Figure Drawing . 3 Credits
Class Meetings: T + TH > 11:00 - 1:50 PM . 6 hours in class studio hours
Jephson Campus A . Drawing + Painting Studio #206
Instructor: Associate Professor Jen Pepper . Division of Art & Design
Email: jpepper@cazenovia.edu
O:: JCA #210
OH:: M - W - F 11:15 - 12:15 (best by appointment)
All class materials launched on line > FA2016SA214CAZ.blogspot.com
Course Description
Figure Drawing is a second-year drawing course emphasizing the human figure through the use of male and female nude models. While it is primarily an observational drawing course, conceptual and expressive approaches in the generation of creative work will also be explored. As a vehicle for learning, the figure will be used in the understanding and developing of such concrete issues as foreshortening, proportion, chiaroscuro, figure/ground, concepts of abstraction and approaches in expressionism, composition developing and the handling of a variety of wet and dry media, through applications including drawing, painting, collage and mixed media. The course also provides an introduction to human anatomy.
Working Methods
This is a studio course that combines figure drawing from nude models with lectures, demonstrations, video media, research and critiques.
Students will learn the potentials and limitations of various materials, while analyzing and applying a wide range of organizational strategies and drawing manipulations to their own creative practice.
Frequent presentations, readings, writing, class discussion and critique will introduce a variety of interpretations of how artists and designers have perceived and used the visual language for their own interpretative practice.
Students will be required to work inside and outside of class for the full duration of each class meeting as well as in their sketchbooks and on class assignments to successfully complete this course.
It is expected that one hour of studio work in class is equal to one hour of class work outside of class contact hours (6 hours / per week in = 6 hours outside).
Readings and further informative study will be loaded to the class BLOG.
Learning Objectives
Teaching strategies will include lectures, readings, discussions, cooperative small group activities, and student presentations. By the end of this course, it is anticipated that students will have gained:
- Render the human figure objectively and subjectively. This course emphasizes proportionate representations of the human form, while it deals with the human figure expressionistically and metaphorically.
- To gain and hone personal observational, applicable drawing skills, critical thinking, problem-solving skills.
- Explore media and variety of applications in the development of disciplined studio practice.
- Become familiar with an entry-level knowledge of human anatomy including skeletal and muscular systems.
- Conduct library research and make a class media presentation of it.
- Complete two formal analytical research papers (one prior to the sixth week of classes, one prior to the ninth week and present a multi media presentation to the class.
- Keep a sketchbook throughout the term generating an assigned number of pages each week.
- Complete all minor homework assignments on time, thoroughly, illustrating focused effort.
- Complete all major homework assignments on time, thoroughly, illustrating focused effort.
- Develop interpersonal skills by working in collaborative group situations
- To gain the confidence in speaking intellectually about visual work as well as speak with assurance of important historical figures that have engaged in mastery of the subject.
- Develop a passion for learning by which the student continually sets high expectations for themselves. In turn, advance critical thinking skills and individual drawing skills
- To initiate and become a life-long passionate learner and participant in the visual art world, while maintaining being mindful of each other.
Performance + Development
A student cannot rest on previous skills alone!
The student must show a willingness to explore and to take (and initiate) risks!
Students should set high standards for their own work. Always.
Students are required to participate in class with engaged enthusiasm, complete all assignments on time, and to continually practice and study the course concepts revealed. Students will be assessed on constructive participation in studio practice, class discussions and activities, written assignments and presentations.
Although process is an essential component of the studio, a legible, refined and thoughtfully crafted representation is the expected outcome of all assignments.
Informed speculation and experimentation are encouraged.
It is important that the student be prepared in the studio and initiate discussion regarding their projects.
The student should be able to explain the conceptual ideas underlying their work, the accurate formal principles being employed as well as being able to question and incorporate suggestions offered in critique.
Intellectual understanding and exploration of the readings and projects, ability to initiate research, and individual drive throughout each project are significant factors in grading a student’s level of participation.
Hard work and improvement are recognized.
Therefore, in addition to completing exquisitely crafted projects, engaged work and participation will positively impact a student’s grade.
Lack of preparation, disengagement from his/her work, avoidance of critiques, lack of participation in discussion, incomplete and not prepared work will result in a lower grade.
Should a student be performing below an adequate level, the student will be notified as soon as it is evident and a meeting will be scheduled to address deficiencies.
