MATERIALS LIST

1. 9 x 12 inch sketch basic book (ringed binder)
2. 18 x 24 inch all purpose white paper (80 lbs, Strathmore makes a good brand)
3. Tackle Box or Art Box to hold materials
4. Straight edge metal 30- inch or larger ruler. (Utrecht makes a 30 inch ruler)
5. Portfolio (nothing fancy) 20 x 26 inches
6. Pencils: (2)4H, (2)2H, (2) HB, (2)2B, (2) 4B
7. Pencil Sharpener (small metal one)
8. (5) Medium size kneaded erasers, (1) Art gum and (1) Whiter eraser
9. Vine charcoal, (soft) thin and thick, one pack each
10. Compressed Charcoal, (2) pieces
11. Conte crayon, 2 each (Ivory Black, Burnt Sienna, Raw Umber, and White)
12. Blending stumps: 1/2 inch and 1/4 inch
13. (1) Sketch clip board 22.5 x 25 inches
14. White artists tape
15. Fixative spray, workable
16. Chamois cloth
17. Small pack of mediocre basic pastels.
18. Colored pencils, Prisma color brand is fine, something middle range. (I will announce when to purchase)
19. Graphite sticks (1) 2B, and (1) 4B
20. 3 pieces of Quality paper (BFK, Reeves, Strathmore, etc) used for charcoal.
-Purchase paper (#20) towards the end of the class, I will announce when.

All items needed for the first day, except the pastels and colored pencils.

Six Week Schedule: subject to change

Week 1: Review Linear Perspective, Invent simple forms using perspective and apply cross contour to each form simultaneously developing a composition. Begin Al Held Project. Review MSP, (measuring, sighting and perspective). Draw simple shapes from life utilizing MSP.
Homework: Al Held Project (in cross contour).
-Read Russian Constructivists handout.

Week 2: Lecture on composition relating from early renaissance to Russian constructivism. Discuss Russian Constructivism handout. Positive and Negative Space Formal Composition Project: Develop a small body of work exploring and evolving the same visual language while employing several mediums. Discuss the references and historical context of formal based art. Apply MSP concepts as we work from the still-life. Continue to investigate contour line. Review and apply value application. Manipulate the medium(s) Homework: Continue Al Held Project

Week 3: Work on large charcoal still-life drawing. Apply value using various mediums and mark making. Investigate cross-hatching, continuous line, and limited tones. Work general to specific while using MSP concepts. Homework: Take a portion of the charcoal drawing and make a contour line drawing. This will be a “work in progress” for the rest of the course. Using compressed charcoal fill in various shapes; focus on composition in the context of balance of shapes.

Week 4: Color Theory and application. Discuss and apply the Munsell Chart. Planal geometric studies. Using color mediums, experiment with smaller formats while working in the still-life room. Take one image and enlarge your drawing applying MSP and color theory. Artist to research: Georges Seurat (optical mixing), Joseph Albers (color reaction) Matisse, Kandinsky, Diebenkorn (expressive color), among others to be reviewed in class. Homework: Apply color to your drawing. Add paper on top of or adjacent to your work. Think of this drawing as an evolution of marks, shapes, and thoughts. Layer compressed charcoal contour lines on top of your color shapes. Possibly draw a representational contour line drawing. Begin to ask yourself questions to intitiate intent. Is your source 3 dimensional or 2, and why? Where are you appropriating from, and why?

Week 5: Figure: Cast Hall. Develop MSP skills; explore planal studies of the figure and its relationship to geometric forms. Draw the figure using perspective and cross-contour. Develop a body of figurative work using a variety of mediums and methods. Gesture studies, Loosen / tighten. Homework: Continue to develop your drawing. Try applying portions of objects using geometric planes. Consider the composition of the entire image. How can you unify the image into one?

Week 6: Figure: One final long pose. You choose your weapon(s) Final critique of your “work in progress”

There is an art store here at PAFA on the 6th floor, but for your convenience I have listed below additional stores.

