Drawing II Art-124B Course Content Outline:

Transcription

1 College Of The Canyons Fall Semester 2014 ART-124B (12044) and ART-224A (12052) Drawing II and Drawing III James F. Lorigan 8:00AM-10:50AM Tuesday and Thursday in Room MENH-241 (CSU) (UC) (Degree credit) GENERAL COURSE DESCRIPTION Drawing II and drawing III are drawing classes with an emphasis on drawing the human figure. The class will be taken on a step-by-step approach to understanding the human form. Traditional and contemporary drawing techniques that will utilize a variety of drawing materials will be used. We will also explore compositional and design fundamentals as they apply to the human figure. The course will include a study of artistic anatomy. Particular attention will be given to gesture drawing and relative proportion. Upon completion of the course the student should be able to demonstrate an increased understanding of the representation of the human form in pictorial space. The student should also be able to analyze and manipulate pictorial space and compositional relationships. The student should be able to demonstrate creative skills in visual problem solving and associate general concepts and processes in 20 th century drawing with your own work. Lectures, class discussions, critiques and technical demonstrations will accompany the studio sessions. Drawing II Art-124B Catalog Description: Continues the study of drawing focusing on skeletal and muscular structure from a live model, and emphasizing the development of drawing skills to suggest proportion, form, and gesture. Drawing II Art-124B Schedule Description: Continues the study of drawing focusing on skeletal and muscular structure from a live model, and emphasizing the development of drawing skills to suggest proportion, form, and gesture. Drawing II Art-124B Course Objectives: Lecture: 1. Compare and contrast works of figure art. 2. Utilize techniques, theory and expressive dimensions of figure drawing to analyze works of art. 3. Analyze human anatomy as it pertains to drawing the figure. 4. Analyze the proportional relationships between different anatomical features. 5. Critique their own work and the work of others. Lab: 1. Demonstrate proper use of materials suited to drawing the human figure including graphite pencils, charcoal, conte crayons, pen and ink, watercolor, and pastel. 2. Utilize aspects of line such as contour, cross contour, hatching, and cross hatching in order to create the illusion of a solid geometric object. 3. Recognize and use variations of value and incorporate light and shadow to create volume, atmosphere, and mood.

2 4. Apply one and two-point perspective techniques to solve foreshortening drawing problems. 5. Incorporate principles of composition to create and manipulate pictorial space. Drawing II Art-124B Course Content Outline: Lecture: 1.Historical overview of figure drawing a. renaissance drawing techniques sculptural drawing b. chiaroscuro and light c. expressive figure drawing approaches d. abstraction of the figure 2. Figure drawing a. Basic anatomy i. Major muscle groups ii. Major bones iii. The musculoskeletal system b. Drawing techniques c. Proportional relationships i. the dimensions of the standing figure ii. the relationship of the parts to the whole iii. Foreshortening 3. Critique Process Lab: a. Application of various media to create drawings of the human figure such as charcoal, pencil, conte crayons and pen & wash. b. Application of the use of line and its variations such as contour, cross-contour and expressive line. c. Application of the use of value and value mapping techniques such as cross-hatching and pen & ink to convey mood and volume. d. Application of perspective theories to solve complex foreshortening problems. e. Application of composition and design concepts. f. Critiques and feedback. Drawing III Art-224A Catalog Description: Presents advanced drawing techniques studying skeletal and muscular structure from the live model, emphasizing the development of drawing skills to suggest proportion, form and gesture. Drawing III Art-224A Schedule Description: Presents advanced drawing techniques studying skeletal and muscular structure from the live model, emphasizing the development of drawing skills to suggest proportion, form and gesture.

