Drawing from the Inside Out Projects for Beginning through Advanced Drawing

Barbara Kerwin

With Jon Measures & Wendy Welch

ATS Art Textbook Society Copyright 2015. Author, Barbara Kerwin. All rights reserved. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic or mechanical, including but not limited to photocopying, recording, scanning, digitizing, taping, Web distribution, information networks or information storage and retrieval systems except as permitted under Section 107 or 108 of the 1976 US Copyright Act, without the prior written permission of the author.

Barbara Kerwin, author, has taught Fine Art in colleges and universities in the Los Angeles area since 1990. She is currently a tenured Professor of Art at Los Angeles Mission College, where she has supervised Art for a decade and served the Los Angeles Community College District’s nine colleges as the District Arts Chair for several years. Students from her classes at Pasadena City College, L.A. Pierce College, College of the Canyons and L.A. Mission College are represented in the text. Kerwin holds an MFA from the Claremont Graduate University, where she received awards and fellowships. She has exhibited her paintings in over 100 gallery and museum exhibitions throughout the United States and abroad, and is collected widely. Kerwin has been reviewed in many publications and is included in several books on contemporary art. Kerwin received a Los Angeles Artist Cultural Innovation Grant for her 2012 painting survey exhibition GEOMETRIC PROGRESSIONS. Photo credit: Eric Minh Swenson

CONTRIBUTORS:

Wendy Welch is a Canadian visual artist whose practice includes drawing, painting and installation. Welch has had several solo and group exhibitions of her artwork in Canada and the US. She is founder and director of the Vancouver Island School of Art (VISA), an accredited post-secondary school, where she teaches drawing and painting courses. Wendy is an art writer and has been published in the prominent Canadian art magazines Canadian Art and Border Crossings. She was art writer for the weekly Monday Magazine from 2000–2008. Her MFA is from University of Victoria, British Columbia, Canada. Jon Measures is a British artist, based in Los Angeles. His fine art degree is from Falmouth School of Art in the UK. He currently teaches Art and Computer Design at several Los Angeles colleges. Jon is an exhibiting artist and also works as a freelance graphic designer and illustrator. Themes in his exhibition work include personal identity and how it is defined in the age of the Internet. Jon uses the layout of city streets, telephone poles, maps and spider webs in his work to symbolize interconnectedness, relating back to the web and social networking.

i.1. Cover: Still from The Mystery of Picasso (French: Le mystère Picasso), 1956 French documentary film about the Spanish painter Pablo Picasso, directed by Henri-Georges Clouzot.

PREFACE

I would like to thank Clark Baxter for his vision and for coming to my college to find out why the many

drawing courses I scheduled for my small college had no textbooks assigned. I pointed out that given the demographics of my students, most cannot afford expensive books and further, they may skip the reading altogether. After a good discussion involving the need for an affordable, concise textbook that covers all levels of college drawing, Clark invited me to write this book. To freelance writer Tim Bradley, thanks for your timely copyediting and for the creation of the Glossary. Clark Baxter suggested the Digital Drawing chapter and I invited Jon Measures, a Computer Graphics colleague to contribute several projects to the text. In considering the span of this project, I also invited Canadian artist, art school founder and director, Wendy Welch to contribute 18 lessons; sixteen of these projects occur among the 40 presented in Advanced Drawing: The Creative Portfolio. Her Vancouver Island School of Art (VISA) is known for its contemporary approach to drawing. Wendy also wrote the Glossary of Materials and Surfaces found in the back of the text. Illustrating each lesson are a master and student drawings. My hope is that our student drawing selections will help the new artist see a solution to each project created by peers and that the master artists’ examples show each project’s inspired reach.

A look through all 225 pages of the three college courses will show the comprehensive approach taken to cover the great range of topics in this one textbook. There are more than 140 concepts and projects presented in a succinct, art historical context. The projects follow in a sequential manner that provides the necessary information for the next concept. Technique projects are followed by a creative-synthesis lesson. Many professors will choose where to focus their courses and will naturally expand or condense these projects. Some will combine Beginning Drawing (black and white mechanics, composition and structure) and Intermediate Drawing (color drawing) into one course, editing where desired. The goal of this multi-course textbook is to provide a thorough, condensed and affordable resource with inspiring artworks culled from our studies, teaching and international travels.

The book is easy-to-use when open onto the studio table where the prompts and examples for each project can be followed. The book is for use through several semesters and into the artist’s studio. This book has taken a few years to write and has been a labor of a passion for art and creativity, drawn from the inside out.

Sponsors: It is with gratitude that I extend a most special thank you to the generosity of Dr. and Mrs. George Owen Lamb, Abbott Brown, Robert and Robin Wood, Jay Belloli, various museums, galleries and artists for their financial and artistic contributions that have allowed this book to exist. –Barbara Kerwin

i.5: Drawing From the Inside Out: Student at work on Supersize Me! Oil pastel on butcher paper, 3’ x 10’. Photo courtesy Bethany Noel, 2010

Drawing From The Inside Out Projects for Beginning through Advanced Drawing --Preface v

Contents: —An Introduction viii

I. Beginning Drawing 1 1. THE LANGUAGE OF ART 2

1.1: The Formal Elements and Principles of Design, Defined. 1.2: The Critique.

2. CREATING WITH LINE 17 Mark Making: 2.1A: Mark Making. 2.1B: Balance and Placement. 2.2: Writing as Drawing. Line Into Shape: 2.3A: Blind Hand. 2.3B: Blind Portrait. 3C: Blind Contour, Plants. 2.4: Gesture.

2.5: Controlled Contour. AID TO DRAWING I: Scale & Proportion: i. Plumb Line. ii. Level. iii. Copy the Angle. iv. Trapped Shapes. v. Comparative Measures. vi. Standard Unit of Measure. 2.6: Erased Still Life. 2.7: Contour Line the Edge of Space (Positive/Negative Spatial Relations). 2.8: Line into Form: 2.8A: Cross Contour. 2.8B: Gesture. 2.8C: Crosshatch. 2.8D: Hatch. 2.8E: Stipple. 2.8F: Ink Wash. 2.9A: NOTAN: Compositional Balance. 2.9B: Collage: Line Weights & Balance.

3. VALUE 44 Value Gradations: 3.1: Tonal Bars. 3.2: Values in a Sphere. Use of the Grid: Photography And The Grid In Contemporary Art

AID TO DRAWING II: vii. Grid Transfer. 3.3: Photo-match. 3.4: Copy the Masters (Research Project/Homework 5 Weeks). 3.5: Self-Portrait with Master Elements (Take home Final).

4. PERSPECTIVE & FORM 57 AID TO DRAWING III: viii. Ellipses.

4.2A: Symmetry Drawing. 4.2B: Symmetry & Elliptical Values. 4.3: Ellipses in Full Value System.

