Due to the number of students who have dropped the class sense last critique, several students who went first last critique will need to go first again. I apologize but the two nights need to be balanced. Thanks.
Tuesday (3rd) Critiques:
Christie, Victoria, Tim, Sam,
Tyler,
Curtis,
Mychaela
Thursday (5th) Critiques: Vanessa, Jillian, Alex, Christina, Katie, Sabrina
Thursday, November 21, 2013
Monday, October 28, 2013
Beginning Portraits
Please have images printed and ready for class tomorrow. We will be doing large portraits from your photos.
Thursday, October 24, 2013
Portraiture Beginning on 10/24
We are going to begin facial portraiture tonight in class. We will discuss portraiture principles and discuss how to distinguish unique features. I will be providing some review materials to guide this process.
Also, be ready to have your photo taken for your personal portrait which we will begin in the next class period.
Peace.
Also, be ready to have your photo taken for your personal portrait which we will begin in the next class period.
Peace.
Monday, October 14, 2013
Tuesday & Thursday
Hey Everyone,
Tomorrow, Tuesday Oct. 15th,we will continue discussing the human figure as we have our second night of modeling sessions. Let me re-iterate the importance of attendance during these sessions as your grade will be directly connected to the work that you produce in class.
Thursday nights class will be cancelled. Let me know if you have any questions.
Thanks,
Brandon
Tomorrow, Tuesday Oct. 15th,we will continue discussing the human figure as we have our second night of modeling sessions. Let me re-iterate the importance of attendance during these sessions as your grade will be directly connected to the work that you produce in class.
Thursday nights class will be cancelled. Let me know if you have any questions.
Thanks,
Brandon
Monday, September 30, 2013
Tuesday 10/1
Hello Class,
This next class period is our last day of studio work before critique. Drawing 1: We will continue discussing your approach to the Still-Life Abstraction and discuss techniques.
We will be critiquing on October 3rd & 8th.
Thursday (3rd) Critiques: Vanessa, Curtis, Jillian, Mychaela, Alex, Christina, Katie, Sabrina, Tyler
Tuesday (8th) Critiques: Christie, Victoria, Tim, Kimberly, Sam, Nikki, Alyssa, Stephen
This next class period is our last day of studio work before critique. Drawing 1: We will continue discussing your approach to the Still-Life Abstraction and discuss techniques.
We will be critiquing on October 3rd & 8th.
Thursday (3rd) Critiques: Vanessa, Curtis, Jillian, Mychaela, Alex, Christina, Katie, Sabrina, Tyler
Tuesday (8th) Critiques: Christie, Victoria, Tim, Kimberly, Sam, Nikki, Alyssa, Stephen
What is Art Criticism?
Art Criticism is crucial to an artist’s growth and ability to contribute to a larger dialog within art. In our class, critique happens both through the daily formative assessment of the instructor but also in the conversation between classmates. Through constructive analysis the individual artist should gain a more complete perspective concerning their own work.
After a project is completed we will conduct class critiques where students will display their work in front of their peers. The class will discuss each piece individually addressing both formal and conceptual aspects of work. Within these critiques students will be focusing on the successes of the work as well as potential room for improvements. Each individual viewer/critic must participate in the class conversation as it will have a direct reflection on class grade.
There are four major characteristics of art criticism that must be taken into consideration as we conduct critiques: description, analysis, interpretations and evaluation.
Description: In this step you will be asked to discuss formal aspects of the work that you can identify while viewing the work. This should not necessarily include personal opinion but describe the subject matter as well as artistic elements used within the composition.
Analysis: In this step you will discuss how the compositions formal elements have been organized and are interrelated. How do the components of the work interact? What are the similarities or contrasting elements? How are basic principles or techniques being used within a work.
Interpretation: The information described and analyzed is used to identify meaning or sub-text within the work. Through "interpretation" the viewer may seek to understand the ideas and expressive qualities of the work as experienced by the artist. The viewer/critics primary focus should be on how the work affects their personal thoughts. Personal interpretation should always be justified by evidence gathered from analysis.
Evaluation: Based on ones description, analysis and interpretation, how does the viewer judge the quality or success of the work? The following criteria may affect ones personal judgment: execution of technique, expressiveness, personal response, originality or position within cultural and historical contexts.
Regardless of how one responds to a work, constructive dialog must be the result. Through critical dialog artists’ grow and are stretched to consider their work less subjectively and with greater intention.
After a project is completed we will conduct class critiques where students will display their work in front of their peers. The class will discuss each piece individually addressing both formal and conceptual aspects of work. Within these critiques students will be focusing on the successes of the work as well as potential room for improvements. Each individual viewer/critic must participate in the class conversation as it will have a direct reflection on class grade.
There are four major characteristics of art criticism that must be taken into consideration as we conduct critiques: description, analysis, interpretations and evaluation.
Description: In this step you will be asked to discuss formal aspects of the work that you can identify while viewing the work. This should not necessarily include personal opinion but describe the subject matter as well as artistic elements used within the composition.
Analysis: In this step you will discuss how the compositions formal elements have been organized and are interrelated. How do the components of the work interact? What are the similarities or contrasting elements? How are basic principles or techniques being used within a work.
Interpretation: The information described and analyzed is used to identify meaning or sub-text within the work. Through "interpretation" the viewer may seek to understand the ideas and expressive qualities of the work as experienced by the artist. The viewer/critics primary focus should be on how the work affects their personal thoughts. Personal interpretation should always be justified by evidence gathered from analysis.
Evaluation: Based on ones description, analysis and interpretation, how does the viewer judge the quality or success of the work? The following criteria may affect ones personal judgment: execution of technique, expressiveness, personal response, originality or position within cultural and historical contexts.
Regardless of how one responds to a work, constructive dialog must be the result. Through critical dialog artists’ grow and are stretched to consider their work less subjectively and with greater intention.
Tuesday, September 24, 2013
Tuesday 9/24
Hey Drawing 1 Students - just a reminder that tonight we will be discussing abstraction and will be executing a still-life focused on the process of editing.
Drawing 2 - We will be further discussing ideas of portraiture and the execution of your final drawing.
Drawing 3 - We will be introducing your next project and new concepts surrounding the work.
Drawing 2 - We will be further discussing ideas of portraiture and the execution of your final drawing.
Drawing 3 - We will be introducing your next project and new concepts surrounding the work.
Thursday, September 19, 2013
Tonight's Class 9/19
Drawing 1
Students will begin a new still-life drawing tonight. Please bring graphite pencil and good paper.
