Nathan Bond's Drawing Class

November 22nd - Breaking the Page

noreply@blogger.com (Nathan Bond) — Fri, 19 Nov 2010 00:22:00 +0000

For this Monday's class we will be creating a drawing of on object. We will be creating this drawing on a 3-d surface, we are going to break the page! The objective is to think about a 3-d for that will enhance the essence of the object (and your drawing of it) that you have selected. You may use a preexisting form, or you can construct one from scratch. You may (if the surface allows for it) draw directly onto the surface, or you can attach the paper to the surface after you have done the drawing. You may use any materials for your structure and it's construction. Think about that the style you draw in should speak to the form as well. Below is a sample of a partially finished assignment (so that you can see the construction). The object was a brown glass soda bottle that is broken.

The form is made from cardboard and a plastic water bottle with the drawing sections glued on after it was built. The shape is meant to enhance the feeling of the sharpness of the broken glass and the action of it breaking. Think about how the viewer will interact with the drawing/form as well. You can place it in a sight specific area if you want too.

Some good advise you shouldn't have to wait to graduate to hear.

noreply@blogger.com (Nathan Bond) — Thu, 04 Nov 2010 10:18:00 +0000

Our Big Heads

noreply@blogger.com (Nathan Bond) — Thu, 04 Nov 2010 10:15:00 +0000

Here are a few of the finished drawings from our Big Head assignment. Good work on these everyone!

November 1st- The Layered Figure

noreply@blogger.com (Nathan Bond) — Sun, 31 Oct 2010 15:26:00 +0000

In today's class we will be examining, and analyzing the various layers of the figure. The three layers will be the clothed figure, the nude figure and the skeleton, all in the same pose. You will be drawing all three forms in the same pose and then figuring out how to best combine the layers into one single drawing. The scale of each layer must be the same. Below are some examples of past students solutions. This first example (three images below) was put together using layers of tracing paper to show each.

This next one used various sections of each drawing and combined them into one new drawing that had parts of each layer showing.

Here is another one that used tracing paper to create the layers.

This one placed all three on a single page and added text to give it a scientific illustration feel.

This last one used layers of tracing paper also (shown here with all three layers on top of each other) but added text (the names of all the bones) to help create a more interesting use of the negative space around the figure.

Out in the field - Drawing on the High Line

noreply@blogger.com (Nathan Bond) — Tue, 26 Oct 2010 11:53:00 +0000

Here are some pictures I snapped of you guys hard at work on your drawings yesterday on our perspective trip to the High Line. I am looking forward to seeing them all polished and perfect for next Monday!

October 25th - High Line Perspective Drawing

noreply@blogger.com (Nathan Bond) — Fri, 22 Oct 2010 01:16:00 +0000

Don't forget to dress warm enough for drawing outside on Monday (and all your drawing materials and digital camera). I suggest wearing layers. So here are some samples of some artists who make large scale sculptures. Some monumental!
Below are some images of the Gates project in Central Park by the Christos. The first two are images of their wonderful drawings proposing the project before it was begun. The third is of the actual project after installation. This is just what we are doing in theory. I have added a link to their website (left side bar) which has many more examples of their sculptures.

Here are a few Richard Serra sculptures.

An amazing Louis Bourgeois sculpture that has moved around to many city, including here at Rockefeller Plaza a couple of years ago.

An Atlanta based artist named Andrew Crawford makes some amazing sculptures based on enlarging tools and playing with their form ans implied materials (see his website linked at the left for more).

And lastly a well know Donald Judd sculpture.

On to the student drawings. In case you are wondering these were not done at the High Line walk as ours will be. They were using Astor Square. Below are some examples of past students drawings of the same perspective assignment to help give you some ideas on how to integrate your object into the surrounding architecture. You can see that they all use various methods to help give a sense of scale, as well as various styles of atmospheric perspective to help create mood.