AID TO DRAWING IV: Perspective Systems: ix. 2-Point Perspective. x. 1-Pt, Perspective. xi. 3-Point Perspective. 4.4A: Practice Boxes in 2-Pt Perspective. 4.4B: The Challenge. 4.5: Two-Point Boxes with Planar Values. The Worlds of William Kentridge

5. TEXTURE 71 5.1: Da Vinci Drapery Study 5.2: Texture—Illusion of Softness in Drapery. 5.3: Shiny Objects 5.4: Reflections Water, Glass and Metal. 5.5: Texture In Still Life: Additive/Subtractive Process (FINAL) Richard Diebenkorn

II. Intermediate Drawing, Color 79 6. ATMOSPHERIC PERSPECTIVE 80

6.1: Boxes (Review) TECHNIQUE I: Warm And Cool Marker. 6.2: Boxes, Warm & Cool Marker. 6.3: Practice Chair Use of Overlays 6.4: Chair, Warm & Cool Markers Atmospheric Perspective History 6.5: Building with Warm & Cool Marker. 6.6: Fantastic Scale—(Perspective Unit Final)

7. COLOR 91 Color in Art History. Color Properties. Color Schemes. Color Drawing. 7.1: Color Wheel. Collage

7.2: Collage & Color Match (Part I) TECHNIQUE II: Colored Pencil & TECHNIQUE III: Chalk Pastel. 7.3: Color Match Colored Pencil. (Part II) 7.4: Color Match Chalk Pastel (Part III)

AID TO DRAWING V: xii. Sketching. xiii: Thumbnail Study 7.5: Thumbnail Studies 7.6: Overlapping & Merging Interrelationships—B & W Still Life 7.7: Overlapping Still Life, Colored Pencil

8. HEAD, HANDS, & FEET 108 IN COMPOSITON:

Gerhard RIchter Anatomy Studies Bone Diagrams 8.1A: Head/Skull Anatomy. 8.1B: Hand Anatomy. 8.1C: Feet Anatomy. TECHNIQUE IV: Oil Pastels. 8.2: Feet in Oil Pastel. 8.3: Feet in Chalk Pastel. 8.4: Feet, Timed Drawings. 8.5: Hand Studies, Masters. 8.6: Hand Studies, Observation. 8.7: Hand Studies: Timed.

AID TO DRAWING VI: xiv. Rules of Human Proportions: Head. xv. Eyes. xvi. Nose 8.8: HEADS: ‘Make Three Humanoids’ in Proportion. 8.9: Self Portrait. 8.10: HEAD: Iconic Portrait.

AID TO DRAWING VII: xvii. Standard Unit of Measure: Body

Course Final Exam: Head, Hands & Feet in Composition 8.11: Head in Composition: Timed 8.12: Hands in Composition: Timed 8.13: Feet in Composition: Timed Lucian Freud

III. Advanced Drawing 127 9. RELATIONSHIP PLAY 132

Ornamental Grammar: 9.1: Ornamental Grammar as Pattern. 9.2: Pattern, Ornament and Decoration Symmetry vs. Random. 9.3: Freehand Ornamentation 9.4: Doodle as Ornament. Interrelationships: 9.5: Interrelationships.

9.6: Cubist Drawing. 10.THE BODY 143

10.1: Conglomerate Portrait. 10.2: The Moody Face. 10.3: Portrait from the Inside Out. 10.4: The Figure in a Fantastical Background. 10.5: The Body as Parts.

11.SUMMONING THE SURREAL 153 11.1 Summoning the Surreal.

12.LANDSCAPE 156 12.1: Gestural Landscape. 12.2: Reductive Landscape 11.3: Reinventing the Landscape.

13. BOOK, NARRATIVE & CHARACTERS 161 The Alchemist. 13.1: Composition with Hidden Drawing 13.2: The Book. 13.3: Creating Characters. Illustration and Narrative. 13.4: Fragmented Narrative. Nostalgia and Memory. 13.5: Drawing an Era. 13.6: Memory. 13.7: Illustration by Cutting.

14. THE LANGUAGE OF MAPPING 177 14.1: Mapping, Emily Prince Installation 14.2: Map as Background. Mapping the Abstract

15. ARCHITECTURE AS STRUCTURE 181 15.1: Abstract Architectural Drawing. 15.2: Architectural Plans as Drawing. 15.3: Interior Space as Source. 15.4: Architecture Construction as Model. Creating the Conceptual, Sol LeWitt Installation 15.5: Supersize Me! Kim Jones

16. DIGITAL DRAWING 194 Introduction to Digital Drawing—Jon Measures

Freehand Drawing On The Computer 16.1: Digital Sketchbook 16.2: One A Day 16.3: Published Sketchbook. 16.4. Google Grazing Digital Collage 16. 4: Portrait With Overlays

Ryan McGinness Glossary of Drawing Materials xii Glossary of Terms xv

i.6: Leonardo da Vinci (1452-1519, Italian Renaissance), Perspective Study for Adoration of the Magi, 1481.

DRAWING FROM THE INSIDE OUT—An Introduction

Time has moved the study of art into a brand new arena. DRAWING FROM THE INSIDE OUT is a textbook that addresses drawing in the new world of international contemporary art. International art fairs, the ease of world travel and access to the Internet make a global dialogue the norm. No longer are artists bound to the community from whence they are educated. Artists are free to participate in views from a multiplicity of cultures about what constitutes an aesthetic experience. DRAWING FROM THE INSIDE OUT provides a structure of lessons beginning with a Western analytic approach to drawing that incorporates realism and its approach to objects in composition, then travels into the distant lands of the imagination by integrating non-Western ways of seeing. What does it mean to draw from the inside out? It is an invitation to draw from your own experiences with the knowledge of skills and techniques drawn from the art canon.

Chapters 1-5 relate to basic or Beginning Drawing with projects in black and white media to develop drawing skills in new and gifted students wishing for formal training in art. Chapter One begins with THE LANGUAGE OF ART, “The Formal Elements and Principles of Design, Defined”. Each of the arts has a language—music has notes and harmonic structures, so too, does visual art possess a language. THE LANGUAGE OF ART explains what the elements and principles are, establishing the language used throughout the text. The first chapter concludes with an informative presentation on “The Critique.” Critique formats are illustrated using a single work of art to show the benefit of each different critique style and how advancing culture recognizes different approaches to art. Critique styles vary and are valuable tools for growth that allow insights into the expanding field of aesthetics and practice.

Beginning Drawing focuses on black and white drawing media to emphasize the development of line into form and volume. Occasionally, an outside concept is necessary to help ease understanding within a lesson’s arc, these outside helpers are called AIDS TO DRAWING. They are featured in the technique building Chapters (2-8) to assist skill development. Intermediate Drawing focuses on the use of color in drawing. Color media and deeper drawing challenges are explored. The 20th Century ushered composition in as the subject of art (see Chapter 7). DRAWING FROM THE INSIDE OUT is dedicated to the development of composition as the central issue of drawing today. Compositional strategies occur throughout the book and are the first building block upon which each drawing depends.

i.7: Julie Mehretu (Ethiopian/American), Stadia l, 2004. Ink and acrylic on canvas. 107 x 140 inches. Post-Modern space. SFMMA.

