in the beginning…is the line

“Drawing takes time. A line has time in it.”
-David Hockney

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In this first assignment based on inner and outer contour, beginning students draw a complex natural object. Our college campus grounds are full of pinecones. They walk by them most every day. Now, I ask they study one.

They work a number of days on this one drawing. I particularly note the group’s patience and concentration as we move through the process. They arrive on time, grab their pinecone and draw. They appear careful observers from the start.

The first critique of this new year goes well. We talk about the quality of the lines,  general composition and all various challenges it took to compete these striking studies.

Here are a few…

Angelica’s Pinecone

Gisela’s Pinecone

Julyssa’s Pinecone

Aday’s Pinecone

Alex’s First

Luc’s The Pine Cone Maze

Juan’s Pinecone

Janera’s Pinecone

The class includes a group of returning students ↓ who get to pick their subject matter and work in mixed media. Basically they pick up where they left off last semester. Naturally they include various elements of design in their compositions including value, though they need to emphasize line/edge.

And they do a fine job holding the afternoon critique.

Edith’s The Dried Flower

Angel’s Duality : Typo Phobia

Angel’s in-class assignment ↑ is in mixed media drawing while her homework is the same seed pod completed ↓ in marker. Good idea Angel, I could start assigning this set up to future classes.

Angel’s Lotus Pod : Duality, marker

Seb’s Avalanche

Eamon’s Now That’s What I Call Pod Racing

Aine’s Artichoke

Basically students learn to look closely and see their subject matter. I ask they always  consider the lines they use to describe what they see. Most of them (Drawing 1) do this with a variety of fine markers and no eraser.  All the while coordinating eye, hand and brain…process is key.

Good start everyone!

bugs, seashells, skulls

This semester the majority of the students use a variety of Micro-pens. Note the line work in this assignment, some indicates structure while some indicates texture.

The subject matter is a natural and complex form. Students used to draw only shells. A few years ago I brought in bugs. This semester, thanks to the PC biology department, we have small animal skulls. The composition is to include 2-3 objects and students must balance out positive space with negative space.

While I would like each student to include 1 of each (bug, shell and skull) in their composition, I let them pick and choose. I’m not surprised some students don’t like the bugs. I’m very surprised others don’t care for the skulls. And I understand why most of them love the variety in the seashells.

Santan focuses on a star fish.

Drawing students learn the skill of observation. Using a magnifying lens, they look closely at the form and surface of their complex object. Marker (no eraser) forces them to work slow and careful. They learn to focus. They learn patience, commitment and discipline. During critique we talk about how these traits show up in the work.

The assignment goes well. Here are a few of the studies.

Santana’s What Am I Looking at?

Angel, She Sells

Luis’s Land and Sea

Seb’s Sirens Song

Leo’s Hopper Goes to the Beach

Grace’s SeaShells

Pedro’s Dinner Time

Ilse’s Monsters

Aine’s She Sells Sea Shells

Eman’s Food Chain

Luka’s Linear Evolution

Luka’s Speleothems

Fernando’s Skulls Overboard

Early in the semester, students tell me about Inktober. In general, I think the idea behind this is one ink drawing a day throughout the month of October. This study takes at least 4 days for the majority of the class. But it’s still a fine drawing for the month!  #inktober2019

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The post includes only a few of the drawings. You can see all of the work on Thursday, November 7th, when Phoenix College (main campus) celebrates National STEAM (Science, Technology, Engineering, Arts, Math) day.  Free and open to the public. You’re invited!
→ more

every picture tells a story

Wouldn’t you know, they get their marker act together and it comes to an end. We move to charcoal next.

But before we do…
Here are samples of (larger than life) self-portrait work. They use media of their choice. This study moves students into understanding art is a form of communication.

Every portrait tells a story. We learn a lot about each other during this critique.

Brittany

Susan

Michael

Kanyata

Maygin

Kanata (#2)

Victoria

Collin

Kestin

Robert

Karen

Natividad

Jen

Alma

I include a few of the outdoor assignments. Students spend 4 days on the campus, drawing landscape.

…and there’s Susan, an advanced student who learns how to collage. She’s never done it before and this is practice. The image does tell a story but it’s not about birds, it’s about a fox.

