Lumer's use of ink and water is particularly ghostly and quite dysgraphic. Her work is also quite textural, with the brush strokes visible.
Monday, 16 March 2015
Robin Rhode (1976 - )
Wardell Milan (1978 - )
Milan is a prime example of dysgraphic representation of the figure. He subtly uses charcoal and gouache, getting interesting textures and tonal variation. Note his minimal use of line and how he largely blocks in the form with bold strokes.
From this link
From this link
From this link
From this link
From this link
Monika Grzymala (1970 - )
Grzymala makes three dimensional drawings using electrical tape stuck to the walls of the gallery space. The tape looks similar to crosshatching or line drawings. There is definitely tonal variation. There is an energy visible in the "drawings", maybe having something to do with how the tape is stretched tautly across the space.
From this link
From this link
From this link
From this link
From this link
What experimental materials can you use to make art?
- Toothbrush
- Shoes
- Knitting/ sewing/ crocheting
- Wire
- Blue tack
- Foam/ cardboard
- Tape
- Sticks/ brooms
- Light
- Ribbons
- String/ thread
Today's class - dysgraphia part 3
Warm up drawings
Warm up drawings
Warm up drawings
Warm up drawing
Warm up drawing - blind contour drawing
In this drawing, we had to study the pose for about 10 seconds then close our eyes and draw what we remembered. Tricky because as soon as I shut my eyes I forgot how the model was posing!
This was a series of poses drawn to capture the movement of the poses.
Covered the whole sheet in charcoal (accidentally conte) and then drew with an eraser, mapping the highlights seen in the pose.
I think this drawing is quite successful. This was drawn from a 20 min pose, focusing on the key word deskilling. I used various deskilling techniques, such as drawing without looking at the paper and continuous line.
In this drawing I focused on dysgraphia/ deskilling, drawing with continuous line without looking at the paper and then coming back in and erasing/ smudging the model's form. Not sure how good looking the drawing is but I think it is quite successful in exploring the theme of dysgraphia/ deskilling.
In this drawing I was looking at distortion. With blind contour, I drew the form first landscape then flipped the page into portrait.
Monday, 9 March 2015
Deskilling, dysgraphia, distortion and fragmentation - part 2
One minute warm up poses
One minute warm up poses
This one is two poses morphed together, drawn with the medium on its side and then with short sharp lines.
Looking at shapes, negative space, blocking in and continuous blind contour.
This one was a series of poses drawn over the top of each other. There is certainly a feeling of animation and movement.
This drawing of the figure was based on academic mimesis.
This drawing was first based on academic mimesis and then we were given instructions to make the drawing dysgraphic, by doing blind continuous line and long vertical lines.
This pose was drawn mimetically and then the last minute was done blind.
This pose was drawn mimetically and then the last minute was done blind.
Interesting shape when tearing out the model's features.
Interesting shape when tearing out the model's features.
This was focusing on fragmenting the model's form by using previous drawings and tearing them up in order to document the new existing pose.
This drawing was focusing on deskilling. Not sure how successful it is.
This drawing was focusing on distorting by using blind continuous line and drawing with non dominant hand.
This drawing was focusing on distorting by morphing two individual poses together.
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