|Module Title||LIFE DRAWING 3|
|Co-ordinator||Mr Paul J Croft|
|Other staff||Mr Simon J Pierse|
|Course delivery||Seminars / Tutorials||11 Hours Tutorial.|
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.
The module places strong emphasis upon the development of a `personal response to life drawing?, which may well derive from work completed during either of the previous life drawing modules. By Level 3 it is assumed and expected however that students will already have a well-developed conceptual approach to life drawing and will therefore want to expand and refine their skills of drawing. The main focus of the module is therefore dependent upon expanding the conceptual nature of the work and upon the refinement of technique and approach used in its execution. As such the module provides opportunities for testing both technical and conceptual aspects of working in preparation for the development of work that may finally lead to Exhibition.
While one to one tutorial support will be given it is expected that at Level 3, students will be self reliant and will be able to embark upon a more personalised course of study that is best suited to their own needs. In respect of this students may wish to expand the process of drawing to include techniques of painting and printmaking, such as drawing directly on to etching plates, lithography plates, or screens.
The module is taught concurrently with Life Drawing 1 and is normally scheduled as a full day session starting promptly at 10.00am in the Large Lecture Theatre (Room 312).
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 research and self-directed work that gives expression to a personal response to the figure
D develop work that demonstrates a line of enquiry and experimentation in a logical way
E develop awareness of contemporary and past exponents of life drawing
F develop a self-critical approach to drawing
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
This module is at CQFW Level 6