Basically we cover texture, structure and depth. Next week is value.

structures and textures, insects and shells

Watch the greater image materialize. You need that thing over there to tell you what to do about that thing over here. -Robert Genn

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Structure – a complex system of parts arranged together (to form a whole)
Texture – tactile quality of a surface

The student’s task for this assignment is to learn to distinguish different types of lines. They look for those that form a structure and those that define a surface. I bring out large and small sea shells. I also bring out my collection of insects and lizards. Secretly I wish they will all choose the creatures, but I know better than to insist on this.

Aside from looking at the lines that make up a complex natural object they also work to balance positive and negative space.  And they continue to develop patience.

Karen’s shells

detail

Victoria’s dead lizard and a spiral shell

detail of lizard

Brittany’s Bees – Two of them

detail

Kanata’s See shells, Sea shells

detail (amusing tarantula wasp)

Kevin’s (maybe ready to kiss) cicada and palo verde beetle 

first sketch – too small

Robert’s shell studies

detail

Maygin’s shells and mantis

detail mantis face

Alma’s shell corner

looking closely and the value of seeing

It seems right that this last weekend, on an early morning run, I find two objects ↑. The small, golden pinecone catches my attention as it shimmers in the grass. The larger pinecone waits for me at the end of my run. I bring both of them to my studio and consider the following Monday (that would be yesterday) we’ll be holding our first semester critique. And the subject-matter is the pinecone.

A sign of good things to come?  Oh yes!

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Here is my new group. Their completed drawings fill the wall behind them. We critique, among other things, some fine pinecones yesterday.

The first full assignment of the semester is a contour study of a complex natural object. You’ll see students give me more than that. Yes – note the fluid lines! I am  pleased with their careful observation and drawing. This is the first time they use markers to start and complete a work.

For many of them this is the first time they spend so much time looking at one thing (at least 9 hours if not more). One student asks if she can keep her pinecone. I tell her she can keep it if she has bonded with it. I have! I spent a lot of time with it. This is the value of looking and really seeing – I think out loud.

Here are some of the pinecones as well as some homework assignments (subject-matter of their choice). Note the titles…they tell you something about the group.

Yes…we are off to a great start!

Sofia’s Pinecone

Jennifer’s Separation

Nati’s The thing….

Gabreila’s Life Lesson

Bravilio’s Nature

Sofia’s Pineapple, Strawberry and Lemon

Nati’s Lemon or Lime

Matt’s  Orange you glad I drew this?

Yari’s Y el aguacate?

Gabriela’s The Pain of My Eyes

I also have a couple of returning students. And while they pick up where they left off last semester and use mixed media, they have to keep focus on the line.

Neomi’s Through Life

Gwynn’s Charcoal drawing

a portrait study and a landscape

You know how you feel somebody looking at you, and you turn, and somebody actually is? It’s the same at an art gallery. You’re looking at one portrait, turn around, and there is a work of art directly behind you. Because it’s all energy. Every single thing has energy. – Marina Abramovic

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Students go outside to draw landscape for this last marker assignment. We have rain on and off for the couple of weeks we are out there. The outdoor drawing teaches many things, most especially focus. Some students like the experience, others do not.

Their final homework for the semester is a self-portrait. I know they have all the skills necessary to complete one. And they have freedom to use materials of their choice.  It’s really a challenge most everyone enjoys. People share humorous things, people share personal things. They all express something – it’s what a portrait allows.

Here are some works from today’s critique:

Kiria – Stressed Out

Mary – Me

Casey – Portrait 2015

Ricardo – Nothing Stays the Same

Gwynne – Missing Person

Daniela – Danii

Alfredo – Self Portrait

Henry – A Face Only a Mother Could Love

Andrea – Self Portrait

Susan – Dan (silver point)

Kiria – Leafy Embrace

Gwynne – Aloe

Casey – Little Tree

Andrea – Aloe

bug according to art

If we were to wipe out insects alone on this planet, the rest of life and humanity with it would mostly disappear from the land. Within a few months. – E. O. Wilson

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I am going to try something new here. And you all are part of the experiment. If it works, I’ll do it again. If it doesn’t work, I won’t.  I bring out the shells students normally draw to learn about structure and texture. I also bring out my collection of insects (and lizards). I hear gasps from some students and note smiles on the faces of others. I don’t necessarily think everyone should draw a bug but I would like particular students to draw one, maybe two.

