SPACE

The essential challenge of all artists working in 2 dimensions is the usage of space. It can be a challenge quickly addressed by acknowledging the flatness of the surface as modern painters did or delve into a myriad of choices of how space can be crafted. Such choices presented in art history include (but not limited to) realism/ illusionism, Byzantine, Pre- Renaissance, Renaissance, Cubism. All unavoidably deal with the issue of space selection, meaning and represent the thinking of that era.

John Singer Sargent

To understand this issue we first must look at the subjective nature of engaging space visually as humans. At best we can see just under 180 degrees ( an admittedly incomplete perception of the space that surrounds us.) Below are two examples from John Montagues's Basic Drawing Perspective.

Again remember our brain is comprehending information, in multiple ways, from an image projected upside down within our eye. From this information the brain uses conditioned responses to particular appearances of shapes and colors to process quickly. In this manner vision and it's subject are perceived. The very nature of the term perception, is the ability of the mind to grasp what is seen. The challenge in space depiction is the utilization of depth perception as it relates to:

COLOR (temperature, intensity, value)

CLARITY (focus vs blur)

SCALE ( relative size of objects)

SEQUENCING ( overlapping and placement of objects)

SHAPE DEFORMATION (the regularized shape in perspective and how the mind grasps these shapes as the vacillate between flatness and form)

Space and it's depiction is a loaded choice as it highlights and consciously omits/ edits certain information as it's expression needs. We all generally grow up being amazed by the simulacra of illusionistic space, yet have unintentionally disregarded the multiple possibilities that space offers. It is the artists decision to make use of what best suits their "message" and equally important, enhances their perception of space, a skill necessary in engaging with all forms of 2 dimensional work whether it is advertising, fine art, design, illustration, photography. Below are examples highlighting some artists approach to handling space within these terms.

Thomas Moran

George Inness

Richard Parkes Bonington

The previous examples showcase an extreme depiction of spatial recession in the landscape format, foreground, middle ground and background. Atmospheric perspective is employed as we see colors of a more neutral hue in the background as well as cooler color and less contrasting values. Scale changes are evident as well as overlapping objects.

Richard Deibenkorn

In this example of Deibenforn we can see a tension between the flatness of the space and three dimensionality. It is a heavy "shape" composition which leans toward flatness, yet he employed a knowledge of color and values in spacial recession. Notice the shadows on the pavement.

Lucian Freud

Joan Semmel

Philip Pearlstein

The above examples display an approach to the figure in space through more traditional techniques. We see clear usage of sequencing particularly in Pearlstein (notice the mannequin behind, the in front of the model.) In the Semmel example she plays with the mirror (and extends the space) using color and scale. Notice the taper of the legs and the overlap. In the Freud example, we see clear overlaping of the body, foreshortening, color and scale (thigh/ knee to head ratio.)

Cinematic REDUX

Often times in art a certain point of view is called for to express an idea. This indicates a control of the visual elements to create a sympathetic understanding of our cause. Point of view,in this case is used to describe inhabiting the consciousness of a particular individual, NOT vantage point. Think my side of the story vs your version- same event two ways to interpret it. Below we will see some examples that take this into account. In most instances it is used as a vehicle for propaganda. What better way to get your point of view across, then to already have them on your side.

Much inspiration for this projects comes from this book below, "Grendel", which explores the monster's version of the well known epic tale of Beowulf.

An lastly, propaganda from one of the most infamous players in history- the Third Reich. Hitler, known to us all as an evil person responsible for countless atrocities, is depicted as a caring father figure in one instance and even a hero in the one below, equipped with the customary white knight armor and flag.

Time in Sequence

Please see the below examples of two artists working with the concept of drawing and time- animation. In this instance drawing is meant to run parallel to normal viewing time. There are distinct components that are past and present. Yet it is the accumulated drawings done in sequence, displayed at speed, that allow us to see this event in familiar time. These cases display the idea of making multiple drawings to mimic the passage of time. This is different than previous examples of ours in which time was embodied in a single drawing or a painting. These exist only as time passes. There are clear ghost lines evident, indicating the history of the drawing, its record or archive. This is a very different approach than the animation of movies- which hide the craft to some degree and focus on the story. Here the drawing history is as important as the narrative.

