Immediately moving class online

Blackboard

Hello-
We are moving our class online and will not meet in person this week and through-out the curtailment. Please access Blackboard, select your class and follow the prompts, plus ignore the current schedule on the blog until notified otherwise.
I will be available online during our scheduled classroom time.
Your class is activated and your first module will release Sunday at mid-night.
thank you-
Professor Zeggert

Curriculum update

Hello Everyone-
I'm in the process of moving our class to Blackboard and do not anticipate meeting in the classroom throughout the curtailment- More info. to come.
thank you

Important please read

For March 12, given the content of your current project, please work from home and complete it- I will update you regarding the future plans of the class and how we'll complete the semester. Please check the blog for updates!
Thank you

Important: please read 02/27

Due to weather related issues, we will not be meeting as a class today-However continue with your self-study.
Continue to review the text and blog posts regarding planes-
http://art115begindrawing.blogspot.com/2018/09/plane-defined.html

Be prepared to discuss this material on Tuesday as we move into the drapery portion of the class-
I'll adjust the schedule to reflect the change in curriculum-
Thank you

Spring Schedule 2020

Week 4
2/18- Full studio- Skills drawing
2/20- Full studio- Skills drawing

Week 5

2/25-Class 1: Skills drawing due at end of class for a grade! Turn in sphere HW
HW: Read planes defined post and text

2/27-Class 2: Weather issues: Self study-

HW: Review Chapter three-

LINE Figure 3.3 and 3.4- be prepared to discuss on 03/17-(60 minutes)
LOOKING AHEAD-Read: pages 74, 75. Begin to re-create figure 4.28 in your text. Size: 9 x 12. Due-03/10

Week 6

03/03-Class 1: Drape lecture 60 minutes, must take notes.

Concept to discuss: Working out of a middle value!
Drapery study
Remaining studio-complete drape study(s).

Part II:
Assign: Four Possessions Portrait assignment

Includes a drawing (18 x 24 inches) and two written statements typed/printed to be completed for a grade.

(Each element worth 100 points)

HW: Bring to the next class four Possessions that represent who you are as person, a crate size box, drape (color, size) your choice and clamp light (optional). 
Due at the beginning of the next class:
The first statement is based on study/research of one of the following artists; Claudio Bravo, Walter Murch or Daniel Sprick. Focus on the life of the artist, the work, investigate and describe something you discovered about the artist related to still life painting/drawing and how it could be applied to your next assignment. 

Second Statement (reflective) due 03/12 at the beginning of class and it must be typed, min. 300 words. 

Content should include and define choice of objects, the drawing process, use of value and your ability to articulate the desired folds. Discuss problems, solutions, successes and failures.

03/05-Class 2: Discuss artist profile and start Four Possessions, in studio
HW: Draw a paper lunch bag (apply fold anatomy concepts to the bag)- 9 x 12 inches- examine and state the value structure with the primary goal in mind- In addition, describe the folds, wrinkles, creases, pleats, etc. 03/12!

Week 7

03/10- Class 1:  Four Possessions, in studio, drawing 4.28 due

03/12- Class 2:  Four Possessions, in studio, due at the end of class.
HW: Read pages 180-186, key on proportions defined on 184.

Week 8

03/17-Class 1: Discuss Line based on text
Portrait lecture- must take notes
Revisit terminator discussion -introduce five shadow areas.
Studio set with sphere and planes of the head.
Vilppu head study
HW: Re-create Pat with idealized light source- 9 x 12, due next class.
HW: Must bring mirror to next class and 18 x 24 pad.
03/19-Class 2: Self portrait

Objectives:

Obtain likeness- physical attributes

Convey the essence of the subject
Explore and state the entire value range
Draw life-size

Week 9
03/24-Class 1: Self portrait- in studio
03/26-Class 1: Self portrait in studio due at the end of class-plus assign Hat assignment (45 minutes).
https://art115begindrawing.blogspot.com/2018/04/hat.htmleek 11
HW: https://www.eugene-delacroix.com/orphan-girl-at-the-cemetery.jsp

http://www.eugenedelacroix.net/orphan-girl-at-the-cemetery/
Examine how Delacroix describes the body language of his painted subjects, in turn conveying the the emotion of the scene and the emotion of the subject.

