Art 112 : Drawing One
Instructor: Melissa Cooke
E-mail: [email protected]
Cliché Drawing
GOALS:
- Consider what is cliché
- Be rewarded, rather than penalized, for drawing cliché things
- Create an interesting and dynamic composition
- Accurately recreate the imagery using various drawing techniques.
- Practice value and use a full range of lights and darks
MATERIALS
- Cliché Imagery (from photos, drawings, newspapers, magazines, art reproductions, etc)
- Nice, Heavy paper, at least 8” x 10” (Bristol Smooth would be great)
- Black Ball Point Pen
Step One: Gather a variety of cliché images. You must include at least one photographic
element and a magazine clipping.
Step Two: Drawing from your cliché images, sketch out a dynamic composition. Consider
shape, scale, repetition, negative space, and value when laying out your piece.
Accurately draw your found images using skills that we learned in class. The drawing must
fill the 8” x 10” paper. Make sure to use a full range of value. You can take some artistic
liberties, but make sure to preserve the integrity of the original images.
TIPS:
- Consider creating a collage first. You can then draw directly from your collage,
translating it into a drawing. Break your collage down into a grid (either draw light
lines over the collage or put creases into the collage). Using a hard pencil, lightly
draw that grid onto your paper, making sure not to score the paper. Use this as a
guide to help with your proportions. You can also combine this with the graphing
techniques that we learned in class.
- For part of the time, turn the drawing upside down and continue working. This will
give you a new perspective and help you see the shapes, rather than any preconceived
notions of what it should look like.
- Consider combining and integrating different types of images, such as abstract
textural elements, drawings, photographs, newspaper clippings, ect.
- Think about the pairing of images and how different visual elements can come
together to create meaning.
- Create an interesting composition. The positive space (area occupied by objects and
images), should occupy at least 50% of the page. Make sure that the negative spaces
(empty areas) are interesting and varied.
- Vary the pressure of the ballpoint pen to get a variety of marks and value.
GRADING CRIERIA: Cliché-ness, Creativity, Craftsmanship, Effort, And Artistic Merit
2007 Melissa Cooke
Art 112 : Drawing One
Instructor: Melissa Cooke
E-mail: [email protected]
Geology Drawing
GOALS:
- Draw bones and fossils from life at the Geology Museum
- Create an interesting drawing with a dynamic composition
- Use contour, modified blind contour, and blind contour
- Use a variety of lines (thick, thin, light, dark, hatching, stippling, ect)
- Use selective value (shading, cross-hatching and stippling)
MATERIALS
- 22” x 30” sheet of BFK or other similar, heavy drawing paper
- Pencil (all hardness)
TIPS:
- Have a focus in your composition. What is most important/interesting/coolest? How can
you emphasize it?
- Consider where the eyes of the skull are pointing. The viewer’s eye generally follows the
gaze of the subject in a work of art.
- Consider using transparency and overlapping to create interest
- Make sure that the negative spaces are interesting and activated
- Avoid making the negative spaces equal. This tends to make the composition static and
uninteresting.
- Use a variety of pencils to create a full range of value and a sense of depth. Hard pencils
(H) make light, thin lines. Objects drawn with hard pencils appear further in the
background. Soft pencils (B) create darker, thicker lines.
- Use value to help the viewer’s eye travel around the page and create an interesting
composition.
- Use modified blind contour. Avoid simplification. Move slowly, concentrating on
capturing the intricate angles and details. The pencil lines should be long and continuous
(no chicken scratch!)
- Use a variety of line. Vary the width, pressure, length and value of the lines.
GEOLOGY MUSEUM (608) 262-2399
HOURS:
Mon-Fri: 8:30-4:30
Sat: 9:00-1:00
Sun: Closed
GRADING CRIERIA: Creativity, Accuracy, Craftsmanship, Composition, Artistic Merit, Use of
Line and Value
2007 Melissa Cooke
Art 112 : Drawing One
Instructor: Melissa Cooke
E-mail: [email protected]
Illustrator Project
Throughout history, symbols have been used to indicate personality traits or to identify a
person. For example, the white lily symbolized the Virgin and Child. The white pedals
symbolizes her purity and virgin birth, while the gold stamen symbolize the light and might
of Jesus. A more contemporary example would be the dancing bear that identified the
underground followers of the Greatful Dead (before they were popular and widely accepted).
What images could symbolize you and who you are? What images could symbolize your
thoughts, dreams, fears, beliefs, and other aspects of your personality?
