Drawing II: Experimental Introduction to the Figure
ARTS 205.001—Spring 2014
Instructor: M. Cornelia Oliver
mco7827@unm.edu, office hours by appointment
Rm: ART 353. M/W 11 AM-1:45 PM
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“Are we to paint what's on the
face, what's inside the face, or what's behind it?” ~Pablo Picasso
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COURSE DESCRIPTION: 3
hours. Visual observation of the figure and its interpretation through various
graphic and painterly techniques. This course is designed to further develop ability in drawing through
observation and conceptual interpretation of the human form. It is an intermediate
level course. Prerequisites:
Drawing I, Art Practices I, RCOMMENDED PRE or CO-REQ: Painting I, Figure
Drawing
An intermediate
level course serves as a transition between foundation courses and advanced
courses. While it continues to build upon the technical abilities you
bring to the class, it also will require you to expand your understanding about
what you are doing. Specifically:
1.
You
should expect to work a minimum of eight hours a week outside of class
on your assignments.
2.
You
are expected to produce works with more fully developed handling of the medium(s).
3.
You
generally will be working larger.
4.
You
will be exposed to new materials and methods.
5.
You
will begin to develop an awareness of your artistic expression and how you fit
into contemporary art practices.
COURSE OBJECTIVES: This is
an experimental drawing course, utilizing the figure, providing further concentration on
basic drawing concepts. Emphasis is placed on descriptive and perceptual
drawing, using both wet and dry media, and color. Assigned problems explore
aspects of experimental drawing, still life, landscape, portraiture and the
figure in environmental contexts and in motion. Students will learn basic anatomy and will begin to develop an
understanding of the way a figure inhabits space, and will be able to
successfully reproduce this space in two dimensions and expand this into the
bounds of contemporary drawing. In addition each student will:
•
Advance
Drawing I skills and techniques through both wet and dry color media.
•
Produce
drawings that utilize varied color concepts.
•
Produce
drawings that explore the 3 types of spatial depths within the picture
plane (Shallow, Deep, and Infinite).
•
Produce
drawings which solve unique format, support, and ground/surface
challenges.
•
Integrate
research into the conceptual development of drawing.
• Practice analyzing and
translating observed subjects from realistic, referential,
and/or objective form, to non-representational imagery in
drawings.
•
Explore
personal content, symbolism, narrative, and or iconography.
•
Produce
drawings that apply the principles of abstracted form.
•
Create
fully developed drawings that have a professional level of craftsmanship
and presentation.
STRUCTURE:
This course is
broken into two halves: FIGURE DRAWING and CONCEPTUAL/
EXPERIMENTAL DRAWING. While the two overlap throughout the duration of
the course, more emphasis will be put on the former in the first half, and the
latter in the second half.
The first eight
weeks will emphasize proportion, observation and scale, the basic nuts and
bolts to figure drawing. Students
will alternate gesture drawings with long methodical studies. The aim is to
enable the student to draw spontaneously, energetically and accurately; In the final eight weeks we will
apply those aspects to more conceptually reaching drawings & paintings,
which will be stylistically unique to each student.
In addition to
completing drawings and paintings, you will begin to develop a critical voice
in regards to your own work and the work of others. We will critique drawings
regularly, though not every assignment will require a critique.
There will be
numerous in-class drawings, three out-of-class assignments (though you may work
additionally on your final project out of class), and homework assignments,
given daily.
(subject to
change)
GRADES:
In-class drawings and paintings, blog/ homework
assignments (portfolio check) (50%)
YOU MUST
CHECK BLOG & EMAIL DAILY FOR ALL ASSIGNMENTS AND UPDATES! YOU ARE
RESPONSIBLE FOR THIS INFORMATION!
Out-of-class projects (50%) SEE BELOW:
1. 10 Experiments Experimental drawings to be completed
weekly and turned in in two halves. (SEE SCHEDLUE) Various media, techniques,
and concepts.
2. 50/4. 50 images completed in 4 hours.
Timed, numbered, and labeled. Open media.
