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Presentation
Presentation
THIS COURSE IS SBOUT PORTRAIT - ARTISTIC DRAWING: HOW TO DO IT
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 6
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Year | Nature | Language
Year | Nature | Language
2 | Mandatory | Português
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Code
Code
ULHT722-3166
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
- SELF-PORTRAIT WITH MASK - 4 DRAWINGS (A3)
- SELF PORTRAIT - 20 PHOTOGRAPHS HANDLED IN AN ARTIST'S BOOK where the distinction between self-portrait and self-representation (of oneself or as another), verisimilitude, mask, the character and the caricature is implied. Exploration of body expression (gestures and attitudes) and facial expression (emotions). HOMEWORK.
- SELF-PORTRAIT AT 3 AGES: CHILD (A3), ADOLESCENT (A2), ADULT (A1). To practise enlarging shapes.
- SELF- PORTRAIT AS DOCUMENT: LUSOPHONE PROJECT - 4 DRAWINGS To pay attention to the adequacy of the format and framing, the size of the support and the scale of representation of the person(s) portrayed (1:1).
- SELF- PORTRAIT WITH PREPARED MIRROR: research or realisation of reflective surfaces from which a series of 20 distorted drawings of the face are made. Exploration of grimace, exaggeration, disproportion and caricature.
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Objectives
Objectives
The objectives are:
To develop representation skills in the field of Portrait drawing with the Review and deepening of specific knowledge in the field of drawing, continuing the discipline of Drawing I, II, III and Human Figure I, II, III.
Develop graphic representation strategies portraying others or oneself, which implies the applied notion of self-criticism and detachment.
Strengthen autonomy in the realisation of artistic projects.
Stimulate the daily practice of drawing.
Practise drawing based on theoretical knowledge and regular practice.
Know how to apply graphic representation strategies in portrait drawing, namely:
- direct observation (in the mirror and in the presence of the model);
-indirect observation (from a photograph).
Design and implement a personal drawing project based on a thematic challenge (portrait).
- Understand the relationships of scale, proportion and distortion.
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Teaching methodologies and assessment
Teaching methodologies and assessment
Students are tutored. The exercises are presented with examples of images from the history of art so that there is a horizon of expectation about the results to be achieved by the students. The wide range of approaches to the theme of Portraiture allows the unfolding of plastic hypotheses and an understanding of the actualisation of this genre of Painting. Students choose their scratching media and drawing supports to best explore their individual interests. There are always critical collective discussions on the works in progress with swat analysis to further develop the students' vocabulary and analytical discourse. The main objective is that each student can see in the exercises a personal opportunity for the development of their artistic practices and can exhibit the results in the DCAM exhibitions.
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References
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
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Office Hours
Office Hours
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Mobility
Mobility
No