MATERIALS:
- 8-10 pieces of 8.5”x11” to 11”x14” Smooth Bristol and tracing paper
- Pen and Ink and Ink brush
- Stabilo water soluble black pencil (optional)
- Computer, Adobe Illustrator, Printer
STEP ONE:
Create a list of 100 interesting things. Try to be as descriptive as possible. The more specific
you are, the more vivid an image it will conjure. For example, "cold steel rails" and "the joy
in the back of my throat" are more illustrative than "rails" and "throats". Try to think of
WHY something is interesting. Make the things as personal as possible. They could be
interesting things about you, your dreams, your fears, your thoughts, ect. Once you have
created your list, you should then choose 10 of those images to draw for your project. This
will be a fun and helpful way to brainstorm ideas for your project.
STEP TWO:
Create 8-10 pen and ink drawings of a variety of objects on separate pieces of Mylar or
paper. All layers should compliment or correlate with each other. I suggest that you draw a
variety of different objects that can later be arranged and modified in different patterns and
layouts. These images can also be used for value and texture in larger objects or figures.
Draw real life objects whenever possible.
After you finish your drawings, scan them in as TIFFs (preferable) or JPGS (not preferable)
at 300 ppi. Save them to a memory stick, CD-RW or to your mywebspace.wisc.edu. If you
do not have a scanner, you can scan images at the one of the UW Libraries (Memorial
Library, College Library).
STEP THREE:
We will be taking Adobe Illustrator lessons. We will be importing your Tiffs/JPEGs into
illustrator and adding color to the layers and manipulating them. You will create 7 different
compositions using a variety of combinations of your drawings. You should change the
colors, manipulate the layers and also add extra layers using Illustrator tools.
2007 Melissa Cooke
TIPS:
- Consider the ‘pose’ of your objects. Do not draw them all in frontal, static positions.
Draw some from a foreshortened view, a three-quarters view, or other less traditional
viewpoints.
- Avoid making your objects into a shopping list of what you like. Try to choose
objects, people and things that are personal and meaningful to you. Your teddy bear
that your grandmother made you will be more personal and illustrative of you and
your history than your store bought, mass produced iPod.
- Do NOT dilute the ink with water. Light washes do not translate well in Illustrator.
- Use smooth or lightly frosted Mylar or vellum for the pen and ink. Use a frosted,
more textured piece of Mylar if you decide to use the Stabilo pencil.
- You can use tracing paper if you use sharpie markers and avoid ink washes
- If you use the stabilo pencil, remember that the computer will convert it to a VERY
high contrast image. You will loose a lot of the midtones and delicacy.
- Avoid pre-made illustrator looks (patterned fills, cheesy filters, gradients and
textures). They tend to be gimmicky. Instead, be creative and avoid clichés.
GRADING CRITERIA:
Creativity, Craftsmanship, Concept, Composition, Use of Materials and Techniques, Effort,
Artistic Merit
2007 Melissa Cooke
ART 112 : Drawing One
Instructor: Melissa Cooke
E-mail: [email protected]
In The Style
Before the creation of Art Academies and Universities, those wishing to become an artist
would apprentice with a master artist. The student would become part of the Master’s workshop,
adopting their style, technique and materials and helping with the production of art. By working
with a well-established artist, the student would learn a variety of skills and begin to understand
what makes their Master’s work successful. This would help them on their own path to success.
Many artists still learn from the Masters, both contemporary and classical, by copying their work
and adopting parts of their techniques and style.
STEP ONE: Research a Master Artist who creates black and white works on paper.
Our class will take a field trip to the Kholer Art Library. A librarian will demonstrate various
tools and techniques to researching art and exploring their collection.
Check out an oversize book with at least 100 of your artist’s works.
STEP TWO: Write a 1-2 page list detailing/describing the artist’s style and technique and any
reoccurring themes or images. The paper must be double spaced, 12 pt Times New Roman.
It does not need to be complete sentences. You can write it as a bullet point list.
Why did you choose the artist? What is the average size of the artist’s work? What medium do
they use? What subjects does the artist cover? What category is the subject matter: still life,
portrait, history painting, landscape, a genre image (an image of everyday life)? Are the values
light, dark, muted, high contrast, etc? How does the artist light his subjects? Is it dramatic,
bright, or dark? What style do they use? Is the artist tight and illusionistic or loose and
expressive? How does the artist use line, value, composition, texture, shape, and space? How do
those elements combine to create a mood or meaning?
Check out “Writing About Art” in your course packet for some other topics to consider writing
about.
STEP THREE: Sketchbook Assignment:
- Copy three 3” x 3” zoomed-in samples of your Artist’s work, focusing on their line work, use of
value, and subject matter. These pieces can either be taken from a book, or drawn in person at a
museum. Xerox/photograph the originals and paste the section that you copied into you
sketchbook. We will then be able to compare the original to your drawn copies.
- Draw four compositional studies of your chosen artist (about 4” each), focusing on basic shapes
and value. These should be done upside down. These do not need to be detailed. They can be
drawn as simplified shapes and contours. These samples are to help you understand how the
artist draws and the styles that they use.
