Watch this clip on Bearden in the studio, taking note of his concepts and process:
Trains, Snakes, and Guitars
Watch this video on Bearden’s Jazz works and pay special note to the rare clip of him in his studio:
Watch the clip on Bearden from Robert Hughes “Empire of Signs” (after Rauschenberg, around 2:15 until 6:00):
Take thoughtful notes on ideas concerning:
a: the development of Bearden’s art,
b: the uniqueness of his style in the 60’s and 70’s,
c: his manner of linking personal themes from African American culture with art historical precedents or broader humanistic themes, and
d: anything else you may want to add to the discussion about Bearden and his techniques.
In your sketchbook – write down the ideas from each of these links.
Check out what LL Cool J has to say about creativity and the importance of art education. (2-3 min clip)
LL Cool J on Creativity
Listen to Kiefer’s short talk about being an artist. (1 min)
Anselm Kiefer talks about being an artist
Listen to Tuttle’s reasons for art. (1 min)
Richard Tuttle – reasons for art
Listen to what Will Rogan says about finding meaning in the world around him. (1 min)
Will Rogan talks about the meaning of things
Now, visit the following link and note the creativity and variety in expanding portraits. Make notes about creative ideas you want to try in your self-portrait series:
At the same site, notice the creativity in sketchbooks and make notes about inventive ideas you want to try:
Wander around the site for more inspiration – there are a lot of images and resources here!
“Document, experiment, contextualize, and evaluate” is a mantra of one of the graphic sketchbook artists. What discipline and engagement!
In your sketchbook, make brief notes on the following 2 sites:
proportions of a head
These are 3 approaches to portraiture. In class, we will try another.
3 ways to draw a conventional face
Look at the following explanation of comparative sighting, from only 20sec -1:55:
Note in your sketchbook, ideas about how to draw a nose.
Look at the video and notice how a drawing is a series of adjustments.
Tutorial on drawing short hair:
How to draw short hair
1. From the following 2 links, read about the history and ideas of still life and vanitas.
Make notes of the characteristics of each period. Also take notes about things you find most interesting about still life and vanitas.
overview of still life
Vanitas Still Life Painting
2. Watch fully the following 2 videos, and make notes on the 3 most important ideas that will help you in developing your colored pencil technique.
colored pencil – tutorial – 3 techniques
3. Look at all of the colored pencil works at this page, linked below, and on the website of Jo Bradney. Read her explanation below the works as well.
Note work you especially like and think about the reasons why.
colored pencil Vanitas
Jo Bradney colored pencil still life
4. In class, you will choose 3 objects to draw in great detail with colored pencil, rendering the form and color as fully as possible. Choose 3 objects and a composition that expresses an idea. In this post, you have seen historic and contemporary works as models for the ways in which still lifes can express ideas. Be inventive and intentional in your choice of objects and the manner of presentation. Do not choose random objects and project insincere “narratives” onto them. Comment and share some of the ideas you have right now. Bring in all materials for our next class.
1. Take notes when you watch the following video and think carefully about what James Prosek says about seeing nature:
Note also what Jane Kim says about her art, painting birds:
2. Read about the exhibition “Maria Sibylla Merian and Daughters: Women of Art and Science.” Watch the slideshow and read or listen to all of the commentary for each and take notes.
Maria Sibylla Merian and Daughters: Women in Art and Science
3. Watch the following two technical videos:
4. And last but not least, here is a site with beautiful drawings from the Farallon Islands by a professional illustrator, Sophie Webb. Maybe you know some of her books!
Over the next 3 weekends, Santa Cruz County artists will open their studios to visitors to show their art and art making processes.
Attend a total of 3 artist studios. For each visit, write down the artist’s name, take notes, and be ready to share in class:
1. your impressions of each studio and artwork. Include a small drawing of something that interests you in the studio (the art, materials, work space, etc.).
2. the artist’s techniques and processes (this information is posted in their studio, if you don’t see it, ask about their technique). AND,
3. the inspiration for your own art work (either by a desire to emulate the artist or for a manner to differentiate your work from the artist).
For extra credit, attend the Preview Show at the Santa Cruz Art League at 526 Broadway (scal.org). Share the artist and title for what you would award as the 1st, 2nd, and 3rd place in the whole show and explain why.
Students may attend the studios together but they should have independent notes. You also may be inspired to visit particular artists by hearing others’ comments.
Do all three on one weekend or one each weekend, but don’t leave until the last day! You can share each Monday or by the final Monday. Plan it out.
There are Guide Booklets in art rooms 216 and 222 with maps if you want to plan your weekend trips. South County is the first weekend, North County the second, and some artists are open for the third All County weekend.
Take notes in your sketchbook on all of the following.
View the Russ McMullins scratchboard tutorial.
and the video tutorial by Lars Erik Robinson
View the compositions and techniques in the link below:
Read about the ideas regarding each of these flower paintings. Look at the comments, the symbolism, and the composition in each:
10 flower paintings to know
At home, research online ideas about the symbolism of flowers and the particular meaning you want to signify by the flowers you choose. You may bring in a real flower to work from, a photo you have taken of a flower, or use a photo from the internet of a flower, as long as you combine it with foliage from another photo and change the composition.
You will be using cross contours as you scratch away the light. Note the method of looking at light rather than dark as you draw. How is it different from the way you usually see and usually draw? What will your aesthetic goals be with this scratchboard drawing, and your Creative Extension?
UC Santa Cruz Arboretum