AP Drawing - Summer Assignments 2021-2022 Mr

Total Page:16

File Type:pdf, Size:1020Kb

AP Drawing - Summer Assignments 2021-2022 Mr AP Drawing - Summer Assignments 2021-2022 Mr. Kissel Total point value for summer homework : 200 points Due dates: Sustained Investigation Visual Journal - July 15th Artist Inspiration and 10 Sketchbook Pages Projects - August 30th The purpose of summer homework in AP Drawing is to provide you with the opportunity to build your AP portfolio over the summer with the start of a great sustained investigation. You will brainstorm, find inspiration, and utilize the time to create a visual journal that highlights the facets of your proposed investigation. Pace yourself and plan out your time. Last minute work and late work will not be accepted. You should also use your time to gather reference images and even start planning out some projects. Choose topics that inspire you! Something that you find fulfillment in creating. Stay true to you and create a sustained investigation topic that speaks to you and your own unique personality. Sustained Investigation Visual Journal: Due July 15th ● 50 Points ● Complete the: ○ Sustained Investigation Creative Brainstorming Google Slide ○ Sustained Investigation Brainstorming Google Doc ● Using the information gathered create a visual journal that explains your investigation, why it is important to you and to the world, who you are inspired by and what materials and techniques you may use ● Example: 2 Artist Inspired Visual Journals: Due August 30th ● 25 Points each = 50 Points total ● From your initial list of 5-10 artists complete 2 visual artist inquiry journals that delve into your chosen artists. These journal pages should include text and images and be aesthetically designed. They should include: ○ MAKE SURE TO INCLUDE: WHO THEY ARE AND WHAT MOTIVATES THEM TO MAKE ART, WHAT TECHNIQUES OR MATERIALS DO THEY USE, WHY AND HOW THEY INSPIRE YOU, SPECIFICALLY HOW YOU WILL INCORPORATE THEIR TECHNIQUES, STYLE, COLOR OR CONCEPTS INTO YOUR INVESTIGATION AND EXAMPLES OF THEIR WORK ● Examples: ○ Technical Practice - Sketchbook & Drawing Studies: Due August 30th ● 10 points per page/spread = 100 points total ● Some of these drawings may fit on one page and some may work better as a full spread across two pages. I leave that decision to you based on your subject and composition. Time requirements may vary for each page. Some sketchbook pages may be more about process and some may be about a more finalized sketch/composition. As a general rule you should be spending at least 30 minutes on each sketchbook page/spread. THESE CAN BE DONE OUT OF ORDER. Remember that regardless of the subject, COMPOSITION is most important. Media options for the sketches are open, and may include, but are not limited to the following: ● Pencil, Charcoal, Acrylic, Oil Pastel, Watercolor, Pen and Ink, Collage, Chalk Pastel, Household materials, Ballpoint pen, Sharpie, Stamping, the list goes on!!! ● Page 1 - Overlapping drawings. Choose subjects based on your sustained investigation and create multiple overlapping/combined drawings of them on your page/spread. Times may vary with each sketch. I would suggest having some sketches be quicker 1-3 minutes and some be more resolved 10-20 minutes. ● Page 2 - Sketch with text/journaling. Choose subjects based on your sustained investigation and include text, journaling, titles or just notations with your drawing. This could be one longer drawing with text or a combination of smaller drawings with text. ● Page 3 - Mixed Media Drawing. Choose subjects based on your sustained investigation and combine different media for this page. This could be a wet and dry media combination or multiple types of drawing media. ● Page 4 - Gesture Drawings. Choose subjects based on your sustained investigation and complete 12 gesture drawings or studies of that subject/object. If you are using figures in your sustained investigation you should focus on gesture drawings. If you are using nature or other objects you should create studies. Drawings should be between the 1 minute to 3 minute range. ● Page 5 - Finalized Drawing 1 “Chiaroscuro” - Choose a subject based on your sustained investigation and create a fully rendered/finished sketchbook page. This drawing should have bold contrasts between illuminated areas and shaded passages within the composition. Expectation of time on this sketch should be 1-2 hours. ● Page 6 - Stained Surface Drawing. Use a watercolor wash or tea stain to tone the surface of your sketchbook pages. Choose a subject based on your sustained investigation and draw your choice of either three 10 minute sketches or one 30 minute sketch. ● Page 7 - Collage Sketch. Use newspapers, magazine images, scrap paper or other 2D found objects to create a collage sketch of your sustained investigation subject matter. You may draw