| Bonus
 |
This
class combines two studies and disciplines: anatomy for the artist
and eye hand coordination through the discipline of drawing from life.
We have several excellent models who will provide us with interesting
poses and variety in our subject matter. I have included handouts
for skeletal and muscular terminology as we proceed with the drawings.
Remember to check the bibliography and links to other sites on line
if you would like to enhance your learning. |
Course
plan
|
I'm here to
help you develop your own vision and voice, not to teach you how
to develop mine. I will show you my process and possible solutions,
but I expect that decisions about your work will be made by you.
When in doubt, if you don't know what to do, or don't like the set
up I have provided, please draw something of your own selection.
I would prefer that the subject relate to the class work, but that
is not necessary if the drawing is good. In this class the drawing
comes first.
Keep the sketchbook
current and do your weekly homework drawings to keep pace with the
class. 15 minutes drawing twice a week is better than filling the
sketchbook the last week of the quarter. It has the effect of almost
doubling the gain in class, if you keep pace with a few quick drawings
on the outside. Sketchbooks will not be critiqued Since the class
notes are available online at any time, you will be able to access
them at any time.
large skeleton & muscle pages:
labeled skeleton
skeleton front & back
muscles front & back
|
Drawing
|
Drawing is the
oldest endeavor history uses to record the presence of mankind on
earth. Drawing an object or animal as a symbol for the real item
is the differentiation of human from other animals. No other animal
draws. That fact may be a better proof of higher intellect than
tool making, now that several animals are said to use tools in the
wild. [Chimpanzees use twigs to gather ants from a hole, a male
bower bird builds an edifice as an attractant to a female, a shrike
uses cactus spines to impale insects, sea otters pick up rocks to
break shells on their chest while swimming.] As drawing tools become
more sophisticated, the need for classical skills become more important.
Increasingly sophisticated computer 'Paint programs" and their
tech manuals cannot explain why some things work and some do not.
Classical training can provide those answers.
In the
general population, an average person can differentiate 5,000 shades
of gray from black to white. An average artist can differentiate
50,000 shades of gray. The difference lies in training the eye.
This class will providenot only eye hand coordination exercises,
but also critical skills you can use to evaluate what you have created.
For most students critical skills come much more easily than eye
hand coordination. Students become dissatisfied with their progress
in class because their taste improves much more quickly than their
skills. For this reason we provide 'first day drawings' as a reference
point for later work. Most students during the critiques will see
the improvement in their fellow students while missing it in their
own work. It is a common failing to discount your own work.
We will begin
with Gesture drawing. Most drawing begins with a gesture. Whether
it shows on the paper is not important. The word Gesture, for our
purposes, means capturing the movement of the entire drawing in
a single stroke. This is repeated until it begins to provide the
semblance of a wire schematic of the subject in space. This drawing
is a quick way to place the figure on the page, to capture the initial
movement and to divide up the page spatially.
In this class
we will be doing gesture drawings, line drawings, value drawings,
movement drawings, drawings for another purpose [sketches for painting,
sketches for sculpture] and drawings that are an end in themselves.
Because we begin any endeavor by honing skills, we will begin with
eye hand coordination - specifically accurate rendering of the subject
with the common materials indicated. Because this is a design curriculum,
we will also be honing critical skills to sharpen the eye and mind
and to build or refine a personal aesthetic. To that end, we will
learn how to participate in class critiques -- in Kindergarten this
is called "Sharing".
Later in the
class I will ask you for permission to allow me to photograph your
work. Class progress will be demonstrated in student work links
online. We can compare and contrast our progress through the class
from week to week. Please feel free to say no if you are too sensitive. |
| In
Class assignments |
Drawings of the life
pose in class in vine charcoal.
Draw 5
- 30 second gesture drawings, of the model pose
Draw 3 - 5 minute drawings of other poses
Draw 2 or more 20 minute drawings of the model
Sample critique at the end of class
|
| Homework
Assignment |
Assignment in
addition to weekly sketchbook drawings:
Do a single drawing of something that interests you.
In the sketch book, or by other means draw: a hand, a face, an entire
figure -- this is a reference set.
|
| Footnotes:
|
Links at the
bottom of the page include email and web address for class notes
if you miss a class and want to get the notes.
|
| Bibliography |
Book resource:
optional textbook "Drawing the figure" by Anthony Ryder
[review]
|
|
Links
|
The
Figure Drawing Lab, The
Virtual Body |
| |
Materials
Sources: Utrecht Art Materials, Dakota Art, Dan Smith
Inc., UW Bookstore
Book Sources:
Library, Amazon.com, Barnes & Noble.com, UW Bookstore,
Used book stores in Tacoma or Seattle. |
 |
Links:
for class notes www.jonraderjarvis.com/classes.htm
and email contact address jrj@jonraderjarvis.com
© 2006 Jon Rader Jarvis, all rights reserved |
|
