Monday, July 8, 2019

Gesture

gesture drawing is a laying in of the action, form, and pose of a model/figure. Typical situations involve an artist drawing a series of poses taken by a model. Links to an external site.) in a short amount of time, often as little as 10 seconds, or as long as 5 minutes. Gesture drawing is often performed as a warm-up for an extended drawing session.




Please watch the following video on Contours versus Gesture Drawing. 


Next, watch this instructional video going into the human figure and gesture drawing.



Complete a minimum of 40 gesture drawings.  You should start out with shorter poses, then move into longer poses.  As time increases, build up from the skeletal structure of the figure to outlines and more completed studies.  The following site can be used to reference for figures:

https://line-of-action.com/practice-tools/figure-drawing 

Please note: if you are offended by nudity in any way, please click the "only covered models" in the first box before opening the model pages (as shown below). 







Then select the time and type of gesture you wish to complete by filling in the boxes.   You should complete: 

10 -30 second drawings
10 - 1 minute drawings
10 - 2 minute drawings
10 - 5 minute drawings 

Use the site selections (shown below) to complete this.




























Sunday, June 30, 2019

Sketchbooks

Sketchbook Tour #1 (HD) from Malcolm Sutherland on Vimeo.

Sketchbooks 

Sketchbooks will count as 200 points towards your final grade.   It is important that you put everything into the sketchbook as it will act as a visual diary of the projects, assignments, concepts, and everything else that is covered in this class.

Things you should include in your sketchbook:
  1. print outs of Syllabus, handouts, or reference material from the blog
  2. Project sheets, value scales, directions, etc.  Information from the blog. 
  3. class notes from lectures, notes from video tutorials, notes from reading assignments, etc. You do not have a textbook so you should be taking detailed notes. 
  4. print out images that you are using as visual reference if necessary and place them in the sketchbook (ie. 1pt, 2pt perspective, Portrait, etc)
  5. thumbnail sketches and any ideas you might have on projects
  6. Artist Research
  7. images that inspire you
  8. recipes (well... no), but honestly, everything that is on paper that pertains to this class. 
tape or glue these items into the book (along with your sketches and class notes) to have a comprehensive visual record of the experience that you may refer back to for years to come.

PENCILS and other materials:

https://www.linkedin.com/learning/drawing-foundations-fundamentals/pencils?u=35252812

ERASERS:

https://www.linkedin.com/learning/drawing-foundations-fundamentals/erasers?u=35252812


Homework: Now that you have your materials, tape or glue the following into your sketchbook

1. Syllabus
2. Upside down drawing
3. Pre-instruction drawing #1: “A Person, Drawn from Memory” 
4. Pre-instruction drawing #2: “My Hand”
5. Pre-instruction drawing #3:  Self-Portrait 
6. Blind contour, continous line, and modified blind contour drawings of your hand
7. MODIFIED CONTOUR of hand holding scissors
8. MODIFIED CONTOUR of still life with shoes
9. FINAL MODIFIED CONTOUR of plant still life
10. Crumpled Piece of Paper Drawing
11. Negative space drawings you'll be completing this weekend. 





Week 2_Day 1 Crossing over: Drawing Exercises



COMPOSITIONAL DEVICES AND STRATEGIES







CROSS OVER CROSS OVER... more exercises on right brain and left brain activity.




Vases and faces: an exercise for the double brain The exercises that follow are designed specifically to help you understand the shift from dominant left-hemisphere mode (L-mode) to subdominant R-mode. I could go on describing the process in words, but only you can experience for yourself this cognitive shift, this slight change in subjective state. As Fats Waller once said, “If you gotta ask what jazz is, you ain’t never gonna know.” So it is with R-mode state: you must experience the L- to R-mode shift, observe the R-mode state, and in this way come to know it. As a first step, the exercise below is designed to illuminate the possibility of conflict between the two modes.

Edwards, Betty. Drawing on the Right Side of the Brain: The Definitive, 4th Edition (p. 46). Penguin Publishing Group. Kindle Edition. 

Before you begin: Please read all the directions

Exercise 1.

1. First, you will copy one-half of the Vase/Faces illusion. If you are right-handed, draw the profile on the left side, facing toward the center. If you are left-handed, copy the profile on the right side of the paper, facing toward the center... as shown below.


