Drawing A Few Good Books

While teaching the Drawing Fundamentals class at CAC I used several books to help demonstrate the various elements of drawing. Since then a few people have asked for a list of those books, so here they are.

The War of Art, Steven Pressfield
Drawing On The Right Side Of The Brain, Betty Edwards
Cezanne and Pissarro Pioneering Modern Painting,  Joachim Pissarro
Cezanne In The Studio Still Life In Watercolors, Carol Armstrong
The Paintings Of Jakuchu, Money L. Hickman
Impressionist And The City Pissarro's Series Paintings, Richard R. Brettell
Vincent van Gogh Drawings and Watercolors, DMA publication 1967
An American Pulse: Lithographs of George Wesley Bellows, San Diego Museum of Art publication 1999
The Art Of Drawing, Bernard Chaet
American Drawing The 20th Centery, Paul Cummings
Daumier 1808-1879, National Gallery Of Canada publication 1999
Matisse Drawings and Sculpture, Prestel

Drawing The Pieces Together

Raku Kilns at the Creative Arts Center

For six weeks we have been focusing on drawing by breaking the practice of drawing down to it's basic elements; contour line, mass, mark making, negative space, relationships, gesture and composition.

For this last class of Drawing Fundamentals, we are taking all those elements and applying them to a larger scale view. This shifting from still life to landscape tends to bring about a regression of drawing skills, but all the drawing elements apply in the same way. The objects in the landscape are the same as the fruit in the still life. Apply the elements to flatten your view of the world, all the objects will become a flat pattern which is transferred onto the page like pieces of a jigsaw puzzle.

Ceramic Class Room

Of course the trick is to stop thinking in 3D. You know the bucket is round, but in a drawing its a rectangle with curved ends.

When drawing landscapes you do need to acknowledgment the horizon line. The line that marks the separation of seeing the tops of objects and seeing the bottoms of objects. In the drawing of the Ceramic Class Room, you can see the tops of the buckets on the floor, but you can't see the tops of the objects on the top shelf.

This horizon line is your grounding straight line. All lines angle off of this line. Angling more as you look higher up or lower down. It tells you what the angle of perspective should be for all the other flat shapes.

Sorry, that's probably more confusing than it is enlightening. That's the nature of perspective. You just have to be there and do it to understand it.

Anyway, This was the last day of class and my last day to teach Drawing Fundaments. A Big Thank you to the Creative Arts Center for this opportunity to fill in while the instructor was recuperating. I really enjoyed the experience of getting back to the fundaments of drawing.

Next week: I'll blog about something new.

Scribbling The Night Away

For this Class on Drawing Fundaments I began by show examples of famous scribblers from the past; Matisse, Cezanne, and yes, Daumier. You might not know it, but Honore' Daumier is a fantastic scribbler. All of these artists drew with speed and passion, never letting the fear of getting it wrong slow them down.

The scribble allows you to react and respond to the subject intuitively. You make decisions about composition before you have had time to think about composition. The scribble involves your whole body, not just your fingers.

So, tonight, working from one large still life, we drew like devils. Starting out with several one minute drawings, then 2 minutes drawings, then 5 minutes, and finally finishing the night with a 30 minute drawing. Here's a montage from the class.

Next week- Pain Air Perspective.

The Dark Side Of Mass

In tonight's class on Drawing Fundamentals we focused on describing mass, volume and shadow. Starting with a simple still life of fruit laid out on the table under a bright spot light, we drew quick sketches to get our eyes adjusted to seeing the subtle changes in shadow and high light. Then moved on to a few longer drawings.

To push the eyeball exercises a bit further, we switched over to drawing with white pencils on black paper. This switch means that you are now drawing the high lights instead of the shadows. Your marks relate to the brightness hitting the surface. We did two of these, and with all the groaning/conversation they took longer than expected. Seeing the light is much harder than following the dark.

Our long draw for the night was only about 20 minutes. It consisted of all white objects, related to the human head, and lined up against a white wall. The spot light accented the mass and the positive and negative shapes. Even though the drawing above is not finished, notice how your eye falls into that black void.

Next week, it's time to get down and scribble.

Building A Vocabulary Of Mark Making

A common issue faced when drawing from life is the frustration cause by a lack of a mark making vocabulary.

