I will be creating another blog update soon

Happy Holidays to my FALL 2012 students! KEEP DRAWING!

Drawing F2012

AN INCOMPLETE COLLECTION OF PROJECTS FROM FALL 2012

Project Observation VS Grid

In this project students did two drawings. First from observation and then repeat the drawing using a gridded photo using the digital camera view finder to frame what they were drawing. Here are the results

 

Understanding Perspective Adobe Illustrator

Renaissance Drawings: Material and Function

click here to learn more from the MetMuseum

For November 8th select a drawing from the Renaissance. Your goal will be to recreate this drawing as accuaratlely as possible. Consider the materials and how the artist you select used them within the work. Learn as much as you can through your research about the artists work and their approach to their subject matter.

Cont. artist

I like the two following artist: Kara Walker and Julie Mehretu. Kara Walker art is not traditional and has a strong message even if she used other media. She plays with space and texture with her art as Julie does.

Contemporary Artist

Out of the contemporary artists I like Kara Walker the best.  I love how she uses the blacks and whites.  It makes it more emotional that way.

Contemporary Artists

From the contemporary drawers that were posted I liked Barry McGee and Julie Mehretu. In Barry McGee's work there's high contrast and little shading and I like that sort of style. I also liked Julie Mehretu's work simply because I think I could look at it several hundred times and still find something new.

Here are a few artists I like...


- Linnea Strid -

- Jeremy Fish -

- Brandon Boyd -

Contemporary Artist

Out of the contemporary artists, Kara Walker is the one who stood out to me the most. Her design is so different and interesting. One thing I like about her art is the way she only uses blacks and whites mostly.<http://www.mart.tn.it/UploadImgs/2899_Walker___Jim_Crow__Homecoming___8920.jpg?w=414>

Aaron Montierth- Art class

The art i looked at and really interested me was that of  Matthew Ritchie. His art has alot of nature in it but also has an abstract design to it. And the reason i like his art is because i like designing modern landscape and see alot of things that catch my attention. http://www.matthewritchie.com/projects/04TheFastSet/src/images/image1.jpg

Some Contemporary Drawers

• John Currin
• Elizabeth Peyton
• Julie Mehretu
• Shahzia Sikander
• Yoshitomo Nara
• Kara Walker
• Barry McGee
• Matthew Ritchie

Check out Jonathan Levine Gallery here >>>

Paper Sculpture

Students created a paper sculpture as their drawing subject. They were required to create form using value (lights and darks) instead of line to emphasize and create forms and planes.

Below are some of the results:

Still Life Drawings

Focusing on gesture as warm ups then completing a final drawing focusing on composition and value.

Welcome to Drawing Fall 2012

Roane State Community College
Division of Humanities
ARTP 1000
DRAWING


Name: Bryan Wilkerson
Office:  0-116 Main Campus
Office Hours: M 10:00-3:00 T 12:00-4 W 12:00-3:00 R 12:00-4
Phone: 865-354-3000  ext4748
Email: wilkersonbs@roanestate.edu


COURSE INFORMATION

Course Type: Studio Class

Day and Time: TR 10am-12pm

Credit Hours: 3

Course objectives :
We will follow the general outline of our text, and use other resources as well. Drawing time is emphasized, but we’ll have lectures, demos, exercises, critiques, as well as lots of drawing, and more drawing - from still -life, each other, in the classroom and hallways, in our homes, and outdoors. We will experiment with a variety of media. You will each keep a sketchbook in which you should draw atleast 15 minutes per day and for which you will receive credit.

Objectives: See Roane State Course Competencies
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Learning outcomes:
As beginning artists, you need to understand that learning the basic skills of drawing occurs over time and through practice. You learn to draw by doing it. You will develop close observation and in so doing, you develop the required discipline, visual sensitivity, patience, eye-hand coordination, and rigorous work ethic necessary to develop this demanding skill. The good news is, even if you’re rusty, once you have learned the basic skills of drawing, you can draw for life! Although the initial learning may be a struggle, progress comes through practice and refinement of technique. Drawing, with time and practice, can become automatic, just like reading or walking or driving. But it takes doing! Your perceptions evolve over time and with experience as you become familiar with the basic core of information, insights, and exercises provided throughout this course. You will find reward in a richer way of seeing, which is reason enough to improve your drawing skills.