2. Next, draw horizontal lines at the top and bottom of your profile, forming the top and bottom of the vase

3. Now, take your pencil and slowly go back over the line of the profile you have just drawn, naming the parts from top to bottom as you redraw the line, like this:

“Forehead . . . nose . . . upper lip . . . lower lip . . . chin . . . neck.” You might even do that a second time, again redrawing the lines of the profile and really thinking to yourself what those terms mean.

4. Then, go to the other side and start to draw the facing profile that will complete the symmetrical vase in the center.

5. When you get to somewhere around the forehead or nose, you may begin to experience some mental confusion or conflict. Mentally note this as it happens.

6. The purpose of this exercise is for you to self-observe: “How do I solve the problem?”

Edwards, Betty. Drawing on the Right Side of the Brain: The Definitive, 4th Edition (p. 47). Penguin Publishing Group. Kindle Edition. 


NEGATIVE SPACE DRAWING

FIRST
WATCH THE FOLLOWING DRAWING TUTORIAL



THEN
COMPLETE THE NEGATIVE SPACE DRAWING IN CLASS.  YOU WILL WANT TO USE A PENCIL TO DRAW THE NEGATIVE SPACES/SHAPES, THEN YOU CAN USE YOUR MARKER TO FILL IN THE NEGATIVE SPACES WITH BLACK.


OUTSIDE HOMEWORK Over the weekend, complete 1-2 negative space drawings in your sketchbook.  You should choose something organic. To create contrast and make them interesting, your drawings can include a man-made object along with an organic shape (such as a plant).  Or, you can simply experiment with the organic.   Take your time.   You may fill in the negative space with shading or leave the area blank.   Take not of how the shapes play in relation to the edge of your picture plane.   Below is an instructional video and post on creating negative space drawings with a plant.

https://artistworks.com/blog/art-lessons-justin-bua-negative-space-drawing



































Tuesday, June 25, 2019

Day 2: Blind Contour and Modified Blind Contour Drawings

Oh Glovy | Drawing from Dmitry Shustrov on Vimeo.

After you have completed your upside down drawing, we will begin working on the following drawings. 

Pre-instruction drawing #1: “A Person, Drawn from Memory”  (25 minutes)
1. Call up in your mind’s eye an image of a person—perhaps someone from the past, or someone you know now. Or you may recall a drawing you did in the past or a photograph of a person well known to you.
2. To the best of your ability, do a drawing of the person. You may draw just the head, a half-figure, or a full-length figure.
3. When you have finished, title, sign, and date your drawing in the lower right-hand corner-place this in your sketchbook using tape.

Pre-instruction drawing #2: “My Hand” (20 minutes) 
1. Seat yourself at a table to draw.
2. If you are right-handed, draw your left hand in whatever position you choose. If you are left-handed, of course, draw your right hand.
3. Title, sign, and date your drawing.

Pre-instruction drawing #3:  Self-Portrait  (45 minutes) 
Your “Self-Portrait”
1. Take a selfie with your telephone.  Make sure your entire head is in the frame, and don't look up or look down to take the selfie.  No "duck faces" either.  Just look directly at the camera and take your own picture.  Get a friend to help if you like.
 2. Look at the image and draw your “Self-Portrait.”
3. When you have finished, title, sign, and date your drawing.

When you have finished the pre-instruction drawings: Spread the three drawings out on a table and look at them closely. look for small areas of the drawings that show that you were looking carefully—perhaps the way a collar turns or a beautifully observed curve of an eyebrow or ear. These are indications that you will learn the skill of drawing very well. You, on the other hand and at this time may find nothing admirable and perhaps may dismiss the drawings as “childish” or “amateurish.” Remind yourself that you made these drawings before instruction. On the other hand, you may be surprised and pleased with your drawings, or parts of them, perhaps especially the drawing of your hand. The “Drawing from Memory” is probably going to be the least successful of the three, and that is because you didn't have a visual reference.  Drawing from the imagination or memory is the most difficult in the drawing process.  It also forces us to resort to the symbols we have garnered up in our left brain.

