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Posts Tagged ‘Picasso’

Dispatches from New York City

Posted in art, art,poetry,writing, digital collage, photography, writing, architecture, Drawing, Ink, Photography, tagged , , , , , , , , , , on June 23, 2011| 1 Comment »



Connecting|Disconnecting over the New York Post. New York City Subway, Line 5 Uptown, June 21, 2011.

Presently and present in New York City.

Conference sessions, museums, walking walking walking. Design, Architecture, Art.

The energy of the City. Ideas like kites move slower than the city moves. Slower than pedestrians at a busy intersection, slower than subway trains with their human cargoes.

A musical: Death Takes a Vacation.

Absorbing and consuming the city, which becomes a commodity. Getting lost in the city,  a bus to New Jersey, a ride to the Bronx.

Will post few dispatches, I have been absent with no written excuses.

………………………….

My fabric city map is almost done, it took almost a month. I have the utmost respect for seamstresses.

Until next time, with a summer-light heart, looking forward to sharing more experiments.

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Chairs, Chairs, Chairs (on Coffee)

Posted in art,poetry,writing, Books, Design, Desk Crit, Drawing, Graphic Design, Lectures, NaBloPoMo, Painting, school, School Work, Watercolor, tagged , , , , , , , , , , on August 5, 2010| 1 Comment »

Freehand Drawing- In Class exercise. After rendering with Espresso, we use the leftover coffee to draw chair combinations, or rather, the void around the chairs, in a figure-ground setting.

Another exercise with  ‘Drawing on the Righ Side of the Brain’.  By drawing the space, not the chair, the proportions were incredibly accurate in all drawings.  The drawings can be read as Nolli Maps of imaginary cities, we can see piazzas, palazzi…we can see perspective, spatial configurations/plans, abstract paintings… I love the ambivalent water medium, the subtle, duplicitous, always multilayered  sepia tone.

From 'Drawing on the Right Side of the Brain' by Betty Edwards

From Page 54:

Look at the drawings on the right-hand side of Figure 4-11. Studens 1 and 2 copied Picasso’s drawing right side up. As you can see, their drawings did not improve, and they use the same stereotypic, symbolic forms in their copies of the Picasso Stravinsky as they used in their Draw-a-Person drawings. In the drawings done by Student 2, you can see the confusion caused by the foreshortened chair and Stravinsky crossed legs.

In contrast, the second two students, starting out at about the same level of skill, copied the Picasso upside down, just as you did. The Student 3 and the Student 4 drawings show the results. Surprisingly, the drawings done upside down reflect much greater accuracy of perception and appear to be much more skillfully drawn.

How can we explain this?

The results run counter to common sense. You simply would not expect that a figure observed and drawn upside down could possibly be easier to draw, with superior results, than one viewed and drawn in the normal right-side-up way. The lines, after all, are the same lines. Turning the Picasso drawing upside down doesn’t in any way rearrange the lines or make them easier to draw.  And the students did not suddenly acquire “talent”.


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