DOCSLIB.ORG

Power of the Stick Year 8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Power of the Stick Year 8 Year 8 - Knowledge Organiser - Giacometti The width from shoulder to shoulder = 2heads The elbow roughly lines up with the bottom of the What is proportion? – Proportion is comparison ribcage just above the waist It is important to draw the human figure in proportion. The tip of the middle finger to the armpit = 3 heads Though there are subtle differences between individuals Width of the waist at the belly is 1 head length wide human proportions fit within a fairly standard range, which With the arm stretched out the hand reaches have varied considerably over different periods and regions. midthigh. In modern figure drawing, the basic unit of measurement is Hand = face (chin to hairline) the ‘head’, which is the distance from the top of the head to the chin. Motion -The body is a supple and agile system, The proportions used in figure drawing are: influenced by gravity. It has no natural rigid position • An average person is generally 7 ½ heads tall. • An ideal figure , used when aiming for an impression 1.An exaggerated walking gait. of nobility or grace, is drawn at 8 heads tall. The hip joints move because of • An heroic figure , gods and superheroes, is 8 ½ gravity. The motion of the 1 heads tall. (bigger chest and longer legs) shoulders moves in reverse to the hip joints. 2. A sideways lying person, resting on 1 arm. This causes Power of the Stick • An unbalanced pose conveys the rest of the body (ribcage) to red circle = centreFigure of gravity dynamics, action and motion hang on the resting shoulder. red arrow = direction of gravity • A balanced pose results in a calm and The spine column is somewhat 2 green arrow = resting point tranquil image. flexible; it can be bent a little. Leaning Balancing Standard walk The figure is at rest because This is possible The centre of gravity the centre of gravity lies because the lies between the two between the two resting points: body is resting points. This one foot and a shoulder. 'spread' fairly results in a balanced The foot of the crossed leg symmetrically. stance. does not contribute to standing. Fall Running Here the body leans The centre of gravity When running the centre of gravity lies in to the right, causing lies next to the resting front of the resting point. This is an in balance. The point. This is in unbalanced pose resulting in a falling motion centre of gravity balance, causing the of the figure. He won't fall, because he is shifts a bit to the body to move running at speed and will put a foot in front of right as well. sideways to the left. the other preventing him from hitting the ground. Alberto Giacometti Alberto Giacometti (10th October 1901 - 11th January 1966) was a Swiss sculptor and painter. He was born in Switzerland. His dad was Giovanni Giacometti, a well- known painter. He was interested in art from an early age. He was a SURREALIST artist. His work had an imaginary and dreamlike quality. Most famous for, his sculptures of people In the 1940s Giacometti began to make tall, emaciated figures with roughly defined outlines, which appear to represent the human figure seen from a distance. He explained that when he made large figures, they seemed 'false'. It was only when he portrayed them as 'long and slender' that they seemed true to his vision of humanity. The fragile, elongated figures sculpted by Giacometti seemed to reflect the precariousness of life in Europe immediately after the Second World War. Giacometti began to make these distinctive bronze sculptures in Paris in the late 1940s. His work struck a powerful chord with the existentialist writer Jean-Paul Sartre who saw the figures, each isolated in its own space, as a visualisation of his own ideas about the loneliness and ultimate absurdity After the mid-1950s, Giacometti of the human condition. concentrated on portraiture, For his part, Giacometti insisted that he repeatedly drawing and sculpting was simply attempting to convey his own his immediate circle of friends experience of looking at people. However, and family. Each work required this concern with visual truth was fraught numerous sittings as he with uncertainty and doubt. He often struggled to capture his subjects. reworked his sculpture over long periods His wife Annette was one of his before casting them in bronze, building up most frequent sitters. He the clay model, then stripping it down, commented, ’after three days of rebuilding and stripping again, as he posing she doesn’t resemble gradually eroded the outline of the body to herself any more. I definitely its essential core. The pitted textures of don’t recognise her’ their surfaces reveal the constant movement of his hands. .