Drawing 2 & 3 will begin a new project tonight.
Students will begin a new still-life drawing tonight. Please bring graphite pencil and good paper.
Drawing 2 & 3 will begin a new project tonight.
Tuesday, September 17, 2013
REVISION: Today in Drawing 9/17
9/17, 4:00pm
DRAWING 1: Change in plans, we are going to continue working on your Deconstruction Drawing, please bring that drawing to class tonight!
9/17, 7:00am
Hello Drawing 1,
Today in class be prepared to draw from still-life. We will be spending a large majority of the class time executing a single drawing of a still-life. In the process of the next two weeks we will be addressing the issue of abstraction and the types of creative decision making that constitute as abstraction.
Drawing 2
Will continue working on the environmental study.
Drawing 3
Will continue working on the Technology & Society drawing.
Thanks,
Brandon
DRAWING 1: Change in plans, we are going to continue working on your Deconstruction Drawing, please bring that drawing to class tonight!
9/17, 7:00am
Hello Drawing 1,
Today in class be prepared to draw from still-life. We will be spending a large majority of the class time executing a single drawing of a still-life. In the process of the next two weeks we will be addressing the issue of abstraction and the types of creative decision making that constitute as abstraction.
Drawing 2
Will continue working on the environmental study.
Drawing 3
Will continue working on the Technology & Society drawing.
Thanks,
Brandon
Thursday, September 5, 2013
Review 6/5 - Preview 6/10
Drawing 1: Last class period we concluded our work on a drawing that reduced a famous classical Masterpiece down to geometric shapes and flat values. In this work we investigated compositional attributes of the work. The goal was to prepare yourself to see formal properties of the work that would otherwise be neglected.
In class on Tuesday 6/10 you will begin the third and final drawing in the series. This particular drawing will be an accurate interpretation of the image. The third drawing will include all of the compositional elements; line, value, form, texture, of the original work. This drawing will take all of two class periods and whatever time necessary outside of class to fully represent the details of the work.
Drawing 2: Last class we began and environmental study. This drawing is devoted to understanding spatial relationships and perspective.
Drawing 3: Last class we began a work that was devoted to the effects of technology on society. Research was done to learn more about the pros and cons of different forms of technology throughout history or within our contemporary society. In this work you were given the liberty to create a fantastic image or a purely representational one devoted to either celebrating, discouraging, dismissing or the neutrality of your position in relation to the research.
In class on Tuesday 6/10 you will begin the third and final drawing in the series. This particular drawing will be an accurate interpretation of the image. The third drawing will include all of the compositional elements; line, value, form, texture, of the original work. This drawing will take all of two class periods and whatever time necessary outside of class to fully represent the details of the work.
Drawing 2: Last class we began and environmental study. This drawing is devoted to understanding spatial relationships and perspective.
Drawing 3: Last class we began a work that was devoted to the effects of technology on society. Research was done to learn more about the pros and cons of different forms of technology throughout history or within our contemporary society. In this work you were given the liberty to create a fantastic image or a purely representational one devoted to either celebrating, discouraging, dismissing or the neutrality of your position in relation to the research.
Tuesday, September 3, 2013
Review of 9/3 - Preparation for Thurs. 9/5
Drawing 1:
Tonight we began working on
exploring the formal properties of a famous work by a Renaissance or Baroque
artist. Each student brought in an image of a famous work from one of these periods.
In our work we began dissecting our found images by first recognizing its scale, proportion and the position of the figures through the use of a single, contour line. Your entire drawing was completed in an hour and a half with the use of one single line. Though a frustrating process, many of you found how difficult grappling with proportion can be. After this we discussed the basic use of visual or in this case comparative measurement.
Our second drawing was a geometric or planar study. The controls in this drawing were that it must be executed using only basic geometric shapes (circle, square, triangle and rectangle). Students were forced to simplify their image, discover its essence, if most basic formal properties. In this drawing students used their pencils and their eye to test the scale of figures and their positions within the image. Then you were asked to use your value scale to shade the image with flat value tones. Once again this forced you to see the work in its most general terms.
In our work we began dissecting our found images by first recognizing its scale, proportion and the position of the figures through the use of a single, contour line. Your entire drawing was completed in an hour and a half with the use of one single line. Though a frustrating process, many of you found how difficult grappling with proportion can be. After this we discussed the basic use of visual or in this case comparative measurement.
Our second drawing was a geometric or planar study. The controls in this drawing were that it must be executed using only basic geometric shapes (circle, square, triangle and rectangle). Students were forced to simplify their image, discover its essence, if most basic formal properties. In this drawing students used their pencils and their eye to test the scale of figures and their positions within the image. Then you were asked to use your value scale to shade the image with flat value tones. Once again this forced you to see the work in its most general terms.
We will continue discussing the relationship of
Renaissance art versus art that is made today. We will also discuss the
formal properties of the artwork and what makes the work compelling.
Drawing 2 & 3:
Tonight was our last class period working on the current project. Be prepared in the next class period to start your second project.
Drawing 2 & 3:
Tonight was our last class period working on the current project. Be prepared in the next class period to start your second project.
Thursday, August 29, 2013
Preparation for Class: September 2nd
Hello Drawing 1 Students,
Please remember to bring a printed image to class of a Renaissance or Baroque Masterpiece. The image MUST NOT be a thumbnail or detail but an print of the entire image. It does not need to be a color image but it should be a work from those periods (do your research to make sure you aren't using an 'imitation'). We will discuss the purpose of this image at the beginning of class.
Drawing 2 & 3 you will be finishing the final day of your current drawing. Please do your best to finish this image in class but be prepared by first critique to show this drawing.
Thanks,
Brandon
Please remember to bring a printed image to class of a Renaissance or Baroque Masterpiece. The image MUST NOT be a thumbnail or detail but an print of the entire image. It does not need to be a color image but it should be a work from those periods (do your research to make sure you aren't using an 'imitation'). We will discuss the purpose of this image at the beginning of class.
Drawing 2 & 3 you will be finishing the final day of your current drawing. Please do your best to finish this image in class but be prepared by first critique to show this drawing.
Thanks,
Brandon
Tuesday, August 27, 2013
Drawing Agenda August 29th
We are going to begin class by looking at art. So, prepare yourselves to have a conversation about what you you see, what interests you and what disinterests you in the show at the Longview Cultural Arts Center. I think I am going to offer extra credit to anyone willing to write one-page about the show.