STEP FOUR: Gather source images and make four 4”x6” thumbnails detailing possible
compositions and subjects
STEP FIVE: Make a Work Inspired by Their Style
After you understand your chosen Artist’s style, make a drawing in their style, using their
materials, techniques, subject matter, concept, and formal elements (line, value, composition,
space, and texture). Do not directly copy one of their pieces. Rather, pretend that you are
collaborating with the artist on the creation of a new piece. This drawing must be at least 15” x
22”. If the artist usually makes work that is larger than 15”x 22”, then you must work bigger too.
2007 Melissa Cooke
Grading Criteria:
Accuracy, Technical Ability, Creativity, Originality, Effort, Artistic Merit, Use of Materials and
Techniques, Coherence to Chosen Artist’s Style
A Few ART MASTERS who create WORKS ON PAPER
John James Audubon
P Jean-Auguste-Dominique Ingres
Aubrey Beardsley (Art Nouveau)
Gustav Klimt (Art Nouveau)
Max Beckman (expressionist)
Max Klinger
George Bellows
Kathe Kollwitz (social realist/expressionist)
Thomas Hart Benton (regionalist)
P Edouard Manet (Impressionism)
William Blake (Romanticism, English)
P Edward Munch (Exprressionism)
th
Hieronymus Bosch (15 Century Northern)
Giovanni Piranesi- Prison Etchings
Lee Bontecou
Marcantonio Raimondi
Felix Bracquemond
Raphael (High Renaissance, Italy)
P Caravaggio (Baroque, Italian, dramatically lit)
Rembrandt van Rijn
Mary Cassatt (Impressionsim)
Pierre-Auguste Renoir (Impressionsim)
Chuck Close (photo realist)
Diego Rivera
Leonardo da Vinci (High Renaissance, Italy)
David Roberts
th
Henry Darger (20 Century, American Folk)
Egon Schiele
Honore Daumier- (social realist)
P Georges Seurat (Post-Impressionsim)
Jorge de la Vega
John Sloan
Jim Dine
Robert Stackhouse
Otto Dix
Henri De Toulouse-Lautrec (Impressionism)
Albrecht Durer (16th Century Northern)
Vincent Van Gogh (Post-Impressionsim)
P/Pr Paul Gauguin (Post-Impressionsim)
Antonie Watteau (Rococo)
Francisco Goya (Romaniticism, Spanish)
Grant Wood (lithograph)
P Edward Hopper
2007 Melissa Cooke
Art 112 : Drawing One
Instructor: Melissa Cooke
E-mail: [email protected]
Morphing Self Portrait
Create a Self Portrait where you morph yourself with a monster, machine, animal, object,
or skeleton. The head must occupy the entire page. Contextualize the head/figure into a
setting that is appropriate for the figure or concept. Make the expression of the face
relevant to the transformation (is the figure in pain, happy, sad, confused, etc). Act out
how you would feel if you were actually transforming. Consider the direction of your
gaze; should you be looking at the viewer or off to the distance?
MATERIALS:
Charcoal, Conte Crayon, and/or Pen and Ink
22”x30” (or larger) nice paper
Step One:
Source Imagery: Take 3 headshots and find at least 4 images of the noun into which you
would like to morph. The figure/head should take up the entire photo and be crisp and
clear.
Step Two: Create at least four 3” x 4” thumbnails of different compositions.
TIPS:
- Use graphing and gridding to help with proportions. Drop vertical lines from the
pupils, eyebrows and sides of the head. Draw horizontal lines through the eyes,
nose, mouth, forehead, and eyebrows. Use these lines to understand the
relationship between facial features.
- Use the clock-face method to determine angles and a ruler or pencil to determine
lengths and proportions.
- Use modified blind contour and be sensitive to angle changes and details
- Make sure that the composition is interesting and the negative spaces are activated
and compelling.
- Put the head bust into a spacious, interesting setting. Do NOT draw a halo of
value around the head.
- The head should not be a floating, neck-less, or shoulder-less head. It should be
attached to the appropriate body parts.
- Use a full range of value (whites, lights, midtones, darks, and blacks)
- For part of the time, turn the drawing upside down and continue working. This
will give you a new perspective and help you see the shapes, rather than any
preconceived notions of what a face should look like.
GRADING CRITERIA:
Accuracy, Technical Ability, Creativity, Artistic Merit, Use of Materials, Craftsmanship
2007 Melissa Cooke
Art 112 : Drawing One
Instructor: Melissa Cooke
E-mail: [email protected]
Perspective
MATERIALS: One sheet (about 18” x 24”) of smooth Bristol paper
Pencil (all hardness), Straight Edge, clear ruler (optional), clear protractor (optional),
Viewfinder (optional)
GOALS: To create accurate 1-point perspective line drawing using the perspective tools and theories that we
learned in class
TIPS:
- Use your pencil to measure lengths and to sight angles. Make sure to hold the pencil at arm’s length
parallel to your body (and perpendicular to your arm).
