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Two Sisters by Ted Seth JacobsJune 2-July 3, 2014
5 Week Workshop
Drawing from the Model
Very limited space remaining. Space has been expanded to include two more.
Location: Anjou France
HUMAN STRUCTURE
Human structure is the study of the exterior surface of the body. Anatomy is concerned with what lies beneath the surface. Figurative artists seek to represent how the body appears to their eyes. Anatomy is what we don’t see. Structure and anatomy are two very distinct subjects. The anatomy influences the surface we see, but it is not visible. There is another fundamental problem with anatomy. As it is taught and appears in books, anatomy has virtually no sense of the special shapes of the surface. The cornerstone of the study of structure is the identification of the special recognizable shapes for every part of the body we see. Contrary to received opinion, anatomy is not very helpful for the figurative artist. It can, in fact, be harmful, by developing a style of inorganic shapeless forms and an overly “anatomical” look.
In order to convincingly draw and paint what we see, it is absolutely necessary to thoroughly assimilate a body of knowledge, or principles. The subject is highly complex. There are many principles to be learned, among which are those of structure. It is one of many, but without it the art will remain weak and inorganic.
The style of human form
There is a certain style in human shapes, how they are put together on the body, and modified by actions. This style is called organic, which means simply, made and used by Nature. There are many other styles of human form which are inorganic and dysfunctional, not natural. These inorganic styles of form would not permit the body to survive. For the most part, non-human inorganic shapes derive from man-made mechanically produced objects, and are often designed to prevent movement. They are seen in straight line configurations, such as cubes, or structures built for immobility, such as houses and tables. They are never found on the body, or indeed, in nature.
Neither are symmetric Platonic geometric solids such as spheres, cones, squares, pyramids, ovals, and the like.
Yes, various structures on the body are more conical, more oval or more angular, but they are never pure geometric shapes. There is a very good reason for this. Such shapes are self-contained, autonomous, and cannot be interwoven into their neighbors. One of the most important characteristics of human structures is their connectivity. In order for the body to survive, all its parts must be able to communicate among themselves relatively instantaneously. Geometric shapes would block the transmission of all bodily functions.
The first principle of organic structures is that all of them from largest to smallest, have a specific shape, presumably efficiently matched to its specific function. We must learn to look structurally, to find shape.
Light emanates from an energetic source and travels outward from it. For our purposes, we can say it travels in straight rays. We have then straight rays reflecting from myriad curving shapes. These differences of physical shapes give a shape to the gradations of light on them. For example, where a shape is a more flattened curve the gradation is slower to change, it spreads farther across the flatter curve.
Similarly, if the light source is higher than the model the light spreads farther over the upturns of the forms.
What we see then is a special shape of each form, and a shaping of the light gradations on it. They must be in agreement. The light reveals th special shape. The shape controls how the light spreads over it.
My job is to do my best to show you these shapes, and how they are revealed by effects of light. To transfer
my knowledge to your mind.
Your job is to keep an open attitude and listen attentively.
And always ask if you don’t understand something.
Before we enter the studio, we both need to check our egos at the door!
Cost: $2600 Early Registration March 30, 2014
Cost: $2750 Regular Registration after March 30, 2014
Hours: 1:00-6:00pm
Ted will Demonstrate followed by students working from the model
Per Ted: “I give demos as needed, for as much time as needed. I don’t follow rigid schedules. My teaching style is organic-a response to what I feel the students most need at any given moment. There will be lots of demos, but not on a fixed schedule. Very often when I am critiquing a student’s work I see something that everyone should hear, so I ask them to gather round. After a demo or explanation, I often pick a student and ask them to explain the principle just mentioned.”
Morning excursions to the museum at Angers Drawing from the sculptures and paintings.
Contact:
Info@BACAA.org
650-832-1544
Location:
The address is:
Ecole Albert Defois
Bellevue
Les Cerqueux sous Passavant
49310 France
BACAA Ted Seth Jacobs Registration (PDF)
All registration fees are non refundable and non transferable. By paying online or via checks you are agreeing to the BACAA Terms and Conditions
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Terms and Conditions application form must be signed prior to applying.
Inquire about housing options in Les Cerqueux email Info@bacaa.org
Two Sisters by Ted Seth JacobsJune 2-July 3, 2014