Drawing 1 - we are going to begin employing some of those shading techniques that we practiced in class on Tuesday. We will be working with graphite and with charcoal so make sure you bring your drawing supplies. We will also be talking about positive/negative space and figure/ground theory.
Drawing 2 - you will begin your final and last drawing in the series. This drawing will be your most detailed and will require the next two class periods. Continue thinking about figure/ground relationships in your drawing as well as how foreshortening effects the way you depict the "object".
Drawing 3 - you have two more class periods to start and complete the value portion of your 3-Object Environment drawing. This will be where we begin discussing a comparative approach to seeing the values within the space.
Thanks guys
Drawing 1 - we are going to begin employing some of those shading techniques that we practiced in class on Tuesday. We will be working with graphite and with charcoal so make sure you bring your drawing supplies. We will also be talking about positive/negative space and figure/ground theory.
Drawing 2 - you will begin your final and last drawing in the series. This drawing will be your most detailed and will require the next two class periods. Continue thinking about figure/ground relationships in your drawing as well as how foreshortening effects the way you depict the "object".
Drawing 3 - you have two more class periods to start and complete the value portion of your 3-Object Environment drawing. This will be where we begin discussing a comparative approach to seeing the values within the space.
Thanks guys
Thursday, August 22, 2013
Welcome to Class
Hello Drawings Students,
I hope you are looking forward to a fun semester. At this point all of you should have received your syllabus and materials list. In tonight's class you will need to come ready to draw.
Drawing 1 students will be focusing on understanding the structural properties of line and how line should be used to inform how and where value is used. Value is the relationship between light and dark. This semester you will be learning how to use value to create the illusion of three-dimensionality as well as to express emotive qualities within your work.
Drawing 2 students will begin a drawing that incorporates a single object...enough said for now.
Drawing 3 students will begin a drawing that is site specific and incorporates three architectural elements or subjects of interest. This drawing will be a study in perspective, figure/ground and the effective use of value and texture to create a realistic image. Dialog will focus on how the space between the "elements" creates are relationship between the subjects.
If you have any questions, please feel free to get in touch with me.
Thanks,
Brandon
I hope you are looking forward to a fun semester. At this point all of you should have received your syllabus and materials list. In tonight's class you will need to come ready to draw.
Drawing 1 students will be focusing on understanding the structural properties of line and how line should be used to inform how and where value is used. Value is the relationship between light and dark. This semester you will be learning how to use value to create the illusion of three-dimensionality as well as to express emotive qualities within your work.
Drawing 2 students will begin a drawing that incorporates a single object...enough said for now.
Drawing 3 students will begin a drawing that is site specific and incorporates three architectural elements or subjects of interest. This drawing will be a study in perspective, figure/ground and the effective use of value and texture to create a realistic image. Dialog will focus on how the space between the "elements" creates are relationship between the subjects.
If you have any questions, please feel free to get in touch with me.
Thanks,
Brandon
Tuesday, April 30, 2013
Critique Dates
5/2 - Hannah, Katelynn, Emilie, Amy, Ross, Isaiah, Mike, Tatiana
5/7 - Beverly, Andrea, Brittany, Victoria, Joe, Sonya, Skyler, Nicole
Important! If your work requires installation time, please come to class early enough to prepare your installation. Any work that is in the gallery will be viewed during class.
Please let me know if you have any questions.
5/7 - Beverly, Andrea, Brittany, Victoria, Joe, Sonya, Skyler, Nicole
Important! If your work requires installation time, please come to class early enough to prepare your installation. Any work that is in the gallery will be viewed during class.
Please let me know if you have any questions.
Thursday, April 25, 2013
Student Show Reminder
Hello Everyone,
Just wanted to remind you that the due date for the student show submissions is this Saturday at noon. I suggest that if you have completed work that you would like to show, bringing it to tonight's class would be the most convenient thing to do. Submission forms will be available in class and I can take your work and make sure it gets to the curator.
Thanks,
Brandon
Tuesday, April 23, 2013
Tuesday & Thursday
Hello Drawing Students,
The next two class periods are studio classes. During this time you will be focused on working and constructing your project. I will be talking individually with each student to discuss the execution of each work.
Please be ready with materials necessary for exectuing your Assemblage.
Let me know if you have any questions.
Wednesday, April 17, 2013
Tuesday, April 16, 2013
Intro to Assemblage Project (D1&D2)
Tonight we will be discussing the nature of drawing and what exists at the core of the discipline. We will be discussing again, what is it that you value most about the act of drawing. What are the attributes of drawing that endure within the other disciplines (ie. painting, sculpture, fibers)? How does the act of drawing change as we introduce non-traditional media?
For
our most recent project, we are using these ideas to create a drawing
using non-traditional drawing materials. The key to this work will be
your ability to create an expressive drawing by exploring the collage
and assemblage of your chosen medium.
Tuesday, April 9, 2013
Tonights Class 4/9
Tonights class, Drawing 1 students will begin their self-portrait. Please remember to print your photo on an 8.5"x11" sheet of paper as a visual guide.
Drawing 2 students will also begin their projects. Please be prepared to share your research and present several ideas to discuss with the group.
Thanks,
B.
Drawing 2 students will also begin their projects. Please be prepared to share your research and present several ideas to discuss with the group.
Thanks,
B.
Tuesday, April 2, 2013
This Week: Modeling Session
Hey Everyone,
I want to reiterate how great you did last week during the modeling sessions. I saw huge improvements in the confidence and expressive nature of your line. Tonight we are going to build on the drawing techniques from the previous class. We are going to continue to work on capturing proper proportions and the natural qualities of the human form. Please be prepared to experiment with graphite and charcoal.
On Thursday night we will switch gears and begin discussing portraiture.
Drawing 2 students will have an option in terms of what they do for the next project.
Let me know if you have any questions.
-Brandon
I want to reiterate how great you did last week during the modeling sessions. I saw huge improvements in the confidence and expressive nature of your line. Tonight we are going to build on the drawing techniques from the previous class. We are going to continue to work on capturing proper proportions and the natural qualities of the human form. Please be prepared to experiment with graphite and charcoal.
On Thursday night we will switch gears and begin discussing portraiture.
Drawing 2 students will have an option in terms of what they do for the next project.
Let me know if you have any questions.
-Brandon
Tuesday, March 26, 2013
D1 & D2: Model Sessions
First of all, great job in critiques. You're drawings have turned out great and I have already heard a lot of great feedback from other instructors concerning the work on display in the hallway.
