ART 320 – Figure Drawing – 3 Semester Hours
FALL 2021
M 6:30-9:00 PM, Dickey Fine Arts 1301
Bethel University
Instructor: Jason Cole
Office Hours:
MWF: 10am-12pm; TR: 11am-1pm.2
Office Location: DFAB 113
Office Phone: 731.352.4082
E-mail: colej@bethelu.edu
Class Blog: https://betheluart320.blogspot.com/
IMPORTANT COVID-19 NOTICE:
Given quickly changing coronavirus conditions, students should be prepared for shifts to alternate means of instruction, including online
instruction, at any point during the semester.
Students will be expected to follow the posted campus policies regarding virus safety procedures and practices. A student who fails to do
so could be subject to penalty, which may include dismissal from a class session and a misconduct report filed with the Office of the
Academic Dean.
Course Prerequisites/Co Requisites:
ART 111
Course Description:
Figure Drawing is designed help students obtain the basic skill of drawing the human form, including anatomy, observation of the human
form, fundamental exercises in gesture, contour, outline, and value and tonal modeling.
Course Goals:
The student will:
1) Understand basic anatomical relationships relevant to descriptive drawing of the human form.
2) Demonstrate competence in linear methods of drawing images of the life model.
3) Demonstrate competence in value and tonal methods of drawing images of the life model.
4) Understand and be able to depict basic proportional relationships of the life model.
5) Demonstrate the ways in which line can define form.
6) Understand the rhythms of the body and natural forms and how they exist in the whole and parts of the figure.
7) Develop skills of observation, personal expression, and abstract thinking.
Text:
None
Course Objectives:
The student will:
a) Develop problem-solving skills.
b) Strengthen self-disciple.
c) Learn to use many different types of drawing media.
d) Learn to use the elements and principles of design to create a work of art.
e) Observe, research, and learn from the work of other artists.
f) Learn to “draw what you see” by using the eyes and hands.
g) Develop and enhance his/her proficiency in the vocabulary of the artist.
h) Actively engage in constructive critique.
Units of Study:
Unit 1 Getting Started
Gesture Drawings
Planar Development
Unit 2 Controlled Contour
Skeleton/Figure Drawings
Unfinished-to-Finished
Representing Movement
Unit 3 Value &Tone
Using Value and Tone to Depict the Human Figure and the Effects of Light and Shadow
Unit 4 Experimental Approaches
Wax Resist
Cubist Approaches
Required Reading:
Various articles and printed materials that will be provided by the instructor or posted on the blog.
Suggested Reading:
De, Reyna Rudy. How to Draw What You See. New York: Watson-Guptill Publications, 2005.
Methods Of Instruction:
1 Since this class does not exceed the COVID-capacity of DFAB 130, the course will be conducted f2f. This is subject to change.
2 Virtual office ours only this semester. Contact me to schedule appointments.
2/7
Lecture, discussion, in-class work, outside assignments, sketchbook, critique.
Course Requirements:
There are three main requirements of this course:
1) A personal sketchbook/journal is an important requirement of this course. Every week there will be a sketchbook assignment that
is due the following week at the beginning of class. Additionally, it is a depository for ideas, visual observations, and written
responses to anything (in-class or outside). Include research of artists of special interest, techniques, subjects, methods, media,
processes, master studies, reproductions, etc. Drill yourself on in-class skills. Research artists mentioned in class. Include thumbnails
of intended compositions. Design your pages just the same as you would design any composition. Use color, multimedia, found
objects, etc. WRITE. Don’t do ANYTHING in the sketchbook without also writing some notes about what you did.
Weekly sketchbook assignments will be reviewed and graded each day in class. The sketchbook as a whole will be submitted
and graded at midterm and finals.
2) Completion of weekly in-class assignments is required for the course. Each week you will learn a new skill/technique or continue a
skill/technique from the previous week. In-class exercises and finished drawings will be executed in order to practice this
skill/technique and submitted for grading at the end of class.