Shells and bugs are the general subject-matter. The insects I bring to class certainly have interesting structure but not all of them have a variety of texture. We proceed anyway. They need to arrange the forms and consider both the positive and negative space in the composition. And they use a magnifying glass. I expect some students will hesitate because they are nervous. Once they get past the initial fear they not only look at the bugs closely, but they hold them with kid gloves. They can’t help but draw with care.

I see the bugs are a challenge for a few of them, but the shells are always a challenge for the whole group so I let it pass. I ask (while they work and after) if they appreciate the result (if not the process). All of them answer yes.

Our conversation about insects and life sprinkles into the 4 days we work on these drawings. Here are a few samples. Enjoy the titles.

Peeka-Boo! by Ryan

Palo Verde Beach Party by Casey

Rattle my Rock by Ryan

Whoa there Shell-y by Kiria

Tantalizing by Gwynne

Bug Light Year by Alejandra

Bad Moth-fia by Mary

One of These Things is not Like The Other by Casey

Susan is an advanced drawing student. This semester she is choosing to work on faces. Below is a portrait of a previous classmate. I would say Charles is interesting structure and interesting texture. He’s since cut his dreadlocks but here they are captured forever in this silver-point drawing.

Portrait of Charles by Susan, Silverpoint drawing

observation

Ruskin believed that everyone had visual as well as verbal capacities that needed to be developed in order to become a complete human being, and that the apprehension of truth depended on the power of observation. – Robert Hewison

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 John Ruskin was an art critic of the Victorian era. He was an art patron, a draftsman, and a prominent social thinker of his time. I use this quote because we had an interesting conversation about observation, the truth and the illusion of truth. A lesson in drawing sometimes becomes a lesson in life.

I want to tell you we begin with line but more accurately what we begin is a practice in observation. I teach drawing students how to see, and I direct them to put down what they see. I acknowledge the challenge in this exercise considering it is their first long assignment and it is also complex subject matter. The group took on the challenge with no resistance and overall did a great job.

We discuss quality and variety of line. We talk about developing patience. A number of students share they didn’t know they could draw a complicated object like a pine cone. I see the satisfaction in their faces as they share process and result.

One student brings up the idea of a true line and a not so true (stylized) line. The discussion is a good one considering this is only the beginning. We are off to a fine start.

Here are a few examples of the completed studies.

Close Withering by Alfredo

Citrus by Alejandra

Complex pinecones by Ryan

Step 1, Pinecone by Kiria

Cracked by Daniela

Observation: Pinecone by Casey

Chili Pepper by Mat

Red Onion Vertical Bisect, Casey

Susan ↓ is an advanced student. Her work includes contour study (the assignment) she also uses other elements of design.

The Water Sun by Susan

value study and then some – final critique of the semester

At the start of the semester I ask students what they’d like to get out of my drawing class. Clay says Practice practice practice – and he does. Heather, an engineering student, wants visualization and fun. I hope both were prompted. I ask if she’s enjoyed the semester. Yes, and despite how hard it was, she will miss it. Terry responds TO LEARN TO SEE AGAIN! He came to the right classroom. And from the looks of all of his completed assignments – he did. Most students say they want to improve their drawing skills and in fact, each one of them does. The semester appears to come and go so quickly. We hold final critique this week.

The class has two different assignments to go over – maybe more, because advanced students worked through something very different. We get going, and in between there is plenty of laughter, cookies, coffee and peaches. It is an easy ending to a fast paced semester.

This particular group moves through the early marker assignments more quickly than any class I’ve taught before. They slow down with charcoal. A few struggle with it in a way I do not expect. Surprises for everyone I guess, including the advanced students who reproduce a master work. For a few days the tension in the room they draw in (because I separate them) was thick. By day 3 there is break through (thank goodness). I spend the last day of class walking from student to student appreciating the focus.

I wish I had their very first marker study to compare to this last charcoal. You would get a sense of the progress everyone made. Here are a few highlights – note the values. As usual, I can’t possibly include every work.

Clay’s Study.

 

Adam’s Teapot with reflection of windows and sky in it.

 

Trenary”s glass bottles on tin.

 

Naomi’s study.

Hyeokewoo’s Gorilla Skull.

Terry’s still-life.

Charles works on reproducing an Alice Neel.

Robert reproduces hands of God and Adam – Michelangelo

Have a good summer! Keep drawing, you’ve only just started.

studying structure and texture

The assignment: to study and identify complex structure and complex texture, create a composition and balance the positive and negative space. The subject-matter for the majority of the student’s are shells. They can make other choices with homework.

