|Module Title||LIFE DRAWING 1|
|Co-ordinator||Mr Paul J Croft|
|Other staff||Mr Simon J Pierse|
|Course delivery||Seminars / Tutorials||11 Hours Tutorial.|
Module Title: Life Drawing 1: Introduction:
Approaches to Life Drawing
Academic Year: 2002/3
Co-ordinator: Paul Croft
Other Staff: Judy Macklin
Course Delivery: Lectures: 0 Seminars: 0
Tutorials: 11hrs Practical Study: 66hrs
Assessment: Portfolio: 100%
The purpose of this module is to offer students the opportunity to develop their skills of observation and analytical drawing from the human figure, which is seen as an important area of study for all students and especially for those who are interested in figurative art.
The module essentially builds upon the experience gained in Art practice 1 and Art Practice 4 completed at Level 1 and is intended to provide a sound basis in figure drawing as well as providing skills that can be applied in other areas of activity.
The programme of study may vary from week to week but typically each session commences with a series of shorter length poses in the morning that require the student to refine their skills of observation and to develop faster modes of working. In the afternoons there will be the opportunity to produce more sustained drawings from poses of longer duration. Occasionally full day poses will be set up as well.
During the first half of the module the students are expected to explore the more formal approaches to the drawing of the human figure, using line, tone, methods of shading, the depiction of form, texture and the visualisation and presentation of the figure in space. Students are required to investigate a number of varying poses including, standing, sitting, moving, reclining, sitting, portrait, full frontal, three-quarter view and profile etc. The students are also encouraged to experiment with a variety of drawing materials and to try out different types of papers.
Wherever possible and appropriate the students will be shown slide examples of drawings and drawings from the University Collection that make use of specific drawing techniques and which illustrate different approaches to drawing. Students will receive one to one tutorials during each session and although formal seminars are not scheduled, students are encouraged to examine and discuss each other?s work.
The module is taught concurrently with Life Drawing 3 and is normally scheduled as a full day session starting promptly at 10.00am in the Large Lecture Theatre (Room 312).
The module is wholly studio based and students are advised that a minimum of six hours per week working in the life studio will be required. Additional life drawing can be completed within the student?s own time ? at other life drawing sessions held in the college (by arrangement with the course tutor) or at home if this is desirable or possible. It should be stressed however that this work would be seen as in addition to mandatory course work.
The discipline of working in the life drawing studio has a number of important benefits. First it enables the tutor to talk with you about your work and allows for advice to be given directly in relation to the pose that is being drawn. Secondly it creates a situation in which you can work alongside, encourage and discuss the work of your peers. It is most important and invaluable to take the opportunity to look at each other?s work during breaks throughout the day and it will be found that as much can be learnt from this form of observation and dialogue as through your own efforts. Thirdly a positive group ethos and a sense of independence and mutual interdependence as a body of students helps to foster a healthy, productive and competitive environment and a forum for cross fertilisation of ideas.
Slide presentation 9.30 ? 10.00 (As Advertised)
Drawing session 10.00 ? 13.00 (Break 11.00 ? 11.30)
Drawing session 14.00 ? 17.00 (Break 15.40 ? 16.00)
Classes and poses are normally organised as follows:
1.1 Course Introduction
Introductory presentation of slides outlining general approaches to life drawing including examples of sketches, linear studies, tonal studies, colour studies, finished drawings and use of materials. Information on course structure and expectations will be given.
1.2 Standing Pose: Using Line
A series of quick poses ranging from two, five, ten and fifteen-minute poses followed by a three-hour pose in the afternoon. Students are encouraged to draw quickly using a linear approach and using a variety of materials including pencil, charcoal and pen and ink.
2. Seated Pose: Shading
Introductory presentation of slides of drawings by artists from Renaissance and Post Renaissance and Contemporary times, showing examples of figure drawing where artists have used different methods of shading including chiaroscuro, hatching, cross hatching, stippling, smudging, using wash and pen and ink, shading and erasing.
A series of quick poses ranging from two, five, ten and fifteen-minute poses followed by a three-hour pose set up with lighting in the afternoon. Students are encouraged to concentrate upon the use of tone and effects of light and shade.
3. Seated Pose: Looking at Form
Introductory presentation of slides of drawings by artists from Renaissance and Post Renaissance and Contemporary times, showing examples of figure drawing where artists have attempted to portray form and monumentality in different ways using line, tone, chiaroscuro, and through the use of materials.
