Monday, November 12, 2018

Final Assignment Art 115 2020

Final Assignment Art 115 
Professor
 Zeggert, SUNY Broome Community College

I'm sure you'll agree that throughout the term the area of study has included and been based on developing observational skills with the focus on the examination of value and illumination with the goal of establishing sculptural weight. 

Your final project encompasses the fundamental areas of study in addition to a conceptual component that's based on the authentic art movement, Surrealism.

View the conceptual aspect of this assignment as an exercise in 
critical thinking and problem solving. 

In order to be successful with this assignment and before you begin the drawing process, it is critical that you research Surrealism, also it's important that you pay close attention to the detail(s) of the assignment.


Introduction:
Surrealism is considered an art movement or style often seeking to express what is in the subconscious mind or psyche and it often features the element of surprise including unexpected juxtapositions.


For inspiration, you should look at the following artists: Hieronymous Bosch, Salvador Dali, RenĂ© Magritte, Brad Holland, Rafal Olbinski, Jack Unruh, Sterling Hundley, in addition you should research Surrealism using Mark Harden’s artchive. (http://artchive.com/)
https://www.metmuseum.org/toah/hd/surr/hd_surr.htm

Assignment:
Your assignment is to complete a black and white drawing consisting of the 9 achromatic values based on the content and direction outlined below.

Reason for the Assignment:
Modeled after the visual discipline defined as Editorial illustration.
The Function or Real-Life Scenario:
This type of editorial assignment represents the process often used in the publishing industry whereas the drawing and story will be presented together and function as a centerpiece ultimately appearing on a section front of the local paper or other media.  Requesting an artist to start the drawing (illustration) before the article is complete is common practice in the editorial world, especially when dealing with assignments like an obituary or for an assignment with a looming deadline.  Subsequently, it does require the artist to create a drawing based on the peg or main idea of a story that does not yet exist forcing you to critically examine the subject and come to a rationale conclusion based on what you know and what you anticipate. The ability to arrive at a solution is based on available content, your research and imagination in the context of the specifications of the assignments.


The subject:
Edward Fillman, a highly distinguished citizen of Goose Creek, South Carolina and owner of the longstanding Fillman Taxidermy died last week.
The Goose Creek Gazet
te, a local newspaper, is writing an obituary article and paying tribute to the passing of Fillman.

Main Idea and what we know:
Currently, what we know about Edward Fillman was provided by J Ford Chapman, Gazette reporter, who is still in the process of gathering information and crafting the story.  So far, Chapman’s reporting has revealed that Fillman serviced the rich and poor from all over the world and was regarded as having character and humility, treating all his clients with great respect. His motto (No job is too big or too small) was painted in large, white, san serif letters located on the back wall of his shop and rather noticeable as you walked through the front door.
His work included a range of animals provided by a Montana big game hunter, who would ship an assortment of moose, deer, mountain goats and other exotic creatures from around the globe to the Goose Creek shop.
Fillman gave special care to the little jobs too, several years ago, Fillman completed with great detail, a prize winning, cock fighting rooster owned by Miss Baseman, a Goose Creek local.  However, no one in town was more appreciative of Fillman’s work than Little Earl Trumbull, proud owner of Peter, his pet frog.  Unfortunately, one humid August day, Peter fell ill and slipped away.  Fillman forever preserved Peter’s external form and fond memories proving once again that no job is too small, making Little Earl Trumbull a happy boy again.

Construct sound composition:
Read chapter seven, pages 147-174, review link(s)
http://char.txa.cornell.edu/language/principl/principl.htm
https://www.thoughtco.com/elements-of-composition-in-art-2577514

Identify a formal and noted compositional model(s) that you applied to construct your drawing- (ie; symmetrical, asymmetrical, etc.) 

Objectives:
Integrate the picture elements and objects achieving a desired balance that advances the idea of your drawing.
Research Surrealism and become familiar with the named Surrealist.
Create a drawing informed by Surrealism that would accompany the Goose Creek tribute article.
Demonstrate a command and understanding of value and illumination.
Incorporate an element of drapery and demonstrate that you have a command of drawing and structuring folds.
Incorporate and demonstrate that you have a command of the proportions of the human head.
Remember, one of the functions of editorial art is to inform the reader, have impact and the drawing should be accurate to the content.
Consideration should be given to the entire picture plane and all the elements arranged within it.
Evaluate the detail of the assignment.
Create a drawing that represents the academic level of a college final.

Things to consider:
Students should examine how to establish form without line.
Students should examine how values of different degrees placed next to one another can create the illusion of line.
Be aware of how many artists use Surrealism as a technique to illustrate their ideas.
Be creative.
Evaluate this assignment.  Is it Surreal?

