Class Human Figure Drawing

Drawing from life with naked model in relationship with a spacial context. Urban and non-urban realities representation, keeping a focus on the relationship between animals (whether humans or non-humans) and its surroundings. Dynamic anatomy, decomposed movement: visual memory of anatomy in action (training the memory of movement and its influence in anatomy). Line and block work; sktech and detailed drawing; attention to the whole and to the particular. Color as an element of drawing: theory and practical application, creative or naturalistic use. Framing, light/shadow effects and their specificities. Drawing as a way of representing movement, light, dramatic content, intention. Diversity of graphic languages and their application in animation/cinema related contexts.

Not applicable

Modules: GESTURE.PROPORTION.MAINTAINING SCALE.STABILITY OF SHAPE ¿Dynamic representation; measurement and correction; focus (attention to detail); model sheets; maintaining proportion in different poses and positioning. MOVEMENT.LIGHT-SHADOW Decomposition of movement into key poses; effect of light on matter (high-contrast, modeling); non-naturalistic color (temperature, contrast, harmony, psycho-emotional charge) CINEMATOGRAPHY.EXPRESSION.EXPERIMENTATION Cliché genre frames (inspired by directly naming them, images, sound or music); summoning of psycho-emotional states through line and stain quality, use of color, chiaroscuro work, caricature DETAILS.FORMAL RELATIONSHIPS Head, Hands, Feet (focused, technical and creative work, modeling and expression; facial anatomy; detail drawing); model in relation to objects (simultaneous focus, proportion, integration) and joint work of two models (movement, proportion, dynamic interrelationship); intentional composition.

While not exactly innovative (I have been applying them, increasingly, for over 15 years), methodologies that work: Use of Moodle to share content complementary to the work carried out in class; Explanation of different ways to reach more students (different vocabulary when I repeat information, writing in the most important information box, relationship with contexts in the study area, reference to the work of potentially inspiring artists, making books available for consultation) Differentiated explanation for each student, following the drawing exercises carried out in class

Livros disponíveis nos recursos bibliográficos disponibilizados no Moodle: Edawrds, Betty (1979, ed. 1999). The New Drawing on the Right Side of the Brain. Nova Iorque: Jeremy P. Tarcher/Putnam. ISBN 0-87477-424-1 Lauricella, Michel (2017). Anatomía Artística. Barcelona: Editorial Gustavo Gili. ISBN: 978-8584520688 Mattesi, Mike (2016). Force: Drawing Human Anatomy. Boca Raton, Florida: CRC Press. ISBN: 978-0415733977 Nikolaïdes, Kimon (1941, ed.1969). The Natural Way to Draw: A Working Plan for Art Study. Boston: Houghton Mifflin Company. ISBN 0-395-53007-5 Ruskin, John (1857, 2007). The Elements of Drawing. Londres: A&C Black. ISBN: 978-0713682939 Spicer,Jake (2018). How To Draw: Sketch and Draw Anything, Anywhere. Londres: Hachette UK. ISBN: 978178157617 Williams, Richard (2001). The Animator's Survival Kit. Londres, Nova Iorque: Faber and Faber. ISBN: 0-5712-0228-4