Mystery Shapes

     I've got a little puzzle for you. Below you will find some flat black shapes on a white surface. The shapes are arranged in a certain way on the picture plane. These very same black shapes, when arranged another way, make a completely different picture- a picture that is familiar to us all. Your challenge is this:  rearrange these shapes into the image that I have in mind. The first person to email me the answer will win a prize. The deadline is this Sunday at midnight.

DO NOT post the answer as a blog comment. I want to give everyone the chance to figure it out for themselves. Email the answer. 

nicholas.mcnally@massart.edu

This Is Not A Pipe

So what is it?

    As we said in class- it’s a PAINTING of a pipe; a PICTURE of a pipe.

And what is a picture?

    A picture is nothing more than an arrangement of dark and light shapes on a flat surface. If you want to make a picture OF SOMETHING, like a portrait for example, then you just have to arrange dark and light shapes in a certain way. It’s that simple.

Don’t believe me?

     Well, take a look at this abstract painting:

     It’s just some white and black shapes arranged in a particular way on a flat surface. It’s a picture.

     So let's say we rearrange the shapes in this picture:

     We rotated the black shape to the left a bit. Now there is a different arrangement of shapes. So- since a picture is an arrangement of DARK AND LIGHT SHAPES, what would happen if we changed the value on one of those shapes- like so:

     Same shape, different value. Lets change values again- how about we make that grey shape white, and the white shape black:

     Wow- that changed things a bit, didn't it? How about we add some more small shapes, subdividing that big white shape again:

     Then, we'll subdivide it some more, by adding a million little shapes of different values:

     Now color. 

     Get the point? Rembrandt's self portrait is, on it's most basic pictorial level, an arrangement of shapes. At first our shapes were arranged a certain way. It was a pleasing abstract image, but it certainly wasn't a picture of a man. Then we changed the arrangement of the shapes. Then the values. Eventually those dark and light shapes were in an arrangement that represented something figuratively recognizable.

That's all there is to it: a picture is an arrangement of light and dark shapes on a flat surface. 

Of course, we all know that it's not that simple. Especially for a genius like Rembrandt. But if you want to get good, you gotta know the VERY SIMPLE TRUTH that Rembrandt knew: we’re not DRAWING STUFF we’re drawing PICTURES OF stuff. The picture plane is a whole other world. It is not a world of forms, it is a world of shapes.

Keep this is mind when you are doing your homework this week. We are making arrangements of dark and light shapes. We are arranging them in a certain way on 2D paper so that they re-present something in the 3D world. 

Keep this in mind outside of Conceptual Drawing class as well. When you do your thumbnail sketches for an illustration, straighten out your dark and light shapes: they lay the all-important foundation for a successful final image. Andrew Loomis says: "90% of our work is planning, the rest is just good carpentry." 

And in your observational drawing remember: 

Deconstruct. 

Conceptualize. 

Re-present. 

That's all there is to it.

What Was, What Is, and That Which Shall Always Be II

     Last week we took a look at the FATHER OF AMERICAN ILLUSTRATION – HOWARD PYLE. If you have yet to look at his work, please do so. There is a wealth of knowledge to be gained from studying his compositions, his color, and the devices that he uses to tell a story in one picture.

Not only was he one of the greatest illustrators ever, he was also one of the greatest teachers. He had so many students who became big names in illustration after being his students- this week we will take a look at two of the most famous.

     First we have Jessie Wilcox Smith.

     Learn from her! She’s got mad drawing skills; subtle, elegant color, and design that makes you wanna faint from an overload of compositional fantastic-ness. Just to be clear- the words DESIGN and COMPOSITION, are synonymous- they both refer to the arrangement of value shapes on the picture plane. Design, Composition, Arrangement- call it whatever you like- either way Jessie Wilcox Smith is one of the best.

     To see more of this knock-out illustrators work, look here: http://www.bpib.com/illustrat/jwsmith.htm and here http://www.surlalunefairytales.com/illustrations/illustrators/smith.html

     Another one of Pyle’s greatest students was N.C. Wyeth. 

