ART 320 – Figure
Drawing – 3 Semester Hours
FALL 2017
TR 3:00-4:15
PM, Dickey Fine Arts 130
Bethel
University
Instructor: Jason Cole
Office Hours:
MWF: 10am-12pm; TR: 8-9am, 11am-12pm.
Office Location: DFAB 113
Office Phone: 731.352.4082
Course
Prerequisites/Co Requisites:
ART
111
Course
Description:
Figure Drawing is designed help
students obtain the basic skill of drawing the human form, including anatomy,
observation of the human form, fundamental exercises in gesture, contour,
outline, and value and tonal modeling.
Course
Goals:
The student will:
1) Understand
basic anatomical relationships relevant to descriptive drawing of the human
form.
2) Demonstrate
competence in linear methods of drawing images of the life model.
3) Demonstrate
competence in value and tonal methods of drawing images of the life model.
4) Understand and
be able to depict basic proportional relationships of the life model.
5) Demonstrate the
ways in which line can define form.
6) Understand the rhythms
of the body and natural forms and how they exist in the whole and parts of the
figure.
7) Develop skills
of observation, personal expression, and abstract thinking.
Relationship
of this Course to Content Area Knowledge and Skills:
This course is not used to address TN
Matrix knowledge and skills.
Text:
None
Course
Objectives:
The student will:
a) Develop
problem-solving skills.
b) Strengthen
self-disciple.
c) Learn to use
many different types of drawing media.
d) Learn to use
the elements and principles of design to create a work of art.
e) Observe,
research, and learn from the work of other artists.
f) Learn to “draw
what you see” by using the eyes and hands.
g) Develop and
enhance his/her proficiency in the vocabulary of the artist.
h) Actively engage
in constructive critique.
Units
of Study:
Familiarization with tools &
materials
Unit 1 Getting
Started
Gesture
Drawings
Planar
Development
Unit 2 Controlled
Contour
Skeleton/Figure
Drawings
Unfinished-to-Finished
Representing
Movement
Unit 3 Value
&Tone
Using Value and
Tone to Depict the Human Figure and the Effects of Light and Shadow
Unit 4 Experimental
Approaches
Wax Resist
Cubist
Approaches
Required Reading:
Various
articles and printed materials that will be provided by the instructor or
posted on the blog.
Suggested Reading:
De, Reyna Rudy. How to Draw What You See.
New York: Watson-Guptill Publications, 2005.
Methods Of Instruction:
Lecture,
discussion, in-class work, outside assignments, sketchbook, critique.
Course Requirements:
There are three
main requirements of this course:
1) A personal sketchbook/journal is an
important requirement of this course.
Every week there will be a sketchbook assignment that is due the
following week at the beginning of class. Additionally, it is a depository for ideas,
visual observations, and written responses to anything (in-class or
outside). Include research of artists of
special interest, techniques, subjects, methods, media, processes, master
studies, reproductions, etc. Drill
yourself on in-class skills. Research
artists mentioned in class. Include
thumbnails of intended compositions.
Design your pages just the same as you would design any
composition. Use color, multimedia,
found objects, etc. WRITE. Don’t do ANYTHING in the sketchbook without
also writing some notes about what you did.
Weekly sketchbook assignments will be reviewed and graded each day in class. The sketchbook as a whole will be submitted and graded at midterm and finals.
Weekly sketchbook assignments will be reviewed and graded each day in class. The sketchbook as a whole will be submitted and graded at midterm and finals.
2) Completion of weekly in-class assignments is required
for the course. Each week you will learn
a new skill/technique or continue a skill/technique from the previous
week. In-class exercises and finished
drawings will be executed in order to practice this skill/technique and
submitted for grading at the end of class.
3) A final portfolio of all work done for the course is due at
finals.
Attendance Policy:
o
If
you miss SEVEN classes you will
immediately fail the course. Seven
absences means too much information and work has been missed for anyone to
legitimately pass the course. The only excused absences are for students who
must miss class due to approved scheduled university
extracurricular activities. Medical
absences can be discussed on an individual basis, but it is not guaranteed that
they will be excused.
o
If
you are unable to submit an assignment on its due date because of an
approved scheduled university extracurricular activity, that assignment
can be submitted at the beginning of the next class without penalization.
o
If
you are having trouble with the course or have problems outside the class that
are affecting your performance please talk to me about it so that we can work
out a solution. Do not wait until it is too late.
