in working process.

Some of the assignments listed below (1-6) relate to drawing materials that are more traditional. Some assignments will emphasize formal aesthetics more than others. While other assignments below will also encompass a greater emphasis towards concept and or expanding definitions/ideas of what a drawing can be in terms of contemporary art. The most important concern or main objective is that all projects should demonstrate drawing(s) and primarily colour drawing materials in relation to contemporary ideas. Exceptions to using primarily drawing materials are negotiable if a proposal is made in advance. Generally speaking contemporary ideas should have layers of meaning and the work should have an over all synthesis of formal and conceptual (thematic) ideas.

Students should have an initial consultation with instructor, followed with consultations periodically through out the process of the project to ensure that enough work is done and objectives of final project are addressed. As well there should be an in class dialogue with class peers regarding work. (As usual positive in class participation is expected).

1) Make a drawing on something 3Dimensional. Work may also include the use of non-traditional surface(s)/materials for applying drawing mediums onto. For example: metal, wood, fabric, resin, glass, and collaged newspapers and surfaces that are not oblong in shape. Or mixing paint and material together such as wax, silicon, plaster, or powders (Remember to think of art materials and health hazard issues with some materials)

Work can also include the interaction of the original colour of a selected material with other coloured surface(s)/materials or the occasional coloured object may be placed on a coloured surface. 20% of time should be spent on 3D component and 80% should be spent on the execution of the drawing. It is suggested that this option be chosen only if the person has aptitude and tools for making 3D work.

2) Develop collage in a drawing and/ or use of text or create a new type of bookwork as long as an innovative language of drawing is demonstrated. Consider book to be innovative with visual metaphorical layers of meaning.

3) Drawing in relation to a technology of choice: film, video, digital imaging (computers), cyber space, sound, photography, photocopying, printmaking, and/or a drawing project that addresses issues concerning media and culture.

4) Drawing that is process based, or time based, or performance based.

5) You may have part of your drawing allude to a cultural critique addressing an issue or a combination of issues such as: economic class, power, gender, sexuality, or ethnicity.

6) Open Project (Expand definition of Drawing in relation to Experimental and Innovative Contemporary Art Practices)

*** As in previous course assignments prepare yourself with a large variety of potential images and materials to work from, and mentally prepare yourself for risk taking, reworking, re-editing, researching, applying criticism and generally experimenting with conviction, and also have materials available for any small preliminary works and you will have a very successful work or series. Allow substantial time for "risk taking, reworking, re-editing, researching, applying criticism and generally experimenting with conviction".

Thematic and Final Projects from Fundamentals of Drawing and Drawing Studio 1 & 2 Courses (Foundations/ First Year BFA courses)

2011-01-09T18:30:00.000-08:00

João Antonio Monteiro
Untitled
Varnish on Burned Wood
April 2009

Course: Fundamentals of Drawing
Assignment: Final Project
Institution: School of Art, University of Manitoba
Term: Winter 2009

The above work references a story (narrative) that is conveyed through a text that progressively transforms from one language to another. The author of the above work is multi-lingual and is personally connected to most of the cultural references in the work. A narrative is presented to the viewer (audience) which inevitably is fragmented if the viewer is not multi-lingual.

Historically many of these cultures presented above have been colonized. Perhaps the work references the loss of language and culture due to colonization. Is the author turning the tables on the colonizing mono-culture? Is this work about the author who is struggling or coming to terms with his identity of being partially familiar with many cultures but never completely belonging exclusively (fitting in) to a single culture? How does the materials/mediums used in the above work fit in with the over all theme of the work?

Amelia Marshall
Untitled
Mixed Media
April 2009

Course: Fundamentals of Drawing
Assignment: Final Project
Institution: School of Art, University of Manitoba
Term: Winter 2009

The above work addresses issues of masculinity and gender in a kind of sarcastic/satirical way. Are traditional gender roles just social constructions that need to be challenged or subverted?

The above work again addresses issues of gender. Through out history female nudes have been shown as bathers before or after the act/ritual of washing. This history cycle is disrupted and is given an alternative with a older male nude figure in the act of clipping his toe nails which we presume is after the bath/shower. The over life size figure and multiple view points perhaps is alluding to issues of different social perspectives and interpretations by various individuals. With this large scale the work also relates to the history of the monumental figure.

The above thematic project has dual layers in terms of a map and eye being referenced in the same image. The red lines simultaneously convey blood shot veins in the eye and roads on the map.

Drawing with Sound
A drawing and small containers of ink are placed on top of a guitar amplifier. Vibrations of sound cause small containers filled with coloured ink to shake and move around on the paper of a drawing. Traces of coloured ink are left where the containers have moved and vibrated along the paper.

Dustin Horrock
Digital Print and Suspended Red Gel
April 2002

Course: Fundamentals of Drawing
Assignment: Final Project
Institution: School of Art, University of Manitoba
Term: Winter 2002

Thematic Assignment (Symbolism and Metaphor Assignment)

2011-01-09T12:48:00.000-08:00

Drawing and Art Making with Symbolic/Metaphorical Content

Assignment will be worked on in class and it is expected that the assignment should be worked on outside of class as well.

Objectives:

Large Drawing (3 x 4 feet) with numerous small studies/preliminary work OR a series of smaller sized drawings with studies/preliminary work that use primarily drawing materials. Note half a letter grade will be lost if studies are not integrated into the process of the work. This means not doing studies at the completion of the assignment. As in previous assignments the “Thematic Assignment” will continue with the formal investigation of various drawing materials, mark making, composition, forms, space and color. Unlike previous assignments this Thematic Assignment places more emphasis on developing and expanding themes that will involve choosing symbols, metaphors, allegories, narratives, icons, signifiers, myths or combining some of these choices. Concept building and expanding thematic layers of meaning in this assignment will become an essential part of the working process.

Primarily drawing mediums are required for this assignment to depict an advanced level of symbolic and or metaphorical subject matter (see points 1 to 8 under Thematic Subject Matter heading). Other non-traditional materials may be used in addition to the primary use of drawing materials. You also have the option of developing collaged drawings and or using text and paint as a partial component in the work as long as the objectives are demonstrated.

Thematic Subject Matter (forms and spaces):

1) Subject matter should consist of as many forms as possible, referencing: figure(s), objects, landscape and or interiors/exteriors of architectural settings.

2) Space should vary from deep to shallow with forms having varying degrees of volume to flatness.

3) Avoid literal or conventional methods to depict shallow and deep spaces. Spaces and forms can be representational, fragmented, collaged, abstracted, or a combination, but consider that each choice of space will convey specific thematic content.

4) Subject matter does not have to be obvious in terms of conveying a direct narrative but should have as many layers of meaning (symbolism) as possible. Also perhaps your mixing of colour or type of coloured mediums could be representative of something in the drawing (symbolism of colour).

5) This Thematic assignment will require research or at least demonstrate an understanding of themes from art historical and contemporary art contexts.

Points 6) 7) and 8) are optional:

6) Have part of your drawing allude to a cultural critique addressing an issue or a combination of issues such as: economic class, power, gender, sexuality, or ethnicity.

7) You may want to consider the possible symbolic content of the surface(s) you are drawing on (for example: metal, wood, fabric, plastic, glass, collaged newspapers) or the occasional coloured object you may place on the surface.

8) There is also the option of moving away from a rectangular picture, consider that the work’s overall shape can be part of the thematic content.

Steps of Process for Thematic Drawing Assignment:

Once again avoid having every formal and conceptual (thematic) component of your drawing pre-planned or “figured out” before you begin. This will eventually suffocate any desire to work, because it is impossible to pre-plan every step in the process and get positive results. Embrace a process that is intuitive and a process that will evolve out of some very basic or simple initial ideas. As one example you may start with a variety of clichéd thematic imagery anticipating that those initial ideas will eventually be expanded into a more sophisticated type of thematic content.

If you are stuck with no ideas it is best to immediately start working with some general symbols or metaphors and some random subject matter. Just start with some random images to initiate ideas. Do not wait for ideas to come into your thoughts. Sometimes you have to start with a weak idea and build from that initial idea. It is important just to continue drawing random images in your preliminary works and to continuously gather as many images as possible. This random imagery will eventually lead to ideas, which will then evolve into a clearer concept as you progressively work through the editing process.

*** Prepare yourself with a large variety of potential images and materials to work from, and mentally prepare yourself for risk taking, reworking, re-editing, researching, applying criticism and generally experimenting with conviction, and also have materials available for any small preliminary works and you will have a very successful work or series.

