Henri Marie Raymond de Toulouse-Lautrec-Monfa

-Born 1864, Albi, France
-Painter, printmaker, graughtsman, and illustrator
-Most famous for Moulin Rouge paintings, drawings, and posters
Salon at the Rue des Moulins, 1894, oil on canvas
 Reine de Jolie, 1892, chromolithograph

Jamie Hewlett

-Born 1968, Sussex, England
-Comic book artist and designer
-Best known for being co-creator of Tank Girl and virtual band Gorillaz
-Other works include: Monkey:Journey to the West and Underwater Colours
 ?, 2009, Watercolor on yellow envelope
 Plastic Beach (?), 2010, color pencil, paint, computer alterations.

Still Life No. ?

Kara Walker

-Born 1969, Stockton California
-Explores race, gender, sexuality, violence, and identity in works.
-Techniques include: Cut paper, silhouette, narrative vignettes and cyclorama, painting, drawing, text-based works, light projections, video/film, and performance.
Cut, 1998, cut paper on wall, 88x54 in.
Darkytown Rebellion, 2001, cut paper and projection on wall

Five Minute Portrait Drawing No. 1

Ten-Minute Portrait Drawing No. 1

We originally started drawing 15-minute portraits, just so we could practice getting down the general form of the body. As we gradually got quicker, we went down to doing 10 minute drawings, then to 5 minute drawings. I enjoyed finally having to work with people in this class because there was so much more to pay attention to and grow on. 

Still Life No. ?

Ben Rak

-Born in Berkeley, California
-Studied cooking and worked as a chef; used food for artistic expression.
-Photographer; explored relationships between humans and landscape; added digital manipulation
-Combined photography with printmaking
-Uses commonplace items (shopping bags, sunglasses, etc.) to make sculptures

Who You Gonna Call, 2008, screen print, 380x280 mm
Untitled, 2011, Earthenware slip with metallic glazes

HW: Self Portrait

Getting the chance to profile ourselves artistically is always fun in my opinion. For the techniques in this project, I was inspired by a t-shirt I had of a bust of Beethoven, which was done with nothing but varying lines. With this project, like the t-shirt, I used line variation as much as humanly possible with my portrait. 

Kumi Yamashita

-Born in Japan, lives and works in New York City
-Works include light and shadow figures, rubbings, constellation, and warp and weft
-Others include works with glass, cotton on rubber sheet, and other multi-media.

City View, 2003, Aluminum numbers, single light source 

Constellation- Mana, Wood panel, brads, single sewing thread

Drapery Drawing No. 1

I found the drapery project rather fun because we experimented with a variety of organic forms and lines, which went great combined with the straight, geometric shapes of the easel horses. I enjoyed this piece particularly because of my line usage and composition. 

HW: Interior Drawing (Bedroom)

Elipse Drawings

Despite the tediousness of this project, I found it very helpful learning how to draw elipses in perspective. With these guidelines in mind, I can now create elipses in my art that don't look so wonky. 

HW: School Drawing

Aside from drawing this on a slightly rainy day and having my bored, starving little brother by my side, I enjoyed this assignment because I once more developed my skill at portraying perspectives and getting down my line qualities and variations. 

William Kentridge

-Born 1955 in Johannesburg, South Africa
-Best known for his prints, drawings, and animated films.
-Art focuses mainly on South African political and social issues
-Other known art includes work in opera, tapestries, and sculpture.
  A hand-drawn still from a Kentridge animation (1998-99). Kentridge's drawings and videos have a political setting, whilst also discovering the cultural duality of South Africa and his own birth city of Johannesburg.
#5 Mal d'Afrika from L'Inesorabile Avanzata (The Inexorable Advance), 2007, portfolio of five intaglio prints: sugarlift, aquatint, drypoint and engraving, 7 7/8 x 5 15/16 inches

Outside Drawings No. 3

I particularly enjoyed working outside because I felt it gave us a more vast scope of perspectives and where their points begin and end. It was also great practice for line variations. 

A Statement

Before I came to this class, I had believed I had the basic logistics of drawing down. I was gravely mistaken. Starting with the line drawing seemed a little on the unnecessary side, yet had I not done that exercise, I would be forever stuck at square one. As I progressed into the perspective studies, I felt my understanding of the subject was honed, along with my line variation.

            Drawing outside, I felt, was the best assignment to show our skill at perspective drawings, because the distance of the subject being drawn was extended to show the expanded space.

            Learning to draw circles and elipses in perspective was both fun and instructive. With this knowledge, I now know how to draw a cup or other cylindrical object at a distance in the best perspective without any wonkiness.

            My ink drawing on bond paper was particularly fun for many reasons. For one, it was a break from drawing with the old ebony on news print. Also, I was surprised that I did not mess up very much drawing with a permanent medium. Practicing so much with the ebony has helped better my skill at drawing my subject as correct as possible.
            We continued drawing regular still life for the majority of the class, using varieties of media and going at different angles. Drapery was added into our arsenal of objects to draw, which is always fun to create. We were given a homework assignment in which we were required to draw a self-portrait, with accurate proportions. After that assignment, we began drawing portraits of others. I experimented drawing portraits both as a head-to-shoulder profiles and almost full-body profiles. We began drawing fifteen minute portraits, so we could get down the general shapes of the head, shoulders, and ear placements. Since we got quicker and better, we gradually went down to ten minute drawings, then to five minute drawings. It was a fun exercise, and it really helped me examine my subject and draw it faster. 
             I think as I, as well as the entire class, have made better progress with each new subject and new medium with which to draw. I am glad that I now know all the little things that make up this broad subject of drawing.