William Kentridge "Pain & Sympathy" -click here

"Muto" by Blu- click here

For our next class I ask that you bring in a photo to draw from/ animate. We will get the basic drawing done in class. Please try and bring a photo that is simple enough (don't include the whole world!!) Some suggestions-

go to the American Museum of Natural History and take images of the 'stuffed' animals that are displayed. You can then learn the movements of the animal and animate etc. Any animal will do as long as the view is useful. Don't take a picture of a sleeping cat and expect to be able to draw it in profile walking.

go to the Met and take images of the suits of armor and begin to think about animating its movement. Or anything there as there are statues etc, it just has to be 3 dimensional.

go to the Botanical Garden and take images of a plant to animate its growth etc.

SO JUST A GOOD PHOTO TO DRAW FROM. We will be using vine charcoal erasers and bristol.

TIME

With the inception of mark making came the ability to record events people and places. It became a tradition or "written record" of the past for future viewers. With that impulse, drawing continued for centuries. At various points in history it was important to capture a specific moment of a story or action and emphasis came to freezing the participants at the desired moment. Later, artists began to question or expand upon this convention, they became sensitive to time itself and the speed in a moment. Could it be stretched to seem active for an eternity? They became aware of the sense of time IN the artwork and not only its depiction. This could be a quality of time in the artwork separate, faster, slower, longer, endless than that of the viewer's world. Over the course of history it led to inventions of sequenced panels, stroboscopic movement, control of color and apparent space and a surface record (of accumulated movements of the artist) to address qualities of time. Below we see examples of artists addressing time in very individual ways.

Stroboscopic Photograph

Here we see the multiple moments of a motion. Within one picture we see more than a single moment captured, a sequence of positions indicating a beginning and end point.

Duchamp- Nude Descending a Staircase

Not unlike the previous example, we are able to see multiple positions of a movement sequenced and compressed into one picture. In a sense Duchamp captured a small passage of time, every instance existing simultaneously. It is comparable to a long duration photo.

Morandi

In this example we see an artist using composition, color, and space to hint at a feeling of time/ timelessness. By lowering the contrast, bring the colors to a neutral key, predominantly verticals and horizontal lines, we sense a slowing down of time, a stillness. The opposite would be a 'fast' experience- bright colors, lots of diagonals, heavy contrast.

Agnes Martin

Another example that hints at a sense of time or slowness this time without using representational imagery. The formal qualities mentioned in Morandi are clearly seen here again.

De Chirico

In this example, we see a space devoid of time. There is a sense of time of day (maybe evening-ish) but also a sense that it is always that same time. Some of this is accomplished by the light created and also the space. The space is vast and vacant. In the mind, time and space are linked, are larger space indicates a longer time to transverse it, or a slowing down.

Hopper

Hopper's example shows us the psychology of time. His people are usually alone and in a different time than others- the endless solitude of loneliness, or lost amongst others. There is always a quality in his work that this moment repeats (day in day out, meet at the same spot with the regulars always there etc.) and implies that this is a regular occurrence. An example of a moment presented to last indefinitely.

Bacon

Bacon found inspiration in stroboscopic photography. We can see a possible reference in his attempt to capture a portrait of a person. Is a person's likeness that frozen pose, or an organism moving about experiencing time? How would you convey this?

Bacon

One of Bacon's most famous work. A riff on Velasquez's Pope Innocencio X. Below you will see the original. But first think about how the figure is presented, the intensity of colors, the intense directional stroke, that emotion in the strokes. Again it appears to be a duration of time captured (along with psychological content) rather than the actual likeness of the person.

Velasquez and Bacon

Obviously two different takes on the same portrait of the pope (both with different agendas). One appears to capture the frozen moment and likeness, the other the accumulated moments frantic tortured psychology of a person. There is also the indirect time element of Bacon referencing a painting from long ago.

Damien Loeb

With this example I am referencing our next project- Cinematic History Redux. This artist takes images from movies and puts them together for his own purposes. There is an intense attention to detail and virtuosity of skill. But there continues the sense of movie time, part of a larger narrative playing out.

Damien Loeb

Another example of movie time. But what is interesting is the moment the artist chose. Is it a scene right before the films climax or a random choice. This brings to question what moment is important to freeze, which has the qualities you are seeking- build- up, climax, aftermath, random, etc.

Large- Scale Portraiture

Examples below demonstrate the scale we are attempting in this project as well as a concrete sense of form. This is the basis for your exploration into lighting the subject. A form and mass of the head must be indicated as you then begin to investigate light. Please click here to review Skull and Head Structure.