Basic Definitions:

Definitions of Symbolism:

1. The use of symbols to invest things with a representative meaning or to represent something abstract by something concrete

2. The artistic method of revealing ideas or truths through the use of symbols

3. A 19th century literary and artistic movement that sought to evoke, rather than describe, ideas or feelings through the use of symbolic images

4. The belief that the bread and wine used in the Eucharist are symbols and not literally the flesh and blood of Jesus Christ. (Other significant spiritual or religious icons could apply).

Definitions of Metaphor:

1. The application of a word or phrase to somebody or something that is not meant literally but to make a comparison, for example, saying that somebody is a snake.

2. All language that involves figures of speech or symbolism and does not literally represent real things.

3. One thing used or considered to represent another.

Definitions of Allegory:

1. A work in which the characters and events are to be understood as representing other things and symbolically expressing a deeper, often spiritual, moral, or political meaning.

2. The symbolic expression of a deeper meaning through a story or scene acted out by human, animal, or mythical characters

Themes in Relation to Art History and Contemporary Art;

This Thematic assignment will require research or at least demonstrate an understanding of themes from art historical and contemporary art contexts.

Many historical art movements have thematic content that have layers of symbolism, metaphor, allegory, narrative and mythology. This thematic content occurs in Western and Eastern cultures, research and consider ideas from both cultures for this assignment.

As well many contemporary artists convey ideas about their work through choices of materials and subject matter in their work. Consider the manner in the way an artist uses images and subject matter. As well, the way the material’s are used and manipulated in any given work will play a part in conveying thematic content to the viewer. Many contemporary artists use thematic content that involves symbolism, metaphor, allegory, narrative and mythology. Some possible contemporary themes (as discussed last term) include ideas relating to economic class, the world economy, the environment, mass media and technology, power, gender (feminism), sexuality, identity, or ethnicity (post-colonial critique). Develop any of these potential themes (or other themes not listed) that are visually and formally poetic, thematically/conceptually layered, innovative, and generally not cliché visually and conceptually.

As part of your research utilize the optional reading list and or as texts and journals at the Fine Arts/Architecture Library for further information.

Thematic Self Portrait

2011-01-09T07:59:00.001-08:00

This assignment will entail emotive drawing in conjunction with thematic subject matter. Students may use visual references (photos and or mirrors) but will rely primarily on their imagination and or memory to depict themselves in metaphorical, symbolic and or allegorical contexts. The use of icons, motifs and signifiers may also be incorporated into this work. Using these thematic devises students will depict the self in terms of narrative, which may be theatrical, fictional and or involving a personal history. Ultimately the work’s goal is to present the self in a thematically layered manner that is unique and innovative. As in all the assignments for this course there should be a synthesis of aesthetics (formal visual languages) with concepts. Various coloured media of choice will be explored focusing on formal concerns regarding colour, space, mark making, soft and sharp edges, and different levels of detail and sensibilities.

This project may entail using surrealist approaches, provided the chosen approach does use cliched imagery such as melting clocks (like Dali) and other surrealist work which have been over saturated in popular culture and media. Try to look at contemporary artists who use themes of self in their work in a unique, experimental and conceptually more innovative way than the typical historical surrealist work. Through your research try and think about things and discover concepts that have not ben seen before or have very little circulation in popular culture and media. This project does not just have to be the face, as an option the project may also include parts of or the entire body. As well do consider the use of an environment around (in front and behind in the background) of the subject matter (you) Do you dress up, is the project a fictional/theatrical/fantasy self portrait? Or do you discuss a personal history? Or both?

Using autobiography, dream, confession, fantasy, or other means invent one’s self in a new way, or to evoke the variety of selves in our imagination. Overall the Thematic Self Portrait Assignment experiments with and explores the rich possibilities available to the contemporary artist and their own persona.

Ideas Related to Thematic Self Portrait Assignment:

Martin Kippenberger’s Self Portrait explores the idea of the self as clown, fool, self-deprecating and or challenging notions of the idealized classical nude.

Martin Kippenberger Self Portrait (1988 oil on canvas 200 x 240cm ) View image of work on line at: http://www.saatchi-gallery.co.uk/artists/artpages/kippenberger_Self_Portrait.htm

In Martin Kippenberger’s series of self-portraits from 1988, he pictures himself with a touching lack of vanity. An exaggerated beer belly, folds of fat, a thick neck, and dejected posture present a melancholic, awkward and somewhat grumpy figure. He wears immense white underpants pulled up high on his hips – rather like a well-known photograph of Picasso.

Icon/Motif:

One example of an art historical Icon or motif such as the Halo that may be integrated into a self portrait or portrait

Standing Buddha with a halo, 1st-2nd century AD (or earlier), Greco-Buddhist art of Gandhara.

http://en.wikipedia.org/wiki/File:Gandhara_Buddha_(tnm).jpeg

Fra Angelico Virgin and Child with Saints, detail, Fiesole (1428–1430)

http://en.wikipedia.org/wiki/File:Fra_Angelico_001.jpg

Painting 1 Student: Thematic Self Portrait

School of Art, University of Manitoba

In this student work the artist depicts himself in front of a planetarium background. Is this artist questioning his place and or his indecision among the debates between religion and science? Is he attempting to make a commentary on one’s position and relation within an artificial and simulated environment such as a planetarium?

The above student work presents a very good beginning but as one option for the Thematic Self Portrait Assignment this particular work could have explored the relation ship of the planetarium further by perhaps giving the viewer more information regarding the environment.

Overall the above student work offers a very interesting use of having the globe operate simultaneously as a halo and an object in the background. This subtle reference of a religious motif is a great first step and demonstrates one potential way art students can develop conceptual layers into a class assignment. If an artist researches and begins to investigate various ideas presented in contemporary art practices, the possibilities are endless where an artist can take a work in terms of conceptual layers. For example: what could this artist have done to bring even more conceptual layers into the work?

Starting with Page 10 of PDF on London UK artist/photographer Sam Taylor from link:

http://www.mca.com.au/content/exhibition/1911/SamTaylor-Wood_Education_Kit.pdf

Work by London artist/photographer Sam Taylor who uses portraiture with themes, metaphors and symbols in her work.

Allegory and Symbolism

Self Portrait in a Single Breasted Suit with Hare by Sam Taylor

Personal events are referenced in the work Self Portrait in a Single Breasted Suit with Hare (2001). This image deals with Taylor-Wood’s experience of living through cancer. The work functions on a highly personal symbolic level. She says, “It was a portrait in a single-breasted suit, as I had breast cancer, with hare, I’ve still got my hair after chemo.”4 The artist resembles an androgynous dandy or a magician in this image. Her gaze directly confronts the viewer’s gaze, as if daring them to confront the miracle of her continuing existence.

In Self Portrait in a Single Breasted Suit with Hare (2001) the artist appears almost like a magician, the cable release cord in her hand revealing the trick of appearing in her own photograph. Of Strings (2003), she says, “I wanted to make the dancer look effortless…yet reveal the workings of my constructed fantasy.”17

Photoshop Assignment

2011-01-09T07:22:00.000-08:00

This assignment should demonstrate a thorough exploration of the Photoshop program with out using filters. Consider the imagery and subject matter in terms of thematic content. Be conscious of avoiding cliché imagery and subject matter, which lacks substantial concepts. Consider digitally collaged work in relation to Abstract and Surreal spaces. As a component of this assignment integrate traditional drawing materials into the digital process.

The above Photoshop assignment references too much Science Fiction/Fantasy Imagery and requires further development in terms conceptual, thematic metaphorical content but does demonstrate some very good digital collage techniques with a reasonable sense of space progressing from foreground to background. This work is also demonstrating the use of playing with different levels of opacity in select layers of the work. As well there are different levels of feathered edges in some select images. As well colour saturation and contrast has been both increased and decreased in different selected areas of the picture.

The four images above demonstrates traditional drawings beginning to be integrated with the digital collage and painting techniques of Photoshop. As well they offer an examples in the use of the selection tools and fill tool. These works demonstrate another technical option for the Photoshop assignment but keep in mind the above examples do not demonstrate any thematic or metaphorical content. Once again please remember that the Photoshop assignment for this class is required to work towards integrating thematic and metaphorical content into the digital picture.

The five images above once again demonstrates traditional drawing integrated with the digital collage and painting techniques of Photoshop. As well they offer a greater use of colour adjusting and use of the transform tools to manipulate scale and/or alter shapes of select images in certain layers of the picture. Once gain the five examples above does not demonstrate any or very little thematic or metaphorical content, but offers a very good example of technical skill with the Photoshop program.