Load more

Recommended publications
  • ART 213 Figure Drawing (Definitive Version)
    ART 2323 – FIGURE DRAWING I MAIN ART BUILDING, ROOM 201 2:00 P.M. -- 4:50 P.M. Instructor: Gerard Huber [email protected] Office Hours 11:00AM to 1:50PM, Tuesday/Thursday, Room #211 in Art Building CATALOGUE DESCRIPTION: The solving of total compositional problems, through drawing media. Emphasis is placed upon the figure, with additional concentration upon other subject matter and nonobjective image making. ADDITIONAL DESCRIPTION: A course in learning how to draw the nude human body accurately and with sensitivity. Objectives of the course are to acquire a comprehensive understanding of the human form by developing a working knowledge of the structural components of the human body. Course Purpose: The purpose of Figure Drawing is to develop perceptual skills in terms of drawing a correctly articulated human figure with accurate proportions from a nude figure. The student will review basic knowledge of the elements of art structure: line, value, shape, texture, and color to lead to their deliberate manipulation of different types of spatial illusion, compositions, and expressive meaning. Course Goals: Figure Drawing is designed to build each student’s perceptual, compositional, and expressive figure drawing skills so that by the end of the semester he or she will: learn to make a drawing of the live human figure based on increased sensory perception as opposed to preconceived ideas of what the figure should look like. be able to draw the human figure in an objectively accurate manner. be able to analyze underlying structure and proportions of male and female human figures. be able to draw the human figure in an expressive manner, with desired mood or emotional nuance.
    [Show full text]
  • The Art of Figure Drawing the Art of Figure Drawing The
    The art of figure drawing the science of modeling "The life Class ", by toby boothman http://fineartamerica.com/featured/the-life-class-toby-boothman.html © 2011 RP Renaud The art of figure drawing the science of modeling Needless to say, the wonderful parody on the cover page by artist Toby Boothman isn't very likely to depict what one will see at art classes or open studios. This photo, with the one recognizable face blurred for privacy, is more in line with what one will experience in the real world. This is a painting session, but a drawing session will not be that much different. Artists will be preserving the image of a model using various media such as pencils, pens, chalk, colored pencils, charcoal or Conté Crayons, and a variety of surfaces such as sheet paper, note pads, easel pads, newsprint (the stuff that newspapers are printed on) or whatever the artist is moved to use. Art is the product of individuality. © 2011 RP Renaud 2 The star of the show So we now have a group of artists, from a few to a classroom full, with one thing on their artistic minds: they want to draw something. The term "life class" presupposes that their subject will be living, and generally that subject is a human being. And that's your cue. You're their model. They want to draw you. Although in some life classes the model is dressed ("draped", in the jargon) in street clothes or costumes, this group of artists wants you to be nude. Get used to that concept before you even consider modeling.
    [Show full text]
  • ART the Art Model's Handbook
    ART The Art Model’s Handbook: The Naked Truth about Posing for Art Classes and Fine Artists Andrew Cahner CreateSpace Softcover $16.95 (141pp) 978-1-442-16969-2 “The human form is arguably the most difficult subject for an artist to render,” writes author and experienced art model, Andrew Cahner. “A landscape drawn a little inaccurately will still look like a landscape, but an error in depicting a human likeness will not look right.” Capturing an emotional quality is even more challenging, writes Cahner, adding that mastering figure drawing skills prepares artists to draw all other subjects with ease. Given the importance of live models to this endeavor, it is strange that so little attention has been paid to their training and that few resources exist to orient art school faculty, art model coordinators, and artists themselves. Cahner, an experienced professional art model, has ably filled the gap with The Art Model’s Handbook; going beyond basic modeling and drawing terminology and technique, he describes how the model is an active participant in the creative process of figurative artists, providing not just a visual reference, but also serving as a source of inspiration. Recognizing that, especially in American culture, body issues can deter potentially great models from ever pursuing the career, Cahner explains the difference between fashion modeling, with its need for models whose bodies share a particular idealized form, and art modeling, which requires people of all sizes, shapes, ages, and races. With sensitivity and skill, the author describes what the figure drawing experience is like for both models and artists, and establishes the parameters of mutual respect and concern that must exist between them.
