The Last PowerPoint
Rhythm/Repetition/Abstraction
Process Based Drawing
Final Project
Adding some zing to your drawings…
RHYTHM, REPETITION,
DIRECTIONALITY
Rhythm – a visual tempo or beat. The principle of design
that refers to a regular repetition of elements of art to
produce the look and feel of movement.
Compositions
(how drawings are
organized on the
picture plane)
have rhythm and
directionality.
How would you
describe the
movement in this
work by Hokusai?
Where does he
place the longest
strokes?
The shortest?
What pathway
does your eye
take?
Sameness and difference
can be contrasted to
form a rhythm. In this
print by Hokusai, we see
three bands of waves
falling diagonally down
the page. That
repetition of form/line is
then broken by the
contrasting rock at the
right, but the waves
return across the lowest
edge of the print.
How would you describe the directional orientation of this
print by Wayne Thiebaud? What repeats? What contrasts?
Rhythm, Variation, Movement and Directionality are particularly
important in NON-REPRESENTATIONAL OR ABSTRACT DRAWINGS.
Julie Mehretu, “Looking UP” ink on latex.
Contrast and Repetition create movement as does directionality in this work
by Julie Mehrutu. The primary direction is two fold and outward. The
contrast between marks and lines create the illusion of a shallow depth.
Which seem closer, the lines or marks? Do the lines have a different
directional path than the marks? It’s hard to see but this drawing is done over
a city map.
Stills from the early animation film (1929) “Tusalava”
by Len Lye. Movement is of course central to animation. Good
drawing skills make for better animation.
Another still from Len Lye.
The short film Tusalva about the origins of the world. Influences:
biology and Maori legends/pictographs. Len Lye is from New Zealand.
• https://vimeo.com/60238773
Another artist who combines drawing and animation is the South
African artist William Kentridge.
• http://www.sfmoma.org/explore/multimedia/
videos/356
• https://www.youtube.com/watch?v=m1oK5L
MJ3zY
A bit more vocabulary, I’ve talked about rhythm, directionality,
abstraction, movement, but I want to add two more terms:
automatic drawing and process-based drawing
• AUTOMATIC DRAWING – the Surrealist idea that, by
moving the hand continuously but randomly as one draws,
one can activate the subconscious and develop new ideas.
You can think of it as drawing without a plan. Although few
artists rely completely on automatic drawing, many definitely
allow for spontaneity and chance to lead them. They may
begin with a general direction and see where their hand leads
them.
• Take a moment to make an “Exquisite Corpse” with one or
two partners. I’ll explain the rules to this Surrealist game and
we will see what chance and automatic drawing create.
• Process Based Art – emphasizes the process of making rather than a
predetermined composition or plan. It emphasizes change and movement
from one state to another rather than an end product.
• Process Based Drawing – can be a plan without a known outcome: “I will
draw whatever comes into my mind until my piece of vine charcoal
disappears and then I will be done.” Or a plan that withholds judgement.
“I will draw this tree for five minutes one day, thirty minutes the next, an
hour the next, and finally for two hours. Then I will ask a complete
stranger to tell me which tree is best.” Or the work may be about
ERASING a drawing in stages that are documented. Or the artist may just
lay out a few guidelines and then let spontaneity take over. Judith Braun
“fingerdraws” with only three rules:1) ground graphite or charcoal 2)
abstraction 3) symmetry
• http://www.oh-i-see.com/blog/2013/07/29/touched-byjudith-brauns-finger-drawings/
Today’s Assignment
• Use your experimental drawing material and
surface to make a work that has clear
directionality, contrast, and at least one abstract
element.
• In addition to the media you brought in, you can
add one to two of the following: black enamel
paint, ink, white caulk, powdered graphite or
charcoal.
• You may add additional rules (I will draw half the
time with my non-domiant hand. I will draw only
curves), but you must draw for an hour.
Before you leave…
• Fill out the final project questionnaire and talk with Trisha
for at least five minutes about what you might do for this
project.
• HOMEWORK
• Bring final project materials to the next class.
• Assemble your final portfolio – both perspective drawings,
in class landscape drawing and landscape homework,
studies of eyes, mouths, noses (unless face parts or
landscape were already turned in with today’s
sketchbooks), self portrait, gesture studies from figurative
class, and long figurative drawing. If you are unhappy with
any of these drawings, I recommend working a bit longer
on them.