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| Peter Stewart |
Monday, April 16, 2012
Monday, April 9, 2012
week 1b - Charcoal - contour
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| Kenyon Cox |
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| Kenyon Cox |
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| Kenyon Cox |
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| willaim Beckman |
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| William Beckman |
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| Tony Ryder |
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| Neil Esplin |
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| Perry Stewart |
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| Wuste |
Thursday, April 5, 2012
Week 1 - Intro
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| Pigeon by Aaron Coberly |
Foundation Figure Drawing 3
Style
Instructor Michael Magrath
mmagrath@gmail.com www.magrathsculpture.com
Course
Syllabus
Overview.
This is the third section of a full year course. The whole course is designed to make you as
proficient at drawing the human figure as possible within the time
allotted. The course has been split up
into three sections, Autumn, Winter and Spring.
In the first section we investigated the fundamentals and mechanics
of drawing. In the second section we
investigated the structural elements that make up the human figure, their
general forms and purpose. In this the
culminating class of the series we will look at a variety of styles and methods
of drawing as well as a variety of traditional drawing media in order to
broaden your pallet and develop your voice and expression.
Style;
“Style Is based on limitations” – John Harford
Researching and adopting for a time the methods of other,
more advanced artists is one of the oldest and surest ways to develop your own
skills. Like practicing a piece of
music on an instrument over and over, or drilling a dance move or a set play in
sports, learning the muscle moves and stiching together the neural connections
required to make the thing is what makes you physically able to do it. Then and only then, once you have mastered
the technique and made it your own, can you advance it, or move past it.
Historically how one learned art; a student was expected to
rigorously adopt the craft of his (and very occasionally her) master. Thus one learned the “eternal values” passed
down from those who had come before.
Art was mainly a craft, like farming or tin-smithing. It assured a ready supply of workers who
could seamlessly copy the master’s style for commission work and let those few
who could, master and develop, and ultimately lead their own studios. Styles were regional and canonical . Methods were passed and kept in secret, much
like in a guild, and art changed very little from generation to
generation.
Today of course, things are very different. Some study in an
Atelier for a number of years, but most take from a variety of schools and
sources and styles and are expected to cobble together from these disparate
sources their own unique voice. Today there is a huge variety of media and a
rich repository of past and contemporary work to glean from. A couple centuries of this has resulted in
explosion of styles and approaches to art.
Indeed, Art can no longer be limited to what was arguably its origin; a
scribble on a page or a cave wall, but is, ultimately, whatever anyone decides
to call it.
So arguably there remains value in studying from a master,
from learning to mimic and reproduce that thing as closely as possible, but now
we are called to do that with as many masters as possible.
In this class we will investigate a variety of media and
methods, with research into past masters, and we will attempt to apply them to
our observation of the model so that we may render the model in different
ways. We will also undertake
significantly longer drawings than we have so far this year, working towards at
least one, if not two 6 hour drawings from the same model in the same pose.
We will work in a variety of media and research ways of
putting marks and material on ground.
We will work towards a number of finished drawings both inside and out
of class. We will research artists
outside of class and endeavor to make work in their style. And finally we will be reading from
different artists.
Class Structure
We will start every class with a series of short gestures to
both warm up and to remember why we are here.
There will then be a discussion and demonstration on the topic(s) of the
day, whether basic proportions, the structure of the knee, etc. You should be prepared to keep a running
notebook on the material covered in class.
I will have handouts and or will post study materials online for your
notes.
We will then draw from the model with specific focus on the
areas discussed.
I will spend time with each of you, one on one, every class
period.
Important; though I may seem to be speaking to an
individual student, I am as often speaking to the entire group, as many
beginning draftspersons have the same issues…Please keep your ears tuned. Eavesdropping is encouraged. In crits nothing is personal. It’s always about the drawing, not the drawer.
Class Expectations
You should come to class with what-ever media the instructor
has indicated. If you need to miss a
session, please contact the Monitor for a review of what you missed and what is
needed for the next session. Be
prepared to work as much outside the class as in it. Generally we will stand to work, but if you have problems that
please let me know and we can accommodate
It should go without saying that you will treat each other and the
models, and the Gage environment with respect.
There is no photography allowed in the studio and phones should be
turned off for class. Please be at
your stand and ready to draw at 1:30.
Homework/Outside Assignments
I will provide the entire class with specific assignments
which everyone is expected to tackle, as well as occasional individual tasks
tailored to address particular problems
Additionally you will be expected to attend at least one, preferably two
open studios per week. Again, you will
be asked to keep a sketch/notebook for class information, handouts, as well as
your own drawing outside of class. I
will ask to see this book from time to time.
I will also suggest readings and
offer the occasional reading handout.
Your homework will comprise of outside excercises designed
to reinforce concepts covered in class and will be rigourous. The amount and time you can dedicate to
outside work will have a direct impact on your comprehension of class
materials. We will discuss homework in class as time permits.
General Course Outline
Week #1.
Intro –
Painterly approaches, Charcoal
Week #2.
vine and
compressed charcoal
Week #3.
wax and oil
based media - conte and pastel
Week #4.
Pencil and
graphite
Week #5.
Ball Point
Week #6.
Etching
Week #7.
pen and ink
Week #8.
Ink Wash
Week #9.
6 hour drawing
- Artist Choice
Week #10. 6 hour drawing - Artist Choice
Supply List
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| Aaron Coberly |
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| Joseph Albers |
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