Class Human Figure III

This CU is based on drawing by direct observation of the male and female human figure.

Drawing is accompanied by concepts and techniques of medium difficulty on anatomy and proportion. To draw the human body, students must apply the elements of the drawing language: scale, composition, figure/background relationship, volumetry. Different approaches to drawing are explored, as well as different positions of the model: short/long pose, stillness/movement, isolated/in dialogue with space, draping and props.

The contents of this CU are:

- Blind and transformed contour drawing;

- relationships of scale, perspective and proportion;

- Expressive gestural drawing;

- Modeling: weight and mass;

- Contrast: light and shadow;

- Shared drawing;

- Figure/ground relationship; centered/decentered; full/detail;

- Graphic experimentation: enlargement, blurring of contours, transparencies, overlays, etc.;

- Drawing the body in motion;

- Exploration of the body's relationship with other objects (fabrics, furniture, geometric volumes);

- Movement and occupation of space:  the body in its relationship with the environmental context;

The contents of the program are made according to 3 approaches:

1. Quick, timed drawing exercises;
2. Slow exercises, analytical representation;
3. Thematic graphic diary with 5 drawings per week.

Note: FH I, III, and V programs are identical but the requirement level gradually increases.

The relevant pedagogical methodology in this CU is the individualised monitoring of the student. The individualised approach aims to broaden and stimulate the development of technical languages and processes and the critical view of the results achieved. This individualised accompaniment is a decisive support for the objectives to be achieved: technical and artistic quality of the drawings by on-site observation of the model. Critical and self-critical capacity is valued through collective discussions in the classroom where processes and results in the realisation of each exercise are debated, promoting the use of appropriate technical terminology. These collective conversations also discuss affinities and differences between the imaginations of colleagues, issues of technical rigour in the chosen media, capacity for experimentation, quality and ambition of the drawings.

• EDWARDS, Betty - The New Drawing on the Right Side of the Brain. A course in enhancing creativity and artistic confidence. London: Harper Collins, 2008.
• HALE, Robert Beverly - Drawing Lessons from the Great Masters. New York: Watson-Guptill, 2009.
• JENNY, Peter - Desenho anatómico. Barcelona: Gustavo Gili, 2014.
• KAUPELIS, Robert - Experimental Drawing. New York: Watson-Guptill, 1980.
• MALBERT, Roger - Drawing People: The Human Figure in Contemporary Art. United States: Distributed Art Publishers, 2015.
• MASLEN, Mick; SOUTHERN, Jack - Drawing Projects - an exploration of the language of drawing. London: Black Dog Publishing, 2011.
• NEW, Jennifer - Drawing from life. The journal as art. New York: Princeton Architectural Press, 2005.
• NICOLAIDES, Kimon - The Natural Way to Draw. Boston: Houghthon Miflin Company, 1969.