2011-09-30

glass



the glass is full:
investigating spaces where water, light and glass collide. 
teaching Common First Year, Georgia Institute of Technology College of Architecture
material study: 
one glass of varying thickness, water level of choice, single source light, charcoal, pencil,
paper, cutting tools, models, cameras.


class begins with thumbnails. each student produces 30 thumbnails, over the course of two studios.
from the thumbnails students assess how they see and create a large drawing that explores the spaces of the glass from their point of view. is glass/water transparent? distorting? dark? layered? a transmitter of light? a mirror?  
in class we talk about changing scales and imagine that we are big or small.
each student draws one long, large drawing of their discoveries. they learn how to compose a large scale drawing. they learn that a drawing can take you places.
students isolate spatial qualities from their large drawings. they refer to their thumbnails and then begin making models that create effects of space and light derived from the glass study. 
we use small white note cards for the models.
we draw the model in line. continuously moving the pencil to understand new edges.
we compare this iteration of the glass study to our initial drawings in charcoal.
we make diptychs of our drawings and models to compare the changes and relationships in medium, scale form and light.
during the two week project we review our work in small groups and large groups.
we pin all our projects together at the end of the project and spend an entire studio looking, asking questions and making new connections.
and then each student looks at their work on the wall in a new context.
and they write.



2011-09-23

pairings: teaching tone

we begin with a high quality black and white digital image that shows a wide range or grey scale, tones, and dimensional volume. students use a scale of 1 to 10 with variations to mark the scale of tones on the images. these are circled in red, above.
we work in thumbnails. 2" x 3" moving from contour, to numerical tone maps to charcoal thumbnails of the drapery. we use small view finders made from note cards to frame our views and mark our place. once a view is decided, we work for two full studios and a night drawing the drapery as we see it. the variation from student to student is amazing.

details


from these large drawings, each student focuses on spatial aspects that they discover in their work. light, translucency, layers, shadows, landscape, valleys, air, water, cuts, scars, crevices, canyons, solids, voids and so on. they make new drawings from their imagination. we talk about what they see in them.
we evaluate our new variations. we write and then we translate to three dimensions. each student isolates an aspect of this drawing that has a special interest: a cut that creates a silhouette or form in the drawing that can be explored as occupied space. we make the next variation: a 5" x 8" note card model. 

and then we study the model's effects in light, using our cameras, the sun, and other light sources. we change our point of view and imagine we are very small. we notice the variations, the effects that a line "as a cut" can make when coupled with light. we look at the shadows. we count the scales of dark tones and light tones, just as we began. and we end with a photo series.

student work from common first year,  Georgia Institute of Technology School of Architecture. 2011


2011-09-17

week 5: teaching


in action, learning how to see dimensions of space in light and shadow, contrast and scales of grey.
we imagine that a classical still-life of white and black drapery can transform, to water, land, nano scale, micro scale or macro scale. but first we learn to draw the drape. we learn to cut erasers into sharp drawing instruments, because erasing is drawing. we learn to shave charcoal into fine powder to build up areas with delicacy.  we learn about removal and addition. we make paper spatial.
more to come this week. 


2011-09-09

four weeks - teaching

drawing isn't necessarily about making marks. 
sometimes it is about carefully removing material to expose hidden light.
we are learning to draw by erasing. 
vine charcoal, compressed charcoal, cut white erasers, and kneaded erasers
taping the surface  -  making paper table cloths.
please click on images to enlarge.

we imagine light through glass and water.
we imagine deep circles of light.
we imagine light in section and elevation.
we imagine habitable spaces, effected by time.
 after drawing and removing we analyze our work. 
we check our lines, created spaces, light and shadows.
we extract elements from this study and transform these ideas into three dimensional studies.
we work in paper. with real light and shadow.
and then we imagine the scale of the paper sculptures we are creating. 
is it big or small?
and we photograph our studies to understand the minute and vast spaces we have created through a process of transformation and inquiry.
school of architecture, georgia institute of technology.
common first year  - prof. crawford studio, fall 2011

2011-09-02

interviews

Last week was a great week for interviews about my work. 
I have been featured in 3 web interviews in one week, so I am sharing!


Artist Philip Hartigan's blog, Praeterita is one of my favorites. I personally love his work (you can see it  here. On his blog he talks about his work, process and his ongoing interest in the role of Artist:Writer:Artist.

I was also selected for the first ever "Google +  First Friday Art Walk."

I also show very small works at Jack Art. It is a local On-line Gallery in Atlanta, that also has exhibition space in Studioplex here in the city. Jack Gallery selected me for an interview last week.

more to come.