     Like his teacher, adventurous narratives were N.C.’s preferred subjects. He illustrated some of the novels written by his contemporaries that became instant classics- Treasure Island, The Last of the Mohicans, and The Adventures in King Arthur's Court. See more of his exciting work here: http://www.ncwyeth.org/ 

     (Side note - N.C. had a son named Andrew Wyeth, http://www.andrewwyeth.com/ who was one of America’s greatest painters, (he lived a long, prolific life 1917 – 2009) Andrew’s son is Jamie Wyeth, contemporary painter http://www.jamiewyeth.com/ )

     As for other contemporaries of ours, here’s a couple:

C.F. Payne

    He's known primarily as an editorial illustrator, but he has also done some popular children’s books as well. See his work here: http://www.cfpayne.com/

Anita Kunz

     She's Canadian but her work is HUGE in America. Look especially at her paintings- a great example of how an illustrative style can be brought to a level of fine art. http://www.anitakunz.com/

     Interesting connection:

Andrew Wyeth, best known for his “Christina’s World”, 

recently had his portrait painted by C.F. Payne:

Here are some questions to get your mind warmed up for your blog comments:

What are your observations on the differences between the 3 Wyeths' art? Who’s your favorite? Why?

What do you think of Jessie Wilcox Smith?

Can you see her influence in any contemporary illustrators?

Looking at her work next to Pyle’s- what did she learn from her teacher?

What about N.C.? His and Pyle’s narrative work deal with a lot of the same adventurous subjects- do you notice any obvious or subtle stylistic differences?

How do you think C.F. Payne gets his soft, grainy look in all of his work? If you’re interested, see if you can find out, it’s a pretty complex process.

Anita Kunz work is full of intelligent concepts made clear through pictorial means. Is there a particular piece that you like for the idea behind it? Tell us about it.

Who is your favorite out of the four? Why?

Write comments! Read comments!

Assignment I Grades

     By now you have all received 2 emails: the 1st has been sent only to you- it contains your confidential Personal Identification Number (Student Code). The second email- sent to the entire class- contains an attachment with the weekly grade roster, upon which you will find your score for the previous week's assignment. All you have to do is find your PIN (Student Code)in the far left column. Across that row you will see the # of points accrued for each part of the weekly grade. The far right column shows the total number of points out of the possible 10 points that you have earned.    

     In an effort to be as objective as possible, I break down the assignment grades very specifically. 0 looks harsh, but it's not the end of the world. For example, if you receive a 0 in the "balance" column, it simply means that I judged that you had not displayed balance perfectly in your assignment. Your job from then on is to pay special attention to balancing forms in your drawings. 

     If you get a 0 in the blog column, it simply means that you did not post a comment on the blog for that particular week. 
     If there are ever any questions about how to improve your work, either ask more questions in class, or see me during my office hour- 630-730 pm on Tuesdays. 
     Remember: Don't strive for grades- strive for excellence. 

Anatomy Workshops

For those of you who are serious about anatomy:

http://anatomytools.com/

How To Not Lose Your Soul

     I was very happy about the positive response to our beginning-of-the-year portfolio presentation. As I mentioned, I got the idea from Kazu Sano, my awesome teacher from the Academy of Art in San Francisco. Sadly he died of cancer this summer at the young age of 59 years old. 

     He was an amazing illustrator and teacher- familiarize yourself with his work: http://www.kazusano.com/


     The work you shared this Tuesday gave us all the chance to see your unique personal vision and your well-developed artistic direction. In this class we have already begun to use the principles and techniques that were developed and perfected by the masters. BUT REMEMBER THIS: the purpose of these principles and techniques is to aid and improve your mind, eye, and hand. These “rules” are not here to put restrictions on your unique artistic vision. Some people even go as far as to say that the rules are made to be broken. But that is incorrect. The rules are made to be mastered- and then transcended. So while we engage in the often rigorous exercises that will make us better representational arts,  never loose sight of your own personal aesthetic and the artistic interests that you have been developing all of your life. In the end, the only real measure of your mastery can be judged by you, according to how well you know yourself, and how true to yourself that you have been. 

     Kazu Sano kept it real until the end. Do the same. Starting now. 

