Recap of the end of the term with the last due date first.
Week Fourteen May 24 Select Eight Jpegs of work: Each labeled Last Name_Media_Size (height by width). Summative Statement/Reflection on your semester Drawing Projects.
Week Thirteen May 16 Open Period No Class
Saturday May 12: Optional Field Trip to Yale Center for British Art, Yale University Art Gallery and I-Park Residency Program
Week Twelve May 9. Final Group Critique. 20 minutes each: Show all work for final. Four people will set up first, then we will take down the work and put up four more bodies of work. Each person will speak about each artist.
Week Eleven. May 2 Individual Critiques: Bring new work and come to your time only. Have your work set up on the wall or table BEFORE the individual meeting.
Learning Outcomes for Weeks Ten, Eleven, Twelve, Thirteen and Fourteen:
Defending an argument or presenting a drawing project helps define the effort and project’s future work. Deconstructing steps to completion and articulating these steps ensure growth. Recognizing a full endeavor and even exhausting options as well as incorporating, editing, and amending final pieces are steps toward a resolution and the succinct and targeted summary of a project or projects.
Color in Drawing Resources
Colour: The Professional’s Guide Karen Triedman 2015 full range of ideas around color use including new media.
Materials of Artists and Their Use in Painting. Max Doerner. 1935. With a very good section on painters’ color-methods. This manual along with Ralph Mayer’s Materials and Techniques and Bernard Chaet’s An Artist’s Notebook 1979 and The Art of Drawing are cornerstones to good working methods.
Chromophobia. David Batchelor 2000contemporary philosophical and contextual ideas of color.
Color a Natural History of Palette. Victoria Finley Fascinating traveling look at color through history and culture. 2002
Interaction of Color. Josef Albers 1963 the basic primer for painters and designers to more powerfully use color.
Color: A Workshop Approach. David Hornung 2004 work-a-day manual for artists and designers to apply color principles.
The Principles of Harmony and Contrast of Colors and Their Applications to the Arts. Gobelin Tapestry’s Chemist Theory. M. E. Chevreul 1860 reflections on color for industry and artists.
Modern chromatics; students’ text-book of color,: With applications to art and industry Ogden N Rood and Faber Birren 1879 very in-depth survey of science and methods of use for color in the late 19th century which gave a foundation for modernist color.
Blue: The History of a Color Michael Pastoureau 2004 Red: The History of a Color 2016 and more volumes on specific colors.
Wash and Gouache: A Study of the Development of Watercolor Marjorie B Cohn, Rachel Rosenfield. a survey of British watercolor techniques and applications. The RISD Museum has 600 British watercolors that exhibit a full spectrum of color usage from tonality, to luminosity, to color interaction. Looking at these and the range of color Japanese woodcuts would fortify your color thinking.
A Dictionary of Color Combinations by Sanzo Wada (1883-1967) an artist, teacher, costume and kimono designer in avant-garde Japanese art and cinema.
In-class-Peer Reviews First: Class Starts at 8:00 for all.
Denise + Marla
Cecilia + Silvia
Josh + Indira
Wed April 11, 2018
8:00 Sylvia Long Individual Drawing Review
8:30 to 9:30 Small Group…others meet at museum at 9:50 am.
Elizabeth, Sylvia, Marla, Denise Long Drawing Group Review
9:50 Meet in Lobby of Chace Center (North Main Museum Entrance) RISD Museum of Art
to visit Jan Howard, Chief Curator of Prints Drawings Photographs RISD Museum
in the print and drawing room on the 4th floor.
Wed April 4, 2018
9:30 to 11:00
Small Group Review of Long Drawing Assignment of these artists only:
Indira, Aniebietabasi, Josh, Cecilia
The rest of the class works on the Long Drawing Assignment independently this week.
Focus and Context
Before individual meetings, the student will focus on a longer project drawing and imagine a final series or project. Understanding the deeper context of what we draw is a goal.
Wed March 21, Change in Class
Wed March 14th Class Session:
8:00 Ellizabeth Individual Review all work
8:30 Marla Individual Review all work
9:00 AM Group Review: Series Project, (and Metalpoint if not seen already)
This is a change from the syllabus plan. See the series assignment below and the two optional supporting articles for Series and Sequences.