3) A final portfolio of all work done for the course is due at finals.
Attendance Policy:
3
o If you miss FOUR classes, you will immediately fail the course. Since this class meets only once a week, four absences mean that
too much information and work has been missed for anyone to legitimately pass the course. The only guaranteed excused
absences are for students who must miss class due to approved scheduled university extracurricular activities and Quarantine
absences that I have received official notification regarding. Medical absences can be discussed on an individual basis, but it is
not guaranteed that they will be excused.
o If you are unable to submit an assignment on its due date because of an approved scheduled university extracurricular activity,
that assignment can be submitted at the beginning of the next class without penalization.
o If you are having trouble with the course or have problems outside the class that are affecting your performance, please talk to
me about it so that we can work out a solution. Do not wait until it is too late. I will be glad to help you in any way I can.
o Lateness is not acceptable. It is disruptive and frankly disrespectful not only to me but to your fellow students to enter the
classroom in the middle of a lecture, demonstration, or critique. Three late arrivals to class will count as an absence.
o All students will work for the entire class period. The class runs from 9:30 to 10:45 a.m. Students will not leave the classroom unless
excused. I am tolerant of discussion among students during class to a point. However, excessive talking, walking about or leaving
the room will be noted in my grade book and counted against your final grade.
o If you miss an assignment because of lateness or absence get it from another student. If you then have questions come and see
me.
• Like excused absences due to participation in official Bethel University events (athletics,
Renaissance, etc.), in the case of absences due to official COVID-19 quarantine status it is the
student’s responsibility to contact the instructor, make up any missed work, and fulfill all
assignments.
• If students are forced to quarantine (or shelter from home) as a result of COVID-19, the students are
required to contact the instructors immediately. If students become the primary caregiver of a
family member (blood or chosen) to where their ability to access materials by deadlines becomes
compromised, the students are required to contact instructors immediately.
Methods of Assessment/Evaluation/Grading System:
Sketchbook assignments will be submitted and graded weekly. Persons not handing in work on time will be penalized one full letter grade.
(See the exception rule above.) The sketchbook assignments will be graded and available to be picked up outside my office on
Wednesday of each week.
Late Assignment Policy
o A sketchbook assignment is considered late if it has not been submitted by the beginning of class on the scheduled due date.
o Persons not handing in work on time will be penalized one full grade. (See the exception rule above.)
o Late work cannot be resubmitted for the possibility of a better grade.
o Late homework must be turned in within TWO WEEKS of the scheduled due date in order to receive a grade. After two weeks, the
assignment will not be accepted and the grade of “0” will remain.
o If you fail to turn in FOUR sketchbook assignments, you will automatically fail the course, with no alternative path to improving your
grade in the course.
The work you do in class each day will be submitted at the end of each class. It will be graded and returned to you as soon as possible.
Sometimes it may be necessary for me to hold work for photographing or exhibitions. I will let you know when this is the case. All classwork
assignments that have been submitted properly and graded may be re-worked for a better grade. Sketchbook drawings may not be re-
worked. You may, however, choose to do the assignment again in the book for the possibility of an improved final sketchbook grade at
the end of the semester.
Sketchbooks will receive an overall grade at midterm and finals. It is expected that you are making extensive use of your sketchbook
throughout the semester to practice and drill yourself on skills as well as experiment. There should be more in your sketchbook than just the
given assignments.
Final grades reflect accomplishment in three areas:
o Sketchbook/sketchbook assignments (30%)
o In-class work/portfolio (50%)
o Classroom participation/attitude (20%)
3 This attendance policy is subject to change as developments in the global pandemic occur.
3/7
Final grades will be determined by:
o Completion of all assignments.
o Consistency of effort
o Development of skills in seeing and thinking.
o Presentation and craftsmanship.
o Participation in critiques and discussions.
o General attitude.