Now we will begin the process of blind contour drawings.  Remember there are three types of contour drawings ARE:

1. Blind Contour
2. Modified Blind contour AND continuous line blind contour
3. Contour Drawing (although this should be relatively the same as your Modified blind contour drawing.  Meaning: you should be looking at the object more than looking at your paper)



BLIND CONTOUR of hand with small object

Hold a small object- like pen or pencil- in your hand and do a BLIND CONTOUR drawing of it. DON'T CHEAT!! No looking at your paper until you are 100% done!  It's going to look a bit silly, and that's ok!  It's just an exercise :)
Remember to follow the outline slowly with your eyes and try to match that movement with your hand, this helps train your hand-eye coordination.  Don't forget to draw all the little details, like finger nails and folds of skin!

Image result for blind contour hand
CONTINUOUS CONTOUR of hand with large object

Hold your cell phone or a larger object in your hand and do a CONTINUOUS CONTOUR drawing of it.  You can look at your paper now, but you still should be looking at your hand 90% of the time. Only glance down at your paper momentarily to check on your pencil placement. You cannot lift your pencil off the paper. You will have to do your entire drawing using only ONE LINE!  Don't pick your pencil up off your paper until you are 100% done.  


Picture


MODIFIED BLIND CONTOUR DRAWING Just as we completed a blind contour drawing of your hand earlier. Complete another drawing of your hand, but this time, you canlook at your drawing.  You need to look closely at your hand at least 80 percent of the time and complete the modified blind contour drawing.

Picture

HOMEWORK: Over the weekend, complete the following 

MODIFIED CONTOUR of hand holding scissors

This time you will complete a modified contour drawing of your hand holding a pair of scissors.  You may look at your paper about 10% of the time.  You may pick up your pencil and use as many lines as you need.  Make sure to include ALL details and go slowly!

Picture

MODIFIED CONTOUR of still life with shoes

Set up a still life (grouping) of shoes in front of you.  Create a MODIFIED CONTOUR drawing of the shoes in pencil.  Remember to look at the shoes more than your paper!  Include all of the details.  Remember that you can "indicate" lighter or darker shadow areas by varying your line thickness.  For example, to indicate a shadow under the shoe, thicken up your line there.

Picture
FINAL MODIFIED CONTOUR of plant still life
Your final contour line drawing will be a detailed drawing of a plant.  Keeping your eyes on the plant more than your paper, complete your drawing in pencil.  Go over your pencil drawing with pencil or thin marker to darken areas of importance. 
Image result for contour drawing of plant

Watch the video below and complete the drawing of a crumpled piece of paper:



Sunday, June 23, 2019

Day 1: Intro to Line: Pre-Instruction Drawings--blind contour and upside down drawings.





Week 1 contour_lines from Thomas Everett Green


Please sign up for LinkedIn learning by following this link. 

http://sites.southseattle.edu/lynda/


One of the issues we have with drawing is the set of beliefs and symbols that we have embedded in our minds.  We try to draw what we think something should look like or what we think a drawing of something should look like, and we do not OBSERVE and see what we are drawing.   


Upside down drawing is a great way to lose those preconceived notions about drawing and start "SEEING" what it is we are drawing.  Drawing is a hand-eye-motor skill and seeing is a big component of creating drawings that are believable. 




Syllabus


Summer 2019 Drawing 1
Thomas Everett Green
Office hours: Before Class or by appointment
E-mail: thomas.green@mca.edu   Phone: (615) 474-6511 Call or text

"Nothing in the world can take the place of persistence.  Talent will not; nothing is more common than unsuccessful men with talent.  Genius will not; unrewarded genius is almost a proverb.  Education will not; the world is full of educated derelicts.  Persistence and determination alone are omnipotent."
-        Calvin Coolidge, 30th President of the U.S.

 Basic Drawing I is an introduction class which will expose the student to a number of traditional skills and ideas that have occupied artists throughout history.  The class involves drawing from direct observation with an emphasis on space, volume, linear and free hand perspective, and other basic techniques and concepts.  In Basic Drawing I there is an emphasis on line as the principle conveyor of form. The student is expected to develop disciplined work habits and an understanding of the visual artist's formal language.  There will be regular class critiques and a required sketchbook.

Course Outcomes:
Upon successful completion of the course the student's work will demonstrate:
·       The ability to draw from observation
·       The ability to use line as the principle conveyor of form
·       The ability to use line to represent volume and space
·       The ability to use linear perspective in the creation of volume and space
·       Disciplined work habits
·       Read and listen actively to learn and communicate.
·       Use social skills to work in groups effectively.
·       Think critically in evaluating information, solving problems, and making decisions.
·       Respect the rights of others in the classroom, online, and in all other school activities.
·       Attend class regularly, complete assignments on time, and effectively participate in classroom and online discussions, group work, and other class-related projects and activities.
·       Personal Responsibility – Abide by appropriate safety rules in laboratories, shops, and classrooms.

