Derek Brueckner Examples of Work: Homework Assignment 2 (Revised): Two Options — Model in Thematic Representational Environment (Option 1) or Figure in Thematic Interior with Window (Option 2)

Homework Assignment 2 (Revised): Two Options — Model in Thematic Representational Environment (Option 1) or Figure in Thematic Interior with Window (Option 2)

Figure Study Homework Assignment 2 (Revised)

Two Options Available

(Option 1 - Original Homework Assignment 2)

Clarification of Two-Option Structure

For Homework Assignment 2 in the Figure Study course, students may choose either Option 1 or Option 2.

Both assignments share the same formal requirements, including:

Tonal black-and-white drawing
18 × 24 inch white cartridge paper
Use of drawing materials described in each option
Emphasis on spatial depth (foreground, middle ground, background)
Strategic use of edges, contrast, detail, and atmospheric recession
Incorporation of thematic content
A balance between observational accuracy and expressive interpretation

The key difference is the subject matter source:

Option 1 uses a previous figure drawing from class as the basis for a new thematic environment.
Option 2 requires drawing a live clothed model at home or in another interior, including a window that creates deeper spatial recession.

Students should select the option that best fits their circumstances and interests.

All other expectations—formal, technical, and thematic—remain consistent across both options.

Option 1 — Homework Assignment 2: Model in Thematic Representational Environment

(Original Homework Assignment 2 for Figure Study Course)

Assignment Summary:

Create a new drawing by copying a figure drawing completed (from a long pose) in class. Within this new drawing depict the figure in a thematic environment. The figure and in particular the environment should formally depict a progression of space. Utilizing and/or thinking about light source will also be beneficial for the drawing.

Generally, this environment will present a representational (realistic) space with accurate perspective and proportions, but options of different representational use of objects from popular culture, science fiction, various global cultures and/or historical time periods can be utilized as well within the environment. If using objects from global cultures, be mindful of issues of cultural appropriation.

Size: 18 x 24 inches on white cartridge paper

(If you wish to use other types of paper, discuss paper options with instructor)

Materials: Tonal Drawing on white cartridge paper (18 x 24 inches) using a choice of black charcoal with charcoal pencils, and/or black & white conte sticks.

(Instructor recommends black & white conte)

Objectives of Assignment:

– To demonstrate the ability to depict mass and planes (figure and other subject matter) in relation to space while utilizing variations of light and shadow in a black and white drawing.

– In order to get space depicted in the drawing assignment, incorporate a room with an open door, or a window with a view to the outside, or large long walls that angle into a deep space. Generally more detail, higher contrast and sharper edges are required in foreground with a gradual progression of out of focus edges, less contrast and detail towards middle ground to background areas) note the assignment examples do not depict an open door or a window with a view to the outside.

– Explore various drawing sensibilities from controlled to manipulated and expressive mark making on drawing surface.* (Generally more control and detail required in foreground with a progression of more expressive mark making towards background.)

– This assignment is meant as a culmination of the various black and white drawing materials and formal ideas experienced within this figure study course.

– For this assignment and as in the previous homework assignment people will be expected to develop themes in relation to subject matter as well as their formal approaches to drawing materials.

Subject Matter:

Select volumes, planes and space that will present a definite sense of foreground, middle ground, and background (deep space) in the drawing. Generally a combination of organic and geometric shapes will give a composition good visual variety in the drawing.

This assignment requires an emphasis of drawing from observation but you can also incorporate an expressive interpretation which should connect to the themes and concepts in the work, but do try to have more detail and clarity as subject matter progresses to foreground. Select expressive characteristics should appear intentional within the context of observational drawing.

Thematic Content:

Here again the use of thematic content is an important concern. As discussed in previous homework assignment Thematic Content may involve choosing symbols, metaphors, allegories, narratives, myths, icons, motifs or combining some of these choices.

Thematic content may also be like a word in a poem where a given word has multiple layers of meaning but connects to the poem’s overall theme. Once again you as the artist have the goal of trying to bring multiple layers of meaning into the completed assignment.

Formal Issues and Examples of Various Black and White Drawings:

Below are links which may assist in researching formal issues when depicting subject matter in black and white drawings. These are ideas in the links below have been covered in class and in the previous homework assignment in course.

The links below will present examples and ideas about drawing objects.

This link will also present various formal issues that will include: process of drawing, additive and subtractive layering of mediums, mark making, mixing of black and white mediums, strategic depiction of (or lack) of detail and contrast, variation of edges in shapes from sharp edges (hard edge) to soft edges (blurry edges), and all of these issues considered in relation to space and composition.

https://derekbruecknercourseinformation.blogspot.com/2025/08/assignment-2-drawing-examples-of.html
https://derekbruecknercourseinformation.blogspot.com/2022/09/thematic-objects-minimum-3-thematic.html

This link below will offer some formal examples of drawing exteriors using various options of black and white materials. Overall these examples in the link below present a very good depiction of deep space and in some examples offer a very good use of atmospheric perspective.