Beginning and Intermediate Drawing (Chapters 2-8) rely on a Cartesian perspectival model for drawing,

extracted from the scientific method developed by Rene Descartes (1596-1650, French) to explore realistic ideas of form and volume. The great Renaissance artist, Leonardo da Vinci’s one-point, Perspective Study for Adoration of the Magi (Fig. i.6) exemplifies realistic spatial constructs. In this text, we recognize that the Western Cartesian model is but one method of seeing and it is helpful to use it to describe realistic form.

In “Scopic Regimes of Modernity” (VISION AND VISUALITY, Hal Foster, ed. Bay Press: 1988, pp. 3-23), Martin Jay outlines how Western European man has been trained to view the world with the Cartesian model of perspective. He goes on to state that other scopic regimes (or ways of seeing) are also valid and may have more to do with feeling and perception than Cartesian perspective allows. In this textbook the non-western models are adventurously explored in the Creative Portfolio (Advanced Drawing). Ethiopian/American artist, Julie Mehretu’s, Stadia I (Fig. i.7, 2004) above, shows an explosive, joyful and chaotic space giving the impression of a happy and well-fought victory associated with sports arenas. At the same time, she is looking at the corporate-owned stadium and Stadia I can also be a view of power in our time (Goldman Sachs commissioned an 80-foot mural in 2010 by Mehretu). Mehretu’s exploded field is but one of the new compositional models in this book.

Advanced Drawing: The Creative Portfolio (Chapters 9-16) is a place to stretch out into 21st century drawing. Inventive projects abound, ready for selection into a concentration. There are thematic projects such as interrelationships, books, conceptual drawings, digital drawings, drawings designed for spaces and more. In this last course a series of drawings is created in a personal style that can later be exhibited, animated, incorporated into books, or game design. Creative Portfolio parallels contemporary art and is highlighted throughout with works by acclaimed international artists. It is exciting to contemplate the many ways of seeing that the world’s cultures present, exemplifying the global interconnectedness of art today. Creative Portfolio can be revisited with a new area of interest as time moves on.

DRAWING FROM THE INSIDE OUT covers composition, techniques and innovations in drawing in one comprehensive book. The textbook begins with lessons on creating realistic form wrapped in solid compositional awareness. The book advances to a global, intercultural approach that opens the artist to a world of ideas both contemporary and historic. Technical approaches from many cultures across time are illuminated. The human imagination is the source of content in DRAWING FROM THE INSIDE OUT. This textbook is a tool to use on the journey of creativity.

Beginning Drawing—The Language of Art 1

1.i. Willem de Kooning (1904-1997, Dutch American) drawing Two Women, in his studio, circa 1952.

THE CRITIQUE The critique is an avenue for growth, learning and later improvement. Individual responses to a given project open new vistas for the participants. It is essential to look at each completed work in a critique setting at the conclusion of the project. This chapter showcases a variety of critiques. The level of discussion rises with the awareness of the history of art and its movements. There is no reason any of the following critique forms cannot be applied in a given critique. A critique style is recommended at the end of each project, but any critique form can be chosen. In this section, The Critique, the artwork in Figure 1.19 will be analyzed in each of critique styles. Sample questions and analysis are offered to help frame each of the critique formats. The art studio’s critique wall is a good place to view works and hold the discussion.

ANALYZE THIS—Types Of Recommended Critiques: 1.19. POP BOOK, Patty Perez, oil pastel on paper

1. Technique. The critique may be only about the technique learned. If it is a blind contour, did the student look at the page? Did the pen lift from the page or stay connected? In the figure 1.19 example, oil pastel technique has been applied with a graphic (flat) application and the oil pastel is applied in thick, burnished layers with bold accent colors. 2. Technical Correctness. After basic techniques are incorporated via ever more complex projects, ask if the technique has been applied accurately. Does the application of the technique enhance or detract from the drawing? A critique employing Technical Correctness asks simply, “How accurately has the technique been applied to meet the goals of the project?” Since the POP BOOK oil pastel drawing (Fig. 1.19) uses bold colors with the burnishing and blending technique to describe a face and hands in this drawing, the technique has been used with good effect.

3. Compositional Analysis focuses on composition, utilizing the Elements And Principles of Design. This is the same as Formal Theory (see below). The analysis starts by discussing each element, then commenting on the type of spatial order accomplished. Is it successfully balanced? In Figure 1.19, the artist has chosen yellow and blue primary colors for Pop BOOK, with warm orange accents against the complementary blue ground. The symmetrical composition is of a face and hands with fingers spelling the same word on either side of the face. This drawing is organized with symmetrical balance, but, the corners have been activated by opposing yellow and lighter blue squares that help the composition to rock with asymmetry. 4. Content asks what the piece is about? How does it make you feel?

In Perez’s oil pastel, the drawing feels fun to look at, yet the finger spelling is discomfiting because it may be saying something threatening. The artist is using her cultural awareness to make a current, brightly colored Pop Art piece. Content may be the only method used for certain critiques in which personal information is disclosed or composition is not at issue. 5. Content and Compositional Analysis weave the formal properties of the composition (its structure and rhythms, use of line, space and balance) with a discussion on the feeling or mood evoked by the piece, with both taking time to be analyzed. Does the composition balance (#3 Compositional Analysis)? What is the work about? What does it make you think about and feel (#4 Content)? 6. Phenomenological critiques require waiting with an open mind for insight. Phenomenology is a branch of Philosophy. “Phenomenology is the study of structures of consciousness as experienced from the first-person point of view. The central structure of an experience is its intentionality, its being directed toward something, as it is an experience of or about some object. An experience is directed toward an object by virtue of its content or meaning (which represents the object) together with appropriate enabling conditions.” (The Stanford Encyclopedia of Philosophy, 2011) In the Perez work, sit for one minute without judgment. Allow thoughts and feelings to enter your mind. Follow where the eye goes. After one minute, share a word or phrase that came to mind. It is helpful to write down the list of adjectives. In Patty’s piece figure 1.19, the words “happy” and “threatening” are some of the words that come to mind. Sister Wendy Becket, a nun who has studied and written extensively about art uses a phenomenological approach to critique great masterworks in the BBC production Sister Wendy - The Complete Collection (Story of Painting / Grand Tour / Odyssey / Pains of Glass) (by Wendy Beckett, BBC, DVD - 2006). AESTHETICS METHODOLOGY: E. Louis Lankford offers valuable critique forms in AESTHETICS: Issues and Inquiry (National Art Education Association, 1992). A basic premise holds that an individual’s concept of art can change over time as knowledge and skills increase, along with shifts in attitudes and values. Selections are summarized below: 1. Mimetic Theory relates to art that mimics the real world. It judges art by how well it imitates the real world around us. Many people never advance beyond this level of viewing artistic images. Mimetic theory develops in our perceptions during the primary grades. In this manner of judging the drawing in Figure 1.19, one could say it is simplified or childlike in its attempt to describe a realistic human face. The colors used are not natural skin tones. It is unrealistic. 2. Expressionism draws a relationship between the evocative power of an artwork, the emotional senses of the artist, and/or the audience’s responsive feelings. This form of viewing is very personal and is akin to Phenomenology. Figure 1.19’s portrait of a young person is fun and exciting to view. The colors radiate energy and cool. The hands are saying something I do not know. When I don’t know something I may automatically feel threatened or curious. 3. Formalist Theory judges an artwork by its arrangement of the elements and principles of design. Analyzing composition gives way to sustaining aesthetic contemplation and appreciation of the work’s sensuous properties. This is a very good way to approach a sensitive or highly volatile art in discussion. (See #3, Compositional Analysis, above) How are the elements used? How does the composition lead the eye? Is it balanced? If there are a multitude of elements, is it unified? If not, what may strengthen the composition?