Bring eight 8″ x 8″ outer edge dimension drawings in next week. Your drawings can be any material but must stay within the 8 ” x 8″ square. Please do not use newsprint or paper or grounds that do not last. It can be on Yupo, rice paper, 100 per cent rag paper, color aid paper, Somerset, Arches, Rives, Stonehenge, or Mitz Stone paper, etc… but not newsprint or quickly degradable papers or surfaces. Conceive of your own parameters and permutations in a series project.
8::30 to 9:00 Silvia Small Group Reviews:
10:00 to 11:00 Josh, Indira, Marla, Elizabeth
Wed Feb. 28 Individual Reviews first followed by two separate small group reviews. Come to your time slot(s) only.
Individual Reviews from 8:00 to 9:00 am
8:00 am Josh 8:30 Indira Come to your designated time only
Small Group Reviews from 9:00 to 11:00 am
9:00 to 10:00 Josh, Indira, Ekong, Cecilia
10:00 to 11:00 Elizabeth, Marla, Denise, Silvia
Before class on Wed: Create a drawing of choice on selected paper. Bring the drawing and any pertinent past work you want to share with me and small group section. Read the Pencil article and the Cajal article below:
The Beautiful Brain: The Drawings of Santiago Ramon y Cajal
Grey Art Gallery
A pencil is a little wonder-wand: a stick of wood that traces the tiniest motions of your hand as it moves across a surface. I am using one now, making weird little loops and slashes to write these words. As a tool, it is admirably sensitive. The lines it makes can be fat or thin, screams or whispers, blocks of concrete or blades of grass, all depending on changes of pressure so subtle that we would hardly notice them in any other context. (The difference in force between a bold line and nothing at all would hardly tip a domino.) And while a pencil is sophisticated enough to track every gradation of the human hand, it is also simple enough for a toddler to use.
Such radical simplicity is surprisingly complicated to produce. Since 1889, the General Pencil Company has been converting huge quantities of raw materials (wax, paint, cedar planks, graphite) into products you can find, neatly boxed and labeled, in art and office-supply stores across the nation: watercolor pencils, editing pencils, sticks of charcoal, pastel chalks. Even as other factories have chased higher profit margins overseas, General Pencil has stayed put, cranking out thousands upon thousands of writing instruments in the middle of Jersey City.
Over the past few years, the photographer Christopher Payne visited the factory dozens of times, documenting every phase of the manufacturing process. His photographs capture the many different worlds hidden inside the complex’s plain brick exterior. The basement, where workers process charcoal, is a universe of absolute gray: gray shirts, gray hands, gray machines swallowing gray ingredients. A surprising amount of the work is done manually; it can take employees multiple days off to get their hands fully clean. Pencil cores emerge from the machines like fresh pasta, smooth and wet, ready to be cut into different lengths and dried before going into their wooden shells.
Other parts of the factory are eruptions of color. Red pencils wait, in orderly grids, to be dipped into bright blue paint. A worker named Maria matches the color of her shirt and nail polish to the shade of the pastel cores being manufactured each week. One of the company’s signature products, white pastels, have to be made in a dedicated machine, separated from every other color. At the tipping machine, a whirlpool of pink erasers twists, supervised patiently by a woman wearing a bindi.
Payne conveys the incidental beauty of functional machines: strange architectures of chains, conveyor belts, glue pots, metal discs and gears thick with generations of grease. He captures the strangeness of seeing a tool as simple as a pencil disassembled into its even simpler component parts. He shows us the aesthetic magic of scale. Heaps of pencil cores wait piled against a concrete wall, like an arsenal of gray spaghetti. Hundreds of pencils sit stacked in honeycomb towers. Wood shavings fly as fresh pencils are dragged across the sharpening machine, a wheel of fast-spinning sandpaper.
In an era of infinite screens, the humble pencil feels revolutionarily direct: It does exactly what it does, when it does it, right in front of you. Pencils eschew digital jujitsu. They are pure analog, absolute presence. They help to rescue us from oblivion. Think of how many of our finest motions disappear, untracked — how many eye blinks and toe twitches and secret glances vanish into nothing. And yet when you hold a pencil, your quietest little hand-dances are mapped exactly, from the loops and slashes to the final dot at the very end of a sentence.
Photographs like these do something similar. They preserve the secret origins of objects we tend to take for granted. They show us the pride and connection of the humans who make those objects, as well as a mode of manufacturing that is itself disappearing in favor of automation. Like a pencil, these photos trace motions that may someday be gone.