MadiMiller 3A DrawingDevelopment StartingoutinDrawingCC,IhavenumerousgoalsthatIwanttoachieve,manyofwhich arealreadymentionedinDrawingontheRightSideoftheBrain.Byreadingthebookand focusingonthingsIwanttolearn,Iplanonaccomplishingallofthesegoals.Thebookhas specificassignmentstodoinordertobecomebetteratdrawing,theseassignmentsaremainly ofthehumanheadandfacialfeatures,andhands.Completingtheassignmentswillalready teachyouagreatdealaboutwhatevertopicitwason,buttoaddtoit,thebookhasexamples andpassagestoreadtogetyoumoreindepthinart.Whilereadingthisbook,Iamdetermined toovercomeandsuccessfullyfinishalloftheassignmentsandgoalsitadvisesmeto,aswellas whatIwanttolearn. Thefirstfewassignmentsaretogetyourbraininacreativemode,andremindyourself howtodraw,orhowyoudrewwhenyouwereyoung.Ialreadyrememberhowtodraw,Idrawall thetime!Idowanttobecomemorecreativethough,andusemymemorytodrawinsteadof pictures.

Thebookbeginswithaselfportraitandthendrawingfrommemory,whichwillbring symbolsthatyouusedasachildintoyourart.Thesymbolsarenotwantedinartpeoplearenot symbolized.Iwanttolearntoperceiveandobserveinordertogetthemostaccuratehuman featuresthatIcan.Toachievethisgoalofperceiving,Iwilljustobserveanddrawnumerous victimsandcomparetheirfeaturestorealizethateveryfacehasdifferentshapes,tones,lines andshadows. ThenextstepsinDrawingontheRightSideoftheBrainareencouragingtherightsideof yourbraintogetinvolved.Togettherightsideinvolve,orintoRmode,agoodexerciseisto drawupsidedown.IwanttobeabletoaccessbothsidesofmybrainatalltimesIwantmy

braintobeafulltimeartist.Todoso,Icompletedtheupsidedownprojectsfromthebook, Einstein,PicassosStravinsky,andtheGermanhorserider.Drawingupsidedownmademe realisethatinordertocreateagoodcomposition,youdontthinkoftheobjectsinthepicturesas theirnames.Forgetthenames,andjustlookforlinesandshapes.Thisenablesyourrightbrain tobecomebetterinvolvedinthethinkingprocessandopensupyourcreativity. Afteraccessingtherightside,symbolsarebroughtupagain.Thischapterexplainshow theleftsideofthebrainisimpatientandviewseverythingasitis,insymbols,notcreatingdepth ordetailsinart,likewedidwhenwewerechildren.Thesesymbolsenableusfromseeingallof thelines,shadows,edges,anddepthsinanobject.Mygoalistobarricadetheleftsideofmy brainfrominterferingwithmyart.Therightsideofmybrainwillbefreebythenendofthisclass, andsymbolswillnolongerbeapartofmyart. Edgesarethenextgoalsinthebook.Perceivingedgesisoneofmymaingoal,because inordertocheckdrawinganatomyoffofmylist,Illhavetonoticealloftheedgesandlinesinthe humanbody.Thefirstassignmentinthischapterinstructsyoutodrawyourhandwithoutlooking atthepaper,onlyyourhand.Thismademerealisethatthereismuchmoretodrawingahand thanthefingersandpalm.Handsaremadeupofhundredsofsmalllinescreatingcrevices, fingerprints,andwrinkles.Afterthisdrawing,anotherhanddrawingisrequested,butthistime youareabletolookatyourpaper.Doingthefirstprojectwithoutlookingatmyhandincreased myobservationskilltremendously,andInoticedmanymoreoftheedgesthanIdidinthefirst drawing.Edgesarentjustinthebody,theyreineverything.Thebookhasyoudrawascene fromoutofawindow.Drawingtheoutdoorshelpedmeunderstandthatedgescreateeverything, likelines,andwithoutthem,artwouldbeimpossible. Spaceisalsoneededinordertoperceiveedges.Mygoalforthischapteristobeableto addnegativespaceintoacompositionappropriately.Negativespaceisntabadthing,withoutit,