Tonight we will be introducing the human figure. The next two weeks will be focused on model sessions and practicing the introduction of visual measurement.. It is crucial to understand that your presence is necessary over the next two weeks. Each night of model sessions are worth 15 points participation grade (60 total).
D2: Your response to the article "Pictures" will be due next Tuesday.
Let me know if you have any questions. Thanks.
Tonight we will be introducing the human figure. The next two weeks will be focused on model sessions and practicing the introduction of visual measurement.. It is crucial to understand that your presence is necessary over the next two weeks. Each night of model sessions are worth 15 points participation grade (60 total).
D2: Your response to the article "Pictures" will be due next Tuesday.
Let me know if you have any questions. Thanks.
Tuesday, March 19, 2013
What is Art Criticism?
Art Criticism is crucial to an artist’s growth and ability to contribute to a larger dialog within art. In our class, critique happens both through the daily formative assessment of the instructor but also in the conversation between classmates. Through constructive analysis the individual artist should gain a more complete perspective concerning their own work.
After a project is completed we will conduct class critiques where students will display their work in front of their peers. The class will discuss each piece individually addressing both formal and conceptual aspects of work. Within these critiques students will be focusing on the successes of the work as well as potential room for improvements. Each individual viewer/critic must participate in the class conversation as it will have a direct reflection on class grade.
There are four major characteristics of art criticism that must be taken into consideration as we conduct critiques: description, analysis, interpretations and evaluation.
Description: In this step you will be asked to discuss formal aspects of the work that you can identify while viewing the work. This should not necessarily include personal opinion but describe the subject matter as well as artistic elements used within the composition.
Analysis: In this step you will discuss how the compositions formal elements have been organized and are interrelated. How do the components of the work interact? What are the similarities or contrasting elements? How are basic principles or techniques being used within a work.
Interpretation: The information described and analyzed is used to identify meaning or sub-text within the work. Through "interpretation" the viewer may seek to understand the ideas and expressive qualities of the work as experienced by the artist. The viewer/critics primary focus should be on how the work affects their personal thoughts. Personal interpretation should always be justified by evidence gathered from analysis.
Evaluation: Based on ones description, analysis and interpretation, how does the viewer judge the quality or success of the work? The following criteria may affect ones personal judgment: execution of technique, expressiveness, personal response, originality or position within cultural and historical contexts.
Regardless of how one responds to a work, constructive dialog must be the result. Through critical dialog artists’ grow and are stretched to consider their work less subjectively and with greater intention.
After a project is completed we will conduct class critiques where students will display their work in front of their peers. The class will discuss each piece individually addressing both formal and conceptual aspects of work. Within these critiques students will be focusing on the successes of the work as well as potential room for improvements. Each individual viewer/critic must participate in the class conversation as it will have a direct reflection on class grade.
There are four major characteristics of art criticism that must be taken into consideration as we conduct critiques: description, analysis, interpretations and evaluation.
Description: In this step you will be asked to discuss formal aspects of the work that you can identify while viewing the work. This should not necessarily include personal opinion but describe the subject matter as well as artistic elements used within the composition.
Analysis: In this step you will discuss how the compositions formal elements have been organized and are interrelated. How do the components of the work interact? What are the similarities or contrasting elements? How are basic principles or techniques being used within a work.
Interpretation: The information described and analyzed is used to identify meaning or sub-text within the work. Through "interpretation" the viewer may seek to understand the ideas and expressive qualities of the work as experienced by the artist. The viewer/critics primary focus should be on how the work affects their personal thoughts. Personal interpretation should always be justified by evidence gathered from analysis.
Evaluation: Based on ones description, analysis and interpretation, how does the viewer judge the quality or success of the work? The following criteria may affect ones personal judgment: execution of technique, expressiveness, personal response, originality or position within cultural and historical contexts.
Regardless of how one responds to a work, constructive dialog must be the result. Through critical dialog artists’ grow and are stretched to consider their work less subjectively and with greater intention.
Monday, March 11, 2013
Reminder
At this point in the semester it is easy to lose track of what needs to be accomplished and what the expectations are for class, so please let me reiterate a few important points.
1) Classroom attendance is crucial. Four absences results in a loss of a letter grade and will also almost certainly impact the quality of thought and process of your work.
2) Asking questions is crucial. After having a sub in class this last week it is important that you get in touch with me with your questions. If you needing a sounding board or if you need to share images of your work I would be glad to discuss it with you via e-mail.
3) Finishing your work is crucial. When critiques begin next Tuesday all of your final drawings will be shared: D1 - Master's Study & Final Abstraction, D2 - Three Object Drawing, Environment Study & Self-Portrait. Please be ready to share your work and discuss it
Critiques will go in the following order:
3/19 - Skyler, Victoria, Katelynn, Emily, Brittany, Ross, Nicole, Mike, Tatiana
3/21 - Beverly, Andrea, Isaiah, Joe, Lauren, Amy, Hannah, Stephanie, Sonya
1) Classroom attendance is crucial. Four absences results in a loss of a letter grade and will also almost certainly impact the quality of thought and process of your work.
2) Asking questions is crucial. After having a sub in class this last week it is important that you get in touch with me with your questions. If you needing a sounding board or if you need to share images of your work I would be glad to discuss it with you via e-mail.
3) Finishing your work is crucial. When critiques begin next Tuesday all of your final drawings will be shared: D1 - Master's Study & Final Abstraction, D2 - Three Object Drawing, Environment Study & Self-Portrait. Please be ready to share your work and discuss it
Critiques will go in the following order:
3/19 - Skyler, Victoria, Katelynn, Emily, Brittany, Ross, Nicole, Mike, Tatiana
3/21 - Beverly, Andrea, Isaiah, Joe, Lauren, Amy, Hannah, Stephanie, Sonya
Friday, March 1, 2013
Drawing 1 Students: Studio Work 3/5 & 3/7
Last class period we began discussing the relationship between "decision making" and abstraction. We discussed how your ability to make decisions concerning what will be included and what will be excluded in your work is a product of compartmentalization and abstraction. Inclusion/Exclusion, a type of "editing", is similar creatively to the decisions one makes when re-contextualizing images.
Both Tuesday the 5th & Thursday the 7th I will not be in class. You will have a sub and you will be working on a studio project. Attendance is mandatory and role will be taken.