Week 10
03/31-Class 1: Begin Hat project- Complete photo shoot and print out reference before class
04/02-Class 2: Hat project

Week 11
04/07: Hat in studio
04/09: Hat in studio due, plus Assign Final (60 minutes).
Assign Final:

https://art115begindrawing.blogspot.com/2018/04/final-assignment-art-115.html

Week 12
04/14- Spring break
04/16-Spring break

Review value related links

https://vimeo.com/227462986

Please review by 2/25 before class meets.

Rembrandt:
https://www.nationalgallery.org.uk/paintings/rembrandt-self-portrait-at-the-age-of-63

https://www.metmuseum.org/toah/hd/rmbt/hd_rmbt.htm


Plus- bring 

At home assignment: Match Value
Step 1:  Create an achromatic value scale on the right side of your page, the dimension of the transitional steps should be one inch by one inch.

Step 2: Recreate the illustrated sphere using the achromatic value scale as a guide- 

Identify the individual transitional steps plus the terminator.
Ignore reflected light.

Size: 9 x 12 inches

Due: 2/25

LINE, Figure 3.3 and 3.4 produce to class!

Achromatic value scale (Spring 2020)

Achromatic value scale:

The study of value can be elusive and impacted by relevant but subjective factors
(i.e.; strength of illumination, medium, pigment, experience and application).
Establishing a standard tool such as a value scale is useful in the pursuit of understanding value and the study of light and shadow.  The achromatic scale is a great tool for the beginning artists as well as experienced ones. Often experienced painters use the scale as a way to sort out color and value questions as a result of picture making. 
In our case, understanding and applying the concepts of the value scale is considered a foundational tool when establishing sculptural weight, also defined as the primary goal of the class.

http://tinkelmanstudio.com/
https://www.metmuseum.org/toah/works-of-art/29.100.1/
http://www.mbartists.com/cgi-bin/iowa/artists.html?artist=53

Our standard will be an eleven step achromatic value scale modeled after Albert Munsell’s color system.
(more on Munsell, see link)

Transitional steps and form:
Evaluate the degree of lightness and darkness in both scales but be cognizant of the value shift between the
transitional steps in both keys, this should underscore the subjective nature of value.

As noted, value is elusive and subjective but we need to be able to discuss it using common visual language.  The format of the the scale consists of 11 transitional steps and two keys; high and low.
The low key consists of transitional steps labeled 1-4 and the high key consists of steps 6-9.
Zero is black, 10 is white and five is viewed as the middle value.

Elements of the value scale: 

• 11 total steps or squares
• Low key values: 1-4
• High key values: 6-9
• Middle value: 5
• Black: 0
• White: 10
   

Practical value application and theory:
The pursuit of understanding value requires you to see and record degrees of light and dark. The artist must learn to see value relationships, rather than be influenced by what is known as local value, which can be perceived only when seen free of illumination (the effect of light and shadow).
Source: The Guide to Drawing

When Using Rembrandt style lighting to illuminate your object, the object will reveal to you its value structure. You should be able to see the low key values on the dark side of the object or in the shadow area and the high key values on the illuminated side.

Black will be visible where the object comes into contact with its surface and your brightest highlight will be white.

Pit-falls:

Avoid recording the color instead of the value, however color has inherent value

Control illumination, remember additional light sources will make it difficult to record value

Don't lose sight of the primary goal of the class

Determine the real mass or volume of the subject and be mindful of its value structure

About Munsell

http://munsell.com/about-munsell-color/

Due: 02/06

Create your own achromatic value scale-

Draw your piece(s) of produce from Assignment 1 with value and lighting concepts discussed-

Strive to achieve the primary goal of the class!!

