Class syllabus

Drawing I – Robert Camacho                                                          

Robertcamacho453@gmail.com

 

Class begins at _____________. Do not be late for class.  Come early to give yourself time to set up to work.  Attendance is mandatory.  If you foresee a problem with getting to class on time or if you think you might miss any classes, please speak to me after the introductory class.  Every day at two we will be discussing the parameters and conceptual framework we will be engaging with during the class period; it is critical that you are actively engaged with each of these discussions.  If you are late for class it will affect your grade.  If you have an emergency or illness that will cause you to miss a class period, contact me via email before the class period if at all possible.  Absences will affect your grade, and seven absences (for any reason) will force a failing grade for the semester.  Attendance accounts for 30% of your grade for the term.

Class time will be spent drawing, engaging in critical discussion about drawing issues, discussing contemporary and historical drawing masters, and traveling to museums and galleries. 

You will be expected to keep a daily drawing journal.  You will need to make at least one drawing per day (every day of the week) in this journal, wherein you will explore and expand the issues brought forth in the class.  These drawings do not necessarily have to be resolved, but they need to be exploratory and expand your understanding of drawing.  Get in the habit of bringing this book with you everywhere, and taking visual notes of things that strike you.  Bring this sketchbook to every class session.  You will use the sketchbook to take notes in (both visual and verbal) from class discussions (you will not use your phones, ipads, computers, etc. for this purpose.)  There will be outside assignments and projects, which will constitute approximately four to six hours of work per week (on average) outside of class.  The sketchbook, and your engagement with it, will account for 30% of your grade.

You are expected to work very hard, both in and outside of class.  You will be expected to challenge yourself to expand your understanding of the possibilities of drawing, and you will need to engage ambitiously with the issues of the class.  Engagement with the issues of every class session constitutes 40% of your grade.  You will need to focus energetically and ambitiously during every class period, engage with the challenges and limitations of your drawings.  This includes transcending boredom and frustration and figuring out ways to engage with your drawing through those challenges.  If you are slacking during class you will be asked to leave.  For these reasons, I will ask you to be prepared and do what you need to do to be able to put a lot of energy into each class period. 

During critiques and class discussions you will be expected to participate incisively and constructively in the discussion, but you will also be expected to strive to be an equal participant in the discussion.  If you feel you haven’t contributed to the conversation as much as others, do what you can to engage in the conversation.  If you find yourself dominating conversations, endeavor to listen carefully to others and sit back a bit more.

A few rules:

  1. Absolutely no ipods, ipads, laptops or other personal listening devices or music in class.  You are welcome to listen to whatever you like when working on outside assignments on your own time over the weekend.  Don’t bring any electronics (including computers) to class. Absolutely no cell phones in class.  That includes texting, checking email, etc.  Let me know if you have a family emergency that requires that you be reachable.  If that is the case you will need to put your phone on vibrate and take the call outside the classroom.  Otherwise, if you do bring a cell phone it will be turned off and out of sight for the duration of the class.  If you need to use your device for any reason, please leave class and do what you need to do outside.
  2. No talking, unless you are quietly talking about the issues of your drawing with me or with another student.  While you’re in the classroom anything you say should be said to the group.  If you need to talk to another member of the class, please go outside.
  3. No breaks unless it’s a full class break (that includes cigarette breaks.)
  4. Absolutely no talking while the model is posing.
  5. Never interrupt someone else during discussions and critiques.  Listen to them carefully, wait for them to finish and then offer your view.  Incisive, direct, and otherwise harsh critique is encouraged as long as it’s respectful and designed to help your fellow student to push their work and make it better. 

These parameters are meant to establish and respect a level of engagement for the other members of the class.  If you are unable to focus ambitiously on your work during the class you should not be in this class.  You will be asked to leave if you disregard any of the above parameters.

For ________ please bring drawing board, newsprint pad and large drawing pad, vine charcoal, eraser, chamois cloth, push pins.