The above image demonstrates the use of painting and drawing tools used in Photoshop. The above technique is developed by utilizing different brush sizes and various selections of colour.

The Figure with Projection (Light and Shadow and Colour Examples)

2011-01-04T05:52:00.000-08:00

Eclectic/Pluralist Assignment (formerly The Flatbed Picture Plane Assignment)

2010-05-31T12:59:00.000-07:00

ECLECTIC/PLURALIST ASSIGNMENT

Complete one large drawing (3 x 4 feet minimum) with numerous small studies/preliminary works

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.

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

PURE ABSTRACTION/ MODERNIST DRAWING

2010-05-31T11:55:00.000-07:00

Revisiting the formal, pure and physical languages within the drawing discipline

Assignment and Objectives:
Complete a large-scale drawing (3 x 4 feet) with 3 or 4 small studies that emphasize concepts demonstrating the language of drawing (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. 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 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)

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

BLINDFOLD DRAWING

2010-05-31T08:01:00.000-07:00

Supplies Required:
• Some sort of blindfold (anything that will completely block your
eyesight 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

• 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):
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 that will include some
examples of previous students work (as shown in the class powerpoint presentation) and historical examples 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

Thematic Colour Objects Assignment (from Observation and using Colour Theory)

2010-05-24T00:05:00.000-07:00

Most of the examples of colour object drawings posted below demonstrate drawing with local colour through a process of layering, colour mixing and editing. Some also demonstrate a depiction of coloured objects with thematic content. For this assignment high lights and shadows should be used but no black should be used to depict shadows.

Editing and Layering with Mediums:
When editing and layering mediums it is extremely important to research and investigate different mediums in terms of what allows for a maximum use of colour mixing. As well research, experiment and investigate on test sheets to determine which drawing mediums are transparent and which drawing mediums are opaque. The opaque drawing materials and mediums will be very useful for covering (layering over) "mistakes". Overall some mediums work better over some than others. For example oil pastel can be used on top of any medium (provided that medium is dry or has dried) but in terms of editing or layering over oil pastel there is not any medium that can be layered on top of oil pastel. So scraping will be required to remove unwanted oil pastel. Experiment and investigate to see how mediums interact when different mediums are combined. You will be required to take risks in order to have progress with this project and other project in the course.

Assignment Objectives:
The majority of examples below demonstrate observational drawing using strategic use of colour (colour in relation to mixing and considering full ranges of hues: primary, secondary, tertiary colours, as well as tints, neutrals, complimentary and analogous colour systems, pure/intense and muted colour) Most of the posted examples demonstrate a focus on local colour with the optical mixing or physical mixing of colour systems.

In addition to the strategic use of colour, selective use of detail, contrast (and lack of contrast), range of sharp and soft edges are all used to convey spatial characteristics of the objects.

Proportions will be a consideration but thematic content, illusion of local colour, mass and space will be the primary concerns for the thematic colour objects drawing assignment. The drawing must contain a strong sense of thematic content with objects communicating substantial meaning and or layers of metaphor and or symbols and or narrative, etc. (see description of thematic content from the "What is Contemporary Art Assignment?" from beginning of course)"What is Contemporary Art?"

This assignment should not present any cliche imagery or ideas. This assignment is about trying to depict still-life in a representational (realistic) way with objects that have substantial thematic content. It is important for everyone in this assignment to strive and eventually achieve layered thematic content in a unique and original way.

Oil Pastel

This Chalk Pastel above is a good example of objects with thematic (or in this case symbolic) content. The crucifix is a loaded icon which in this example might be used in a slightly cliche sort of manner and formally there is far too much use of black, but the composition is very good. Overall the the objects collectively begin to convey a good thematic drawing.

Chalk Pastel and Conte
The above example is a very good start for a thematic drawing. Issues of gender, conflict and perhaps power and wealth are presented in the above work.

The five examples of colour object drawings posted below convey very little in terms of thematic content but do demonstrate drawing with local colour through a process of layering, colour mixing and editing.

The majority of examples demonstrate a strategic use of colour (colour in relation to mixing and considering full ranges of hues: primary, secondary, tertiary colours, as well as tints, neutrals, complimentary and analogous colour systems, pure and muted colour) Most of the posted examples demonstrate a focus on local colour with the optical mixing or physical mixing of colour systems.

In addition to the strategic use of colour, selective use of detail, range of sharp and soft edges are used to convey spatial characteristics of the objects.

Proportions will be a consideration but thematic content, illusion of local colour, mass and space will be the primary concerns for the thematic colour objects drawing assignment.

Below is Information Regarding Colour and Colour Theory that is applicable to the Thematic Colour Objects Assignment and is also applicable to all future colour assignments in the course:

The Double Primary Colour Wheel and Information on Colour

The Double Primary Colour Wheel below presents 3 rings of colour along with the warm and cool primaries (double primaries). The two inner rings of the wheel are colours created by mixing various percentages of complimentary colours. These neutral colours that are derived from mixing complimentary colours can allow for a huge range of options when considering colours for shadows and variations of light when depicting planes and mass. In most cases black will not be required if these neutral colours and analogous colours are considered.

Additional Information regarding colour theory and colour systems that should be used in all assignments for class:

Definitions

Complimentary Colour: Hues that are located directly across each other on the colour wheel. When complimentary colours are placed beside each other they optically create a greater sense of intensity in the coupled hues. This allows for greater contrast within an area of a drawing/painting. When the complimentary colours are mixed this neutralizes any hue and the intensity of the hue decreases, which may also be used to decrease contrast within an area of a painting. Collectively this becomes essential to a drawing/painting when considering the "push and pull" of colour and shapes within a drawing/painting.

Analagous Colour: Hues that are beside each other on the colour wheel. - Often this colour system can replace or augment the use of white (tinting hues) or when using neutrals (such as browns, grays, blacks, etc) Overall the use of analagous colour presents a sophisticated approach when depicting highlights or shadows in the hue of a coloured shape or space. When using the proper primaries (as demonstrated in the double primaries colour wheel) analgous colours/hues will maintain their intensity.

Value in Colour

Value and Intensity

Three Dimensional Model illustrating what is often considered the three characteristics of colour (Hues, Neutrals and Value)

Mixing Black (and other Neutrals) into pure hues of colour

For further information on colour mixing and colour theory see:

Colour: an Introduction

AND

Terminology of Colour Mixing

Objects and Still Life (Black and White)

2010-05-13T19:30:00.000-07:00

Information Regarding Objects and Lights Required for class:

As discussed during first class, periodically requests will be made to provide an object or group of objects (still-life) and a light for black and white and coloured drawing assignments for in class assignments or for home work. This selection should not be made at last minute and should have serious contemplations as to which type of object you choose to use. Certain objects will work best in certain contexts and others may not.

The choice of object and level of seriousness in choosing an object will influence the success and ultimately the evaluation (grade) of any given assignment.

Some places to consider obtaining objects may include Value Village, other second hand stores, or garage sales

Objects Required for Black and White Drawings:
When using black and white mediums (pencils, graphite, conte, pastel, oil pastel, charcoal, ink and paint) white or off white objects will be required as subject matter for observational drawing assignments.

At times there will be requirements to bring an object or a group of objects that will be textured, reflective, and or transparent.

For black and white drawings at times students will require a small clip-on light and extension cords, which will also aid students in their assignments. For black and white drawings use the selected light source to experiment with different lighting settings that will allow for a good range of light and dark tones in the drawing. As well the light will create interesting shadows and generally will create an interesting context for the object to be drawn in. As well when considering a prospective object look for interesting shapes to draw that will allow for some light and shadow variations on its surface.

The above drawing of garlic clover is an excellent example of an off white object(s) to draw. This garlic drawing is unfinished but demonstrates some of the key ideas for drawing objects with light and shadow. The drawing demonstrates a strategic use of detail and high contrast in the foreground. As well the drawing progressively decreases in detail and contrast as the viewer reaches the background (the clover that is farthest form in the picture) As well the edges in the foreground are sharper and the edges of the clovers in the background are progressively dissolving into the background space (or into the negative space).

The process of the above garlic drawing is also excellent. This process entailed drawing lightly and tentatively over the entire paper and then in the mid to later stages detail and daker tones were layered onto the drawing.