4. Open Concept is used when making comparisons of one work of art to another. Select a work from the indisputable canon of art, and compare it with the questioned work. Artistic taste and understanding can be comprehended via this relationship. Figure 1.19, POP BOOK, references the great 1960s art movement led by Andy Warhol. Patty Perez uses the graphic style, in silk-screen-like flatness incorporated by Warhol, with electric lines added for excitement. This work has a distinct feel of a ‘60s Warhol portrait updated into the 21st century. 5. Institutional Theory sets no conditions for the visual properties or content in a work of art. It addresses art of its time. “What is art?” is replaced by “When is art?” The ‘60s Happenings, and Marcel Duchamp’s Dadaist urinal, Fountain (1921), fit this paradigm perfectly. Arthur Danto states that, “to see something as art requires something the eye cannot decry--an atmosphere of artistic theory, a knowledge of the history of art: an ‘art world.’ When a work is discussed by the artists, dealers, curators, critics, and patrons, (the tastemakers), and the work is displayed, discussed, written about, and critiqued, it becomes accepted as Art. Figure 1.19 has until now never been discussed as a work of art by any institution or theorist. Because the work remains outside of the discourse, we cannot consider it a part of the paradigm. It does however reference Pop Art, which says it is aware of its point in time 50 years after the movement began, and it is using a cultish finger spelling to say it is happy to quote outside this paradigm. 6. Critical Theory and Postmodernist pedagogy call for a restructuring of art in society, so traditional distinctions of high and low culture or popular culture can dissolve. This more democratic idea is that anything can “be” art if contemplated so. Figure 1.19 places itself in the low culture of graffiti art, tying itself to the influence from high culture by quoting from Warholian Pop Art colors and composition. It shows the artist is aware of her time. ANOTHER VIEW POINT: Developmental Theory Finally, Michael Parsons in his, How We Understand Art: A Cognitive Developmental Account of Aesthetic Experience (Cambridge University Press, 1989), researched and developed five stages people may pass through and into as their understanding of art develops. His basic concepts for the stages are outlined below: 1. Stage One: Preschool is associated with sensual experiences. Children are non-judgmental, freewheeling and employ highly personal perceptions of art. Judging Figure 1.19 at this stage: “I like the way it looks, it makes me want to feel and touch it.” 2. Stage Two: Elementary students are concerned with skill, realism and beauty. This stage may hold an individual’s viewpoint for the rest of his or her life if further artistic understanding is not developed, but many automatically move on to new perceptions. Judging Figure 1.19 at this stage: “The work is flat, and brightly colored. My eye moves everywhere. It does not appear real, more like a cartoon or an apparition.” 3. Stage Three: In Adolescence, individuals become aware of the uniqueness of aesthetic experience. Beauty and realism become less important than expressiveness. Many times the idea is, “I have the right to my own opinion,” evasive though it may be. Judging Figure 1.19 at this stage: The artist appears to be saying: “I don’t care what you say to me,” because she has chosen hand signals that tell me so. The work is exciting and daring. She makes a face seem not so boring or realistic, it is in fact trying to shock me.

(Stages Four and Five appear, if at all, in adulthood.) 4. Stage Four: This stage shows knowledge of style and form, which comes from an ever more sophisticated concept that artwork is the embodiment of the culture. Judging Figure 1.19 at this stage: Perez’s use of bright blues and yellow primaries push a hot, cool theme, dominated by cool blues. The Pop Art reference to Andy Warhol tells me she either respects Warhol or wants to tie the ‘60s to the 20-teens. This makes me ask the question “why the two?” What the fingers say relates to our gang culture, and she is linking the two periods to street art, or art for the masses. The Museum of Contemporary Art in Los Angeles held an exhibition in 2011 devoted to street art, called: Art in the Streets. Perez seems to be participating in the art of our times. 5. Stage Five: Like self-actualization, this stage is an acute awareness of habits of thought and the interconnection of art and culture. Both are to be examined and may change. Judgment and art are subject to change as one’s habits are reevaluated. Figure 1.19 is another example in Perez’s book and other projects of her emulation of Warhol’s use of an electric line outlining the artificially and brightly colored subject. Perez has aligned herself to Pop Art, graffiti and low culture in all of her drawings and paintings. This appears to be a statement that identifies her as belonging to the street culture of Los Angeles. I want to see what she does outside of the college setting to see how it manifests as her personal style. 1.20. College Critique Session: The students put together a puzzle brought in by classmate, Stella Cheung. As they compare the puzzle’s shapes and colors the world begins to take form. Photo credit: Barbara Kerwin

Project 5.4 Reflections–Glass, Water & Metal Reflections, Refractions, Distortions, Highlights and Shadows MATERIALS: Charcoal system or Graphite system. Clear round glass, spoon and water. ARTIST: Janet Fish CRITIQUE: Technical Correctness. Reflections, highlights and shadows on water glass and metal are the details necessary to capture for the reflective textures in Project 5.4. Ashton Phieffer has captured all and placed the subject of the drawing in a nicely composed ground (Fig. 5.7). Janet Fish has focused on the reflections of glass in her works, such as in Fig. 5.8. Wine and Cheese Glasses (facing page).

1. Select a clear, round glass. Place a spoon inside the glass and fill glass part way with water. 2. Additive/Subtractive Drawing: Tone the page with chamois and charcoal dust (or graphite dust) to create a middle tone from which you can add shadows and erase lights and highlights. 3. Proportion your page to find figure/ground balance. 4. Draw the contour for the cylinder lightly with your vine charcoal. 5. Draw the ellipses for the glass rims and base, and water level. 6. Draw the distortion of the spoon as it passes behind the rim of the glass. 7. Draw the distortion of the spoon passing behind the front rim. Show the material weight of the glass. 8. Look for and draw the refraction, distortion or magnification of the spoon inside the glass after it enters the water. 9. Sketch in the highlights and shadow shapes of the reflections on the front and back of the glass. Shade in. 10. Repeat for the spoon. 11. Adjust all values to finish the drawing.