T H A T ' S   S O M E    S E R I O U S   S  O U L 

Homework II- Assessment

Here’s how I’m going to grade your 414 figure drawings:

• It’s done. 1 point       
• Neatness of ink or charcoal, all dots or lines that were used to divide squares are completely erased. 2 points 
• You have demonstrated an understanding of the 3 basic shapes in oppositional balance. 2 points 
• You have demonstrated an understanding of how the weighted leg supports those shapes, and the gesture that runs through them. 2 points 

Rhythm

Watch this. 

www.motiongraphics.nu/experimental/thought/ 

It’s an excellent display of the conceptualization of the basic shapes of the figure, proportion, gesture, balance, and rhythm. And just a pretty cool animation. 


Jahaira- thoughts?

What Was, What Is, and That Which Shall Always Be

     From now on we will have a weekly post on some of the hottest illustrators working today, as well as the ones who started Illustration as we know it. Enjoy the work! Get inspired! Tell us what you think!


(One thing I want you to notice is how all of these artists, both past and present, have excellent representational skills that they took to the next level with their individual artistic vision.) 

     So- there’s nowhere better to begin than with the greats Kate Greenaway of England and Howard Pyle of America. Both narrative illustrators, both working in the latter half of the 19th century, both inspiring generations of illustrators to this very day.

     Pyle was famous for the books that he illustrated (and often wrote as well.) His subjects included scenes from early America, The Adventures of Robin Hood, and tales of pirates on the high seas.

See more of his beautifully composed paintings here:

http://www.sightswithin.com/Howard.Pyle/Page_1/

     Greenaway was one of the most famous children’s book illustrators in 19^th century England. She brought new life to classic tales by approaching the form of the children’s book with a certain seriousness- not just making cute little pictures to entertain, but drawing beautiful scenes full of characters that displayed a wide range of emotion, qualities that were often lacking in children’s books then (and unfortunately often today). The Kate Greenaway Medal is given annually in England for the best children’s book published that year. Yup. That’s how awesome she was. And is.

     Below is a link to more of her work online. It’s a great site- you can literally look through every page of many of her books:

http://www.illuminated-books.com/illustrators/greenaway.htm

     Artists of the past are rightfully revered for their mastery, but there is no replacement for the artists of our own time- those who experience the same things we do, and communicate their responses in a mode that is unique to our time in history.  

     Check out two of today’s hottest:

          Editorial Illustrator Yuko Shimizu

          See more here: http://www.yukoart.com/index.html

     And Narrative Illustrator Jon Foster

       See more here: http://www.jonfoster.com/#home

Homework Tip

Start from the bottom of your 24x18 paper, i.e. the end without the spirals. Measure your square inches from there, because most pads called 24x18 have the spirals cutting into that 24" area, so you actually have a little less than 24" tall. Measure your pad the long way, you'll see what I mean. So that means instead of having to do 432 figures, you only have to do 414. And remember- don't draw any division lines- just dots that mark off the inch spots. When you finish your drawings remember to erase the dots. 

George Bridgman

I have reserved George Bridgeman’s “Complete Guide to Drawing from Life” at the MassArt library. When I brought it up to be reserved the lady at the desk was surprised to see it, because in the computer it was registered as lost, which automatically happens when the book is not checked out for 10 years. Are you kidding me? That means that people don’t know about all of the gems hidden in our great library.

     Now this one is yours for the semester- you can’t take it out of the library, but you can use it there for three hours at a time. I strongly encourage you to read it, take notes, copy drawings from it, and make photocopies of pages you like. Just don’t steal it. I reserved it so that everybody has a chance to learn from it. All you have to do is go to the front desk and tell the librarian the course title and my last name.

     This guy is all about conceptualizing the figure: proportion, basic shapes, gesture, and balance. Understanding the figure from the inside out. 

Basil Gogos

We had a few excellent comments this week, and Dave shared a classic illustrator with us, Basil Gogos. If you haven't checked already, look at www.wheezersociety.com/gogosgallery/index.html to see more of his work. 


What element of design is Gogos most inclined to conceptualize? 

Comments

As for writing your comments- 


These aren't supposed to be essays that you spend a half an hour writing. Look at it like you would a post on Facebook- if you see something you like, say so. If you have a thought when you see an image, write it. Your comments don't even have to directly relate to this class- if you saw some great sculpture at the MFA today, say so. Maybe you read or heard a really insightful thing that helped you understand something about drawing- impress us by passing it off as your own. Look at this blog as a forum for artistic thoughts related to the stuff we are all interested in here as artists.


