Chuck Close: A Systematic Approach to Portraiture

In this collage portrait of Phillip Glass, titled Phillip, by Chuck Close, one can see an overall structure of tonal values, whereby the artist successfully employs a full range in scale of white-to-black. Notice how values are placed according to similarity and proximity, and it is this carefully selected combination that makes it possible to render the portrait. Also, see how significant the grid system is in this piece, with incremental units evenly divided.

In order to create such a rendered composition, one must acutely observe the subtle shifts in light and shadow, form and volume. It is an organized, laborious, and systematic approach to constructing an image, and relies on the artist's ability to maintain extreme focus at every stage of the execution.

This can be seen in another Chuck Close example of a portrait, titled Georgia, which is constructed of handmade paper. Evident, as with so many incredible examples of his work, is his highly methodological, formal analysis of information.




































"The remarkable career of artist Chuck Close extends beyond his completed works of art. More than just a painter, photographer, and printmaker, Close is a builder who, in his words, builds "painting experiences for the viewer." Highly renowned as a painter, Close is also a master printmaker, who has, over the course of more than 30 years, pushed the boundaries of traditional printmaking in remarkable ways.

Almost all of Close’s work is based on the use of a grid as an underlying basis for the representation of an image. This simple but surprisingly versatile structure provides the means for "a creative process that could be interrupted repeatedly without…damaging the final product, in which the segmented structure was never intended to be disguised." It is important to note that none of Close's images are created digitally or photo-mechanically. While it is tempting to read his gridded details as digital integers, all his work is made the old-fashioned way—by hand.

Close’s paintings are labor intensive and time consuming, and his prints are more so. While a painting can occupy Close for many months, it is not unusual for one print to take upward of two years to complete. Close has complete respect for, and trust in, the technical processes—and the collaboration with master printers—essential to the creation of his prints. The creative process is as important to Close as the finished product. "Process and collaboration" are two words that are essential to any conversation about Close’s prints." – via Chuck Close: Process and Collaboration

Links:
Chuck Close Exhibit at the Walker
Chuck Close Exhibit at the MOMA
Chuck Close Portfolio at Pace Prints
Self Portraits: Young Artists Create Oil Pastel Mosaics
Young Students Collaborate to Make a Portrait

The Invention of Drawing: An Artist Reveals Perspective

The Getty Museum has this wonderful drawing, The Invention of Drawing, which documents one method of drawing. Illustrated here is an artist tracing the shadow of her model. Notice how the drawing is a precise rendering, done in two-point perspective. A single flame provides the light source for all of the shadows. The drawing contains a full range of values, from lightest lights to darkest darks. The horizon line, or eye level, is low, almost, if not exactly where the pencil touches the wall. Perspective lines are dramatically featured in the wall-mounted shelf, the lines of the furniture, and the stone wall grid.

Perspective drawing is a method of representing the appearance of objects, places, architecture and even people. Parallel lines are represented as converging, which gives the illustion of distance. There are many valuable sources to which one can refer in order to understand perspective. The following link is one good example that covers the basics of linear perspective.

Image information:
The Invention of Drawing (recto); Sketch of Lower Leg Bones of Human Skeleton (verso)
Joseph-Benoît Suvée
Belgian, about 1791
Black and white chalk on brown paper (recto); graphite (verso)_21 1/2 x 14 in.
87.GB.145

Observing Consumer Consumption

Artist and photographer, Mark Luthringer, uses photographs to index categories of the things he sees. The comparisons of similar objects and places are striking and thought-provoking. While one can see an amazing display of possibility, consumer choice and innovation through design, branding and manufacturing technology, alternatively one can see an overall sameness to the content, presentation, architecture and environment.

There is hope and despair in his work. Hope in that design and technology can provide solutions en-mass, and despair in the realization that, given the creative potential for a vast variety of design solutions, what this artist so adeptly points out, our objects of desire, such as homes, furniture, vacation destinations, meals, and clothes are generally the same and by comparison very uninteresting.

Luthringer’s compelling work clearly places him in the unique category of acute observer, curator and anthropologist. Architects and designers, both graphic and industrial, will be interested to view his work. Below is a portion of his Artist Statement, which along with his work can be found at his website, markluthringer.com .

"The typological array’s inherent ability to depict prevalence and repetition make it the perfect technique for examining the excess, redundancy, and meaningless freedom of our current age of consumption. Part of my intent with this work is to answer the question implied by the title of Robert Adams’s book What We Bought: If there is some kind of big sellout occuring, what are we getting in the deal?"

Imaginary City Envisioned in Drawings

In 1984 Gilles Tréhin, dedicated artist and artistic savant, began designing an imaginary city, Dumont d'Urville, using primarily drawings to communicate his vision.

Additional info:
Gilles Trehin.com
Gilles Trehin and the city of Urville

Book Review: What Painting Is, By James Elkins

What serendipity is, that is what happened to me when by chance noticing the cover of the book titled, What Painting Is, on the desk of a fellow Rhode Island School of Design colleague, Marc Torick. Thanks to him for lending it to me.

It is a very special book indeed, as it gives voice to the painter’s inexact work process, lifework, and physical relationship with paint. Anyone who paints (or used to paint), especially with oil paint, and anyone who looks at paintings with serious intent and attention, would enjoy the comparisons James Elkins makes, that of painting and alchemy.