Due: 02/11

Read from your text-

Pages: 1-14- be prepared to discuss in class

Looking ahead:

Pages 58-64

Review the breakouts on pages 60 and 61, plus review the definition of Chiaroscuro

Art 115- Spring 2020

ART 115 01 3957   (Tuesday and Thursday) 1:00-3:50 pm

Beginning Drawing

Professor David Zeggert

SUNY Broome Community College

EMAIL:  Zeggertdp@sunybroome.edu

607 768 3868 call until 9pm, excluding Sundays

Office hours will be posted at room 205 Old Science Building

Class blog: http://art115begindrawing.blogspot.com/

Course Description:
Drawing as an art form that engages us emotionally and intellectually and is considered a form of visual communication. In addition, it has been used as an expressive medium, as well as a medium to examine subjects and document events throughout history.
This course will explore the foundation of drawing; we will study value, structure, light source, form, line, and composition.  You will have the opportunity to draw from life (on location) and from observation. Through the physical act of drawing, and in the context of picture making, you’ll begin to learn how to see and understand what you are seeing.
Graphite techniques will be investigated in order to study still life, portrait and the figure, resulting in solid drawings that exist as a drawn image.  This class will employ innovative exercises that will stimulate new ideas and approaches, plus study different kinds of marks used when creating drawings, including gesture drawing and renderings. We will examine historical examples to help establish a contextual point of view and provide a point of departure and as a source to frame a discussion.

Reportage: https://www.metmuseum.org/art/collection/search/349139

Kollwitz: https://www.moma.org/s/ge/collection_ge/artist/artist_id-3201_role-1_sov_page-2.html

Collins: https://jacobcollins.format.com/drawing

Course Objectives:
Achieve sculptural weight and the illusion of depth.

Must complete all assignments.
To learn through exploration, application, analysis of online components and application of the concepts presented. Learning to see, visualize and create with tools/skills acquired in class. In short, hone your skills and become better at the craft of drawing.
Assignments could include drawing, reading, discussion and a critique.  We will use a creative process to solve most assignments.
Most classes will be divided into several parts, studio-time, assignments and critique.
Drawing and creating will be at the core of the class with a strong emphasis on mastering the tools of the trade (listed on the supply list).
Introduce and/or refine rendering skills, understanding and stating value, shape, form, achieving this through the use of various exercises.
I expect you to venture from your safe zone, both in ideas and technique.  We will critique in class (post)  and revisions will be part of the process.

Learning Outcomes:
Investigate subjects, mentally process and restate in a drawn form.
Apply the creative process to explore ideas and the development of an idea.
Discover drawing as an expressive art form.
Develop eye-hand facility and the ability to judge.
Utilize the elements and principles of design.
(Line, Shape, Value, Texture, Color / Light, Text, Balance, Unity, Rhythm, Repetition, Variation, Pattern).
http://char.txa.cornell.edu/language/introlan.htm
Explore graphite and charcoal (optional) as a medium to establish value and depth.
Implement concepts of visual representation
(composition, drawing, value contrast, value transitions, tone).
Solve compositional problems (appropriately compose a picture so that it advances the idea of the drawing).
Implement various drawing techniques and methods of picture making.
Recognize notable contemporary and historical artists/drawers.
Apply knowledge acquired in relation to drawing and as a foundation to other art forms and visual disciplines.
When you have completed the course you will: 
Understand drawing as a medium that communicates, have acquired the basic skills that provide a strong drawing foundation, explored various media, be familiar with past and present artists/drawers, become a member of a very prestigious drawing tree.

Expectations:
You are expected to positively participate and engage with the class, improve your skill level, and apply yourself. You’re expected to be creative thinkers, problem solvers and resourceful. In addition, you are expected to complete drawings, quizzes/test, postings, and complete a final project.

Grading:
The bulk of your grade will be based on the major assignments. I expect and anticipate improvement this semester, no matter what your skill level is at the beginning of the term, you will be evaluated on improvement, engagement and effort. In addition, you will be evaluated on your ability to retain course material.

Midterm meeting:

If needed, we will review your progress and areas to improve.

 Classroom grade:

The classroom grade equals four categories based on expectations. The categories are 25 points each. It will be factored with your project grades at the midterm and/or the end of the semester. You will complete four or five projects so this grade does carry weight, (i.e., if your facilities are not as developed as others the classroom grade may help boost your overall grade).