Some things to think about: look below at the work of Kollowitz and Rembrandt. Yes, they both have a similar interest in primarily using value shapes to create their work, but what are the differences between the two? If you saw the 4 pictures all together, how would you be able to pick out 2 that Kollowitz did and 2 that Rembrandt did? Or tell us who you like better and why. Or what you like about his and what you like about hers.

Attendance

• 12 Classes
• 11 to go
• Come on time to every class.
• I hate when people are late. It's rude to me and to your classmates, plus you're wasting your money if you come in late and miss something important.
• 3 unexcused late arrivals = 1 absence
• 3 unexcused absences = 1 failed class
• We've all got our phones set to the NUCLEAR CLOCK, so baring any emergencies or illnesses, there's no reason to be late. Here is a picture of what happens to my brain every time someone interrupts my class by coming in late:

You don't want that to happen to me, do you? 

Grades

As I said this week, I like to keep it real simple, so that you always know where you stand and why. I set high standards for you. It’s hard to get an A in my class. The purpose of my approach to grading is not to keep you from getting excellent grades, but to push you to make excellent work.

Simple point system:

Homework:

• 432 Figures(due Sept. 27^th)                             7 pts.
• 70 figures & 2 heads (due Oct. 4^th)                     7 pts.
• Bargue Drawing (due Oct. 11^th)                          7 pts.
• MFA Sculpture 3 Photos and 2 Drawings(due Oct. 25)      7 pts.
• MFA Sculpture Finish (due Nov. 1^st)                     7 pts.
• (due Nov. 8^th)                      7 pts.
• (due Nov. 15^th)              7 pts.
• (due Nov. 22)                      7 pts.
• Flat Figure (due Nov. 29^th)                             7 pts.
• Figure as Landscape (due Dec. 6^th)                      7 pts.

                                                   Total: 70 pts.

Participation:

• In class critique (weekly)                            10 pts. 
• In class work (weekly)                                10 pts. 
• Online blog comments (at least 1 per week)            10 pts.

                                                    Total:30 pts.

                                                  Total: 100 pts.

Generally, Here’s how you get 7 points for a homework assignment:
(Varies by assignment)

• Complete assignment                                     1 pt. 
• Demonstrate care                                        1 pt. 
• Demonstrate basic understanding of assignment           1 pt. 
• Demonstrate observational skills                        1 pt.
• Excellence in charcoal on paper technique               1 pt.
• Demonstrate creative approach to assignment             1 pt. 
• Overall masterful drawing                               1 pt. 

                                                     Total 7 pts.

Here’s how participation is graded:

• 10 critiques, participation in each is worth 1 point.
• 10 in-class assignments, participation in each is 1 point.
• 10 weeks for commenting on the blog- 1 point for at least 1 comment/ week.

Here’s how numbers become letters:

A       90-100

B       80-89

C       70-79

D       60-69

F       00-59

Grades are important, but don’t worship them as idols to false gods. Make creating strong and beautiful pictures your top priority; the grades will fall into place.


(All information is valid at time of posting, but subject to change.)

The Value of Value

Value is the single most important formal element that we work with as artists. The only way that we are able to see clearly is because of the contrast between 2 values. Everything in the picture plane is a value shape, even so-called "lines"- they're still shapes- no matter how skinny. A beautiful arrangement of values is the basis of all great works of art. So mind your values. To master value is to master the picture.  


Look at these masters handling value, in both line and shape, to create bold pictures that (despite their intricate details) are organized into big simple shapes by value.  


1. Kathe Kollowitz (Early 20th Century German)

2. Rembrandt (Mid 15th Century Dutch)

See more Kollowitz: http://www.argos-gallery.com/Etch_Exh_11.htm

And Rembrandt: http://rusart.ca/history/rembrandt.html

How to to make a value stick

As we said in class, this is an excellent multifunctional tool: use it to find horizontals (or how far off any given contour is from being horizontal) to match a value from your observed subject with the value you will be applying to your picture, or (hopefully in rare cases) self defense.  

This requires some thinking- so use you head, and trust your eye.

1. After priming your value stick with gesso, mark off 9 equal areas, and paint the three farthest from the handle black (value 9). 

