Assignment #14: Object Self

Due: In the Final Portfolio

You are to choose an interesting object. Be sure to choose one that  is fascinating, and which also has immediately recognizable visual characteristics.  You are to make self portrait as that object.

This project comes in two parts. 

1. The first part involves you making a drawing of your chosen object from life so that it fills a page in your sketchbook.  You may use any media appropriate.

2. The second part involves making a self portrait as that object (it must also fill a sketchbook page).  You are to make it clear in your drawing that the second drawing is you, while at the same time keeping it recognizable as that object.

To recap: make a drawing of an object, and then make a drawing of you as that object.

Standards of craftsmanship will be very high for these last few projects.  Spend as much time as appropriate for each drawing.  Take pride in your sketchbooks!  They will be a valuable asset to your transfer portfolios.

Final Portfolio!

To mark the end of the term, you are to prepare a portfolio of 15 in class drawings from any class period from the whole term, plus your sketchbook with ALL the out of class sketchbook projects.  Hand in your portfolio in a standard clean folio folder large enough to comfortably fit all of your drawings.  Spray fix each dry media drawing (outside and away from any buildings or cars), and slide in sheets of clean loose sketch paper or similar to separate each drawing from the drawings next to it.  This will help to ensure that my taking your drawings out of your portfolio will not smudge them.  Do not ask me to help you decide which of your drawings are best; choose what you think are the strongest and feel free to include written reasons why you chose what you did.  Be sure to sign each drawing and portfolio (without marring your drawings), as I will not be reduced to guessing who did what.

ACHTUNG: For our purposes, an in class drawing means one side of a whole sheet of paper.  If you choose a sheet of paper where you want to include both sides as separate drawings, make it clear to me somehow! 

Neatness and presentation is everything!  You could have the best drawings in the world, but if your portfolio folder is less than desirable I will not want to look inside (a book is often judged by its cover!), and you will therefore have earned a poor grade.

List of assignments to be included in your sketchbook:

·        Skeleton and Skulls project

·        Arm muscles

·        Leg muscles

·        Torso muscles

·        Hands and Feet

·        Hand and Foot Bones

·        Van Gogh copy and self portrait

·        Ingres Copy and self portrait

·        Matisse copy and self portrait

·        Two Emotive Self

·        Two More Emotive Self

·        Famous Self

·        Animal Self

·        Object Self

Assignment #13: Animal Self Portrait

Due: next week at the beginning of class

You are to choose your favorite animal. Be sure to choose one that is fascinating, and which also has immediately recognizable visual characteristics.  You are to make self-portrait as that animal. Note: animal cartoons do not count (no Pikachu or Scooby-doo, for example).

This project comes in two parts. 

1. The first part involves you finding an image of your chosen animal and making an accurate and precise drawing of that image so that it fills a page in your sketchbook.  You may use any media appropriate.

2. The second part involves making a self-portrait as that animal using the first image as a point of departure for the second (it must also fill a sketchbook page).  You are to make it clear in your drawing that the second drawing is you, while at the same time keeping it recognizable as that animal.

To recap: make a drawing of an animal, and then make a drawing of you as that animal.

Standards of craftsmanship will be very high for these last few projects.  Spend as much time as appropriate for each drawing.  Take pride in your sketchbooks!  They will be a valuable asset to your transfer portfolios.

Assignment #12: Famous Self

You are to choose a famous (or infamous) person. Be sure to choose someone who is fascinating, and who also has immediately recognizable visual characteristics.  You are to make self portrait as that person.

This project comes in two parts. 

1. The first part involves you finding an image of your chosen person and making an accurate and precise drawing of that image so that it fills a page in your sketchbook.  You may use any media appropriate.

2. The second part involves making a self portrait as that person using the first image as a point of departure for the second (it must also fill a sketchbook page).  You are to make it clear in your drawing that the second drawing is you, while at the same time keeping it recognizable as that famous person.

To recap: make a drawing of a famous person, and then make a drawing of you as that famous person.

Standards of craftsmanship will be very high for these last few projects.  Spend as much time as appropriate for each drawing.  Take pride in your sketchbooks!  They will be a valuable asset to your transfer portfolios.