Materials list:

Large masonite drawing board, preferably 24x36,

Clips for drawing board (if they’re not already on the board)

Small (in the 8”x10” to 20”x24” range) sketchbook for drawing journal.

1 pad 18”x24” good quality drawing paper (you will be needing more later in the semester.)

1 pad 18x24 (or larger) newsprint

Bob’s Fine Vine Charcoal (comes in Ziploc bags.  Get several bags of the small size and several bags of large size charcoal.  (Available online via Daniel Smith http://www.danielsmith.com/Item--i-G-415-010)

Compressed charcoal

Chamois cloth

Heavy duty staple gun and staples.  Arrow T-50, Powershot, or equivalent.

1 box Push pins.

1 large white eraser.  Staedtler or equivalent.

1 bottle india ink, 1 bottle sumi ink.  Bamboo brush and bamboo pen.

Graphite pencils, 2 4h, 2 hb, 2 2b and 2 4b

Graphite sticks

1 tub acrylic gesso.

Scotch and masking tape

x-acto knife and extra blades

single edge razor blades

scissors

Large (cheap) bristle brush, small bristle brush

Rubber stamp and ink pad

Artist Craftsman Supply –  http://www.artistcraftsman.com/

New York Central:  http://www.nycentralart.com/

Utrecht Art Supplies:  http://www.utrechtart.com/

 

Utrecht:

 

Dick Blick Art Supplies:

 

Suggested reading:

Camera Obscura Roland Barthes

Perspective as Symbolic Form  by Erwin Panofsky.  Zone Books

The Poetics of Perspective by James Elkins.  Cornell University Press

The Body In Pieces: The Fragment as a Metaphor of Modernity by Linda Nochlin.  Thames and Hudson

The Nude: A Study in Ideal Form by Kenneth Clark Doubleday/Anchor

The Female Nude: Art, Obscenity, and Sexuality by Lynda Nead.  Routledge

The Origins of Perspective (an excellent but dense book) by Hubert Damisch.  MIT Press

Basic Perspective and Creative Perspective (very basic straightforward scientific perspective)  by Robert W. Gill Thames and Hudson

General Schedule:

September - Composition, formal issues study.  Line, value.

September - draw from paper bags- line

September - paper bags- value

September - cardboard boxes.  Line, value negative shape

September - cardboard boxes-expand to room- introduce perspective

September - analytic perspective, Rennaissance perspective

September - perspective and measurement-ellipses and rectilinear elements defining planes in space.

October - MFA-draw from master paintings

October -master copies

October -critique of master copies

October - no class, holiday

October - measurement-mechanical drawing

October  measurement-mechanical drawing in room

October -model, gesture drawing-general composition

October - model, gesture drawing, blind contour

October -model, measurement, general to specific-collaborative drawings

October -model, 100 small drawings with sumi ink

November -Midterm critiques- individual meetings

November -Midterm Critiques-individual meetings

November - Model-light giving rise to form-caravaggio, strong light

November  –model back lit

November -model in room-immediate impression-Auerbach

November  -model in room- gesture, presence, foreshortening

November - 2 models, additive drawing,

December - 2 models, additive installation drawing with collaboration component

December - 2 models, continue additive collaborative installation drawing,

December - Final critiques

 


Drawing I, part 2

Robert Camacho

Robertcamacho453@gmail.com

Class begins at_____________.  Do not be late for class.  Come early to give yourself time to set up to work.  Attendance is mandatory.  If you foresee a problem with getting to class on time or if you think you might miss any classes, please speak to me after the introductory class.  Every day at nine thirty we will be discussing the parameters and conceptual framework we will be engaging with during the class period; it is critical that you are actively engaged with each of these discussions.  If you are late for class it will affect your grade.  If you have an emergency or illness that will cause you to miss a class period, contact me via email before the class period if at all possible.  Absences will affect your grade, and seven absences (for any reason) will force a failing grade for the semester.  Attendance accounts for 30% of your grade for the term.