    [Show full text]
  • The Nude Figure: a Visual Reference for the Artist Free
    FREE THE NUDE FIGURE: A VISUAL REFERENCE FOR THE ARTIST PDF Mark Edward Smith | 208 pages | 01 Sep 1998 | Watson-Guptill Publications | 9780823032327 | English | New York, United States Nude (art) - Wikipedia The nudeas a form of visual art that focuses on the unclothed human figure, is an enduring tradition in Western art. Unclothed figures often also play a part in other types of art, such as history paintingincluding allegorical and religious artportraitureor the decorative arts. From prehistory to the earliest civilizations, nude female figures are generally understood to be symbols of fertility or well-being. Japanese prints are one of the few non- western traditions that can be called nudes, but the activity of communal bathing in Japan is portrayed as just another social activity, without the significance placed upon the lack of clothing that exists in the West. Through each era, the nude has reflected changes in cultural attitudes regarding sexuality, gender roles, and social structure. The meaning of any image of the unclothed human body depends upon its being placed in a cultural context. In Western culture, the contexts generally recognized are artpornographyand information. Viewers easily identifying some images as belonging to one category, while others images are ambiguous. The 21st century may have created a fourth category, the commodified nude, which intentionally uses ambiguity to attract attention for commercial purposes. With regard to the distinction between art and pornography, Kenneth Clark noted that sexuality was part of the attraction to the nude as a subject of art, stating "no nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even though it be only the faintest shadow—and if it does not do so it is bad art and false morals".
    [Show full text]
  • Nude in a Classroom: the Contemporary World of Life Modelling
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2019 Nude in a Classroom: The Contemporary World of Life Modelling Kannaki Bharali The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3019 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NUDE IN A CLASSROOM: THE CONTEMPORARY WORLD OF LIFE MODELLING by KANNAKI BHARALI A dissertation submitted to the Graduate Faculty in Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2019 © 2019 KANNAKI BHARALI All Rights Reserved ii Nude in a Classroom: The Contemporary World of Life Modelling by Kannaki Bharali This manuscript has been read and accepted for the Graduate Faculty in Sociology in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Philip Kasinitz Chair of Examining Committee Date Lynn Chancer Executive Officer Supervisory Committee: Cynthia Epstein David Halle Elizabeth Wissinger THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Nude in a classroom: The Contemporary World of Life Modelling by Kannaki Bharali Advisor: Dr. Phillip Kasinitz Throughout the history of Western art, drawing from live nude models has been considered one of the most efficient way to develop artistic skills. While drawing live nudes used to be something one had to enroll in an art school to do, life drawing has now transformed to a leisure practice across widely diverse cultural groups.
    [Show full text]
  • Many Approaches to Figure Drawing Exist, and Artists Don't Have to Limit
    The Evolution of Figure Drawing Many approaches to figure drawing exist, and artists don’t have to limit themselves to just one. We examine three longstanding traditions, which artists can use and synthesize in their work. by Robert Zeller n recent years there has been a huge resurgence of interest in the practice of academic figure drawing, accompanied by much debate about the best way to draw the figure in a “classical manner.” Although it may seem an impossibility to add anything truly new or innovative in this field, I propose an approach that can be considered an evolution of existing methods and schools, rather than something radically new. ISimply put, I combine three methods that have been adopted by significant schools of thought on figure drawing throughout the centuries. The first method centers around the study of gesture and is embodied in the rhythmic Italian style of drawing referred to as disegno. The second method is the smooth and subtle creation of form found in the Holly by Robert Zeller French academic method of the 19th century, often referred to today as the atelier method. 2010; graphite on Finally there is the 20th-century architectural-structural approach, which interprets the paper, 24x18 figure as a series of interlocking geometric shapes. 94 Artists Magazine January/February 2018 ArtistsNetwork.com 95 These methods have been around a very long time: Each has roots in the Italian Renaissance, which in turn had roots in INDEPENDENT PRACTICE: Greek Classicism. However, unlike ancient Greek drawing and painting—almost none of which has survived—we have ACADEMIC METHOD examples from all three traditions to help guide our efforts.
