Class Drawing I

This u.c. it is based on drawing by direct observation of objects or elements natural, as well as the female and male human figure. Different approaches to drawing are explored, in which students must apply its basic elements: line, shape, texture, scale, composition, figure/ground relationship. The practice of model drawing is accompanied by moderate concepts of anatomy and proportion (classic canon), through different types of exercises: short/long poses, still/movement, isolated/in dialogue with space, drapery and props. Anatomy (theoretical study and practical application of 'basic anatomy'; skeleton; more superficial musculature); Expressiveness (mark making quality); Key Poses (decomposition of movements into dynamic key poses)

Not applicable

Exploration of dry techniques (Graphite, charcoal, colored pencils, felt pens, Indian ink pens, soft or oil pastel) and wet techniques (watercolors, ecolines, Chinese ink): Drawings of direct observation of everyday objects (fashion accessories) Drawings of direct observation of the human figure with draperies The application of the graphic language of drawing from direct observation of objects, the human figure and drapery, with criteria on the level of mastery of different graphic media (dry and wet) to draw the human figure with rigor and verisimilitude and expressivity, everyday objects that surround the human figure and the draperies typical of clothing. Research - images of some designers' sketchbooks and short reflections on the role of drawing in the creative process. Graphic Diary as a study tool and as an album to record and collect ideas and references.

A hybrid teaching methodology is used, with contents that are transmitted in class (before or during poses of the model, or objects to represent) 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 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.

BAMMES, Gottfried - L'etude du corps humain. Paris : Dessain et Tolra, 1991. EDWARDS, Betty - Aprender a dibujar. Madrid: Hermann Blume, 1984. EDWARDS, Betty - Nuevo Aprender a Dibujar con el lado derecho del cerebro. Madrid: Urano, 2000. GOLDSTEIN, Natham - The Art of Responsive Drawing. N. Jersey: Prentice Hall, 1992. GÓMEZ Molina, Juan José (coord.) - Las lecciones del dibujo. Madrid: Édiciones Cátedra, 1995. MOREAUX, Arnold - Anatomia artística. Madrid: Ediciones Norma, 1988. NICOLAIDES, Kimon - The Natural Way to Draw. Boston: Houghton Mifflin, 1969. SMAGULA, Howard J. - Creative Drawing (Second edition), MC. Graw - Hill Higher Education, 1992. WONG, Wucius - Princípios de forma e desenho. São Paulo: Martins Fontes, 1998.