Gerri Ondrizek
A. 205 X7201
Tuesday/Thursday 9:10-11:50
“The study of anatomy increases the sensitivity of the artist's eyes and makes the skin transparent; it allows the artist to grasp the true form of the surface contours of the body because he knows the parts that lie hidden beneath a veil of flesh. It is as though anatomy were a magnifying glass, making forms more visible in minute detail. Through this glass the artist is able to see more clearly and more quickly. When the knowledge of anatomy is applied in the plastic arts, it leads to an understanding of exterior forms through the relationship that exists between it and the underlying forms. The study of anatomy teaches the artist why exterior forms appear as they do, in action and repose.”
—Dr. Paul Richer, Professor of Anatomy at the École des Beaux -Arts and the Academy of Medicine, Paris, 1889
The tradition of Western academic figure drawing began in the Renaissance. The academies of the past, reflecting the official artistic cultures of their time, considered the figure to be central to their artistic training. Each academy represented a different ideal and featured its own style of presentation. The tradition of western figure drawing centers on the body's response to gravity, volume, and weight within a solid floor plane seen in perspective.
In the first half of this course you will be introduced to the traditional methods of rendering the human body from the Renaissance to the eighteenth century. You will practice gesture drawing and proportion studies and focus on the anatomical structure.
In the second half of the course you will investigate tonal rendering of the body with various materials, applying modern and postmodern composition theory, and expressionistic representation. Contemporary issues of body language and gender will be explored in a final project.
• First study the gesture the model is taking. Identify with this expression in your own body before you begin to draw.
• Drawing is an active process. It is done with your arm and your body, not your hand.
• There are no mistakes in drawing: it is a process, not a product. Allow yourself to use a lot of paper to learn to see and feel the physical form.
Gesture
Drawing as dance, moving to the motion of the figure.
Massing the gesture of the figure in motion.
Contour
Linear studies of the interior and exterior of the body.
Anatomical studies
Skeletal studies drawn from the figure and the skeleton simultaneously.
Muscular studies from anatomy texts will be referred to as you draw the figure.
Tone/ Composition
The study of highlights and shadow on the musculature and the body as a whole.
The negative space and positive image in the picture plane.
Symmetrical versus asymmetrical composition. Drawing the figure in architectural space.
Image and content
Drawings' communication. Consideration of the subject matter.
Sculptural form
Looking at the physical manifestations of movement through Sculpting with clay and wire.
Folder for essays and handouts.
Sketch book- bound or spiral for drawings and notes.
Newsprint, rough surface, 18" x 24" 3-4 pads (The Bookstore is keeping these in stock.)
White drawing paper, 18 x 24 70 lbs. 1 pad
Portfolio (black or reddish) or make one out of large sheets of cardboard. (you must have one for portfolio reviews)
8-10 sheets 18 x 24 heavy paper for painting and watercolor, a least 100 lb
2 Graphite Pencils
2Charcole Pencils
PINK PEARL or ART GUM eraser
Conte Crayons, Sepia, 8 sticks. White 2 sticks
Chinese bamboo brush or a watercolor brush.
Watercolors
Box for materials
Many of these materials will be in the bookstore. You can pick up pads of paper and drawing pencils and charcoal to get started. You can also purchase these materials at Art Media at 9th and Yamhill down town, or Utrecht on 13th in the Pearl district.
Attendance- 40%
Attend all classes. You have two excused absences.
You must be in the studio by 1:15.
We will usually begin the class with a discussion, so it is vital that you are here for the beginning of the class.
Participation- 20%
Your input and interest in the class, and willingness to share ideas visually and verbally.
Discussion is vital to a studio course.
Doing the readings and the assignments and talking about them is necessary.
Assignments 40%
1. Turn in projects on time. Your grade will be lowered for each week the project is late.
2. Generation of basic ideas and exploration of solutions. This includes drawings, models and exploration of materials.
3. Visual organization of your forms. Your ability to follow a system of formal design.
4. Conceptual thought process put into visual forms. Your ability to convey the ideas behind the form created is vital to the success of the piece.
Kiki Smith:http://www.moma.org/exhibitions/2003/kikismith/
Marlene Dumas:http://www.postmedia.net/dumas/dumas.htm
Raymond Pettiebone:http://2ndthought.net/raymondpettibon/gallery.htm
William Kentridge:http://www.davidkrut.com/works.php?id=4262&ed=1
Louise Bourgeois:http://www.pbs.org/art21/artists/bourgeois/index.html
Chuck Close:http://www.chuckclose.coe.uh.edu/
Reference texts for Figure Drawing
Adler, Kathleen and Pointon, Marcia, ed. The Body Imaged: The Human Form and Visual Culture Since the Renaissance (Cambridge; New York: Cambridge University Press, 1993)
Cazort, Mimi, Kornell, Monique, Robert K. B. The Ingenious Machine of Nature: Four Centuries of Art and Anatomy (The National Gallery of Canada, 1996)
Hale, Robert Beverly. Artistic Anatomy, Paul Richer, Professor at the École des Beaux-Arts and the Academy of Medicine, Paris, Lectures and 8 video recordings (Art Students League of New York. New York: Jo-An Pictures, Ltd, 1983)
Goldstein, Nathan. Figure Drawing: The Structure, Anatomy, and Expressive Design of the Human Form (London: Prentice Hall International, 5 ed. 1999)
Introduction. Materials list and slides of artist work.