I will be glad to help you in any way I can.
o
Lateness
is not acceptable. It is disruptive and
frankly disrespectful not only to me but to your fellow students to enter the
classroom in the middle of a lecture, demonstration, or critique. Three late arrivals to class will count as an
absence.
o
All
students will work for the entire class period.
The class runs from 3:00 to 4:15 PM.
Students will not leave the classroom unless excused. We will take occasional breaks since this is
a long class period. I am tolerant of
discussion among students during class to a point. However, excessive talking, walking about or
leaving the room will be noted in my grade book and counted against your final
grade.
o
If
you miss an assignment because of lateness or absence get it from another
student. If you then have questions come and see me.
Methods of Assessment/Evaluation/Grading System:
Sketchbook
assignments will be submitted and graded weekly. Persons
not handing in work on time will be penalized one full letter grade. (See the exception rule above.)
The sketchbook assignments will be graded and
available to be picked up outside my office on Friday.
The work you do
in class each day will be submitted at the end of each class. They will be graded and returned to you as
soon as possible. Sometimes it may be
necessary for me to hold work for photographing or exhibitions. I will let you know when this is the
case. All classwork assignments
that have been submitted properly and graded may be re-worked for a better
grade. Sketchbook drawings may not be
re-worked. You may, however, choose to
do the assignment again in the book for the possibility of an improved final
sketchbook grade at the end of the semester.
Sketchbooks
will be reviewed at midterm and finals.
It is expected that you are making extensive use of your
sketchbook throughout the semester to practice and drill yourself on skills as
well as experiment.
Final grades
reflect accomplishment in three areas:
o
Sketchbook/sketchbook
assignments (30%)
o
In-class
work/portfolio (50%)
o
Classroom
participation/attitude (20%)
Final grades
will be determined by:
o
Completion
of all assignments.
o
Consistency
of effort
o
Development
of skills in seeing and thinking.
o
Presentation
and craftsmanship.
o
Participation
in critiques and discussions.
o
General
attitude.
Individual
assignment grade definitions:
o
A - Excellent.
Assignment is completely and creatively fulfilled. No significant problems.
o
B - All aspects
of assignment are completely fulfilled and well done. A few problems remain to be solved.
o
C - Work
fulfills the requirements of the assignment to the letter and is generally
successful. Work is completely
finished. Craftsmanship is acceptable. Some problems remain to be solved.
o
D - Work is not
yet completely finished or has obvious technical or conceptual flaws.
o
F - Unacceptable
in technique or craft or concept (or any combination of these).
o
X - Assignment
not handed in. This assignment may not
be re-submitted.
Final letter
grade definitions:
o
A – The student
earning an A has shown great effort and near-perfect success in all aspects of
the class. Only students absolutely
excelling far above expectations will be awarded this grade.
o
B - A very good
job. The person earning this grade has
worked very hard; has pushed his/herself to go beyond the mere fulfillment of
each problem and has shown strong advances in technical and conceptual skills.
o
C - The student
earning a C has fulfilled the requirements of the course, has a positive
attitude, worked hard, shown growth in skills and thinking, and did an overall
good job.
o
D - Below
par. This grade indicates that the
student has obvious difficulties with basic drawing skills and/or trouble in
fulfilling the requirements of the class for some other reason.
o
F - This grade
indicates a severe problem in one or more of the following categories: lack of interest, bad attitude, failure to
complete assignments, excess lateness, or absence.
Clinical/Laboratory/Field Experiences:
None
Critical Thinking Statement:
Critical
thinking is the art of analyzing and evaluating thinking with a view to
improving it. In this class we will
raise vital questions and problems, formulate them clearly and precisely;
gather and assess relevant information, by using abstract ideas to interpret it
effectively.
General Requirements:
o
In
the interest of developing an appreciation of quality materials and maximizing
the life span of your work, major drawings will be executed on good quality
artist papers. Only use the type of
paper which is specified for each individual assignment. Using lesser types of paper for a finished
drawing will result in a lower grade.
o
All
work must be kept in a portfolio. Do not fold, roll, or crease your drawings.
Respect and protect your work if you
expect anyone else to do so.
o
All
work that is handed in for grading must have your name and the date printed
unobtrusively on the back.
o
All
finished work must be fixed. Make
sure you have fixative and bring it with you to class.
o
Do
not spray fixative in the classroom. TAKE IT OUTSIDE! Our lungs will appreciate the consideration.
o
All
students are expected to participate during critiques. Failing to engage in discussions will be
noted in the gradebook.
o
Prohibited
from my classroom: Cell phones (you may have it pocketed, but silence it and DO
NOT ANSWER IT), texting, any device with headphones, tobacco of any kind, drugs
or alcohol, Internet social networking sites, and laziness.
