Class Drawing III

In this course students develop skills in perspective drawing, specifically applied to the representation of interior spaces.

Not applicable

The Interior Scene: historical framework and recent developments/developments. Graphic representation strategies in Interior Scene drawing. Real space and prepresentational space; depth indicators, perspective, composition and structure, human scale, tonal values, details. Project I - Series of five large-format drawings (A1) based on paintings where the context is interior (architectural) spaces, exploring various resources of image transposition, various techniques of representation and graphic expression from different means of scratching (graffiti, colored pencils, felt-tip pens, fine, medium and thick pens) and aqueous media (china-ink and watercolor) Project II - Group puzzle drawing built with pages (A1) drawn by each element following the process from micro (individual drawing) to macro (collective drawing). Project III - (Photo-) album: a place as a self-portrait. To be presented in the form of an Artist book. Portfolio

Classes last four hours and allow the tutorial monitoring of work in progress, as well as a critical discussion held by everyone about the completed work at the end of the class. These debates allow the enrichment of specific vocabulary and the development of an appropriate language for image analysis. In these classes, students choose the media with which they want to explore their drawings, although there is a prior suggestion by the teacher. Given the length of the class (4 hours) students work at their own pace and understand the class as a studio space where there are moments of intense concentration, moments of pause, moments of curiosity about what is being accomplished by colleagues, moments of presentation of examples from the history of art consideriing (in a pertinent way) what the students are developing. The mid-term evaluation takes place at the end of each exercise and in the final evaluation the best works are chosen to exhibit in the Department exhibitions.

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 Elias, H. & Vasconcelos, M. (2009). Desmaterialização e Campo Expandido: dois conceitos para o Desenho Contemporâneo. In Actas do Congresso SOPCOM-LUSOCOM. Lisboa: Universidade Lusófona Molina, J. J. G. (1999). Estrategias del Dibujo en el Arte Contemporáneo. Madrid: Cátedra Molina, J. J. G. (2002). Máquinas y Herramientas de Dibujo. Madrid: Cátedra Molina, J. J. G., CABEZAS, L., BORDES, J. (2001). El Manual del Dibujo: Estrategias de Su Enseñanza en el siglo XX. Madrid: Cátedra. 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