or add marks over top of these materials to add surface interest or more detail if needed. This sketch will likely take more time because you need to source materials and plan the composition before gluing down pieces. ● Page 8 - Push The Subject Back. Creating a composition that puts the subject of the work in the distance can visually draw the viewer in for a closer look. One way to achieve this is to frame the subject in such a way that the viewer is invited to look through the “window”. Create a sketch based on your sustained investigation that frames the main subject. This should be a more finished sketch. ● Page 9 - Foreshortening Drawing. Create a drawing with a vantage point in mind. For this sketch, think about drawing at a very low point on the ground and draw from the viewpoint of an ant OR stand high above your subject and draw looking down from the viewpoint of a bird. Pay attention to the contours and shapes of your subject. Expectation of time is 30 minutes to 1 hour. ● Page 10 - Finalized Drawing 2 “Free Choice” - Choose subject based on your sustained investigation and create a fully rendered and finished sketchbook page. This is your final sketch/drawing of the technical assignments. This is a free choice drawing as far as composition, media and subject. Expectation of time on this sketch should be 1-2 hours. Recommendations for the summer but not required: Take reference imagery ● Build a personal reference library of interesting subjects, scenes, people, groupings of objects etc. ● You will use YOUR PERSONAL photos to create original works of art for the summer homework and during the year. ● It is a good idea to store personal references in a folder on your phone and/or on a flash drive/google. ● Capture the beauty in everyday things, find patterns in nature, zoom in to fill the composition, try unusual viewpoints, and look for dramatic lighting. Visit galleries and museums Nothing is more inspiring and stimulating than looking at live and contemporary artwork. This summer should be great with a number of institutions reopening their doors to visitors. Supplies Michaels, Dick Blick, Amazon are all good options for supplies. (these are all items that you will use in college and beyond if you take good care of your supplies) Many students use a fishing tackle box to carry supplies, cheaper than art cases. ● A waterproof portfolio with a handle, size = 18 x 24 or larger ● Brushes - a variety of acrylic and watercolor sizes and shapes. ● Drawing board ● Acrylic paints - a basic 8 color tube set can be "stretched' with liquid acrylics Books & References These are some great art books and texts: ● ART & FEAR: Observations On The Perils (and Rewards) of ARTMAKING David Bayles & Ted Orland ● Color & Light: A Guide For The Realist Painter James Gurney ● Imaginative Realism: How To Paint What Doesn’t Exist James Gurney ● Urgent 2nd Class Nick Bantock ● Hall Of Best Knowledge Ray Fenwick ● An Illustrated Life: Drawing Inspiration From The Private Sketchbooks of Artists Danny Gregory .
Recommended publications
  • Visual Arts – Specific Rules/Guidelines
    Visual Arts – Specific Rules/Guidelines VISUAL ARTS include many art forms that are visual in nature. The artist (student submitting entry) is a person who captures their own thoughts and ideas to create a visual piece of art. Accepted forms of visual art include: Collages, photographic collages (multiple photos cut/pasted), computer-generated image, design, drawing, painting, and printmaking. Non-accepted forms of visual art include: 3D artwork (artwork that is not flat on the surface). Reproductions or enlargements of another artwork. Reflect on the 2020-2021 Theme: I Matter Because… An explanation of the art form might be a useful addition to the artist statement. Whether an entry displays use of formal technique or a simple approach, it will be judged primarily on how well the student uses his or her artistic vision to portray the theme, originality and creativity. Copyright: Use of copyrighted material, including any copyrighted cartoon characters or likeness thereof, is not acceptable in any visual arts submission, with the following exceptions: • Visual artwork may include public places, well-known products, trademarks or certain other copyrighted material as long as that copyrighted material is incidental to the subject matter of the piece and/or is a smaller element of a whole. The resulting work cannot try to establish an association between the student and the trademark/business/material, or influence the purchase/non-purchase of the trademarked good. • Visual arts collages may include portions of existing copyrighted works, such as photographs, magazine clippings, internet images and type cut out of a newspaper, as long as those portions of copyrighted works are used to create a completely new and different work of art.