Example of exterior drawing with atmospheric perspective:

Option 2 — Homework Assignment 2: Figure in Thematic Interior with Window (Observed from Life at Home)

Assignment Summary:

Create a new drawing by observing a person who will pose for you in an interior space. The figure can be completely clothed (or partly clothed, depending on the working relationship with your model). Ethical dynamics with your model as a collaborator are required. Within this drawing, depict the figure in a thematic interior environment that includes a window providing access to a deeper space for the viewer. The figure and the environment should formally depict a progression of space. Utilizing and/or thinking about a light source will also be beneficial for the drawing.

Generally, this interior environment should present a representational (realistic) space with accurate perspective and proportions, but options of different representational juxtapositions from actual objects that could potentially reference media culture, science fiction, various global cultures and/or historical time periods can be utilized within the interior as long as the references come from actual observed objects. If utilizing global cultures, be careful about issues regarding cultural appropriation.

Size: 18 x 24 inches on white cartridge paper

(If you wish to use other types of paper, discuss paper options with instructor)

Materials: Tonal drawing on white cartridge paper (18 x 24 inches) using a choice of black compressed charcoal sticks (as used in class) with charcoal pencils, and/or black and white conte sticks.

(Instructor recommends black and white conte. Oil pastels may also be used, but only if the student already has experience with oil pastel.)

Objectives of Assignment:

– To demonstrate the ability to depict mass and planes (figure and other subject matter) in relation to space while utilizing variations of light and shadow in a black and white drawing.

– In order to get space depicted in the drawing, incorporate an interior room with a window that reveals a view to another space (such as an exterior scene or a deeper interior). Generally more detail, higher contrast, and sharper edges are required in the foreground, with a gradual progression of out-of-focus edges, less contrast, and diminished detail toward the middle ground and background areas.

– Explore various drawing sensibilities progressively from controlled to manipulated and expressive mark making on the drawing surface.* (Generally more control and detail are required in the foreground with a progression of more expressive mark making toward background areas.)

– This assignment is meant as a culmination of the various black and white drawing materials and formal ideas experienced within this figure study course.

– For this assignment, as in the previous homework assignment, people will be expected to develop themes in relation to subject matter as well as their formal approaches to drawing materials.

Subject Matter:

Arrange a clothed figure to pose for you in an interior space that contains volumes, planes, and spatial depth. The interior must include a window that contributes to a definite sense of foreground, middle ground, and background (deep space). A combination of organic and geometric shapes will generally give the composition good visual variety in the drawing.

This assignment requires an emphasis on drawing from observation. You may also incorporate an expressive interpretation that connects to the themes and concepts in the work, but do try to have more detail and clarity as subject matter progresses toward the foreground. Select expressive characteristics should appear intentional within the context of observational drawing.

Thematic Content:

Here again, the use of thematic content is an important concern. As discussed in the previous homework assignment, thematic content may involve choosing symbols, metaphors, allegories, narratives, myths, icons, motifs, or combining some of these choices.

Thematic content may also function like a word in a poem, where a given word has multiple layers of meaning but connects to the poem’s overall theme. Once again you as the artist have the goal of trying to bring multiple layers of meaning into the completed assignment.

Formal Issues and Examples of Various Black and White Drawings:

Below are links which may assist in researching formal issues when depicting subject matter in black and white drawings. These are ideas in the links below that have been covered in class and in the previous homework assignment. Overall, as in the previous homework assignment, you want to start off rough and light with soft edges, and progressively become selective about where you place sharp edges, high contrast, and detailed information. As the drawing recedes into deep space, edges should become softer, detail should decrease, and contrast should gradually diminish.

This link below will present examples and ideas about drawing objects.

This link will also present various formal issues including: process of drawing; additive and subtractive layering of mediums; mark making; mixing black and white mediums; strategic depiction of (or lack of) detail and contrast; and variation of edges in shapes from sharp to soft. All of these issues should be considered in relation to space and composition.

This link below will offer some formal examples of drawing exteriors using various black and white materials.

Although these examples depict exterior spaces, notice how deep space and atmospheric perspective are constructed. These strategies can also inform the interior-and-window spatial structure in this assignment.

Example of exterior drawing with atmospheric perspective:

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University Teaching and Committee Experience

Years of University Teaching experience:

Established 23 year career as a university educator among diverse student populations at the University of Manitoba. Currently at the School of Art, University of Manitoba at full-time Instructor 1 rank

Extensive University Teaching Experience:

Foundations Drawing , Advanced Drawing, Intro Painting, Open media, 2D & 3D design, Photoshop, and iMovie.

Additional University Teaching Experience:

Premiere Pro, illustrator, InDesign, Advanced Painting, Art Now, Senior Studio, and Honours Seminar. Additional 10 years of teaching drawing at the Architecture Faculty in the Environmental Design and Interior Design Departments.