5.7. Glass, Water, Metal: Ashton Phieffer Charcoal and White conte on toned paper, 18x24”

INTERMEDIATE—COLOR: Heads, Hands, Feet & Perspective

This second course focuses on drawing in color. It follows the important basic skill development of beginning drawing’s black and white value studies affording the artist an ability to create the illusion of depth. Intermediate Drawing again follows the Cartesian (or scientific) model of realism to develop drawings, now in full color. With color comes the historical change in Western art history that led to the use of subjective color and a compositional confluence that no longer focuses on the subject alone, but includes composition as a subject of art. Drawing first with low saturation cool and warm markers, followed by full spectrum colored pencil, chalk and oil pastels offer full color combinations and media exploration. Color problems are first introduced with a discussion of receding space or atmospheric perspective, and the exercises in warm and cool color theory are applied to perspective. Imagination is invited for the unit final, creating a Fantastic Scale (Project 6.6). Specific color replication techniques commence the color projects, along with new compositional solutions. These practiced ideas lead to a concentration of drawing from observation that dominates the rest of the course. Proportional figure studies of the head, hands, and feet strengthen the use of color by drawing complex forms. This course is not a Life Drawing course, but is an intermediate course that uses the figure components for observation practice. This practice builds confidence through speed while applying the skills and techniques to create realistic drawings within while strong compositional balance. Student models cannot hold poses for long, so drawing speed naturally increases and sketching with value and color synthesis becomes an important part of completing the course. The figure component of this course may be expanded, and prepares students for a full life-drawing course later. Los Angeles artist Jon Swihart’s Untitled (Fig: INT: i.1) is an example of an artist combining color theory, figure, linear and atmospheric perspective and imagination. In this small work, he has first drawn it, and then painted his vision with a fine-haired brush, receding the Los Angeles foothills across the broad valley. Swihart’s ability to draw in color is pronounced. His vast knowledge of the techniques used for drawing and painting spans the history of art. With this training, he easily quotes from this knowledge artistically to paint internal, contemporary allegories that are akin to the Biblical visions created by Renaissance masters. Swihart uses classic perspective, figure proportions and Renaissance atmospheric perspective to tell the story of a young man (self-portrait) trapped in an archaic tomb. The rubble of past structures is strewn between him and the naked beauty standing alone in the landscape (in classic, contrapposto pose). The ability to draw in color adds believability to this dream-like story by placing it in a realistic setting.

COLOR PROPERTIES & COLOR SCHEMES

The introduction of color into drawing is exciting and demanding. The complex nature of color’s three main properties, hue, value and intensity, are our focus, what these are and how they function. This analysis of color will expand the impact of a drawing by reflecting the world with color. Hue is the name of a color, such as red, yellow-orange or violet it is defined by the hue’s reflection of light and its location on the color wheel spectrum. The first to diagram color was Sir Isaac Newton (1642-1727, British), a physicist, mathematician, astronomer and theologian most celebrated for his study of gravity. From 1666 to 1672, Newton conducted his crucial optics experiments about the refraction of light in color. He sent light through triangular prisms and noted the order of colors in the spectrum, which are: red, orange, yellow, green, blue, indigo and violet. ROY-G-BIV is the mnemonic device for this order, the same that appears in the rainbow. Hues then are the names of colors. They are seen as reflected wavelengths of “visible light” measured in nanometers (between 400 and 700 nm). Red, for example, has a long wavelength and is any of the “red” hues that are reflected between 625 and 740 nm. Blue is very short and measures approximately 450 nm. Violet (purple) wavelengths are 400 nm, the shortest and darkest of the 12 hues on the traditional color wheel. Carbon black absorbs 97 per cent of all radiant light waves and thus is the combination of most hues. White is the reflection of most hues or “absence” of color. A hue is measured by the amount of light that it reflects. Primary colors are red, yellow and blue and are necessary to mix all other hues There are a variety of choices within each yellow, blue and red primary that will yield slightly differing mixes. For example, a cobalt blue is slightly more violet than a cerulean blue, yet both are blues and may be used to mix the other colors. Secondary colors are mixtures of any two primary colors and are green (yellow + blue), orange (red + yellow), and violet (red + blue). Tertiary colors are a mix of a primary and a neighboring secondary, with the primary listed first in the hyphenated colors: y-o, y-g, b-g, b-v, r-v, and r-o. In Figure 7.5 Zaria Forman’s mother encouraged her to travel to Greenland for inspiration to draw in soft pastel the beautiful blues and neutral skies of Greenland #63, not only focusing our attention on the sophisticated use of color and pastels, but on the larger concern of global warming.

7.5. Zar ia Forman (American), Greenland #63, creates photo- realistic color in this soft pastel on paper (50 x 75”, 2013, copyright the artist).

Value refers to the darkness or lightness of a given color. It is adjusted by adding white to create a tint or black to darken the color into a shade, or the hue can be modified by black plus white to create a tone.

Intensity (or Saturation) is the brightness (saturation) or dullness (desaturation) of a hue as it comes

from the tube or point of a colored pencil or other color medium. A color’s intensity cannot be made brighter than its brightest saturation as it comes from the manufacturer, unless a different, brighter hue in the same family is overlain. However, one can lower the color’s intensity (or desaturate the color) by adding the opposite color on the color wheel, the color complement. By visually adding the complement to the main hue, the saturation will be decreased and a neutral (sometimes called grayed) color variant is achieved. This produces a different “gray” than mixing a tone of black plus white, then adding it to the main hue. The neutralized color is a staple of color composition. The three main properties of color: hue, value and intensity are the focus of all color theory and by applying this information one can make any color in the spectrum.

COLOR SCHEMES are combinations of colors used to create a desired visual effect. Color schemes

may be harmonious or dissonant depending upon desired results. Many projects can be repeated by varying the choice of color scheme to gain greater mastery of color.