ART STORE LIST: Local stores:

Merion Art & Repro Center Pearl Paint
17 West Lancaster 417 South Street
Avenue. Ardmore, PA 9003 Philadelphia, PA 19147
61 0-896-61 61 215 238-1900

Rubinstein's Utrecht Art Supply
250 East Market Street 301 South Broad Street
West Chester, PA 9380 Philadelphia, PA 19107
6 10 696- 1150 215 546-5600

Village Art Shop Utrecht Art Supply
23 E. State Street 2020 Chestnut Street
Media, PA 9063 Philadelphia, PA 19103
6 10 566-6242 215 563 5600

Local craft stores:
AC Moore Michaels
Broomall Plaza 601 West Baltimore Pike

Drawing Vocabulary

Contour Line: A line that represents the shared edges of a form, a group of forms, or forms and spaces.
Line weight: Varying line thickness achieved from applied pressure to the drawing tool.
Linear perspective: A Mathematical system for creating the illusion of space and distance on a flat surface
One point perspective: Uses one perspective point; all parallel lines converge to one point. That point is called the vanishing point.
Two point perspective: Uses two perspective points or vanishing points. In two point perspective the sides of the object vanish to one of the two vanishing points on the horizon line. Vertical lines in the object have no perspective applied to them.
Three point perspective: All lines go to a vanishing point. Two vanishing points on the horizon line; one above or below.
Atmospheric perspective: Using value to create the illusion of depth and space. As objects recede into space their value becomes lighter.
Vanishing Point: Is where all parallel lines (convergence lines) that run towards the horizon line appear to come together like train tracks in the distance.
Eye level: In perspective drawing, a horizontal line on which lines above and below it in the horizontal plane appear to converge.
Horizon line: Runs across the canvas at the eye level of the viewer. The horizon line is where the sky appears to meet the ground.
Convergence lines: “Visual rays” helping the viewer’s eye to connect points around the edges of the canvas to the vanishing point (also known as orthogonal lines).
Value: In art, the darkness or lightness of tones or colors. White is the lightest, or highest, value; black is the darkest, or lowest, value.
Composition: An ordered relationship among parts or elements of a work of art. The arrangement of forms and spaces: (the design of the page).
Medium: Material used by the artist. e.g. Charcoal, graphite, conte crayon, oil paint, welded metal, terra cotta, etc. These are all different mediums.
Gesture drawing: A quick simple translation of an organic shape; usually associated with the human figure.
Texture: The visual or tactile surface characteristics and appearance of something.
Mass: Refers to the effect and degree of bulk, density, and weight of….
Volume: Space within a space.
Negative space: Empty space.
Positive space: Opposite of negative space; filled with something. Both spaces have equal importance.
Figure / ground relationship: The depth ambiguity between the positive and negative shapes / space.

Shape: An enclosed space defined and determined by other information. e.g. A donut has two shapes.
Edge: The place where two things meet (e.g. where the sky meets the ground); the line of separation between two shapes or a space and a shape.
Picture Plane: An Imaginary construct of a transparent plane, like a framed window, that always remains parallel to the vertical plane of the artist’s face. The artist draws on paper what he or she sees beyond the plane as though the view were flattened on the plane.
Crosshatching: A series of intersecting sets of parallel lines used to indicate value change or volume in a drawing.
Symmetry: Equal balance on both sides. The parts of an image or object organized so that one side duplicates, or mirrors, the other.
Asymmetry: Opposite of Symmetry. Both sides do not mirror each other.
Balance: Equal distribution of elements on both sides of a drawing.
Rendering: To represent in a drawing or painting, especially in perspective. Also, to create an interpretation of another artist’s work.
Sighting: Also known as “Rule of thumb”, Measuring relative sizes by means of a constant measure ( the pencil held at arm’s length is the most usual measuring device); determining relative points in a drawing—the location of one part relative to some other part. Also, determining angles relative to the constant’s vertical and horizontal.
Foreshortening: A way to portray forms on a two-dimensional surface so that they appear to project from or recede behind a flat surface; a means of creating the illusion of spatial depth in figures or forms.
Chiaroscuro: Italian (light and shade or dark) High contrast; the use of light and dark to achieve a heightened illusion of depth. Can be used to heighten drama or feeling as used in the theater.
Figurative: Describes artwork representing the form of a human, an animal, or a thing;
Abstraction: Imagery which departs from representational accuracy, to a variable range of possible degrees; to exaggerate or simplify surrounding forms. Picasso / Braque