CBU Drawing 1

Sketchbook Assignment 7: Linear Perspective (10 1-point perspective drawings and 10 2-point perspective drawings). From

2010-10-27T10:26:00.000-07:00

***********There will be a Test on Monday, November 1st, 2010 over the terminology highlighted in the Perspective Drawing handout given in class on Monday, October, 25th, 2010.

Assignment 7 continues our understanding of 1 and two point perspective drawing.

In your sketchbook draw 10 thumbnail drawings of 1 point perspective (each thumbnail should be in different positions relative to 'you' the observer). Make sure to include the eye level and vanishing point in each drawing. Directly below each thumbnail you will create a larger version of the thumbnail drawing using the small thumbnail as a reference (without the eye level and vanishing points). An example is below.

Next, make 10 thumbnail drawings of 2 point perspective. (each thumbnail should be in different positions relative to 'you' the observer). Don't forget to include the eye level and vanishing point. Directly below each thumbnail you will create a larger version of the thumbnail drawing using the small thumbnail as a reference. An example of 2 point perspective is below.

Sketchbook Assignment 6: Linear Perspective (1 and 2 point) DUE: Wednesday, October 27th 2010 (beginning of class)

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Perspective drawing is a method of working in two dimensions to create the illusion of a three-dimensional subject. The illusion may be presented as a drawing, painting, or other graphic work. Objects and their environments are depicted on a two-dimensional plane but appear as if viewed in real three-dimensional space.

Perspective theory is often separated into two parts: linear perspective and atmospheric perspective. Linear perspective addresses how the shapes, edges, and sizes of objects change in appearance when seen at different positions relative to the observer. The distance between the object and observer, the attitude (rotation and elevation) of the object and the viewing angle of the observer are all important in linear perspective.

First and foremost -read Perspective Drawing handout given in class on Monday, October, 25th, 2010.

Next, in your sketchbook draw 10 thumbnail drawings of 1 point perspective (each thumbnail should be in different positions relative to 'you' the observer). Make sure to include the eye level and vanishing point in each drawing. An example of 1 point perspective is on page 21 (figure 3.5 and 3.6) in the handout

Finally, 10 thumbnail drawings of 2 point perspective. (each thumbnail should be in different positions relative to 'you' the observer). Don't forget to include the eye level and vanishing point. An example of 2 point perspective is on page 24 (figure 3.10) in the handout.

In the end your 20 thumbnail sketches should look similiar to the examples below.

Sketchbook Assignment 5: Seven Principles of Art Organization DUE: Monday September 27th 2010 (beginning of class)

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In visual art, there are basic principles that artists employ to aid in the creation of unique and dynamic imagery. These principles are often used in varying combinations to achieve differing results. In time, these principles become second nature and are employed in a nearly unconscious manner. They are:

Harmony: The pleasing quality achieved by different elements of a composition interacting to form a whole. Often accomplished through repetition of same/similar forms.

Variety: Differences achieved by opposing, contrasting, changing, elaborating or diversifying elements in a composition to add individualized interest. (*in contrast to harmony)

Balance: Sense of equilibrium achieved through implied weight, attention or attraction by manipulating visual elements within the composition.

Proportion: Comparative scale relationship between differing elements within a composition. For example: the size a hand in relation to a head.

Dominance: When certain elements are more important than others in a composition.

Movement: The directing of eye movement in a composition using varying elements.

Economy: Adjustment of the composition to the basic essentials for clarity of presentation, most often associated with abstraction.

Materials: sketchbook, graphite pencils or charcoal pencils

Purpose of project: This project is designed to familiarize you with the basic principles of visual organization. You should be able to describe these terms in comparison to one another and be able to locate them in different visual compositions. Throughout the rest of the semester we will be continually referring to these principles in critiques and one on one discussion of your work

Instructions:
In your sketchbook create at least seven sketches that visually illustrate each of the seven principles of art organization. You may observe and draw from other “found” images you have located in your process of researching images that illustrate the seven principles of design.

Each sketch can vary in size and dimension however, make sure the composition is at least 3” by 3”, if smaller than your sketchbook dimensions make sure to create a boarder.

Once completed, please print name, project title, and specify which principle of design you have drawn. For example: John Doe, Seven Principles of Design, Balance.