Below are two of my favorite excerpts from the book.

“It (painting) is a kind of immersion in substances, a wonder and a delight in their unexpected shapes and feels. When nothing much is know about the world, everything is possible, and painters watch their paints very closely to see exactly what they will do. Even though there is no contemporary language for that kind of experience, the alchemists already had names for it centuries ago. They knew several dozen varieties of the material prima, the place where the work starts, and their terms can help us understand there are different ways of beginning the work. They had names for their transmutations, and those can help give voice to the many metamorphoses painters try to make in paint.”

“Science has closed off almost every unsystematic encounter with the world. Alchemy and painting are two of the last remaining paths into the deliriously beautiful world of unnamed substances.”

James Elkins, a former painter, is a Professor of Art History, Theory and Criticism at The School of the Art Institute of Chicago. Additional titles by the same author:
The Object Stares Back
Why Are Our Picture’s Puzzles?
Our Beautiful, Dry, and Distant Texts
Why Art Can’t Be Taught: A Handbook for Art Students
What Happened to Art Criticism
Stories of Art

Look at the book:
What Painting Is

Below is a link that includes a beautiful mindmap drawing by Elkins.
Ideas for Dozens

Illustration Friday: Creative Community Forum for Artists

Illustration Friday is the art forum, the mission of which is to build a creative community for illustrators. IF features a weekly illustration challenge. A topic is posted every Friday. Participants have all week to come up with their own interpretation.

"It is a safe place to discuss creative issues, ask questions or just get feedback on your work. Want to find out how to get a certain texture? Ask. Want to find people in your area to start an illustration group? The art forum is a good place to start."
http://illustrationfriday.com

Types of Drawing: Making Marks for Good Reason

As the written word is essential to the poet and writer, and the algorithmic formula is imperative to the mathematician, drawing is the essence of the artist and designer’s expression.

As an effective means of communication and thinking, drawing operates on many levels, and it is important for the artist and designer to not only comprehend these differences, but to also achieve a certain level of skill in the discipline of drawing. Drawing can be a tremendously empowering tool for communication and thinking. This article will briefly explore and loosely define the many different approaches, or types, of drawing.

In thinking about drawing methodologies and their respective purposes, apparent are at least eight distinct categories, including:
1. Life Drawing: drawing as a means of expression; drawing from direct observation, as in still-life or figure drawing
2. Emotive Drawing: drawing, like painting, as an expressive way to explore and put forth feeling, mood, self, time, and so on; drawing as a sensitive expression of personality
3. Sketching: drawing in order to explain or actively think through a problem; drawing through the act of visualizing; drawing actively and loosely
4. Analytic Drawing: drawing as a way to dissect, understand and represent; drawing from observation
5. Perspective Drawing: drawing as a way to represent volume, space, light, eye-level (horizon), surface planes, and scale
6. Geometric Drawing: drawing as a means to precisely represent all aspects of construction; drawing that shows measured scale, true sides, sections, and a variety of descriptive views.
7. Diagrammatic Drawing: drawing in order to investigate, explore, and document concepts and ideas; drawing as an active design process where ideas evolve due to adjacencies and happenstance
8. Illustration Drawing: drawing in order to document; drawing to clearly state and render intent, style, size, color, character, effect, and so on

The marks made for each of these drawing categories vary greatly, as do the materials, tools, techniques, and even substrates on which the drawing is produced. A graphite pencil makes a different mark than a marker, than a vine charcoal stick, than a ballpoint pen, and on and on. Newsprint paper is appropriate for some drawing materials, such as pencil, charcoal and crayon, whereas more wet mediums, such as markers or India ink may prove problematic.

Concurrently, the purpose for each of these drawings categories vary, as do the end result. A sketch can quickly document an idea upon first conception, whereas a geometric drawing requires a much longer gestational period. The sketch is of the moment and the geometric drawing is more labored. The sketch contains possibility and potential, whereas the geometric drawing is more like the ending chapter to a novel, final. The person who makes the drawing must weigh the truth and consequences of the effort, choose the method of drawing that is appropriate, that which will provides the best result.

This is not to say that the act of drawing should not be experimental in nature. To the contrary, investigation is paramount to the creative process and the educational process. Practice drawing, experience using drawing, and exposure to comparative examples of drawing provide one with a greater ability to make choices regarding the appropriate drawing technique, material, surface, tool and approach to utilize when beginning a drawing.

Where words and formulas cannot quite describe the creative intent, drawing succeeds in being a tremendously empowering tool for communication and thinking. The artist and designer is much stronger in her ability to create with this skill mastered.

(Note: For the purposes of this article, computer-aided drawing techniques were not addressed specifically, though the author admires the inherent benefits of computer technology.)

Explore the many drawingreference materials available.

drawing

Panoramic Memory Drawing

Stephen Wiltshire draws Rome from memory on 5.5 ' of paper in 3.5-day marathon. Video excerpt from A Beautiful Mind. It is fascinating to watch Stephen Wiltshire execute a panoramic drawing with such meticulous detail and amazing concentration. His drawing process and product is awe-inspiring.
http://www.youtube.com/watch?v=dAfaM_CBvP8