Medium/Size:
Pencil /the image size will be 14 X 20” with a 2” margin on all sides defined by a border,
page size 18 x 24 inches
Example of thumbnails
https://richardsolomon.com/artists/tyler-jacobson/#work-process

Written statement:
Describe how you arrived at the main idea of the assignment, used picture making fundamentals to craft the drawing and describe how a named surrealist inspired you. Also, cite the compositional model and any other relevant information from your text. The statement should be 400 words typed and printed, use the MLA style guide as the formatting and citation source.
Due: 05/19 at 1:00 pm, worth 100 points

Due dates:
Thumbnails due:
At least three solid thumbnails due TBA
Submit thumbnails for approval before you proceed, (25 percent of grade)


Progress submission:
The progress submission is defined as the final drawing completed to at least 50 percent or half way-
Due: T/Th-TBA at the end of class, 
(25 percent of grade)
   

Final Drawing due:
05/19 at 1:00 pm for crit. (50 percent of grade).

I will not accept late work.

Thursday, October 4, 2018

Drapery study


One of sixteen drapery studies by Leonardo da Vinci



Analysis of folds:

We will identify the basic/general types of folds and the characteristics that are associated with them.

In order to make your drapery study successful, it’s critical that you apply what you’ve learned through out the term. Consider the study of value, and light as the foundational aspects used to construct your drawings, as well as the fundamental elements that support the realization of drapery.

Key points:
Folds are impacted by the underlying form or structure. (ie, clothes on a figure, clothing draped over the back of chair, etc.).
The point of impact is also called the
 point of origin; fabric at the point of origin will have tighter, more taut and even possess linear characteristics.  Conversely, the further away from the point of origin the more the fabric will billow out, appear open and flow(ie), and subsequently less linear.

At its core, folds will take on the shape of a triangle. As a fundamental practice (tool) adhere to the concept of general to specific, and one would seek out triangular shapes to help establish the initial phase of the drawing.

Types of folds:
·       Gravity inspired (pipe-like)
·       Dual points of origin (diaper fold)
·       Half lock
Dead fold

Gravity inspired has a traditional look and feel and is best described and identified as having a tight and defined point of origin.  As the fabric flows from the point of origin the individual folds resemble a pipe or half-pipe shape. (ie, window drapery, fabric cinched at the waist, think pleat or waist area of a dress or simply, a piece of fabric hanging from a nail on the wall).

Dual point or diaper fold, I prefer to use the term dual point. Historically, the dual point was referred to as the diaper fold, either works.  A dual point inspired fold has the same origin and properties as a gravity inspired fold but with two points of origin.  Typically, between the two points you’ll encounter unusual qualities, somewhere between tight and linear folds plus a billow. This is often called a Half lock, which I’ll cover next.

The primary characteristic of a Half lock fold is that the fold turns in on itself and acts as a strong indicator that something has changed.   A common place to find half lock folds is inside the bend of an elbow, back of the knee, bend at the waist.  The half lock possesses hard and soft edges plus tight characteristics that slightly billow out.

Dead fold is as it sounds, maybe the toughest fold to tackle, it consists of a bit of everything with limited direction.  Many dead folds are lumped piles of fabric with various folds responding to and acting as points of origins. (In short, it's defined as a mess).

https://www.metmuseum.org/blogs/now-at-the-met/2015/neoclassical-drapery-studies

Drawing folds:
As mentioned the fabric should be correctly illuminated revealing to you the value pattern of the fabric, it also allows you to see the pattern and characteristics of the folds. The energy and anatomy of the fold is a direct result of compression and expansion of the fabric.  Note the pipe folds resemble a wave like pattern, one portion compressing the other expanding; this pattern should correlate with a light/dark pattern.   As you investigate and discover the patterns, look for the characteristics that identify the action of the fold.  Also be cognizant of the recurring theme of change and respond to it.
A great indicator of compression and expansion is to sit or stand up straight and bend side to side.  One side of your torso will expand and the other will compress. This exercise resembles the energy of the folds you're describing.  
Review 
Draw from general to specific: Address bigger, basic forms first- 
A core requirement of painting from observation requires the artist to investigate the subject with the goal to see and analyze the subject.  It's reasonable to say that we will understand the subject better after continued study especially in contrast to the immediate response, (ie, your brain will have more visual information after two hours of observing the subject compared to five minutes of observation).  This observational concept supports the idea of drawing from general to specific.

Being mindful of changes is a good rule (tool) of thumb when establishing major planes or shapes and defining values from observation.  The core idea is that you identify and react to the subject that you're painting.  In most cases if you identify a shift in value, seek out a planar change or change of direction. Conversely, if an element has changed, seek out a shift or transition in value. The changes or shifts could be a result of the subject turning away from you based on your position in space or it could represent a change in the physical structure of the subject.  Regardless, something has changed, respond to it and use the information defined as changes to help describe your subject and achieve sculptural weight.