Required Materials & Supplies
Materials
o
Sketchbook
(at least 11”x14”)
o
Charcoal
pencils: 2B, 4B, 6B
o
Compressed
charcoal
o
Black
and white conté
o
Black
India ink
o
Wax
crayons
o
Assorted
watercolor brushes
o
White
acrylic gesso
o
Workable
fixative
o
Smooth
cloth
o
Kneaded
erasers
o
Hard
erasers
o
Pencil
sharpener
o
Portfolio
for carrying drawings (large enough to accommodate 22”x30” paper)
o
Container
for drawing tools (an Artbox or a simple zipper bag will do)
Paper
o
18”x24”
pad of newsprint paper (or SEVERAL sheets of unbound newsprint paper)
o
18”x24”
white bond paper
o
18”x24”
high-quality paper for projects (specified by instructor when assignment is
given)
o
Various
high-quality toned papers
Artists to Consider
Alberto
Giacometti
August Rodin
Bill Waterson
Christopher
Wilmarth
David Hockney
Edgar Degas
Edmund Dulac
Egon Schiele
Fernando Bryce
George Harriman
Georges Seurat
Gwen John
Henry O. Tanner
Horst Janssen
Janet Fish
Jean-Auguste
Dominque Ingres
Jim Dine
Kathe Kollwitz
Luca Cambiaso
Martin Puryear
Mary Cassatt
Paul Cezanne
Paula
Modersohn-Becker
Rembrandt Van
Rijn
Richard
Diebenkorn
Rico Lebrun
Romare Bearden
Susan
Rothenberg
Vincent Van
Gogh
William
Beckmann
Winsor McKay
Zak Smith
Class Schedule
Week 1
8-22/24
Introduction, Review of syllabus
Week 2
8-29/30
Gesture Drawings
o
Controlled
and blind gesture drawings.
o
Quick,
intuitive blocking-in of the figure.
o
Linear
and curviliniar
o
Materials
·
Charcoal
pencil, compressed charcoal, newsprint (18”x24”)
Sketchbook
Assignment:
o
Two
double-page spreads of gesture drawing practice
o
One
double-page spread of artist research (gesture drawing)
*LABOR DAY
HOLIDAY – SEPTEMBER 4*
Week 3
9-5/7
Planar Development
o
Using
lines to create planes that suggest form, volume, mass, and weight of the
figure.
o
Multiple
points of view
o
Line
only
o
Push
line variation
o
Materials
·
Charcoal
pencils, newsprint (18”x24”)
Sketchbook
Assignment:
o
Photo
Planar Analysis
·
Gather
at least four photographs depicting human figures.
·
Make
full-page photocopies of these photos and paste them into the book.
·
Using
ink or charcoal pencil, analyze each face and body and draw a series of planes
over each figure that corresponds to what you have learned in class.
Week 4
9-12/14
Planar Development
o
Continue
with planar development with more complex planes.
o
Multiple
points of view
o
Combination
line and massing
o
Consider
proportions and foreshortening
o
Materials
·
Charcoal
pencils, newsprint (18”x24”)
Sketchbook
Assignment:
o
Two
double-page spreads of planar development practice
o One double-page
spread of artist research (planar figures)
Week 5
9-19/21
Planar Development
o
Continue
with planar development with the addition of directional hatching to enhance
the illusion of three-dimensional space.
o
Multiple
points of view
o
Combination
line and massing
o
Consider
proportions and foreshortening
o
Materials
·
Charcoal
pencils, newsprint (18”x24”)
Sketchbook
Assignment:
o
Two
double-page spreads of planar development practice
Week 6
9-26/28
Controlled Contour
o
Working
“unfinished-to-finished”
o
Step
1: working from observation of a skeleton/skull.
o
Step
2: superimposing a drawing from observation of a model.
o
Pay
attention to correlation of skeletal structure to shape and form of the figure.
o
Line
only
o
Materials
·
2B,
4B, 6B charcoal pencils, hard eraser, newsprint (18”x24”)
Sketchbook
Assignment:
·
Skeleton/Figure
Drawings
·
Set
aside a double-page spread in your sketchbook
·
Go
to a public space at a busy time of day (the cafeteria, McDonalds, a grocery
store, etc.)
·
Bring
along an image of a skeleton.
·
Create
quick figure studies from observation of four different individuals.
·
Then,
working from observation of the skeleton image, superimpose a drawing of a
skeleton onto each figure, paying attention to accuracy of proportions and
foreshortening.
