Phone: 725-3515
E-mail: branham@pdx.edu
Class information: http://home.comcast.net/~barbbranham/life.htm
Rm. AB 290
Term: Summer 2009
Art 250 LIFE DRAWING (4) The first course in the life drawing series spanning three quarters.
Prerequisite: a minimum of two intro to Drawing or equivalent experience drawing from observation.
Course Objectives:
To develop skills in seeing the figure as a whole and understanding how the parts fit into the whole. There will be great emphasis on drawing what the student SEES – that is on learning to see the model as she/he IS, not as a set of learned symbols or clichés.
To see correct proportion and the gesture of pose. To be aware of good composition. To practice a skilled use of line: awareness of line phrasing, use of contour and cross-contour line to describe the interior landscape of the figure and effective use of line weight variation.
To develop a basic working knowledge of the human skeleton and how the skeleton affects the surface of the living figure will be an important emphasis of this class. The student will become familiar with the shapes and functions of most of the bones of the body and their names. There will be an exam on the skeleton on the last day of class.
EVALUATION AND GRADES:
70% Portfolio of work selected from drawings completed during studio sessions. Be sure to date all work.
20% Outside anatomy assignments on the skeleton. Other outside work.
10% Test on the skeleton: drawing the skeleton from memory on the Richer scale with the names of all bones labeled.
Attendance is a critical part of the class as the student will be drawing from a model. This format with the instructor present is not available anywhere else.
Ÿ Please make sure you are on time and prepared for the class. If a student is absent 2 or more times he/she should withdraw and take the class when more commitment to the class is possible.
· This is a short, intensive class with the same credit as a class that lasts 10 weeks. A vacation or family get-together is not a valid excuse no matter when it was planned; neither is work scheduling or work for other classes). There is NO way to make-up these classes.
· Students are expected to arrive on time (1 p.m.) and be prepared with all necessary materials to work until the end of the class at 4:50 pm each day.
· If it is absolutely necessary to leave early please inform the instructor. This practice is discouraged and should be limited to absolute necessity.
· You will be standing at an easel when drawing so wear comfortable shoes. If you have a medical
condition that does not allow you to stand for extended periods of time a doctors excuse is required. If you need an ergonomic chair contact the university Disability Resource Center.
Evaluations: The instructor will be evaluating the student on their ability to draw the figure in proportion and their understanding of the principles of design in placing the figure effectively in the format; the student’s ability to handle the medium, on an awareness of line quality, and the quality of outside work. Improvement in producing consistently competent drawings is the primary goal.
Respect for the model requires that no one other than registered students may be in the classroom while the model is working. Do NOT photograph the model without the model’s permission.
Cell phones should be turned OFF before entering the classroom.
This course must be taken for a grade option of A-F.
Textbook: no textbook is required for Life Drawing but sketchbook assignments will require one or more anatomy books for reference. You may use the PSU library or purchase one of the less expensive anatomy books. If you plan to pursue life drawing beyond this introductory course owning several anatomy books is highly desirable.
RECOMMENDED ANATOMY AND LIFE DRAWING RESOURCES FOR ARTISTS:
**Artistic Anatomy by Dr. Paul Richer Watson Guptill
Excellent clear illustrations of the skeletal and muscular systems by the man who set the standard in proportion for modern life drawing; available in paperback.
Drawing Lessons from the Great Masters by Robert Beverly Hale Watson Guptill
An excellent general resource for the beginner; available in paperback.
Master Class in Figure Drawing by Robert Beverly Hale, compiled and edited by Terence Coyle Watson Guptill
Recommended for both beginner and advanced; available in paperback.
Drawing from Life by Clint Brown and Cheryl McLean Harcourt Brace
Textbook written by University of Oregon faculty members; available in paperback.
Figure Drawing The Structure, Anatomy, and Expressive Design of Human Form by Nathan Goldstein
Prentice Hall
Textbook; one of the best books available on the comprehensive analysis of issues in life drawing; available in paperback.
**Atlas of Human Anatomy for the Artist by Stephen Rogers Peck Oxford
Thorough explanation of skeletal and muscular systems; available in paperback.
Visualizing Muscles by John Cody Lawrence University Press of Kansas
A unique presentation of the muscular system on a living model; available in paperback.