    [Show full text]
  • Book Shelf List By
    ANRL Book Archive American Nudist Research Library®, Inc. # Found: 913 2/1/2021 Sort by LOC Pg 1 of 74 # 549 Code: ARL Title: Clothing Optional Author: Arlandson, James Yr: 2006 Rare 0 Held 0 LOC: AA Publisher: Unknown # 514 Code: ALL Title: Newt in the World of Tarzan Author: Allen, Marshall B., Jr. Yr: 2007 Rare 0 Held 0 LOC: AA Publisher: Harbor House Biography Of Newt Fiveash, Owner Of Chin-Ka-Pin Nudist Park In Northern Florida, No Longer In Existence # 294 Code: ATC Title: What the Hell Are They Trying to Prove, Martha? Author: Atcheson, Dick Yr: 1966 Rare 0 Held 0 LOC: AA Publisher: John Day Co. Still Alive At Thirty-Five, New Life In Old Townbennington College, Atlantic City, Esalen, Mendocinorunning Naked At Home And Abroad, My God! They'Re Naked!I Am Curious (Yellow), Encounter In Londonoh! Calcutta!, San Francisco Scenes, Monhegan And After # 383 Code: CHE Title: Secundum Naturum, Vol. I, #1; Vol. I, #2; Vol. 1, #3; Vol 1, #4 Author: Cheney, Harold W., Jr. Yr: 2003 Rare 0 Held 0 LOC: AC Publisher: Cheney, Harold W., Jr. Short Stories # 991 Code: Title: Venus Prophecy, The Author: Conlyn, Andrew G. Yr: 2019 Rare Held 0 LOC: AC Publisher: Taylor and Seale Publishing ANRL's 'Book Of The Month Recommendation' July 2020 ANRL purchased this book. # 551 Code: DUN Title: Exposed Author: Dundon, Daniel Yr: 2009 Rare 0 Held 0 LOC: AD Publisher: Mill City Press Murder Mystery - Part Of The Story Involves Cypress Cove (Chapter 15) # 472 Code: DAV Title: Lost in Limbo Author: Davis, Don Yr: Rare 0 Held 0 LOC: AD Publisher: Unknown # 488
    [Show full text]
  • A Very Brief History of the Naturist Society by Mark Storey
    A Very Brief History of The Naturist Society by Mark Storey Lee Baxandall becomes a naturist activist reate nude, and it kept them abreast of challenges to their naturist freedoms. In the summer of 1974, the superintendent of the Cape Cod National Seashore proposed a ban on nudity to include the Birth of The Naturist Society traditionally clothing-optional Truro beaches on the Atlan- tic side of Cape Cod. He argued that the nude use was By the end of the 1970s, Baxandall and other free beach attracting too large a crowd for the site. leaders on both the East and the West coasts saw the need for a broader-ranging, centralized naturist organization. The Lee Baxandall and some other free beach enthusiasts devel- American Sunbathing Association was serving the needs of oped a support group—the Free the Free Beach nudist clubs that owned property, but did virtually nothing Committee—to protest the ban. Since Lee Baxandall was for nude use on public lands. Defenders and promoters of the only self-employed member of the group, and thus had clothing-optional beaches, hot springs, or just naturism in job security, the task fell to him to be the public spokesper- general were isolated at best, and in many regions non- son for the group. With his ownership of a publishing firm existent. Baxandall called for an organizing conference to in Oshkosh, Wisconsin, he was also the obvious choice to be held in San Francisco in May 1980. Beach leaders, direct any activist writing projects that came up. coming from both sides of the nation, met to agree on how In May 1976, Baxandall met with Beachfront USA*— to proceed effectively and efficiently to promote and defend another free beach advocacy group—in Los Angeles to clothes-free use of beaches.
    [Show full text]
  • Figure Drawing Fundamentals
    Figure Drawing Fundamentals Erik M. Gist www.erikgist.com Notes to the reader This book is not meant as a step by step or a formula (art is not a for - mulaic pursuit) so do not study as such. This book is also not meant to solve all your problems, which can only be done by you through diligent study and hard work. This book is intended to be a guide through the world of figure drawing. Careful practice of the principles documented in this book will improve your drawings more than copying the drawings used to demonstrate these points. The best way to use this book is to find a good piece of photo reference, or better yet get into a life drawing class and apply what you have learned in this book to the problem in front of you. It does you little good to copy the drawings in this book because for the most part the problems have already been solved for you. It is more important for you as an artist to learn the principles behind what I do and the reasoning used to govern my, or any one else’s “style”. In so doing you will begin to produce original art, and not just mimic, what has come before. In art there are no rules. Rules are what we often use to simplify key principles and concepts for those newly initiated into the fraternity of artists. Always try to get from any instructor why they do what they do, not how they do it. Why we do what we do is what makes us good artist’s, how we do it makes us individuals.