    [Show full text]
  • 4 Year Degree Schedule – Painting/Drawing/Printmaking
    SUU Department of Art & Design 2020 – 2021 Catalog Minimum University Requirements Total Credits 120 Art History Credits 9 General Education Core Credits 30 – 35 Art Foundation Credits 28 Art Area Credits 54 University Electives 3 - 14 4 Year Degree Schedule – Painting/Drawing/Printmaking First Year Fall Semester Credits Notes Spring Semester Credits Notes Foundation Foundation ART 1110: Drawing I 3 ART 1130: 3-D Design 3 Course Course Foundation Foundation ART 1120: 2-D Design 3 ART 2110: Drawing II 3 Course Course ART 1050: Intro to Foundation Foundation 3 ART 2210: Digital Tools 3 Photography Course Course Foundation ARTH 2710: Art History Foundation ART 3000: Art Insights .5 3 Course Survey I Course Foundation Gen Ed Core Requirement 3 Gen Ed Course ART 3000: Art Insights .5 Course Gen Ed Knowledge 3 Gen Ed Course Gen Ed Core Requirement 3 Gen Ed Course Requirement Total Credits: 15.5 Total Credits: 15.5 Second Year Fall Semester Credits Notes Spring Semester Credits Notes Art Area ART 3450: Portrait & ART 2410: Painting I 3 3 Art Area Course Course Figure Painting ART 3310: Art Area 3 ART 4410: Painting II 3 Art Area Course Intaglio/Lithography Course ART 3110: Life Drawing & Art Area ART 4310: Advanced 3 3 Art Area Course Anatomy Course Printmaking Foundation ARTH 2720: Art History Foundation ART 3000: Art Insights .5 3 Course Survey II Course Foundation Gen Ed Core Requirement 3 Gen Ed Course Art 3000: Art Insights .5 Course Gen Ed Knowledge 3 Gen Ed Course Gen Ed Core Requirement 3 Gen Ed Course Requirement Total Credits: 15.5
    [Show full text]
  • Mural Installation Guide City of Frankfort, Kentucky
    Mural Installation Guide City of Frankfort, Kentucky This guide is intended to provide answers to basic questions anyone must answer about creating a mural, from how to prepare a wall surface, to what kind of approvals you will need, to appropriate materials to use. The information here has been culled from best practices that have been documented by artists and mural organizations throughout the country. While this guide provides a roadmap, every project will have its own unique circumstances. Anyone taking on a mural project should look for guidance from artists, curators, arts organizations or others who are experienced with the details of mural production. At the end of this publication there is a Resource Guide that provides additional information and tips about where to find help. In This Guide… Part One – Evaluating a Wall I Page 2 Part Two – Approvals and Permissions I Page 4 Part Three – Creating a Design I Page 5 Part Four – Prep Work I Page 6 Part Five – Paint and Supplies I Page 9 Part Six – Maintenance, Repair, Conservation I Page 11 Part Seven – Checklist of Commonly Used Items I Page 12 Part Eight – Resource Guide I Page 13 Part One – Evaluating a Wall The best type of surface to receive paint is one that is a raw, unpainted brick, concrete or stone material that is free of the defects described below. However, keep in mind that the unpainted masonry requires special approval from the Architectural Review Board. Painting unpainted masonry in the historic district is generally not permitted. Wood, metal and other materials that are in new or good condition can also be satisfactory if properly prepared and sealed.