Committees and Service:

Undergraduate Programming Committee

Curriculum Committee

Equity, Diversity and Inclusion Committee

Acquisitions School of Art Gallery Committee

Student Art Gallery Committee

Foundations Coordinator

Student Advising

University Lecture Courses Experience include:

History of Architecture (History of Culture, Ideas and Environment) course (tests and essay assignment) New York City travel study course (seminars and essay assignments) and lecture course Math in Art course (homework studio assignments for 220 students per term) and Honours Seminar 1 course (written assignments in relation to professional practice).

Other University Administration Experience includes:

Payroll paper work, scheduling/introducing a series of guest lecturers for the “Art Now” course. Worked with Teaching Assistants at the Faculty of Architecture and currently working with graders and course assistants for the Math in Art course which has 220 students per term.

Teaching Philosophy

My central objectives as an educator are to expand each person’s art lexicon. As an artist I view the art profession as a complex environment often involving conflicting ideas and challenges. Offering variety in types of knowledge and problem solving will equip emerging artists to successfully navigate the arts.

In my courses people are encouraged to examine and question their preconceived ideas and methods of art making. Using a wide range of aesthetic approaches and theories, my courses are structured to develop the student’s technical skills and critical awareness. Various combinations of constructive criticism and supportive comments are offered during individual discussions and group critiques. Verbal and written comments are collectively meant to enhance the student’s personal sensibilities, confidence, and critical thinking.

My professional and teaching practices parallel a broad range of influences in relation to historical and contemporary ideas that include traditional to digital media practice, transcultural thinking, and formal aesthetics and conceptual ideas. As an educator I strive to expand awareness and comprehension by cultivating and refining the broadest range of art practices and ideas. Additional components to the learning environment include sharing my dedication as a viewer and maker of art, as well as a curriculum that reflects my personal working process of balancing a sense of play with order and structure.

As in my own research, I encourage students to be open to new or unusual ideas and aspire for versatility in their own work. These new ideas include processes involving intuitive explorations, editing/experimentation and risk taking. In the studio/classroom I share my own research methods as an artist who expands, informs and resolves their studio practice by synthesizing personal studio processes with ideas from texts, lectures and other art practitioners.

Similar to my own practice, course activities involve researching inherent languages of any given discipline with the expectation of eventually exploring interdisciplinary practices that blur discipline boundaries. Even when working in single discipline assignments, interdisciplinary and multidisciplinary research methods are always advocated.

Overall I am reflexive in my teaching style in order to meet the needs of each class. The backgrounds, interests and levels of sophistication in any given group will always influence my course content and my approach with each person. Ultimately I view my role as a facilitator who broadens options, assists in refining directions and progressively clarifies to students that one approach to art-making is not more "correct" than another. In the end it is always my goal to free the expressive power of each person’s particular vision.

Exhibitions and Performances

Artist Practice (Some History of Previous Work and Research)

For 16 years my work has interpreted the human body with painting, digital technologies and time-based disciplines. This practice began as an extension of the traditional relationship between artist and model, eventually evolving into a kind of collaborative performance incorporating various environments utilizing live feed video projections.

For over a decade the working process has culminated into paintings referenced from rehearsal and performance documentation. To date projects in exhibition contexts still collectively present paintings, drawings, and staged environments utilizing video and performance.

Since August 2012 two solo exhibitions with separate bodies of work have been presented in the New York City area:

Nude Super Hero Karaoke Show (August 2012) – Paintings and performance all derived from collaborative rehearsals initially conceived for and directed in karaoke booths. Subject matter in the paintings and performances plays out among a consumer level environment, thematically delving into a corporeal mix of: technology, post-human alter egos both reveling in and satirizing cultural idealizations and consumptions of escapism.

The Geometers (August 2013) Thematically this project engaged mathematical geometry and live bodily improvisation encompassing performance, live feed video projections, with large and small-scale drawings. Both solo exhibitions involved live feed video projections, simultaneously presenting fragmentation and replication of the body

Polyopia Play – A Pathological Simile:

This proposed and in progress project will include rehearsals and production of paintings and drawings completed in studio and performance contexts. The project will conclude as a solo exhibition at Local Project in Long Island City (Queens) NY (dates still to be confirmed). The project and exhibition will be a culmination of performance along with installed video, paintings and drawings referenced from rehearsal documentation.

The rehearsals and exhibition will include performers creating projected text via voice recognition software installed/connected to a computer and data projector. The exhibition will present: performances with projected live video feeds, edited video projections, along with paintings and drawings installed in the exhibition space. The edited video and performance will blur boundaries of: human body, audience/performer, rehearsal, demo, orations, audio, painting and drawing.

The exhibition and performance will present overlapping live feed projections with edited video in staged environments and as separate works in some areas of the exhibition space. An opera singer will be included as one of the performers who will improvise with the other performers and potential audience members. At this point the relationship between scripted/choreographed performance and improvised performance are unresolved. Ultimately this project will utilize research time to address issues of scripted versus improvised practice, as well as other research concerns in: painting, drawing, the body, performance, audience and digital technologies. These disciplines will be researched separately and with interdisciplinary contexts.

Homework Assignment 2 (Revised): Two Options — Model in Thematic Representational Environment (Option 1) or Figure in Thematic Interior with Window (Option 2)

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