Individual assignment grade definitions:
o A - Excellent. Assignment is completely and creatively fulfilled. No significant problems.
o B - All aspects of assignment are completely fulfilled and well done. A few problems remain to be solved.
o C - Work fulfills the requirements of the assignment to the letter and is generally successful. Work is completely finished.
Craftsmanship is acceptable. Some problems remain to be solved.
o D - Work is not yet completely finished or has obvious technical or conceptual flaws.
o F - Unacceptable in technique or craft or concept (or any combination of these).
o X - Assignment not handed in. This assignment may not be re-submitted.
Final letter grade definitions:
o A – The student earning an A has shown great effort and near-perfect success in all aspects of the class. Only students absolutely
excelling far above expectations will be awarded this grade.
o B - A very good job. The person earning this grade has worked very hard; has pushed his/herself to go beyond the mere fulfillment
of each problem and has shown strong advances in technical and conceptual skills.
o C - The student earning a C has fulfilled the requirements of the course, has a positive attitude, worked hard, shown growth in skills
and thinking, and did an overall good job.
o D - Below par. This grade indicates that the student has obvious difficulties with basic drawing skills and/or trouble in fulfilling the
requirements of the class for some other reason.
o F - This grade indicates a severe problem in one or more of the following categories: lack of interest, bad attitude, failure to
complete assignments, excess lateness, or absence.
General Requirements:
o WEAR A MOUTH & NOSE COVERING TO CLASS EVERY DAY. This is University policy and will be enforced in my classroom. Anyone
entering the classroom without a proper face covering WILL LEAVE THE CLASSROOM. If the student can return in a timely manner
with a mask, the student will be counted as TARDY. Otherwise, the student WILL BE COUNTED AS ABSENT FOR THE DAY.
o In the interest of developing an appreciation of quality materials and maximizing the life span of your work, major drawings will be
executed on good quality artist papers. Using lesser types of paper for a finished drawing will result in a lower grade.
o All work must be kept in a portfolio. Respect and protect your work if you expect anyone else to do so.
o All work that is handed in for grading must have your name and the date printed unobtrusively on the back.
o All finished work must be fixed. Make sure you have fixative and bring it with you to class.
o Do not spray fixative in the classroom. TAKE IT OUTSIDE! Our lungs will appreciate the consideration.
o All students are expected to participate during critiques. Failing to engage in discussions will be noted in the gradebook.
o Prohibited from my classroom: Cell phones (you may have it pocketed, but silence it and DO NOT ANSWER IT), texting, any device
with headphones, tobacco of any kind, drugs or alcohol, Internet social networking sites, and laziness.
Required Materials & Supplies
Materials
o Sketchbook
o Charcoal pencils: 2B, 4B, 6B
o Compressed charcoal
o Black and white conté
o Black India ink
o Wax crayons
o Assorted watercolor brushes
o White acrylic gesso
o Workable fixative
o Smooth cloth
o Kneaded erasers
o Hard erasers
o Pencil sharpener
o Portfolio for carrying drawings (large enough to accommodate 18”x24” paper)
o Container for drawing tools (an Artbox or a simple zipper bag will do)
Paper
o 18”x24” pad of newsprint paper (or SEVERAL sheets of unbound newsprint paper)
o 18”x24” white bond paper
o 18”x24” high-quality paper for projects (specified by instructor when assignment is given)
o Various high-quality toned papers
Artists to Consider
Alberto Giacometti
August Rodin
Bill Waterson
Christopher Wilmarth
David Hockney
Edgar Degas
Edmund Dulac
Egon Schiele
Fernando Bryce
George Harriman
Georges Seurat
Gwen John
Henry O. Tanner
Horst Janssen
Janet Fish
Jean-Auguste Dominque Ingres
Jim Dine
Kathe Kollwitz
Luca Cambiaso
Martin Puryear
Mary Cassatt
4/7
Paul Cezanne
Paula Modersohn-Becker
Rembrandt Van Rijn
Richard Diebenkorn
Rico Lebrun
Romare Bearden
Susan Rothenberg
Vincent Van Gogh
William Beckmann
Winsor McKay
Zak Smith
Class Schedule
Week 1-Jan 11
Introduction, Review of syllabus
Gesture Drawings
o Controlled and blind gesture drawings.