3. Internet Research Project Posted to blog. Meant to familiarize
and contextualize with contemporary artists and their work.
4. Scratchboard Assignment Hyper-detailed, monochromatic study of
an eye. Texture study done with reductive mark-making on scratchboard.
5. Portrait of Elder Textural study of elements, age and
time on skin. Contè crayon on fawn Stonehenge paper.
6. “Stripes” (Storytelling) Interpretive narrative through
suggestive image building and pattern. Black and white chalk on Canson Mi
Teintes Paper
7. Poetic Color Reinterpretation of imagery through
unexpected utilization of color. Oil pastels on Artspectrum Colourfix Coated
Pastel Paper.
8. Observation/ Abstraction Four drawings based on a single
image, with and without color. Highly rendered and abstracted. Graphite and
watercolor on Stonehenge, Strathmore, and Yupo.
9. Figurative Abstraction Two figurative images abstracted
though various means.
10. Opposite Concepts (FINAL) SEE HANDOUT
In-Class Critiques:
While critiques
may become heated, personal attacks will not be tolerated. Honesty is
appreciated and encouraged when talking about artwork and concepts, but
negative comments about individuals themselves are unnecessary, unprofessional,
and counterproductive. Offending parties may be asked to leave critique. Art is
personal, and the need to discuss personal themes may arise, so we, as fellow
artists, must walk a thin line during critiques. Keeping a mature, thoughtful
head will be a must for students in this class. Attendance during critiques
is absolutely required and will not be excused. Learning to speak
effectively and knowledgably about art will be a critical part of this course.
Evaluation and
Assessment: Drawings
and paintings will not be graded as products in a vacuum. The grade given for
each drawing assignment will reflect several qualities involved in the course
of its production. These include, when appropriate:
•Accomplishment
of any stated parameters
•The level of
ambition taken to the project
•A commitment to
craftsmanship at the highest-level possible
•Use of class
time--reflected in work ethic, attendance, and punctuality
•Participation in
discussions or critiques.
YOUR RESPONSES MUST BE POSTED TO CLASS BLOG. You will
receive a final portfolio review, during which you will be graded.
Grades
will be defined as follows:
A = Excellent: Expansive investigation of ideas and excellent
composition. All assignments completed on time and executed well. Insightful
contributions to class discussions and critiques. Goes substantially beyond
minimum requirements.
B = Good: Substantial
investigation of ideas with good composition and good craftsmanship. All
assignments completed on time, insightful contributions to critiques and class
discussions.
C = Fair (Average): Assignments done competently and on
time.
D = Passing: Two or more late projects, limited investigation
of ideas, poor craftsmanship, incoherent compositions, minimal contribution to
critiques, may have more than 4 absences.
F = Failure: Course failure due to minimal idea development,
poor craftsmanship, incoherent compositions, lack of participation, late
assignments, may have more than 3 absences.
GUIDELINES:
Please
be honest.
Be
respectful of your teacher, model, and classmates. Be respectful of the
classroom. If you are
disruptive you will be asked to leave. Needless to say, immature behavior will
not be tolerated and will result in immediate removal from class and an “F” grade. Be discreet if you need to leave the room for a moment.
This
class puts parameters on drawing technique with the effort of teaching specific
skill sets.
You must stay within these parameters. For example, if an
assignment specifies that you cannot use a
photograph as a source and must
draw from life, draw from life.
Come
to class on time and set up quickly. Have all your materials ready and set up.
Return from
breaks on time. Failure to do so will result in a tardy or
absence. (See attendance policy below)
Have
any assigned reading and/or homework completed before class, and ready to be
turned in at
the beginning of class (ex: name on back, slip sheet attached via
paperclip.) This helps us use
class time most effectively. We will clean up
the classroom as a group periodically.
Absolutely NO
photography of your source material (i.e. still life, models) is allowed
without specific permission. You will not be able to learn how to translate 3-d
objects into 2-d if you have
your camera do it for you, and it is a form of
cheating. If you have a problem in the
class please follow the chain of command: Only after I have been
consulted
should you bring the matter to a divisional chair or dean.
