Drawing: Process and Synthesis/ Art 118
Assignments
PROCESS COLOR / REACTION TO LITERATURE
COLLECTION / REACTION (found imagery)
DRAWING TESTS
SUBJECT— still-life (hand held object)
PAPER—paper cut from roll, at least 24” X 18”
MEDIUM— black and white only: charcoal, graphite, ink or conte (or
a combination)
Assignment Guidelines:
For this project you will produce two drawings of a hand-held object.
In the first drawing you will draw the object from three distinctly different
views (from above, below, the side) on the same sheet of paper. The arrangement
of the objects on the page, the materials you use to draw with and style
in which you draw are your choice. Should the three views be sketchy and
transparent, overlapping in the space? Should they each have their own
distinct window to live in?
For the second drawing:
Use your ruler to lightly draw a grid on your paper that divides it into
8 even sections. In each window draw an extreme close-up of your object,
allowing it to be cropped by at least three edges.
When finished step back and see how the 8 smaller drawings interact together.
You then must choose a way to unify or link the separate images. Feel
free to extend the drawings into one another, alter the drawings, make
the lines between them more or less obvious, etc.
For both drawings, try to draw the object as accurately as possible!
This is a test of your abilities to draw from life.
SKETCHBOOK
The sketchbook section
of this course is basically one large drawing, research and writing project
that you will build on continuously throughout the quarter. The final
result of this project will map your path through the day-to-day of this
class.
All your sketches, planning, research, writing, etc must be recorded onto 8” x 8” individual pieces of paper. A variety of paper types, textures, thicknesses, colors, and opacities are recommended! For our final critique these pieces must be joined together in a final presentation. We will discuss bookbinding, etc techniques to help you find a successful solution for the project.
The following elements should be included in your Sketchbook Assignment:
*Information
Associated with the Drawing Assignments
For each drawing assignment you will be expected to finish a corresponding
sketchbook element. It will be anywhere from 5 to 20 pages in
length and include the following items:
-
All preparatory thumbnails/ sketches/ planning/ in-class assignments, etc
-
Writing about each assignment:
-
your initial thoughts about the assignment
-
your research to prepare for the assignment. This section can include any subjects, techniques, tangents that you research to prepare for the creation of this assignment (for example: If I was creating a drawing of a crow I would gather many photos of them to use as reference. I would also spend a day outside in the sun drawing them from life. I would then research the use of crows in folk stories and myths, to begin to see what this bird represents as a symbol in our culture. I would include all this information in the sketchbook!)
-
your reaction to the process of creating the assignment
-
your reaction to your finished drawing. This can be done right before it is turned in—basically critique yourself to prepare for the formal critique in class!!
Answer these questions about the piece: 1) In one paragraph, describe the visual aspects of your drawing using Design Vocabulary (see the glossary of your Betti/Sale book). 2) What role does line take in this image? 3) Where is the visual area of emphasis within the image? 4) What type of composition is used? 5) How is texture used in the image? 6) How would you describe the range of value?
-
In one paragraph, describe what you intended the image to convey.
-
Come up with two specific questions to ask your fellow students during the formal critique. (example: I am worried about the value range of the drawing—In what areas should I have added more contrast?)
-
Grade your drawing with the following criteria:
-
Artist Research for this assignment: I want you to find a new artist (in a very broad sense) for each assignment. Create an 8” x 8” page of information about this artist, include at least one image of their artwork and an explanation of how they inspire you
-
Visual notes from the slide lectures
-
Notes/reaction to the critiques
 |
 |
 |
 |
 |
CHAIR WITH MOOD
SUBJECT—a chair
PAPER—“good” Stonehenge paper
MEDIUM—your choice of black & white media
(the best suited to express your chosen word/mood)
CONTENT—express a chosen word or mood (suggestions
below)
Specific Assignment Guidelines
For this assignment you will draw a portrait of a chair, preparing the
finished piece to express a pre-chosen word or mood. Here are
some word/moods suggestions: happy, trapped, bold, delighted, fragile,
peaceful, gentle, erratic, aggressive, sensitive, passive, afraid,
powerful, pure, worried, confused, jealous, interested, lonely, anticipation,
unearthly, unique, shady, wistful, suspicious, obsessed, neglected,
worthless, honest, irritable, attentive, joy, reverent, lazy, monotonous,
indifferent, animated, proper, distant, balmy, haphazard, tepid, relaxed,
snug, eager, odd, accurate, reasonable, deceptive, significant, wicked,
counterfeit, righteous, bona fide, healthy.