Professional Practices Outcomes:
- Students will demonstrate the ability to write an artist statement
- Students will demonstrate the ability to document their work
- Students will demonstrate the ability to research to stay current in their field

"There is no such thing as talent.  What they call talent is nothing but the capacity for doing continuous work in the right way."
- Winslow Homer


Attendance policy
- Attendance will count as 200 points in this class.  Not only will you lose points by being absent, but you will miss the explanation of important information given in lectures, and you will miss the opportunity to interact directly with your peers and instructor.   You are paying to be here.  The most important thing you can do to be successful in college is showing up to class. All students will work for the entire class period.  Students should not leave the classroom unless they are excused to conduct research or by permission of the instructor.  Excessive talking, walking about or leaving the room might result in an absence for the class period.
- If you are having trouble with the course or have problems outside the class that are affecting your performance please talk to me about it so that we can work out a solution.  Do not wait until it is too late.  I will be glad to help you in any way I can.
 If you miss class or an assignment because, ask your peers for the assignment and notes. 
“Motivation is when your dreams put on work clothes.”
-Author Unknown
Grades:
- Grades will always be viewable on Canvas.  I do my best to get projects graded as soon as possible.
- Each assignment will be collected on a specific due date.  Persons not handing in work on time will be penalized one full grade.  The work will be graded and returned as soon as possible.  At times it may be necessary for me to hold some of the drawings for exhibitions or photographing.
- All homework may be re-worked for a better grade.  In-class drawings may not be re-worked.
- Final grades reflect accomplishment in three areas: projects (60%), sketchbook(20%), and class attendance/(20%)
- Final grades will be determined by:
            - Completion of all assignments.
            - Consistency of effort
            - Development of skills in seeing and thinking.
            - Presentation and craftsmanship.
            - Participation in critiques and discussions
            - Craftsmanship

LETTER GRADE NUMERIC GRADE LETTER GRADE NUMERIC GRADE
A 4.0 - 3.9 C 2.1 - 1.9
A – 3.8 - 3.5 C – 1.8 - 1.5
B + 3.4 - 3.2 D + 1.4 - 1.2
B 3.1 - 2.9 D 1.1 - 1.0
B – 2.8 - 2.5 F 0.0
C + 2.4 - 2.2


Non-Traditional Grading Options:
* I — Incomplete. Indicates that the student performed at a passing level, completed most of the course requirements, and intends to make up the missing work. An Incomplete is given only at the discretion of the instructor when the student has attended regularly, done satisfactory work, and furnished satisfactory proof to the instructor that the work cannot be completed because of illness or other circumstances beyond the student's control. * NC — No Credit. Indicates that the student did not fulfill the requirements for receiving an "S" grade, an "N" grade or a numerical grade in the course. A student in good standing may request an "NC" symbol from the instructor prior to the final examination, granted at the instructor's discretion. After an "NC" is issued, the course may be repeated no more than one (1) more time. An "NC" does not affect a student's GPA but may affect a student’s financial aid or visa status.
Evaluation Rubrics and/or Grading Approach – Evaluation rubrics are assessment tools used to measure students' work. There will be a rubric available for each assignment.
Course Withdrawal: If you decide to drop this course for any reason, and you do not wish your current grade to appear on your transcript, it is your responsibility to officially withdraw with the Registrar’s office by the dates listed in the South Seattle College catalog.
Student Learning Outcomes (SLOs) and Assessments Note to instructor: Visit http://www.southseattle.edu/programs/officialcourseoutlines.htm for current course outlines that list applicable SLOs. Delete all that do not apply to this course.
“If you always put limits on everything you do, physical or anything else. It will spread into your work and into your life. There are no limits. There are only plateaus, and you must not stay there, you must go beyond them.”
-Bruce Lee
General Requirements:
- All EPA/OSHA regulations that apply will be observed in this class.  This is required of all students.
- In the interest of developing an appreciation of quality materials and maximizing the life span of your work major drawings will be executed on good quality artist papers. Using lesser types of paper for a finished drawing will result in a lower grade. 
- All work must be kept in a portfolio.  Respect and protect your work if you expect anyone else to do so.
- All work that is handed in for grading must have your name printed unobtrusively on the front or on the back.
- All finished work must be fixed.  Make sure you have fixative and bring it with you to class.
- Do not spray fixative in the classroom. It is bad stuff, take it outside.

