|| AR21210 |
|| LIFE DRAWING 2 |
|| 2004/2005 |
|| Mr Paul J Croft |
|| Semester 2 |
|| Mrs Belinda J Marking, Ms Judy E Macklin |
| Course delivery
|| Seminars / Tutorials || 11 Hours Tutorial. |
|| Practical || 66 Hours |
|Assessment Type||Assessment Length/Details||Proportion|
|Semester Assessment|| Portfolio: 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 as well as fully finished works. Submission of an anatomy notebook containing drawings, diagrams, photocopy information and other relevant material is also mandatory.
Portfolio Assessment must be passed. Failed assessment requires resubmission of a new portfolio of work.
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 & colour (A, B, C, D)
2. Capable of completing drawings using a range of media, drawing materials and approaches (A, B, C, D)
3. Produce an anatomy notebook that demonstrates research of anatomical features that relate to the practice of drawing (C, D, E)
4. Identify your own art practice within the context of contemporary and historic traditions of drawing (D, E, F)
5. Self-critical and selective in the choice of media and approach used in drawings
(A, B, F)
Relation to Assessment
Objectives 1,2, 3, 5 are assessed by portfolio submission
Objectives 4, 5 are observed through tutorial contact
The purpose of this module is to offer students the opportunity to develop their skills of observation and analytical drawing by introducing them to the study of human anatomy. The module essentially builds upon the experience gained in Life Drawing 1 and is ideally suited for those students who intend to work in a figurative mode in their main area of study.
The study of anatomy is used to examine the construction of the human body, in order to understand the topography of the human form. Artistic anatomy is not scientific or medical but concerns itself with those elements beneath the skin that explain the surface, form, contours and proportion of the human body. Knowledge of anatomy can be an enormous aid to good draughtsmanship and is part of the vocabulary of life drawing.
In this module, the introduction to the study of anatomy is meant as an aid, not as a simplification for drawing the figure. Students are encouraged to learn through the direct observation and study of the figure before them, supported by information given in the form of talks, handouts and slides. Opportunity to draw from the human skeleton will also be available and students are encouraged to make a series of drawings that relate the underlying structures - as seen in the skeleton - to the form, proportions and posture found in the life model.
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'r work.
In addition to drawings made in the life room, students are expected to keep an anatomy notebook that will include drawings and information researched from available texts from the library.
The module is normally scheduled as a full day session starting promptly at 10.00am in the Large Lecture Theatre (Room 312).
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 anatomical knowledge of skeletal and musculature structure
D develop a programme of research and self-directed study
E develop awareness of contemporary and past exponents of life drawing
F develop a self-critical approach to drawing
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 and the study of anatomy, including examples of drawings made by artists from the Renaissance and Post Renaissance and Contemporary times. Information on course structure and the development of an anatomy notebook will be given
1.2 Standing Pose: Looking at Proportions
Understanding the proportions of the human figure, how male and female proportions vary and how proportions will change as we age. A series of short poses ranging from two, five, ten and fifteen - concentrating upon the proportions of the human figure.
A three-hour standing pose will be set up in the afternoon.
2. Standing Pose with Skeleton 1
Introduction to the bone structure of the human skeleton noting the main features of the upper body and arms. Students are encouraged to make drawings from both the life model and the skeleton - ideally on the same sheet of paper in order that correlations in bone structure can be made more easily between the life model and skeleton.
3. Standing Pose with Skeleton 2
Introduction to the bone structure of the human skeleton noting the main features of the lower body and legs. Students are encouraged to make drawings from both the life model and the skeleton - ideally on the same sheet of paper in order that correlations in bone structure can be made more easily between the life model and skeleton.
4. Standing Pose: The Skeleton and Muscles of the Torso
Looking at the bone structure and musculature of the upper part of the body, noting muscles of the chest, back, and abdomen. A full day pose will be set up and students will be encouraged to concentrate upon the musculature as seen in the life model. Wherever possible a view drawn from the front and from the back should be attempted.
5. `Javelin' & `Discus' Poses: The Skeleton and Muscles of the Upper Limbs
Looking at the bone structure and musculature of the upper limbs noting prominent muscles such as Deltoid, Biceps, Triceps etc and noting how muscles appear as the arms are flexed or relaxed. A series of short poses will be set enabling students to draw arms in flexed and relaxed positions - followed by a long pose in the afternoon.
6. Seated Pose: Mid term Review
Students are asked to bring with them all of their drawings completed to date including sketches, quick studies, anatomy notebook and finished drawings. Students will receive one to one tutorials/crits of their work. At the end of the session students will each select their `favourite' drawing and display this for informal group discussion.
A full day pose will be available for drawing allowing students to concentrate upon an area of anatomy of their own choosing.
7. Crouching and Running Poses: The Skeleton and Muscles of the Lower Limbs
Looking at the bone structure and musculature of the lower limbs noting prominent muscles such as Gluteus Maximus, Sartorius, Vastus externus etc and noting how muscles appear as the legs are bent, extended and twisted. A series of short poses will be set enabling students to draw the legs in flexed and relaxed positions , followed by a long pose in the afternoon.
8. Portrait: The Skeleton and Muscles of the Head and the Neck
Looking at the bone structure and musculature of the head and neck, with the head being seen full frontal, three-quarter view and in profile. Students to make drawings from the skeleton and from the life model.
The module will assist the development of the following academic skills:
Subject Specific Skills - Drawing: analytical skills of observation, proportion, form, shading, use of colour and approaches to develop `style' of working
Subject Specific Skills - Drawing: employing a range of materials, media and techniques to develop personal approach to drawing
Subject Specific Skills - Drawing: applying knowledge of anatomy including skeletal and musculature to develop observation of the human figure
Self-directed Project Work: through attendance and practice of drawing and the compilation of an anatomy notebook
Oral discussion and presentation - developed through tutorial contact
Self-management - time management in the completion of short and long poses
Bridgman, George (1925) Bridgman's Life drawing
Da Vinci, Leonardo (1982) Leonardo da Vinci on the Human Body
Crown Publishers, New York
Graves, Douglas (1989) Life Drawing in Charcoal
Watson-Guptil, New York
Gray Gray's Anatomy
Hale, Beverly and Coyle, Terence (2000) Anatomy Lessons from the Great Masters
Royal Academy of Arts (1977) Anatomical Drawings by Leonardo da Vinci,
The Royal Collection
Smith, Ray (1994) Drawing Figures,
Dorling Kindersley in association with the Royal Academy of Arts
Wolff, Eugene (1962) Anatomy for artists being an explanation for surface form
This module is at CQFW Level 5