October 18th, Perspective

noreply@blogger.com (Nathan Bond) — Mon, 18 Oct 2010 00:55:00 +0000

Perspective Drawing
The three photos below demonstrate the difference between 1-Point and 2-Point Perspective, as well as 3-Point Perspective. The first photograph (Fig. 1) is an example of one-point perspective. All of the major Vanishing Points for the buildings in the foreground of Fig. 1 converge at one central location on the horizon line. The angle of view or Point Of View (POV) in Fig. 1 is referred to as Normal View perspective. In Fig. 2 the vanishing points for the two opposing faces of the center foreground building project towards two different vanishing points on the horizon line. In Fig. 3 we see that the horizontal building elements project to the left and right horizon and the vertical building elements project to a central vanishing point in the sky. This upper vanishing point is called the Zenith. If one were looking down on the object from a Bird's Eye perspective, the vanishing point below the horizon and would be called the Nadir. Perspective Types

Deconstructing "Perspective" from Photography
In the next three diagrams, you will see the same three photographs with Vanishing Point trajectory lines (magenta) and Horizon Lines (blue) traced over the subject matter. Fig. 4 and Fig. 5 are both examples of Normal View perspective. A Normal View angle places the Horizon Line at a natural height as if the viewer was looking straight forward without tilting the head/camera up or down. In these two examples, you will notice that all of the vertical features of the buildings are straight up and down.

Fig. 6 is an example of a Worm's Eye perspective. In Fig. 6 the head/camera is tilted upward placing the Horizon below the picture. The perspective when the view is tilted in an upward direction, creates a third vanishing point at the Zenith. All of the vertical building features will converge at this upper vanishing point. If we were looking down on a subject, the viewing angle would be a Bird's Eye View and the vertical details would converge at the Nadir.
This technique of tracing parallel lines to their convergence point would be used to construct a Perspective Grid from exiting photographic material. Each convergence point will represent the exact location of the Horizon, Zenith, or Nadir in that photograph.
The Illusion of Depth
In the preceding photographic examples you will notice that as an object recedes towards a Vanishing Point (infinity) it appears to get smaller. This phenomenon is due to the fact that the "viewer" is at a steeper angle of view when looking an object that is in close proximity as opposed to an object of the same size that is farther away and therefor, viewed at a shallower angle. This phenomenon was first observed during the 16th century, when a German painter and printmaker named Albrecht Dürer began drawing observed objects onto a sheet of glass (below, left), later known as the 'picture plane.' Prior to the discovery of the picture-plane, artists used their best guess to determine perspective (below, right).

Albrecht Dürer and Perspective Drawing History Albrecht Dürer drawing on glass 'picture plane' c. 1520 (left), Cappella Tornabuoni fresco in Florence c. 1490 (right)

Chuck Close

noreply@blogger.com (Nathan Bond) — Sun, 17 Oct 2010 11:56:00 +0000

Since we are doing big heads, I thought you might like this short interview with Chuck Close, one if the masters of the great big head. This is very brief, but there are a lot more on You Tube if you punch in his name.

Don't forget to bring in your big heads tomorrow. Also all those new supplies to start the perspective assignment (this includes your object!).

Progress

noreply@blogger.com (Nathan Bond) — Wed, 13 Oct 2010 02:06:00 +0000

Here are some pics of you all working away on the BIG heads. I am looking forward to seeing them all finished up on Monday. There were some great starts!

BLU

noreply@blogger.com (Nathan Bond) — Mon, 11 Oct 2010 09:59:00 +0000

Thought that you might enjoy seeing some drawing in motion. If you are not familiar with this animator, who goes by the name of BLU, then you should really enjoy this! This is his latest work. You can find more of his films at blublu.org
Big Bang Big Booom

October 11th, The BIG Head

noreply@blogger.com (Nathan Bond) — Sun, 10 Oct 2010 16:22:00 +0000

Remember to bring your BIG paper (48" x 36") or if you have too, 4 sheets of 24" x 18" drawing paper and your print out of the pictures that we took last class. Below are some examples of the last group of students that did this. Also your Degas Still Life drawing is due, so bring that to class too.

Cheer up!

noreply@blogger.com (Nathan Bond) — Fri, 08 Oct 2010 00:58:00 +0000

A little bit of something to inspire you all.....the end could really read: Art=Risk
http://www.youtube.com/watch?v=RmTxr7OsPj0&feature=player_embedded

October 4th - The human head

noreply@blogger.com (Nathan Bond) — Mon, 04 Oct 2010 02:01:00 +0000

In today's class be examining the human head, including the face. We are going to pay particular attention to the structure of the cranium, the relationship and placement of the various feature of the face on the skull, and to the space surrounding the head. In addition to trying to capture the correct structure and likeness of the model, we will also be focusing on the expression of feeling that the process we choose to draw a head can give the drawing. Some former students drawings are below.