Anatomy for the Artist by Jeno Barcsay Barnes and Noble
Beautifully drawn illustrations of skeletal and muscular systems as well as analytical drawings of the figure; hardcover only but a bargain from Barnes and Noble for around $17.
Human Anatomy and Figure Drawing by Jack Kramer
An Atlas of Anatomy for Artists by Fritz Schider
Albinus on Anatomy by Robert Beverly Hale and Terence Coyle
Anatomy, A Complete Guide for Artists by Joseph Sheppard
Anatomy Lessons from the Great Masters by Robert Beverly Hale and Terence Coyle
Atlas of Foreshortening by John Cody
The anatomy of man Leonardo da Vinci
Human Anatomy for Artists: the elements of form by Eliot Goldfinger
Week 1: Introduction of methods of drawing the human figure with emphasis on looking at the whole figure rather than concentrating solely on the parts. General familiarization with the problems of drawing the human figure. Learning to use the sighting stick to check alignments to more accurately depict the gesture of the pose and proportions of the figure.
Introduction to the skeleton. Discussion of important bony landmarks to utilize in judging proportion and alignment of the body.
Week 2: Continuing work on focusing on stating the entire figure economically, looking at figure as a whole and paying attention to the placement of the figure in the format. Lectures on skeleton continue.
Week 3: Practice continues on complete figure, composition, etc.
Week 4: Practice. On the last day (Thursday) there will be an exam on the skeleton. Portfolios will be due at the end of Thursdays class.
Lectures on various aspects of the skeleton and on the skeleton’s relation to the body’s surface and importance to the proportions of the body will be given through the first three weeks.
The first outside assignment will be due the second Monday of the course. More assignments will be due the following two Mondays.
Exam on skeleton, last day of class in the last hour of the class.
PORTFOLIO: due last day of class by the end of the class. Instructions for what your portfolio should include will be given a few days before they are due. The first 2 ½ hours of class on that Thursday will be a normal working session. The last hour will be for the exam on the skeleton (drawing the skeleton from memory and naming the bones).
SUPPLY LIST - ART 350 LIFE DRAWING BRANHAM
This is a very basic and inexpensive list. It is required and should be assembled by the first (working) class meeting. The university does not supply any of these items even if you forget something, so don't ask. DO NOT plan to shop during class time.
The Portland State U. Book Store, Utrecht and Art Media usually have sales going the first week of the quarter so this is a good time to stock up.
1. drawing board:
there are several kinds of drawing boards available:
hollow birch board: advantages - light, smooth, can use push pins to attach paper
masonite board with clips: advantage: it’s cheap and easy to carry and the most popular choice
around 20" X 30" is a good size if your'e going to store it in a locker.
2. several sticks of vine charcoal (soft) this stuff goes fast so you will have to replenish unless you buy an ample amount. Look for sticks that are about ¼” in diameter
3. several sticks of black ContJ crayon (2B) be sure to get the soft grade
optional: sticks or the dark brown or red ContJ crayon
4. chamois skin (you really do need to have this -- there is no good substitute)
you can buy these in the art store or in automotive supply area (much cheaper but make sure it is genuine chamois and not imitation).
5. workable fixative (optional)
6. bond paper pad (18"X24" or 17” x 23” approximately) Bond paper is like typing paper, a very smooth white surface. Do not get newsprint or white drawing paper!!! Art Media carries a bond pad that is very inexpensive – under $7. It has no cover – just bond paper
7. a portfolio with handles to store paper and drawings
9. Sheets of white drawing paper (11"X 14") for homework
10. Red and blue colored pencils for homework.
11. viewfinder (optional) - a slide sleeve or small piece of cardboard (ex: 3" X 4" piece of cardboard with a 1" X 1 1/2" rectangle cut in the center). To make it more useful it should have the center of each side marked with a dark line.
12. a wooden dowel or “sighting stick” – at least 15 inches long and no more than 1/8" in diameter (you can get a 36" 1/8"diameter dowel at Fred Meyer for about 33 cents.) The instructor may have a supply of these sticks available for 10 cents per stick.
13. !NO ERASERS!
14. You might consider buying an anatomy book if you are a serious student of the human figure. Powell’s may have used anatomy books. The Richer illustrations are available on line and will probably suffice if you have a printer available.