o Quick, intuitive blocking-in of the figure.
o Linear and curviliniar
o Materials
• Charcoal pencil, compressed charcoal, newsprint
(18”x24”)
Sketchbook Assignment:
o Two double-page spreads of gesture drawing practice
o One double-page spread of artist research (gesture
drawing)
*MLK HOLIDAY – JANUARY 18*
Week 3-Jan 25
Planar Development
o Using lines to create planes that suggest form, volume,
mass, and weight of the figure.
o Multiple points of view
o Line only
o Push line variation
o Materials
• Charcoal pencils, newsprint (18”x24”)
Sketchbook Assignment:
o Photo Planar Analysis
• Gather at least four photographs depicting human
figures.
• Make full-page photocopies of these photos and
paste them into the book.
• Using ink or charcoal pencil, analyze each face and
body and draw a series of planes over each figure that
corresponds to what you have learned in class.
Week 4-Feb 1
Planar Development
o Continue with planar development with more complex
planes.
o Multiple points of view
o Combination line and massing
o Consider proportions and foreshortening
o Materials
• Charcoal pencils, newsprint (18”x24”)
Sketchbook Assignment:
o Two double-page spreads of planar development
practice
o One double-page spread of artist research (planar
figures)
Week 5-Feb 8
Planar Development
o Continue with planar development with the addition of
directional hatching to enhance the illusion of three-
dimensional space.
o Multiple points of view
o Combination line and massing
o Consider proportions and foreshortening
o Materials
• Charcoal pencils, newsprint (18”x24”)
Sketchbook Assignment:
o Two double-page spreads of planar development
practice
Week 6-Feb 15
Controlled Contour
o Working “unfinished-to-finished”
o Step 1: working from observation of a skeleton/skull.
o Step 2: superimposing a drawing from observation of a
model.
o Pay attention to correlation of skeletal structure to
shape and form of the figure.
o Line only
o Materials
• 2B, 4B, 6B charcoal pencils, hard eraser, newsprint
(18”x24”)
Sketchbook Assignment:
• Skeleton/Figure Drawings
• Set aside a double-page spread in your
sketchbook
• Go to a public space at a busy time of day (the
cafeteria, McDonalds, a grocery store, etc.)
• Bring along an image of a skeleton.
• Create quick figure studies from observation of
four different individuals.
• Then, working from observation of the skeleton
image, superimpose a drawing of a skeleton onto
each figure, paying attention to accuracy of
proportions and foreshortening.
