One of the better caricatures done of me over the years; proudly adorns the office door now. Crunch-time as both classes round the bend and start the final sprint to the finish line - five more classes until the final critiques. Last week I sorta went a little tough-love on them by pointing out the university's suggested ratio of homework is two hours outside for every one hour in the class, which translates into six hours per day on top of the three in the department studio (one reason I don't let students take both classes during the same six-week summer session, unless they have 18 hours to spare on drawing).
I sure have empathy with their situation though, given my hours spent on prepping for classes + juggling the usual nonsense at the drawing board at home. But as I've mentioned before, I prefer teaching (and learning) in this style: total immersion, no breaks, just full-on, non-stop production, like a boot-camp for art. The stress makes for interesting results, as some students implode, some slowly burn out, and many emerge stronger for the discipline and find previously unknown reserves they can, uh, draw on when pushed to the limit. And then there's always a few who are on that trajectory anyways...
...like anoher sample from Liz King's series illustrating nursery rhymes (pictured above is The Crooked Man).
And below, another outstanding example from a series of spot illustrations by Sarah DeGenaro of a Balsam Poplar: some of the finest pen & ink work I've ever seen come through the department.
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