Here are some other examples by some artist you might be more familar with. Notice the wide variety of techniques used, and the differnet effects that they achieve. First two Van Gogh drawings:

Above is a little drawing by Joe Adolphe. His choice of paper to draw on (that is an actual old library card) helps to support the subject and mood. You can see more of this series on his website (a link is on the left) Below are two drawings by the amazing artist Katherine Kollwitz. She always has such amazing emotion in her drawings.

Below you see two etchings by Lucian Frued. He is a master of giving a feeling mass, and flesh to the head.

Below are two small Rembrandt's. The style and mediue give a very different feeling to each drawing.

Last we have two John Singer Sargent drawings. Notice how very visible (nd effective) his line are that he is using to build up the spaces around the head, and the relationship that that creats to the handling of the face.

September 27 - The Figure / Ground relationship

noreply@blogger.com (Nathan Bond) — Mon, 27 Sep 2010 00:51:00 +0000

For today's class we will be discussing further the use of value and how it can be used to give shape to forms. In particular the human form. We will also use value to help in creating a solid foundation for the figure as we begin to discuss and execute the figure / ground relationship. Starting with small 3 value thumb nails to make sure we good composition, we will develop one charcoal drawing over the day.
Below are some examples of how value can be used to give a sense of volume, space and weight to the firgure in an environment.

Homework samples -Degas Still Life

noreply@blogger.com (Nathan Bond) — Fri, 24 Sep 2010 01:36:00 +0000

Here are some completed drawings from some prior students. Remember that Degas often used alignment, value changes, scale shifts, architectural lines and repeating shapes to help the movement of his compositions.

September 20th : Positive and Negative shapes in the Picture Plane

noreply@blogger.com (Nathan Bond) — Sun, 19 Sep 2010 23:23:00 +0000

In today's class we will be building on our work in the last class (using major points on an x and y axis within the figure to help with proportion and placement) and start folding in the mapping of the whole picture plan. We will be paying close attention to the creation of negative space and how it balances the positive space. We will also be looking at the role that space and volume play in creating composition.
We will be starting by using stools and chairs (very geometric objects) to design a drawing that divides the page into positive and negative shapes. Below are a few examples from past years.

In the drawing above you can still see some of the mapping lines this student was using to find the correct relationships between the main points of each object.

For the second part of the day we will bring in more organic elements (the human skeleton and fabric) into a second drawing. Our concentration will still be on strong compositional layout through use of positive and negative space.
Below are some past drawings as examples.

September 13th - Homework

noreply@blogger.com (Nathan Bond) — Wed, 15 Sep 2010 16:11:00 +0000

Students are to complete the following assignment and bring it to class on September 20th.
Assignment: Degas Compositional Study
Find an image of an Edgar Degas painting. The image can be found online or from a book, but you must have (vie xerox, printer etc.) a physical copy of the painting. It should be no smaller than 8.5" x 11". The copy may be black and white as long as the image is clear. After you have the image, create a tracing paper overly by taping the two top corners of the tracing paper to the image. You are then to look for all the compositional elements that Degas has used in the painting and trace them out on the overlay.
Composition is the arrangement of various elements in the given picture plane. Composition is used to control the viewers eye as it moves through the image. Some elements of composition frequently used are vertical, horizontal and diagonal lines (often forming larger geometric shapes such as triangles and zigzags), repeating shapes and colors, scale of shapes, balancing of positive and negative space, placement of significant features (heads, torsos, arms and legs) and pointers (the directionality of people or objects gaze that have a specific "face"). Below are examples of some of these elements found in one Degas painting.

Here Degas uses the transition of the color in the ground plane to create a strong right and upward pointing triangle, with the standing figure creating the base. You can see how it is intensified by the direction of the gaze of the standing figure. The top horizontal line even seems to bee coming right out of her eyes.

Here again Degas creates a strong right facing triangle, this time angling downward to balance the first one, through his placement of the tops and bottoms of the figures clothing.

Here you can see him using the color of the the clothing, complimented by the reduction in scale to create movement.

Again he is is using the repeating color and shape of the hair to push us across the image.

August 30th - The Gesture

noreply@blogger.com (Nathan Bond) — Wed, 15 Sep 2010 15:01:00 +0000

A gesture drawing is a fast (typically 1-5 minutes) drawing that is used to capture the essential elements of the figures pose. The essence so to speak. A successful gesture is able to show where the stress, tension, implied movement, mass and weight of the figure are. There are an unlimited number of ways to show these qualities trough the application of line. Your line variety and relationships to each other are what will give these various qualities life. Below are several examples of gesture drawings done in class.