The above drawing of a white porcelain object is also a good example of a white or an off-white object. With the exception of a vaguely drawn table plane in the foreground area the execution of the drawing fulfills the objectives of the assignment. The entire page is filled with various tones and a strong sense of mass (the objects forms) are depicted an atmosphere. Some parts of the above object appear to almost pop out from the page of the paper. This drawing as well demonstrates a strategic use of detail and high contrast in the foreground. As well the drawing progressively decreases in detail and in contrast as the viewer reaches the background and furthest edges of the object. As well the edges in the foreground (center of the object) are sharper and the outer edges of the object progressively dissolving into the background space. Overall this work is an excellent example of strategically depicting soft and sharp edges in relation to space.

The above white object is a very challenging object due to numerous small details. A person with experience and extra patience will be required to successfully draw and to strategically describe light and shadow on the small details of the object's plastic feathers. Despite the ambitious choice of an object this work is slightly unfinished, spatially confused, elliptical shapes are distorted, and some areas of the object appear flat but overall it is a good drawing.

PAINTING Objects with Acrylic
Like in the Negative Space Drawing students are required to mix a black (or a neutral colour which will be close to black) using either Raw Umber with Pthalo Blue OR Alizarin Crimson Red with Pthalo Green. Like in the previous rendered assignments the objectives for rendered drawing assignments will be required with the addition of mixing the grayscale or monochromatic range (using white with the mixed black) and considering the range of mark making with various brush sizes.

Another good example of a white object but completed with acrylic paint. The strategy of this work follows much of the strategy used in the above drawings.

The above example presents an exceptional depiction of a textured object using paint. Part of the success of this drawing was due to the intense layering of paint and editing with the paint. This work demonstrates a combination of the paint being used in a thick and opaque ways with multiple transparent layers (glazing technique) where layered washes of paint are applied often with several layers. In some select areas glazing was used on thick areas of paint (once the the thick areas were dry) to either decrease or increase contrast. As well this work represents an overall excellent example of strategic use with detail, contrast and sharp to soft edges.

Another white object depicted with acrylic paint. The process of this painting was done with a glazing technique that is similarly used in watercolour. The acrylic paint is watered down and multiple layers of translucent tints are used as part of the technique to build up the 3 dimensional illusion in the work. Note: this work did not use black- instead alizarin crimson (red) and pthalo green were used to create black.

An ambitious example of a textured, reflective and transparent objects used in a painted still life. Spatially the depiction of the objects are slightly confused and perhaps more strategic use of detail, contrast and sharp to soft edges should have been considered but in combination overall a very good and ambitious painting of textured, reflective and transparent surfaces.

Black & White Dry Drawing Mediums Continued:
The above white object's success is derived from the strategic use of soft and hard edges, articulation of detail (or lack of detail) and different levels of high and low contrast. The doll's limbs on its left side are drawn with a very different approach (drawing style) than the limbs on the right side.

The drawing above demonstrates a depiction of value. Colour has been translated into grayscale.

The drawing above and the two drawings below make use of black, coloured, or a tinted paper.

In this example of work above the chosen object of an arranged cloth was clearly chosen at last minute and appears to be drawn slightly flat and the spatial relationships within the cloth are slightly confused. As well some line could have been absorbed more into the rendered shadow areas. However the composition is excellent due to various subject matter in the back ground and foreground and the way forms are interacting with the border edges of the drawing. As well there is an excellent use of atmospheric perspective created by the strategic use of various soft and sharp edges progressing from the background to foreground. As well the strategic use in different levels of detail, and different levels of contrast also assist in the overall success of this drawing's and its illusion of volumes in space.

Examples of Rendered (Shaded) Drawings and Objectives:

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The examples below focuses on light and shadow while simultaneously depicting surface qualities of texture, reflection and transparency. For any assignments regarding black and white rendering (shading) the strategic use of soft and hard edges, full range of grayscales, full range of mark making, articulation of detail (and progressive lack of detail) and different levels of high and low contrast will be required.

For these assignments it is also required to have a composition of subject matter that is unique and interesting but also integrates all the required assignment objectives in the work. As well allow for time to choose the appropriate objects. Pick objects that will allow for a clear and large areas of shadows to be present. If the shadows progress from light to dark that will be even better. Picking an object that presents interesting shadows and highlights is imperative to meet the objectives. If your object can also be thematic and not cliche while still addressing the objectives that will be a bonus.

Strategically using a full range of graphite from 2H to 6B, and having a kneaded eraser and light source such as a clip on lamp will be very useful for the success of the project.

Interior Design Student Work
The above graphite drawing demonstrates a refined rendering style that offers a strategic use of detail and high contrast in the foreground. As well the drawing progressively decreases in detail and contrast as the viewer reaches the background. As well due primarily to the increased contrast, the edges in the foreground appear sharper, while the edges of forms in the background begin to slightly dissolve. A very good drawing but more absorbing of line, greater range of soft to sharp edges and a clearer depiction of the three surfaces of texture, reflection and transparency is required.

Interior Design Student Work
The above graphite drawing demonstrates a strategic use of detail and high contrast in the foreground. As well the drawing progressively decreases in detail and contrast as the viewer reaches the background. As well the edges in the foreground are sharper and the edges of forms in the background are progressively dissolving into the background space. A very good drawing but clearer depiction of reflective and transparent surfaces are required.

Other Examples of Student Work
Below are some student examples of work from 1st year drawing courses at the school of art. The examples below offers ideas in terms of objects that may be used and include graphite as the medium to complete the drawing. Other examples below include the use of charcoal and chalk as well as black and white cote. There is also an example where a student has used a black paper and white chalk and conte as the main drawing tools. Some examples do not present objects that are transparent, reflective or textured but offer examples for other ideas that are required when depicting objects in other assignments.The above example presents a work that depicts a transparent, reflective objects. For the most part texture is represented on the base that the objects are placed on.

The above example presents a work that depicts a transparent, reflective and textured object.

The above example presents an exceptional work that depicts a transparent, reflective and textured object. The composition is very interesting and overall utilizes a combination of mixing white and black to achieve a grayscale as well as utilizing the white of the paper.

Detail of textured and transparent objects in previous drawing.

Detail of a reflective object in previous drawing.

The drawing above uses white drawing mediums on black paper to depict an excellent level of transparency and texture in objects.

The above example presents a very good depiction of reflective and transparent objects. As well the objects are given a context that suggest thematic content with the anticipation of the knife cutting into the vegetable. This work at a basic level begins to convey possible symbolic or metaphorical content.

Grayscale:
The above is an example of a 16 step digital grayscale. All rendered black and white drawings are required to utilize the grayscale for each black and white material used in the course.

The grayscale in a drawing is achieved by layering a black medium and allowing different levels of the white of the paper to come through in a drawing, OR a grayscale is achieved by mixing black and white mediums to achieve the range presented in the above grayscale. Often drawings use a combination of both methods (utilizing the white of the paper AND mixing the white with black drawing mediums together)

Creating your own grayscale for each drawing medium will assist in learning about each drawing materials characteristics, plus will allow you to practice depicting and to be more sensitized to the full range of grays in a drawing. Once each grayscale is completed it can be used to compare grayscale levels in a drawing ultimately assisting in the overall success of any given drawing.

Value, Tints and Shades:

The drawings above demonstrates a depiction of value. Colour has been translated into grayscale. During most of the rendering assignments the objective will be to ignore translating colour and instead will focus on light and shadow and at times will depict surface qualities of texture, reflection and transparency.

Reflective Surface:
The above drawing demonstrates an exceptional depiction of an object with a reflective surface that has very difficult proportions to draw. For the most part there is very good strategic use of detail, edges (soft to sharp) and a good range of contrast and grayscale. Perhaps cropping the object has created some slight spatial confusion (often when a form is cropped at the picture's border it will optically move towards the viewer) but over all this work is an excellent example of a reflective object.

Ideas and Process:

Strategic use of contrast and levels of detail
The above drawing of garlic clover is unfinished and is not an example of reflective or transparent surface, but demonstrates some of the key objectives for drawing objects with light and shadow. The drawing demonstrates a strategic use of detail and high contrast in the foreground. As well the drawing progressively decreases in detail and contrast as the viewer reaches the background (the clover that is farthest form in the picture) As well the edges in the foreground are sharper and the edges of the clovers in the background are progressively dissolving into the background space.

The process of the above garlic drawing is also excellent. This process entailed drawing lightly and tentatively over the entire paper and then in the mid to later stages detail and daker tones were layered onto the drawing.

