Art 112 and 212:

Drawing I & II

with Derrick Buisch

For Summer Term 2017, Drawing I and II will both be instructed by Derrick Buisch, at the same time and in the same classroom. In terms of coursework and level of experience, they will remain independent.

About Drawing I (Art 112)

Above all, this course is oriented towards observational drawing in black and white media. Specifically, our goals in this course expand upon the ability to:

  • Understand drawing as a vehicle for conveying ideas.
  • Understand drawing as a process of seeing, analyzing, and depicting form and space as a two-dimensional image.
  • Develop creative problem-solving and problem-finding.
  • Effectively articulate our discovered concerns and realizations.

Drawing Subject Matter:

  • Still Life Landscape & nature
  • Architectural Interiors & exteriors
  • The figure (introduction)
  • Portraiture & self portraiture (introduction)
  • Drawing from memory / drawing from imagination
  • Thematic subjects: popular culture, political/social commentary, literary sources etc.
  • Analyzing / copying / ”in the style of” old masters or contemporary work (see the Chazen)

Materials We Will Use:

  • Charcoal (compressed & charcoal pencil)
  • Graphite Pencil
  • Conte Pen and ink
  • Ink wash
  • Blending tools
  • Papers
  • Other tools: straightedge, mat knife etc.

View an example Art 112 Syllabus >

About Drawing II: Drawing Methods and Concepts (Art 212)

Moving forward, we will explore the drawing process through projects that address formal, technical, and/or conceptual issues. The concept of drawing as a vehicle for conveying ideas will be addressed through the study of composition, illusional space, perspective and proportion, and the analysis of form.

Art 112 Drawing I: Days & Time


Art 112 Drawing I: Dates for this course
Jun 12 –
Jul 09
Art 112 Drawing I: Number of Credits
Art 112 Drawing I: Contact Information


Meet Your Professor

Derrick Buisch

Derrick Buisch

Painting and Drawing

I focus on abstract painting informed by ordinary, everyday visual information. Twelve years of painting abstractly provides me with a fertile working territory. The major concentration in this body of work is the development of an idiosyncratic, abstract visual language. My original fascination in ideograms transitioned into a more automatic, abstract painting vocabulary. These paintings involve the investigation of three specific properties: drawing, structure, and color. Inspirations for these works come from a variety of pedestrian sources such as: roadside signs, strip malls, graffiti, tattoos, and product symbol design.

Drawing is explored as both a signifying system and an automatic gesture. The drawings transcribed in these paintings are circuitous. Through the repetition, reconfiguration, and recycling of marks a loop is created, a dense weave of insular information. Scraps of paper, receipts, and old envelopes from discarded mail all serve as supports for random scribbles. Sketchbooks and smaller drawings serve as a source from which the paintings quote. The marks are simultaneously lyrical and clumsy. This research calibrates the tension between the personal gesture (scribble) and the public mark (signage).

Multiple visual structures are employed to compose a range of various atmospheres. The structure in the compositions is intended to be unsettling. Due to dramatic cropping and an ambiguous center of balance the paintings give the sensation of falling or slipping. This response of vertigo infects the initial act of looking at the work. A visual pressure is provoked through the structure. The paintings meant to be first visually engaging, and then unnerving.

The color represents a range of materials from the synthetic (plastic, bubblegum, crayons) to the natural (old walls, shallow pools of water, flesh), as well as having a physical presence, one that is both mouth watering and sensuous. The surfaces vary in types of paint application employed, revealing the element of time involved in making the painting. These paintings are developed at different rates, incorporating varying degrees of pigment and oil. Subtle changes in color and surface tone evoke compressed shifts in the visual space. The differences in paint viscosity are subtle and precise and extremely important in differentiating each painting. Ultimately the surfaces of these paintings are luscious and mysterious.

I believe in the importance of the reflective space provided by painting. I relish the slow time in both the making and the reading of the work. These paintings are a distilled chaos riddled with small incidences of uneasy hilarity, which creates a rigorous abstraction that is simultaneously evocative and elusive.

My work is inspired by the poetic potential of a new vocabulary of abstraction. The varied meanings and the material possibilities of pigment are fully explored. Future research will result with abstract paintings that will be resonant and unnerving.”

Visit his website >

Look for ART 112 in your

course guide or student center.

Look for ART 212 in your

course guide or student center.