Draw the chair as accurately as possible, within
a real or imaginary space.
Use formal meaning to help express you word/mood.
Before beginning this drawing create a series of thumbnail images, trying
to work out the formal issues of the drawing. How can you use Design
Elements and Principles to express the word/mood? Ask yourself
the following questions (this list is not complete---many
formal concerns exist)
What drawing material would best express your word/mood?
What format
is suitable for the word/mood?
How can proportion work
in the drawing?
How does the content
change if the subject is abnormally large or small?
How can
balance be created in an interesting way?
How can the
image be unified?
What value range is the most suitable?
Will
you use continuous tone, blocky tone, or tone created through the
build up of marks?
How
can texture choice effect what is expressed?
What type of space
would help express your word/mood?
Where
will the subject be placed in the space?
 |
 |
|
PROCESS DRAWING
Process Drawings are exactly as they sound—more about the process
that created them then the finished product. Often the “drawing”
that results is the residue or documentation a specific action or set
of criteria. Below are a number of artist who have created Process Drawings
at some point within their career. We will discuss these artists in more
detail in class.
You may choose to emulate one of the artists or their process listed
below or be inspired to try your own process idea. Create all of these
drawings on the white rolled paper. The size and shape of the page may
vary to adhere to you idea. The process should decide the drawing materials
needed.
William Anastasi
Create blind drawings similar to Anastasi’s pocket and subway drawings.
Choose two modes for creating these drawings (allow one to document some
sort of travel) and create three drawings within each mode. Label these
drawings with the mode of creation, date and time.
Andy Goldsworthy
Goldsworthy allowed time and alternative materials to create unpredictable,
organic drawings. He was extremely focused on using natural materials
in all his work. Create your own version of his snowball drawings. Label
these drawings with the material used to create them and the date.
Marcia Hafif
Hafif viewed the simple act of making marks as the ultimate meditation,
focusing on extreme repetition. Create obsessive drawings by repeating
one mark or shape in one chosen material. Allow these marks to fill the
page, causing subtle vibrations. Label these drawings with the date created.
Eva Hesse
Hesse’s circle drawings always work within a drawn or printed grid.
She was interested in the subtle variation that was possible within this
strict form of organization. Create drawings that use a grid as their
base, using found grid paper or a drawn grid. Obsessively repeat a form
within this grid: Do natural variations ultimately occur?
Michael Heizer
Heizer is known for creating large scale drawings on the desert floor
using a motorcycle as a drawing tool. Create drawings each using a different
alternative drawing tool—THINK BIG AND SMALL!!
Richard Long
Long was a documenter of travel. His drawings linked directly to his
frequent walks. Document your own movements within your living quarters
and then on Ohio University’s campus. Draw or duplicate an existing map of
these places and find a way to record your movements on this surface.
Sol LeWitt
LeWitt is the master of Process Drawing--his recipe drawings being widely
know. For this exercise conduct a test. Write a complicated drawing recipe.
Persuade two friends/fellow art students/etc to “draw” your
recipe. Draw it yourself. Compare the outcomes.
Robert Morris
Morris was the creator of the “blind time” drawing. This extensive
series of drawing, created using powdered graphite, follow strict formulas
while documenting the path of his hands on the page. While drawing with
his eyes closed, he tried to guess at a previously selected time, noting
the time discrepancies. Write criteria for five drawings, creating them
in a similar fashion (though do not feel limited to powdered graphite).