Strategic use of contrast and levels of detail (work in progress)

Strategic use of contrast, levels of detail and variations of soft and sharp edgesThe above drawing of a white porcelain object is also a good example of a white or an off-white object. With the exception of a vaguely drawn table plane in the foreground area the execution of the drawing fulfills the objectives of the assignment. The entire page is filled with various tones and a strong sense of mass (the objects forms) are depicted an atmosphere. Some parts of the above object appear to almost pop out from the page of the paper. This drawing as well demonstrates a strategic use of detail and high contrast in the foreground. As well the drawing progressively decreases in detail and in contrast as the viewer reaches the background and furthest edges of the object. As well the edges in the foreground (center of the object) are sharper and the outer edges of the object progressively dissolving into the background space. Overall this work is an excellent example of strategically depicting soft and sharp edges in relation to space.

Self-Portraits and Portraits

2010-05-13T18:55:00.000-07:00

Advanced Drawing 1 Fall 2007

Advanced Drawing 1 Fall 2007

Advanced Drawing 1 Fall 2005

Advanced Drawing 1 Fall 2005

Advanced Drawing 1 Fall 2005

Exterior Rendered Drawings

2010-05-13T18:45:00.000-07:00

May 2009

Advanced Drawing 1
May 2003

Advanced Drawing 1
May 2003

Advanced Drawing 1
May 2003

Advanced Drawing 1
May 2003

Advanced Drawing 1
May 2003

Advanced Drawing 1
May 2003

Advanced Drawing 1
May 2003

Advanced Drawing 1
May 2003

Advanced Drawing 1
May 2003

Advanced Drawing 1
May 2003

The Figure with Light and Shadow

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Rendered Drawing Objectives:

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Light and Shadow Rendering /B & W Shading and Tones:

Process: Tonal drawing involves layering process that starts tentatively (drawn lightly and rough with soft edges) With this type of drawing in early stages initially map out subject matter into basic shapes of light and shadow (planes & other basic geometric shapes) As in the previous assignments no detail in beginning stages of drawing and start in the center work directly out and around from initial shape. Use initial shape as building block and reference for comparing proportion and choosing composition. Tentatively (and lightly) map out entire composition before committing to: detail, exact locations of shapes, levels of high contrast, thick layering of drawing mediums, and sharp edges. As in previous assignments anticipate editing with a combination of additive and subtractive processes in the drawing. As in previous work anticipate at times a messy process of restating and editing to occur during the layering process. Remember for a rendered drawing the ultimate goal is to absorb all lines into shaded areas.

Range of Tones, Edges and Mark Making: Anticipate strategically using a full range of grayscales (dark to light tones) and range of edges (hard/sharp to soft/out of focus edges) during the entire drawing process. During the early stages of the drawing use only soft (tentative/out of focus) edges and light to middle grayscale tones to tentatively map out entire drawing. As well utilize a full range of mark making from smudged to raw marks, short to long marks, curved to angular marks, and various pressures of gentle touch to pressing heavily on the drawing surface. When investigating mark making, tones and edges keep in mind that your eraser can be a drawing tool as much as any other drawing medium.

Accurate Proportion, Scale and Perspective: utilizing measurements, horizontal/vertical alignments and 1pt & 2pt perspective. When working from observation generally use the theories of perspective (vanishing points & horizon line) at later stages of drawing as a tool for checking accuracy of proportions, scale, etc. As in the previous assignments whether working from observation or imagination do not lock into horizon line and vanishing points until proportions are resolved.

Composition: As in previous work locate an interesting view with a reasonable level of difficulty that will have a unique and complex interaction of shapes through out picture (including border of drawing) and choose a composition that is conducive for presenting the objectives for the assignment.

Strategic Levels of Contrast: increasing or decreasing contrast in strategically chosen areas will assist in depicting the illusion of 3 dimensional forms and the illusion of space. Often a subtle progression of decreased contrast (along with hard to soft edges) will need consideration in the final stages of the layering process.

Mass Volumes & Space: Clear depiction in the illusion of 3 dimensional masses in space that progresses in a clear manner from foreground to background. Over lapping of forms and strategic use of detail, contrast, range of edges, grayscales, angles and composition will all be crucial in achieving a strong illusion of 3 dimensional mass and depth of space.

Strategic use of Detail: Anticipate that progressively there will be less detail as the viewer moves back into the space of the picture plane. Various levels of detail will also be required on some single objects or planes located in the foreground and at times in the middleground. This is the final stage of the layering process. Make time to allow for some careful finishing touches and to strategically refine or layer over rougher areas in the work. In some ways this has connections to the ranges of marking in the drawing and layering process.

Assignment with a Negative Space Emphasis:

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The Assignment: is a continuation for developing observational drawing skills. The assignment is to create a drawing depicting a major section of the still-life (50 to 70% of still-life) that will have a variety of interesting negative and positive shapes. You should consider your point of view in relation to the still life. The still life has been intentionally set up with a variety of negative spaces for you to select and depict in your drawing.

Process of Assignment: Ideally you want to start with a negative space and/or positive shape that are medium in size and located centrally in your viewpoint of the still life. These are most of the ideal conditions to start your drawing, unfortunately it is generally not possible for all 25 students (points of view) to have all of those ideal conditions so you have to decide which point of view will give you the most ideal conditions to draw from.

Remember that the first shape you draw will be the foundation of your drawing, because you will use that first shape to compare proportions of other shapes. When depicting the initial shape carefully compare the shape's hight to width. Proportions of the initial shape need to be resolved before proceeding to drawing other shapes. At the beginning stages of your drawing you should always compare shapes that are directly beside each other, so that you are building your drawing around and out from that first initial shape. If you are not sure about your initial shape consult instructor. (see example of Negative Space Drawing in video posted on blog below this blog posting)

As in drawings from previous classes once the initial shape is established continue by describing the basic shapes of the entire subject matter (still life). At times you will have to adjust shapes by moving or modifying shapes. Do not get caught up in little details of shapes but instead think about the subtleties of the basic shapes in terms of proportions and in terms of where shapes line up vertical and horizontal to each other. In the beginning stages of your drawing measure with your drawing/painting tool (and/or by eye) to get aquainted with the basic shapes created in the negative spaces.

Once all of the basic shapes in the later stage of the drawing are tentatively depicted consider: comparing size of shapes to each other, carefully check and re-examine proportions and vertical/horizontal alignment of shapes and clarify the subtleties and details of the shapes.

Negative Space Still Life: Examples and Ideas

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This assignment is about drawing shapes (space/air) between and around the objects in the still life and model stand surface. As in previous assignments proportions and aligning shapes horizontally and vertically will be required. As in most drawings anticipate that mistakes will happen and try to enjoy the process that adjustments will be inevitable.

For this assignment you will be required to mix your black by either mixing alizarin red and pthalo green (dark green) together OR mixing raw umber and pthalo blue (dark blue) together.

Editing and adjusting this work will involve a back a forth process of using the black and the white. Generally students will start with the black mixture and will use more of the mixed black than the white. If you feel you are a person that will require many adjustments in your drawing anticipate using more quantities of white and utilizing the back and forth process between the white and the black.

Note: Ensure that the white paint which is purchased is good quality and is opaque when applied over the black paint. Ask a sales person at the art supply store (book store) if you are not sure. If the paint is not opaque it will not cover mistakes.

As in most drawings for the first term of this course the drawing in the above video demonstrates the idea of thinking about comparing proportions of shape, considering where the shapes line up with each other in terms of vertical and horizontal alignments. Most obviously demonstrated in this video is the first shape drawn starts in the center of the paper as the building block for the entire drawing. All shapes proceeding after the first shape will build out around from that first shape when comparing proportions from one shape to the other, and considering vertical and horizontal alignments of shapes to each other.

Selecting the Composition

Select an area of the still life (composition) that will give you a reasonable challenge and complex drawing with interesting shapes. Do not select the entire still life to draw. In most cases depicting the entire still life will be too difficult and will take an excessive amount of time.

The above example demonstrates an excellent choice of composition, use of interesting shape and over all demonstrates an expertise in depicting accurate proportions and comparing horizontal and vertical alignments.

In the above assignment the initial composition was too simple and not challenging enough. 99% of the time while in class students should never start their drawing over. Instead of starting over with this assignment an additional sheet of paper was added to the drawing increasing the scale and visual impact towards the viewer. In the end the work demonstrates an excellent choice of composition and use of interesting shapes.
48 x 18 inches Acrylic on paper

The above drawing meets all the assignments despite having drawn the entire still life.

Unfortunately this drawing was damaged with multiple folds/wrinkles (bottom right corner) Please ensure your drawings are not folded wrinkled or shredded on the edges due to a disregard for storage or transportation of work. Repair any tares when submitting work for presentation during critiques or for final evaluation of the work. In most contexts for this course if a damaged work is presented, over all the message sent is that the artist does not care about the work (and course) and that there is a lack of professionalism towards the project and objectives of the assignment. In most contexts presenting damaged work will negatively effect the evaluation of any work in this course.

