ART 115 02 Spring 19

ART 115 02
Beginning Drawing

Professor David Zeggert

SUNY Broome Community College

EMAIL:   Zeggertdp@sunybroome.edu

607 768 3868 call until 9pm, excluding Sundays

Tuesday and Thursday 1:00-3:50 pm

Office hours will be posted on my office door at studio 205 Old Science Building

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.

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.

 Attendance:

The class meets for 15 academic weeks or 30 times a semester. You are allowed two unexcused absences, the third is a failure of the class.

 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. We do not have the room 

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 Art 115 Spring 19 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

DATE week 1 CONTENT

Class 2

Crit., hand in statement and proof for a grade

HW assignment: Discover drawing produce
Read pages: 1-17, focus on Strategies for learning to see

Week 2 CONTENT

Class 1: Class is not meeting today.
Class 2: Crit. discover drawing!

Begin Value, lighting & general concepts and definitions discussed

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

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

Continue to read research and investigate links

(Supplies due for a grade)  Due: 02/07

Studio still life (if time allows)-establish form using fruit and items as the subject

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, René 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 Gazette, 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

Sketches:
Suggested practice, thumbnail sketches
http://www.explore-drawing-and-painting.com/thumbnail-sketch.html
http://drawsketch.about.com/library/bl-thumbnail-sketching.htm

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.

Drapery study

One of sixteen drapery studies by Leonardo da Vinci

http://www.louvre.fr/en/oeuvre-notices/drapery-seated-figure

http://www.metmuseum.org/toah/hd/leon/hd_leon.htm

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