mmm my best responseto your biroist view ist that you might want to look at the work of Laith McGregor
http://www.ssfa.com.au/artists/mcgregor-laith/art/942/
Simon Mee:
Associate Lecturer, Collections Curator and Arts Management
School of Creative Arts-We Enable Emerging Artists
Faculty of Arts
University of Southern Queensland
Toowoomba QLD 4350
Tel 07 4631 5372
Fax 07 4631 1131
Mobile 0413 627 603
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________________________________
From: The UK drawing research network mailing list [[log in to unmask]] On Behalf Of Rachel Pearcey [[log in to unmask]]
Sent: Thursday, 15 September 2011 5:52 PM
To: [log in to unmask]
Subject: Re: Divergent drawing exercises
I agree very much with Mike. But not about the Biro. one of the problems with the humble Biro is that it gives no sense of the potential quality of any marks, thick, thin, light, dark. The beauty of most simple drawings is contained in the quality of the marks.
Rachel
On 15/9/11 08:42, "Mike newman" <[log in to unmask]> wrote:
Hello Dan,
I find continuous line drawing takes you away from photorealism. The nature of a start and endpoint and a confined space such as a4 means consideration is needed for how to realise the act of capturing what we see whilst at the same time keeping a continuous movement with your pen. I like to use a humble biro as it dries fairly quickly allieviating chance for smudges. If using continuous line for life drawing it is worth spending a few seconds considering the journey your pen may take. I will start at often at the head oor the foot or at whatever the extreme is.
couple of links to examples from my website -
http://www.mike-newman.co.uk/section490954.html
http://www.mike-newman.co.uk/section499110.html
thanks Mike
On 15 September 2011 08:20, Dan Roach <[log in to unmask]> wrote:
Hello.
I was hoping to pick the collective brain.
I've been tasked with running a series of drawing sessions aimed at first year undergrads, within an illustration an animation framework. The brief that I've been given is to 'open up the students expectations' of what drawing is or can be. Beyond this, the only stipulation is that the course leaders would like the students to begin developing a set of skills that will serve them when drawing representationally later on in their studies e.g faces, the human form, mass, light etc.
I'm going to factor life drawing into the series of sessions but I wondered if there were any cornerstone exercises that members called on to:
1. loosen up (or possibly tighten up!) the eye/hand and
2. get students out of the mindset that photorealistic renderings of a subject don't equate to the most successful/interesting drawings
I have two or three ideas that can be varied and we'll also be going out to different locations to make a series of drawings at each site.
This is going to be a year long programme and my initial thought is that the most important factor in the students development is to get them making as many drawings as they can. They will be using A4 sketchbooks to gather as much information as they can and then, seed larger pieces of work when back in the studio. Of course my hope is that the group will start to formulate their own drawing aspirations and practices beyond the initial projects and tasks set for them.
Any thoughts or advice would be gratefully received.
Thanks in advance.
Dan
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