Materials:  Materials have been collated for you in a packet at the Bookstore.  Materials include:

Marker (sharpie or any black marker will do)
drawing pencils 4b 6b HB 2H (get a variety of dark to light pencils
Compressed charcoal (pack of about 4 pieces)
Vine Charcoal (several pieces)
18x24" Strathmore drawing tablet
Kneaded Eraser or Pink Pearl Eraser, or both.


If you don't have one, you will also need to purchase a 9x12 sketchbook (not in the packet).   These can be purchased for about 5 dollars online, or found at Michael’s, Target and other stores.   Sketchbooks should have 75 pages or more, and should be 9”x12”


You may also  order your materials via Artful Touch by clicking on the link here.  Recommended

http://artfultouch.mybigcommerce.com/ 

Course outline: 

SUMMER COURSE OUTLINE
Week 1: Pre instruction Drawings:  Contour lines, blind contour, modified blind contour, upside down drawings
Week 2:  Negative space drawings--Line Sensitivity
Week 3: line Sensitivity and the Illusion of Space
Week 4: 1 Point perspective
Week 5  2 Point perspective
Week 6 - Week 7   Light logic and Value structures
Week 8 -  Self Portrait
SYLLABUS IS SUBJECT TO CHANGE DUE TO INCLEMENT WEATHER OR BY THE DISCRETION OF YOUR INSTRUCTOR. PLEASE COME TO CLASS AND/OR CHECK IN WITH YOUR PEERS IF YOU ARE ABSENT TO KEEP YOURSELF INFORMED OF WHAT IS GOING ON.
“All the effort in the world won't matter if you're not inspired.”
-Chuck Palahniuk