Assignment #11: Emotive REdux

Due: next week

Emotive Self Portraits Redux

You are to pick two different self-portrait drawing options from the two you picked last week.  Make a self-portrait for each of your new choices, with each drawing affecting a human facial reaction:

Surprise

Fear

Skepticism

Shame

Excitement

Anger

Disgust

Disdain

Remember, be as melodramatic as possible.  Subtlety is great, but for drawings like this to work they need a theatrical quality.  Each drawing must be meticulously finished from observation only.  It must also fully develop elements of light and shadow. This means you may not work from photos or any other 2 dimensional references, and you must be sure that you draw as anatomically accurate as you are able.  To do this you must spend hours in front of your mirror at home studying your face in different poses.  Leave any self-consciousness at the door.  Each drawing should fill a page in your sketchbook.  Good luck.

Assignment #10: Emotive Self Portraits

Due: next week

Emotive Self Portraits

You are to pick two of the eight self-portrait drawings options below; make a self-portrait for each of your choices, with each drawing affecting some human facial reactions:

Surprise

Fear

Skepticism

Shame

Excitement

Anger

Disdain

Disgust

Be as melodramatic as possible.  Subtlety is great, but for drawings like this to work they need a theatrical quality.  Each drawing must be meticulously finished from observation only.  This means you may not work from photos or any other 2 dimensional references, and you must be sure that you draw as anatomically accurate as you are able.  To do this you must spend hours in front of your mirror at home studying your face in different poses.  Leave any self-consciousness at the door.  Each drawing should fill a page in your sketchbook.  Good luck.

Assignment #9: Matisse Self Portrait Project

Due: next week

You are to choose a Henri Matisse portrait drawing.  In the same manner as the Van Gogh project and the Ingres project, make a copy of the Matisse drawing and make a self portrait drawing in the same scale, style, and position as the copy. Matisse was all about line quality.  His line has an unselfconscious whimsical quality that is also extremely confident.  In copying his line you cannot possibly be authentically unselfconscious, but you have to look that way.  Spray fix!

There are a number of websites that are great image resources: artcyclopedia.com, and artchive.com, but also try Google images.  Be creative in how you search for images.  They’re definitely out there . . .

Hint: Be sure to choose drawings, not prints that look like drawings. 

No class on Monday!

So I need to be away on Monday during class time.  As a result, I'm cancelling class.  We won't have class Monday the 24th.  We will see each other again on Wednesday the 26th.  Your homework will be due then.

Assignment #8: Ingres Self Portrait Project

Due: Next Week

You are to choose a Jean Auguste Dominique Ingres portrait drawing.  In the same manner as the Van Gogh project, make a copy of the Ingres drawing and make a self portrait drawing in the same scale, style, and position as the copy. Spray fix!

Again, you are making two drawings total: a forgery and a self portrait.

There are a number of websites that are great image resources: artcyclopedia.com is chief among them, but also see what google images gives you.

Hint: This project is about following directions as much as anything else.  Make sure to read the directions carefully.  Also be sure to choose drawings, not prints that look like drawings. 

Assignment #7: Van Gogh Self Portrait Project

Due next week

You are to research/choose a Vincent Van Gogh portrait drawing.   (A portrait is a drawing of a person where the identity of the sitter is clearly important)  In your sketchbook, copy that drawing exactly.  You are to reproduce it line for line (in other words, if there are 384 lines in his drawing, there should be 384 lines in your drawing!), taking into account line quality, and not just location and direction  .  After that, on the next page in your sketchbook, make a self-portrait drawing in the same scale, style, and position as the Van Gogh drawing that you chose.  You MUST spray fix your drawings (outside) or they will smear into the facing page!

There are a number of websites that are great image resources: vggallery.com and artcyclopedia.com, among others

Review: So, you are to “forge” a Van Gogh drawing, and then make a drawing in the same style and scale substituting yourself in the place of the Van Gogh subject.

Hint: This project is about following directions as much as anything else.  Make sure to follow the directions carefully.  Also be sure to choose drawings, not prints that look like drawings. 

Bring the Gray/Neutral Paper to next class!

Remember to bring the gray/neutral paper to class, plus black and white conte crayons.  We will be drawing on this paper on Wednesday and next Monday.