Midterm:

At the instructor’s discretion, we will review your progress, areas to improve and attendance.

College policy on academic dishonesty:
In BCC’s 2011 Student Handbook starting on #155; see #156 for paragraph beginning: “Academic dishonesty (such as cheating and plagiarism)…” Each student is expected to do his or her own work unless that particular assignment was clearly designated as a group project. Direct copying of files from Internet or from another student is forbidden. If you use the Internet for written or visual assignments indicate on your paper the source of your information. If you are paraphrasing something the Instructor said, simply indicate on your paper that is where the information came from. The sharing of ideas is encouraged, but direct copying of written or visual content is considered cheating. It is the responsibility of every student to safeguard his or her work so that it is not available to other students to seize.

Projects:

Each assignment will have different expectations defined that need to be addressed. Some assignments will be written; some will be articulated, requiring you to take notes, some will have conceptual demands. Others might have skill demands and others may have a deadline demand. You’ll be graded on the aspects of each assignment as it applies, similar to the point system mentioned above. The project grade and classroom grades will equally factor in to make up your final grade.

Lateness:

This is critical, simply put, if you miss a deadline, you could lose 50 points off the final grade. Defined, the project needs to be complete at the start of the class the day it’s due, no exceptions, unless noted.

Attendance:

I will give you two unexcused absences. The third miss is an automatic failure. The attendance policy is a no tolerance policy. Chronic lateness may add up to an unexcused absence.

­­If you have perfect attendance you will be curved up to the next letter grade.

If you miss a class it becomes your responsibility to get the information from that class. I suggest you make arrangements with another student. I’m not going to use class time to bring you up to date.

If life interrupts your school schedule, let me know and we can make arrangements. You must complete all assignments to pass this course. Don’t abuse this privilege. We will go over absences at the mid-term meeting but,

YOU ARE RESPONSIBLE FOR KEEPING TRACK OF the classes you missed.

Remember not to make appointments during class time.

You are expected to remain in the classroom for the entire class period, unless other instruction is given, leaving early is considered being absent.

Studio Rules

Students must clean their work areas before leaving the studio.  That includes putting away easels, palettes, and other equipment.

Students should clean their palettes, boards and tables at the end of a class or work session.

DO NOT TOUCH THE STILL LIFE SET UPS!

No work or personal property may be left behind after the term is over with the expectation that it will be stored or kept by the department.

Online component:  Links of interest

This is required. Students are required to e-mail me at:  Zeggertdp@sunybroome.edu
By sending me your email address, if needed, it allows me to develop an email group of the class members to be used for updates and/or inform of a class cancellation.

Email should include biographical information.

Listed below are several sites of interest, during the semester, I’ll email you more links relative to what we are studying at the time.

Students will be required to visit the following web sites below.

Your success is my goal!!!

Supplies:

 https://www.dickblick.com/lists/blicku/JT3HTPG0O1FXO/publicview/

Light source:

Clamp light   can be purchased at Lowes

Natural light bulb, 60 watt or above

(consider a variety pack including various wattage bulbs)

Folder:

Used to organize handouts and notes

DATE week 1 CONTENT
Class 1

Introduction, cover syllabus, complete bios., course overview
HW:

Send me your email address with bio. info., noting Spring Art 115 in the subject line

Order supplies immediately.

Thinking about Drawing
Select a drawing from http://www.metmuseum.org/ print the image and be prepared to discuss the work and artist.
Objective and format:

Summarize your thoughts in a typed statement, at least 300 words to be handed in for a grade.
In the context of Thinking about Drawing discuss in your statement the Importance, Interest and the overall Impact of the drawing. Be thoughtful and expressive in your rationale, rely on your intuition, don’t censor yourself, include what you discovered from the drawing such as aesthetic, composition and light source, and/or describe your initial response to the work and why you selected the work.

