Class Human Figure IV

This course focuses on drawing the human figure, both male and female, from live models through direct observation. Continuing from previous modules, it delves into the representation of the figure in its relationship to space, background, objects, and natural elements. Short and long exercises alternate, exploring both an approach based on rigorous observation, proportion, anatomical structure, and the use of light and shadow, as well as more gestural and expressive approaches using different materials and representational strategies.

Not applicable

1. Relationships of proportion and scale; 2. Perspective and foreshortening; 3. Anatomical structure; 4. Light, shadow, and volumetry; 5. Relationship between figure and ground; 6. Composition and framing; 7. Human figure interacting with surrounding space; 8. Human figure interacting with objects (fabrics, furniture, accessories); 9. Human figure interacting with non-human figures (plants, animals); 10. Gestural and expressive drawing; 11. Development of a personal graphic language from direct observation. The program content is developed through three work modalities: 1. Quick, timed exercises; 2. Exercises of prolonged observation and technical deepening; 3. Thematic graphic diary. Note: FH programs I, II, III, and IV are identical, but the level of difficulty increases gradually.

The methodology of this discipline is based on drawing from direct observation using a live model, understanding the physical presence of the model as a fundamental condition for developing the capacity for observation, analysis, and interpretation of the human figure. Continued practice in a studio setting promotes a deeper understanding of the relationships between body, space, light, and composition, constituting an essential basis for the development of future artistic projects that presuppose mastery of the human figure. The teaching prioritizes individualized guidance, adjusting exercises to the needs of each student and encouraging experimentation with different representational strategies. Simultaneously, there are opportunities for collective discussion and critical analysis of the work developed, promoting reflection on processes, results, and artistic choices, as well as the use of appropriate technical terminology.

BRIDGMAN, G. B. (1920). Constructive anatomy. Edward C. Bridgman. EDWARDS, B. (2008). The new drawing on the right side of the brain: A course in enhancing creativity and artistic confidence. HarperCollins. GORDON, L. (1996). Desenho anatómico. Editorial Presença. HALE, R. B. (2009). Drawing lessons from the great masters. Watson-Guptill. JENNY, P. (2014). Desenho anatómico. Gustavo Gili. KAUPELIS, R. (1980). Experimental drawing. Watson-Guptill. MALBERT, R. (2015). Drawing people: The human figure in contemporary art. Distributed Art Publishers. MASLEN, M., & SOUTHERN, J. (2011). Drawing projects: An exploration of the language of drawing. Black Dog Publishing. NEW, J. (2005). Drawing from life: The journal as art. Princeton Architectural Press. NICOLAIDES, K. (1969). The natural way to draw. Houghton Mifflin Company.