    [Show full text]
  • Drawing and Painting Course Syllabus CHS Art Department Contact Information
    Drawing and Painting Course Syllabus CHS Art Department Contact Information: Parents may contact me by phone, email or visiting the school. Teacher: Lori Dana Email Address: [email protected] or [email protected] Phone Number: (740) 702-2287 ext. 16241 Online: http://www.ccsd.us/1/Home CHS Vision Statement: Our vision is to be a caring learning center respected for its comprehensive excellence. CHS Mission Statement: Our mission is to prepare our students to serve their communities and to commit to life-long learning Course Description and Prerequisite(s) from Course Handbook: This is a second level art course focusing on 2 dimensional media. Students will continue to explore the elements and principles of art, current and past practicing artists, technique, and concept as it pertains to art making. A variety of 2 dimensional media will be explored including but not limited to, pencil, charcoal, pastels, acrylics, watercolors, etc. There is a $20 fee for this course. Learning Targets per Unit: Defined below for clarity are the Unit Titles, Big Ideas of every Unit taught during this course, and the Essential Questions to be answered to better understand the Big Ideas. A student’s ability to grasp and answer the Essential Questions will define whether or not he or she adequately learns and can apply the skills found in Big Ideas. This will ultimately define whether or not a student scores well on assessments given for this course. The Common Core Standards can be found at http://www.corestandards.org/the-standards. (Teacher Note: The Ainsworth Model suggests 1-3 Big Ideas for each Unit and 1-3 essential questions per Big Idea.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Mural Creation Best Practices
    Mural Creation Best Practices Since 2006, Heritage Preservation’s Rescue Public Murals (RPM) initiative has confronted the risks that community murals face by being located in outdoor, public spaces. Murals have been, and are an increasingly, popular public art form that adds vibrancy and vitality to the built landscape. Many communities in the United States, large and small, have mural programs or are actively commissioning murals. Unfortunately, almost every community is also aware of the negative image that a faded, flaking, or vandalized mural creates or the misfortune of an artist’s work that has been unjustly removed or destroyed. While working to ensure the protection and preservation of existing murals, RPM recognizes that many common issues that murals face could have been mitigated with careful planning and preparation. RPM has held conversations and brainstorming sessions with muralists, conservators, art historians, arts administrators, materials scientists, and engineers to document best practices for mural creation. We present these recommendations on this website. Recommendations are not meant to be prescriptive but instead to pose questions and raise issues that should be considered at each stage of creating a mural: planning, wall selection, wall and surface preparation, painting, coating, and maintenance. Each recommendation has been considered both for mural commissioning organizations/agencies and for artists to address their particular needs and concerns. Each section includes links to further reading on the topic. The recommendations on this website assume that a mural that is painted with careful planning and consideration to technique and materials and that receives regular maintenance could have a lifespan of 20-30 years.
    [Show full text]
  • 59 San Bartolo, Petén: Late Preclassic Techniques Of
    59 SAN BARTOLO, PETÉN: LATE PRECLASSIC TECHNIQUES OF MURAL PAINTING Heather Hurst Keywords: Maya archaeology, Maya art, Guatemala, Petén, San Bartolo, mural painting, artistic techniques, painters, artists, Late Preclassic period Like the artist in charge of drawings for the San Bartolo Archaeological Project, the murals of San Bartolo have been documented as faithfully as possible through scale drawings and watercolor paintings. The illustration process presented me with the opportunity to conduct a very detailed observation of both the pictorial technique and the style of the San Bartolo artists. Just like modern artists copy the works of Rembrandt and Michelangelo to get acquainted with their techniques, in the San Bartolo murals every line, color, figure and even paint drops were copied, providing an opportunity to study the Maya masters of the Late Preclassic period. Now, all observations will be presented in regard to the preparation of walls, the design, the composition, the pictorial technique and the style of the San Bartolo murals. PREPARATION OF WALLS Structure Sub-1 in Las Pinturas was conceived and built as a unitary addition to the east side of the mound (Figure 1). The structure was specifically designed to be painted with murals and intended to be easily seen. Las Pinturas Sub-1 is a single, open room with three main doorways in the façade and two secondary ones at the sides. The walls climb until they form a curvature similar to the springing of a vault, but it is known that this room was not vaulted. Instead, the walls continue climbing vertically until they form a frieze that protrudes slightly from the walls and surrounds the four sides of the room, and on which the murals were painted.
