Museum Visit Paper

Museum Visit and Paper

Life Drawing

Field Trip: Friday, February 28

Due: March 26 (1^st week back from Spring Break)

There will be a department bus trip to the Metropolitan Museum of Art in NYC on Friday, February 28. The Met is the best art collection in the Western Hemisphere. You are to attend this trip (cost is $25 for a seat on the bus). While there you will choose two works from different artistic eras, make detailed sketchbook drawings of said works, and write a paper comparing and contrasting them.  This paper must be at least 750 words (3 double spaced pages of text), and must include photos of your sketchbook drawings and photos of the works chosen, that you yourself take as they were installed in the museum.  All photos must be of good quality.  The subjects of the two works you choose must be predominantly figurative, but (again) from different artistic eras.  In writing your paper you must cite at least 3 distinct sources in addition to any museum materials (which don’t count), and they must be properly cited in a properly formatted bibliography.  Your sources must include at least one non-web-based source, and you may NOT include Wikipedia!

Your paper must address these questions:

·         What is your overall impression of the art collection and exhibitions on view?

·         What were the specific works that you chose, who were the artists, where did the artists come from, and what cultural environments were affecting their art?

·         How were the artists’ approaches to the figure similar, both in composition and content?  Be specific.

·         How were their approaches to the figure different from one another? Be specific.

·         What observations/realizations can you make about each artist’s attitude toward both the figure in general and the specific subjects of their artwork?

·         What else to we need to know about the artists or their era that help us to see their work in the correct light? In other words, are there any other artists or works from the art historical canon that inform the way we interpret these particular works?  How?  The bulk of your research may be directed toward this question.

Your paper must use proper English grammar and spelling (which will be included in the grade), and references and citations must be written an appropriate format.  If in doubt, use Chicago Style.  Questions about it can be answered by the savvy use of Google.  If you use any writing or assertions that are not your own, they must be properly cited.  Plagiarism will be dealt with using standard MCCC protocol. Another thing: NO B.S.!  NO FLUFF!  I actually want you to think about the questions—don’t just dash it off at the last minute! 

This paper will constitute 10% of your final grade.  It must be printed out, stapled and handed in a hard copy format, including the images of the works, at the beginning of class on the due date.  I WILL NOT accept it late, or in digital form (however, I will accept it early).

Checklist for Paper

·         Hard copy form?

·         3+ pages of text? Did you proofread?

·         Photos of 2 sketchbook drawings that you made of the works you chose?

·         Photos of 2 actual works you chose?

·         Bibliography with at least 3 (non-Wikipedia) sources?

·         Did you address all questions above?

Museum Paper Grading Rubric for: _______________________________________ Proper format and length:                                                                                            ____/20% Grammar:                                                                                                                           ____/10% Spelling :                                                                                                                               ____/10% Adequately addressed all questions from initial assignment sheet:            ____/30% Clear, supported, and succinct expression of ideas:                                           ____/30% Overall grade:                                                                                                                    ____/100%

 

Measuring Strategies

Assignment #2: Arm Muscles

This project is due next week

 Muscles of the Arm

To prepare for this project as well as the next couple of projects, read Chapter 4 in Goldstein. Our skeletons alone are nothing more than a rack on which to hang our flesh.  In order for us to move, we have a complex system of mechanical moving parts we cal muscles.  Many of the familiar landmarks we see on the figure are caused by the muscular structure designed to move rigid bones.

Remember that there will be a 5 question quiz which will be taken from the list below. The questions will only be of major landmarks and/or muscles, which should make it a bit easier for you.  For example, the extensor carpi radialis brevis will NOT be on it.

In your sketchbook, you are to draw three views of an arm as accurately, proportionate, and as detailed as possible, with the major muscles from the list provided below neatly labeled.  If possible, address light and shadow. Of these three views, one must be an anterior view, one must be a lateral view, and one must be a posterior view, all of which should be on separate pages and independently labeled.  You may use any detailed arm image in Goldstein (see illustrations in Chap. 4) or research your own accurate image.  Use a finely sharpened pencil to accurately render as many muscles as would be visible in the view that you’ve chosen.  Do not crop your arms at all and be sure to fill your sketchbook page as much as possible without compromising proportion or accuracy.  You may not omit hands.   You are to label your drawings neatly and without compromising the details of the drawing with the list of muscles below.