MUSIC POLICY: Music will be played in
class for all to hear. If you have music that you would like to share with the
class you may bring it in. The class will vote and “veto” some songs, artists,
or even whole genres of music to keep the community of the classroom happy.
Headphones will not be permitted in class until the last few weeks of the
course when we will be working individually. Instructor has discretion and
final say in all matters.
CELL PHONE POLICY:
No cell phones or other communication devices will be used during class time.
You may use your phones during class breaks only. No texting, messaging,
emailing, or answering of phones will be permitted. Use of cell phones during class
will count as an absence.
EMAIL POLICY: I expect that you will check your email daily. If there is any
reason to contact you, I will do so via e-mail. If you have a particular e-mail
you prefer that I use, be sure to let me know. The most reliable way to reach
me is via email.
ATTENDANCE POLICY: Attendance
will be taken at the start of class. Five minutes after the start of class, a
student is considered tardy. 15 minutes late a student is encouraged to stay
but will be considered absent. No unexcused absences will be allowed during the semester. Absences,
without significant mitigating circumstances (which will require documentation),
will each result in the lowering of the your grade by 10 points. You will be
allowed TWO excused absences (with documentation) before this effects your
grade. Should this process make passing the course a technical
impossibility, you will be dropped from the course. Two failures to arrive on time and prepared for
class (tardy) will be the equivalent of one absence (10 points off grade).
Because of the
abbreviated nature of this course new lessons and concepts will be introduced
DAILY. You are expected
to attend every class. The learning environment experienced in the
class is impossible to duplicate, so it is your best interest to do so. Attendance
for critiques is mandatory.
When a
class is missed, it is your responsibility to find out what was missed and what
is expected of you. If you come to me, I will catch you up as best I can
without affecting my responsibilities to the rest of the class. If you get the
missed material from classmates, you are accountable for all information.
Late Work: No late work will be accepted for this
course. If an excused absence occurs due to mitigating circumstances and
prevents the completion of work, it is the student’s responsibility to contact
the instructor before the project is due. Any new due dates set will be subject
to the same policy.
Storage of
Materials and Work, and Studio Rules: It is strongly suggested that students get a locker in the art building
to store supplies. It is not safe to leave materials in the drawing
studio...they will be stolen. In addition, CVAD does not provide
long-term storage of work.
Food & Drink: There will be no smoking allowed in class. Eating and drinking will be
allowed with restrictions:
NO BOOZE. Because of the long-format nature of each
session I understand that you may need to eat something to give you fuel to
stay fresh and awake. Do this before class or eat during break time. Drinks in
a closed (spill-proof) container will be allowed during class. Just make sure
you are clean about it.
Center for
Student’s Rights and Responsibilities: The student is reminded of his or her rights and
responsibilities, both academically and personally, as a student at the
University of New Mexico.
CVAD Emergency
Procedure: In
case of emergency (alarm will sound), please follow the building evacuation
plans posted on each floor of your building and proceed to the nearest parking
lot. In case of tornado (campus sirens will sound) or other weather related
threat, please go to the nearest hallway or room on your floor without exterior windows and remain their until an all clear signal is sounded. Follow
the instructions of your teachers and act accordingly.
The instructor reserves
the right to make changes to anything about this class, including requirements,
schedule, assignments, etc., at any time during the semester. All changes will
be announced in class. It is your responsibility to be in class to hear
possible changes and adjust accordingly. No excuses for failure to adjust to
changes in this course will be heard.
AMERICAN
DISABILITIES ACT: The
following statement should appear on your syllabus. “The College of Visual Arts
and Design is committed to full academic access for all qualified students, including
those with disabilities. In keeping with this commitment and in order to
facilitate equality of educational access, faculty members in the College will
make reasonable accommodations for qualified students with a disability, such
as appropriate adjustments to the classroom environment and the teaching,
testing, or learning methodologies when doing so does not fundamentally alter
the course. If you have a disability, it is your responsibility to obtain
verifying information from the Office of Disability Accommodation (ODA) and to
inform me of your need for an accommodation. Requests for accommodation must be
given to me no later than the first week of classes for students registered
with the ODA as of the beginning of the current
semester. If you register with the ODA after the first week of classes, your
accommodation requests will be considered after this deadline.