PROCESS COLOR / REACTION TO LITERATURE
CONTENT—
To generate the imagery for this drawing, you will react to the poem on
the back of this sheet. React to ANYTHING about the poem…maybe one
word interests you…maybe you illustrate what is happening in the
poem…maybe you react to the feeling the poem gives you…
It is very open for interpretation! You will be using one art form to
react to another art form!
anyone lived in a pretty how town
by ee cummings
JABBERWOCKY
by Lewis Carroll
MEDIUM/TECHNIQUE—
To create this drawing you will be printing a base with a Process Color
Monotype procedure and adding colored drawing products over the top as
they are needed.
Monotypes are unique, one of a kind prints often made with painterly
techniques.
(Within the world of printmaking, most techniques allow you to create
multiples of your image that are identical to the original.)
The Process Color Monotype procedure employs the use of thin, semi-translucent
films of ink in the three primary colors: Cyan, Magenta, and Yellow.
1) A preparatory drawing is created on newsprint and adhered or translated
in sharpie marker to the back of a clean piece of plexi glass.
2) A thin, very even layer of ink is rolled on the piece of plexi glass.
(Start with Yellow…then Magenta…then Cyan!!)
3) The ink layer is altered (using Q-tips, paper towels and the hand)
to suit the desired image/effect. The preparatory drawing is used as
a guide (the ink is translucent enough to see the drawing through it!).
4) The plexi glass is topped with a piece of clean printing paper and
brought to the press. Lay everything on a clean piece of newsprint and
top with an additional newsprint sheet.
5) Run once through the press.
6) After removing the first sheet of paper, top the plexi with a second
sheet of clean printing paper. And run this through the press.
This second print will be much paler then the first!! This is called
a ghost image!
7) Repeat for the two additional colors
After completing the 3-color Monotype in class, you will have a bold
print and a ghost print. Choose which best suits your needs. Using colored
media, complete the drawing. Use the colored media as heavily or subtly
as needed!
MATERIALS--
*1 sheet of Rives BFK (22” x 30”)—--cut in half to 2
(20” x 15”) sheets
(also—cut off the deckles…so the paper is EXACTLY 20”
x 15” with crisp edges!)
*For the day in the Print Shop you will need to bring:
a sharpie marker, Q-tips, paper towels, a couple pairs of latex gloves
(except for the gloves these can be shared)
* To finish the drawing you will need your choice of colored media (i.e.
colored pencils, pastels, chalks, watercolors, etc). Choose what is appropriate
to finish-up/clarify the three color monotype which we will create in
class.
COLLECTION / REACTION
CONTENT—
To generate the imagery for this drawing, you will react to a current
event, political situation, statistics, etc. I will give you two specific
choices:
1. You can react to the information printed on the back of this assignment
sheet. How do you feel about the averages/assumptions made about your
generation? Do you feel that you fit into this average? What do you believe
controls how a generation of people develops? Describe the perspective
you have of your generation.
from babies on board to power teens
into to Chapter Two of “Millenials Rising: The Next Great Generation”
by Neil Howe and William Strauss
For more information go to:
“Millennials Rising: The Next Great Generation”, Neil Howe
& William Strauss, Vintage Books
2. Read the newspaper. Find a story that triggers you in some way. Research
this story. What is it about the event that affects you? Take a side
or stance about this story. Does the situation mirror your beliefs? Does
it go against them?
Interpret the current event, political situation, or statistic how ever
you would like. MEDIUM/
TECHNIQUE— As you research and react, make sure to collect images
from the world that relate to what you would like to say in the drawing.
You will use this imagery directly in the drawing in some way.
You will learn to transfer Xerox images directly on to the sheet of drawing
paper.
(the first three materials below are for this process)
You will use an opaque projector and an overhead projector to project
images onto your paper so they may be drawn onto its surface.
(you will need transparencies if wanting to use the overhead…Xeroxes,
clippings, digital prints or photographs can be used on the opaque projector)
Use any combination of found imagery and your own to create this image.
Use color or stay in black and white, whatever suits the design.