• Deltoid
• Biceps
• Triceps
• Lateral head of the triceps
• Long head of the  triceps
• Medial head of the triceps
• Brachialis
• Tendonous plateau of the triceps
• Medial epicondyle of the humerus
• Olecranon process of the ulna
• Supinator longus
• anconeus
• Extensor carpi radialis longus
• Extensor carpi radialis brevis
• Extensor digitorum
• Extensor carpi ulnaris
• Flexor carpi ulnari
• Head of the ulna
• Ulnar crest
• Abductor pollicus longus
• Extensor pollicus brevis
• Hypothenar  muscles
• Thenar muscles

Assignment #1: Skeleton and Skull

Assignment #1: The Skeleton and Skull

Life Drawing; Stevenson

Due: Tuesday, January 28 at the beginning of class

In order to draw the figure with any quality, you must have knowledge of anatomy.  This assignment is the beginning of our study of basic artistic anatomy.  It involves making two detailed drawings, one of a full skeleton, and the other of a complete skull.

Read Chapter 3 in Goldstein.  Then, on the first page of your new sketchbook, you are to draw a complete skeleton as accurately, proportionate, and as detailed as possible, with the major bones from the list provided neatly labeled.  You may use any full skeleton image in Goldstein or research your own accurate image (see example on blog).  Use a finely sharpened pencil to accurately render as many of the 206 bones of the body as would be visible in the view that you’ve chosen.  Do not crop your skeleton at all and be sure to fill your sketchbook page as much as possible without compromising proportion or accuracy.  

Then draw a skull that is just as finely rendered.  Your skull drawing should fill the sketchbook page without compromising accuracy, and it must not be cropped at all. Make sure your drawings are NOT on pages facing each other—the two drawings will rub together and ruin each other.

You are to label both drawings neatly and without compromising the details of the drawing with the list of bones below.  You will also be quizzed next week on the same list, so be sure to study it!

·         Femur

·         Fibula

·         Patella

·         Tibia

·         Pelvis

·         Tarsals

·         Metatarsals

·         Greater trochanter

·         Pubic arch

·         Anterior superior iliac spine

·         Iliac crest

·         Lumbar vertebrae

·         Sacral triangle

·         Thoracic vertebrae

·         Ribcage

·         Sternum

·         Clavicle

·         cervical vertebrae

·         Humerus

·         Radius

·         Ulna

·         Carpals

·         Pisiform carpal

·         Metacarpals

·         Phalanges

·         Mandible

·         Maxilla

·         Zygomatic arch

·         Calcaneus

·         Zygomatic bone

·         Frontal bone

·         Temporal fossa

·         Nasal bone

·         Mastoid process

·         Coronoid process

·         Styloid process

·         Supercilliary ridge

·         Orbit

·         Cranial Suture

·         Mental protuberance

·         Parietal bone

·         Canine fossa

·         Occipital bone

·         Sphenoid bone

Artist Presentation Guidelines

Life Drawing

ARTIST PRESENTATION CRITERIA
Kyle Stevenson, professor

Instructions:
You are to sign up for an artist (sign-up sheet is going around) on a specified date to give a 5-10 minute presentation to the rest of class.  You will need to collect images and know your artist well enough to discuss their work in a conversational manner.  I will not collect a written report.  In order to get an A*, you may not have written notes--it must be completely oral!  Your grade will depend on how well you follow directions.

Questions to address when Researching your Artist Presentation:

1. What is the Artist’s Background? (1-2 minutes)
                                    A. Where are they from?
                                    B. What time period were they alive and making work?

C. What Cultural Events/ Environments were affecting their art?

2. Collect 10 to 15 visual examples of their work for us to look at while you are presenting. (3-5 minutes)

A. Use digital images (preferably jpegs, PowerPoint or Google Slides

B. If you are using a folder of jpegs, name and number the images in the order you want to present them and save them on a flash drive or arrange to email them to me (NOT to yourself!) 

C. Ideally, get your images to me the class before you present.

D. Google Images is great web resource to start image collecting.

You must know the names and approximate dates of all the works you choose, and be able to elaborate on 1 or 2 of your artist’s most important art works by discussing the important elements contained in each.  Explain why these works were important to history or their career.
           