I consider this assignment to be a turning point. The commitment is big and the work is intense.  Students must work slow and careful using a magnifying glass to see, and see more.

Take a look at some of the finished drawings.  Note the advanced students work on scratchboard.

detail shot of one of Anne’s shells

 

Julio’s shells.

 

Ali’s dry leaf

 

Trenary’s shell

Cory’s shell’s.

Terry’s hand and seed pod.

Heather’s starfish shell.

Hyeokwoo’s shells

Andrea’s shell’s

Drawing 2 students use scratchboard and work off of photos. Clearly they have more freedom but the assignment requires steady patience.

Charles’ bird on scratch board.

Susan’s work on scratchboard

Cassidy’s Cat

 

observing structure and texture

In all things of nature there is something of the marvelous. –  Aristotle

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We return from Spring break to a class critique. Students have spent two weeks looking closely at natural objects that have complex structure and texture. The assignment requires a magnifying glass, I want them to see all the variety of lines on their shells of choice. I suggest they run their fingers across the form and feel – is the surface smooth or textured? They balance positive and negative space. The work is challenging.

The class as a whole does well. As usual in this assignment – they don’t know what they are in for until they actually start working. They pick 3 or 4 shells and set a composition. I do allow a few of them to change out shells as they progress. Below are some examples of their excellent work. Note the variety of shapes and marks,  and especially see the sensitivity they have acquired. 

This class talks a lot about how intricate nature is – they had no clue for example – how much texture fills a leaf. I decide by the end of class every person on the planet should be required to draw some bit of nature in this manner – no doubt we’d respect its grandness more.

Roman’s shells, feather and leaf.

Detail of leaf.

Silvia’s Starfish.

Giovanna’s leaves.

Three skulls by Roger.

Detail of upper palette and teeth.

Roger’s shells and bone.

Detail of shell.

Daniel’s Two Shells.

Detail of shell.

Alex’s 4 Shells.

Toshad’s shells.

Detail of spiral shell.

Norma’s homework.

Detail.

The last work below is an advanced student who works with color on scratchboard, for this assignment.

Vicki’s Lavender on Scratchboard.

keep up the practice!

One looks, looks long, and the world comes in. – Joseph Campbell  

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Before the final critique begins I watch and listen as students appreciate each other’s work and note their individual progress. Some students remember how nervous they were on the first day of class when I said they would not be using any pencil in my drawing class.

It takes a while but finally I get them to organize so we can begin class.

It’s been a good semester. This group is full of personality and support for each other. Here are a few highlights from yesterday’s critique.

Adriana’s Master’s Reproduction

Angie’s first value study – cloth and pattern and knot

Popay’s value study, cloth, pattern and knot

Cassidy’s Black Teapot

JT”S Gorilla Skull

Angie’s Pitcher Study

Vicki’s Teapot

Popay’s Still-Life

Mariah’s Gorilla Skeletal Study

 

….. over and out. Keep up the practice! I yell as they exit the studio.

foundation

Drawing is the discipline by which I constantly rediscover the world. I have learned that what I have not drawn, I have never really seen, and that when I start drawing an ordinary thing, I realize how extraordinary it is, a sheer miracle.”     Frederick Franck – The Zen of Seeing

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I bought a full size human skeleton last month. I am compelled to return to basics. I take the hand and lower arm bones off and bring them to my desk so I can really look at them. The finger bones are the phalanges, I’m sure I’ve mentioned that’s one of my favorite words. The long arm bones you see here are the ulna and radius. The hand also includes bones called metacarpals (palm of the hand) and carpals (wrist).

I’ve never used vellum so I  decide to work with it. I bring out graphite and color pencils. The vellum takes all my erasing. I like a smooth surface that takes a pencil mark well.

 

The bones – we feel them but they are hidden from our eyes – I consider this as I draw. I’m not complete with this study, I’ll continue another day.

I’ve focused on and painted complex anatomy for a few years now. I still get excited about coming back to and drawing simple foundation. I still love a pencil. And vellum – I’m not sure I can get a smoother surface than that – is a fine choice.

In January I’ll facilitate a workshop for art students. I’ve been asked to focus on human anatomy. Maybe this will lead to the lesson plan for that.

negative space

I could understand what he was saying, but it didn’t come naturally to me. I had to be reminded to look for it. To see the stuff that’s there but not there.