Drawing is the language of describing the 3 diminutional world on a flat sheet of paper, and doing it without the use of letters or words. Drawing uses marks, scribbles, dashes, smears... hundreds of variations. If you approach a drawing with only the mark making language used in hand writing, your drawing will reflect that lack of knowledge. It's like reading Moby Dick at only a Dick and Jane reading level.

So, tonight's Drawing Fundamentals class focused on building a vocabulary. We started by copying a few Chinese landscape drawings, which are loaded with mark making variations. In the drawing above, you can see that Clayton is exploring how to reproduce those marks.

We then moved on to drawing from a still life. Clayton is now using his pencil to a much fuller extent. Creating marks that describe light, texture, weight, and volume. These variations are the nouns, verbs, and adjectives that create visual poetry.

Next week we will be exploring the Darker Side Of Mass.

Negative Space In The Drawing Class

When drawing from life, it's just as important to see what is NOT there as it is to see what is there. So, in tonight's drawing class we focused on Negative Space. Those spaces between the things we normally think of as the objects that fill our world.

We all know what a chair looks like. You can probably picture one clearly in our minds eye. But, unless you develop the ability to see the negative spaces between the legs and runners, you will always struggle with drawing from life, because you are only looking at half the story.

In Kevin's drawing above, you can see how his focus on the spaces between the chair legs transforms the drawing, turning the chair into an empty void.

This seeing technique flattens the world into 2 dimension, which makes it easier to capture the relationships of ALL the elements in front of you. These relationships; positive and negative, are the building blocks for the construction a solid pictorial composition.

Next week, we explore making marks.

Walking With Ants At The Creative Arts Center

In each of the Drawing Fundamentals classes I focus on one element of drawing. In this second class, it's Contour Line drawing. This, the most common type of drawing, focuses on the outline of an object. So when drawing an apple, you end up with basically a wobbly circle. When drawing a lemon, you end up with basically a wobbly circle. When drawing a pear, you end up with basically a lopsided wobbly circle.

This generalization of course fits right into the brain's massive backlog of symbols, which in turn means that instead of really looking at THE apple, your brain simply projects the symbol of an apple, basically a wobbly circle.

Think about an apple, one with a bite taken out of it...

Does it look juicy and delicious, or more like the logo of the computer you might be reading this blog on? Which one is clearer to see in your minds eye? For this class we are derailing those backlogged symbols by taking the ant's eye view of the world.

Exercise #1- Blind Contour- Place your paper so you cannot see it while you are drawing. Look at your left hand (your right if you are left handed). Now imagine you are watching an ant crawling slowly along the contours, cracks and creases of your hand. Your pencil is the mechanical recorder of that ant's travels. When the ant goes up, your pencil draws a line upward. When that ant traverse your life line, your pencil continues to record that trail. Do not cheat by looking at your drawing!

Ants are very slow, the recorded path pictured above took 30 minutes. Try it out. Repeat twice. How did that make you feel? Did you sense a shift in your perception? Was it hard to draw so slow? Did you look at your drawing before the time was up?

Other drawing adventures followed, filling our night with undulating, descriptive lines. Next week we'll be looking at the spaces that are not there. Negative Space.

Teaching Drawing at CAC

Very excited to find myself teaching Drawing Fundamentals at the CAC.  Due to a dramatic prequel,  I only had a single day to prepare for the class, so I grabbed my dusty copy of Drawing On The Right Side of The Brain AKA Learn to live like a Dyslexic, and pieced together a rough curriculum. (I'll be fleshing it out this week)

For this first class, I leaned hard on the Left - Right brain theory, believing that the most common problems in learning how to draw is turning off that hyper critical left side so the creative right side can take some risks and start to really see the world around us.

So, a few exercises to derail the left side and feed the right, such as the drawing above. It's a copy of a drawing by Degas. And yes, it is upside down because it was drawn upside down. Doing this allows you to more easily see the lines and shapes as simply lines and shapes, and not as a head, right hand, left hand, buttons, a pocket... all of which the left side already knows what those things look like, so it's going to draw what it knows and not what you are really looking at.

Next week, we'll be looking at blind contour drawing...

PS- And a big Thanks to the CAC for thinking of me when they needed help.