Class time will be spent drawing, engaging in critical discussion about drawing issues, discussing contemporary and historical drawing masters, and traveling to museums and galleries.  We will be building on and expanding many of the issues that were introduced last semester, as well as some new issues.  You will be expected to bring a higher and more ambitious level of engagement to your work, however, in order to deepen the critical, formal, technical, and conceptual dialogue within your drawings.  Some class sessions will be spent working, but many classes will be focused on critical discussions about the more ambitious projects you will be working on outside of class.

You will be expected to keep a daily drawing journal.  You will need to make at least one drawing per day (every day of the week) in this journal, wherein you will explore and expand the issues brought forth in the class.  These drawings do not necessarily have to be resolved, but they need to be exploratory and expand your understanding of drawing.  Get in the habit of bringing this book with you everywhere, and taking visual notes of things that strike you.  Bring this sketchbook to every class session.  You will use the sketchbook to take notes in (both visual and verbal) from class discussions (you will not use your phones, ipads, computers, etc. for this purpose.)  There will be outside assignments and projects, which will constitute approximately four to six hours of work per week (on average) outside of class.  The sketchbook, and your engagement with it, will account for 30% of your grade.

You are expected to work very hard, both in and outside of class.  You will be expected to challenge yourself to expand your understanding of the possibilities of drawing, and you will need to engage ambitiously with the issues of the class.  Engagement with the issues of every class session constitutes 40% of your grade.  You will need to focus energetically and ambitiously during every class period, engage with the challenges and limitations of your drawings.  This includes transcending boredom and frustration and figuring out ways to engage with your drawing through those challenges.  If you are slacking during class you will be asked to leave.  For these reasons, I will ask you to be prepared and do what you need to do to be able to put a lot of energy into each class period. 

During critiques and class discussions you will be expected to participate incisively and constructively in the discussion, but you will also be expected to strive to be an equal participant in the discussion.  If you feel you haven’t contributed to the conversation as much as others, do what you can to engage in the conversation.  If you find yourself dominating conversations, endeavor to listen carefully to others and sit back a bit more.

A few rules:

  1. Absolutely no ipods, ipads, laptops or other personal listening devices or music in class.  You are welcome to listen to whatever you like when working on outside assignments on your own time over the weekend.  Don’t bring any electronics (including computers) to class. Absolutely no cell phones in class.  That includes texting, checking email, etc.  Let me know if you have a family emergency that requires that you be reachable.  If that is the case you will need to put your phone on vibrate and take the call outside the classroom.  Otherwise, if you do bring a cell phone it will be turned off and out of sight for the duration of the class.  If you need to use your device for any reason, please leave class and do what you need to do outside.
  2. No talking, unless you are quietly talking about the issues of your drawing with me or with another student.  While you’re in the classroom anything you say should be said to the group.  If you need to talk to another member of the class, please go outside.
  3. No breaks unless it’s a full class break (that includes cigarette breaks.)
  4. Absolutely no talking while the model is posing.
  5. Never interrupt someone else during discussions and critiques.  Listen to them carefully, wait for them to finish and then offer your view.  Incisive, direct, and otherwise harsh critique is encouraged as long as it’s respectful and designed to help your fellow student to push their work and make it better. 

These parameters are meant to establish and respect a level of engagement for the other members of the class.  If you are unable to focus ambitiously on your work during the class you should not be in this class.  You will be asked to leave if you disregard any of the above parameters.

As with last semester, grading is as follows: 30% attendance, 40% in-class engagement, and 30% sketchbook.  You will be expected to bring more energy and ambition to the class and to your drawings than you did last semester, however. 

For next class: bring drawing board, and large drawing pad, vine charcoal, eraser, pencils, graphite, chamois cloth, heavy duty stapler and staples.

Materials list:  Everyone is required to have all supplies, and they need to be readily available at every class.  You should look for storage after the first class in one of the lockers.  If possible, please share a locker with a classmate.  Please get the supplies as soon as possible.  Items left in this room are not guaranteed to be there when you return, but you may take your chances.  If you do leave your stuff here, make sure your name is on everything.  You will need the materials in (more or less) the order that they are listed in below.  In other words, next class we will be starting with the first ten items on the list, and moving on from there.  Make sure you have storage for all of your materials; otherwise you will have to carry all of this stuff to and from class every day, and also on the weekends when you come in to do outside assignments. 