Students need to learn how to cultivate self motivation!
The overall quality of student work is directly reflective on one’s involvement with the class and outside studio practice. Strong participation will naturally impact student development and therefore, grade positively.
Attendance, Performance + Professionalism
Students are to attend class every day and be prepared with materials, assignments, readings and papers always! Tardiness and absences will greatly hinder student progress in this course. Students who miss class, in an extreme case, are responsible for notifying faculty prior to class start time or soon after.
Students who are absent from a class are expected to be prepared with ALL assignments and readings due at the next class meeting.
All assignments are to be completed in a thoughtful and timely manner.
A strong showing in this category can increase your final grade by a half grade, i.e. C+ becomes B-, B becomes B+, etc. Successful advancement in class performance is recognized. Equally so, exhibiting a weak performance in this area can reduce your grade. Missing 3 or more classes will likely result in failure of the course. If you miss a class, it is your responsibility to contact the professor or a classmate about missed material so you can be prepared for the next class.
Each requirement is assigned a maximum point value, as indicated in the chart below.
Late work will receive a one (1) point grade reduction for each day that it is late. Once a late assignment’s maximum point value is deducted, the student will receive a zero (0) for the assignment.
Research Papers & Multi Media Presentation (2)
Thinking, creating and writing go hand in hand in all studio practice. Writing is another way of investigating one’s expressive voice and translating visual research into textual language. Research of outside (historical and contemporary) artists and designers is an expectation of all art and design students beyond what is discussed in class.
Students of SA214 will engage in two research papers of artists / designers that make use of the human figure as the central subject of their creative work.
#1 In the first paper, the student must choose an artist/designer prior to 1890. The work of this individual will be compared to a modern or contemporary artist between the years 1960 – 2016. The student must use two examples from each individual.
#2 In the second paper, the student will compare and contrast the works of two artists/designers with a minimum of two images each from any time frame.
Methods
Research both artists/designers developing a written formal paper on both. Each paper should be a minimum of seven pages, excluding images.
- Your papers need to include a short biography on the selected artist/designer (maximum of 3 paragraphs each).
- The bulk of your paper should develop a well analyzed deconstruction of two creative works that make use of the the human figure as central to their compositions.
- Each analytical deconstruction needs to thoroughly discuss how the formal elements are employed. Does the choice of media add any additional information (i.e. a drawing of the Mona Lisa in chocolate and diamonds is interpretively very different than the original painting of the subject). Additionally, the paper needs to thoroughly speak about the expression of the work as a whole. Is symbolism being employed by the creator?
- Each analytical deconstruction should be at minimum one and half pages (700 words).
- Finally, your paper needs to address the similarities and differences found among the two researched artist/designers (minimum of one and half pages).
- Your finished papers should be a minimum of 7, double spaced pages, excluding images.
- MLA or APA style, double spaced, maximum 12 pt. legible font
- A formal bibliography needs to accompany your paper
- A printed copy of thumbnails, figures or image plates needs to appear at the end of your paper including the four works of art you are deconstructing, noting complete details; title, date, dimensions, media, collection of each and URL source.
Each student will give an eight-minute presentation of your research papers, one prior to week six, the last, prior to week nine.
Students must use at minimum three credible bibliographic sources (No Wikipedia, please!) and cited using APA or MLA format. As of April 2016, note new APA format! Go to > PurdueOwl.com for more information. Essays will be graded using a standard rubric.
The rubric will assess the 1. clarity of the content, 2. essay organization, 3. the paper’s research support & development, writing style, and 4. mechanics/grammar (technical control).
The rubric will assess the 1. clarity of the content, 2. essay organization, 3. the paper’s research support & development, writing style, and 4. mechanics/grammar (technical control).
Please Note
All written assignments are to be typed or computer printed and proofed for technical accuracy unless otherwise specified. Students will lose credit for errors in spelling and grammar. Failure to follow prescribed assignment requirements will also result in a grade deduction. All papers are double spaced, with 1” margins on all edges, using maximum of 12 pt. legible font. Word count per textual page should average 450 words.