Assignment #6: Hand and Foot Bones

Hand and foot drawings with superimposed skeletons

Due next week

Choose your most interesting hand drawing and your most interesting foot drawing from the previous sketchbook assignment.  You are to re-draw them, superimposing the skeletal structure of each into the drawings (do not merely make a skeleton hand and foot without the flesh surrounding it).   Each drawing should fill a sketchbook page.

Research the skeletal anatomy of hands and feet enough to be able to accurately place each bone into its respective spot.  You are to be anatomically accurate, allowing the various processes and recesses of each individual bone to be expressed.  Do not merely make cartoony versions of bones.  The shape of each distal phalanx should be separate and distinct from the shape of each median phalanx, for example.  Also, be sure that your skeleton matches up with any visible landmarks caused by boney protrusions, so that the medial malleolus of the tibia actually causes the protrusion known as the inside ankle bone.

Both of these drawings should be as made to be as believable and as beautifully crafted as possible.  Take into consideration the perspectival shape of foreshortened bones, plus the necessary overlapping of bones that such drawings require.  Use any reference sources available to finish the project as long as you yourself are the one making the drawings.

Good luck!

Assignment #5: Hands and Feet

You are to make 3 drawings of single hands, and 3 drawings of single feet.  All must be in a unique position.  Each drawing should be close to life size, filling a sketchbook page. 

The Rules

·       All of your drawings must describe light and shadow

·       Be as detailed and descriptive as possible, but do not lose the overall space and structure

·       Every drawing must be done from life

·       Every drawing must be done in a different position than all the others

·       Make each drawing interesting by picking an unusual position

·       Seek out other artists to see how they did it

·       Strong, dramatic light WILL make your life easier!

Helpful Hints

·       Body parts are architectural.  They have mass and are made up of planes!

·       Keep it simple.  Only find detail in the light, not the shadow.

·       Don’t draw just your own. Instead, get others to pose for you!

Remember the Museum Trip!

This is a reminder that our bus trip to NYC is on Friday, November 18, from 10 am to 10 pm!  The cost is $25 to get a seat on the bus.  Most importantly, the bus is over half full at this point, and the seats are first come, first serve.  Once the bus fills up, you are S.O.L., and you'll have to find your own way there!

Assignment #4: Torso Muscles

Muscles of the Torso

This project is due next week.

The torso, anchored by the spinal column, is the glue that ties all the extremities together. From the ribcage on top to the pelvic girdle below, it is where the gesture is born.  It can twist and turn in almost an infinite number of directions, and to do that its muscular structure is downright miraculous in its ingenuity.  We’re all familiar with its (idealized) major forms: abs, pects, hips and back, but relatively few people know much beyond those major masses.  This project will help.

In your sketchbook, you are to draw three views of a torso as accurately, proportionate, and as detailed as possible, with the major muscles and landmarks from the list provided below neatly labeled in each view.  You must label all muscles in view in each drawing!  You must draw an anterior (front) view, and posterior (back) view, and a lateral (side) view.. All three drawings should be on separate pages and--once again—should be independently labeled.  You may use any detailed image in Goldstein (see illustrations in Chap. 4) or research your own accurate images.  Use a finely sharpened pencil to accurately render as many muscles as would be visible in the view that you’ve chosen.  You must include everything from the neck down to the top of the femur, including the shoulders.  Include muscular striations that help to identify the direction of the pressure that the muscle applies. Do not crop your torsos at all and be sure to fill your sketchbook page as much as possible without compromising proportion or accuracy.  You are to label your drawings neatly and without compromising the details of the drawing with the list of muscles and landmarks `below.

• Sternocleidomastoid
• Trapezius
• Clavicle
• Deltoid
• Pectoralis major
• Serratus
• Latissimus dorsi
• External oblique
• Rectus abdominus
• Flank pad of the external oblique
• Anterior superior iliac spine
• Posterior superior iliac spine
• sartorius
• tensor fascia latae
• gluteus medius
• gluteus maximus
• great trochanter
• 7^th cervical vertebra
• infraspinatus
• teres minor
• teres major
• rhomboid
• sacral triangle

Assignment #3: Leg Muscles

Muscles of the Leg

Due next week

Like the arm, recognizable landmarks on the leg are informed by how the muscles of the leg wrap around the skeletal structure.

