FA2016.SA214.CAZ

Wednesday, November 2, 2016

images

Ghana Amer

Inka Essenhigh

Lucian Freud

Bo Bartlett

Mark Tansey

Nicole Eisenman

Jenny Saville

Philip Pearlstein

Susanna Coffey

Thursday, October 27, 2016

ink drawings

Gesture Drawing in action ONE

Gesture Drawing in action TWO

Gesture Drawing in action

Gesture Drawing +

More Gesture with Alfonso Dunn min:25

Gesture Drawing
Reminders: FOCUS LONG > DRAW LOOSLY > DRAW FAST TO NOT PICK UP DETAILS > DRAW DOMINANT THRUSTS AND DIRECTION > DRAW LARGE (look for big shapes) > DRAW LIGHTLY > LET TOOL GLIDE ACROSS THE PAPER > DRAW LINES OF RHYTHM > DRAW THE ACTION > DRAW LIVELY > CONSIDER TRANSITIONS BETWEEN FORMS > LINE SHOULD BE A CONTINUOS FLOW OF TOOL > CAPTURE MOVEMENT & ESSENCE OF GESTURE > not the static details!

Gesture drawings in ink

Cross contour drawing

others completed in ink...

Egon Schiele

Luc Tuymans

Marlene Dumas

Marlene Dumas Portrait Collection

Egon Schiele

Cross Contour drawing of figure

Marlene Dumas

Various focal point figure drawing

Marlene Dumas

Gestural drawing with fluid ink

Cross contour drawing

Compositional ink drawings

Egon Schiele

Thursday, September 8, 2016

analytical assessment rubric

Art & Design Analytical Research Papers

using creative work examples Rubric

Analytical Assessment valued in the 5 qualitative areas below:

#1 Analysis of the creative work

Grade A (student is excelling standards)

B (student is meeting standards)

C (student is approaching standards)

D (student is not meeting standards)

A. Student accurately describes several dominant elements or principles used by the artist/designer and accurately relates how they are used by the creator to reinforce the theme, meaning, mood, or feeling of the creative work.

B. Student accurately describes minimum of three dominant elements and principles used by the artist / designer and accurately relates how these are used by the artist to reinforce the theme, meaning, mood, or feeling of the creative work.

C. Student describes some dominant elements and principles used by the artist, but has difficulty describing how these relate to the meaning or feeling of the artwork.

D. Student has trouble picking out the dominant elements.

#2 Interpretation of the creative work

Grade A (student is excelling standards)

B (student is meeting standards)

C (student is approaching standards)

D (student is not meeting standards)

A. Student forms a somewhat reasonable hypothesis about the symbolic or metaphorical meaning of the creative work and is able to support this with evidence from the work.

B. Student has the ability to identify the literal meaning of the work.

C. Student can relate how the work emotionally charges feelings in viewers

D. Student finds it difficult to interpret the meaning of the work.

#3 Description of the creative work

Grade A (student is excelling standards)

B (student is meeting standards)

C (student is approaching standards)

D (student is not meeting standards)

A. Student makes a complete and detailed description of the subject matter and/or elements exhibited in the creative work.

B. Student makes a detailed description of most of the subject matter and/or elements seen in a work.

C. Student makes a detailed description of some of the subject matter and/or elements seen in a work.

D. Student provides descriptions that are not detailed nor complete.

#4 Evaluation of the creative work

Grade A (student is excelling standards)

B (student is meeting standards)

C (student is approaching standards)

D (student is not meeting standards)

A. Student has the ability to use multiple criteria to judge the artwork, such as composition, expression, creativity, design, communication of ideas.

B. Student uses at least 2 or 3 criteria to judge the artwork.

C. Student attempts to use aesthetic criteria to judge artwork, but does not apply the criteria accurately.

D. Student only evaluates the work as good or bad based on personal taste.

#5 Mechanics of Writing

Student is A = EXCELLING
or B = MEETING
or C = APPROACHING
or D = NOT MEETING in the following areas:

Student makes use of at least three credible sources (no Wikipedia!)

Student makes use of APA or MLA writing format and includes a properly cited bibliography

Student includes visual illustrations to support essay’s content

Student completes an essay that illustrates the clarity of the main point, its development or argument, seamlessly

The completed essay is well organized in its construction and writing style

The completed essay exhibits technical control in the mechanics of writing and grammar

Monday, September 5, 2016

#2 skeletal / figurative narratives

Project #2
:: Developed gesture / skeletal drawings (10% of final grade)

Take drawings from class and redraw them interacting on the same page with skeletal figures. Consider composition, consider media, consider audience. Complete on drawing paper, minimum edge 18".
Do some research for further information and place the evidence in your sketchbook.
More information in the URL links below >

inspiration:: Danse Macabre, Memento Mori, medical illustrations, anatomical studies and more...
" Memento mori has been an important part of aesthetic disciplines as a means of perfecting the character by cultivating detachment and other virtues, and by turning the attention towards the immortality of the soul and the afterlife."

>> Who am I? And, where I am going?

Tabulae anatomicae (1741, published) by Pietro da Cortona (b.1596 - d.1669)

Tabulae anatomicae, Pregnant Woman

"Tabulae Anatomicae, Plate 19," by Pietro da Cortona and Gaetano Petrioli (1741 publishing date).

Andreas Vesalius (b.1564 Belgium - d.1664 Greece), "De Humani Corporis Fabrica" (1543).

Pietro Berrettini da Cortona may have been guilty of painting too many of them, but when it came to the human body, he certainly knew it from the inside out.

Andreas Vesalius, Anatomy, Medical Illustration (after Cortona)

.A dancing skeleton his spine, ribs and hip, while other bones float in the air. Cropped from Pietro Berrettini da Cortona, Tabulae anatomicae, (published in Rome, 1741), engraving