Putting on a Polish

On the bottom row are the 3 bronze sculptures I have been working on in the last wax casting class at CAC. They are polished up, patinated and to all purposes they are finished. They are about 2 inches long, and fit very comfortably in the hand. A friend said they feel like worry stones or hand candy. Perhaps I'll carry them around in my pocket, and when someone asks what I do I can hand them one and say "This, only bigger."

In my last posting I mentioned the risk of losing all your hard work during that .05 seconds of pouring bronze. Well, the first 2 items on the second row are a good example. I mislabeled the flasks, so when I poured this flask I didn't have enough bronze to fully cast the sculptures. GRRR

The black shapes are paper cut outs of the sculptures yet to be poured. We have one more class this session. We'll be spending the whole time casting. Our teacher, Rebecca Swann is a highly skilled jewelerist and a well of knowledge.

Playing With Hot Molten Metal

In last weeks lost wax casting class at the Creative Arts Center I invested 3 small wax sculptures. This week it's time to pour hot molten metal!

The wax sculptures have been melted out of the investment leaving behind a hollow space inside the very, very hot flask.

Now it's time to  slip on flame proof gloves and welding goggles, pull out the torch, and melt some bronze. This takes about 5 minutes.

Once the molten bronze starts to swirl around in the crucible it's time to pour. Note the orange stream of bronze going into the flask. Hot, Hot, Hot.

It's in there, and it should have filled ALL the hollow areas... Let us pray... In lost wax casting you can work hours and hours on the wax sculpture, just to loose everything in that .05 seconds of poring.

And here they are! 3 small almost perfect bronze sculptures!!! There are a few nubs and surface burps that will be removed when I take off the casting sprues. Then, well then we move on to polishing. This is not a quick process.

Lost Wax Casting: Sprues of Hope

It's called sprueing; attaching wax sticks (the red stuff) to the wax sculptures (the purple stuff), then mounting the sculptures onto a mold base(the black stuff). Next the steel tubes you see in the background, slide into the bases and are filled with investment (high temperature plaster). The wax will be burned out leaving a hollow area that the metal, in this case bronze will be poured into.

Technically, I think I followed all the rules of lost wax casting, but during the pouring all you can do is hope for the best. I'll be pouring/casting next week, so stay tuned to find out if they turn out to be beautiful sculptures or monstrous blobs?!

You can follow this project as well as all the other stuff going on in and around the studio by subscribing at Brad Ford Smith Blog.

Small Scale Sculptures

I started a Lost Wax Casting class at the Creative Arts Center last Thursday. As you can see Stanley, the art critic is letting me know which of my wax sculptures needs more work. Eventually the wax sculptures will be cast in bronze and become part of a wall mounted installation.

Loading The Kiln At CAC

The sculptures from the workshop I led at the Creative Arts Center are finally dry enough to load into the kiln. Glo Coalson has been teaching me the delicate art of firing large lumps of solid clay, AKA sculpture.

Looking down into the kiln, it kind of looks like a relaxing day at the spa, except the girls in this sauna are going to get unbelievable hot.

Playing In The Mud At The Dallas Arboretum

Being involved with the Creative Arts Center has opened up several unexpected opportunities to push my studio centric self out into the public eye. The latest example was at the Dallas Arboretum's annual art fair, ArtScope. It focuses on artisans like potters, wood turners and glass fusing-ists(?) About 100 artisan booths nestled among the blooming trees and flowers.

Anyway, DA asked CAC to send over a few art teachers to do art demonstrations, so here I am standing under the trees working on a clay bas-relief sculpture of the cafe gardens. 

I was out there for about 4 hours. I don't think the sculpture is the best I have done, but it was fun talking about making art, having my photo taken a lot, and handing out little balls of clay to all the kids.  A casual observer might think they were watching a sun burned Van Gogh feeding dirt to young children...

Next week it's off to North Park Mall for some speed sculpting at ARTsPARK.

When The Workshop Is Over

When the last person left the workshop at the Creative Arts Center, all I could think about was locking up, blowing the clay dust out of my nose and quenching my very dry throat with a glass of wine. I was exhausted.

In this workshop, we sculpted in clay from a live model. It's kind of like a figure drawing class except working in clay instead of charcoal and paper.

Because this was a free workshop, the participants felt that they had nothing to lose by take a chance on something new, which was the whole idea behind offering the workshop, although I was hoping it would draw a bigger crown from outside the CAC umbrella.