7 PRINCIPLES OF DESIGN IMAGE EXAMPLES

ECONOMY

MOVEMENT #1

MOVEMENT #2

DOMINANCE

PROPORTION

RADIAL BALANCE

BALANCE

VARIETY #1

VARIETY #2

HARMONY EXAMPLE #1

HARMONY EXAMPLE #2

Visual Elements Lecture 9/13/10

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Visual elements draw

View more presentations from nrpgx2.

Sketchbook Assignment 4: Value (2 exercises Step and Gradient Transitions).

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This Sketchbook assignment was introduced in class on Wednesday September 8th and is due Monday September 13th, 201o.

Part 1: Create 2 - six step transition drawings (one in charcoal and one in graphite)

Examples are below:

Step Transition (a recognizable and orderly step between values)

Examples:

3 step transitions

5 step transitions

7 step transitions (example of stippling, paint, and cross hatching)

Part 2: Create 2 - gradient transition drawings (one in charcoal and one in graphite) Examples below:

Sketchbook Assignment 3: 15 Postive and Negative Space Drawings

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The correct approach to negative space drawing involves observing the shapes formed between different parts of the object, or between one edge of the object and a boundary. By drawing the background spaces or shapes between the edge of the object and the opposing edge or boundary, the positive form of the object is left 'undrawn', resulting in a correct negative space drawing. This is the reverse of normal positive space drawing, where you would be looking at the form and drawing its edges.

Seeing negative spaces correctly is a skill worth developing. Negative space is used a great deal when you want to avoid outlining and create true value drawing. It is needed when you have a texture like light-colored hair or grass, when you need to focus on the dark shadows behind and underneath the strands.

Use the examples below to draw the negative shape of 15 differnt objects. Remember the 'foreground' - the positive shapes of the object you are drawing - are 'left behind' as white paper while the negative space surrounding the objects are drawn with dark charcoal.

Sketchbook Assignment 2: 15 Contour Line Drawings

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This exercise should be used in drawing subjects of all sorts. Any objects may be used, although those which have been formed by nature or affected by long use will offer the greatest amount of variation, as a flower, a stone, a piece of fruit, or an old shoe. Draw yourself by looking in the mirror, your own hand or foot, a piece of material. It is the experience, not the subject that is important.

Contour Versus Outline. ‘Contour’ is commonly defined as ‘the outline of a figure or body,’ but for the purposes of this study we are making a definite, if perhaps arbitrary, distinction between ‘contour’ and ‘outline.’ We think of an outline as a diagram or silhouette, flat and two-dimensional. It is the sort of thing you make when you place your hand flat on a piece of paper and trace around the fingers with a pencil –you cannot even tell from the drawing whether the palm or the back of the hand faced downward. Contour has a three-dimensional quality; that is, it indicates the thickness as well as the length and width of the form it surrounds. We do not think of a line as a contour unless it follows the sense of touch, whereas an outline may follow the eye alone.

Materials: Use a 2B (medium soft) drawing pencil with a very fine point and a piece of paper in your sketchbook.

Exercise 1:

Spend 30-45 minutes making (five) contour line drawing of one subject (your choice) in one fixed point of view.

Exercise 2:

Spend an hour making (five) cross-contour line drawing of a different subject (your choice) in one fixed point of view.

Exercise 3:

Spend 15-20 minutes (five) blind contour line drawing(s) of your hand in one fixed point of view.

Contour- The line that defines the edges of an object or shape.

Contour Line Examples:

Cross-contour- A line that defines surface undulations between, or up to, the outermost edges of shapes or objects.

Cross Contour Line Examples:

Blind Contour Line Examples:

Sketchbook Assignment 1: Why do we draw?

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DUE: Monday August 30th, 2010

One Page (max.)

What is drawing to you? Why do we have a desire to draw?

I am not looking for a textbook definition, there are no wrong answers so really try to respond to these two questions.

This personal definition should be the first thing that you add to your sketchbook.

