Human Figure I
Part of this Programme
Level of Qualification|Semesters|ECTS
Bachelor | Semestral | 4
Year | Type of course unit | Language
1 |Mandatory |Português
Total of Working Hours | Duration of Contact (hours)
100 | 30
Recommended complementary curricular units
Prerequisites and co-requisites
1.Blind and transformed contour drawings
2.Scale, Perspective and proportions
4.Modelled drawing ¿ weight and mass
5.Foreshortened figure drawing - exercises with viewfinders
6.Figure ground relationship - exercises with viewfinders - collective panel
7.Modelled drawing ¿ lights and shadows
8.Representation and expression - graphic experiences using optical devices and new technologies (zoom, blur, etc.)
9.Everyday gestures ¿ drawing the moving body, exploring its relationship with small objects
10.Movement and spacial occupation ¿ the body in relation to environment
The programmed contents will be developed in three types of exercises:
1 - Hand warm-up exercises and vision unlocking.
2 -Analytical representation exercises.
3 -Themed sketchbook diary- weekly exercises 5-10 drawings per week (100 records)
Note: The programs: Human Figure I, III and V are identical ¿ internal merging - but the level of demand increases in accordance with the student's
To provide the students with basic skills in drawing, including composition, accurate proportions and perspective, combined with a knowledge of the anatomy assisting them in their representations of the human figure.
To develop in students the ability to observe and depict, with progressive autonomy, the nude human body.
To broaden students' knowledge of techniques and graphic approaches.
Knowledge, abilities and skills to be acquired
This course is based on direct observation drawing of the male and female model.
Accompanied by basic concepts of anatomy and proportion, the student should use the basic elements of drawing - scale, composition, figure-ground relationship - in their representation of the human figure.
Various graphical approaches are explored, as well as various model pose positions - short/long pose; stationary/moving figure, isolated/in dialogue with the space, draping or props.
Teaching methodologies and assessment
The program contents are developed progressively through timed drawing exercises of live models, that will take place during lessons, and are supplemented with the graphic diary.
The final mark conveys a criterion of attendance and punctuality, as well as achievement of the objectives defined for the subject. Assessment takes place in two ways: continuous (compulsory attendance to 75% of the classes); final, focusing on all the work carried out in the semester. The final quantitative evaluation, results from the assessment of the three types (33% each).
In the event of an exam, the pupil must present the entire semester's work. However, as the discipline eminently requires on-site presence, the student must first contact the teacher to determine alternative exercises that enable them to meet the objectives (Art. No.10 Reg.ECATI- School of Communication, Architecture, Arts and Information Technologies). The same applies in the situation referred to in Art. 7, 5, Reg.ECATI.
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Hale, R. (2009). Drawing lessons from the great masters. New York: Watson-Guptill
Jenny, P. (2014). Desenho anatómico. Barcelona: Gustavo Gili
Kaupelis, R. (1980). Experimental Drawing. New York: Watson-Guptill
Malbert, Roger (2015). Drawing People: The Human Figure in Contemporary Art. United States: Distributed Art Publishers
Maslen, M; Southern, J. (2011). Drawing projects - an exploration of the language of drawing, London: Black Dog Publishing
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Stout, K. (2015). Contemporary Drawing: From the 1960s to Now. London: Tate Publishing