WEEK #15

Prompt 19. Make a line drawing. Using a different color, make another line drawing or markings on top of the first drawing.

See  Marisol Escobar | Suite of Six Lithographs

WEEK #14

Prompt 3. Create a landscape using cross-contour lines. Imbue your lines with some type of emotion, for example, calmness or anger.

See

WEEK #13

Prompt 8. Quickly sketch an object in your sketchbook with a light pencil. Go back over the sketch with a darker pencil, this time slowly and accurately. Following Leonard’s example, be open to adjustments and corrections

Inspiration: See Leonardo da Vinci | Embryo in the Womb

WEEK #12

Prompt 22. Make marks that are inspired by foliage drawing with confident free-flowing lines.

Inspiration:

See: Henri Matisse

WEEK #11

Prompt 21. Design several three-dimensional forms. Try to draw them to look as three-dimensional as possible, using fast, decisive marks.

Inspiration:

Andy Warhol | A La Recherche du Shoe Perdu

WEEK #10

Prompt 12.Invent a drawing that suggests great depth in space

Inspiration:

See Giorgio de Chirico | Mysterious Baths

WEEK #9

Prompt 23. Make an automatic drawing, unlocking your unconscious mind

Inspiration:

Max Ernst | Forest and Dove

WEEK #8

Prompt 25. Start to doodle and using your imagination allow it to grow

WEEK #7

Prompt 7. Choose a subject that can be used to create a symmetrical drawing. Draw it in a sketchbook. Change your point of view and draw the same subject as an asymmetrical composition.

Symmetric

Asymmetric

Inspiration:

Hilma af Klint

WEEK#6

Prompt 8. Quickly sketch an object in your sketchbook with a light pencil. Go back over the sketch with a darker pencil, this time slowly and accurately. Following Leonard’s example, be open to adjustments and corrections

Sketch

Inspiration:

Leonardo da Vinci | Sketch of Female Hands

WEEK#5

Prompt 3. Create a landscape using cross-contour lines. Imbue your lines with some type of emotion, for example, calmness or anger.

Sketch

Inspiration:

Louise Bourgeois | La tapisserie de mon enfance—Mountains in Aubusson

WEEK#4

Prompt 1. Draw a piece of fruit. Focus on rendering light.

Sketch

Reference

Inspiration:

Paul Cezanne | Three Pears

WEEK#3

Prompt 5. Watch a movie on a computer or television. Pause the movie at a scene that you find visually interesting. Draw the scene in your sketchbook. Pay special attention to the position of people and objects within the scene.

Sketch

Reference: Cobra Kai

Inspiration:

Dawn Clements Mrs. Jessica Drummond’s (My Reputation, 1946)

WEEK #2

Prompt 28. Draw a storyboard of your day using at least six boxes to capture the events. Look at the work of Luca Buvoli.

Day in the Life: 01/22/20

A Day in the Life: 01/23/20

Inspiration:

A work by Luca Buvoli. December 20, 2020

Another work by Luca Buvoli. April 18, 2020

Homework #8 – Reflection Response to Module 3: Perspective

I think my work from module 3 uses perspective in ways intended by the assignments. On Project 5 especially, I spent several hours drawing and redrawing angles until they were more accurate. On Project 6, I think I managed to convey a sense of depth through the weight of the lines and the size of the objects. Project 6’s composition activates the page through the unique birds-eye-like view of the drawing. Since the content primarily comes from view outside of the window, your eyes are immediately drawn to that content. I could improve on drawing the details in perspective and having better intuition when drawing perspective.

Project #6 – Exterior Perspective Buildings in Landscape

WIP:

Final:

Outdoor Sketches:

Urban Reading:

From Homework 6 Reading:

Exercise 5 (6): Outdoor Sketches, Urban Reading, HW 6 Reading

Project 6 (2): WIP, Final

Sketch (2): Sketch, Inspiration

Project 5 (4): Underdrawing, Linework, WIP, Final

Project #5 – Interior Perspective with Value

Underdrawing:

Linework:

WIP:

Final:

Josef Albers

Josef Albers was born in Bottrop, Westphalia, Germany in 1888. His father had several occupations. In particular, his father was a house painter, carpenter, and handyman. This resulted in Albers’ childhood including experience with engraving glass, plumbing, and wiring. Albers’ childhood experiences helped to develop confidence when working with a wide range of materials.

Albers’ aptitude and interest in art education started early in his career. He worked as a teacher in Germany from 1908-1915. Starting in 1916, Albers began his career as an artist as a printmaker in Essen. During this period of time, he studied stained-glass making and received his first commission, which was a stained-glass window for a church in Essen. In 1919, Albers moved to Munich to study under Max Doerner and Franz Stuck in the Academy of Fine Arts, Munich. Three years later in 1922, Albers’ past experience with glass-painting landed him a position as a part of the faculty of German art school Bauhaus, where he taught newcomers about handicrafts. During this time, Albers started to experiment with various materials and abstract principles. In 1925, Albers was promoted to professor worked primarily with glass and designing furniture.

