Figure Drawing Roundup

I'm going to try and compile a list of figure drawing sessions throughout Memphis so that you can draw all day, every day.

Tomorrow, Adam Shaw will be running a session at his studio on 2547 Broad Ave. from 7pm to whenever (usually 10, sometimes longer). $10.

On Mondays, there is the session in Butler Hall West that is free for students. 730pm-10.

On Fridays until Feb. 24th there is a session at the Flicker Street Studio, 74 Flicker Street, from 10am-12pm. $10

The University of Memphis used to run one on Tuesday nights that was free to all, but I'm unsure if they're still doing it-- I'll double-check.

Figure Drawing Generators

http://www.pixelovely.com/gesture/figuredrawing.php

http://lovecastle.org/draw/

I think these are what John was referring to in class today. These are two websites that pull from their gathered collection of figures, and they can be organized by time, category, gender, etc.

Hope these help.

-Lee

Color Value Scale

Project 1: Tableau Vivant

A term meaning “Living Picture,” the Tableau Vivant was a popular form of entertainment in Europe before photography, radio, or film. A group of models would recreate paintings, etchings, or scenes from books by posing in frozen attitudes on a stage, often with elaborate costumes, props, and lighting. Tableaux Vivants are still created at the annual “Pageant of the Masters” in Laguna Beach – a $4.1 million production featuring 40 art works recreated over a period of 2 months. For this assignment, you will create a Tableau of one work of figurative art, and use it as reference for a new illustration. The illustration will be 11”x15”.

Objectives:
To explore existing artistic traditions and history as a source of inspiration, to examine the role of image reference, both historical and created, in creating an illustration, to develop an immersive composition from a static one, to use warm and cool contrast in a painting.

Procedure:
Choose one of the artistic traditions listed below:

Chinese Scrolls
European Illuminated Manuscripts
Egyptian Painting
Greek Vase Painting
Persian Miniature Painting
Ukiyo-e Prints

Research the tradition, and find an example of it that you would like to base your piece on. You must have a high quality copy of this image, at least 3”x3”. The image may be Xeroxed or scanned from a book. A low-res JPEG is not acceptable. Put the copy in your sketchbook. Record the name and period of the piece, and, if appropriate, the artist. Write about what is occurring in the image; identify all of the characters, the environment, and any significant objects in the image. Be specific. Do as much research as possible.

Reference:
Using friends or classmates, re-enact the scene from your image. You may want to arrange equivalents of the costumes, props, and setting, for instance, using a broom handle for a sword. Pay attention to the lightning of your tableau. When you are satisfied with your tableau, photograph it. The artistic traditions listed above tend towards flattened, theatrical compositions. Work against this in your photo-reference. Strive to find the point of view that will create the most interesting composition. Consider the depth of your arrangement: background, middle ground, and foreground. Present your photos in class.

Drawing:
Based on the feedback you receive in class on your photographed compositions, develop your drawing at the size of the final illustration. Focus primarily on value, and refining your composition.

Painting:
Execute the painting utilizing the concepts of warm and cool and bring attention to certain areas (push & pull) and create the correct emotional mood. Use Titanium White, Burnt Umber, and Ultramarine Blue acrylic paints. By mixing the blue and umber paints, you will create a dark near-black color. Adjusting it with a little more blue or brown will make it cooler or warmer, respectively. Adding white will provide you with full range of warm and cool values.

Presentation:
When the painting is finished, mat it. The mat should have a second window for a good, clean copy of the source image. Flap the mat with a sheet of tracing paper and a sheet of cover stock.

1.19- Project 1: Tableau Vivant assigned
In class and homework: Exercise 2: Texture Matching Scavenger Hunt

1.24- Due: Tableau research, Exercise 2.
In class: Review research for Tableau Vivant
Begin thumbs, sketches for drawing

1.26- Due: Tableau reference photos.
In class: Review sketches, reference. Work on Tableau Vivant drawing.

1.31- Due: Tableau Vivant drawing
In Class: Begin painting

2.2- In Class: Exercise 3: Expression Studies

2.7- Due: Tableau Vivant critiqued.

2.9- Due: Tableau Vivant matted, flapped, labeled and turned in.

RESEARCH PAPERS ARE DUE TODAY!

But you knew that already, didn't you?

E-mail 'em to me:

john@johnleedraws.com

or

jlee@mca.edu

Project 5: Memory

Make a list of 18 childhood memories: (6) from ages 1-6; (6) from ages 6-12; and (6) from ages 12-18. Try to come up with specific events, not general situations (so, not simply “Fishing with Grampa,” but “the time I went fishing with Grampa, and I fell out of the boat.”).

From this list, select the three memories that seem the most compelling and personal. Take some time and write about each memory. Consider: Why is this event significant enough that you have bothered to remember it? What led to this event? What were you feeling at the time? What do you think other people were feeling? How would you react differently to this situation if faced with it today? What kind of specifics and concrete imagery can you remember? Chronologically, how did this event transpire?

Type up and edit each memory. Print off 4 copies of each piece (12 total). In class on Monday, break into small groups, give one copy of each memory to each member in your group, and read your memories to one another. Note your peers’ reactions and associations with the stories you tell.

Edit your peers’ stories. Specifically: note what isn’t clear narratively, what kind of specifics could use more detail, what is effective and what is too vague. Highlight as much concrete imagery as possible.

Using the feedback you received from your group, choose one of these as the memory you want to work with for this project.

Prepare 15 thumbnails of your memory. Do not look at any photographs during this time. Create the compositions based solely on your memory. Consider the Molly Bang principles: structure your compositions to heighten the emotions conveyed in your stories. From these thumbnails, prepare (3) 7” x 9.5” refined sketches. These presentation sketches should be refinements of the thumbnails, advancing your understanding of the composition, and clearly communicating your content.

In class, prepare a 7” x 9.5” painted study of the best of the three compositions. Only after this sketch is completed can you look at any photo-reference for this piece. Shoot or construct your own reference as much as possible.

Based on your painted study, develop the full-size composition, and lightly transfer it to your painting surface. The final illustration will be 11”x15”, and will be executed in either black watercolor wash or black and white gouache. Take care to ensure that your final is clean and isn’t warping.

Materials
A sheet of good paper: watercolor paper or Bristol Board
Tracing paper
Black tube watercolor paint/Black and white gouache
Plastic mixing tray
Water container
Round watercolor brushes
Mop brush

11.9 - Assigned: Develop Memory List
11.14 - Memory stories due, peer editing. Begin thumbnails.
11.16 - Review thumbs, refined sketches due at end of class.
11.21 - Half-sized painted sketch due. Illustrator Paper DUE.
11.23 - Turkey Day Break!
11.30 – Illustrator Presentations DUE
12.5 - Memory DUE.
12.7, 12.12. – Illustration presentations, Last Day of Class.

Some period dress

Found by Luke! Thanks Luke!

Keep researching and piecing together accurate reference for Monday.