acompositioncouldntbecreated.Itsisalmostlikeaholeanopenarea.Chairsareagoodway toperceivenegativespacebecausetheyhavelegsandarms,andusuallythebackofthechair isnotcompletelysolid.Thespacethatisinbetweenthesolidpiecesorinbetweenthelegsin negativespace. Toachieveperspective,youhavetounderstandrelationships.Mygoalistolearnabout allofthevanishingpointandlinesinaviewtoachievetheperfectperspective.Inordertolearn allofthesepoints,thebookhasyoudrawahallway,oradoorway.Thisenablesyoutoseehow closeobjectsaretoeachother,andhowperspectivechangesthewayobjectslookfrom differentpointsofview.Withoutperspective,everythingwouldbeflat,withnodepth. Relationshipsdetermineperspective,anddeterminehowperspectivewilltakeplaceina composition. Aftergoingthroughallofthesesteps,youarebroughtbacktodrawingpeople. Perspectiveisneededgreatlywhendrawingprofileor3/4viewofapersonsfaceitseven neededinfrontalviews.Besidesperspective,youneedtomasterthebonestructureandfacial featuresofahuman,whichisoneofmymainpriorities.Togetthecorrectfacialfeaturesand proportions,youneedtounderstandrelationships.Theentirelearningprocessinthebooksofar hasleduptothispoint,andhasbeenpreparingyoutodrawpeople.Thefinalstepistoning. Toning,inotherwords,isthelightsandshadowsthatarecastuponanobject.WhenI draw,Idontnormallytonemypaper,butmygoalistogetintothehabitofdoingso.To understandshadowsandlightareas,youagainhavetoturnofftheleftbrain,andallowyouright braintotakeover.Thelightsandshadowsshouldjustbeseenasshapes.Whentoningis accomplisheddepthandperspectiveisachieved,creatingarealisticperson,orobject. Inordertolearnmoreaboutartandexpandmycapabilities,Ichosetostudyundertwo artist.First,anoldmasterartist,EgonSchiele,andthenacontemporaryartist,HopeGangloff.

EgonSchielewasa20thcenturyfigurepainter.HewasbornintheAustroHungarian Empirein1890,andliveduntil1918.MuchofSchieleslifewasinfluencedbyart,beginningwith hissketchbooksfullofdrawingsoftrainshisfatherwasastationmaster.Afterhisfatherdied, hisunclehiredSchieleatutor,LudwigKarlStrauch.StrauchledhimtoTheSchoolofArtsand Craftswherehiscareerbegantosetoff. Schieleuseshisemotionstocreatemanyofhisartpieces.Imprisonedfordatingan underagedgirlandhavingpornographicsketches,heusedhisdepressionanddiscomfortinjail tocreateart.Byusinghisemotions,heemphasisescertainpartsofhisdrawings,whichinmy opinion,createsabettercomposition.FromthistalentedartistIhavelearnedhowusemy emotions,andreleasetheminacreativemannerthroughmyart.Hechoosestofocusonthe humananatomyinhisdrawingshiseyetodetailandoverbearingtechniqueinhisarthashelped mecomposemyartwithmoredetailandemphasis. Emotionscomeinmanydifferentwaves,andformanydifferentreasons,butotherthan sulkingorobsessingoveranger,youcanuseittocreatesomethingbeautiful.Schieleusedhis sadnessanddiscomforttocreateartpiecesthataddtohisfame.Theseartpiecesshowthatno matterthecircumstances,henevergaveuponart,andusedhisemotionstotheircapabilities.I wanttobeabletodothesame,insteadofwallowinginmyemotions.Iwanttobeabletocreate amazingcompositionsbecauseofafeeling,whetherImhappyorsadorangry,andtellastory throughit.Schielecanteachmetodothisbecausehewasinterriblecircumstanceshis artworkwasdestroyed,hewasimprisoned,andhelosthislove,yethestillcreatedart.His dedicationinspiresmetokeepdoingart,nomatterhowImfeeling,andusethosefeelingsto createmasterpieces. AnatomyisamajorobstacleIneedtoovercome.Schielesfigurativeartisanexampleof