Harmonious Color Schemes include:

Monochromatic: Variants of a single hue create a monochromatic color scheme. Making adjustments of values (tints, tones or shades) and intensity shifts within the main hue achieves numerous variations. Analogous: Any three adjacent colors (Y-G, G, B-G) are called analogous colors. Because they are next to one another’s family, they automatically harmonize due to close association. Split-complement is a surprising color harmony of near complements that generate an exciting and compelling color harmony. Find the split-complement by selecting a hue, locating but not using the complement. Instead, use the hues on either side of the complement together with the main hue (V, Y-O, Y-G). The 20th century works of John Singer Sargent achieved striking harmonies utilizing the split-complement. Dissonant Color Schemes do not readily soothe like the harmonious color schemes above, but are employed to create exciting visual effects. Complementary Color Schemes provide the most color contrast achievable because they are the greatest distance apart (R/G or B/O or Y/V). In fact, they intensify each color when placed next to one another. Complementary schemes can create bold or powerful statements. They employ contrast similar to using a black against a white. The eye is led to the point of maximum contrast. A color placed next to its complement, holds the greatest visual weight. The Triad Scheme: Triad hues are equidistant apart (R, Y, B or V, G, O). The effect of the triad can be vivifying. The colors may take on the quality of a boxing match or dance. See Figure 7.5, in which the exciting primary Red-Yellow-Blue triad is balanced with black and white tints, tones and shades. Double Split Complement: The Double Split Complement of Y-O, R-O & BV and B-G employed by John Singer Sargent in Fig. 7.4, magnificently balances the double split complements. Here he has neutralized the cools, soothing the composition, while allowing the warm colors to saturate and add a sensual heat to the subject’s repose. When working with color, all of the schemes can be employed with great success, depending upon modifications of contrasts between hue, value or intensity. The dissonant color schemes require a greater color handling. Working with color theories can be a joyful discovery for those not used to thinking in terms of color. It is helpful to try each of these color schemes within a set of projects. Once understood, the intuitive spark can be re-ignited for exciting color combinations.

TECHNIQUE II: Colored Pencil

Colored pencil is a favorite medium because it is easy to use and there is no clean up. However, its use is not instinctive, unless you know how to think in terms of color drawing, which means to save whites and light areas. To start, ‘shape-map’ the areas of lights to be preserved (as you cannot lighten the colored pencil drawing by erasures). Colored pencils are manufactured with a wax base that may be thinned and spread with Turpenoid or a clear marker blender. Watercolor pencils do not have wax, but instead are made with gouache (a tempera-like base) ground medium plus binder, which allows the pigments to be spread with water. (Watercolor pencil can be employed while traveling with use of a small watercolor block, brush and water vial to produce full-color drawings within minimal space.) In applying either watercolor pencil or colored pencil, a stroke-over-stroke method is preferred. After analyzing and saving the whites and highlight areas in your composition, shape-map the dark and light areas with a gray colored pencil. Next, burnish (press hard) the highlights with white pencil. This will preserve the area of highlight white. Plot out with your grey pencil the areas of darks and light. Remember the parts of color and use hue, value and intensity shifts to match your colors. Value is the lightness or darkness of a color. When adding white, a lighter tint of the main hue is created. When adding black, a darker shade of the color is made. The addition of a black plus white or tone produces a slightly mellower version of the main hue. When adding any two colors, physics shows us that it slightly darkens the beginning color. By adding a light overlay of white, the lighter value is restored. Remember, too, your brightest hue in a colored pencil has a chromatic brilliance directly created by the manufacturer and cannot be made brighter. This chroma is referred to as its intensity (brightness is high saturation, dullness is low saturation). Although we cannot make a color brighter (unless a brighter hue is overlapped), we can neutralize it with its opposite color or “complement.” A tiny amount of the complement lightly drawn over the first will lower the intensity so that it fits into its compositional placement without demanding all the attention a fully intense color would command. Knowing how color behaves comes with practice (see Fig. 7.12). 7.12. Col lage/Color Match Sloyi Guererro, Colored Pencil 18 x 24”

CHAPTER 8: HEADS, HANDS & FEET UNIT This chapter presents opportunities for observation drawing using heads, hands and feet to apply color techniques and gain greater awareness of the proportions of the body. Each drawing of figure elements will display strong figure-ground relationships and accurate perspective. The composition will become part of the critique format for drawings made from this chapter. Again, this is not a figure drawing course, but a chapter of studies incorporating the figure in composition to practice proportions, color drawing techniques and perspective in composition. Contemporary master Gerhard Richter (b. 1932, German) has changed the way art is presented. He is an exquisite draftsman, as exhibited in his drawings of family members and friends, which he reproduces into series of paintings. He obliterates his realistic oils by smearing them when still wet, allowing an abstraction to build on the surface of the works. To his portrait of Brigid Polk (Fig. 8.1), an extroverted and highly idiosyncratic member of Andy Warhol’s Factory, a gentle color has been added to the otherwise grey painting. The subtle shifts of background almost reveal where she is. This blurring does not detract from the portrait, but adds much visual interest to the drawing. The portrait is pushed to the lower left of the composition. Richter began to use color again, in this work after having used only black, white and grey tones in his previous figurative paintings. Reducing the color employed strengthens the focus on the other elements in composition.

8.1. Gerhard Richter (b. 1932, German), Brigid Polk, 1971. Oil on canvas, 180.50 x 180. 30x6.cm. The Artist Rooms, National Galleries of Scotland and Tate, d’Offay Donation, National Heritage Memorial Fund and Art Fund 2008

AID TO DRAWING VIII: xvii. Standard Unit of Measure and the Human Figure The Standard Unit of Measure is a comparative measure reference point. Each time you check the scale in the drawing, you will check this area first to capture accurate proportions in a complex drawing. Once identified, use the standard unit of measure as the reference from which to count comparative measurements. In figure work, the head is used as a standard unit of measure for comparing parts of the human form. Leonardo da Vinci’s, Vitruvian Man (1487, Fig. 8.31) below, demonstrates that the shoulder to the tip of the finger equals the length of the leg from pubis to heel. Leonardo’s diagram also shows the use of the head as a standard unit of measure. Leonardo shows the human form to be “eight heads high”. Vitruvian Man illustrates this concept by showing the head as the standard unit and comparing the head equal to the height of the following equal divisions: 1) head, 2) nipple, 3) navel, 4) pubis, 5) mid-thigh, 6) knee, 7) mid-calf, 8) base of foot.

Anything can be used for a standard unit of measure in a drawing. For example, the head may be used as a standard unit of measure, or the presenting corner of a box, or even the height of your thumb when your arm is held at length. Once you identify what you wish to use as the standard unit, count how many standard units of that measurement the object is high and how many it is wide. Make note of these comparative measures on your page. Keep using the same standard unit of measure to compare the heights and widths of the objects in your drawing to assure accurate proportions. By using the standard unit of measure as a comparative measure, scale and proportion will be maintained in the most complex of drawings.

8.31. Leonardo da Vinci (1452-1519,Italian Renaissance), Vitruvian Man, 1487 8.32. Body in Perspective. Conte, 1999, Kerwin student, Pasadena City College.

In Figure 8.32, by a student artist in life drawing, the figure has been at first enclosed by a rectangular cube and then receded by vanishing the cube to a single vanishing point off the right side of the page, on the horizon line. The body and head diminish in space and are therefore smaller than the feet. This is called foreshortening. Whenever the view is rotated at an acute angle near to you, use foreshortening. This creates the exact proportion of a receding object in space.

