ART 234 Figure Drawing

1. Demonstrate skill in hand/eye coordination in representing the human figure. 
2. Execute a descriptive representation of the human figure by such traditional means such as proportion, foreshortening, gesture, and measuring techniques. 
3. Integrate multiple drawing methods to exploit the benefits of each in the development of finished figure drawings. 
4. Conceptualize and render light, shadow, and volume through appropriate technique and by judgment of value, contrast, and figure/ground relationships. 
5. Draw the figure based on a fundamental understanding of anatomy and its role in the dynamics of movement. 
6. Use ideation strategies and the design process to execute figure drawings with content and awareness of composition. 
7. Demonstrate skill in the use of traditional drawing materials and a focused concentration in the production of assignments. 
8. Use relevant terminology to critically analyze works of art when engaged in diagnosing projects in process or during critiques. (Visual, verbal, written) 
9. Recognize the importance of the human figure in visual literacy and within a historical and contemporary art continuum. 

Additional Statewide General Education Outcomes

1. Interpret and engage in the Arts and Letters, making use of the creative process to enrich the quality of life. 
2. Critically analyze values and ethics within a range of human experience and expression to engage more fully in local and global issues. 

 

Content Outline

• Essential Drawing Principles in Relation to the Human Figure   
  • The human figure  
    • Live model and classroom etiquette 
    • Sighting in relation to the human form 
    • Comparative proportions in the male and female figure 
  • Gesture drawing or rapid contour drawing 
    • Seeing is the key 
    • Using axis lines 
    • Keeping it simple 
    • Setting the pace 
    • Working from the inside out 
  • Enhancing the illusion of volume and space in the human form 
    • General-to-specific approach to form and value in figure drawing 
    • Line variation in figure drawing 
    • Scaling techniques in figure drawing 
  • Mapping the figure in space 
    • Drawing the figure in an observed environment 
    • Using straight-line construction 
    • Creating visual paths of movement 
  • The figure and anatomy 
    • Artistic anatomy: surface anatomy of the figure 
    • Observing contour changes as muscles flex and extend 
    • Major bones of the human skeletal structure 
    • Bony and other landmarks in the figure 
    • Superficial muscles of the human figure 
    • Anatomical terminology 
• Continued Technical Refinement of Essential Drawing Skills and Approaches to Drawing  
  • Methods of drawing the figure  
    • Line 
      • Contour approach: analytical and expressive qualities 
      • Gesture approach: analytical and expressive qualities 
    • Value (range, identification, contrast) 
    • Integration of multiple methods of drawing (see above) 
  • Ways of accurately seeing the figure in space 
    • 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 
      • Use of gesture technique to explore form 
    • Classical techniques for spatial organization 
      • Linear perspective 
      • Atmospheric (aerial) perspective 
      • Overlapping 
      • Foreshortening 
• Continued Development of Skills in Diagnosing, Problem Solving, and Critiques  
  • Diagnosing problems in your work  
    • 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  
    • Group critiques 
      • Group, in process critiques 
      • Class critiques, in process or of completed assignments 
    • Individual critiques with instructor 
    • Written critiques, self-evaluations, and analysis of assigned historical drawing examples 
• Composition and the Human Figure 
  • Definition and principles   
  • Variable compositional elements to consider 
  • Using viewfinder to assist in composition 
  • General guidelines 
    • Impact of negative and positive space 
    • Impact of format 
    • General placement concerns 
    • Visual intent 
    • Impact of viewpoint 
      • The Golden Section (optional) 
• Historical Context: Evolution of Figurative Representation in Art 
  • Allegory  
  • Contemporary approaches 
  • Narrative and history 
• Developing Ideas and Drawing Approaches for Content 
  • Observational objective drawing versus subjective (interpretative) drawing 
  • Process as discovery  
  • Ideation: generating ideas 
    • Divergent thinking 
    • Form and Content 
    • Making connections (synthesizing images/ideas) 
    • Brainstorming 
    • Maintain ongoing visual idea investigations