MATERIALS--
* wintergreen or orange oil
* cotton balls
* spoon to print with
* 1 sheet of Stonehenge or Rives BFK (22” x 30” or 26”
x 40”)
* found imagery in the form Xeroxes, transparencies, newspapers, photographs,
digital prints, etc
* colored or patterned papers, etc for collage
* variety of black and colored media
SELF-PORTRAIT
CONTENT—
Self Portrait/Self Identity
How is the self defined? How do innate qualities and external influences
make us who we are? How do we make connections with others by identifying
ourselves as part of social, familial, or spiritual communities, cultural
groups, or neighborhoods? Identity is a constant conversation between
individuality and conformity, between being and belonging. It is how we
relate to others and how we understand ourselves both as individuals as
well as members of collectives. Whether it is through the representation
of living people or through the invention of fictional characters, contemporary
artists probe the nature of the self in all its aspects.
(for more info go to the Art 21 section of the PBS website)
MEDIUM/TECHNIQUE—
Open--but notice the following:
The final three projects—including this one—will be considered
to be more advanced then those previous. Consider the first four drawings
as warm-ups for the three finals. I have eliminated the site specific
project from the schedule and adjusted the points to allow the remaining
drawings to each be worth 15 points.
We are also going to slow things down, to focus on the design process,
through in-progress critiques, image collection and research.
You MUST complete the design process we will discuss in class, including
meeting each deadline ON TIME, to be able to receive the full points on
these final projects.
MATERIALS-- Open, except you must start out with the 26” x 40 “
Stonehenge paper!
Choose drawing materials that will best suit the ideal treatment of the
subject matter and the ideas to be expressed!
SKETCHBOOK-
For the research section of your sketchbook do the following:
1. Define self (as a general term).
2. Define YOURself. What traits do you have, specifically, that set you
apart?
3. What, in your life, contributed to creating these special traits?
4. React to the Art 21 segments about identity and self.
5. Find three artists—not previously discussed in class—who
focus on self identity in their work. Include a visual example of their
work and your reaction to the specific image.
Remember to complete the sketchbook element for each remaining project!
From your syllabus:
For each drawing assignment you will be expected to finish a corresponding
sketchbook element. It will be anywhere from 2 to 5 pages in length and
include the following five items:
1. your initial thoughts about the assignment
2. your research to prepare for the assignment
(this section may be xeroxes of inspiring information, images from artists
and designers that relate /material tests)
3. your preparatory drawings and thumbnails for the assignment
(small drawings/sketches that lay out the basic design for the piece)
4. your reaction to your finished drawing
(this can be done right before it is turned in)
5. what you believe you learned through the completion of this assignment
 |
 |
 |
ALTERNATIVE SURFACE
CONTENT—
Personal Still Life
Our previous drawing was based primarily off of the figure (at least if
you did a traditional self-portrait), for this one you will focus on an
object or objects in your life.
You can treat this as an extension of the self-portrait idea: the object
can be a stand-in for you, represent something about you or your belief
systems, or maybe the object looks like you, so it intrigues you!? You
may look at this assignment as a traditional still-life and draw what
you see in front of you for the act of capturing the form, the light,
etc. You may also see this as an ode to an object: translating the object
abstractly or allowing it to inspire or inform you in some way.
One key is to draw something that interests you and that you can become
invested in---or else why do it!?
MATERIALS--
The main rule is that you CANNOT draw on flat, usual paper for this project!
The drawing surface (at least) needs to be alternative to paper—this
can mean canvas or other fabric, board, a three dimensional object, vellum,
mylar, acetate, or paper used in a different way—i.e. to create
a book, a three-dimensional form, etc.
Begin with knowing what the drawing will say! From there, with the use
of me and your classmates, try to decide what alternative surface would
be the most appropriate. Then choose drawing materials that will best
suit the alternative surface, the ideal treatment of the subject matter
and the ideas to be expressed!
You must create early sketches of the design and conduct tests of the
materials. Remember to spend the correct amount of time on the presentation
quality of the surface you will be drawing on (i.e. cut edges cleanly,
sand finishes properly, adhere things correctly!).
You MUST complete the design process above, including meeting each deadline
ON TIME and completing the sketchbook requirement below, to be able to
receive the full points on these final projects.
SKETCHBOOK-
For the research section of your sketchbook do the following:
1. Which categories or disciplines of art and art making are you attracted
to the most? Evaluate why you believe this is.
2. Describe what categories or disciplines of art and art making your
alternative surface drawing straddles. How do you feel about this link
or intersection?