Here is the class room break down: 10 people signed up for the workshop, 2 of which didn't make it to class. Of the 8 attendees, 6 people had taken other classes at CAC, but no one had ever taken a figure sculpting class before. 6 had never worked from a live model, 6 had never worked with clay in any form, and 1 person was surprised to see a nude person standing in the middle of the room.

We worked from the same pose for the whole 3 hours. I was really happy to see how each person kept working and reworking their sculpture, dramatically changing it to refine the form as they began to really see what was in front of them.

Seeing, THAT is the first step to working from the figure. Seeing what you are really seeing and not working from what you think you know. It's hard, and it takes work and concentration to override your brains' constant insistence that it knows all the answers.

Getting Ready For The Thursday Night Workshop

With the workshop just 24 hours away, I spent some time in the clay sculpture studio at CAC looking over supplies and thinking about how to pose the model we will be working from.

Glo Coalson was there teaching a make up class because of the snow storm a few weeks ago.  We had a great conversation about figure sculpture, and hit upon the idea of the two of us hosting a sculpture restoration workshop some time this summer.

Workshop, The Expressive Figure in Clay

I was going to send out a notice about the free figurative clay workshop that I am leading at the Creative Arts Center, but it has already filled up. YEAH! Thank god. My nerves hate spending time in limbo. Give me the stress of deadlines, due dates and real problems any day. Worrying about things like missing a airplane flight or if an art class is going to make or not, drives me crazy!


Anyway, if sculpting from the figure sounds interesting to you, the Spring classes at CAC start on March 7th. Still plenty of time to register. I'll be teaching The Expressive Figure in Clay on Thursday nights and possibly Thursday mornings, too. 


Here's the class description:


The Expressive Figure In Clay
During this live model sculpting class, students will explore expressive ways of capturing the figure in clay. The basics of human proportion, sculptural form and the physicality of clay will be highlighted, but the focus on the class will be creating a personal artistic voice. We will explore slow and rapid ways of describing the figure in clay, from drawing on slabs to bas relief to free standing sculptures. This class is open to all skill levels. First day of class, bring any sort of tools or utensils that can manipulate or poke clay. 


Thursdays, March 10- April 12th 6:30 -9:30 pm
And possibly Thursday mornings 9:30am- 12:30pm

Oh How the Arts Move Us Around and Around

It quickly becomes obvious how fluid the arts are when you start sending out Press Releases. Having gone through this process quite a few times, I have come to expect the "Failed To Deliver" E-mail responses. News papers, magazines, and online editorials have become a turnstile of writers and editors. Culture centers trade out employees as if they were sports teams.

I updated my contact list back in September while sending out Press Releases for the SculptCAD Rapid Artists show. It is now 4 months later, and I am doing the PR thing for the sculpture class I am teaching at the Creative Arts Center.

This time around, the Failed To Deliver E-mail responses reminded me of how many galleries are simply gone, and how many friends have moved on to other lines of work because of the continued downsizing of News Papers, Radio, TV, Museums, Non-profits, Schools, Historic Agencies, Government Supported Organizations...

It all makes me very concerned for the future of our culture and the long term loss of history.

So, I would like to send out a big THANK YOU to all the Cultural and Historic centric people out there that have worked so hard to promote and support the inspired side of human nature.

All the Best to each of you in 2011!
Brad

A New Class to Teach

I recieved the CAC catalogue in the mail today, and there, in black and white is the listing for the sculpture class that I will this teaching in January.

It's a figurative sculpture class that works from a live model. It's just like a figure drawing class, but I think that working in clay from a model is much easier than drawing. For one thing you aren't started off with that old tired mind set "I can't even draw a straight line". You also don't have to learn how to translate a 3 dimensional world into 2 dimensional pencil marks. All you do is make this round piece of clay look like that round piece of person. That is of course an over simplification for demonstration prepossess.

Anyway, as you can guess, if the class makes, I'll be blogging about sculpture a lot in the next few months. The name of the class is The Expressive Figure in Clay, and you can click HERE for more info on the class.

Our Printmaking Workshop is just around the corner

Well the Holiday Card Printmaking Workshop is this Sunday. Susan and I have collected all the supplies. We are going to make a couple of prints this week just so we'll be on the same page with the instructions and any possible printing issues.