    [Show full text]
  • Primitivism in Russian Futurist Book Design 1910–14
    Primitivism in Russian Futurist Book Design 1910–14 In the introduction to his book “Primitivism” in 20th ponents in 1913), Russian artists such as Mikhail Jared Ash Century Art, William Rubin notes the relative paucity of Larionov, Natalia Goncharova, Kazimir Malevich, and scholarly works devoted to “primitivism—the interest of Olga Rozanova espoused the fundamental aesthetic prin- modern artists in tribal art and culture, as revealed in ciples and theories, set the priorities, and developed the their thought and work.”1 While considerable attention courage to abandon naturalism in art in favor of free cre- has been paid to primitivism in early-twentieth-century ation, pure expression, and, ultimately, abstraction. French and German art in the time since Rubin’s 1984 The present work focuses on the illustrated publication, Western awareness of a parallel trend in book as the ideal framework in which to examine primi- Russia remains relatively limited to scholars and special- tivism in Russia. Through this medium, artists and writ- ists. Yet, the primary characteristics that Russian artists’ ers of the emerging avant-garde achieved one of the recognized and revered in primitive art forms played as most original responses to, and modern adaptations of, profound a role in shaping the path of modern art and primitivism, and realized the primary goals and aesthetic literature in Russia as they did in the artistic expressions credos set forth in their statements and group mani- of Western Europe. “Primitive” and “primitivism,” as festos. These artists drew on a wide range of primitive they are used in this text, are defined as art or an art art forms from their own country: Old Russian illumin- style that reveals a primacy and purity of expression.
    [Show full text]
  • Similarity/Dilation Project
    Making a Mural Similarity/Dilation Project Mural artists use similarity to help them create their larger artwork. Muralists begin creating a mural by drawing a small picture with a grid of squares drawn over it. They then divide the surface on which the mural will be painted into a similar but larger grid of squares. Proceeding square by square, they draw the lines and shapes of the original drawing into the corresponding positions of the mural surface’s larger squares. Finally, they paint in the regions to complete the mural. The design in the small grid of squares below left is similar to the design in the large grid of squares below right. The enlargement was made by matching points in the original drawing to the corresponding points in the larger grid. For example, point A in the grid on the left is in the same position as point A’ in the grid on the right. You will need the following materials to create your own mural. • A cartoon, photograph, or small drawing to enlarge • A poster board • Drawing tools such as a ruler, meter stick, markers, and colored pencils Begin by constructing lightly in pencil a grid of squares on a copy of your cartoon, photograph, or drawing. The more squares you draw, the more accurately your mural will depict your original image. Again in pencil, divide the poster into a similar grid of larger squares. To create your mural, carefully draw lines and curves of the drawing in the small squares into their corresponding larger squares. Finally, color the appropriate regions.
