History

One of the problems a teacher faces is how far to take the instruction. In beginning classes, we try to provide familiarity with materials, concepts of illusion and expression and an attempt to achieve accuracy. This is to produce a student who can accurately render what she sees, can give voice to expression, and spend time thinking in those terms. Sometimes a student has already achieved a level of expression and accuracy is not their goal. The teacher must provide a means for that student to acquire the skills they want and need without losing what expressive skills they already have. Be aware of the need for this split in goals. Value and protect what you have as you go about acquiring the skills you need. You should always be open to experimentation, but realize that the end of this process is the expression of your own voice and values in your work.

Drawing Hints :

The process of capturing the essence of a portrait subject has gone from: learning the rudiments, to accurate rendering of an image, to the process of expression. In the end it is the expression which is at the heart of the portrait - the facial expression of the subject that shows the person inside - the expression of the artist who uses a personal visual vocabulary to make the "simple" portrait something more. If you take nothing else away from this class remember that the portrait is never simple, for the subject nor for the artist. Remember also that nothing is impossible for the person who has enough desire.

Notes from the last few days: Sometimes the most simple things make all the difference. Learn how to see and accept the happy accidents that make the drawing something more. Practice keeps our hand up, and also keeps our eyes fresh and our minds conscious and open to possibility. Be supple enough to experiment and change. Be stiff and intractable when it comes to negative criticism. Trust your vision even when you don't understand it. Give yourself permission to succeed.

Process

Notes from the last few days: We have found that it takes time to get used to a new model. This is true when doing a portrait outside of class. The Professional will spend one day sketching the subject to get used to the form. The serious work comes after that. Artists' sketchbooks have information and notes in common - light effects, color effects and ways of looking to produce the best work. Learning to use the sketchbook as a tool will take effort, but it is usually worth the time to do so.

In-Class work: Draw 1 - long drawing of the model - fully developed drawings - Try to be conscious of the entire pose and the composition of the drawing as a whole. Think about expressive means before you begin.

Homework Assignment in addition to weekly sketchbook drawings:
Due November 5, 2003, - Final Drawing self-portrait