Class Human Figure VI

This CU is based on Drawing and Painting by direct observation of male and female models with and without props.

Aware of the concepts of anatomy and the proportion of the human body, the student must represent the model in loco, with technical and plastic quality, exploring Drawing and Painting in order to maintain scale relationships, to think about the composition and the relationship between body / floor and spaces and any surrounding props and finally in the light-shadow relationship (contrast accentuations and modelling).

Students are expected to explore graphic and pictorial approaches in order to manifest in these exercises a plastic language of authorial character considering this work not as an exercise but as a challenge to their representational skills. The poses are long and directed to the Painting exercises.

Description of contents

Drawing/sketching of the model with reference points as a basis for the execution of the Painting taking into account the natural scale, the perspective (escorso) and proportions of the human figure;
The figure / background relationship with a focus on experimenting with challenging, unexpected and classic frameworks;
Painting with modelling of light and shadow to obtain volumetry;
Rigour in the colours applied in the mimetic relationship with the model.
Relationship of the body with small objects (when applicable);
The human body and the occupation of space: the body in relation to the surrounding environment.
The programme contents are developed with two exercises:

1 - Paintings developed in the classroom with tutorial accompaniment and collective critical discussions;

2 - Anatomical and detail studies (graphic diary developed in autonomy).

The relevant pedagogical methodology in this CU is the tutorial accompaniment of the student. The individualised approach aims to broaden and stimulate the development of plastic languages, artistic technical processes and the critical view on the results achieved. This individualised accompaniment is a decisive support for the objectives to be achieved: technical, plastic and artistic quality of the Paintings by on-site observation of the model to promote the progression of an authorial language obtained in autonomy. 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 imaginary of colleagues, issues of technical rigour in the chosen media, capacity for experimentation, quality and ambition of the paintings.

• 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.