3 Drawing III Art-224A Course Objectives: Lecture: 1. Compare and contrast advanced works of figurative art. 2. Utilize techniques, theory and expressive dimensions of figure drawing to analyze works of art. 3. Analyze human anatomy as it pertains to advanced drawings of the figure, including proportional relationships between anatomical features. 4. Discuss expressive and creative content in advanced figure drawings. 5. Explain the importance of composition in advanced figure drawings. 6. Analyze the development of pictorial space. 7. Examine the importance of portraiture in advanced figure drawings. Lab: 1. Solve figure drawing conceptual problems in a visual format. 2. Apply the principles of design and manipulate pictorial space and compositional relationships in advanced figure drawing. 3. Demonstrate the correct use of materials suited to advanced figure drawing. 4. Create the illusion of solid geometric objects in advanced figure drawing. 5. Apply proportional relationships between different anatomical features at the advanced level. Drawing III Art-224A Course Content Outline: Lecture: 1. Historical overview of examples of advanced figure drawing (sub points needed) a. "The development of figurative drawing during the Renaissance" b. "The development of expressive uses of the figure in the 2oth C" 2. Advanced approach to anatomical features a. Proportional relationships i. Sighting ii.believable exaggeration b. Expressive and creative content (sub points needed) i. Narrative content of Daumier s graphics ii. Expressive line in Rembrandt s pen & wash drawings c. Composition i. Compositions that utilize close-cropping of the figure ii. Compositions that combine still-life elements with the figure d. Pictorial space i. Historical development of perspective in the early Renaissance ii. Spatial depth through examination of foreshortened compositions e. Portraiture & facial anatomy i. Structure and anatomy of the human head ii Expressive aspects of facial structure Lab: Application of advanced figure drawing concepts and techniques 1. Experimentation with combinations of wet and dry mediums. 2. Analytical and expressive use of line. 3. Subjective and expressive use of value. 4. Application of 1 and 2 point perspective theories. 5. Integrating concepts of space and depth. 6. Portraiture.

4 Student learning outcomes for DRAWING II ART 124B & DRAWING III ART 224A: Drawing II Art-124B LAB: 1. Develop drawings of the human form applying beginning figure drawing techniques. LECTURE: 1. Evaluate artworks using appropriate beginning figure drawing terminology. Drawing III Art-224A Lecture: 1.Evaluate artworks using appropriate advanced figure drawing terminology. Lab: 1.Develop drawings of the human form applying advanced figure drawing techniques. I hope you have an enjoyable, successful and productive semester. Feel free to contact me if you have any questions or concerns. You are invited to visit me in M- 309 during my office hours: 7:00 AM-7:50 AM on Monday, Tuesday, Wednesday and Thursday. You may also schedule an appointment for some other time or leave a message by phone at ex You can also reach me by leaving a message at: jameslorigan@sbcglobal.net. Web: for biographical information about yours truly. Note: If you need additional time to complete a project or report or if you require any special accommodations, please notify me in a timely manner so that I can assist you. Otherwise, you will be expected to adhere to the information included on this course syllabus. The Textbook that I will be referring to is Artistic Anatomy by Paul Richer, Watson-Guptill Publications. ISBN Paperback edition I have been able to find this book in PDF form as an online download. You will find that there are many artistic anatomy books available to you that will work for this class. I will be giving detailed lectures and demonstrations concerning artistic anatomy. It is advantageous for you to have an artistic anatomy reference book with you in class. Attendance. Attendance is extremely important, as much of your work will be produced during scheduled class meetings. Excessive tardiness /absences/use of headphones will affect the quality of your artwork and consequently your grade in the class. Remember Please be on time and be ready to work. You may want to refer to the college catalog for detailed information on College district regulations and policies regarding such things as harassment, plagiarism, and discipline.

5 EVALUATION AND GRADING WILL BE BASED ON THE FOLLOWING: 1. Demonstrating proficiency in the perceptual, technical and conceptual aspects of drawing the human form in class assignments. 2. Portfolio evaluation and presentation. 3. Active and constructive participation during critiques. 4. Effective use of class and lab time. 5. Submission of drawings and drawing projects on time. 6. Proficiency of drawing techniques. 7. Demonstrated through your drawings and discussion an awareness of artistic anatomy. Grading Rubric: Grading elements: Effort and responsible use of class time Creativity/critical thinking and problem solving Creativity/effective use of media Craftsmanship Completion. Artwork feels complete. Overall project grade Excellent 90%-100% Good 80%-89% Average 70%-79% Poor 60%-69% Not college level 0%-59% People will often ask me what I take into consideration when assign semester grades. My response is quite simple. Coming from a professional background I will ask myself this question: Would I consider employing or recommending a person for employment. As an employer I am looking for someone who shows up on time and puts in a full days work. I am looking for a person who is willing to learn, open to new possibilities and challenges. I am also looking for someone who is creative in the field, who is concerned with craftsmanship and gets the job done on time and under budget. Most of this is reflected in the rubric. Semester grade breakdown by percentage: Weekly drawing submissions 10% Mid-term portfolio submission 20% Midterm drawing project 20% Final portfolio submission 20% Final drawing project 20% Sketchbook 10%