howtoportraythebodyemotionally,andmademerealizemanythingsaboutanatomythatI otherwisewouldnothavenoticed.WhenSchielecreatesart,heisntrealistic,whichdrawsme in.Hehashisownstyleofart,whichisanotherthingIneedtoworkon,however,hisstyleofart createsemphasisoncertainpartsofthebodywhichcreatesfocusonthoseareas.Amainarea heputsemphasisonishishandsheputsstressontheknucklesandbonesthatmakeupthe hand.Heaccomplishesthisbyaddingmultiplelinesordarkercolorsoverthelightskincolor,as wellasonlyaddingcolorinthehandsandface,andnottherestofthebody.Otherthanhands, hisothervariousartworkfocusesonbonestructurethroughoutthebodyribs,facialfeature,etc. Nudesareamainthemeinhisartcollection,whichwillalsohelpwiththebodysanatomy becauseinordertodrawwhatsontopofthebodyyouneedtoknowwhatsunderit,likebone structureandbodyshape. LikeSchiele,Gangloffusesemphasistocreatefocusonthebody.HopeGangloffisa moderndayartistlivinginNewYorkCity.Shewasbornin1974inAmityville,NewYork.Hope beganherpathtosuccessbypaintinginherparentsbarnthroughouthighschool,and continuedherartatCooperUnioninNewYorkCity.Herpaintingsareveryunique,mainlybeing portraitsofherfriendsinregular,everydaysettings. Beingamoderndayartist,IcanrelatetoGangloffthroughherart,andlearnalotthrough herstyle.Thestylesheusesdrawsmein,withallofthetexturesandpatterns,insteadofthe featureofdepth,yetasomewhatrealisticimageisstillportrayed.Icanrelatemyselftomanyof herpiecesbecauseofthesettingssheexpressesthemin,whicharenormalscenesoflife,like someonepaintingtheirnailsorlisteningtorecords.AsIhavebeenstudyingherart,Ihave learned,andamstilllearning,howtoaddemphasisontexturesoffabricsandmaterials,to createimagesthatportrayapersondoingregulareverydaytasks,andabouttheanatomyof facesandhands.

BeforediscoveringGangloff,Ineverreallyfocusedonsmalldetailsandpatternsin paintings,Imainlyworkedwithdepth,highlight,andtones.Ihavelearned,however,thatthese smalldetailsinashirtorevenashoecancreatemasterpieces.Inherartworkshepaintsfabrics usingthepaintitself,notmixedmediaoraddingactualmaterialtothepiece,andacknowledges thefactthatsheisusingpainttocreateamaterial.Bystudyingherart,Ihavenoticedthatthe detailsandtexturesinfabricsandmaterialscatchandkeepviewersinterestedinpaintings.I havealsobegantonoticesmallerthingsinlife,thatmostpeopleoverlook.Thishastaughtmeto bemorepatientbecauseitsextremelytimeconsumingandtedioustorecreatedesignscreated bymachines. Alongwithsmallerdetails,Gangloffsworkhastaughtmetocreatecompositionsof peopleduringeverydaylife.Thishasinspiredmetodomorelifedrawingstoincreasemyskillat thistypeofartwork.Lifedrawingsareimportantbecausetheycapturepeopleandobjectsata particularmoment,andareorganicandcapableofmoving,unlikecopyingapicturewhichis stationaryandcanbemanipulatedtolookhoweveryoudlikeit.Creatingimagesofpeopledoing regulartasksinterestsmebecauseitenablestheviewertoseethatlifeitselfisart.Ithastaught methatartisntforceditsnatural.Artcanbefoundineverythingandeveryone,eveninthe simplestforms,likesomeonesmokingacigaretteorlyingonacouch.Gangloffpresents ordinarylifethroughherwork,andemphasisesitwithtexturesandpatterns. Anatomyplaysahugeroleinart,andGangloffhashelpedmebecomemore experiencedwiththehumanbody.Handsandfacesarethemain,anatomicallycorrectbody partsinherpaintings.Thebodyhasalwaysinterestedme,anditsoneofthemainthingsthatI strivetobeabletodrawproportionately.ThroughGangloff,Ihavebecomebetteratfacial proportionsandtheshapeoffacialfeatures.Aswellasfaces,mydrawingsofhandsare beginningtoimprove,especiallywithemphasisonbonestructure.Sheemphasisescertain

featuresandboneswithcolor,whichhashelpedmeacknowledgethateventhoughsomebody partsarentasprominenttotheeye,addingthemtoapaintingordrawingcanfinishthepiece. BothoftheseartisthaveimpactedhowIseeandcreateartinnumerousways,enabling metobecomeabetterartist,andsohasDrawingontheRightSideoftheBrain.Duringthe entireCCDrawingCourse,Ihavelearnedalotaboutmydrawingcapabilities,aswellas improvedthem.WhenIfirstbegantakingtheclass,IwasworriedthatIwouldntlearnasmuch becausetechnically,werejustcopyingabook,however,DrawingontheRightSideofTheBrain mademeuseskillsthatIdidntevenknowIhad,whichledtothedevelopmentofmyartin multipleways.Mainly,myarthasbecomemorerealisticbyimprovingmyknowledgeoffacial proportionsandfeatures,workingondrawinghands,andusingtone/lightingtocreateamore realisticcomposition. ThemainconceptinDrawingontheRightSideoftheBrainwastounderstandand becomemorefamiliarwiththehumanface.Ittaughtmeaboutcorrectfacialproportionsand gavemetipsonhowtoimprovemyskills.Manyoftheassignmentsfromthebookaretodraw peoplesfaces,aswellasyourown.Constantly,theassignmentsaretodrawportraitsofpeople, whetheritbeapictureofAlbertEinsteinoryourlittlesister.Theconsistencyoftheactivities enableyoutofindflawsinyourownskills,andimprovethem,leadingtoamorerealistic compositioneachtimeyoufinishanassignment.Alongwithconstantlydrawingpeople,the viewpointsarechangedinsomeoftheprojects,allowingyoutoseehowapersonlooksfacing differentdirectionsandhowthatcanmakedrawingthemmorechallenging.Thebookhasyoudo multipleactivitieswhichshowtheprogressofhowwellyouareabletodrawtheface.First,ithas youdoaselfportrait,thenportraitsofothers,andendingwithanotherselfportraittocompareto thefirst.Byconstantlydrawingfaces,IhavenoticedthatIhavebecomeincreasinglybetterat composingrealisticfaceswhenlookingatapersonandjustfrommemory.Iamabletocorrectly