Grades assigned
before an accommodation is provided will not be changed. Information about how
to obtain academic accommodations can be found in UNT Policy 18.1.14, at
www.unt.edu/oda, and by visiting the ODA the University Union. You also may
call the ODA.
DO NOT PURCHASE A DRAWING I KIT FROM THE BOOKSTORE!!!! Please check what you already have and purchase ONLY WHAT
YOU NEED for this course! Mid-tone and heavy weight paper can be
purchased from Brooke at the UNM Paper Closet on the first floor of the ART
building OR at Artisans. Have
your materials IN CLASS when required!
Required
Materials: (WRITE YOUR NAME ON EVERYTHING):
Needed for
first day--Basic drawing kit.
Portfolio: Be sure to buy one that is slightly
larger than your largest size of paper for the course. You are also perfectly
welcome to make your own. Cardboard and duct tape or sewn canvas works fine.
Whatever works for you and holds what you need it to hold will work.
DO KNOW: You can buy everything locally, but
ALWAYS know you can get together with other students and order in bulk online.
Look for student discounts and back to school specials. Make sure you have box to keep everything in: Art boxes are expensive,
so if you are trying to save money I recommend getting a fishing tack box and
pulling out the insert that get in the way.
PAPER:
Newsprint
pad 24x36” (100 sheets). You may need to buy a second as class progresses.
Jumbo
white drawing pad 24x36” (50 sheets) if available
Sketchbook (not required, but useful
if you like them. Can write in your lg drawing pad too)
Rives BFK Heavyweight 4 sheets*
(white)
2 sheets of black pastel paper,
2 sheets of grey pastel paper
2 sheets of mid-tone colored pastel
paper (any color)
1 sheet fawn Stonehenge 22”x 30”
1 sheet Art Spectrum Colourfix Coated
Pastel Paper (any color)
1 sheet Canson Mi Teintes Paper (any
color)
2 sheets 30”x 40” white foamcore
Interleaving or Glassine paper 10 big
sheets (Artisans carries this)
1 theet Stonehenge 11”x 11”
1 sheet Strathmore Watercolor Paper
11”x 11”
2 sheets Yupo Synthetic Paper 11”x 11”
1 sheet scratchboard cut into two
pieces (6”x 6” each with boarder)
ERASERS:
Pearl
pink
Kneaded
eraser
White
rectangular eraser
Eraser
pencil/stick with refills (optional)
DRAWING TOOLS:
Graphite
pencils 4H, 2B, 4B, 6B, 8/9B, Ebony (and any others you may chose)
(Can
use loose graphite and a brush or sponge too)
2 Charcoal pencils (medium, dark) (If you like charcoal pencils
over just stick. Get a grinder if you just use stick though, for sharp edges)
White charcoal
pencil
5
sticks large Vine Charcoal (cigar shaped)
Compressed
charcoal sticks
pencil
sharpener
conte crayons in sanguine, white, black
“Conte a Paris Sketching Pencils” in
Sanguine, Sepia (add. opt. colors black & white)
Fine Line black markers (at least 2
sizes)—Pigma Micron or Faber Castell recommended
Chalk Pastels (set of 12-24)—Sergeant
Art recommended
Oil Pastels (set of at least 12
colors)—Pentell or Faber-Castell recommended
Scratchboard
toolkit (or individual tools) OR calligraphy nib-holder and
scratch-knife nibs #112 and #113 OR “Scratch Art” tool kit
PAINTS:
Watercolor pan or tube paints (set of
8-12)
BRUSHES:
New short-handled
paint brush (to be used for drawing shape): bright or flat, nylon or sable
bristles sz 8 or 6
Nylon white
watercolor brushes
MISCELLANEOUS:
Chamois
cloth (not necessary, but recommended)
Blending
tool (various sizes)
Sanding block or fine sand paper
Scissors
X-acto Knife with NEW blades
Glue Stick
Plastic plate for mixing water color
Rubbing Alcohol
Workable Fixative
Paper towels
Tote
box
Portfolio
bigger than your paper
ITOYA Art PROfolio 12 sleeves 8.5”x 11”
A
drawing board with metal clips--larger than 18”x 24”
Masking tape (1 inch)
Painter’s tape (1/2 inch)
6 extra large binder clips (helpful,
not required)
Ruler, t-square, or (MY PERSONAL
FAVORITE!) a QULITERS ruler! It’s magical for gridding!