(include a print out of the image- it should be printed on a separate sheet of paper allowing us to start the critique process)

DATE week 1 CONTENT

Class 2

Crit., hand in statement and color proof for a grade

HW assignment: Discover drawing produce (out of studio exercise)

Week 2 CONTENT

Class 1

Begin Value, lighting & general concepts and definitions discussed

Value sphere exercise, in studio and/or value string, scale 0-11 in studio

Next class: Studio exercise: small still life, establish form

Continue to read research and investigate links
(Supplies due for a grade)  Due: 02/06

Class 2
Studio still life, establish form using fruit and items as the subject

Grid transfer portrait

 

http://www.alyssamonks.com/

https://fineartconnoisseur.com/2017/06/portrait-of-the-week-gustave-courbet-the-desperate-man/

Chuck Close: http://chuckclose.com/

Assignment: Grid transfer portrait
Draw an expressive portrait using the transfer grid. Follow the instructions on Page 190 of your text.

For this assignment I would like you to make (shoot) your own photo reference as the source for the drawing. Select a subject, pose your subject, strive for a subtle expressive pose representing a theme. Review the text for ideas or choose one listed below.
Note: The work of Courbet, Close and Monks conveys a feeling through the subtle facial expression and/or pose. Often the subject or sitter has ideas, so allow yourself to respond to the sitter during the session.

It's important that you turn off the flash on your device or camera and use Rembrandt style lighting to illuminate the sitter. The value pattern needs to be evident in the photo allowing you to record it in the drawing.

Expressive ideas:
Anguish
Satisfaction
Happiness

Resilience

Examine an unusual point view and posture, note the point of view in the above Monks and the expressive intensity of Courbet's picture.

Subject:
Open, including self.

Due: T/Th-12/03 at the end of class
         Saturday-12/07 at 1pm

Size/medium:

17 x 22 inch paper, draw life size, pencil or charcoal on Stonehenge

Line vs Value Updated Fall 2019 11/09

Drawing assignment:

For this assignment select something organic to draw like a leaf, twig, branch, etc.  Vertically split your 18 x 24 inch page in half, creating two 18 x 12 inch defined picture planes.  This is simply done by measuring half way down the page and drawing a horizontal line across the page at the 12 inch mark.

A key objective of this assignment requires you to draw the same object twice, once in each picture plane (see below). The first drawing should consist of linear work, the second should consist of value and no lines with the goal to achieve weight plus Texture and Pattern in both drawings.

See text-Pages-129-138

See: Rub and rendering, Invented texture, Stippling, Hatching

Yes, it says no lines, the goal of this assignment is for you to create the mass of the form without using line, (establishing the end of the form).  In order to be successful with this assignment, draw the object roughly the same size and from the same point of view in both picture planes. The concept of general to specific should be used here to be successful. 

Objectives:
Size: 18 x 12 inches, realize the entire value range, (both keys should be evident), correctly illuminate the object, fill the picture plane with the drawing, create the desired amount of distance between you and the still life.

Considerations:
Examine and record textures and patterns, become familiar with your subject matter, and establish form without using line.

Identify the terminator, this should assist in establishing the entire value range and if your object is correctly illuminated.

Consider the use of a drawing device to assist in establishing the end of the form, also used in an additive/reductive approach, i.e.; straight edge, ruler, piece of paper. Look at a correctly illuminated cube where two values meet as an example of a perceived line.

Consider applying the drawing concept inside out, especially when mass building for the drawing not using line.

Notice the depth and weight of Rubens' study. These elements are achieved as a result of defining the entire value range using hatching and cross-hatching. Compare your drawing to his and evaluate if you've stated the entire value range. If not, continue to develop your value statement. 

Rubens: Metropolitan Museum of Art

Format example

http://edwindickinson.org/

Trompe L'oeil

https://www.nga.gov/features/slideshows/william-harnett.html

Head drawing by Vilppu

http://vilppuacademy.com/2013/

Drawing the head II

https://www.youtube.com/watch?v=2T7cDY7YDsg#action=share

One time extra credit project

Due: 11/02

Size: 11 x 14 inches

Create a still life with a spherical object, piece of fabric and partially used tube of toothpaste.

State the entire value range based on correct illumination, compose a sound picture staging a half-lock fold around the elements.

Completed to the appropriate academic level, this grade will replace your lowest grade.
Be creative.