Class Drawing IV

  • Presentation



  • Code


  • Syllabus


    UC Theme: PORTRAIT

    2 Graphic exercises that explore the canon and variations of the portraiture tradition:

    1 SELF-OBSERVATION EXERCISE in the mirror. Carrying out a set of drawings (minimum 20) where the distinction between self-portrait and self-representation (of oneself or another), likeness, mask, character and caricature is implied. Exploration of body expression (gestures and attitudes) and facial (emotions). TPC.

    1 MODEL DIRECT OBSERVATION EXERCISE. Set of drawings (minimum 10) that are assumed as graphic design. They must follow 1 of the following canonical compositions: collective portrait, of whole body, to ¾, mythological, figure. Consider the adequacy of the format and frames, the size of the medium and the scale of representation of the subject (s) (1: 1).

  • Objectives


    To develop in the student capacities of representation in the scope of the drawing

    To review and deepen specific knowledge in the scope of drawing, giving continuity to the discipline of Drawing I, II, III and Human Figure I, II and III.

    Develop strategies of graphic representation portraying others or the self, which implies the applied notion of self-criticism and detachment.

    Reinforcing autonomy in the realization of artistic projects

    Stimulate the daily practice of drawing.

    The student is able to practice drawing based on theoretical knowledge and regular practice; to use some strategies of graphical representation in the portratistic design, namely the direct observation (in the mirror and in the presence of the model) and indirect (from photography); to design and execute a personal design project based on a thematic challenge.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    The exemplification and demonstration of procedures and objectives is structural at the introduction of each exercise and is done with bibliographical suggestion and audiovisual means. The tutorial relationship is complemented by critical group comments and demonstrations applied to each situation. The student is expected to be committed and able to research plastic, rigor in the field of graphic strategies, ability to materialize and a reflexive and critical attitude towards his work.

    The final grade expresses criteria of attendance and punctuality and the fulfillment of the objectives of the UC. The evaluation is done in three ways: continuous (compulsory attendance at 75% of classes); intermediate, qualitative, for each project; and final, quantitative, focusing on all the work of the semester. The final evaluation results from the appraisal of the two projects (50% each).

  • References


    ARNHEIM, R. (1998). Arte e Perceção Visual, Uma psicologia da visão criadora. São Paulo: Livraria Pioneira Editora

    BUTLER, C. & ZEGHER, C. (2010). On Line: Drawing Through the Twentieth Century. New York: MoMA

    DAVIDSON, M. (2011). Contemporary Drawing: Key Concepts and Techniques. New York: Watson-Guptill Publications

    DEXTER, E. (2010). Vitamin D: New Perspectives in Drawing. London - New York: Phaidon

    RAMOS, A. (2010). O desenho da presença. Lisboa: Campo da comunicação.

    NEW, J. (2005). Drawing from life, The journal as art. New York: Princeton Architectural Press

    RATTEMEYER, C. (2013). Vitamin D2: New Perspectives in Drawing. London ¿ New York: Phaidon

    RICHTER, G. (2009). Fotografías pintadas. AV Proyectos

  • Office Hours

    Office Hours

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