Digital
Camera (optional-can be a phone camera)
OPTIONAL MISC. MATERIALS:
woodless
pencil
colored
pencils
colored
markers
gouache
pastel/conte’
pencils
Graphtint
pencils
watercolor
pencils
etc.
Local Art Supply Stores (all closed on
Sunday except Michaels):
-Artisan
Santa Fe- 301 Monte Vista Blvd, (505) 256-4540
10% student discount with
ID
-Michaels 4410 Wyoming Blvd
NE, (505) 299-4007
3701 Ellison Blvd NW #B, (505)
922-0221
-Hobby Lobby 4315 Wyoming
Blvd NE, (505) 291-1117
700 Juan Tabo NE, (505) 271-8545
9350 Eagle Ranch Rd NW,
(800)323-9204
WEBSITES: www.dickblick.com,
www.utrechtart.com, www.aswexpress.com
Throughout the semester the instructor
may add other materials to the supply list, as they are needed. Students will be expected to replenish any
materials that are running low before class begins each day.
THERE IS NO REQUIRED TEXT FOR THIS COURSE
Suggested reading
material:
“Drawing the
Human Form” by William Berry
“An Atlas of
Anatomy for Artists” by Fritz Schider
“Atlas of Human
Anatomy for the Artist” by Stephen Rogers Peck
“Drawing the
Living Figure” by Joseph Sheppard
“An Atlas of
Foreshortening: The Human Figure in Deep Perspective” by Cody & Tribell
“Complete Guide
to Drawing from Life” by George Bridgman
“Master Class in
Figure Drawing” by Robert Beverly Hale
“The Artist’s
Complete Guide to Figure Drawing: A Contemporary Perspective” on the Classical
Tradition
WEBLIOGRAPHY
Art Studio Chalkboard : Resource for artists
and art students that focus on the technical fundamentals of perspective,
shading, color and painting.
FIgure Drawing Lab : This site is devoted to
better understanding of the elements that make up the human figure and how to
better portray them.
One-Point Perspective : Step-by-step
instructions for basic one-point are presented on this site.
The Geometry of Seeing (Getty Museum Exhibit)
Books and printed images to paintings and sketches, and from miniature pop-up
theaters to early surveying devices, demonstrates the development of
perspective.
Tours of Old Master
Drawings :
Database of approximately sixty drawings and oil sketches of European Old
Masters.
The Alphabet of Art : This site explains, in
simple terms, the elements of visual design.
Drawing Materials and
Techniques : A table with links to definitions and descriptions of drawing
techniques and materials.
Disclaimer: The
instructor reserves the right to make changes to anything about this class,
including requirements, schedule, assignments, etc., at any time during the
semester. All changes will be announced in class. It is the student’s
responsibility to be in class to hear possible changes and adjust accordingly.
No excuses for failure to adjust to changes in this course will be heard.
_______________________________________________________________________________
ARTS 205.001 Drawing
II: Experimental Introduction to the Figure – Spring 2014-
M. Cornelia
Oliver
I have read and
understand the contents of the syllabus for the above course, including the
course risk factors. I am responsible for following all regulations for this
course as outlined in the syllabus.
Print name_____________________________________
Sign name_____________________________________
Date______________
Email_________________________________________
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