A full day pose will be available for drawing. Students are encouraged to develop a fully finished drawing using pencil, charcoal or pastel.
4. Reclining Pose: Foreshortening
A series of quick poses ranging from two, five, ten and fifteen-minute poses followed by a three-hour pose. Students are encouraged to concentrate upon the problems of foreshortening, making drawings with pencil, pen and ink and charcoal.
5. Standing Pose: Drawing Materials
Introductory presentation of drawings from the University Collection by artists from Renaissance and Post Renaissance and Contemporary times - showing examples of figure drawing illustrating the range of materials and approaches used by artists.
A full day pose will be available for drawing.
6. Seated Pose: Mid term Review
Students are asked to bring with them all of their drawings completed to date including sketches, quick studies and finished drawings. Students will receive one to one tutorials/crits of their work. At the end of the session students are asked to select their `favourite? drawing and display this for informal group discussion.
A full day pose will be available for drawing.
7. Portrait: Full Frontal, Profile and Three-quarter View 1
Introductory presentation of slides of drawings by artists from Renaissance and Post Renaissance and Contemporary times, showing examples of figure drawing illustrating approaches to portraiture including examples of full frontal, three-quarter and profile drawings.
A full day pose will be set up and students are encouraged to make a series of drawings that explore the portrait from differing angles.
8. Portrait: Full Frontal, Profile and Three-quarter View 2
Continuations of the previous week?s exploration of portraiture using a new full day pose.
9. Various Poses: The Moving Figure
A number of fast moving slow moving and incremental staged poses will be used throughout the day.
10. Reclining or Seated Pose: The Full Monty 1
Introductory presentation of slides of drawings by artists from Renaissance and Post Renaissance and Contemporary times, showing examples of figure drawing showing examples of figures drawn within an enclosed space or environment.
A two-day pose will be set up with accompanying props to create a staged environment. Students will be expected to make a fully drawn study of the figure within this environment ? making reference to the figure, props, lighting, textures etc.
11. Reclining or Seated Pose: The Full Monty 2
Continuation and completion of the previous week?s pose. During this session students will be given instructions on assessment procedures.
The module will assist the development of the following academic and transferable skills:
? Subject Specific Skills ? Drawing: analytical skills of observation, proportion, anatomy and form, shading, use of colour and approaches to develop `style? of working
? Subject Specific Skills ? Drawing: employing a range of materials, tools and techniques to develop personal approach to drawing
? Self-directed Project work: through attendance and practice of drawing
? Oral discussion and presentation ? developed through tutorial contact
? Self-management ? time management in the completion of short and long poses
Portfolio Component (100%)
Assessment of the module is by portfolio submission at the end of the semester. The portfolio should contain drawings completed at each session and should include quick studies and sketches as well as fully finished works.
Portfolio Assessment must be passed. Failed assessment requires resubmission of a new portfolio of work.
Bridgman, George Bridgman?s Life drawing, 1925
Da Vinci, Leonardo Leonardo da Vinci on the Human Body
Crown Publishers, New York 1982
Graves, Douglas Life Drawing in Charcoal, Watson-Guptil, New York 1989
Gray, Gray?s Anatomy
Hale, Beverly and Anatomy Lessons from the Great Masters
Coyle, Terence Watson Guptill, 2000
Royal Academy of Arts Anatomical Drawings by Leonardo da Vinci, from the Royal Collection. 1977
Smith, Ray Drawing Figures, Dorling Kindersley in association with the Royal Academy of Arts 1994
Wolff, Eugene Anatomy for artists being an explanation for surface form
Tietz, Hans The Drawings of the Venetian Painters of the 15th and 16th Centuries New York 1944
The module should enable you to:
A develop analytical and observational skills of drawing the figure
B develop knowledge and experience of a range of media, materials and approaches
C develop a programme of self-directed drawing
D develop awareness of contemporary and past exponents of life drawing
E develop a self-critical approach to drawing
By the end of the module you are expected to be able to:
1. Produce a portfolio of drawings that clearly demonstrates ability to draw the figure with regard to proportion, scale, correct anatomical form, tonality and colour (A, B, C)
2. Capable of completing drawings using a range of media, drawing materials and approaches (A, B, C)
3. Identify your own art practice within the context of contemporary and historic traditions of drawing (D, E)
4. Self-critical and selective in the choice of media and approach used in drawings
(A, B, E)
Relation to Assessment
Objectives 1,2, 4 are assessed by portfolio submission
Objectives 3, 4 are observed through tutorial contact
This module is at CQFW Level 5