Week 7 -
MIDTERM
10-3/5
SKETCHBOOKS
SUBMITTED FOR MIDTERM GRADES
Controlled Contour
o
Working
“unfinished-to-finished”
o
Loosening
up, loose-to-tight, blocking-in the figure, refining line quality
o
Proportions,
foreshortening, perspective, volume, mass, and weight
o
Line
only
o
Materials
·
2B,
4B, 6B charcoal pencils, sharpened stick, round brush, black ink, eraser,
newsprint (18”x24”)
Sketchbook
Assignment:
·
Two
double-page spreads of controlled contour practice
·
One
double-page spread of artist research
Week 8
10-10
SKETCHBOOKS
SUBMITTED FOR MIDTERM GRADES
Controlled Contour
o
Working
“unfinished-to-finished”
o
Loosening
up, loose-to-tight, blocking-in the figure, refining line quality
o
Proportions,
foreshortening, perspective, volume, mass, and weight
o
Line
only
o
Materials
·
2B,
4B, 6B charcoal pencils, sharpened stick, round brush, black ink, eraser,
newsprint (18”x24”)
*FALL BREAK –
OCTOBER 12-15*
Week 9
10-17/19
Controlled Contour
o
Working
“unfinished-to-finished”
o
Loosening
up, loose-to-tight, blocking-in the figure, refining line quality
o
Proportions,
foreshortening, perspective, volume, mass, and weight
o
Line
only
o
Materials
·
2B,
4B, 6B charcoal pencils, sharpened stick, round brush, black ink, eraser,
newsprint (18”x24”)
Sketchbook
Assignment:
·
Two
double-page spreads of practicing any part of the anatomy that you find
difficult
·
One
double-page spread of master studies (find an artist who you feel depicts that
body part well)
Week 10
10-24/26
Representing Movement
o
Overlapping
separate drawings of the same figure in different poses to visually depict
movement
o
Working
“unfinished-to-finished”
o
Proportions,
foreshortening, perspective, volume, mass, and weight
o
Line
only
o
Materials
·
2B,
4B, 6B charcoal pencils, eraser, white gesso, good-quality white paper
(22”x30”)
Week 11
10-31/11-2
Creating Value with Conté
o
Lay
in composition in broad planes using side of conté
o
Build
values with overlapping planes and erasure
o
Work
from general-to-specific
o
Materials
·
Black
conté, hard and kneaded eraser, white bond paper (18”x24”)
Sketchbook Assignment:
o
Two
double-page spreads practicing the technique from class
o
One
double-page spread of artist research
Week 12
11-7/9
Conté on Toned Paper
o
Lay
in composition in broad planes of value using black and white conté.
o
Materials
·
Black
and white conté, middle-grey toned paper (19”x25”)
Sketchbook
Assignment:
·
Two
double-page spreads practicing the technique used in class.
·
Either
tone the paper in your sketchbook or paste toned paper into the book.
Week 13
11-14/16
Charcoal & Gesso on Toned Paper
o
Materials
·
Compressed
charcoal, white gesso, eraser, toned (warm or cool) paper (19”x25”)
Sketchbook
Assignment:
o
Three
double-page spreads practicing any of the techniques from weeks 11-13.
o
One
double-page spread artist research (toned paper and/or charcoal & gesso)
Week 14
11-21
Wax Resist
o
Materials
·
Colored
wax crayons, black ink, large brush, good quality white paper (22”x30”)
Sketchbook Assignment
o
One
double-page spread of wax resist
o
Two
double-page spreads of experimental play
*THANKSGIVING
HOLIDAY – NOVEMBER 23-26*
Week 15
11-28/30
Cubist Approaches
o
Materials
·
Charcoal
pencils, compressed charcoal, black & white conté, black ink, assorted
brushes, 22”x30” paper primed with toned (warm or cool) gesso.
Sketchbook Assignment
o
Finalize
work in the sketchbook
Tuesday, 12-4
o
PORTFOLIO AND
SKETCHBOOK DUE @ 12:30 PM — PICKUP @ 3:00 PM.
Month And Year
Of Syllabus Revision:
August
2017
Bethel University is committed to equal opportunity in
education for all students, including those with documented disabilities. If
you have a diagnosed disability or if you believe that you have a disability
that might require reasonable accommodation in this course, please contact
Disability Services at 352-4012. Bethel University policy states that it is the
responsibility of students to contact instructors to discuss appropriate
accommodations to ensure equity in grading, experiences and assignments.
No comments:
Post a Comment