Contributing source: Drawing drapery, Vilppu

Sunday, September 30, 2018

Open studio


Everyone welcome!!!

Location: Room 205 Old Science building

11/02-11:00 am-2 pm
11/30-11:00 am-2 pm
   

Tuesday, September 25, 2018

Fall schedule 2018 (update 1106)

Week 6
10/02- Finish Skills and visit drawing spot
HW: Read planes defined post and text
10/04- Class 1: Studio still life (drape): 30-60 minute lecture, (take notes)
In studio: Objective is to match value and state desired folds.
Subjects-chair, apple and drape including gravity and half-lock folds

Medium: Stonehenge paper plus Nitram and white charcoal
HW: Draw a paper lunch bag- bag on 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. Due-10/11
Read: pages 74, 75. Begin to re create figure 4.28 in your text. Size: 9 x 12. Due-10/18

Week 7
10/09-Class 1: No school
10/11-Class 2: Bag crit. (Drape cont.): 
Objective-match value. Chair, apple and drape including gravity and half-lock folds.

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 your clamp light (optional). 
Due at the beginning of next class: First statement-based on study/research of French painter, Chardin, 1699-1779.  Type a 300 word statement profiling Chardin's life and 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 10/25 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.

10/16- Class 1:  Four Possessions, in studio
10/18- Class 2:  Four Possessions, in studio

Week 9
10/23- Class 1:  Four Possessions, in studio
10/25- Class 2:  Four Possessions, in studio (Drawing due at the end of class)

Week 10
10/30- Portrait lecture- must take notes
Terminator discussion -
Studio set with sphere and planes of the head
HW: Re create Pat with idealized light- 9 x 12, due 11/01
HW: Must bring mirror to next class
11/01-Self Portrait, 18 x 24, must bring in a mirror and large pad
Objectives:
Obtain likeness- physical attributes
Convey the essence of the subject
Explore and state the entire value range
Draw life-size
Have fun
https://www.louvre.fr/en/routes/eugene-delacroix
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.
Assign Hat Project


11/06 Self Portrait, 18 x 24, 
11/08-Self Portrait, 18 x 24, must bring in a mirror or Begin Hat project- 

11/13: Hat in studio-photo due
Assign Final
11/15: Hat in studio

Break

11/27  Hat in studio due at the end of class
11/29: Non-linear project
Thumbs due

12/04: Non-linear project
12/06: Studio TBA

12/11: Studio-work on final
12/13: Final due

Wednesday, September 19, 2018

Plane defined

Read pages 67-96, pages 86-91 (Ink wash content is optional)
noun
1. a flat or level surface.
2. Geometry. a surface generated by a straight line moving at a constant velocity with respect to a fixed point.
3. Fine Arts: an area of a two-dimensional surface having determinate extension and spatial direction or position:
Oblique plane: a plane that is not parallel or a right angle. 
Biomorphic plane: think in terms of organic in shape.
Recording planes:
Understanding the planes that make up the subject will help you identify and record the structure, mass and value of the it.  Identifying the planes should happen in tandem with your ability to see value.  This should occur as a result of observing the subject, the discovery of planes and value is associated with the idea of drawing from general to specific. 
A core requirement of drawing from observation requires the artist to investigate the subject with the goal to see and analyze the subject.  It's reasonable to say that we will understand the subject better after continued study especially in contrast to the immediate response, (ie, your brain will have more visual information after two hours of observing the subject compared to five minutes of observation).  This observational concept supports the idea of drawing from general to specific. 
Being mindful of changes is a good rule (tool) of thumb when drawing planes and defining values from observation.  The core idea is that you identify and react to the subject that you're drawing.  In most cases if you identify a shift in value, seek out a planar change, and conversely if a plane has changed, seek out a shift or transition in value. The changes or shifts could be a result of the subject turning away from you based on your position in space or it could represent a change in the physical structure of the subject.  Regardless, something changed, respond to it and use the information defined as changes to help describe your subject and achieve sculptural weight.

Review Duchamp's work:
Figure 4.16 and 4.17 in your text are solid examples of recording and describing planes and values and should be reviewed.
Pastel by Gary Kelley
The above image by Kelley, a contemporary illustrator, demonstrates defined planes and value shifts.
Kelley's work is often informed by Cubism and can be viewed at several Starbuck/Barnes & Noble locations.
The Barnes & Noble in Vestal does have a Kelley mural displayed!! (check it out if you are in the Binghamton area)