Olmec Heads from Mexican History

Kollwitz

Seurat

Lucien Freud

Andrew Wyeth

Chuck Close

Student Work

Student Work

Student Work

Light in Portraiture

Deploying light as an active agent in art making is one of the fundamental basis for expression and meaning. Orchestrating both lights and shadows as active spaces in a composition begins to indicate a subjective perspective. Clearly choices are revealed, through illuminating presence and darken absence, as to what is important - object, location, time, narrative. It is the interplay of these two forces (shadow and darkness are not somehow lesser or simply defined by the absence of light, but rather are an elemental force, the diametric opposite, that yield and advance in balance with light) that create an overall tone. Below we see examples of how some artists from various mediums have used light to portray the figure for their own purposes.

In the photo of President Obama we see an ambient light, not too powerful or dramatic. It tries to convey a sense of integrity, strength etc. Presidents are always cast in a light that will not be overt, but more timeless, more classical.

A John McCain Photo from a magazine article pre -Election. The photographer got in a lot of trouble afterwards. From the vantage point and dramatic lighting we can see a subjective perspective of the person. McCain is presented as an overlord, ominous figure, clearly not a flattering portrayal. Notice the light from below and shadow up and behind.

In this example of Jesus Christ, the light is eminating from within. It is a supernatural light that radiates softly outwards giving the sense of purity, kindness, godliness etc.

In this example we see a frame from the Blair Witch Project, a more Baroque use of light, the figure dissolves into darkness. This use of lighting enhances the terror aspect of the subject and provides an environment for the emotion of the film- terror.

In this example we see an image from Sin City, by Frank Miller. Clearly the graphic use of light enhances the drama and grittiness of the content of the graphic novel. Notice the use of silohuette and how the darkness enters the figure.

Again we see a similar approach in Miller's Dark Knight novel. Batman, a character who walks the line between light and shadow (metaphorically), is displayed in that context visually.

In this example by Luc Tuymans we see a portrait with a strong light casting strong shadows. As is typical in his palette, we notice a slight wan quality or paleness. In the following example, we see another painting of Tuymans, in which the contrast is even more obliterated and we get an overexposed light quality. The sense is that light (usually used to illuminate, give form to objects) is overexposured and hints at the destructive power of light as it dissolves away detail and form.

Rembrandt is known for his Baroque use of light and often used its narrative potential. In this example we see a portrait of the artist and the light hints at his interior space, a place of brooding assuredness. The colors indicate candle light or evening light.

Working in Delft during troubled times in Europe, Vermeer crafted these paintings. Exquisite light delicately falling inside on the working people. They convey a pure, cleansing light, perhaps early morning and definitely Northern European light. All expressed by his choice of light, color, setting etc.

Facial Features

The eye is an important yet complex element within a portrait. A great deal of emphasis is placed in the eyes as they relate to likeness and psychology. Understanding its form is the beginning of depicting it properly. In words, think of its structure, a ball settle into a bone socket. The brow bone or ridge overhangs the ball slightly. This ball is then draped, above and below, with two lids that have thickness. To the center of the face and slightly below middle we find the tear duct. These lids do not make an opening like a symmetrical football, but rather peak closer to center on the upper lid, and slightly toward the outside in the bottom lid. In the eye ball we the sclera (whites of the eye) the iris (the eye color), pupil (dark spot the resides in the iris), and the cornea (the lens on the surface). While drawing the eye it is important to remember these structures as light falls across all differently.

The mouth find find a structure that wraps around the cylinder of the teeth and head. It is composed of three masses in the upper lip, a center flanked by two wings. The lower lip is composed of two masses parted slightly in the middle. The upper lip tappers quickly at the corners and curls down. The upper lip is usually in shadow since its top protrudes and then rolls under as it meets the opening. The lower lip receives light, along the two masses, and sharply descends to shadow along the middle underside, yet descends to shadow slowly along the edges as the lip rejoins the facial mass.

The nose is often one of the hardest features to capture. Again think of its structure as an aid in depicting it properly. There are three basic masses to consider- the ball, nostrils and bridge. It has four basic planes- one top, two sides, one bottom.

Below we see the spiraling form of the ear. In order to channel sound, each of the major forms, is a vessel in a sense, to guide sound waves to the inner ear. Each passage emerges from the perimeter and flows inward in a circular fashion. These forms do not have a tremendous amount of depth but happen in a rather shallow cup shape, almost in relief. The play and transitions of light and dark are crucial to drawing the form. Observation, as always, is paramount.