April 13, 2014

portraiture | drawing s'14


An assignment that includes hatching spawns both quick studies and some alter egos



Gabriela


Genesis


David



April 04, 2014

a beauty of form | drawing s'14


"...My concern is to allow one's imagination to develop according to nature; to forget oneself, and to abandon thought, in drawing as well as photography. At the same time allowing the unconscious and one's sensibility to function together so that a geometry, inspired by the subject, can affirm itself into a beauty of form."
              - From the afterword by photographer, Henri Cartier-Bresson for The Peasant of Paris,by Louis Aragon, with lithographs and photogravure by Henri Cartier-Bresson. (Later in his life Cartier-Bresson set aside his camera to draw.)



Elliot         




 Lauren           


March 22, 2014

portraiture | life drawing s'14


If you look at a shadow long enough, it tend to grow light. Therefore keep your eye focused on the lights or on the expression, never on the shadows or background. 

- Robert Henri, from The Art Spirit



Damin


Talia

March 16, 2014

why do life drawing if my intention is to sketch interiors? | drawing '14


Answer: This is where you relinquish your grip on the charcoal. Lighten up; press down; go from the tip to the side and back again; use your whole arm; rotate your wrist, and twirl that charcoal in your fingertips. 

David's unhesitating spirit is visible in his lines. When followed by the work of a former student, and another by the renowned architect Louis Kahn, it makes clear that self-expression does not arise from only mastering linear perspective.




























David



Eiiche's sketch of a subway platform


Louis Kahn's sketch of Venice


March 10, 2014

experimenting | drawing s'14


Teeter on the edge! Take risks! With little time to think, gestures are the jumping off point - especially when each drawing looks different.



Nicole


February 23, 2014

roundness | life drawing s'14


There are no straight lines in the human body. Here Julie navigates the flesh of the model, fluctuating the pressure of the charcoal and rotating her wrist. The contour line bends and sways, while the model holds her pose

By including a light source, Julie effectively molds the terrain. Note the distinct variation of shadows on a breast - like that of an egg - illustrating that the human body is anything but flat.



Julie

February 14, 2014

sketchbooks | drawing s'14


Boldly evocative, these pages awaken the senses. Flavored with personal viewpoints, offbeat ideas, flashy colors, die-cuts, scraps, and magazine imagery, these students exhibit the most essential component found in any sketchbook: gutsiness



Eliot



Michele




Lauren



Meg

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