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Beyond The Old Masters: Copy > Combine >Transform

9/24/2018

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Picture
Image created by DRHSART student, Taylor Moore (class of 2011)
Picture
Image created by DRHSART student, Sunny Kim (class of 2008)
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Go Beyond The Old Masters
The objective of this assignment is to truly observe and study the marks of the old masters.  Though I need you to prove that you are really seeing the integrity of those marks, I do not want you to simply copy the great work of art you have chosen to study.  Instead, it is expected that you go well beyond a copy by transforming the context of the work into a contemporary mixed media drawing.

​The image to the left is an example of how Taylor Moore, a former DRHSART student, added his own personality to the original work of art by the old master.  He added collage elements, small doodles, dripping paint, stitching, and many other elements to take something old and make it new.  That is what I want to see from each of you. 

You will all be given one sheet of Fabriano handmade 90 lb drawing paper for this assignment.  This paper will hold wet media well, and is very receptive to collage, and other mixed media treatment. I really want you to take risks and experiment with this particular assignment.  How can you take something that is centuries old, and make it feel like it belongs in a contemporary art gallery, but still retain the integrity of the marks made by the old master?  This is no easy task, but an important lesson in appropriation. 

The images from which you will all be working will be provided by me (or can be found on your own) and will be assigned on a first come first serve basis. Once you have chosen your image, you will need to grid your paper and then lightly lightly sketch the basic structure of the drawing. You are not required to use a grid for this assignment, but you are more than welcome to if you find it helpful. If you choose to use a grid, you will want to do your structural drawing first, erase the grid, then stain the paper.  Otherwise, you’ll end up with a grid of erased marks that disrupt your stained paper and ruin the integrity of the drawing.

The grid system was certainly used during the Renaissance, so it is a completely valid method for attaining the proper proportion in your drawing. I recommend speaking with an upper level student about how they did this project.   Since "proportion" is a part of the grading criteria for this assignment, you will need to be sure to focus while you are working out the basic structure of your drawing.


Picture
Etching by Albrecht Durer titled "The Draughtsman's Net"

Use This List of Old Master's Names To Find Your Inspiration

Renaissance:
Leonardo Da Vinci
Michelangelo
Albrecht Durer
Mantegna
Raphael
Tintoretto

Baroque:
Velazquez
Caravaggio
Rembrandt
Vermeer
Rubens

Neo Classical:
​Jacques Louis David
​Jean August Dominique Ingres​
​Delacroix
Gericault
​Goya


​

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Figure Drawing

9/1/2017

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FIGURE DRAWING
DAY ONE:
Focused "Seeing":  Contour Drawing
After warm-up, we will focus on "seeing" properly through contour drawing activity that will challenge each of you to look at the figure with focused attention. For this activity we will be drawing with both the dominant and non dominant hands, and will draw without looking at the paper or picking up the drawing tool.

Composition and Structure:
After we practiced gesture and contour drawing, we will discuss compositional structure and will begin the long pose drawing.


DAY TWO:

Long Pose:

These drawings should demonstrate an understanding of proportion, academic hatching, and the effective use of space.

We will work on these drawings for the entire class, and you will be given the weekend to complete them.  

The following list of prompts will be used during our silent critique.

1.  Comment on the overall line quality of the drawing.  Is there a variety of line weight?  Does the line quality express energy, or is static and stiff?

2.  Comment on the proportion of the figure.  Does it look as if the artist was focused when developing the underlying structure of the drawing, or does it seem like they may have rushed a bit?  Is it evident that the artist used "sighting" to check the angles and proportion of the figure?

3.  How did the artist use the space that was provided?  Does the figure adequately fill the space of the picture plane?  How does the eye move throughout the piece- does it stay within the picture plane, or is it tempted to leave without coming back?

4.  Does the drawing emphasize the use of line more than it does modeling (shading)?  Discuss how he or she  could have better met the assignment expectations.

5.  Point out the part or parts of the drawing that you enjoy the most.  Give the artist praise for positive aspects of the work.  Finish your comments on a positive note.
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