Syllabus 2010

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Christian Brothers University

DRAWING I

(ART 111 – A – MW 1:00 - 2:15 pm – Kenrick Hall Art Studio B Rm# 08)

Office: Kenrick Hall Room #12

Office Hours: MW 2:30 – 4:00pm – TR 1:00pm – 3:30pm – F 1:00pm – 3:00pm

Professor Nicholas Peña

npena@cbu.edu

“To live a creative life, we must lose our fear of being wrong.” Joseph Chilton Pearce

COURSE DESCRIPTION: This course introduces students to classical and contemporary drawing techniques and concepts. Emphasis is on understanding the formal language and the fundamentals of artistic expression. Although previous drawing experience is not required, the vigorous training provided will prepare students for intermediate and advance level drawing classes. Drawings of still-life and landscape from observation are geared towards realism; at the same time, various other drawing styles may be explored. Linear perspective, pictorial composition, figure/ground relationships, shading techniques, tonal value, visual perception, spatial concepts, and critical thinking skills are all emphasized extensively. We will study and research major drawing styles and movements in a historical context. The hope is that students will use this global approach to develop a “critical eye” in evaluation of contemporary drawing. Demonstrations, slide lectures, group and individual critiques will be given throughout the course. Various dry drawing media, such as graphite and charcoal, are the primary tools for this class. This may seem like a lot to absorb – but always remember that our main emphasis will be to encourage and nourish creative thinking.

What’s Expected of You, Generally: Energy and enthusiasm in the class are vitally important, as is attendance. Please be prepared to share your experiences and ideas with the class. This should be an enjoyable learning experience and environment –that encourages students to work and participate actively and steadily.

Course Objectives:

Confidently handle various dry drawing mediums, such as graphite and charcoal.

Know the formal language of drawing and the fundamentals of design.

Understand the basic principles of linear perspective.

Understand and demonstrate the principles of design, proportion, and measurements.

Understand and demonstrate the effect light plays on 3-D forms as it applies to drawing.

Participate in the formal evaluation of one’s own work and that of others in the class.

Participate! Participate! Participate! Participate! Participate! Participate! Participate!

Course Requirements, Evaluations, and Grading / Attendance Policies:

Students are responsible for:

-Saving, in good condition, all work completed during the semester.

-Keeping an active sketchbook to record the visual thought process.

-Read all assigned readings prior to class.

-Assist class members learning by providing a supportive environment.

Evaluations:

The final evaluation will be based on the quality of completed class and homework assignments, participation, and attendance. A grade will be given at mid-term following a group critique of the mid-term project and individual portfolio review. A comprehensive grade will be given at the end of the semester following a group critique of the final project and individual portfolio review. (The approximate number of works due for the portfolio will be announced at a later date.)

Grading:

Artistic creation is a comprehensive, developmental activity. Grading is based on the relative performance of many factors.

Major factors to be considered in the grading process are:

-Students understanding the techniques and concepts taught in class.

-Using the ideas taught in class and regenerating what was learned into assigned homework.

-The degree of participation in class and group critiques.

-The students’ individual quality of work relative to the issues of the assignments during and outside of class.

-Overall preparedness.

Students giving more or less of the basic requirements of the class will receive a grade correspondingly above or below the “C” level.

A student meeting the basic requirements of each assignment, who attends every class, and who contributes reasonably to the general educational environment of the group will receive a grade of “C+”.

“B” work exceeds the basic requirements.

“A” work is exceptional in context of the long history of the course.

Note: Late work will be accepted. However, there will be a penalty of one letter grade, before the grading process begins.

Attendance:

Attendance is one of the more important components of a successful class and studio practice. In this class “excessive absences” is defined as missing more than three classes. After the third missed class each absence that follows will start to decrease your overall grade. For example, after the first three absences, every additional absence will drop your letter grade one full scale; 6 absences is an automatic drop from the class with a failing grade. If you are tardy 3 times, it will equal 1 absence. Missing more than 30 minutes of a class at the beginning or at the end will be considered an absence. If you have trouble attending class, please discuss your problems privately with me after class.

Medical or personal problems will be excused but only with acceptable documentation. All missed activities and work will need to be made-up outside of class. You are responsible for the information missed by an absence. It is the student’s responsibility to obtain class notes from fellow students (if they are so kind) and find out what was missed.

August 23 – Class Begins

August 27 – Last day to add/drop courses.

September 6 – Labor Day Holiday: NO CLASS.