In our newest project we will be appropriating images from the still-life and re-contextualizing them to develop an image based on your creative impulses and ideas.. Your job is to use the objects in the still-life to create a new and abstract rendering of what you see. The limitation is that you cannot use any objects or figures outside of the classroom still-life but the creative freedom comes in the fact that you can manipulate them in any way you see fit.
Your finished drawing should reflect an investigation of the objects, a creative interpretation of how they can be arranged and changed (you can alter the objects in way you see fit: melt, twist, distore, break apart,etc.).You may choose to create an imagery that reflects an awkward placement of the objects. You may decide that you want to create a narrative or organize the objects into a theme. You may decide to create a surrealist image. Whatever you decide to do, the final drawing image must not be a depiction of something that could naturally occur in reality.
In the end, this drawing should be personally interesting and reflect the technical drawing techniques that we have used in class thus far (ideas of gesture, form, value, texture, etc.)
REMEMBER: Please do not forget to post your response to A Brief History of Abstraction due 3/5
Critiques will follow our spring break:
3/19 - Skyler, Victoria, Katelynn, Emily, Brittany, Ross, Nicole, Mike, Tatiana
3/21 - Beverly, Andrea, Isaiah, Joe, Lauren, Amy, Hannah, Stephanie, Sonya
Both Tuesday the 5th & Thursday the 7th I will not be in class. You will have a sub and you will be working on a studio project. Attendance is mandatory and role will be taken.
In our newest project we will be appropriating images from the still-life and re-contextualizing them to develop an image based on your creative impulses and ideas.. Your job is to use the objects in the still-life to create a new and abstract rendering of what you see. The limitation is that you cannot use any objects or figures outside of the classroom still-life but the creative freedom comes in the fact that you can manipulate them in any way you see fit.
Your finished drawing should reflect an investigation of the objects, a creative interpretation of how they can be arranged and changed (you can alter the objects in way you see fit: melt, twist, distore, break apart,etc.).You may choose to create an imagery that reflects an awkward placement of the objects. You may decide that you want to create a narrative or organize the objects into a theme. You may decide to create a surrealist image. Whatever you decide to do, the final drawing image must not be a depiction of something that could naturally occur in reality.
In the end, this drawing should be personally interesting and reflect the technical drawing techniques that we have used in class thus far (ideas of gesture, form, value, texture, etc.)
REMEMBER: Please do not forget to post your response to A Brief History of Abstraction due 3/5
Critiques will follow our spring break:
3/19 - Skyler, Victoria, Katelynn, Emily, Brittany, Ross, Nicole, Mike, Tatiana
3/21 - Beverly, Andrea, Isaiah, Joe, Lauren, Amy, Hannah, Stephanie, Sonya
Postmodernism: D2 Read & Response
This reading is a very general overview of Post-modernism. In this response, please feel free to research and respond directly to the reading or consider drawing a contrast between postmodernism & altermodernism. Please try and think objectively about the topic and consider it in terms of how it impacts art.
Thanks,
Brandon
due Tuesday 3/5
10 points
Thanks,
Brandon
due Tuesday 3/5
10 points
A Brief History of Abstraction
This week we began discussing the stylistic differences between historical art movements both in content and and aesthetics.The intention of the following paragraphs is to give you an extremely broad context for certain departures from realistic renderings over the last several centuries. Abstraction is nothing new and is in fact as old as mankind. It has a rich history full of inexhaustible intentions. Please note that I am only attempting to briefly explain the reasons for monumental shifts over the last 500 years that effected western society specifically. This is not intended to explain abstraction or its philosophy but simply to give reasons for stylistic changes within art, specifically painting and sculpture.
In the western world, in centuries prior to the 1400's, art was primarily made as a reflection of spiritual or social constructs made in response to political structures or authoritarian commission. Imagery at times was propagandistic, mythological or decorative in nature and generally portrayed types of abstracted human and animalistic figures.
It wasn't until the European Renaissance that the ideal of representationalism became the focus of artists. The Renaissance was a time of innovation in technology and sciences. During this period their was a turning away from religion (not in theme but in personal practice) and a greater focus on social-interest and the progress of the sciences. Across the board artists had a desire to depict real-life with a sense of awe for the biology of the human form as well as nature & architectures mathematical properties.
Paolo Vernese, The Wedding of Cana
Representationalim is the deptiction of the natural world the way it is seen. In other words, when artists make artwork, they make it with the intention of capturing it accurately.
Several hundred years later (forgive the broad neglect of chronology and progress), with the invention of the camera, artists found reasons to make artwork that focused less on specificity of depiction and more on the "essence of reality". Artist began departing from the literal representation and began abstracting (departure from whats seen and the employment of categorical devices) the natural world around them. Abstraction is art that may or may not refer to reality but strives to represent thoughts, ideas and emotions through the alteration of reality.
Another reason for this evolution was the affordability of painting supplies and the artists freedom from the "commission" work. Artists could make more personal work because they were no longer tied to the demands of other individuals. Artists began experimenting with the placement of forms, color, medium as a reflection of personal thought as well as the excitement of experimentation.
Many artists in the early 20th Century were talented at representationalism but chose or grew into abstraction as a more creative way of expressing ideas. Pablo Picasso is a well-known 20th Century artist that worked in both representationalism and abstraction. See some of his progression and diversity below. Notice how the early work was more representational but over time he abstracted the human form by depicting it with geometric shapes, pattern and eccentric color.
Many contemporaries of Picasso and other abstract artists were not satisfied by using basic abstraction to depict the essence of reality. Artists throughout the last 120 years have departed completely from realism by working in pure abstraction or non-objective styles. Non-objectivism is based on artist pure imagination and creative impulses and has no overt visual connections to reality. Many artists have and continue to use pure abstraction (non-objectivism) as a way of creating work. See some examples below.
It is important to note that each stylistic movement continues to be explored within the context of a contemporary dialog. Artists are constantly recontextualizing, re-working, deconstructing and re-theorizing previous ideas and methods.
Kandinsky, Comp 8
Willem De Koonig
Jackson Pollock working on one of his floor paintings.
Jackson Pollock, #8
ASSIGNMENT: After reading the post, find three images that reflect each of the three stylistic differences (not necessarily from the eras discussed). In the comments section, post a link to each of the three images along with the name of the artist, work and time period.