2. Next, find value 5- the perfect middle value between black and white. This is the most difficult step. 

Here's a tip for making it easier to find the correct value: mix a value that looks like it is the perfect middle value between value 9 and value 1- lay it in the 4th square, let it dry. Now cover the white end of the stick with your hand so that you can just see the value 5 and the value 9. OK, now switch- cover the value 9, so that you can see only the value 5 and the white. Does the jump in value seem to be the same from value 1 to value 5 and from value 5 to value 9? 

In other words, is the level of darkness between value 1 and value 5 the same level of darkness between value 5 and value 9? 

Here it is put another way- for those of you who like analogies- It should be that value 1 is to value 5 as value 5 is to value 9.

Get it right- everything else hinges on this step! 

Also- most of you said that you will be using acrylic paint for this exercise- make sure you let it fully dry before trying to see if its the right value. Acrylic paint dries about one value darker than it is when its straight out of the tube. 

3. Easy step- once you've mixed that value 5, simply spread it across two more squares toward the handle. 

4. This step is a bit more difficult- we are going to get value 3 and value 7. Use the same method that you used to get value 5- find the perfect middle value between values 1 and 5. Find the perfect middle value between values 5 and 9. 

You see- little by little we are breaking this field of dark and light down to smaller and smaller parts of the whole. Divide and conquer! 

5. Easy- just spread value 3 towards the handle two squares and value 7 towards the top two squares. 

6. OK- this is it- we're following the same format- just going to divide our areas one final time. 

Make value 2- mix the value that is lighter than value 3, but darker than value 1. 

Make value 4- mix the value that is lighter than value 5, but darker than value 3.

Make value 6- mix the value that is lighter than value 7, but darker than value 5.

Make value 8- mix the value that is lighter than value 9, but darker than value 7. 

Here's what I'm looking for when I go to judge the success of your value stick: 

• It's done. 
• It's neat. 
• Squares are all the same size. 
• Straight edges and squares fully filled in. (there should be NO LINES between your values. We want to see one value shape next to another value shape. That's the only real way to judge value. Think about it- a line is actually just a really skinny value shape).
• Paint is fully mixed- no streaks of black or white. And lay the paint down opaquely- shouldn't see any of the white of the stick coming through. 

Take the time to make it PERFECT. If you don't make it perfect, it will be a complete waste of time. If you do make it perfect it will be a tool that you'll use for years to come. 

Conceptual Drawing

CDIL – 209 – 03

Fall 2011 – Tuesdays 2 – 6pm

Tower – Room 613

http://www.cdil20903.blogspot.com/

Welcome

Welcome to Conceptual Drawing, the single greatest class that you will ever take. On a Tuesday afternoon. In the Fall. In 2011.

Intention

It is important that you check this blog at least once a week, because it will display:

·      A summary of the important things that came up in the previous class

·      Reminders of what is expected for the next week’s class

·      Examples of your and your classmates work produced for this class 

·      Examples of professional artists’ work that are related to our class material

·      Valuable links to artists’ work and related course material on the web

·      Comments from you and your classmates regarding your and other artists' work

·      And a whole bunch of other cool stuff

Summary

There are two basic parts of Conceptual Drawing:

1.     We will spend half of the semester getting really good at observational drawing in the Classical European Tradition. Hardcore. Lots of drawings from still life objects and the human figure. By mid-semester you will have the ability to masterfully observe the 3 dimensional world and to translate it into the pictorial language of line, shape, and value.

2.     The second half of the semester will be dedicated to CONCEPTUALIZATION. We will still be drawing from observation, mostly from the human figure, but instead of re-presenting the figure based on strictly realistic observation, we will use the figure as a basis upon which we will manipulate the lines, shapes, and values that we see- with the intention of conveying a certain idea or aesthetic.  

For example:

Line

Observational Line Drawing: Ingres (pronounced AHHH-ungh)

A contour drawing in which Jean Dominique Ingres primarily uses line as an element to separate one shape from another. To see more of Ingres’ work, see: http://beardedroman.com/?p=161

Conceptual Line Drawing: Leon Steinmetz

Here is a drawing by one of the greatest teachers I’ve ever had, Leon Steinmetz, who actually teaches right here at MASSART! Look at this small line drawing done with brush and ink. Those are lines right? Or are they shapes? What’s the difference between a line and a shape anyway? See more of Steinmetz energetic work here: http://leonsteinmetz.com/bio.html

Value

Observational Value Drawing: Michelangelo

We all know how beautifully Renaissance artists could use VALUE to round form- one of the finest examples is Michelangelo’s Libyan Sybil.