The above work demonstrates a very good composition, proportions and and some use of editing and going back and forth with the white and the black. Overall this work is a little wrinkled from the over use of water mixed in with paint. This type of wrinkling is fine in most cases and in some contexts could become part of the language in an artwork. Sometimes excessive editing has occurred which causes a physical presence of paint (thick paint and mark making) Having a thickly painted work with some rough edges is fine provided the proportion, interesting shapes and composition objectives are achieved in the assignment.

Figure Line Drawings

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Advanced Drawing 1 Figure Study 24 x 18 inches colored pencil on paper 2011

Line Drawing Objectives:

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Process: As in most drawings for this course Line Drawing is a layering process that starts tentatively (drawn lightly and rough with fluid line) A line drawing in early stages initially maps out subject matter (and ideas) in basic shapes (planes & other basic geometric shapes) No detail in beginning stages of drawing. For the sake of proportions if possible it is most ideal to start the drawing in the center, working directly out and around from an initial shape (that is usually rectangular or square in shape). Use initial shape as a building block and as a reference for comparing proportion and choosing composition. Tentatively (lightly) map out entire composition before committing to detail or exact locations of shapes. Overall anticipate at times a messy process of restating and editing to occur during the layering process.

Line Quality: Fluidness and strategic use of line weight variation will bring depth of space, sense of 3 dimensional masses, character and life into the drawing. Repetition and taking the time to practice and figure out a way to enjoy the act of drawing will always improve line characteristics or qualities in any drawing process. In the early stages of the line drawing keep the line thin and light. As the drawing develops towards the later stages anticipate variations of line characteristics to include ranges from curved to angular, quick to careful line applications on the drawing surface and in some areas progressions from thin to thick lines and light to dark lines. (Let the line flow!)

Accurate Proportion, Scale and Perspective: Utilize measurements, horizontal/vertical alignments and 1pt & 2pt perspective. When working from observation generally use the theories of perspective (vanishing points & horizon line) at later stages of drawing as an auxiliary tool for checking accuracy of proportions, scale, etc. Whether working from observation or imagination do not lock into horizon line and vanishing points until proportions are resolved.

Composition: Locate an interesting view with a reasonable level of difficulty that is unique and has complex interactions of shapes through out picture (including border of drawing) and choose a composition that is conducive for presenting the objectives for the assignment.

Mass/Volumes & Space: Clear depiction in the illusion of 3 dimensional masses in space that progresses in a clear manner from foreground to background. Over lapping of forms and strategic use of detail, line variation, angles and composition will all be crucial in achieving a strong illusion of 3 dimensional mass and depth of space.

Strategic use of Detail: Anticipate that progressively there will be less detail as the viewer moves back into space of the picture plane. Some single objects may require various levels of detail in foreground and at times in the middleground. This is the final stage of the layering process. Make time to allow for some careful finishing touches and to strategically refine or layer over rougher areas in the work.

Ideas about Line Drawing for Course Assignments

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Description and Required Objectives of Line Drawings:

During the first week or so of this drawing course students will be asked to develop an extensive amount of line drawings that will depict various subject matter including; objects, still-life, models, faces, interior and or exterior spaces. These line drawings should present a broad range of fluid line weights and descriptive line qualities (PLEASE NO SHADING, or TRANSLATION OF COLOUR, or SHADOWS to GRAYSCALE)

The objective for these line drawing assignments is to develop a trial and error observational drawing process that will emphasise a sense of space, accurate proportions, perspective and mark making. It is also expected that each student’s personal sensibility of line will be enhanced by the investigation of line drawing styles, variations of line weight, and descriptive line qualities.

Purpose of Line Drawing Assignments:

The purpose of line drawing assignments are to introduce, review and develop observational drawing skills and in particular to learn how to see. Inevitably this type of drawing involves a process that requires adjustments. In most cases line drawing will be easier to edit than a carefully rendered (shaded) drawing. Line may be an end in itself and for the next week and a half line drawing will be considered the foundation or the armature of most drawing processes.

Line Drawing as a Learning Process (Embrace "Errors" as Part of the Drawing):

Focus on the learning process. Do not judge your drawing as good or bad but instead consider what new knowledge has been acquired from the earlier stage of the initial drawing or from previous drawings in the course and continually apply newly acquired knowledge to the next drawing or the next stage in the drawing you are currently working on. Emphasize observational drawing processes that show adjustments and that demonstrate trial and error processes. Please do not be concerned with the desire to have a clean and perfectly finished drawing. Allow for variations of mark making and engage in the hand made process of drawing and the desired product will eventually emerge.

Thoughts to Anticipate in the Beginning Stages of Drawing:

First get set up with a viewpoint (consider your field of vision) that will have a progression of forms from the foreground to the background. Anticipate initially describing basic shapes with light fluid lines using a sharp pencil. Keep in mind that the subject matter should only be described using line. During this initial stage anticipate that the entire drawing will eventually be mapped out with tentative lightly drawn basic shapes with restated lines. At times the drawing process will involve adjustments to the initial lines or marks by restating line. Mentally be prepared to avoid getting caught up in details and in erasing lines. Instead anticipate that the initial “mistakes” with line will be used as visual reference for the proceeding restated line.

Get into a mindset that line drawing and most other forms of drawing are a layering process (or that drawing is done in messy stages) and not as a neat and tidy product. As adjustments are made, restate lines and think of the drawing as: a record of thought processes in learning how to see, a record of a trial and error process and not some finished masterpiece. Be critical but do not be judgemental of your skills and your drawing. Generally accept that “mistakes” will be made and just learn to allow the mistakes to happen and move onto the next steps of restating, adjusting and layering the drawing.

Ideas about Line Drawing for Course Assignments (continued)

Where to Begin in the Drawing:

Ideally start with a negative space and/or positive shape that are medium in size, simple in shape (box like or rectangular in shape if possible) and located centrally in the drawing. Ideally this shape should be large and if possible located centrally in your viewpoint of the subject matter/environment. As well, ideally this shape should be located in the middle ground to foreground area. It is unlikely that the first shape can meet all these conditions but try to have as many of those conditions as possible to start that first shape.

Tentatively describe this first shape with restated lines. In the first layer of the drawing use your pencil (and/or by eye) to measure the proportions of basic shapes. Compare the height and width of the initial shape. Typically the first tentatively drawn shape will be the foundation to the drawing, because that first shape will be used to compare proportions of other shapes. At the beginning stages of the drawing compare shapes that are directly beside each other, so that the drawing is progressively building around and out from that first initial shape. Do not obsess on the first shape, once the entire drawing surface has been lightly and tentatively mapped out, then fine tune the initial shape.

Horizontal and Vertical Alignments:

In addition to measuring and comparing proportions to maximize accurate proportions also consider horizontal and vertical alignments of shapes, and the alignments of where beginning points and end points of straight lines are located. These alignments will be very helpful for determining angles, proportion and space issues.

Later Stages of the Drawing:

The strategic placement of detail and the selected areas that de-emphasize detail, will aid in the presentation of space and the over all success of each drawing. Once all of the basic shapes are lightly drawn (considered with some measuring) and you have all of your subject matter covering your paper, slowly observe and depict the subtleties in the shapes with a restated line. It is at this point that you may begin to clarify your shapes by emphasizing a single line over restated lines that describe basic shapes. You may also decide where the darkest line should be placed and progressively allow for lines to become lighter as shapes progress back into the space.

Also when using a single line that depicts all the subtleties of that shape, one should be looking at the the subject matter as much as the paper. There should be a constant back and forth viewing of subject matter and drawing paper. Maintain a single viewpoint by keeping your head in the same position as much as you can. Finally at the later stages of the drawing, consider using a variety of line such as light and dark line, thin, thick, long fluid line, short, curved and organic, rigid and straight, open and closed line. In a single stroke of a line consider quick and slow applications of the pencil onto the paper with varying levels of pressure on the pencil.

Ideas about Line Drawing for Course Assignments (continued)

.Subject Matter in Relation to Space:

Also in the final stages of the drawing consider and imply where volumes and planes exist in space from your point of view. In order to convey representational space some shapes may need to be emphasized and other shapes may need to be de-emphasized. Proportions, and in particular depicting certain areas with detail and using variety of line will be major factors in clarifying where subject matter will be emphasized in space. As well over lapping of volumes and parallel lines converging to a vanishing point will all aid in the illusion of space. It may also be necessary to de-emphasize shapes by lightening and or thinning out lines with your kneadable eraser. Consider these issues and techniques when depicting the progression of shapes from the closest areas in the foreground to the furthest area in the background.

