Introduction to Drawing II
Syllabus
Shawn Bitters
Assistant Professor of Visual Art
Email: bitters@ku.edu
Office: 212B
Office Hours: Tuesday 1-3 pm
I.
Aims
1. Build on the observational and technical skills introduced in
Drawing 1
2. Increase awareness of the ever-expanding realm of contemporary
drawing
3. Learn to apply drawing skills to a conceptual framework.
4. Foster a drawing habit
II.
Objectives
1. Continue the basics of observational drawing
a.
b.
c.
d.
e.
Composition
Gesture
Value
Line
Space
2. Introduce
a. Color
b. Abstract/Non-Representational Space
c. Time
3. Study how drawing has been used through different movements of
the 20th and 21st century
a. Modernism
b. Conceptualism
c. Contemporary Issues
4. Complete a weekly visual journal
Course Overview
Drawing II is in part a continuation of the principles that were introduced in
Drawing I. Becoming a competent draftsperson is largely a matter of practicing
correct principles and techniques. Becoming a successful artist is a matter of
learning how to use these techniques to address both the history of art and to
define your place within the contemporary art world and in society at large. You
are still at the beginning of this journey. Today, drawing plays a stronger role in
contemporary art than it ever has before. In the past drawings usually played a
supporting role. They were preparatory for something “better” (i.e. a painting,
sculpture, or a work of architecture). Now drawings are valued as finished works
that give direct insight into the mind of the artist and the creative act. The notion
of what is considered a drawing is also expanding. Artists are constantly pushing
the boundaries of what drawing can be with new media and new practices.
In this course we will bridge the techniques taught in Drawing I with
contemporary drawing practices while increasing the complexity and difficulty of
the subject matter we draw. We will continue to work on gesture, proportion,
value, line, and composition with the addition of color, space, abstraction and
time. While graphite, charcoal, and ink will play a recurring role, we will bring
digital, photography and non-traditional media into the mix. We will draw from a
wide variety of subject matter, including still-life displays, the human figure,
nature, and the collections of the Spencer Art Museum and the Natural History
Museum. As the semester progresses we will shift from strictly observational
studies to a more conceptual approach to drawing, using the work of
contemporary artists as our guide.
Drawing is a physical skill, like playing basketball or rock climbing. It has to be
practiced if an artist wants to improve. Of course talent plays a role. Every
obsessed basketball player is not LeBron James, but can be a reasonably good
player. Likewise, anyone, if they have the determination, can become a
competent draftsperson. However, in today’s art world becoming a brilliant
draftsperson is not essential to becoming a brilliant artist. It is a matter of using
drawing to address the ideas that are vital to your creative practice. A complete
fidelity to reality does not guarantee a genius work of art. Great drawings can
manifest themselves in many different ways. In this course we will work on
learning to see and then deciding on how we want to interpret what we see.
A goal for this class is to foster a habit of drawing. To help you achieve this goal
we will have weekly drawing journal assignments. These drawings will be done
in a sketchbook purchased specifically for this class. Occasionally, I will assign
something specific for you to think about or draw for a certain week. However,
these journals are mostly for drawing what is most fascinating to you. These
entries can include writing as well, but the focus should be on the visual.
Critiques (or “crits”) will be an integral part of the class. They are the way to get
the feedback you need to succeed. Do not rob each other of the constructive
criticism that will lead to improvement. Debate is encouraged but it must be
respectful. It is essential to remember that when we are critiquing your drawing
we are not criticizing you as a person. It is helpful to make this distinction for
yourself during crits whether we are discussing your drawing or if you are
critiquing a classmate’s work. Learning to talk about art is an important skill that
we will begin to develop. Your participation in critiques will be considered in your
overall class grade.
Below is a general outline of the semester. The course is structured to remain
flexible to suit the needs and pacing of each individual class. I will alert you on
what materials to bring, meeting places and changes in the schedule as the
course progresses.
Grading
Grading in this course will be based upon how well you meet the requirements
set for each exercise or project. While excellence will always be taken into
account, what is deemed excellent will be based on the discipline and progress
that each individual demonstrates. If it is obvious that you are working hard to
learn and pushing your boundaries, then a high grade will result.
Attendance
Attendance is critical to this class. Demonstrations and drawings will all be done
in class with the exception of the weekly out-of-class drawing journal. You will
need to be in class to learn the techniques and receive the needed help.
However, situations do happen that will prevent you from being in class. Talk with
me about concerns and emergencies that arise, in advance when possible.
You have three free absences. Starting with your fourth absence you grade will
drop a step (A to A-) for each subsequent absence. Every third tardy you accrue
will count as an unexcused absence.
Grading breakdown
Your grade will be a calculation of the scores given to the drawings that you turn
in. I will grade the drawings on a 1-5 scale. A drawing receiving a score of “1”
means you failed to apply the assignment. A score of “5” means that, for that
drawing, you excelled in the assignment. A “3” is roughly a “C” and will be given
for average work.
40% Out-Class-Drawings
60% In-Class-Drawings
Materials list
A Masonite board to serve as the drawing pad support
Toolbox
Cardboard portfolio (No zip up portfolios or tubes!)
8 1/2" x 11" sketchbook
Drawing pad 18" x 24" or larger (Good quality paper: Canson Biggie,
Strathmore Layout, Strathmore Drawing, Bienfang Ermine White No 6316)
Newsprint sketch pad 18" x 24" or larger
Additional drawing papers. Please plan to spend approximately $50 on
additional good drawing paper during the semester.
Sighting Stick
Conté crayons (sanguine, black, white, gray, brown)
Vine charcoal- thin, thick and very thick (soft)
Charcoal pencil
Char-kole
Drawing pencils (2B, 4B, 6B...). The all-graphite shafts are the best.
Square Graphite sticks (2B-6B)
Prismacolor Art Stix colored pencil sticks (varied)
Ink (Higgins ink / tube of black water-based ink or paint)
Large bamboo brush for ink (The biggest you can buy)
Flashlight
Mac compatible flash or external hard drive
Erasers: kneaded, art gum, and plastic
1 can of Aqua Net
Masking tape
Push pins
X-acto knife, blades
18” Metal ruler
Chamois cloth and rags (You can get big ones at Dillions)
Pencil sharpener
If anyone is interested in working with any other materials in particular
please feel free to discuss it with the instructor. Additional supplies may
be required as the class advances. If some special material will be
needed students will be notified at least 1 class prior to its use.
Students are asked to:
Bring all required materials to each class session.
Clean working space after use so that it is ready to be used by the next
class.
Remember that headphones and telephones are not allowed during class
time.
Know that music will be a constant element of class time. A democratic
approach will be taken in choosing music. Everyone will be allowed to plug
in their MP3 player if they wish. A set of speakers will be available.
Remember to sign up for a locker as soon as possible
Syllabus (subject to change)
Week 1: Introduction and Overview
Day 1- Introductions
Day 2- Discussion on Readings and Assessment Drawing
Weeks 2-4 Gesture, Line, Composition
Weeks 5-7 Mass Gesture, Tone
Weeks 8-9 Perspective and Light Drawings
Mid Term Assessments
Weeks 10-12: Color and Abstract Space
Weeks 12-16 Introducing the Conceptual/Final
Stop Motion Animation
Final Project: Connecting to the Contemporary
No Class on August 21st. Regularly check Blackboard for class updates!
Final: Monday, Dec. 12th 7:30 AM – 10:00 AM