8.18. Lucian Freud (1922-2011, British) Portrait of Francis Bacon 1956-57, image from Man with Blue Scarf Martin Gayford, 2010 German born, British contemporary artist, Lucian Freud’s Portrait of Francis Bacon (Fig 8.18) shows that the master draws the face in detail before he completes the background details. 8.19. Mary Heussenstamm (American) Watercolor, …… Multiethnic Watercolor Portraits Flannigan Printers, 1994. Copyright George Huessenstamm gandmheuss@earthlink.net Mary Heussenstamm uses warm and cool color theory to give her portraits depth. Warm hues are used to bring lights and highlight areas forward. She uses cool purples and red-violets to create the shaded, receding shadow areas. Where the cools and the warm hues overlap, the middle-tone neutrals create transitional hues (see Fig. 8.19).

Advanced Drawing: The Creative Portfolio The Creative Portfolio brings contemporary art practices into play. Many of the artist selections in

this course are by active contemporary artists from galleries and museums around the world. The works are less about realism and more about composition bringing together ideas from cultures offering clues to the informed viewer. The global interconnectedness of the web has forever changed the way art is seen and drawing in particular is made. In the global world of contemporary drawing one can delight in finding almost any approach. The work can be very spare, as in a Minimal practice employing a single line such as Untitled #17, 2006 (Fig. ai.1) by Daniel Brice. Brice first creates the linear compositon with masking tape. In abstract, ‘Minimal Art’ practice the work must primarily be perfected through a process of mentally balancing the weights and measurements intuitively. When Brice is certain of his composition, he then traces the taped outline and strengthens the line’s impact by filling the tracing with charcoal, which contrasts powerfully against the light ground. Artists today can work from any direction. They can go all the way from minimal to the more maximal extremes found in works by artists such as Ethiopian artist, Julie Mehretu’s, Stadia II, 2004 (Fig. 15.19), or New York artist Louise Despont who draws from a passion for the arts of southern Asia. Louise Despont’s, Winter’s Telephone, 2009 (Fig. ai.2 above, graphite, colored pencil and ink on antique ledger pages, 22 x 72”), appears influenced by Tibetan culture and the art of miniatures. Despont integrates the Eastern sensibility to tell a story of delicacy. First, she composes on antique ledger pages which gives the feeling of an ancient manuscript, both historical and fragile. The ledger page images, from a distance, look like architecture in landscape with an active population present. In closer observation (Fig. ai.3, Detail, Winter’s Telephone) the artist has manipulated a myriad of simple, architectural symbols and graphic devices creating an overlapped, tight network of minute, symmetrical design. Graphite and colored pencil (sometimes watercolor) are used to finish the subtle values in her works. It is from a vast array of intercultural dialogue that gives contemporary art such freedom of expression. Inspiration comes not only from knowledge of various cultures and historical sources, but from training in technical skills set free into the unlimited territories of one’s mind.

In this course, Advanced Drawing: The Creative Portfolio, a post-modern, global language is presented. The expectation to utilize the concepts of creating compositions in color with line and form will be important, but now improvising information into a personal language is necessary. Developing an artistic dialogue can be assisted by the use of themes prevalent in contemporary art presented here, but these themes can also come from ideas of particular interest to you. The projects in this course are often multi-faceted, working from a range of sources, both directly and indirectly to create a personal vision. Many of the projects encourage research, not only researching into other artist’s work, but also finding source material outside of the sanctioned art world.

To help find a unique “voice”, the following projects are recommended for the Advanced Drawing course. The first projects in chapter nine are ‘Relationship Play’. These are recommented as warm-ups into innovation. Through the process of pattern play found in Project 9.1 ‘Ornamental Grammar’, followed by more compositional innovation in the spatial ‘Interrelationships’ of Project 9.5, you can learn to create new compositional orientations unpracticed in the realism strived for in Beginning and Intermediate Drawing. Composition is still the focus of contemporary art. Critiques in the Advanced Drawing oourse assume that a content driven, formal or institutional analysis may best suit the project outcomes, especially when historical movements are refereneced (see Chapter One: The Critique). It would be impossible to do all of the projects presented in Advanced Drawing: The Creative Portfolio. The entire course should first be perused by the individual and through a selection process (which could be what jumps out at you or as assigned), choose five projects or a theme in which five additional drawings will be created, producing a series, as in ‘The Book’ (Project 13.2). These drawings will show a personal style which may be suitable for exhibition, shifted into a book format, animated, or

ai.2.

even used in game design. This portion of DRAWING FROM THE INSIDE OUT can be revisited many times in the studio to inspire new work.

Some of the themes presented tend toward the abstract as in ‘Pattern, Ornament and Decoration’ and ‘Architecture as Structure’. These projects track how certain features, including pattern and graphs (often associated more with craft and architecture) can not only be incorporated into drawing, but can also be the subject of a drawing. ‘The Language of Mapping’ is an exploration of how maps share a similar language to drawing, as they include basic elements such as line, shape and space, yet also yield conceptual information of territory and demarcations. More recognizable themes can be found in ‘The Body’ and in ‘Landscape’. Almost all projects deal with the body in some way, but the projects in this section will develop a contemporary approach to figure or portrait. ‘Landscape’, is where the intersection of emperical observations developed during the Renaissance meets contemporary practices for the lyrical, poetic and reductive landscape.

In order to utilize themes, work through Project 13.2: ‘The Book’ (found in Chapter 13. ‘Book, Narrative and Characters’). ‘The Book’ portion takes you through a step process to complete five drawings in the selected theme. The same steps can be applied again to ‘Character Development’ and adapted to the narrative themes, that involve more complex projects. The section ‘Narrative and Illustration’, which follows after ‘The Book’, uses more source material that has been considered outside of visual art, such as instruction manuals, children’s book illustration, and other diagrams. Shifting from source material to memories, ‘Nostalgia and Memory’ starts with an immediate focus on the personal and includes past memories as well as current experience. As much as possible, we present drawings by current artists juxtaposed with college students’ drawings who have taken this course.

The best subject matter for drawing comes from one’s own experience, likes and interests. The things that were loved as a child and that attract as an adult are all fodder for inspiration. The following projects are designed for use with the skills developed in Beginning and Intermediate Drawing, but require a deepening understanding and appreciation of one’s own artistic sensibility. Some of the themes in this course overlap. Some of the projects are very simple, others are multi-leveled with each subsequent component building towards one finished drawing. The results are fascinatingly individual. It is the pleasure of drawing as one’s self that is encouraged throughout this text, even when building skills. The level is set higher within The Creative Portfolio. One’s ability to execute with the appropriate techniques required to say what needs to be said is integral. This course is the juncture where the skills take leaps into creative expressions, from the Cartesian model into new scopic regimes of seeing. The result is drawing from all of your knowledge into a personal form, from the inside of your imagination out onto the page where the new drawing will take shape.

