Sketchbooks and the Art of Rulebreaking…

I require sketchbooks in all of my classes. The reasoning is quite simple. One cannot become a masterful artist, critic, or thinker by only applying what they have learned during a 52 minute class period. The sketchbook allows for personal reflection and application of knowledge that requires personal time.


I want my students to be original in their creations. I want them to innovate in their imagery and ideas. I deliver drawing and painting skills to my students with the aim of mastery of the principles and elements of art. I want them to know the rules before they break them and/or use them for illustration and ideation in other venues. Innovation requires an amalgamation of the new and old. Original ideas come from the fusion of things we know with newfound knowledge. I want my kids to draw, write, and think on the pages of their sketchbooks. Journal-like, diary-like, ramblings and fusions of ticket stubs, song lyrics, drawings, pictures, and inspiring daily observations. I want them to record observations with words as well as drawings. I want them to communicate their world on the pages of that book.



I model what I want my students to do. I work in my sketchbook daily.

The sketchbook allows me to get a thought/idea out of my head and onto the page.

It allows me to pull together a tight thumbnail(small) sketch that fills a composition easily and quickly, and then try multiple views of the same thought/idea.

It allows me to render, alter, and build imagery that is mine.

It allows me to write ideas about art, conversation, situations, and inspirations, that I can come back to for reference.

Painting on a squint.

Painting on a Squint.



Student --"Why do you make that funny face when you draw Mr. G?"

Mr. G -- "What funny face?"

Student -- "You know the one where your face is all squinchy?"

After years of painting and drawing, it has become instant habit to squint at my art making surface from the first mark made. My purpose is to simplify what I see. To move from very general to extremely specific. I teach some introductory drawing and painting lessons using this same squint technique. It is described with examples below.

At the end of the lesson this year, one of my star artists said "Can't we just do this everyday?" It's an engaging, exciting, in your face project that makes an art period fly by. I transition into a loose painting with original imagery after this introductory "squinchy" lesson.

Supplies
Tempera or acrylic paint. Oil would work as well, but this project is messy... I avoid it.
Toned paper or a toned canvas. Opt for middle tonal values.
Brushes. Small flats and rounds.

Find an amazing image...
I start with a black and white photo, usually an iconic image and limit the students to black and white paint. I also limit the amount of brushes. I encourage them to work loose and wet.

The second image I find is color. The image I use below is one from the artist Loretta Lux.

Limit the Palette. Black, white, and primarys.

Paint in at least three steps.

1. Paint an extremely blurred image, turn it 90 degrees if it helps. Allow painters 5-8 minutes to dig in and paint the general color and value scheme. Work quick and loose, don't worry about specifics, nothing in the pic is specific.

2. Focus the image a bit more and allow the students 5 more minutes to focus the strokes.

3. Finally, return the photo to it's original state of focus and vibrancy.

Here are some of my student's works accomplished in approx 25 minutes.

My Morning Routine

This is how I start my summer mornings.

Untitled from Dan Gerdeman on Vimeo.

PROOF

My art club students have rebelled....They want to create a show called Proof for the CMA summer show. They told me they have proof that they have great art. Thoughtful art. Multidimensional art. They shot down my ideas for large wood cut prints. More to come soon.

school zero.mov

This is a video that Art Club made for the Columbus Museum of Art's Zero Dollar Art challenge.

Enjoy!!!!