today in class (mark making + abstract composition + poem interpretation)

final project pt. 2

Two things due next week:

One
. Go to the ICA and see the Charline Von Heyl's show.

. Study her compositions, marks within the shapes, tone and juxtapositions thereof.

. Think of each painting as it were a poem and how abstraction can provide a subtle meaning. Think of what happens when your point of reference (personal experiences) and subjectivity collides with abstract works of art which come from a very specific point of view. Write your opinions about the show as it relates to "meaning".

Two
. Select a poem, lyrics of a song, haiku, etc...

. Choose certain objects that may relate to the meaning, sentiment, idea of the poem (for instance, use a bottle for the word "drunk", or a feather for the word "forlorn", etc...). Use your own subjectivity and point of reference for this.

. Set up your still life in a composition which interprets the poem (think how abstract shapes, angles and directions may induce certain expressions). Use your imagination. Think of the flow of the poem.

Layer at least 10 different compositions of the same objects on top of one another. The drawing must be at least 18x18 or larger.

Lastly erase certain lines in order to create a new composition.

* ALL DRAWING MUST BE FROM OBSERVATION. THIS GOES FOR EVERY TIME YOU DRAW EACH NEW COMPOSITION.

museum assignment, tuesday november 22

A poem has cadence, flow, intonation, rhythm and pattern (meter). For this next project I want you to be mindful of two things, composition and mark making in creating the elements of poetry mentioned above in a drawing that will interpret your selected poem. 

Next week we will work on a still life made of blocks which will help facilitate these ideas.

In lieu of class today, you are to go to the Philadelphia Art Museum, you are to bring me your ticket stub which should show the date so that I know that you went there today, and:

First go to the show "Here and Now: Prints, Drawings, and Photographs by Ten Philadelphia Artists" located in the Berman and Stieglitz Galleries, ground floor. Write about the flow of the marks, the inclusion of color and photographs. Your opinion, no more than 500 words.

Second go to the Modern and Contemporary art gallery and compose sketches of the compositions you see in the pieces there.

Thirdly, go and search out other galleries of your interest in the Museum and sketch their compositions.

I want at least 25 drawings

(25 of them are due next tuesday)

In sketching the composition, think of doing this:

look at the painting

with a soft graphite (woodless, 6B or 8B) draw the composition from observation in your sketchbook using a ruler

REMEMBER YOU ARE NOT TO DRAW TONE, FACES, FEATURES, OBJECTS, ETC. JUST THE COMPOSITION OF 25 PIECES

final project

on tuesday:

- go see Karmic Abstraction at Bridgette Mayer.

 Odili Donald Odita, Electric City, 2010, Acrylic on Canvas, 90 x 110"



for tuesday:

- write about a certain piece in the show

• think about mark making, color, scale, title as it may relate to some meaning that may actually be abstracted in the work
• what are some of the things that the work makes you think of
• describe how the marks, media, scale are dealt with in the piece
• research the artist and see if you can find co-relations between her/his ideas with the work on display
• post your article in your blog and email me the url of your post

- research/find a poem + interpret the poem in a drawing

• this could be a haiku, a line from a hip hop song, an excerpt from poem, etc
• from observation, draw objects via a library of mark making which may relate to the selected poem
• combine those marks from the drawings into a different drawing which composed, interprets the poem

Sixth assignment

Fifth assignment - First drawings of Woman in the Dunes

Sixth assignment - Make 2 sets of drawings

1. Through a series of drawings, find the mark that best describes each chapter
2. Through another series of drawings compose that mark on 9x12 sheets of paper

•  make repetitions with the mark              
•  figure out compositionally where to put them (left, right, diagonally, fill the entire page)
•  what direction best describes the name of the chapter
•  how much space do you leave between the marks

fourth assignment

Bring two 3X3' drawings of a small object (pebble, coin, button, piece of wood) that uses a variety of mark making as a way to depict the textures.

Make sure that the object is blown up occupying the majority of the picture plane

_Remember COMPOSITION

• how does the negative space activate the object you are drawing
• how does the placement of the object makes for an interesting usage of the negative space

_Think about value/tone

REMEMBER THE MORE DRAWINGS, THE MORE YOU EXPERIMENT, THE MORE YOU LEARN, THE BETTER YOUR DRAWINGS GET

third assignment

Draw another 18x24 still life. This time draw it with a light pencil and fill in the negative spaces with compressed charcoal.


Use the still life to create a drawing of an interesting composition with negative space.


No value, just line. Negative Space filled in with compressed charcoal