Drawing as dance—massing gesture, charcoal.
Model-31st-Elberth Walker
Movie- Kentridge
Assignment—Gestures. 10 drawings, conte, 18 x 24.
Reading: Ghost and Erasures, William Ketridge The Evolution of Intent, Figure DrawingNathan Goldstein
Massing the body in motion—massing gesture, charcoal. Proportions, distortion, and perceptions—linear gesture, charcoal.
Model- 5th Elbereth Walker
7th Megan
Slides-Rembrandt, Inge, Raphael, Degas
Assignment—Body in motion, 6 layered drawings, conte, 18 x 24.
Reading: The Evolution of Intent, Figure DrawingNathan Goldstein
Line wrapping the body—linear, blind, and cross contour, litho crayon. Skeletal structure of the body—linear contour, graphite.
Model-Megan
Slides- Leonardo, Michelangelo, Raphael, Durer, Rembrant
Assignment—Skeletal studies, spine, and rib cage, clavicle, scapula, Pencil, 18 x 24.
Reading: The Anatomical Factors, Figure DrawingNathan Goldstein
Skeletal structure of the body—linear contour, cross contour, graphite.
Model-Elbereth Walker
Slides- Rembrandt, Egon Sheila, Matisse, Deibenkorn
Assignment—Skeletal studies, pelvis, back and front, Pencil, 18 x 24.
Reading: The Anatomical Factors, Figure DrawingNathan Goldstein
Muscular studies, the mass and weight of the body. Gesture massing—Sepia Conte.
Model- Scott Smith
Slides- Raphel, Inge, Rubens, Caravaggio, Dumas
Assignment—muscular studies, front, back, and side of torso Pencil, 18 x 24.
Muscular studies, the mass and weight of the body. Gesture massing—Sepia Conte crayon.
Model-Scott Smith
Assignment—muscular studies, arms and legs, back, front, and side Pencil, 18 x 24.
Reading: Susan Valadon
Darkness and light; additive and subtractive processes in building of tone, sepia and white Conte crayon.
Model-
Slides- Paula Moderson Becker, Susan Valadon.
Assignment-Tonal rendering.
Reading: Figuration, Peter Selz
Ida Applebrough
Composition, cropping, centered, and asymmetrical of the body in space, Conte crayon.
Slides- Richard Diebenkorn, Max Beckman, Alice Neel.
Model-24th Harriet
26th Alysia
Assignment- Copy a masters work using a diagonal composition. Conte 18 x 24.
Reading:Ruth Butler, Rodin
Sculpture- Representing the 3 dementional body. Clay
Slides: Rodin, Gaicommettie, Brancusi, Rosso, Kiki Smith
Model- Carol
Assignment—Work on clay form.
Reading: Kiki Smith
Sculpture- representing the 3 dimensional bodies. Wire
Model- 7th Harriet
9th Alysia
Assignment—5 Drawings of a part of the body. Small studies using pencil.
Reading: Interview with Marlene Dumas
Ellen Galleger
FINAL: The Body as a Story Unfolds; Conceptual Strategies in Figure Drawing
Slides- Marlena Durmas, Raymond Pettibone, Kara Walker
Assignment— Begin Final.
Reading: Tamara Lempicka, Elizabeth Peyton
Individual meetings about final work done in class.
Open work time, final assignment.
Final review of work
Raphael
Michelangelo
Leonardo
Caravaggio
Albrecht Durer
Rembrandt
Durer
Inge
Rubens
Degas
Matisse
Cezanne
Paula Moderson-Becker
Susan Valadon
Kathy Kolowitz
Max Beckman
Leger
Golub
Deibenkorn
Lucian Freud
Alice Neel
Andy Warhol
Nancy Spero
Chuck Close
Marlene Durmas
Kiki Smith
William Kentridge
Kara Walker
Ghada Amer
Suzanne Valadon,Detail of The Blue Room, 1923
Gesture
Skeletal Structure
Contour
Blind contour
Cross contour
Lyrical Line
Calligraphic Line
Wrapping Contour
Meandering, Blind Contour
Spontaneous Contour line
Delineating Contour line
Weight of the contour -Lacing Cross contour
Heavy, carved line,
Informed line-witty line, spontaneous contour
Fragmented- broken, nervous, non-continuous contour line
Empathetic Line- emotional charged, character marks
Mechanical- geometric, angular contour line
Light
High light
Shadow
Core of Shadow
Reflected light
Cast Shadow
White, Black
Intermediate tone- shades of gray
Chiaroscuro- Deep shadow
Shallow space
Deep space
Contrast of value
Dark Values
Light values
Direction-Vertical movement, Horizontal, Diagonal
Fibonacci, Dynamic Symmetry- Spiral motion
Space-Positive form/ Negative space
Spatial Thrust- foreground middle ground, background
Psychological Space
Deep Space
Shallow Space, Patterning
Liner Relationships- Scale
Color
Value
Texture
Rhythm
Visual weight
Pictorial emphasis- Location and Proximity
Expressive content
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