Conceptual Value Drawing: Mark English 

Here’s a drawing by one of the greatest illustrators ever- Mark English. If you haven’t heard of him, you better get on it. How is Mark English conceptualizing VALUE here? What do you think his concept is when he draws from the model like this? Think about it. We’ll talk about it soon in class. Watch Mark English draw the figure here: http://www.youtube.com/watch?v=EJK3jph-7Ac

Also check out his amazing fine art work here: http://www.markenglishonline.com/

So that’s the kind of stuff that we’ll be getting into in Conceptual Drawing. I will attach the in depth syllabus soon. You will each receive a copy on the first day of class.

Supply List

As I mentioned in the email- BRING YOUR SUPLIES to the FIRST DAY OF CLASS. We will be using them right away.

Below you will find a handy guide that lays out the supplies that you need. As you know, all items on list are easily found in many of the good art supply stores in the city. I encourage you to shop around for the best deals, and to be economical in your choices- just don’t skimp on a good product if there’s only a small difference in price between it and something of lesser quality. I am recommending the brands that I have found to work the best- they are the highest quality for the most reasonable price. Please get exact sizes

Drawing Board

About 26” x 24” (size will vary from brand to brand- just make sure it’s big enough to hold 24” x 18” paper) clamps on top, big ole elastic on bottom (elastic is important to keep the paper steady for our horizontal oriented drawings like still life works or reclining figures) It can double as your portfolio, upon which you can bring your pads and homework into class

Newsprint

24” x 18” pad of newsprint paper (for in-class studies) brand and texture is up to you 

Drawing Pad

24” x 18” pad of good drawing paper- 70lb, 50 sheet, wire bound pad. Acid free. I like Utrecht brand; Canson or Strathmore are good too.

Bring the board and 2 pads every day to class.

Plumb Line

This will be our tool for finding vertical lines in our observed subjects. The basic idea is that we want to create a pendulum like tool that can be held steady and work with gravity to indicate vertical lines. I use a black cord that I got from an arts and crafts store, with a  weighty object tied to one end. They sell this kind at hardware stores:

A fishing weight works well; a nut can be good too. (like the kind that goes with a bolt, not like a macadamia).

Above you can see contemporary realist painter Zack Zdrale using his plumb line. 

See more of his work here: http://www.zackzdrale.com/

Straight Edge

We use the plumb line to find perfect verticals- we use the straight edge to find perfect horizontals. Get a paint stirrer from the hardware store. They are FREE. Bring it in to class, it’s part of the first homework assignment- I’ll explain the rest later.

Charcoal Pencils

6 General’s Brand Charcoal Pencils

As you know, charcoal comes in different densities. Pictured here is a hard pencil- please get:

2 Soft

2 Medium

2 Hard

Vine Charcoal

We will be using this to fill in broad shapes with 1 solid tone. Get a couple of boxes.

Windsor & Newton- Soft

Compressed Charcoal

We will need a couple of sticks of this powerful soft black awesomeness. Again, I have found General’s to be the best. Get 1 package of the skinny ones, and 1 package of the jumbos, as seen above. Get the charcoal- not the graphite.

Knife

You will need an Exacto, or utility knife for sharpening your drawing tools, especially the pencils. Exactos are great, but it is important that they stay sharp- don't go buying a million of those little replacement blades- get a sharpening stone:

Chamois

Get a chamois for gentle erasing and blending. They sell’em in a lot of places, but get one from an art store.

Kneaded Erasers

2 of them for hardcore erasing. Brand doesn’t matter- get the big kind though.

Also get a sack for storing all this stuff in.

Sketchbook

Keep one with you, not only in my class, but everywhere you go. You should be doing at least 2 pages a day, even on national holidays. Drawing- be it imaginary or observational, quick or sustained, is the basis of everything that we as artists do.The best way to get good at drawing is to do it incessantly. The best place to do it incessantly is in a sketchbook. I prefer the small kind- no bigger than 9”x7”. I take it everywhere I go- fits easily into cargo pockets, purses or fanny packs. Perfect for drawing on the T.