October 18-22 – Thanksgiving Holidays.

November 4 – Last day to Withdraw from Courses.

November 25-28 – Thanksgiving Holidays.

December 10 – Last Day of Classes

December 13-17 – Final exams week

Text: No text is required for this course. All reading material will be available on our class blog or handouts. You can choose to either print it out or read it off of the computer screen.

(Please consider the environment before frivolous printing)

Link to our class blog: cbudrawing1.blogspot.com

Other Class Policies:

Turn cell phones and pagers off or on silent mode. If your pagers, laptops, cell phones or other devices become a distraction to the other students you will be asked to leave class and be counted absent.
There is no eating or drinking in class. NO GUESTS ARE ALLOWED IN CLASS WITHOUT PRIOR APPROVAL. This is CBU policy.
Do not leave class early. This will result in an unexcused absence for the day.
Treat fellow students with respect.
Do not disrupt class.
If you have already planned to have absences (i.e. vacations, weddings) prior to taking this class, please inform me of these dates ASAP.

Final Examination Policy:

Institutional and Art Program requirements mandate that all students must attend the scheduled final examination time for meaningful educational experience appropriate to this discipline.

Academic Honesty:

The instructor adheres to the academic honesty policy as set forth in the Christian Brothers University Handbook.

Notice of Non-Discriminatory Policy:

Christian Brothers University admits students of any race, age, color, religion, sex, national and ethnic origin to all the programs and activities of the University with the rights and privileges generally accorded to students. It does not discriminate on the basis of race, age, color, religion, sex, national and ethnic origin or handicap in administration of its educational policies, admissions policies, scholarship and loan programs, athletics and other University-administered programs.

Students with documented disabilities who may need classroom academic adjustments or auxiliary aids and services are required to register with Karen Conway Dean of Students, Disability Services, Thomas Student Center, 901-321-3536, www.cbu.edu/studentlife/disability

***Students are required to keep a sketchbook. This sketchbook should be maintained both in and outside of the class. Throughout the semester, students will be given small assignments that will be done in their sketchbooks. Each assignment must be clearly labeled (i.e. with the name of the assignment) and the date at the top of the page. Students are also required to show evidence if continuous work and progress of thought throughout the semester, such as sketches, planning for projects, copies of images of interest, written thoughts, photos of your own, and quotes in their sketchbooks.

*****Remember, a sketchbook is an artist’s personal planner—this is where the brainstorming is done and thoughts and ideas are developed. Think of it as writing a textbook about yourself and the visual language you are drawn to. There is no right or wrong way to make your sketchbook!

Grading will evaluate the volume and thought that the student exhibits in their book.

Note: Sketchbooks will be checked periodically during the semester. There will be no prior notice of my collection of sketchbooks. Therefore:

-You must bring your sketchbook to each class period.

-If you are absent on the day that I collect sketchbooks, you may turn it in to me at the next class period BUT I will deduct 5 points from that particular sketchbook grade.

The instructor reserves the right to modify this syllabus and will notify the students in a timely manner.

MATERIAL LIST FOR DRAWING I

MEDIA:

Graphite Pencil: A box of 12 Derwent (or Unigraph) Graphic Designer Medium Pencils (6B, 5B, 3B, 2B, B, H, F, 2H, 3H, 4H, 5H, 6H)

• Charcoal Pencil (no paper wrapped): soft, medium, hard (6B, 2B & HB)

• Compressed Charcoal (black) (General’s)

• Vine Charcoal (soft & medium)

KNIFE & RULER:

• Light-duty Snap-off blades utility knife

• Transparent plastic ruler 12” or longer

ERASER:

• Plastic eraser

CLOTH:

• Old Shirt, Towel, Cheese Cloth

DRAWING PAPER: (Strathmore, Canson, Fabriano or similar quality)

• A pad of drawing paper, 70 lb –400 Series (or better), 18”x24,” acid free

· Tan charcoal drawing paper, 18”x 24,” acid free

SKETCH BOOK:

• Artisan Collection, at least 9”x12,” 50lb or better

DRAWING BOARD WITH CLIPS:

• Masonite Board at least 19” x 30”

WORKABLE FIXATIVE SPRAY:

• Workable fixative spray