EXAMPLE:
Artist Name:
Name of Art
Time Period:
Link:
Images can be found by using a search engine or going to museum websites. Below is a list of a few museums that have sites with lots of images.
http://www.moma.org/
http://www.guggenheim.org/
http://www.tate.org.uk/
http://www.googleartproject.com/
In the western world, in centuries prior to the 1400's, art was primarily made as a reflection of spiritual or social constructs made in response to political structures or authoritarian commission. Imagery at times was propagandistic, mythological or decorative in nature and generally portrayed types of abstracted human and animalistic figures.
It wasn't until the European Renaissance that the ideal of representationalism became the focus of artists. The Renaissance was a time of innovation in technology and sciences. During this period their was a turning away from religion (not in theme but in personal practice) and a greater focus on social-interest and the progress of the sciences. Across the board artists had a desire to depict real-life with a sense of awe for the biology of the human form as well as nature & architectures mathematical properties.
Paolo Vernese, The Wedding of Cana
Representationalim is the deptiction of the natural world the way it is seen. In other words, when artists make artwork, they make it with the intention of capturing it accurately.
Several hundred years later (forgive the broad neglect of chronology and progress), with the invention of the camera, artists found reasons to make artwork that focused less on specificity of depiction and more on the "essence of reality". Artist began departing from the literal representation and began abstracting (departure from whats seen and the employment of categorical devices) the natural world around them. Abstraction is art that may or may not refer to reality but strives to represent thoughts, ideas and emotions through the alteration of reality.
Another reason for this evolution was the affordability of painting supplies and the artists freedom from the "commission" work. Artists could make more personal work because they were no longer tied to the demands of other individuals. Artists began experimenting with the placement of forms, color, medium as a reflection of personal thought as well as the excitement of experimentation.
Many artists in the early 20th Century were talented at representationalism but chose or grew into abstraction as a more creative way of expressing ideas. Pablo Picasso is a well-known 20th Century artist that worked in both representationalism and abstraction. See some of his progression and diversity below. Notice how the early work was more representational but over time he abstracted the human form by depicting it with geometric shapes, pattern and eccentric color.
Many contemporaries of Picasso and other abstract artists were not satisfied by using basic abstraction to depict the essence of reality. Artists throughout the last 120 years have departed completely from realism by working in pure abstraction or non-objective styles. Non-objectivism is based on artist pure imagination and creative impulses and has no overt visual connections to reality. Many artists have and continue to use pure abstraction (non-objectivism) as a way of creating work. See some examples below.
It is important to note that each stylistic movement continues to be explored within the context of a contemporary dialog. Artists are constantly recontextualizing, re-working, deconstructing and re-theorizing previous ideas and methods.
Kandinsky, Comp 8
Willem De Koonig
Jackson Pollock working on one of his floor paintings.
Jackson Pollock, #8
ASSIGNMENT: After reading the post, find three images that reflect each of the three stylistic differences (not necessarily from the eras discussed). In the comments section, post a link to each of the three images along with the name of the artist, work and time period.
EXAMPLE:
Artist Name:
Name of Art
Time Period:
Link:
Images can be found by using a search engine or going to museum websites. Below is a list of a few museums that have sites with lots of images.
http://www.moma.org/
http://www.guggenheim.org/
http://www.tate.org.uk/
http://www.googleartproject.com/
Monday, February 25, 2013
Death of the Author: D2 Read & Response
The article on Death of the Author draws parallels between Barthes monumental essay and its impact on art. This short essay summarizes how artists began challenging the relationship between creator, the experience and the participant. The focus of this particular writing deals with the idea of the "master artist" and notions of grand identity within art.
Consider reading Roland Barthes 1967 essay to better contextualize the relationship between this literary concept and artistic interpretations. http://artsites.ucsc.edu/faculty/Gustafson/FILM%20162.W10/readings/barthes.death.pdf
Please read and research then post your personal response as well as two images, in the same format as the previous posting. Be careful to make sure the works you find reflect the approach to art described in the article.
Thanks,
Brandon
due Tuesday 2/19
10 points
Consider reading Roland Barthes 1967 essay to better contextualize the relationship between this literary concept and artistic interpretations. http://artsites.ucsc.edu/faculty/Gustafson/FILM%20162.W10/readings/barthes.death.pdf
Please read and research then post your personal response as well as two images, in the same format as the previous posting. Be careful to make sure the works you find reflect the approach to art described in the article.
Thanks,
Brandon
due Tuesday 2/19
10 points
Thursday, February 21, 2013
10.21 If you didn't already know...no classes
See some of my favorite snow paintings by Benjamin King.
http://www.benjamin-king.com/works1.html
http://www.benjamin-king.com/works1.html
Saturday, February 16, 2013
Activist Art: D2 Read & Response
The short-essay on Activist Art presents a climate in which particular artists submitted their practices to callings of "greater conviction". The article discusses the messages of these artists as well as the means by which they made an impact.
Please read and research this movement then post your personal response as well as two images, in the same format as the previous posting. Please be careful when finding work that describes itself as "activist". Be careful to make sure the works you find reflect the approach to art described in the article.
Thanks,
Brandon
due Tuesday 2/19
10 points
Please read and research this movement then post your personal response as well as two images, in the same format as the previous posting. Please be careful when finding work that describes itself as "activist". Be careful to make sure the works you find reflect the approach to art described in the article.
Thanks,
Brandon
due Tuesday 2/19
10 points
Thursday, February 7, 2013
Deconstruction Project: Drawing #3
Hello Drawing 1 Students,
In preparation for drawing number three, lets consider where we've come from.
Our first drawing in this series was a contour line drawing. This drawing was intended to loosely familiarize ourselves with the imagery and consider foreground and background with a sense of democracy. The use of continuous line was difficult because there was very little frame of reference in beginning it. In other words, many students found their proportions to be inaccurate pretty early on in the drawing but this failure in accuracy was important to acknowledge.
Our second drawing is our Geometric Drawing or our Planar Drawing. Once again, this image forces you to equalize the negative and positive space through the use of a limited range of flat shapes. The flatness of the image leads one to grapple with the nature of form and consider three-dimensionality in a new light, with the intent to simplify. Each drawing took the complex image and broke it down to its most basic compositional elements and force you to generalize both the figure and the values.
Once both studies are accomplished, you will be ready to begin your third drawing, an accurate rendering of the masterpiece. This image is intended to be accurate in every way possible from depiction of figure and value to the textures within the picture. To begin this drawing one must consider the additive nature of drawing, the building up of the image. When beginning the drawing you should start with a loose gesture, a light and fairly quick rendering of the image that places the figures in the space with attention to proportion and angle. This part of the process is crucial for future steps.