spacefacialfeaturesandshapethefeatures,aswellastheheaditselfproperly. Besidesfaces,alotoftheassignmentsaretodrawhands.Theprojectshaveyoudraw handsinmanydifferentpositionsandsettings.Sometimes,yourejustdrawingasimplehand, nothingspecial,butthenextassignmentmightchallengeyouandhaveyouplaceyourhandin anawkwardposition.BeforereadingDrawingontheRightSideoftheBrain,Ididntminddrawing hands,however,Iwasntthebestatit.Now,afterreadingit,Imbecomingaproatdrawing hands.Theeasiestwayformetodrawhandsistojustthinkofthemaslinesandshapes, ignoringthefactthatitsahand.Oneactivityinthebookthathelpedmerealizethathandsare justmadeupoflinesandshapeswastheblindcontourdrawing,inwhichyouwerentallowedto lookatthepaperthroughouttheentiretimeyoudrew.Eventhoughmydrawingdidntturnout lookingquitelikemyhand,Icametotheconclusionthatthatisallhands,alongwitheverything else,reallyareabunchoflines. ImprovingmyskillsasmuchasIhaverealisticallywouldnothaveachievablewithout learninghowtotone.Beforetakingthisclass,andreadingthebook,Ihadnevertonedpaper. WhenIdrewnormally,Iwouldjustusethewhitebackgroundasabaseandshadeontopofthat toadddarkertones,notaddinganylighttoningbyerasing(Iobviouslycouldnteraseonan alreadywhitepaper)tocreatetheillusionoflight.However,whilereadingthebookand completingtheassignments,itinstructsyoutotoneyourpaperbeforedrawing,andbydoingthis IhavecreatedsomeofthemostrealisticcompositionsthatIhaveeverdrawn.Whenyoutone, youaresettingupanalmostneutralbackgroundtodrawonnottoolight,andnottoodark.By doingthisyoucanadddarkertonesbyshadingmore,andlightertonesbyerasing.Toning createstheillusionoflightsandshadowsonpaper,creatinga3Deffectandmakingadrawing lookasifitwerereal. DespitealloftheeffortsofthebooktoteachmeeverythingIhavelearned,itcouldnt

teachmeeverything.AgreatmajorityofthethingsIhavelearnedwerefromMr.Fuller.Hetaught metobepatientwithmyart,andtoletittakeitstimeintransformingintothebestitcanbe.He alsohelpedagreatdealinmyachievementofmorerealisticart,especiallybydemonstrating howtodrawaface.Ithelpedmetowatchsomeoneelseactuallydrawit,andpointoutcertain areasthatmostpeopledontnoticeareasthatartistshavetonoticeinordertocreatethebest compositiontheycan.Besideshelpingmeaccomplishmygoals,hemakessurethatevery studenthasthehelpthattheyneed,andhelpsthemoneononeiftheyarentunderstanding. Everyoneintheclassmovesatadifferentpacebecausetheyareallatdifferentlevelsof creatingart,butMr.Fullerhandlestheclassverywell,andmakessurethatallofthestudents aresucceedingandimprovingtheirskills.Hehasespeciallyhelpedmewithmyconfidencein mywork,andhashelpedmewanttopursueacareerinart. Researchingartistsonmyownhasalsoenabledmetoimproveindrawing.Thetwo mainartiststhatIstudiedthroughoutthiscoursewereEgonSchieleandHopeGangloff,who helpedmeunderstandanddrawanatomymuchbetter.Theybothemphasizecertainpartsofthe body,whichhasenabledmetobecomemoreawareoffeaturesanddetailsinthehumanbody structure.Ithasenabledmetoaddemphasisinmydrawingsandappreciatehowdrawableour bodiesreallyare.