Page from my schetch book

This was an exercise in trying to be more schematic with my drawings. I spent 30 minutes on the sketch. 15 minutes were spent staring at the page because i was having difficulty while looking for ways to make it more schematic. Sorry its so blurry.

Final Portfolio

You will be submitting a final portfolio on May 5.

The portfolio must contain 14 drawings. Choose the best examples of the following:

2 gestures
2 10-20 minute drawings
1 portrait
1 page of features (eyes, nose, mouth)
1 neck/shoulder
1 torso
1 arm
1 leg
1 hand
1 foot
2 open drawings

For the anatomical drawings, choose drawings that best utilize the schematic approach we have been discussing all semester. Simply ask yourself if the drawing would be useful in a figure drawing textbook. Drawings from sketchbooks are okay, but they must be scanned and printed or photocopied at good quality. All work must be signed and dated and clipped together simply.

This portfolio, along with your final drawing, represent the bulk of your final grade.

Hand and Feet

The Arm

Boucher

Rubens
Tintoretto

Rubens

Caravaggio

Ingres

Research for Final

I've been researching Edward Hopper paintings for my final project. I've always loved his lonely figures and his use of light in his work. I'm hoping to capture 3 "Hopper" like figures to combine for my final. So far, I've found two that I like a lot.... but I will have to play around with a composition. I'm not sure how three figures will work for the composition I'm seeking. Might have to give a different environment instead of the bedroom scene.

2 Schematics

Examples of final project: Anatomical study

Examples of final project: figure composition

Final drawing project

Complete ONE of the following:

Option 1:

Create a figure composition based on poses collected from art history. There is to be a minimum of 2 figures in your drawing. Research historical or contemporary paintings, drawings and sculpture to see how figures can be effectively used. Using you or friends as models, place these figures in some type of contemporary environment, and organize them so that they relate well to the space and environment of the page. Do not let them float in a void! Figures may be clothed, however look for every opportunity to show anatomical detail (a visible knee, arm, shoulder, torso, etc.)

Strive for structural clarity. I suggest developing a full tonal range, using a consistent, clear light source. This can be a great help in describing internal plane variations.

The minimum size for this drawing is 20” x 30”, and there must be at least a 1” border. I suggest working larger. Work on quality sketch paper or toned paper. I would not use craft paper or newsprint for this project. Material choice is open to you. Use what you think will suit the goals of the drawing best.

Some suggested artists to look at:

Rubens, Velazquez, Gericault, Delacroix, Goya, Hopper, Poussin, Raphael, Degas, Eakins, Leonardo, del Sarto, Pontormo, Giorgione, David, Breugel, Titian, Rembrandt, Manet, Courbet, Odd Nerdrum, Damon Lehrer, William Beckmann, Steve Assael.

Option 2:

Choose a figure drawing from art history and make a careful copy of it on good paper. On the same sheet or separately make both a skeletal and muscular analysis of the original. Use the handouts you’ve gotten from me and do some of your own research to find the appropriate information. In addition to the texts mentioned on the syllabus, wikipedia.com can be a good source, and the skeleton from our still life room may be available at certain times. Below you will see example of how this exercise can be done. Please note that you are to analyze both the skeletal and the muscular forms. There will therefore be a total of three drawings necessary.

Again, material choice is open to you. Use what you think will suit the goals of the drawing best. Try to keep to the spirit of the original. If possible, use the same materials used by the artist.

Give the skeleton and muscle forms the same light source as the original. Be sure you represent them as volumes.

Criteria

A successful final drawing will accomplish the following:

· Demonstrate an appropriate amount of working time. (3 weeks @ 5 hours/week )

· Use the page in an interesting manner.

· Develop clear, illusionistic volumes.

· Use value to create form, light, and to organize page.

· Reflect an understanding of anatomical forms.

· Reflect an understanding of recent figure exercises.

· Show consideration for presentation.

· Transcend the assignment.

· Be ambitious

Good torso drawings

Michelangelo
Rubens
Bertora
Lebrun
Michelangelo
Raphael
Rubens
Gericault

Torso