    [Show full text]
  • Nudes & Company a Model Walks out from a Changing Closet. the Room Is
    By Rae Barney for the University of Minnesota First-Year Writing Program under the Department of Writing Studies Nudes & Company A model walks out from a changing closet. The room is dim and dusty. Several large and dish-shaped lights project harsh shadows upon the walls. A small gathering of people litter the room, seated at wooden drawing horses. They rustle through large pads of newsprint. The horses are centered around a small carpeted platform in the middle of the room. Slowly, the model steps up onto the platform. A stopwatch beeps. Charcoal begins to squeak across paper. In fine art, there are many universal visual genres. Landscapes, historics, portraits, still lifes, and scenes of everyday life are other genres. The nude, while fluctuating in popularity, is a token genres of western fine art. The human body functions as a symbol, a critique, and a scene for creating art art. Pieces containing nudity have, in the past, been controversial and shocking. Up until about the 1300s, they weren’t respected or allowed in the western art world. Skip ahead to the 1600s in Europe, and art critics and spectators would expect to see realistic sculptures, paintings and other pieces of media containing nude bodies. It’s practically a staple. Artist: When I start with a figure drawing, I begin with gestures. I do not cite the body. I do not measure. My eyes move continuously from my newsprint to the body, as if this were a game of ping pong. 10 seconds, and the stopwatch beeps. The model shifts in one fluid movement to the next pose.
    [Show full text]
  • Policy on the Use of Nude Models in Art Department
    POLICY ON THE USE OF NUDE MODELS IN ART DEPARTMENT OF ART Why does Gordon, a Christian college, practice the use of nude models in Art courses? Over the past decade and a half, Gordon College has been building and expanding its Art program. The College is committed to helping recover the rich relationship between the fine arts and the church that has been a significant part of our Renaissance and Medieval legacy. Additionally, the College is eager to prepare artists who can help restore a Christian aesthetic and moral vision in the postmodern culture. We seek to respect and understand tradition and to prepare students to engage their culture -- bringing a deep commitment to excellence, an even deeper commitment to Christ and to the leavening of conversation in the public square. With these values, Gordon has developed a curriculum in Art that includes the study and rendering of the undraped human figure, one of the traditional practices of Western art. Attached is a brief statement that provides the College's rationale for this practice and describes the steps that are taken to insure that the College preserves professional decorum in courses involving nude models. Do students have a choice about studying the nude figure? We stand behind the general requirement that Art majors at Gordon will need to study the undraped human form in advanced Art courses. Though we do not have a two-track system - - those who study the human form and those who do not -- we do try to make provision for the dissenting student, if after engaging in a thorough examination of our theory, history, and practice, and after meeting with an advisor and the Chair of the department, the student considers this study a violation of conscience.
    [Show full text]
  • The Naked and the Blind; Exploring the Badness of Life Drawing
    Published in TRACEY: What is bad (good) drawing? December 2008 http://www.lboro.ac.uk/departments/ac/tracey/ Contemporary Drawing Research [email protected] The Naked And The Blind; Exploring the Badness of Life Drawing Biography Margaret Mayhew is completing a PhD in Gender and Cultural Studies at the University of Sydney, Australia. She holds undergraduate degrees in Science, Art History and Fine Arts and has practised, taught and exhibited paintings, drawings and soft sculptures since 1996. Margaret worked as a life model for six years, ran a sketch club in Sydney and attended numerous life drawing sessions internationally. Abstract This is a tangential meditation from my doctoral research on contemporary life drawing classes, in which I explore a number of critical approaches to understanding life drawing as both popular form of recreation and a continuing element of art education. In this piece I examine images of life drawing posted on the internet and consider what badness means in relation to what internet life drawing images represent and evoke. Rather than defining a set criteria for bad life drawings this essay argues for a critical and reflexive approach for how badness can challenge and inform the experience of life drawing for practitioners and critics. Drawing Online The website for The Mid-atlantic Gallery Arts Consortium proudly advertises its life classes with a photographic image of a young leggy female model, naked apart from high heels, standing at an easel and drawing pad, on which she appears to be working on a stylised pencil outline of a cropped image of a curvy back and thighs.i The drawing model appears to awkwardly straddle two roles; her top half stands in profile, leaning back from the easel, displaying the drawing she is working on as well as her naked breasts (coyly concealed by the banner proclaiming “figure drawing”) her waist twists around and her pelvis rocks forward, in order to enable a direct view of her pert posterior over which the word “workshop” has been digitally placed.
    [Show full text]