Week 7-Feb 22
Controlled Contour
o Working “unfinished-to-finished”
o Loosening up, loose-to-tight, blocking-in the figure,
refining line quality
o Proportions, foreshortening, perspective, volume, mass,
and weight
o Line only
o Materials
• 2B, 4B, 6B charcoal pencils, sharpened stick, round
brush, black ink, eraser, newsprint (18”x24”)
Sketchbook Assignment:
• Two double-page spreads of controlled contour
practice
• One double-page spread of artist research
Week 8 – MIDTERM - Mar 1
SKETCHBOOKS SUBMITTED FOR MIDTERM GRADES
Controlled Contour
o Working “unfinished-to-finished”
o Loosening up, loose-to-tight, blocking-in the figure,
refining line quality
o Proportions, foreshortening, perspective, volume, mass,
and weight
o Line only
o Materials
• 2B, 4B, 6B charcoal pencils, sharpened stick, round
brush, black ink, eraser, newsprint (18”x24”)
*SPRING BREAK – MARCH 8-12*
Week 9-Mar 15
Controlled Contour
o Working “unfinished-to-finished”
o Loosening up, loose-to-tight, blocking-in the figure,
refining line quality
o Proportions, foreshortening, perspective, volume, mass,
and weight
o Line only
5/7
o Materials
• 2B, 4B, 6B charcoal pencils, sharpened stick, round
brush, black ink, eraser, newsprint (18”x24”)
Sketchbook Assignment:
• Two double-page spreads of practicing any part of the
anatomy that you find difficult
• One double-page spread of master studies (find
an artist who you feel depicts that body part well)
Week 10-Mar 22
Representing Movement
o Overlapping separate drawings of the same figure in
different poses to visually depict movement
o Working “unfinished-to-finished”
o Proportions, foreshortening, perspective, volume, mass,
and weight
o Line only
o Materials
• 2B, 4B, 6B charcoal pencils, eraser, white gesso,
good-quality white paper (22”x30”)
Week 11-Mar 29
Creating Value with Conté
o Lay in composition in broad planes using side of conté
o Build values with overlapping planes and erasure
o Work from general-to-specific
o Materials
• Black conté, hard and kneaded eraser, white
bond paper (18”x24”)
Sketchbook Assignment:
o Two double-page spreads practicing the technique
from class
o One double-page spread of artist research
*GOOD FRIDAY — APRIL 2*
Week 12-Apr 5
Conté on Toned Paper
o Lay in composition in broad planes of value using black
and white conté.
o Materials
• Black and white conté, middle-grey toned paper
(19”x25”)
Sketchbook Assignment:
• Two double-page spreads practicing the technique
used in class.
• Either tone the paper in your sketchbook or paste
toned paper into the book.
Week 13-Apr 12
Charcoal & Gesso on Toned Paper
o Materials
• Compressed charcoal, white gesso, eraser, toned
(warm or cool) paper (19”x25”)
Sketchbook Assignment:
o Three double-page spreads practicing any of the
techniques from weeks 11-13.
o One double-page spread artist research (toned paper
and/or charcoal & gesso)
Week 14-Apr 19
Wax Resist
o Materials
• Colored wax crayons, black ink, large brush, good
quality white paper (22”x30”)
Sketchbook Assignment
o One double-page spread of wax resist
o Two double-page spreads of experimental play
Week 15-Apr 26
Cubist Approaches
o Materials
• Charcoal pencils, compressed charcoal, black &
white conté, black ink, assorted brushes, 22”x30”
paper primed with toned (warm or cool) gesso.
Sketchbook Assignment
o Finalize work in the sketchbook
Monday, May 3
o PORTFOLIO AND SKETCHBOOK DUE @ 6:30 PM — PICKUP
@ 9:00 PM.
Month And Year Of Syllabus Revision:
January 2021
BETHEL UNIVERSITY is committed to equal opportunity in education for all students, including those with documented disabilities. If you have
a diagnosed disability or if you believe that you have a disability that might require reasonable accommodation in this course, please
contact Disability Services at 352-4012. BETHEL UNIVERSITY policy states that it is the responsibility of students to contact instructors to discuss
appropriate accommodations to ensure equity in grading, experiences and assignments.
BETHEL UNIVERSITY is committed to and cares about all students. Support services are available for any person at BETHEL UNIVERSITY who is
experiencing feelings of being overwhelmed, hopelessness, depression, thinking about dying by suicide, or is otherwise in need of
assistance. For immediate help, contact the National Suicide Lifeline Number 1-800-273-TALK(8255) or Text 741741. Students and employees
on the McKenzie or Paris campuses can also contact Bethel’s Safety and Security Office (731-415-7599) or the Mobile Crisis Number (1-800-
353-9918). Counseling is available on campus to CAS and CHS students through Bethel University’s Department of Clinical Services (731-352-
6786). Emergency Services (911) should be contacted in the event of an emergency.
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