The next step in the process will be to establish greater detail within the drawing, distinguishing figures and correcting things while you work. This step will also include basic flat value tones. Filling the space with the most general and simple values will make filling more detailed values easier.
Lastly, address detailed values, complex gradients and textures. This part of the drawing is easy to cut corners on because it is the last step, but it is the most crucial part to making the image believable.
Please e-mail me if you have any questions about this outline for moving forward. Remember we only have time to work on the third drawing during one class period which means you will need to work outside of class.
Thanks,
B.
In preparation for drawing number three, lets consider where we've come from.
Our first drawing in this series was a contour line drawing. This drawing was intended to loosely familiarize ourselves with the imagery and consider foreground and background with a sense of democracy. The use of continuous line was difficult because there was very little frame of reference in beginning it. In other words, many students found their proportions to be inaccurate pretty early on in the drawing but this failure in accuracy was important to acknowledge.
Our second drawing is our Geometric Drawing or our Planar Drawing. Once again, this image forces you to equalize the negative and positive space through the use of a limited range of flat shapes. The flatness of the image leads one to grapple with the nature of form and consider three-dimensionality in a new light, with the intent to simplify. Each drawing took the complex image and broke it down to its most basic compositional elements and force you to generalize both the figure and the values.
Once both studies are accomplished, you will be ready to begin your third drawing, an accurate rendering of the masterpiece. This image is intended to be accurate in every way possible from depiction of figure and value to the textures within the picture. To begin this drawing one must consider the additive nature of drawing, the building up of the image. When beginning the drawing you should start with a loose gesture, a light and fairly quick rendering of the image that places the figures in the space with attention to proportion and angle. This part of the process is crucial for future steps.
The next step in the process will be to establish greater detail within the drawing, distinguishing figures and correcting things while you work. This step will also include basic flat value tones. Filling the space with the most general and simple values will make filling more detailed values easier.
Lastly, address detailed values, complex gradients and textures. This part of the drawing is easy to cut corners on because it is the last step, but it is the most crucial part to making the image believable.
Please e-mail me if you have any questions about this outline for moving forward. Remember we only have time to work on the third drawing during one class period which means you will need to work outside of class.
Thanks,
B.
Neo-Expressionism: D2 Read & Response
Hello Drawing 2 Students,
Please read the article on Sculptor's and their drawings. Review the essay on Neo-Expressionism. In order to understand this movement in relation to Expressionism, consider researching both. What were the unique qualities of their works? What brought about the cynicism of critics of the Neo-Ex? What aspects of the movement had/have resonance?
After reading, please post your personal response as well as two images, in the same format as the previous posting, that are examples of the ideas expressed in this article.
Thanks,
Brandon
due Tuesday
10 points
Tuesday, February 5, 2013
Class Preview - Feb. 5th
Drawing 1 Students,
Be prepared to continue pursuing the Deconstruction Project. We will begin our second drawing in a series of three Masters Studies. The first drawing was a contour line drawing focused on training the hand and introducing you to the image. Tonights drawing will be a geometric drawing that will employ four shapes (circle, square, rectangle, triangle).We will discuss this more tonight.
Drawing 2 Students,
Prepare to continue our hallway drawings. Please be prepared by reading the information on drawing visual perspective. Please don't forget to submit your response to the Drawing and Sculpture essay.
Thanks,
B.
Be prepared to continue pursuing the Deconstruction Project. We will begin our second drawing in a series of three Masters Studies. The first drawing was a contour line drawing focused on training the hand and introducing you to the image. Tonights drawing will be a geometric drawing that will employ four shapes (circle, square, rectangle, triangle).We will discuss this more tonight.
Drawing 2 Students,
Prepare to continue our hallway drawings. Please be prepared by reading the information on drawing visual perspective. Please don't forget to submit your response to the Drawing and Sculpture essay.
Thanks,
B.
Saturday, February 2, 2013
Sculptor's Drawings: D2 Read & Response
Hello Drawing 2 Students,
Please read the article on Sculptor's and their drawings. Consider how drawing has changed throughout history and how it informs other disciplines as well as circumvent them. How does this alter the way we see drawing? Please investigate the drawings of the artists mentioned in the article and then find parallels to their three-dimensional work.
After reading, please post your personal response as well as two images, in the same format as the previous posting, that are examples of the ideas expressed in this article.
Thanks,
Brandon
due Tuesday
10 points
Please read the article on Sculptor's and their drawings. Consider how drawing has changed throughout history and how it informs other disciplines as well as circumvent them. How does this alter the way we see drawing? Please investigate the drawings of the artists mentioned in the article and then find parallels to their three-dimensional work.
After reading, please post your personal response as well as two images, in the same format as the previous posting, that are examples of the ideas expressed in this article.
Thanks,
Brandon
due Tuesday
10 points
Thursday, January 31, 2013
Class Review 1/31
Drawing 1:
Tonight we began working on
exploring the formal properties of a famous work by a Renaissance or Baroque
artist. Each student brought in an image of a famous work from one of these periods.
In our work we began dissecting our found images by first recognizing its scale, proportion and the position of the figures through the use of a single, contour line. Your entire drawing was completed in an hour and a half with the use of one single line. Though a frustrating process, many of you found how difficult grappling with proportion can be. After this we discussed the basic use of visual or in this case comparative measurement.
Our second drawing was a geometric or planar study. The controls in this drawing were that it must be executed using only basic geometric shapes (circle, square, triangle and rectangle). Students were forced to simplify their image, discover its essence, if most basic formal properties. In this drawing students used their pencils and their eye to test the scale of figures and their positions within the image. Then you were asked to use your value scale to shade the image with flat value tones. Once again this forced you to see the work in its most general terms.
In our work we began dissecting our found images by first recognizing its scale, proportion and the position of the figures through the use of a single, contour line. Your entire drawing was completed in an hour and a half with the use of one single line. Though a frustrating process, many of you found how difficult grappling with proportion can be. After this we discussed the basic use of visual or in this case comparative measurement.
Our second drawing was a geometric or planar study. The controls in this drawing were that it must be executed using only basic geometric shapes (circle, square, triangle and rectangle). Students were forced to simplify their image, discover its essence, if most basic formal properties. In this drawing students used their pencils and their eye to test the scale of figures and their positions within the image. Then you were asked to use your value scale to shade the image with flat value tones. Once again this forced you to see the work in its most general terms.
We will continue discussing the context of Renaissance versus art that is made today. We will also discuss the formal properties of the artwork and what makes the work compelling.