In 1933, Albers was offered a job as the head of the Black Mountain College in North Carolina. This change in employment was brought on by Albers’ emigration to the United States as a result of Bauhaus’s closure due to Nazi pressure. Albers held the position of the head of the painting program until 1949. Following his work at the Black Mountain College, Albers became the head of the department of design at Yale University in 1950, where he taught until his retirement in 1958. He continued to create art until his death in 1976. Albers’ 1947-1955 painting On Tideland marked his transition between Black Mountain College and Yale University. On Tideland was also painted at the same time as the earliest works of Albers’ most well-known series, Homage to the Square.

As an educator, Albers focused on giving students direct experience in working with a plethora of materials. This resulted in a teaching style where Albers would have students create constructions with a variety of materials to introduce them to their characteristics and structural properties.

As an artist, however, Albers explored color theory and composition. He favored a very disciplined, mathematical, and methodical process when it came to creating compositions. For example, his series Homage to the Square featured hundreds of paintings featuring solid and colored squares of precise proportions layered together in one of a few set formats and arrangements. Albers also created a variety of other works, such as his 1959 gold-leaf mural, Two Structural Constellations, and several album sleeves for Command Records. Regardless of the type of work, Albers’ art always experimented with simple shapes like squares, triangles, and circles, color theory, and various methods of arrangement. Many of Albers’ discoveries and findings were recorded and documented in his book, Interaction of Color, which was published in 1963. The book contained a meticulous record of Albers’ materials, processes, and experiments. His unique vision and passion helped him become one of the twentieth century’s most influential visual arts teachers.

Citations:

“Josef Albers.” Smithsonian American Art Museum, americanart.si.edu/artist/josef-albers-46.

“Josef Albers.” Wikipedia, Wikimedia Foundation, 13 Jan. 2021, en.wikipedia.org/wiki/Josef_Albers.

Homework #7 – GE Assignment Rough Draft

Josef Albers

Josef Albers was born in Bottrop, Westphalia, Germany in 1888. His father had several occupations. In particular, his father was a house painter, carpenter, and handyman. This resulted in Albers’ childhood including experience with engraving glass, plumbing, and wiring. Albers’ childhood experiences helped to develop confidence when working with a wide range of materials.

Albers’ aptitude and interest in art education started early in his career. He worked as a teacher in Germany from 1908-1915. Starting in 1916, Albers began his career as an artist as a printmaker in Essen. During this period of time, he studied stained-glass making and received his first commission, which was a stained-glass window for a church in Essen. In 1919, Albers moved to Munich to study under Max Doerner and Franz Stuck in the Academy of Fine Arts, Munich. Three years later in 1922, Albers’ past experience with glass-painting landed him a position as a part of the faculty of German art school Bauhaus, where he taught newcomers about handicrafts. During this time, Albers started to experiment with various materials and abstract principles. In 1925, Albers was promoted to professor worked primarily with glass and designing furniture.

In 1933, Albers was offered a job as the head of the Black Mountain College in North Carolina. This change in employment was brought on by Albers’ emigration to the United States as a result of Bauhaus’s closure due to Nazi pressure. Albers held the position of the head of the painting program until 1949. Following his work at the Black Mountain College, Albers became the head of the department of design at Yale University in 1950, where he taught until his retirement in 1958. He continued to create art until his death in 1976. Albers’ 1947-1955 painting On Tideland marked his transition between Black Mountain College and Yale University. On Tideland was also painted at the same time as the earliest works of Albers’ most well-known series, Homage to the Square.

As an educator, Albers focused on giving students direct experience in working with a plethora of materials. This resulted in a teaching style where Albers would have students create constructions with a variety of materials to introduce them to their characteristics and structural properties.

As an artist, however, Albers explored color theory and composition. He favored a very disciplined, mathematical, and methodical process when it came to creating compositions. For example, his series Homage to the Square featured hundreds of paintings featuring solid and colored squares of precise proportions layered together in one of a few set formats and arrangements. Albers also created a variety of other works, such as his 1959 gold-leaf mural, Two Structural Constellations, and several album sleeves for Command Records. Regardless of the type of work, Albers’ art always experimented with simple shapes like squares, triangles, and circles, color theory, and various methods of arrangement. Many of Albers’ discoveries and findings were recorded and documented in his book, Interaction of Color, which was published in 1963. The book contained a meticulous record of Albers’ materials, processes, and experiments. His unique vision and passion helped him become one of the twentieth century’s most influential visual arts teachers.

Citations:

“Josef Albers.” Smithsonian American Art Museum, americanart.si.edu/artist/josef-albers-46.

“Josef Albers.” Wikipedia, Wikimedia Foundation, 13 Jan. 2021, en.wikipedia.org/wiki/Josef_Albers.

Project # 4: Interior Perspective with line and viewfinder

WIPs:

Finished: