ART 131 Introduction to Drawing 1

1. Organize and execute accurate, objective, observational still-life drawings from three-dimensional subject matter. 
2. Execute gesture, contour, and value drawings and visually distinguish, by style and approach, one from the other. 
3. Integrate multiple drawing methods to exploit the benefits of each in the development of a finished drawing. 
4. Establish reasonably accurate shape, proportions, and spatial relationships through applied integration of visual problem-solving techniques. 
5. Conceptualize and render light, shadow and volume through appropriate technique and by judgment of value and contrast and figure/ground relationships. 
6. Use principles of linear perspective, atmospheric (aerial) perspective, and foreshortening in the establishment of the illusion of space and depth on a two-dimensional surface. 
7. Design/execute drawings that exhibit effective compositional strategies at an introductory level. 
8. Use traditional drawing materials and a focused concentration in the production of assignments. 
9. Use relevant visual/verbal/written terminology to critically analyze drawings when engaged in diagnosing projects, both in process and in class critiques, as part of a learning team. 
10. Describe drawing as a part of visual literacy, which exists within a historical and contemporary art continuum. 

• Essential Drawing Skills and Approaches to Drawing 
  • Methods of drawing  
    • Contour line drawing  
      • Contour drawing approach (a careful, descriptive line to establish specific shape, character, and detail) 
      • Kinds of contour line drawing (line variation and sensitivity, flat line, cross-contour line) 
    • Gesture line drawing  
      • Gesture drawing approach (an active searching line to discover form, proportion, placement, relationship to the whole) 
      • Kinds of gesture line drawing (process or exploratory lines, organizational lines, structural lines, mark-making, and visual texture) 
    • Value drawing 
      • Value drawing approaches (general to specific, additive or subtractive) 
      • Value identification (scale, contrast) 
      • The illusion of volume (light, highlight, shadow, core shadow, cast shadow) 
      • Chiaroscuro 
      • Figure and ground relationship 
      • Applying value (continuous tone, hatching, stippling, mark-making, subtractive base tone) 
    • Integration of multiple methods of drawing (see above) 
  • How to see and organize  (Techniques to depict accurate three-dimensional observed forms on a two-dimensional surface) 
    • Analytical techniques for spatial organization 
      • Sighting and organizational lines to identify relative proportions 
      • Sighting and organizational lines to identify angles and axis lines 
      • Sighting and organizational lines to identify alignment between landmarks 
      • Positive/negative shape to discern form and figure/ground relationships 
      • Gesture technique to explore form and to establish spatial relationships 
    • Classical techniques for spatial organization 
      • Linear perspective 
      • Atmospheric (aerial) perspective 
      • Overlapping 
      • Foreshortening 
• Media: Introduction to Basic Characteristics, Application Techniques, Preservation and Presentation of Works on Paper 
  • Drawing tools 
    • Pencil 
    • Charcoal  
    • White drawing tools 
    • Conte (optional) 
    • Ink (optional) 
    • Monotype (optional) 
    • Drypoint (optional) 
    • Powdered graphite or charcoal (optional) 
  • Drawing papers 
    • White drawing paper and charcoal paper 
    • Toned charcoal paper 
  • Fixative 
  • Presentation 
    • Archival versus non-archival materials 
    • Storage and proper care of drawings 
    • Purpose of matting and framing 
• Diagnosing, Problem Solving, and Critiques 
  • Diagnosing problems in drawings 
    • Inaccurate proportional, scale, or shape relationships 
    • Foreshortening inaccuracies 
    • Perspective inaccuracies 
    • Lack of volume, i.e. value structure, in three-dimensional forms 
    • Overly generalized drawing 
    • Unintentionally ambiguous space 
    • Not meeting goals of the assignment 
  • Intentions versus results 
    • Discovering disparity 
    • Descriptive feedback 
    • Interpretive feedback 
    • Written feedback 
  • Critiques 
    • Individual critiques with instructor 
    • Group critiques 
      • Small group, in process, critiques 
      • Class critiques, in process, or of completed assignments 
      • Written critiques, self-evaluation, and analysis of assigned historical drawing examples. 
• Composition 
  • Containment and cropping 
  • Visual emphasis 
  • Positive and negative 
  • Balance 
  • Harmony and variety 
  • Placement and scale 
• Historical and Contemporary Examples of Drawings 
• Developing Ideas and Drawing Approaches for Expression and Meaning (Content) 
  • Observational objective drawing versus subjective (interpretative) drawing 
  • Process as discovery