CUBISM 9.24. Pablo Picasso (1881-1973, Spanish), Afficionado, 1912, oil on canvas, 53 1/8 x 32 ¼” Kunstmuseum Basel Daix 500 One of the most intriguing spatial styles ever devised was born around the beginning of the 20th Century. Pablo Picasso saw invention in Paul Cezanne’s multi-planar view landscapes and still life compositions. Cezanne had been painting exactly what he saw from his left eye and overlapping the view from his right eye, creating subtle multiple views within the same composition. In 1907, Picasso confronted the world anew, presenting Les Demoiselles d’Avignon, incorporating front, side, and rear views simultaneously; from this synthesis a style was born—called Cubism. During this period, Picasso developed the style along with Georges Braque. The new Cubism was to confound viewers who were not in the know and the first real loss of audience occurred due to advanced thinking in the arts. The cerebral Cubism reached grand heights in works such as Afficionado, 1912 (Fig. 9.24). The 20th century and beyond has pondered and copied the great Cubist movement. Picasso was to go on to invent many more styles in his lifetime. Cubism, however, remains one of the most astonishing accomplishments in human creative endeavors.

Project 9.7A: Preparatory Sketches For Cubist Drawing MATERIAL: Sketchbook, pencil. 1. Draw multiple views of a person’s head (or views of an animal) fro: front, back, above, below, and side-to-side—as separate drawings in a sketchbook.

Project 9.6B: Cubist Drawing MATERIALS: 9.6A Preparatory Sketches— five or more views of a person’s head (or animal), Bristol board, tracing paper or vellum (18” roll), pencil, colored pencil ARTISTS: Pablo Picasso, Georges Braque, Marcel Duchamp, Paul Cezanne 2. On tracing paper over Bristol board, trace each view. Carefully overlap each new view. 3. Add realistic values to the views showing volume to create form. 4. Where the different views overlap, change values, to give the appearance of “fracturing”, as if seen reflecting light in the shards of a smashed mirror (as in samples 9.23-9.25).

9.23. Cubist Drawing Alejandro Macias, Heads Colored pencil & graphite on vellum over poster board

9.24. Cubist Drawing Raymundo Arellano, Chicken graphite on tracing paper over board 9.25. Cubist Drawing Glorya Keligian Morales, Horses graphite and vellum over paper

Project 15.3: Interior Space as Source Interior space has been a subject of art for centuries, in particular in the work of Vermeer, Bonnard, Matisse and Edward Hopper. More recently contemporary artists have begun to investigate new ways to look at interior space, such as Julie Mehretu’s complex architecturally inspired drawings and paintings (Fig. 15.9). Julie Mehretu’s work is often composed of overlaying different architectural features such as columns, façades and porticoes with different geographical schema such as charts, building plans, city maps and architectural renderings seen from different perspectives, at once aerial, cross-section and isometric. Mehretu creates these complex layers of marks using pencils, pen, ink and acrylic paint. The end result appears as both recognizable and imaginary. In this project you will take just one of the many source materials used by Mehretu (architectural plans) and create several overlays by tracing over the plans from many different orientations. The resulting drawing will consist of a cacophony of drawing marks and distorted points of view, creating a new, imagined kind of space. MATERIALS: interior decorating/architectural magazines, roll of tracing paper, architectural plans good drawing paper (22 x 30”), pencils (H, HB), watercolors, #12 watercolor brush ARTISTS: Julie Mehretu, Franz Ackermann 1. With an HB pencil trace several shapes from interior decorating magazines on a 22 x 30” piece of tracing paper. You can vary the orientation (reverse, sideways, etc.) (See Figures.15.10-11). 2. Tape tracing paper to the window. Tape a quality drawing paper on top. Trace elements from the tracing paper onto a good quality drawing paper with an H pencil. 3. Take the drawing paper off the window. Erase lines. Add lines. Erase parts of lines. Your lines will show in the final drawing and erasing parts of lines is a way to add character to the line. 4. Use watercolors to paint in some of the shapes. Be sure to leave some empty space.

15.9. Julie Mehretu (Ethiopian-American), Stadia II, 2004, Ink and acrylic on canvas. 108 x 144”, Collection of the Carnegie Museum of Art, Pennsylvania. Copyright: Julie Mehretu (courtesy the artist and The Project, NYC).

CHAPTER 16. FREEHAND DRAWING & DIGITAL SKETCHBOOKS Pressure sensitive digital tablets or drawing tablets are peripheral devices composed of a tablet or drawing surface, a stylus and software. The industry leader for many years in this area has been Wacom. When we draw on paper, it feels natural to move the pencil or pen around the paper. The Apple iPad and other tablet computers and some of the newer devices, smart phones, tablets, and specialist monitors now let you draw with a stylus or your finger directly on the screen. With the introduction of the Wacom Inkling digital sketch pen device, you can draw onto paper and have it instantly digitized as you draw. You can even create layers as you sketch onto the paper.

It is exciting that technology is functioning like a traditional sketchbook. It is small enough and lightweight enough to carry. Apps such as Sketchbook Pro make it possible to draw as you would in a paper sketchbook, but with the digital advantages of being able to create layers, import images and instantly share your sketches on sites like Facebook or Flickr. Some established artists have adopted the use of apps to create art on their phones or tablet computers. Perhaps the most publicized example is British artist David Hockney (b. 1937, British), who has long been a lover of new tools for making images. He has exhibited a whole series of work done on iPhones and iPads (Fig. 16.2). Although certain software companies have a stranglehold on the market for computer graphics applications, there are many options worth looking at, including Web-based applications. One is an easy to use and intuitive drawing application called Harmony by Mr. Doob, aka Ricardo Cabello, a designer and Web developer (see Fig. 16.4). This app is available on his website (see the list of links at the end of this section). It is a lot like drawing by hand, but with a selection of very interesting brushes to choose from that create web-like structures and respond to the direction of the stroke of your mouse or stylus, regardless of

whether you are using a pressure sensitive tablet. All that and it’s free! On some level, drawing with a mouse, a stylus or with your fingertip on a touch screen is really the same as drawing on paper. However, there are still some important differences and these devices are changing our understanding of what it is to draw. Digital Drawing aims to inspire students to rethink computer art with more of an eye to traditional drawing techniques and approaches (Fig.16.3).

16.2. David Hockney, (b. 1937, British) “Untitled”, iPad drawing, 2010 16.3. Jon Measures (British), sketch for a piece of lettering drawn using

sketchbook Pro on the iPad.

Kerwin has created a concise and comprehensive, three-course, college textbook in one affordable volume. DRAWING FROM THE INSIDE OUT offers 140 projects with everything you need to know about composition and techniques for Beginning Drawing (Black and White media); Intermediate Drawing (Color media); and Advanced Drawing (The Creative Portfolio—with over 40 projects that focus on creativity within a contemporary drawing context, including a chapter on digital drawing.) This book was the vision of publisher, Clark Baxter. DRAWING FROM THE INSIDE OUT has 225 pages of concepts and projects for drawing, with art historical lessons illustrated by master and contemporary artists.