3. What main elements are important to looking at and understanding their artwork or process (1-2 minutes)?

4. Do you like their work? Why or Why not? This must be an informed opinion, not a knee-jerk reaction! (1-2 minutes)?

The Rules

*In order to get an A, you may NOT . . .

·          . . . Read from any notes or consult a cheat sheet.

·         . . . Have any presentation slides of only text.  You may support images with text, but the majority of the slide must be the image.

·          . . . Take more than 10 minutes.  I will have a timer and warn you when you are getting close, but you must finish before 10 minutes, not merely stop.

·          . . . Have poor quality images (see above image specs) or inaccurate information.

·         . . . Deviate from the directions in any way.

Breaking any of the above rules will result in a full letter grade deduction per rule broken.

Syllabus and Materials

ART 104 – Life Drawing @ Mercer County Community College

Kyle M. Stevenson, professor

Office: ET 124, email: stevensk@mccc.edu, or kylestevenson@yahoo.com

Office hours: TBA

Course blog: www.professorkylestevensonlifedrawing.blogspot.com ________________________________________________________________________

Course goals and objectives:

The student will be able to accurately perceive a 3- dimensional human form in space and then translate that perception into line and tone while not losing awareness of said line and tone.   The student will also use developed skills to render the human form in believable proportion, exploring a variety of drawing practices, media and techniques. 

As students, you must attend all classes with proper materials.  You will participate in critiques and slide discussions.  You will be asked to complete a series of outside of class assignments.  Finally, you will submit a portfolio of drawings done during class for the end of the term.

Text: Figure Drawing; the Structure, Anatomy, and Expressive Design of Human Form, by Nathan Goldstein, cheapest Edition, Prentice Hall

Evaluation

50% of your final grade will come from the average of the outside of class projects, plus quiz grades.  Each project will be done in your sketchbooks and may include several parts.  

*Note: each quiz will be related to the content of whatever project is due, and will be worth the same as a project.

20% of your final grade will come from your end-of-term portfolio.  We’ll discuss portfolios as the time comes.

10% of your final grade will come from class participation.  This includes overall improvement, attitude, discipline, promptness, participation in critiques/discussions, etc.

10% of your final grade will come from the Museum Visit Paper.

10% of your final grade will come from the Artist Presentation. 

Attendance

For the afternoon class you are expected to attend no fewer than 26 out of a possible 28 classes.  For the evening class, you are expected to attend no fewer than 13 classes out of a possible 14 classes.  The value of this class comes primarily from time spent with the model.  If you are not drawing from the model whenever you have the opportunity, you will simply not develop or improve.  More than two unexcused absences for the evening class, and more than three unexcused absences for the afternoon class at the end of the term will result in your final average dropping a full letter grade for the first, and a third of a letter grade for every additional absence.  If you show up to class late, leave early, or take inordinately long breaks it will cost you half of an absence each time.

Finally, as we all come to this class with different experience, ability, and confidence, it is essential that you treat me, each other, and this class with respect.  Failing to do so will result in your dismissal from class.

Required Materials

-drawing board and clips—large enough for an 18x24 inch pad

-18x24 “Sketch” pad*

-18x24 “Drawing” pad* (not bristol)

-hard bound sketchbook-8.5x11 (it may already be used, but at least half must still be blank)

-pencils—try soft woodless, graphite crayons, 4H, HB, 2B, 4B, 6B—an assortment

-1 box (at least 25 sticks) soft vine charcoal

-a mechanical pencil .08 size or larger (for metalpoint)

-at least 1 kneaded eraser

-one box of soft compressed charcoal

-workable spray fixative (Krylon brand is the most ubiquitous)

-Conte crayons-black, white and red—soft

-Fine point Sharpie or Micron .08 Pen (or equivalent)

-2 sheets light gray 19x25 Canson mi-tientes paper

-2 sheets dark gray 19x25 Canson mi-tientes paper

-2 sheets black 19x25 Canson mi-tientes paper

-at least one sheet of 22x30 Arches Cover or Rives BFK (for the final week of drawing)

-glue stick(s)

-portfolio folder large enough to comfortably fit 18x24 paper

-bottle of black Higgins India ink

-bamboo brush—about the thickness of your finger and bristles should be about an inch long

-support materials for water media

*replace as needed