Class Human Figure II

This course is based on direct observation drawing of the male and female model. Accompanied by moderate concepts of anatomy and proportion, student should use the 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.

• Blind and transformed contour drawings Scale,
• Perspective and proportions
• Gesture drawings Modelled drawing - weight and mass
• Foreshortened figure drawing - exercises with viewfinders
• Figure ground relationship - exercises with viewfinders - collective panel
• Modelled drawing - lights and shadows
• Representation and expression - graphic experiences using optical devices and new technologies (zoom, blur, etc.)
• Everyday gestures -drawing the moving body, exploring its relationship with small objects
• 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. Technical exercises with experimentation of materials
4. Anatomical studies (homework).

Note: The Human Figure II, IV, and VI programs are identical, but the level of demand increases in accordance with the student's level of education.

A hybrid teaching methodology is used, with contents that are transmitted in class (before or during poses and in the presence of the model) and other contents that are made available to students through the Moodle platform.

Online content mainly consists of: tutorials, free stock images and/or videos (with various poses and models of various body biotypes [ectomorph, mesomorph and endomorph], different genders and ages); but several specialized books are also available (through which students can deepen their studies and research on human figure drawing, depending on their individual interests).

Students are encouraged to explore their personal interests in the graphic diary and also to share them in the classroom context, so that, in dialogue with the teacher and colleagues, they can combine and articulate their aesthetic universes with the fundamental syllabus that must be acquired in this curricular unit.

• 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.