Class Human Figure Drawing

  • Presentation


    Drawing from life with naked model in relationship with a spacial context.
    Urban and non-urban realities representation, keeping a focus on the relationship between animals
    (whether humans or non-humans) and its surroundings.
    Dynamic anatomy, decomposed movement: visual memory of anatomy in action (training the memory of
    movement and its influence in anatomy).
    Line and block work; sktech and detailed drawing; attention to the whole and to the particular.
    Color as an element of drawing: theory and practical application, creative or naturalistic use.
    Framing, light/shadow effects and their specificities.
    Drawing as a way of representing movement, light, dramatic content, intention.
    Diversity of graphic languages and their application in animation/cinema related contexts.

  • Code


  • Syllabus



      ¿Dynamic representation; measurement and correction; focus (attention to detail); model sheets; maintaining proportion in different poses and positioning.
      Decomposition of movement into key poses; effect of light on matter (high-contrast, modeling); non-naturalistic color (temperature, contrast, harmony, psycho-emotional charge)
      Cliché genre frames (inspired by directly naming them, images, sound or music); summoning of psycho-emotional states through line and stain quality, use of color, chiaroscuro work, caricature
      Head, Hands, Feet (focused, technical and creative work, modeling and expression; facial anatomy; detail drawing); model in relation to objects (simultaneous focus, proportion, integration) and joint work of two models (movement, proportion, dynamic interrelationship); intentional composition.
  • Objectives


    Learning, developing and dominating drawing as communication within a realistic approach form of representation: observation; attitude; time vs doing and intention; exploration of different media; anatomy in practical terms; exploration of adiversity of graphic styles/languages; exercising visual memory.
    Adapting models to different contexts according to the animation industry, i.e. with an inner logic which enables them to be worked by distinct intervenients in the process of animating.
    Learning to see what is unique in each observed object.
    Learning to identify and representwhat characterizes a certain movement or body attitude/language.
    Enlarge the scope of competencies regarding the use of the different available materials for the practice of drawing, adapting each one to their own capacities, preference and intended results.
    Communicating through drawing: intentions, attitudes, dynamics, cinematography, spaces.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    While not exactly innovative (I have been applying them, increasingly, for over 15 years), methodologies that work:

    Use of Moodle to share content complementary to the work carried out in class;
    Explanation of different ways to reach more students (different vocabulary when I repeat information, writing in the most important information box, relationship with contexts in the study area, reference to the work of potentially inspiring artists, making books available for consultation)
    Differentiated explanation for each student, following the drawing exercises carried out in class

  • References


    Livros disponíveis nos recursos bibliográficos disponibilizados no Moodle:

    • Edawrds, Betty (1979, ed. 1999). The New Drawing on the Right Side of the Brain. Nova Iorque: Jeremy P. Tarcher/Putnam. ISBN 0-87477-424-1
    • Lauricella, Michel (2017). Anatomía Artística. Barcelona: Editorial Gustavo Gili. ISBN: 978-8584520688
    • Mattesi, Mike (2016). Force: Drawing Human Anatomy. Boca Raton, Florida: CRC Press. ISBN: 978-0415733977
    • Nikolaïdes, Kimon (1941, ed.1969). The Natural Way to Draw: A Working Plan for Art Study. Boston: Houghton Mifflin Company. ISBN 0-395-53007-5
    • Ruskin, John (1857, 2007). The Elements of Drawing. Londres: A&C Black. ISBN: 978-0713682939
    • Spicer,Jake (2018). How To Draw: Sketch and Draw Anything, Anywhere. Londres: Hachette UK. ISBN: 978178157617
    • Williams, Richard (2001). The Animator's Survival Kit. Londres, Nova Iorque: Faber and Faber. ISBN: 0-5712-0228-4
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