Subject Matter when drawing outside:

Include architectural and landscape elements i.e.) parts and or entire trees, buildings, sidewalks, and grass. Selecting and depicting forms that will signal definite areas of foreground, middle ground, and background in the composition of the drawing will also be useful.

Supplies needed for line drawing assignments:

Pencil HB and 2B (possibly a 2H, or 3B, or 4B as well)

Pencil Sharpener

Cartridge paper 18 x 24 inches

kneaded eraser (use very sparingly)

Clips for attaching paper to support

Drawing board, or foam core, or portfolio to support paper while drawing

Appropriate clothing for drawing outside (cushion optional and sun screen optional)

*Tracing Paper: For beginners please bring tracing paper (18 x 24 inches) in order for instructor to assist with drawing process of inexperienced drawers. Instructor will draw on tracing paper on top of each student's drawing to assist student with measuring and seeing proportions, finding initial shape to build composition and perspective.

Examples of Exterior Line Drawings

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Earlier Stage of Drawing Sept 2008

Final Stage of Drawing Sept 2008

Detail of previous image

What is Contemporary Art? (3 Images and Text Assignment)

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The Purpose of "What is Contemporary Art?"Assignment:

1) Develop independent research skills

2) Become aware of contemporary art books and journals at the Architecture/Fine Arts Library and elsewhere.

3) Create a dialogue among classmates that clarifies and deciphers between imagery and objects that convey clichés and substantial thematic content

4) Assist students in clarifying current artwork that represents innovative contemporary ideas. Innovation occurs either through a visually interesting and unusually new use of materials or a new context has been created for an idea, message, image or object or there is a combination of some or all of these mentioned points. As well, contemporary work often challenges people’s value systems.

Homework Assignment:

(weighted for half a day) Due Wed Sept 22 (will be given final grade on videotaping day Wed Oct 20) Grades will be deducted if not completed for Wed Sept 22 but revisions may be made up until Wed Oct 20.

The Contemporary Art Assignment will require the following 5 components:

1) Cliché (over used) Image (or an object) with 100 word explanation as to why example is Cliché Image (4 x 5 min) and text clearly printed. (Wed Sept 22) 25% of assignment

2) A picture (or object) with Thematic Content (Metaphor or Symbolism)

The thematic content should have substance and or poetic layering. Describe the thematic content in the chosen example with a 100 word explanation. Image (4 x 5 min) and text clearly printed. (Due Wed Sept 22) 25% of assignment.

3) Contemporary Art (reproduction) (Due Wed Sept 22) Describe the contemporary content and or ideas in the chosen example with a 100 word explanation. Image (4 x 5 min) and text clearly printed. 25% of assignment

4) Be prepared to speak about the three choices as to why it is cliché and what is the thematic content presented and discuss what the contemporary art is about, and address those points in a 300 word typed explanation in total (100 words for each category) presented along with the three choices (Due Wed Sept 22) 25% of assignment

5) In addition to clearly printed versions of images and printed typed texts required for group critique (Wed Sept 22) and videotaping (Wed Oct 20). By Wed Oct 20 at 11:30 pm an emailed version of images and text will also be required to be sent to instructor.

Note: Images should correlate with text in a clear manner.

This assignment will require research in the Architecture Fine Arts Library to find examples 2 and 3.

Note: If two or more people have chosen the same imagery or object both people will have to find an alternative source or they will receive a zero on that component of the assignment. Students should check with each other during class to ensure there is no duplication. There will be a sign up sheet in class.

THE “What is Contemporary Art?” ASSIGNMENT (continued)

For Clarification here are some Suggested Readings, Ideas and Topics Regarding Contemporary Art:

Sample of Contemporary Ideas and Terms used in current art practices:

Post-Modernism

Race

Identity

Gender

Sexuality (marginalization of people of an alternative sexual orientation or a cultural repression or misrepresentation of sexuality)

Globalism (21st C)

Feminism

Post-Medium Art (Rosalind Krauss)

Post-Colonialism

Semiotics (signifier and signified)

Economics

Environmental Issues

Urbanization

Media

Politics

Abjection

Irony or satire (re-contextualizing something that is cliché, conventional or kitsch

Books at Fine Arts Architecture Library such as:

Brandon Taylor, Contemporary Art since 1970

Michael Archer, Art Since 1960

Edward Lucie-Smith, Art Tomorrow

Artspeak, (dictionary) Robert Atkins

Survey Art History Books at Fine Arts Architecture Library such as:

Marilyn Stokstad, Art: A Brief History 3rd ed. 2007 pages 582-598

Hugh Honour & John Fleming 7th ed. 2005 Chapter 22

Journals at Fine Arts Architecture Library such as:

Art in America

Border Crossings

Art News

Mix

Art Forum

Art and Paper

Canadian Art

October (art theory and criticism)

Flash Art

Frieze

Modern Painters

Art Journal

Yishu (Journal of Contemporary Chinese Art)

THEMATIC CONTENT (Layers of Meaning):

Thematic content may involve choosing symbols, metaphors, allegories, narratives, myths, icons, motifs or combining some of these choices. Thematic content may also be like a word in a poem where a given word has multiple layers of meaning but connects to the poem’s overall theme.

DEFINITIONS of THEMATIC DEVICES:

Definitions of Symbol:

1. The use of symbols to invest things with a representative meaning or to represent something abstract by something concrete

2. The artistic method of revealing ideas or truths through the use of symbols

3. A 19th century literary and artistic movement that sought to evoke, rather than describe, ideas or feelings through the use of symbolic images

4. The belief that the bread and wine used in the Eucharist are symbols and not literally the flesh and blood of Jesus Christ. (Many other significant spiritual or non western religious icons could apply)

Definitions of Metaphor:

1. The application of a word or phrase to somebody or something that is not meant literally but to make a comparison, for example, saying that somebody is a snake.

2. All language that involves figures of speech or symbolism and does not literally represent real things.

3. One thing used or considered to represent another.

Definitions of Allegory:

1. A work in which the characters and events are to be understood as representing other things and symbolically expressing a deeper, often spiritual, moral, or political meaning.

2. The symbolic expression of a deeper meaning through a story or scene acted out by human, animal, or mythical characters

Definition of Cliché:

A saying, image, expression, idea, or element of an artistic work which has been overused to the point of losing its original meaning or effect, rendering it a stereotype, and or as expected, and or predictable, and or not innovative, and often based on a prior context that no longer has any significance or conceptual substance. A cliché may sometimes be used in a work of fiction for comedic effect, or may be used as a form of irony or ironic critique.

List of People with Chosen Topics as of Mon, Sept 20

(people are listed in the order information was received by instructor)

Marc Charbonneau

CLICHE : MARILYN MONROE

THEMATIC : THE NATIVITY BY LORENZO MONACO DATE 1406-1410

CONTEMPORARY : JANNA WATSON

Orysa Stein

Cliche: "Manhattan View, Twilight" by Richard Haas

Thematic: "Maman" by Louise Bourgeois

Contemporary Art: "The Problem Perspective" by Martin Kippenberger

Collin Delaquis

Cliche Art: "La Femme Fleurissante" by Virginia Patrone

Thematic Art: "21st century digital boys" by Alex Cherry

Contemporary Art: "Yes We Can" by Antar Dayal

Hailey Sato

Cliché: Paul Cézanne, The Three Skulls

Thematic: Vladimir Kush, Winged Satellite

Contemporary: Jitish Kallat, Untitled (Eclipse)

Anna Borren

Cliche - Marilyn Monroe by Andy Warhol

Thematic - This You Call Civilization? by Wangechi Mutu

Contemporary - The Last Judgement in Cyberspace by Miao Xiaochun

Alexis Flower

CLICHÉ is a picture of Jesus on the cross

THEMATIC image is a photograph of Hunter S. Thompson

CONTEMPORARY piece is an album cover (Frank Zappa's ''Ship Arriving Too Late to Save a Drowning Witch'')

John Anderson

Cliché; Tattoo of Skull (image of Thomas Steinberger)

Thematic: “Plenty’s Boast” by Martin Puryear

Contemporary Art: “Mr. and Mrs. Andrews without Their Heads” by Yinka Shonibare.