3. Describe what using this particular surface means to the drawing, instead
of standard paper.
4. React to the Jim Dine video.
5. Find three artists—not previously discussed in class—who
focus on mixed media that includes drawn marks. Include a visual example
of their work and your reaction to the specific image.
Remember to complete the sketchbook element for each remaining project!
From your syllabus:
For each drawing assignment you will be expected to finish a corresponding
sketchbook element. It will be anywhere from 2 to 5 pages in length and
include the following five items:
1. your initial thoughts about the assignment
2. your research to prepare for the assignment (see above!)
3. your preparatory drawings and thumbnails for the assignment
MURAL PROJECT
In the Spring of 2006, two sections of Drawing: Process & Synthesis (taught
by Art Werger & Melissa Haviland), worked together to create a large
mural on the Ohio University campus. The two classes, totally over 40
students, were divided into ten groups that included two to three students
from each section. The groups worked together to propose a mural theme
and design, paint a section of the mural, and finally compile formal
documentation of the process and finished product.
 |
 |
 |
 |
 |
 |
ARTIST RESEARCH PRESENTATION
For this assignment you will be required to research a two-dimensional
artist/designer of your choice. This research will be shared with the
class as a five-minute presentation.
Begin by introducing the artist/designer, their life and what kind of
artwork they create.
You are also responsible for discussing two examples of their artwork.
Focus on how the artist/designer uses design elements and principles/formal
issues within these works.
You are required to have visuals examples of the artworks you will discuss.
The images may books, color Xeroxes, slides or digital images—let
me know if you have technical needs!
Expose your artist’s relationship to drawing and how they use it
in their own work.
You may also want to talk about how the artist has influenced your own
work if it is applicable.
To complete this project you can use any research means available to you:
the University libraries, public libraries, the Internet, etc.
The following artists are possible research candidates:
Joseph Albers
Diane Arbus
Matthew Barney
Jean-Michel Basquait
Margaret Bourke-White
Julia Margaret Cameron
Squeak Carnwath
Russel Chatham
Larry Clark
Gregory Crewdson
Lucian Freud
Alex Grey
Edward Gorey
Keith Haring
Gertrude Kasebier
Kathe Kollwitz
Dorothea Lange
Sally Mann
Dave McKean
Barry Moser
Emil Nolde
Odd Nerdrum
Alexis Rockman
Egon Schiele
Richard Serra
Cindy Sherman
George Tooker
Kara Walker
Chris Ware
Kit Williams
This list is only suggestion; you may come up with your own artist/designer
to research.
Every student should research a different artist, so check with me before
you make your final decision.
FINAL DRAWING
CONTENT—
Open
The only rule is that you need to decide on and control what the drawing
will “say”.
After choosing your intended content/idea/mood, decide how to best express
it through drawing media.
MEDIUM/TECHNIQUE— Open
But…be aware of the following:
*Your drawing MUST be on “good” drawing paper (Rives BFK,
Stonehenge, Arches) or another appropriate and professional surface!
*Choose drawing materials and techniques that will best suit the ideal
treatment of the subject matter and the ideas to be expressed!
*Notice that material tests are due on November 9th! This is a trial run
of your materials! Completing this is essential to understanding if your
material choices will be successful in conveying the correct mood and
working technically. Do not take this lightly! On a surface like that
of the final, experiment with your chosen materials.
You MUST complete the full discussed design process, including meeting
each deadline ON TIME, to be able to receive the full points on these
final projects.
WRITTEN SECTION-
You MUST complete the written section, including meeting each deadline
ON TIME, to be able to receive the full points on these final projects.
1. By October 28th, write an approximately 100 word proposal for your
final project. This must be typewritten and turned in by the due date.
Make sure to include: what the drawing will express, the subject of your
drawing, the materials you will use, the size and shape of the page, and
any details for the final presentation.
2. After an individual discussion with me you will edit and finalize your
proposal. This will be due, with at least 10 thumbnails, on November 2nd.
At this time you will present your proposal and thumbnails to the class
during an in-progress critique. The written proposals will be turned in
by the end of this class period.