Prerequisites for the course: NONE
Course Topics:
Drawing is a studio practice class. The class-work is focused on observation and drawing itself, and the homework is a direct extension of your in-class work. I mean to challenge you, to question you, to help you recognize the rich visual life of the world and to give you the tools to observe and understand what you see, and what you create. This class should expand your creative thinking as well as make your visual awareness active and your drawing choices deliberate. But only you can provide the self-discipline, motivation and imagination to do so.
The primary learning method is a combination of real-time drawing and extensive instructor feedback. Much of the material can be very difficult to cover on your own if you miss a session covering an essential skill. Attendance in class is absolutely essential to success, because of the working time it takes to build these skills directly. But extra help is available- if I can’t answer your questions right away, set up an appointment during office hours.
This studio-based course will explore a broad range of process-oriented work through individual and collaborative projects, readings, and discussions. We’ll experiment with different ways to make and construct drawings; studio works will be complemented with relevant texts and blog postings. What do your actions mean for the viewer? How is the art you make a record of your experience? What can it suggest when you twist, crumple, layer, crease, open, mix, rotate, stack, support, collect, store, bend, shorten, tear, split, cut, drop, splash, arrange, or simplify? (see critique sheet for more)

MATERIALS
TEXTBOOK: Launching the Imagination (Required for all studio classes)

Be certain to come to class with necessary drawing materials.
Art Gum Eraser, other eraser types.
Pencils in a range of hardness
Small Vine (willow) Charcoal sticks, medium hardness.
Pad of Newsprint
Inexpensive Black Ball Point (not gel or liquid ink) Pen
5 sheets 24” by 36” white heavy duty Drawing Paper
24” Ruler
Blue Masking Tape
Small Sketch Book of your choice, for studies and homework.
OPTIONAL:
Scissors,
Sumi Brush and Ink
See-through plastic ruler
Pencil sharpener (tip: make it a good one)
PLEASE NOTE: ADDITIONAL OUT OF CLASS WORK AND MATERIALS WILL BE ASSIGNED AS NEEDED

GRADING PROCEDURE AND GRADING SCALE
A= 90-100 B= 80-89 C=70-79 D= 60-69 F=Below 60

Grading in a studio art class is necessarily subjective, but there are common principles behind any successful creative process. The grading system used is a traditional system common to the fine arts. There will be extensive informal verbal feedback from the instructor and fellow students towards the homework and studio work . which will normally occur weekly; you will usually get a good sense of how you are doing.
The Final critique at the end of the class will be a review of all of your work during the whole quarter, will include your Final Project, and will constitute 65% of your grade. 35% of your grade will be based on class participation, attendance, and progress.
Specific grading criteria include:
1. Mastery of drawing concepts. (Your understanding of value, perspective, proportion, and other technical elements of drawing.)
2. Overall quality of work. (This is the most subjective quality-)
3. Overall quantity of work. (Students who spend more time and produce more drawings invariably improve the most. )
4. Willingness to Experiment. (Your willingness to go beyond the assignments and explore new artistic problems and questions on your own – a critical part of creativity.)
5. Degree of Progress (Your improvement from the beginning.)
6. Attendance
7. Sketchbook/Homework

PLAGIARISM AND ACADEMIC INTEGRITY
Academic Misconduct includes, but is not limited to, Plagiarism, Cheating, Fabrication and Facilitation.   Academic misconduct is prohibited.  Upon identification of misconduct, an instructor has the authority to assign an “F” or a zero for the exercise, the examination, or the entire course. Students guilty of academic misconduct that would typically result in the grade of “F” for the course will not be permitted to drop the class in which the academic misconduct occurred.  The instructor will contact the appropriate Division Dean who will then contact Records and request that an administrative hold be placed on the course in question.  The instructor will notify the student of the appropriate due process/appeal procedure.  The administrative hold will remain in place until the academic misconduct matter is concluded.

STUDENTS WITH DISABILITIES
Qualified students with disabilities will be provided reasonable and necessary academic accommodations if determined eligible by the appropriate disability services office staff. Prior to granting disability accommodations in the course, the instructor must receive written verification of a student's eligibility for specific accommodations from the disability services office staff. It is the student's responsibility to initiate contact with the disability services staff and to follow the established procedures for having the accommodation notice sent to the instructor.

TECHNICAL SUPPORT  AND ADDITIONAL STUDENT RESOURSES
CTAT/Help Desk:

SYLLABUS CHANGES
The  Instructor reserves the right to make changes to the syllabus as long as the students are notified.