Large masonite drawing board, preferably 24x36

Portfolio to carry drawings and materials (put your name on it)

Extra clips for drawing board

Sketchbook (about 12”) for drawing journal.

1 pad 18”x24” good quality drawing paper (you will be needing more later in the semester.)

Bob’s Fine Vine Charcoal (comes in Ziploc bags, order from Daniel Smith online unless you want to take your chances with Artist and Craftsman supply or Utrecht.  Get several bags of the small size and several bags of large size charcoal.)  Feel free to buy other brands if you don’t want to wait for the order, but Bob’s is by far the most value for what you pay, unless you make your own.

Compressed charcoal

Chamois cloth

Heavy duty staple gun and staples.  Arrow T-50, Powershot, or equivalent.

1 box Push pins.

1 large white eraser.  Staedtler or equivalent.

1 bottle india ink, 1 bottle sumi ink.  Bamboo brush and bamboo pen.  Large (around 5”) Hake brush.

Wide mouth containers for ink and water that will accommodate the large Hake Brush, and will hold about a pint of liquid or more (you will need at least two.)  Coffee cans, large yogurt containers, etc. will work.

Graphite pencils, 2 4h, 2 hb, 2 2b and 2 4b

Graphite sticks

Powdered graphite

Foam brushes of various sizes (hardware stores will have these if art supply stores don’t.)

1 pad grey tinted pastel paper

Conte crayons: black, white, and sanguine

1 tub white acrylic gesso

1 tub black acrylic gesso (if available.  If not, black acrylic paint will work.)

Scotch and masking tape

x-acto knife and extra blades

single edge razor blades

scissors

Large (cheap) bristle brush, small bristle brush

Large metal straight edge (yard stick or equivalent,) preferably 42”

5-10 yards Large (36” to 42” wide) good quality, heavy rag paper.  Rives BFK, Arches, Fabriano, watercolor paper, etc.  I would recommend for everyone to buy a whole (10 yard) roll, but some of you may want to split a roll with someone, then order another roll when needed. You will need this large paper by mid October.  Look up store websites below for prices and availability.  Blick, for some reason doesn’t seem to sell paper on the roll, but A&C Supply and Utrecht should have it.  It might be easier to order it online.  Order as soon as you can. 

Artist Craftsman Supply –  http://www.artistcraftsman.com/

New York Central:  http://www.nycentralart.com/

Utrecht Art Supplies:  http://www.utrechtart.com/

 

Utrecht:

 

Dick Blick Art Supplies:

Suggested readings:

Ways of Seeing John Berger

Camera Obscura Roland Barthes

Perspective as Symbolic Form  by Erwin Panofsky.  Zone Books

The Poetics of Perspective by James Elkins.  Cornell University Press

The Body In Pieces: The Fragment as a Metaphor of Modernity by Linda Nochlin.  Thames and Hudson

The Nude: A Study in Ideal Form by Kenneth Clark Doubleday/Anchor

The Female Nude: Art, Obscenity, and Sexuality by Lynda Nead.  Routledge

The Origins of Perspective (an excellent but dense book) by Hubert Damisch.  MIT Press

Basic Perspective and Creative Perspective (very basic straightforward scientific perspective)  by Robert W. Gill Thames and Hudson

 


September - composition study- line (with model)

September -composition study-line continued (with model) blind contour

September - composition- value (model)

September - model General (gesture drawing)

September - model-general to specific

September -perspective-model

September - model in interior-measurement

October – museum visit

October -master copy assignment

October-mechanical drawing

Oct0ber- Big rag paper-2 models

October -critique big paper

November -midterm individual critiques

November - mechanical drawing intensive

November - 1 model, big paper

November critique

December models, big paper

December -final critiques