6 CALENDAR Professional models will be incorporated into the schedule as they become available. The lecture and critique schedule is tentative as a result of model availability. It is disruptive to the class and awkward for the models to have students wandering in and out of the classroom during a drawing session. The class has a number of natural breaks. That is the time to take care of personal business. Keep your cell phones and other electronic devices out of site. Many of the devices are equipped with cameras and cameras are not allowed into the life drawing lab while the model is working. You will be considered absent/tuned out of the class if you are wearing any form of headphone during a lecture. Lecture and critique schedule: Week #1. 8/26/2014. We will review the course objectives and calendar. Gesture drawing and relative proportions will be discussed, please refer to plates 108, 109 and 110 in the textbook. Week #2. 9/2/2014. We will be conducting studies of the foot. Please refer to plates 28, 29,31 and 67 in the text. We will also look at the figures movable masses and their relationship to gesture drawing. Week #3. 9/9/2014. We will consider ways of developing a schematic drawing. We will also be looking at the anatomy of the hand see plates #22 figure 4, 23 anterior view, 24 posterior view, and 25 lateral and medial views. Week #4. 9/16/2014. We will continue our study of the hand, hand to elbow. Please refer to plate numbers 57,58, and 59 of the text. Week #5. 9/23/2014. This week we will study the anatomy of the hand to shoulder. See plates 59,60 and 61. Week #6. 9/30/2014. This week s anatomy study will cover the foot to the knee. Refer to plates and of the textbook. I will describe and assign the midterm project on Thursday 3/20/2014.

7 Week #7. 10/7/2014. We will begin studying the head it s skeleton and proportion. Refer to plates 1 and 2 of the textbook. We will also take a quick look at the neck and shoulder yoke. See plates for reference. Week #8. 10/14/2014. We will be discussing the function and anatomy of the pelvis. We will begin with a study of the anterior view. Please see plates (pelvis) (leg) 63,68,70 and 71 (muscles). Week #9. 10/21/2014. We will continue our study of the pelvis by looking at the posterior view to the knee. See plates (bones) 52, 64, 69, 70 and 71 muscles. WEEK #10. 10/28/2014. The scapula will be studied this week please refer to plates and On Thursday we will critique your mid-term drawing projects at the beginning of class and then discuss the final term project. Week #11. 11/4/2014. We will be concentrating on the anterior view of the torso. Refer to plates 16,51 and 53. Week #12. 11/11/2014 is a Holliday. 11/13/2014 We will be studying the posterior view of the torso. Please refer to plates 17 and 54. Week #13. 11/18/2014 Drawing Lab. Week #14. 11/25/2014. Drawing lab. Week #15. 12/2/2014. A drawing lab will be conducted with a concentration on portraits. Week #16. 12/9/2014. Submit a portfolio. Drawing II will submit your sketchbooks of drawings produced outside of class and a portfolio that will include three head studies of the same subject, a profile, a three quarter view and a frontal view. Drawing III will submit your sketchbooks of drawing produced outside of class and a portfolio of six figure studies. 12/11/2014. The Drawing II and Drawing III final project will be submitted and critiqued. All students are required to attend the critique! Please be aware that it is your responsibility to drop the class if necessary. Life Drawing Starter Kit: Paper: There are many drawing paper pads to choose from. Two examples would be the Strathmore 400 medium surface drawing pad 18 x24 of 24 sheets or a Biggie drawing pad of 100 sheets.

8 Newsprint pads smooth or rough surfaces. Sketchbook 81/2 x11 or smaller for notes and rough sketches. Drawing tools: Extra-Large Kneaded Eraser Pencil Sharpener Sanding Board Magic Rub Eraser Drawing Pencil 6B Drawing Pencil 2B Drawing Pencil HB Conte sticks; white, black and sanguine (rust) Matchbox set of four colors Vine Charcoal - (soft or medium weight) Compressed Charcoal - Square or Round (soft or medium weight) Chamois. Crow quill dip pen and nibs. Drawing stumps variety pack 12 stumps 3 each size. A synthetic hair watercolor round brush #6 or #8. Supply box to store your drawing tools in. You will be asked to keep and submit a figure drawing sketchbook/diary for figure drawings completed outside of class. Your sketchbook is a tool for recording the things you see as well as the things you think about. It is a place for developing concepts and visual ideas. It is a place for scribbling, doodling, visual experimentation and notes. Your sketchbook is a place for, thumbnail sketches and design modifications. It is also a great place for written ideas. You can cut and paste images and text source material into your sketchbook from a variety of magazines, newspapers and web sites. A figure drawing diary specifically is the assembly of materials and thoughts that went into the creation of a particular artwork or artworks and can be included as part of a sketchbook. Revisiting a sketchbook/diary can often inspire the creation of new work. Keep it with you and bring it to class. You never know when your musing will inspire you.

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