In your sketchbook, you are to draw three views of a leg as accurately, proportionate, and as detailed as possible, with the major muscles from the list provided below neatly labeled.  You may choose three of the four basic views of a leg: the anterior view, the lateral view, the posterior view, and the medial view. All three drawings should be on separate pages and independently labeled.  You may use any detailed image in Goldstein (see illustrations in Chap. 4) or research your own accurate image.  Use a finely sharpened pencil to accurately render as many muscles as would be visible in the view that you’ve chosen.  Do not crop your legs at all and be sure to fill your sketchbook page as much as possible without compromising proportion or accuracy.  You may not omit feet.   You are to label your drawings neatly and without compromising the details of the drawing with the list of muscles below. Label every list item that you can see once in each drawing.

• Gluteus medius
• Gluteus maximus
• Illio-tibial band
• Sartorius
• Gracilis
• Adductor magnus
• Vastus lateralis
• tensor fascia latae
• Rectus femoris
• vastus medialis
• Biceps femoris long head
• Biceps femoris short head
• Band of richer
• Semimembranosis
• Semitendinosis
• Popliteal fossa
• Soleus
• Gastrocnemius, medial head
• Gastrocnemius, lateral head
• Tibialis anterior
• Peroneus longus
• Extensor digitorum longus
• Flexor digitrum longus
• Achilles tendon
• Peroneus brevis
• Medial malleolus
• Lateral malleolus

Assignment #2: Arm Muscles

This project is due Monday, September 12

 Muscles of the Arm

To prepare for this project as well as the next couple of projects, read Chapter 4 in Goldstein. Our skeletons alone are nothing more than a rack on which to hang our flesh.  In order for us to move, we have a complex system of mechanical moving parts we call muscles.  Many of the familiar landmarks we see on the figure are caused by the muscular structure designed to move rigid bones.

In your sketchbook, you are to draw three views of an arm as accurately, proportionate, and as detailed as possible, with the major muscles from the list provided below neatly labeled.  If possible, address light and shadow. Of these three views, one must be an anterior view, one must be a lateral view, and one must be a posterior view, all of which should be on separate pages and independently labeled.  You may use any detailed arm image in Goldstein (see illustrations in Chap. 4) or research your own accurate image.  Use a finely sharpened pencil to accurately render as many muscles as would be visible in the view that you’ve chosen.  Do not crop your arms at all and be sure to fill your sketchbook page as much as possible without compromising proportion or accuracy.  You may not omit hands.   You are to label your drawings neatly and without compromising the details of the drawing with the list of muscles below.

• Deltoid
• Biceps
• Triceps
• Lateral head of the triceps
• Long head of the  triceps
• Medial head of the triceps
• Brachialis
• Tendonous plateau of the triceps
• Medial epicondyle of the humerus
• Olecranon process of the ulna
• Supinator longus
• anconeus
• Extensor carpi radialis longus
• Extensor carpi radialis brevis
• Extensor digitorum
• Extensor carpi ulnaris
• Flexor carpi ulnari
• Head of the ulna
• Ulnar crest
• Abductor pollicus longus
• Extensor pollicus brevis
• Hypothenar  muscles
• Thenar muscles

Below are some example images from Goldstein.  Your drawings should be just as carefully crafted.

Hi Everyone,
Below is the text of a flyer from the campus gallery (CM200) asking for internship volunteers.  Looks great on a resume!

2016

Volunteer Opportunities

No Art Experience Needed

Flexible Scheduling

Just 2 - 4 hours a week

Great for resume and transfer application building

Interested?  

Contact Gallery Director Kerri O’Neill

at gallery@mccc.edu for details 

Assignment #1: skeleton and skull

Assignment #1: The Skeleton and Skull

Life Drawing; Stevenson

Due Sept 7

In order to draw the figure with any quality, you must have knowledge of anatomy.  This assignment is the beginning of our study of basic artistic anatomy.  It involves making two detailed drawings, one of a full skeleton, and the other of a complete skull.

