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Presentation
Presentation
This CU is about Portrait. Based on drawing by direct observation of the face and body of male and female models, the students represent each other. Aware of the anatomy of the face and its proportions in adults, each student must represent the faces of their colleagues (portrait) and their own face (self-portrait) using the language of drawing and/or painting, taking into account natural scale, verisimilitude, mask, exaggeration (anamorphosis, caricature and distortion), expression of emotional states and composition on the support as a challenge to organise the elements that make up the portrait. Various methods of drawing portraits from direct observation will be explored: sketching (quick drawings); contour and volume drawing (slow drawings), always taking into account verisimilitude in relation to the model and the various plastic and expressive possibilities of drawing as an artistic discipline.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 4
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Year | Nature | Language
Year | Nature | Language
2 | Mandatory | Português
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Code
Code
ULHT722-14654
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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
The contents of this CU are: Portrait and Self-portrait by direct observation. Face drawings, quick timed pose: - Blind contour drawing; - Expressive drawing; - Sketches; - Shared drawing. Face drawings, longer pose: - Rigour in the representation of the natural scale and proportion; - Modelation; - Contrast; - Figure/background; centered/decentered; whole/detail; - Graphic experimentation: ampliation, blurring of contours, face expression/emotion; - Exploration of the relationship of the face with other objects (props, jewelry, glasses, hats, scarves, phones, earphones, masks) and body parts (hands, arms). The contents of the program are made according to 3 approaches: 1. Quick exercises; 2. Slow exercises, analytical representation of the face; 3. Thematic graphic diary with 5 drawings per week on details of the face.(1 drawing per page).
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Objectives
Objectives
The objectives of this CU are: To sensitise students to the practice of portraiture in contemporary times. Throughout the course students will: - Develop the ability to represent the human face through direct observation of the model - Understand, represent and distinguish between the adult face in its true anatomy (verisimilitude with the model) and the face with distortions and exaggerations (caricatures, anamorphoses and masks), which often result from an assumption of disproportion in the recording of facial proportions - Acquire the skills to recognise and correct errors of anatomy - Develop an authorial language in the representation of the face, using drawing tools - Develop the ability to observe and describe a portrait with increasing autonomy - Expand their knowledge of graphic techniques and approaches according to their interests and authorial purposes - Understand that the expression of a quick drawing (sketch) is different from that of a drawing made over a longer period of time.
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Teaching methodologies and assessment
Teaching methodologies and assessment
The relevant pedagogical methodology in this CU is the individualised monitoring of the student. This approach aims to broaden and stimulate the development of plastic languages, technical processes and critical vision on the results achieved according to the potential of each student. The individualised accompaniment is a decisive support for the objectives to be achieved: technical, plastic and artistic quality of the drawings by direct observation of the model and, in this way, promotes the progression of an authorial language. The 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 terminologies. These conversations also discuss affinities and differences between the imaginary of colleagues, issues of technical rigour in the chosen media, capacity for experimentation and plastic quality.
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References
References
BABO, M. A. (2003) Olhando o olhar no retrato. In Revista Comunicação e Linguagens – Imagem e vida, nº 31. Lisboa: Relógio d’Água DUBUS, P. (2006) Qu’est-ce qu’un portrait?. Paris: Insolite. GERODEZ, J. (2010). Le nu, modèle vivant. Paris: Eyrolles JENNY, P. (2014). Desenho anatómico. Barcelona: Gustavo Gili. MAIA, T. (2009) Assombra. Ensaio sobre a origem da imagem. Lisboa: Assírio & Alvim. NANCY, J.-L. (2000) Le Regard du Portrait. Paris: Galilée. PONTÈVIA, J.-M. (1993, 2ª ed.) La Peinture, Masque e Miroir. Écrits sur l’art et pensées détachées. Périgueux: William Blake & Co. RAMOS, A. (2010). O desenho da presença. Lisboa: Campo da comunicação.
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Office Hours
Office Hours
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Mobility
Mobility
No