Rebecca Toderian

Cliche: Salvador Dali "The Persistance of Memory"

Thematic: Lin Tianmiao "No. 13- tree"

Contemporary: Jaune Quick-to-See Smith "the Red Mean: Self

Portrait"

Amanda Chandar

Cliché: Mona Lisa

Thematic: You Cannot Be Happy Everyday, artist: Liu Yin, journal: Yishu (Journal of Contemporary Chinese Art)

Contemporary - Hotel Kyoto, Room 211, artist: Erwin Olaf, journal: Art News

Renyl Lantano

Cliche: Edward Much, The Scream

Thematic: Marta Dahlig, The 7 Deadly Sins

Contemporary: Audrey Kawasaki, Mizuame

Dallas McDougall

Cliché: picture of a girl with long hair

Allie Nemis

Cliché: ying-yang symbol

Thematic "A Thousand Symphonies" by Dick Higgins

Contemporary: "Sensations of an Infant Heart" by Walton Ford

Nicolas Rodriguez

Cliche: The Barbie as a Girls Toy.

Thematic: censorship. Photo. Oliver Frost & amp; Marc Massive

Contemporary Art: Artist-Wim Delvoy

Andrew Olfert

Cliche Art: "American Gothic" by Grant Wood

Thematic Art: "Aspects of Negro Life: From Slavery Through Reconstruction" by Aaron Douglas

Contemporary Art: "Electronic Superhighway" by Nam June Paik

Please note some people will be expected to change some of their choices by the videotaping dates. It is important not to have the same artist and or image that someone else has used in the above list for the group critique on Wed Sept 22 as well as the videotaping date.

Thematic Interior/Exterior: Emotive Observational Drawing in B & W Mediums:

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Amount of time required on assignment: Minimum of 9 hours. Assignment is weighted as two days.

Have at least 95 % of assignment done for group critique. Please see crit and evaluation criteria listed in syllabus.

Materials: drawing board, clips, 18 x 24 white cartridge paper (or other appropriate optional paper), and black and white mediums of choice. Use materials where you can mix black and white materials. Generally this does not include the use graphite or pencils.

Objective of Assignment: To demonstrate and utilize variations of light and shadow to depict mass (object and forms) and planes in relation to space. In order to get deep space depicted in the drawing assignment, incorporate a room with a window with a view to the outside and or incorporate a door way that opens to a hallway or another room. Once again as for all assignment so far in this course people will be required to develop themes in this assignment.

Subject Matter: Select volumes, planes and space that will present a definite sense of foreground, middle ground, and background (deep space) in the drawing. Also depict part of yourself (see examples below) in the drawing (at minimum 25% of drawing area and maximum of 40% of drawing area).

*This assignment requires drawing from observation but you can also incorporate an expressive interpretation which should connect to the themes and concepts in the work.

Thematic Content:
Here again as in the majority of future assignments in this course, the use of thematic content is required for this assignment. As stated in previous assignments Thematic Content may involve choosing symbols, metaphors, allegories, narratives, myths, icons, motifs or combining some of these choices. Thematic content may also be like a word in a poem where a given word has multiple layers of meaning but connects to the poem’s overall theme. Once again you as the artist have the goal of trying to bring multiple layers of meaning into the completed assignment.

Formal Issues and Examples of Various Black and White Drawings: Below are links which may assist in researching formal issues when depicting subject matter in black and white drawings.

This link below will present examples and ideas on drawing objects. This link will also present various formal issues that will include: process of drawing, additive and subtractive layering of mediums, mark making, mixing of black and white mediums, strategic depiction of (or lack) of detail and contrast. Variation of edges in shapes from sharp edges (hard edge) to soft edges (blurry edges) and all of these issues considered in relation to space and composition.
http://derekbruecknercourseinformation.blogspot.com/2008/04/blog-post_12.html

This link below will offer some formal examples of drawing exteriors using various options of black and white materials. Over all these examples in the link below present a very goof depiction of deep space and in some examples offer a very good use of atmospheric perspective.
http://derekbruecknercourseinformation.blogspot.com/2009/04/exterior-rendered-drawings.html

Regarding Examples Below: Please note the examples of line drawings below do not full fill all the requirements for this assignment. The examples given below were given various grades. These examples below are meant as a guide and offer primarily various formal options in terms of compositions and in some examples depictions of subject matter in deep spaces. Consider the above objectives and the required subject matter and consult your notes from the lecture that discussed this assignment. If you have any questions contact the instructor.

The above assignment offers very good detail in the foreground. As well the requirements of 25% of the drawing having an area consisting of limbs from the person who has done the drawing has also been achieved in a very interesting way. A deeper space should have been depicted but over all a good work and an inspiring example of foreground subject matter for the Line Drawing Homework Assignment.

The above drawing's selected composition demonstrates an exceptional depiction of deep space and variation of line. As well there is very good detail in foreground (hands) and an overall very good progression of increased detail and darker/thicker line from background to foreground.

The above drawing's selected composition demonstrates an exceptional depiction of deep space.

Advanced Drawing 1 Courses (2nd Year BFA Drawing) Final Projects and Thematic Assignments

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Kinetic Drawing Machine (drafting table, sewing machine motor and mechanical pencil) June 2003

Video projection on drawing (mixed media and paper) Winter 2006

Kyle Scheurmann
Baby
Time: 17 sec
March 2008

Course: Advance Drawing 1
Assignment: Thematic Project
Institution: School of Art, University of Manitoba
Term: Winter 2008

Foreshortened Figure

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List of Students Choices for Contemporary Art Assignment

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Student: Elyse
Cliché: Sandro Botticelli's Birth of Venus
Thematic: Marc Chagall
Contemporary: Ron Mueck

Student: Susan Abbott
angels-cliche
Manet-thematic
Cindy Sherman -contemporary

Student: Amanda
cliche : leonardo da venci
thematic: marilyn manson and candy ellard
contemporary: Rebecca Horn

Student: Rowan Gray
Wolfgang Loeshe-Cliche
Alexandre Orion-Thematic
Miche De Broin-Contemporary

Student: Kaitlyn
Bob Ross for Cliche
Andres Serrano's Piss Christ for thematic
Roman Pyatkovka Contmporary

Student: Jordan Wall
Ann reyes - Cliche
Gabourey Préfontaine Perry - Symbolic
Damien Poulain - Contemporary

Student: Brittany Hoppensack
Cliché: Cassius Marcellus Coolidge
Thematic: Nandor Gild
Contemporary: Martin Kippenberger

Student: Scott Ford
Cliche art: Robert Bateman
Thematic art: Kris Kuksi
Contemporary art: Allyson Mitchell

Student: step25
Cliche - Carravagio (Basket of Fruit)
Thematic - Banksy
Contemporary - Barbara Kruger

Student: Cormac
"La Pieta" (Cliche)
Daniel Johnston (Thematic)
Allison Schulnik ( Contemporary)

Student: Heather Wagner
Cliche - Jackson Pollock
Thematic - Attributed to Lippo Memmi
Contemporary - Katharina Fritsch.

Student: Karen Hanan
Ingrid Falk/Gustavo Aguerre - cliche
Richard Deacon - thematic
Tracy Emin - contemporary

Examples of 1st Year Drawing Student Work Sept 2008-April 2009

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João Antonio Monteiro
Untitled
Varnish on Burned Wood
April 2009

Course: Fundamentals of Drawing
Assignment: Final Project
Institution: School of Art, University of Manitoba
Term: Winter 2009

Amelia Marshall
Untitled
Mixed Media
April 2009

Course: Fundamentals of Drawing
Assignment: Final Project
Institution: School of Art, University of Manitoba
Term: Winter 2009

Sandra Chen
Untitled
Acrylic and Coloured Conte on Raw Canvas
February 2009

Course: Fundamentals of Drawing
Assignment: Pluralist Assignment
Institution: School of Art, University of Manitoba
Term: Winter 2009

Sandra Chen
Untitled
Coloured Ink, Acrylic and Conte on Paper
January/February 2009

Course: Fundamentals of Drawing
Assignment: Modernist Assignment
Institution: School of Art, University of Manitoba
Term: Winter 2009

Fred Fandard
Untitled
Acrylic and Coloured Conte on Collaged Paper
January/February 2009

Course: Fundamentals of Drawing
Assignment: Modernist Assignment
Institution: School of Art, University of Manitoba
Term: Winter 2009

Samples of Student Video Work

2008-04-12T17:06:00.000-07:00

Kyle Scheurmann
Baby
Time: 17 sec
March 2008

Course: Advance Drawing 1
Assignment: Thematic Project
Institution: School of Art, University of Manitoba
Term: Winter 2008