IAT 208 Drawing as Inquiry

1. IAT 208 Drawing asInquiry • LECTURE: 2 • Spring 2012

2. What Exactly is Drawing? • Therefore, it is impossible to make a drawing unless the artist has a clear understanding of the type of drawing that is to be created, and the visual language that is to be used which will give form and expressive dynamics to the drawing. • This is often forgotten or misunderstood by most teachers of drawing.(Stanyer, The Complete Book of Drawing Techniques) http://www.mathacademy.com/pr/minitext/escher/drawing_hands.gif http://www.utm.utoronto.ca/cvmc/aah/graphics/images/drawing.jpg

3. Sketches and Drawings • http://www.bbc.co.uk/schools/gcsebitesize/art/images • Here are two Renaissance artist drawings: Michelangelo figure study on the left and da Vinci figure study on the right. Which one is the sketch? http://www.telegraph.co.uk/arts/graphics/2006/03/14/pic4.jpg

4. The Experience of Drawing: What We will be Covering this Term

5. Value Sketches • Values are the degrees of light and darks in a drawing. A value sketch is used to observe a subject without regard for structural or proportional accuracy. Here, the artist focuses on the light and darks of your subject. • http://www.durochers.org/journal/uploaded_images/pumpkin-723713.jpg

6. Drawing Basic Shapes

7. Structural Sketching • A structural sketch helps you see how a subject is constructed. Look for basic shapes such as squares, rectangles and circles. Then ask yourself how they relate to one another. Before you pick`` up your pencil to sketch your still life object, take a minute to study your object. 1 2 3

8. The Three Types of Linear Perspective: • Two-Point Perspective: • Edge of box against glass • Two kinds of lines-vertical and perspective • One-Point Perspective: • Side of Box against glass. • 3 kinds of lines- vertical, horizontal, and perspective. • Three-Point Perspective: • Corner of box against glass • 1 kind of line-perspective.

9. Drawing Faces B C Valentin Serov (1865-1911) Self Portrait Whistler: http://www.dia.org/collections/AmericanArt/ images/tonalism/t1.jpg

10. Drawing the Human Figure

11. Preparing your Portfolio • Your portfolio tells a prospective employer, judge or professor about your workmanship, skills and talents. • A sloppily presented portfolio can have serious repercussions if you hare applying for a placement or job. (Marquand, How to Prepare Your Portfolio: A Guide for Students and Professionals) http://www.drawright.com/images/prtdrw3.jpg

12. This week • Basic shapes • Hatching • Measuring • Simple still life (apple & banana).

13. TIP: Use squares to form your circle http://www.draw23.com/drawing-sphere

14. This weeks basic shape: Ellipse

15. Exercise: hatch marks • Lines: As you draw, try to keep your attention exactly on the point where the pencil touches the paper. This will help to keep mind and hand synchronized and to make drawing easier. (Drawing for the Absolute Beginner, Willenbrink) http://www.youtube.com/watch?v=J_gj-1L2ubs

16. Exercise: Use of Tone • Using Tone: There are many ways of using tone, depending on the effect you are trying to achieve and the materials you are using. The techniques shown here are the ones you will find most useful and effective over a broad range of still-life drawing. • As with the previous exercises, you have tried, the more practice, the better your expertise with handling tone will be. (Drawing for the Absolute Beginner, Willenbrink) http://www.jdarts.com.tw/images/638-0002.jpg

17. Creating Form • (4) When one looks at this hexagon divided into rectangles or parallelograms of light, dark and medium tones, we tend to interpret it as a cube or block shape. • (Source: Barber, The Complete Book of Drawing. 2008.) • (Image: Barber, The Complete Book of Drawing. 2008.)

18. Walter Foster: Drawing

19. Creating Form • (2) Let’s take it a stage further. In this drawing of a bleached out photograph of an onion the striations or lines make the same point. • We recognize this kind of pattern and realize what we are looking at is an spherical object which sprouts or an onion • (3) Here, the drawn effect of light and shade is so convincing from our experiences that we recognize the shape as a piece of fruit. • (Image: Barber, The Complete Book of Drawing. 2008.) • (Source: Barber, The Complete Book of Drawing. 2008.)

20. Intro to still life > You will need to take rough measurements

21. Negative Space Being aware of the negative space will help you get the placement of objects correctly.

22. Lab prep: http://www.youtube.com/watch?v=0GiVImMVRkQ

23. Creating Form • (5)These scribbled lines and marks can be seen as a human form engaged in a sport. • Of course, they are not really those things, but there are enough clues to prompt our memory to remind us of forms we have seen. • The mind quickly fills in the details when a form is rudimentary. • (Source: Barber, The Complete Book of Drawing. 2008.) • (Image: Barber, The Complete Book of Drawing. 2008.)

24. How to Depict Form on a Flat Surface • Light and shade can also give us some ideas too as to the way form alters as light plays on it and how shadow is formed in the areas ‘blocked’ away from the light. • The result gives the eye an under-standing of solidity as only solid objects can have some parts in light and other areas in shadow. • (Source: Barber, The Complete Book of Drawing. 2008.) http://farm1.static.flickr.com/158/438315761_8f38fe8128.jpg

25. Approaches to Form • The Italian painter Giorgio Morandi had a particular vision of form that is like few others. • His etchings of still-life subjects have a dark-life solidity about them as in this example. • He achieved this effect by layering on fine lines of cross-hatching which, when combined, create very dramatic darks and lights. • (Image: Barber, The Complete Book of Drawing. 2008.) • (Source: Barber, The Complete Book of Drawing. 2008.)

26. Approaches to Form:The Human Figure • Otto Greiner’s approach to form is similar to that of a classical artist with his careful handling of the light and shaded areas. Notice how some lines on the drawing follow the contours around the form and sometimes to go across it. • (Source: Barber, The Complete Book of Drawing. 2008.) • (Image: Barber, The Complete Book of Drawing. 2008.)

27. Approaches to Form • What are some of the techniques that we can use to portray form convincingly so that the onlooker sees a solidity that is in fact merely suggested? • On this slide we see the human form, probably the most difficult form to draw. • These show varying techniques to analyze form. There is no one correct way of doing this • (Source: Barber, The Complete Book of Drawing. 2008.) • We can draw lines around the sections of form to give us a sort of computerized visions of the dimensions of the shape- as in this reclining figure. • (Image: Barber, The Complete Book of Drawing. 2008.)

28. Approaches to Form • Another approach is to delineate the different surfaces by drawing marks that are similar to the facets or marks you get on a wooden sculpture. • (Image: Barber, The Complete Book of Drawing. 2008.)

29. Demonstration: Lines into Shapes • (Drawing for the Absolute Beginner, Willenbrink)

30. Demonstration:UsingTone • Using Tone: There are many ways of using tone, depending on the effect you are trying to achieve and the materials you are using. The techniques shown here are the ones you will find most useful and effective over a broad range of still-life drawing. (Drawing for the Absolute Beginner, Willenbrink) http://www.jdarts.com.tw/images/638-0002.jpg • (Drawing for the Absolute Beginner, Willenbrink)