For this week’s homework, complete your graphite portrait drawing and turn in by Friday 2/6. You may take your portrait home and work during tutorials.
For inspiration and in-class viewing 1/29:
In his career as a painter of colossal portraits, Chuck Close (American, b. 1940) has used the grid method as a formal structure in his work. In his early years as a Hyper-realist, Close hid the grid with paint. In his later work, the grid becomes an essential part of his paintings.
1. Consider the significance of Close’s technique and use of the grid in both his Hyper-realist and new style of painting.
2. In his more recent work, consider how the viewer’s attention can shift from surface pattern to the overall image.
1. In thinking about children’s illustration – it is important to first know the story line.
As you read the handout, make note of what comes to you visually and what part you would like to depict.
2. Make notes and draw the characters along with illustrator Will Terry as he explains how to visually develop and visualize characters.
Will Terry – Character Design
3. Google this: “peter and the wolf children’s illustrations” and make note of what styles are most interesting to you.
4. Then, look at the following 2 sites (and any others)
more children’s illustrations
zeszut style art
4. In class and later at home watch one of the following 3 videos of the symphonic story and come up with a plan for the media and style of your children’s ilustration. (For this unit, we will be working larger than usual so there will be only one project for this 2 week period.)
As one of the 3 choices, google the Disney Peter and the Wolf video (it cannot be linked here)
5. Later, in class this week, we will demythologize the wolf and see how important it is to our ecosystem.
6. wolves: four perceptions
Browse the MoMA’s collection of portraits in the above link. Find two drawings or prints that interest you. For each artwork, comment on:
1) the artist’s style and technique
2) the resulting emotional effect, mood, or message
For each portrait, do a 30-minute drawing (one per page) inspired by your observations of the artist’s style, materials, and technique. (Two separate portraits for at least one hour of total drawing time.)
Look at the following sites:
cool samples (darkroom and digital)
After working in the darkroom on the sabbatier effect, write a journal explaining things you learned that were successful procedures to share with others
“Flying Houses” Laurent Chehere Photography
With your next one-hour sketchbook drawing in mind (to create your own surreal, dreamlike world through perspective), look at the 5 following links. For your sketchbook notes, find one image of interest at each of the five sites. Comment on your observations about: a) the technical aspects of making a surreal scene (interior, building, etc.) and, b) the emotional effect. (Note, the modern architecture at the last site is not surreal but some of the buildings are so unusual, they inspire the imagination. Comment on the technical feats and the resultant emotional effect.)
Victor Enrich architectural images
Plan your surreal perspective drawing with a variety sketches, ideas, and thumbnails.
Your completed drawing needs to show a building (exterior or interior) in perspective with a surrealist component to create an emotional, imaginative, ridiculous, or fantastical effect.
Some standards for a surrealist effect: change of scale, context, and altering of physical characteristics.
MoMa Surreal Landscapes
The following site is a wonderful resource for you to start Sem 2.
Spend the full class time – and more at home looking at each of the Breadth and each of the Concentration posts as well as the numerous instructional videos.
Pay attention to the AP criteria for assessing work and reflect upon your own work in light of these criteria.
Mount Eden AP Studio Art
Note, sometimes you have to go back to the home page at this site to see the full listings for each of the Breadth and Concentration postings.
What you do not have time for in class, finish at home tonight.
Pay attention to his motivation as an artist, what distingished him as a photographer, and how he used photography to tell a story, as in his Life magazine features.