Drawing 2:
Students continued working on their hallway drawings. Each conversation dealt with several different issues. One things regularly discussed was the use of visual measurement to determine angles of walls, ceiling tiles and breaks in the flooring. Moving forward it will be important to remember how important comparison will be in establishing contours, scale of figures in the space and value tones.
Monday, January 21, 2013
Class Preview - 1/22
Drawing 1 Students,
In Tuesdays class we will continue talking about the relationship between line and value and the relationship between the object and space. Please be prepared to do a series of longer drawings using graphite pencil and compressed charcoal.
Also, please have your value scales completed before class tomorrow.
Let me know if you have any questions.
Thanks,
Brandon.
In Tuesdays class we will continue talking about the relationship between line and value and the relationship between the object and space. Please be prepared to do a series of longer drawings using graphite pencil and compressed charcoal.
Also, please have your value scales completed before class tomorrow.
Let me know if you have any questions.
Thanks,
Brandon.
Semiotics - D2 Read and Respond
Hello Drawing 2 Students,
With the hope of bringing art history into our classroom dialog you will be asked to read a short article each week pertaining to a different movement in post-modern art. Each article tries to capture the heart of that movement and some of the artists associated with it. The articles come from the book Drawing From the Postmodern: 1975-2005 by Jordan Kantor.
After reading each article, please respond in the form of a comment below. Please include one or two paragraphs that include either a personal summary of the movement or a commentary related to what you read. Also please paste two links to web pages that include artist work indicative of that particular movement (see example). Your first posting is due 1/28.
Example:
Artist Name: Rivane Neuenschwander
Name of Artwork: Eu desejo o seu desejo / I wish your wish, 2003.
Link: http://www.zatista.com/cms/wp-content/uploads/2010/09/Rivanne11.jpg
Let me know if you have any questions.
B.
With the hope of bringing art history into our classroom dialog you will be asked to read a short article each week pertaining to a different movement in post-modern art. Each article tries to capture the heart of that movement and some of the artists associated with it. The articles come from the book Drawing From the Postmodern: 1975-2005 by Jordan Kantor.
After reading each article, please respond in the form of a comment below. Please include one or two paragraphs that include either a personal summary of the movement or a commentary related to what you read. Also please paste two links to web pages that include artist work indicative of that particular movement (see example). Your first posting is due 1/28.
Example:
Artist Name: Rivane Neuenschwander
Name of Artwork: Eu desejo o seu desejo / I wish your wish, 2003.
Link: http://www.zatista.com/cms/wp-content/uploads/2010/09/Rivanne11.jpg
Let me know if you have any questions.
B.
Thursday, January 17, 2013
Class Preview - 1/17
Hello Drawing 1 Students,
To prepare for tonights class, please be ready to discuss form and our relationship to the object. The first couple of class periods will be an introduction to the idea of space and environment and how they relate to figures within space. We will also be discussing basic drawing techniques and how value effects three-dimensionality. Don't worry, it sounds more complicated than it really is.
Drawing 2 Students, please be ready to begin your first project (I guess you prepare for that by psyching yourself up and bringin your graphite pencils). Also, please bring an object to class that will fit in your hand. This object could be anything as long as its inanimate. If you don't get this message in time, that's okay, I can provide an object.
See you all soon,
Brandon
To prepare for tonights class, please be ready to discuss form and our relationship to the object. The first couple of class periods will be an introduction to the idea of space and environment and how they relate to figures within space. We will also be discussing basic drawing techniques and how value effects three-dimensionality. Don't worry, it sounds more complicated than it really is.
Drawing 2 Students, please be ready to begin your first project (I guess you prepare for that by psyching yourself up and bringin your graphite pencils). Also, please bring an object to class that will fit in your hand. This object could be anything as long as its inanimate. If you don't get this message in time, that's okay, I can provide an object.
See you all soon,
Brandon
Welcome to Drawing Class
Hello everyone,
I am really looking forward to this semester and hope that it will enrich all of our perspectives. Once again, this class will be focused on both formal issues of drawing and technique as well as concept and the development of ideas within our works.
This blog is simply a guide to help you review some of the things that we have talked about in class and to provide an outlet for further conversation.
Below is the Material List for the class. Please be sure to review your syllabus concerning classroom policies.
Materials List / Drawing 1-4
Soft and Hard Charcoal (Charcoal pencils, Vine and Compressed)
H, F and B series pencils *see chart
Black India Ink and drawing tool with nib and Rigger/Liner Brush or Calligraphy (Sumi) Brushes
White square drafting eraser
Kneaded eraser
Scissors
Rubber Cement Glue with Rubber Cement Eraser
Pad of Newsprint (18x24 at least)
Pad of Strathmore-non-charcoal tooth (18x24 at least)
(You can purchase different sizes of paper, just make sure you have this size.)
Tote Box
Optional:
Sketchbook
Ruler
Pins
Painters Tape or drafting tape
Prismacolor pencils and markers ($$)
Micron pens
Your materials list will be dictated by the progression of our dialogue throughout the semester.Your projects will vary dependant on your concept. Be ready to make purchases or use materials that are for specific projects throughout the semester.
Please let me know if you have any questions.
-Brandon
I am really looking forward to this semester and hope that it will enrich all of our perspectives. Once again, this class will be focused on both formal issues of drawing and technique as well as concept and the development of ideas within our works.
This blog is simply a guide to help you review some of the things that we have talked about in class and to provide an outlet for further conversation.
Below is the Material List for the class. Please be sure to review your syllabus concerning classroom policies.
Materials List / Drawing 1-4
Soft and Hard Charcoal (Charcoal pencils, Vine and Compressed)
H, F and B series pencils *see chart
Black India Ink and drawing tool with nib and Rigger/Liner Brush or Calligraphy (Sumi) Brushes
White square drafting eraser
Kneaded eraser
Scissors
Rubber Cement Glue with Rubber Cement Eraser
Pad of Newsprint (18x24 at least)
Pad of Strathmore-non-charcoal tooth (18x24 at least)
(You can purchase different sizes of paper, just make sure you have this size.)
Tote Box
Optional:
Sketchbook
Ruler
Pins
Painters Tape or drafting tape
Prismacolor pencils and markers ($$)
Micron pens
Your materials list will be dictated by the progression of our dialogue throughout the semester.Your projects will vary dependant on your concept. Be ready to make purchases or use materials that are for specific projects throughout the semester.
Please let me know if you have any questions.
-Brandon
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