    [Show full text]
  • VISUAL ARTS JANET BARRESI STATE SUPERINTENDENT of PUBLIC INSTRUCTION
    VISUAL ARTS JANET BARRESI STATE SUPERINTENDENT of PUBLIC INSTRUCTION OKLAHOMA STATE DEPARTMENT of EDUCATION It is the policy of the Oklahoma State Department of Education (OSDE) not to discriminate on the basis of race, color, religion, gender, national origin, age, or disability in its programs or employment practices as required by Title VI and VII of the Civil Rights Act of 1964, Title IX of the Education Amendments of 1972, and Section 504 of the Rehabilitation Act of 1973. Civil rights compliance inquiries related to the OSDE may be directed to the Affirmative Action Officer, Room 111, 2500 North Lincoln Boulevard, Oklahoma City, Oklahoma 73105-4599, telephone number (405) 522-4930; or, the United States Department of Education’s Assistant Secretary for Civil Rights. Inquires or concerns regarding compliance with Title IX by local school districts should be presented to the local school district Title IX coordinator. This publication, printed by the State Department of Education Printing Services, is issued by the Oklahoma State Department of Education as authorized by 70 O.S. § 3-104. Five hundred copies have been prepared using Title I, Part A, School Improvement funds at a cost of $.15 per copy. Copies have been deposited with the Publications Clearinghouse of the Oklahoma Department of Libraries. JULY 2013. VISUAL ARTS A Message From State Superintendent Janet Barresi Since 1990 The Arts have been part of the core curriculum in Oklahoma schools. The Oklahoma Academic Standards for Fine Arts represent a rigorous curriculum framework to guide instruction in the arts. A balance of instructional activities will provide students with a deeper understanding and capability to confidently express their knowledge in and about the arts.
    [Show full text]
  • Digital Drawing & Painting Intensive
    Digital Drawing & Painting Intensive Course Syllabus Students continue to deepen their understanding of digital drawing and painting techniques as well as improve their artistic confidence. Greater emphasis is placed on enhancing student voice and exploring diverse perspectives in art. This course provides continued opportunities to explore digital tools and instruct students to customize the software as an extension of their artistic style. Students are challenged to depict various subjects as they work representationally, conceptually, and abstractly. All students participate in group critiques and have the opportunity to exhibit their work for both the BHS and online community. Students maintain portfolio websites and learn how to produce high quality inkjet prints. Elective 9-1 Credit: .5 Skills • Gain understanding of the fundamental art elements and design principles to strengthen the visual impact of a work of art • Explore techniques related to a variety of two and three-dimensional media to gain craftsmanship to communicate ideas with the expressive qualities inherent in each medium • Understand and be able to apply the drawing and painting software. Adobe Photoshop, Adobe Illustrator, Adobe Fresco, Procreate • Develop the vocabulary unique to digital drawing and painting • Enhance their visual problem solving skills • Develop a consistent habit of image-making and build artistic confidence Concepts • Explore how personal imagery can be influenced by observation, imagination, memory, intuition, research and the excitement generated
    [Show full text]
  • Drawing Myth and History in Visual Art
    Coolabah, Vol.3, 2009, ISSN 1988-5946 Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona Drawing Myth and History in visual art. Jaime de Córdoba. Copyright ©2009 Jaime de Córdoba. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged Abstract: After the famous exhibition “Copier créer” curated by Jean Pierre Cuzin in the “Musée du Louvre” in 1993, the practice of drawing art has acquired a renovated interest. This exhibition revised the theoretical concepts introduced by Bober and others in the second half of the XXth century and increased the value of the contribution of drawing in the study of art history instead of the idea of copying. An important catalog and essay by Haverkamp, Begemann and Login, titled “Creative copies”, appeared in 1988 and contained the best examples of the main collections. The last but not least important consequence was the collaboration between international museums, using their own spaces, with contemporary artists. The hermeneutic drawings and paintings by Markus Lüpertz in the Munich Glyptotheck and the exhibition of Giacometti’s drawings shown in the IVAM in 2000 are two excellent examples of the European relevance in this field. I want to analyze here twenty years of drawing done in different museums and institutions around the world and its close relationship with the process of recovering our historical memory by using visual art. Key Words: Drawing, History of Art, translation, interpretation, experimentation This article will attempt to review three key aspects regarding the role of the sketcher when confronted by both the questions history poses and the recovery of the memory: A/ TRANSLATION The value of the translation: the historiographical contribution of the sketcher / artist.
    [Show full text]