Read Chapter 3 in Goldstein.  Then, on the first page of your new sketchbook, you are to draw a complete skeleton as accurately, proportionate, and as detailed as possible, with the major bones from the list provided neatly labeled.  You may use any full skeleton image in Goldstein or research your own accurate image (see example on blog).  Use a finely sharpened pencil to accurately render as many of the 206 bones of the body as would be visible in the view that you’ve chosen.  Do not crop your skeleton at all and be sure to fill your sketchbook page as much as possible without compromising proportion or accuracy.  

Then draw a skull that is just as finely rendered.  Your skull drawing should fill the sketchbook page without compromising accuracy, and it must not be cropped at all. DO NOT draw on page facing the skeleton drawing—the two drawings will rub together and ruin each other.

You are to label both drawings neatly and without compromising the details of the drawing with the list of bones below. 

·         Femur

·         Fibula

·         Patella

·         Tibia

·         Pelvis

·         Tarsals

·         Metatarsals

·         Greater trochanter

·         Pubic arch

·         Pelvis

·         Anterior superior iliac spine

·         Iliac crest

·         Lumbar vertebrae

·         Sacral triangle

·         Thoracic vertebrae

·         Ribcage

·         Sternum

·         Clavicle

·         cervical vertebrae

·         Humerus

·         Radius

·         Ulna

·         Carpals

·         Metacarpals

·         Phalanges

·         Mandible

·         Maxilla

·         Zygomatic arch

·         Zygomatic bone

·         Frontal bone

·         Temporal fossa

·         Nasal bone

·         Mastoid process

·         Coronoid process

·         Styloid process

·         Supercilliary ridge

·         Orbit

·         Cranial Suture

·         Mental protuberance

·         Parietal bone

·         Canine fossa

·         Occipital bone

·         Sphenoid bone

Museum Visit Paper

Museum Visit and Paper

Life Drawing

Field Trip: November 18

Due: November 28

There will be a department bus trip to the Metropolitan Museum of Art in NYC on Friday, November 28. The Met is the best art collection in the Western Hemisphere. You are to attend this trip (cost is $25 for a seat on the bus). While there you will choose two works from different artistic eras, make detailed sketchbook drawings of said works, and write a paper comparing and contrasting them.  This paper must be at least 750 words (3 double spaced pages of text), and must include photos of your sketchbook drawings and photos of the works chosen, that you yourself take as they were installed in the museum.  All photos must be of good quality.  The subjects of the two works you choose must be predominantly figurative, but (again) from different artistic eras.  In writing your paper you must cite at least 3 distinct sources in addition to any museum materials (which don’t count), and they must be properly cited in a properly formatted bibliography.  Your sources must include at least one non-web-based source, and you may NOT include Wikipedia!

Your paper must address these questions:

·         What is your overall impression of the art collection and exhibitions on view?

·         What were the specific works that you chose, who were the artists, where did the artists come from, and what cultural environments were affecting their art?

·         How were the artists’ approaches to the figure similar, both in composition and content?  Be specific.

·         How were their approaches to the figure different from one another? Be specific.

·         What observations/realizations can you make about each artist’s attitude toward both the figure in general and the specific subjects of their artwork?

·         What else to we need to know about the artists or their era that help us to see their work in the correct light? In other words, are there any other artists or works from the art historical canon that inform the way we interpret these particular works?  How?  The bulk of your research may be directed toward this question.

Your paper must use proper English grammar and spelling (which will be included in the grade), and references and citations must be written an appropriate format.  If in doubt, use Chicago Style.  Questions about it can be answered by the savvy use of Google.  If you use any writing or assertions that are not your own, they must be properly cited.  Plagiarism will be dealt with using standard MCCC protocol. Another thing: NO B.S.!  NO FLUFF!  I actually want you to think about the questions—don’t just dash it off at the last minute! 

This paper will constitute 10% of your final grade.  It must be printed out, stapled and handed in a hard copy format, including the images of the works, at the beginning of class on the due date.  I WILL NOT accept it late, or in digital form (however, I will accept it early).

Museum Paper Grading Rubric for: _______________________________________ Proper format and length:                                                                                           ____/20% Grammar:                                                                                                                           ____/10% Spelling                :                                                                                                                               ____/10% Adequately addressed all questions from initial assignment sheet:           ____/30% Clear, supported, and succinct expression of ideas:                                         ____/30% Overall grade:                                                                                                                    ____/100%