Wolf Kahn, Receding Towpath II, 1986
Read the article and watch the two videos within the site linked below. Note especially, in the second video, the path of Wolf Kahn’s career and his comments about painting.
Wolf Kahn studio visit
In your sketchbook comments, include the following:
1. What do you find as the most interesting art historical fact in the interviews?
2. What insights about drawing/painting your own landscapes do you gain from listening to, looking at, and reading about Kahn’s personal history and his paintings?
For your sketchbook drawing, do a 30-minute hand-drawn landscape (or series of landscapes), observed from real life, inspired by Kahn’s work. Try to convey the facts, essence, and spirit of the place. Color is optional.
If you complete your sketch this weekend (May 13/14)), this can be the plan for your landscape in chalk pastel. (You may want a back-up photo for when you draw, although most of your pastel painting will come from the preparatory drawing.) Otherwise, you can select your source image from the landscape photographs in class.
Jason deCaires Taylor. Vicissitudes. 2009 Cancun, Mexico
Go to the following website: JasondeCairesTaylor
Navigate through the website and look thoroughly at the home page, gallery, film, bio, and environment pages.
For your sketchbook notes, reflect upon: what you find most interesting about Taylor’s work, thoughts or ideas it inspires, and any questions that you would ask if you met him.
Our next painting theme centers on appreciation of the ocean and sea life. For your full hour of weekly sketchbook drawing, sketch ideas relating to Taylor’s work, thumbnails to plan the composition of your painting, and/or the following:
Consider entering the Bow Seat Ocean Awareness Contest with a submission of your visual art, poetry, prose, or film. This year’s theme is “Ocean Pollution: Challenges and Solutions.” Contest entries due June 19, 2017.
Bow Seat Ocean Awareness Contest
Look at the evolution of Mondrian’s work and how he changes over a period of time. What do you think was important to him as an artist? Why didn’t he keep painting trees in the same way?
1. Look at the three links below and read both articles fully. In your sketchbook notes, explain what a “series” is and discuss three points about the advantages and purpose of working in a series.
Advantages to working in a series
Jane Davies ideas about art series
Hyun Mi Yoo Good Luck series
2. For your hour sketchbook, do a drawing based on one of your previous drawings. Make significant changes in this drawing to reveal more of your personal interests as a young artist.
Or, do 2 drawings that demonstrate an evolution of your artistic ideas (either in a major way, as in Mondrian’s work, or in a less drastic way, as in Jane Davies’ “Teeny Tiny Art” series).
Watch the following conversation with artist Angus Wilson about still life painting:
and the short video of his still life paintings:
For your sketchbook notes, comment on the following:
1. Two points about still life painting that you find of interest.
2. Two techniques from Wilson’s work that you will try in your still life painting (color, composition, or style).
3. Describe one aspect of his paintings that appeals to you.
The next two paintings you will work on in class will be still lifes. The first painting (whole-sheet) will be based on your realism drawing from the fall semester. Your second painting (whole- or half-sheet) will be more exaggerated and stylized as Wilson’s work, but also based on observation from life.
This week your sketchbook drawing is preparation for that second painting that we will do in class after spring break.
For sketchbook, spend one hour drawing from objects that you select and set up, in the style of Angus Wilson. (You may also want to take and print a small photo of your still life arrangement for your reference.) You may use color or just take notes on the color system you intend to use.
Examples of Split Complement Color Systems
Flying Houses by Laurent Chehere
With your next sketchbook drawing in mind (to create your own surreal, dreamlike world through perspective) look at the 4 following links. In your sketchbook notes, comment on what image interests you at each link. Make some observations about the technical aspects of making a surreal scene and 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.)
Flying Houses by Laurent Chehere
Victor Enrich architectural images
In your sketchbook drawing, show a building (exterior or interior) in perspective with surrealist components, to create an emotional, imaginative, or fantastical effect.
Some standards for a surrealist effect: change of scale, context, altering of physical characteristics.
Finish your drawing with full shading in black and white and some color, for expressive effect. Your work should reflect at least one full hour of drawing time.
For your interest, here’s a link to Salvador Dali’s “The Persistence of Memory” and the Surrealist movement:
Transparent glazing modifies hues with each added layer.
In your sketchbook notes, respond to the following two questions:
1. Which of the following tips from the site below do you find most important in your exploration of the transparent painting process? Explain why in the context of one of your paintings.
tips on transparent glazing
2. What did you learn from the short article below about painting in transparent glazes and how will you apply it to your current painting?
painting in glazes in acrylics
Odili Donald Odita – Observations on color and “The Art Assignment.” We will view this segment in class:
For your weekly 60-minute sketchbook drawing, select 3 or more “white” objects (a sheet of paper, cups and saucers, paper towel roll, a dishcloth, etc.) and arrange in a still life. In your sketchbook, lightly pencil in the contour lines. Then, use color pencil or watercolor to indicate the subtle warm or cool hues of each object.
For more examples, observe Giorgio Morandi’s still life paintings of objects with “white” surfaces:
Morandi’s Still Life Palette
The Formal Elements: Art Elements (left) and Design Principles (right)
As you watch this sequence (from Disney’s acclaimed 1940 film”Fantasia”), observe the formal elements used to create non-objective designs. Notice the choice of shapes in relation to the music as well as the movement and rhythm created by repetition and gradation (in terms of both color and shape). Think about space and form, emphasis and contrast, balance and unity.
Sketchbook notes: Comment on the areas in the film that you find most pleasing/interesting. Do your best to analyze why you find certain aspects to be visually interesting and how the formal elements and principles are “working.” Answer some of these questions in one page: what kinds of colors are used? do you recognize any color systems like analogous or complementary? how is movement created? how is balance achieved (is it symmetrical or asymmetrical)? where do you see examples of emphasis or contrast? Consider any other questions you feel are significant.
Sketchbook homework: Spend an hour drawing original illustrations for each of the 7 design principles: balance (symmetrical and/or asymmetrical), contrast, emphasis, movement, pattern, rhythm, and unity. This may fill two or more pages. Try to clearly convey each concept visually. You may choose to draw either representational or non-objective designs.