Fufillment

It is finished.  And, I am pleased with it. Some of my lines are crooked, which bothered me when I was working, my face hovering inches from the paper; but, when I stand back and look at my piece, I can say that it is finished.  I am satisfied.  
I enjoyed the project for the most part; the contrasts of the darks and lights reminded me of my piano at home, imparting in me a sense of familiarity.  But there were many episodes of frustration, which made it necessary to take breaks.  
In the beginning, I made sure my pencils were extremely sharp, but as they were whittled down by each stroke, I decided I liked the way the lines looked when they were not extremely precise.  
What was the point of the exercise?  To focus on the strength of one's hand when applying each and every mark to the paper?  To attempt to draw as many of the infinite variations of marks as possible?  To take a very simple task-drawing a line- and study it closely so that every detail of the action becomes significant?  
When given this project, I thought it would be a mindless task.  However, I was surprised to find that it was not mindless at all. In fact, it took all my concentration.  So, what have I learned? Something so simple in appearance and execution is not truly simple when standing alone.  

Metamorphosis

Well, this project is quite time-consuming.  I wish I could have bought the necessary materials yesterday after class, so I could have started earlier. But, I must face reality. And the reality is that I had to start today.  I have about two columns completed and have a vague vision of my completed creation, but it is ever evolving.   With each new line I draw, my vision morphs.  I am eager to see the outcome of this endeavor, so, I will return to the task before me.

Zipadeedoodah

Throughout the 1940s he worked in a surrealist vein before developing his mature style. This is characterised by areas of color separated by thin vertical lines, or "zips" as Newman called them. In the first works featuring zips, the color fields are variegated, but later the colors are pure and flat. Newman himself thought that he reached his fully mature style with the Onement series (from 1948). The zips define the spatial structure of the painting, whilst simultaneously dividing and uniting the composition.

The zip remained a constant feature of Newman's work throughout his life. In some paintings of the 1950s, such as The Wild, which is eight feet tall by one and a half inches wide, the zip is all there is to the work. Newman also made a few sculptures which are essentially three-dimensional zips.

Although Newman's paintings appear to be purely abstract, and many of them were originally untitled, the names he later gave them hinted at specific subjects being addressed, often with a Jewish theme. Two paintings from the early 1950s, for example, are called Adam and Eve. (http://en.wikipedia.org/wiki/Barnett_Newman)

No Fear, Frankenstein

Though slightly terrifying, creating my own blog was virtually painless, thanks to the step-by-step sheet provided by my professor.  Now that I have created this monster, I suppose I ought to begin my first drawing assignment.  
The muse for the assignment is Barnett Newman, an artist I am eager to research.  I have never been given an assignment quite like this one, so I am eager to begin.  However, I have yet to purchase all the necessary supplies. So, I will return, after making my purchases, and relay all the gory details of completing my first college-class drawing assignment.