 STUDENT RESOURCES
* Tutoring: South Seattle College is committed to the success of its diverse student population. Academic support, drop-in centers, small group tutoring and online tutoring are available to ensure that students get the help they need and are able to complete their educational goals. All tutoring is free of charge. The college has several centers that are open during the week, evenings, and weekends. All of the centers have experienced, trained tutors available as well as computers with printing capability. Tutors offer encouragement, flexible schedules, clear explanations, and help
students develop good study skills. For more information, please visit: http://www.southseattle.edu/tutoring/Default.aspx
* Math Tutoring: Drop in help for students needing assistance in developmental math courses are available in the Math and Learning Lab (MALL) located in LIB 215/216. Help with college-level math and science classes is available in the Math and Science Center (MAST) located in RSB 18.
* Writing Center: You can find additional writing help at South Seattle Writing Center in LIB 215. There, you will find FREE assistance to help you successfully complete your writing assignments for this course. In addition to writing workshops, you can also sign up to work with a tutor one-on-one to help you through all stages of the writing process--from understanding your assignment, to outlining, to the revision and refinement stages of paper writing process. For more information, please visit: http://www.southseattle.edu/tutoring/writing-center.aspx.
* Northwest E-Tutoring Consortium: An online-only service. Their e-writing lab allows students to submit a draft of one’s paper to a tutor, ask for specific feedback, and receive a tutor’s response within 24-28 hours. Additional services such as live tutoring via chat and an e-questions discussion board are available for interested students as well. Visit http://www.southseattle.edu/tutoring/online.aspx for more information.
* Computer Labs: There are computers at various locations on campus, including the Library and Writing Center. If you do not have a computer or printer of your own, arrange to use these public resources well before an assignment is due. Visit http://www.southseattle.edu/computer-labs/ for hours and locations.
* The WALL (Writing and Learning Lab). Similar to the Writing Center, but more focused on grammar and mechanics. This is a great place to meet students and create study groups. Located in RSB 16.
* Academic Accommodations: SSC’s Disability Support Services serves students with a wide array of learning challenges and disabilities. If you are a student who has a physical or mental limitation for which you have documentation or have seen someone for treatment and if you feel you may need accommodations in order to be successful in college, please contact the Disability Support Service’s office at Robert Smith Building, room 12, or call (206) 934-5137. Any contacts and/or information will remain strictly confidential. For more information, please visit: http://www.southseattle.edu/disability-services/
* Religious Accommodations: Students are entitled to two days of excused absences per academic year for reasons of faith or conscience or for organized activities conducted by a religious organization. These absences will not affect your grade, but it is your responsibility to inform your instructor about the planned absence and to make arrangements to complete the course work for those days. You must request the excused absence two weeks’ prior to the date of the absence. If you wish to request an absence for reasons of faith or conscience, you may obtain a form and guidelines for completing the form from the division office in UNI.
* Campus emergencies: If you want to know whether or not the campus has closed due to snow, ice, or any other reason, you can: * check the website at http://www.southseattle.edu/campus-information/closure.aspx * check http://flashalert.net
* call the school’s main number (206) 934-5300 for a recorded message
* sign up for instant text and/or email messages at https://www.getrave.com/login/seattlecolleges
SPECIAL INSTRUCTIONS
(e.g. lab safety policies, field trip information, etc. as appropriate) – lab classes must include
* Lab Safety instructions and requirements
* Indication that lab waiver form will need to be signed and submitted (note that these forms are in the Academic Programs Canvas shell)
COURSE POLICIES
IMPORTANT STATEMENTS
South Seattle Community College is one of the most diverse colleges in the Pacific Northwest. While this strength stems from the demographics of our campus population, we as a community believe our identity goes beyond that. We strive to create a welcoming learning community for all. We encourage multiple perspectives and the free exchange of unbiased and non-prejudicial ideas and experiences, which broaden our understanding of one another and the world around us. The expectation is that you will join us in this endeavor by contributing to an accessible, safe, and respectful classroom environment, free of discrimination and harassment. If you are offended, hurt or made to feel unsafe by something that either another student does or says, please let me know. In the same way, please let me know if you are offended, hurt, or made to feel unsafe by something I say or do. It is my intention to ensure this classroom is a safe place for all. Visit http://www.southseattle.edu/campus-information/equal-opportunity.aspx to learn more about the college’s efforts to create and foster an inclusive campus community.
* Equal Opportunity Statement: South Seattle College is committed to the concept and practice of equal opportunity for all its students and does not discriminate on the basis of race or ethnicity, color, age, national origin, religion, marital status, sex, gender, sexual orientation, gender identity, veteran or disabled veteran status, political affiliation or belief, citizenship/status as a lawfully admitted immigrant authorized to work in the United States, or presence of any physical, sensory, or mental disability, except where a disability may impede performance at an acceptable level. In addition, reasonable accommodations will be made for known physical or mental limitations for all otherwise qualified persons with disabilities.
* Title IX Statement: South Seattle College is committed to fostering a safe, productive learning environment. Title IX and our school policy (per WAC 132F-121-110) prohibit discrimination on the basis of sex, which regards sexual misconduct — including harassment, domestic and dating violence, sexual assault, and stalking. We understand that sexual violence can undermine students’ academic success and we encourage students who have experienced some form of sexual misconduct to talk to someone about their experience, so they can get the support they need. You can reach out to me, or any of the following you feel most comfortable with:
* Counselors, 206.934.6409, for appointments
* Linda Manning, Director of HR, South Seattle College 206.934.6415, Linda.Manning@seattlecolleges.edu
* District Compliance Officer 206.934.3873
* Campus Security, 206.934.0911
ALL reports are handled with utmost consideration
* Mandatory Reporting: As an instructor, one of my responsibilities is to help create a safe learning environment on our campus, and I also have a mandatory reporting responsibility. It is my goal that you feel able to share information related to your life experiences in classroom discussions, in your written work, and in our one-on-one meetings. I will seek to keep information you share private to the greatest extent possible. However, I am required to share information regarding sexual misconduct or information about a crime that may have occurred on South’s campus with the Title IX Coordinator. ALL reports are handled with utmost care and sensitivity.
Please see Campus Information web page at http://www.southseattle.edu/student-resources/policies-issues-rights.aspx to learn more about campus policies, procedures and rights on these issues.
* Emergency Preparedness
South campus emergency preparedness web page is at http://www.southseattle.edu/emergency/
Sign up for emergency alerts: https://www.getrave.com/login/seattlecolleges
In case of an Earthquake: Duck, hold, and cover-don’t run.
In case of an active shooter: Run, hide, fight.        

Gesture

A  gesture drawing  is a laying in of the action, form, and pose of a model/figure. Typical situations involve an artist drawing a series o...