- Use the theories of one, two and three point perspective. Hallways, alleys and roads usually use one
point. A front on view of the corner of a building uses two-point perspective. A bird’s eye or ant’s
eye view uses three-point perspective.
- You can overlap objects to create a sense of depth. The object in front will come forward, while the
other will recede.
- Use atmosphere to create a sense of depth
- Closer objects have higher contrast and are sharper and more detailed. Further away objects are
grayer, cooler and less focused and detailed. Use a variety of lines to create a sense of depth.
- As evenly spaced horizontal parallel lines move away, they foreshorten (the distance between the lines
gets smaller.) You can use the window (Xs) trick
- Parallel lines will converge when they go into the far off distance.
GRADING CRITERIA: Accuracy, Correct Use of Perspective, Artistic Merit, and Craftsmanship
Examples:
- Egyptian
- Tomb of Ti: Ti watching a hippopotamus hunt, ca. 2510-2460 BCE
- Nebamun hunting birds, from the Tomb of Nebamun, ca. 1400-1350 BCE
- Book of the Dead: Judgment before Osiris, 1285 BCE
- Intuitive
- Ambrogio Lorenzetti, Allegory of Good Government: Effects of Good Government in the City
(fresco), 1338-40
- Melchior Broederlam. Annunciation and Visitation (left); Presentation in the Temple and Flight
into Egypt, 1394-99
- Master of Flemalle Robert Campin, The Mérode altarpiece, 1425
- Dante Gabriel Rossetti, The Girlhood of Mary Virgin, 1848-49
- Dante Gabriel Rossetti, Ecce Ancilla Domini (The Annunciation), 1850
- Atmospheric
- Albrecht Durer, The Wire-drawing Mill, c. 1489
- Albrecht Durer, View of Nuremberg, 1496-97
- Thomas Cole, Voyage of Life, 2: Youth, 1842
- Asher B Durand, Kindred Spirits, 1849
- Fitz Hugh Lane, Boston Harbor, ca. 1850-55
- Jasper Francis Cropsey, Autumn-On the Hudson River, 1860
- Introduction of 1 Point Perspective
- Perugino, Christ Delivering the Keys of the Kingdom to Saint Peter, 1481
- Raphael. Marriage of the Virgin. 1504
- Raphael. The School of Athens. 1509
- 2 Point Perspective: MC Escher, Belvedere, 1958
- 3 Point Perspective: Christopher Bliss, Empire State Building, 2002
- Piranesi, Carrceri (The Prisons) plate VII, c. 1760
- Paul Cézanne, Nature morte avec pommes (Basket of Apples), 1890-94
- Los Carpinteros, Frank Magnotta, Glexis Novoa, Silke Schatz, Chris Ware
2007 Melissa Cooke
Art 112 : Drawing One
Instructor: Melissa Cooke
E-mail: [email protected]
Vogue
GOALS:
- Consider poses and what they covey.
- Consider abstraction and expression and how you could apply them.
- Accurately draw the figure and proportions.
MATERIALS
- 22” x 30” sheet of BFK or other similar, heavy drawing paper
- Pencil or Charcoal
- Digital Camera (optional)
Step One: Buy or make an interesting costume. This costume could somehow relate to who you
are, who you wish you were, who you want to be, or it could be just something that is fun, funny,
or left over from Halloween.
Step Two: Photo Shoot! We will be posing/vogue-ing and taking photos in pairs during class. So
find a partner. The point of this exercise is to avoid static, boring poses. Rather, we will be
focusing on posing in exciting, compelling, creative poses that some how relate to the costume.
Print out the photo 8.5”x11” (you can use a black and white printer).
Step Three: Accurately draw your self-portrait from the photo. The proportions and features
should be as accurate as possible. Draw using marks that are active, interesting, expressive, and
potentially relate to the theme of the costume. The drawing should fill the entire piece of 22x30.
Include an interesting context for your figure (a background).
TIPS:
- Make sure that the negative spaces are interesting and activated
- Use a variety of pencils to create a full range of value and a sense of depth. Hard pencils
(H) make light, thin lines. Objects drawn with hard pencils appear further in the
background. Soft pencils (B) create darker, thicker lines.
- Use value to help the viewer’s eye travel around the page and create an interesting
composition.
- Use modified blind contour. Avoid simplification. Move slowly, concentrating on
capturing the intricate angles and details. The pencil lines should be long and continuous
(no chicken scratch!)
- Use a variety of line. Vary the width, pressure, length and value of the lines.
- No boring poses!
GRADING CRIERIA: Creativity, Accuracy, Craftsmanship, Composition, Artistic Merit, Use of
Line and Value
2007 Melissa Cooke