A&D 113 TEXT & MATERIAL LIST

January 8/9

Reading #1 Due Jan 10/11

pp.1-14 The Nature of Drawing: Why is the act of drawing and the act of seeing important? Find the definition for rendering. If drawing is a way to communicate visual language, what essentially goes into the process of drawing? List 3 types of drawing. Describe the range of development within these 3 categories and how they may flow together. What is all-important to being able to draw?

pp.15-33 Initial Experiences: Practice contributes to increased technical competence, control, and eventual mastery. Describe how planning can help drawings succeed. Describe some advantages of using charcoal. What is additive drawing? What is subtractive drawing? Describe ways that five artists drawing the human head have used pencil.

Jan 10/11

Reading #2  Due Jan 16/17

pp.38/56 Learning to See: Learning to draw demands a dependence on visual cues. When looking at leaves, for example, what changes when viewed from different angles? (pp.38, 39) How can your pencil aid you to establish vertical and horizontal alignments? How can you use your pencil as a measuring device to establish relative proportion? Define negative and positive space.

Jan 15

 Official University Holiday

Jan 16/17

Reading #3 Due Jan 18/19

pp.73-95 Line and its Expression: Describe how line can be a highly descriptive force. Define these terms; contour lines, blind contour, varied line, lost and found edges, searching line, cross contour, modeled line, hatching, cross- hatching, contour hatching, scribbled line, calligraphic line, and gesture. Summarize experiencing different line qualities (pp.93-95)

pp.57-72 Copying, Sketching, and the Power of Influences Copying is a legitimate activity as a means of learning to see how other artists see. From the internet, print a drawing (not a painting) of each of these 5 artists: Rembrandt, Degas, Ingres, Delacroix, Daumier and Giocometti. At the bottom of each page, write at least 5 descriptive words or phrases. .How many sketchbooks were discovered after Picasso’s death?  A camera cannot replace what?

Jan 22/23

 Reading #4 Due Jan 24/25

pp.96-114 Value: Define value. In your notebooks, list 5 ways values enrich drawing. In your sketchbooks, copy the value scale twice on page 97 in pencil and in ink washes(Fig.6-1) Eliminate the bold line divisions between the values but be sure the values are clearly stepping or are differentiated. How must color be analyzed in terms of value? Define local value, form, light and shadow. Name the elements of the system of chiaroscuro. Value not only defines objects, it also places and separates forms in space. In your sketchbook activities, try to see form and space as defined by light and shadow. Block in appropriate tonal values without depending on preliminary contour lines. This will help you to learn to simplify and rely on shapes of tonal value on even very complicated objects. In your own words, describe high key, middle key, low key and full range value drawings.

Jan 29/30

 Reading #5 Due Jan 31/Feb1

pp. 114-121 Color and Value: Name and define the three dimensions of color. Name 3 color schemes. What is simultaneous contrast? How do you create optical color? In your sketchbook, create 2 simple drawing that shows an analogous and a complementary color scheme.

Feb 5/6

Reading #6  Due Feb 7/8

Feb 12/13

Reading #7 Due Feb 14/15

pp.301-318 Illustration and Drawing: Define illustration. What is a technical distinction between  illustration and  fine art? Summarize page 313. List the types of illustration (pp.314-323). What is most important when preparing a portfolio if you are seeking employment as an illustrator? With today’s changing technology, what are some new ways to present your portfolio?

Feb 19/20

Reading #8 Due Feb 21/22

pp. 229-244 Still Life: List all of the advantages of still life. What can draw and hold the attention of an audience to a still life? Describe how learning to see complex forms schematically is helpful to understanding and representing 3-dimensional form. Describe the beginner= s efforts towards the study and representation of surfaces that shine, show transparency and /or translucency.pp.208-228 Wet Media:

Feb 26/27

Reading #9  Due Feb 28/March 1

pp.291-309 The Portrait: Choose 2 of the portraits from the chapter and summarize the artist’s approach. Critique exercise will be done in class after gesture portraits are completed: Exchange a drawing with another student and write a critical review of each other= s drawings. Discuss media handling, effects of lighting and the resulting visual impact. See Portrait Critique Handout from Instructor.

Mar  5/6

Reading #10 Due March 7/8

pp.184-207 Dry Media: Make a list of the many papers that can be found at one of the local bookstores and art suppliers. Charcoal can be applied to many different kinds of drawing and printmaking papers – name the brands on page 190. Which papers will work well with solvents? (page 191). Make a list of the supplies from your 113 kit used in class up to this point in time. Summarize the variety of chalks, pastels and conte available to artists 

March 12-16

Spring Break

Mar 19/20

Reading #11 Due March 21/22

pp.208-228 Wet Media:  List pens. List methods. List water-based media.

Mar 26/27

Reading #12 Due March 28/29

pp.122-137 Texture and Expression: How is the textural character of drawing determined? Define actual, simulated and uniform texture. Compare and contrast Fig.7-14 Thoephil Groell’s Rivers End and Fig.7-1 Jack Beal’s Study for "Wisconsin Still Life". Describe how Giorgio Morandi and Josef Albers use texture. (pp. 135-136)

April 2/3

Reading #13 Due April 4/5

pp.326-346 Expressive Drawing: What distinguishes one drawing from another?  If drawings are not highly charged emotional statements, how can they be expressive? Why is it so important for students to be continually receptive to new ways of seeing and new ways of drawing?

Written Assignment

April 9/10

Reading #14 Due April 11/12

 pp.161-183 Perspective and Forms in Space: Define linear perspective. Define empirical perspective. Who determines the eye level in a drawing? What does the placement of the horizon line determine? Blocks or cubes placed square to the picture plane are drawn in one-point perspective; blocks set at an angle necessitate the use of two-point perspective. Drawing a cube in 2-pt perspective requires 2 vanishing points. Copy Figures 9-8, 9-9, 9-10 and 9-14 progressively on small sheets of tracing paper and tape into sketchbooks.

Figure 9-15 will be provided on the worksheet by your instructor: locate the VPs for ALL the planes of the box.

April 16/17

Reading #15 Due April 18/19

pp. 245-262 Landscape, Atmosphere, and Space: Describe aerial and atmospheric perspective. What are optical grays? Sketchbook: Draw 2 pages of tree studies using a variety of wet and dry media.

pp.347-368 Mixed Media and its Expression: Looking over the experience you have gained so far this semester, select one or two of your drawings and visualize the work in another media or mixed media. What would be your objectives?