-Carol Rifka Brunt, Tell the Wolves I’m Home

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We are looking at the space between and around the subject – we are looking at negative space. After I have given the directions I come around and remind  each student what we are doing.  Some students find themselves frustrated and others take to the focus easily. That’s just the way it plays out. And though a few insist that they don’t exactly have it down, they all come through with beautiful completed works.

Here are a few examples:

The Tim Burton Leaf by Robert

Angel Hair by Joshua

Fall by Angie

Tales of Two Cats by JT

Popay works on his drawing

The Stand Out by Popay

Bella is completely focused.

Bella

Mariah

Aloe Vera by Kayla

Kayla (above) a Drawing 1 student, completed both in class and home work and still worked on an extra drawing. She went outside and after seeing what she was doing I handed her a box of pastels with not much direction on how to use them. I just thought she should have fun and experiment – she did.

Below are Drawing 2 students. They experiment with different media, though still focus on negative space.

Adriana

Alexssa

Ma is a Japanese word which can be roughly translated as gap, space, pause or the space between two structural parts.

textile pattern design equals a charcoal value study

When I put this still life together I was deliberate in the fabric and its layout. I combine stiff white cotton, furry faux zebra, mint satin, shiny red and white stripes, matte red and white pin stripes,  velvet-black with even blacker glitter circular designs, textured sofa fabric and even a shiny cheep-polyester spider web pattern – maybe the latter is a cruel option or maybe a challenging one for the right person. I let students decide. Anyway…that’s just a few of the complicated patters and surfaces.

This is student’s first charcoal composition. It’s intimidating to say the least. By this point the class is wanting to move on to a new medium, so they jump in – head first, to the deep end. I am pleased with progress and result. Most important, so are they. Charcoal is all about working a rich surface, putting down black blacks and lifting out white whites…and working all the values in between.

Ana goes right to the spider web and works on it slow and steady for 2 class days. The light hits some spots and a few lines are a bright shiny silver. She notes the highlight with white Conte.  She wears her spider web blouse in honor of the work. I am impressed with the patience she’s developed this semester. This is her strong charcoal drawing  below.

Ana’s Pitch Black

Ashley (below) works almost her entire composition with her one pencil eraser. I make other suggestions but she sticks to her game plane. She’s so focused and appears to enjoy the delicate work, she doesn’t take a break. She finishes and decides to use white Conte for the zebra patterned white’s she’d already completed. I wish I’d caught her before she’d gone in that direction. We talk a little about why I think she should have kept her original carefully developed whites. After-all her erased marks were so rich and sensitive. She tones it all down using her finger tips and eraser, and pulls it together beautifully.

Ashley’s Knotted Zebra

Satin Charcoal by Lela

Lela (above ) notes very quickly why I ask them to use soft compressed charcoal. And why I suggest they be careful with the white Conte. She re-works the striped area many times until she is completely satisfied. I let her borrow my somewhat pricey, white soft-pastel. The folds in the cloth are accurate, – consequently believable.

Tanya (below) never relaxed with the marker, though she’s calm and happy with charcoal.  I comment on how her whole body appears at ease as she develops a beautiful and dimensional knot. She finishes the composition with some complex pattern on either side of that knot. She expresses her emotions with humor,  in the title.

Knot Tense by Tanya

In Between by Adrianna

Finally Adriana, above, who began the assignment so nervous she said she felt like someone who had never even picked up a pencil. And then she completed this incredible knot. I think her confidence is back.

Manny (below), one of my Drawing 2 students, kicks up dust with color pastels. I tell him to be careful. He shouldn’t be inhaling pigments. He works by the open front door and direct the dust out of the classroom. I’m amused by how he draws, its physical for him. He has taken two semesters with me. His whole style has developed. I want him to continue in the fine arts, but Manny will do what is best for him. He’s now a graphic design student.

He freely helps the other students who are struggling with the various challenges of working with charcoal and Conti. I listen and watch the way he supports others and their  work. They take to him well. I also think he could teach.

Manny’s Colorful Knot – Pastel on BFK

I let them go an extra day even though we don’t have very much time left in the semester,  because as a whole, the group is working the materials so well The surfaces are rich and well-developed, not bad for their first charcoal assignment.

What will we do with the last week of drawing …