2 Formal Papers + Multi media presentations - 10% each x 2 = 20%
Course Requirements +
Methods of Assessment Grading Rubric
Methods of Assessment Grading Rubric
Assignment descriptors
|
Point Value
|
| All major (5) and minor studio assignments will consider the following areas of assessment: | |
| Understanding the assignment thoroughly. Incorporating knowledge from slides and presentations that introduced assignment |
10 points
|
| Mastery of tools, applications and various techniques |
10 points
|
| Accuracy of human structure / proportions / compositional placement |
10 points
|
| Convincing three dimensional illusion / foreshortening / qualities of light |
10 points
|
| Expressive qualities of drawing / application |
10 points
|
TOTAL
|
50 points
|
| Additional course assignments include: | |
| Quality Sketchbook Entries |
10 points
|
| 2 Formal Papers + Multi media presentation - 10% each x 2 = 20% |
20 points (includes bonus points towards final grade)
|
| 3 anatomy tests (2 points each x 3) |
6 points
|
| Class Participation |
20 points
|
| Attendance and Thoughtful Participation: | |
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Quality participation is characterized by:
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TOTAL
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106 points > includes 6 extra bonus points
|
A student’s work performance in class is based on the instructor’s observation and record of the student’s personal performance in the following areas:
- Attitude, demeanor – courteous, respectful, teachable, considerate of other students’ needs for concentration.
- Attendance, punctuality, and handing in work on time.
- Participation in class projects, in critiques and discussions, within collaborative projects.
- Conduct – Helping to create an atmosphere conducive to creativity and keeping the workspace neat.
Personal Journals . The Sketchbook
Students will keep a sketchbook for consistent practicing of what has been covered in class and will include daily contour drawing assignments. All sketchbooks are evidence of an investment in exploration and learning. Image copies and notes will be included showing visual research in art books and magazines to illustrate the relevant parallels studied in class put into practice in the visual world. These visual libraries will vary enormously, illustrating the student’s aesthetic interest, individual aesthetics and interests.
2. Contour drawings, both blind and modified should be ongoing throughout the semester. It is expected that 5 per week will be accomplished, totaling at the very minimum, 50 by the conclusion of the term. Date and number 1/50, 2/50, 3/50, etc.
3. Imaginary Window exercise to be completed in Sketchbooks:
2 minute drawings with pencil or pen in sketchbooks
Complete 5 in your sketchbook weekly. By the end of the term should have a minimum of 50
This is a key drawing skill and should be done on a regular bases to hone your observation skills.
Look at a figure, imagine a window before your eyes, or make use of your view finder.
Draw a similar proportionate window in your sketchbook, one per page.
Experiment with vertical and horizontal windows. Experiment with using a rotunda (circular) space.
When positioning the drawn figure, look for basic geometric shapes, contrasting forms and interesting intersections between figure’s anatomy, and figure to ground relationships.
Dynamic intersections will enliven your picture to becoming activated, look for vertical, horizontal and diagonal thrusts. Try to accentuate these by the figure’s positioning on the pictorial plane, but remember, your drawing must be convincing to your viewer’s that your figure can stand correctly and not seem like they are toppling over.
This exercise should be done regularly, 5 per week. You may make use of live models, photos of figures in action are not the best, but will suffice. At the conclusion of the semester you should have 50 Imaginary Window drawings.
Grading Numerical Equivalents + GPA (grade point average)
| Grade Cumulative points | Grade Cumulative points |
| A 95-100 A- 90-94 B+ 87-89 B 84-86 B- 80-83 C+ 77-79 | C 74-76 C- 70-73 D + 68-69 D 65-67 F 64 and below |
Grading + Methods of Assessment
Final grades are based on the following criteria: you will receive a C for adequately completing all requirements, B for above average performance of all requirements, or A for superior performance of all requirements.
Standards of Grading
The typical "A" student will consistently follow all of the steps in the creative process, resulting in work that is beyond the students’ previous technical, conceptual and expressive capabilities. Attend all classes and complete all assignments on time; follow all instructions, demonstrate above average skills and creativity in completing assignments, turn in consistently good work equally important, the A student will conduct research, integrate information from other classes and experiences, follow through on ideas, not opt for an easy way out, will hand in work on time and in a well presented manner, will participate fully in class, ask questions and do extra work when needed in the pursuit of knowledge and greater ability. The work produced is exemplary and sets a benchmark for other students; actively participating in class discussions and critiques with a sustained high level of curiosity. In short, the A student will be a responsible and active learner throughout, while completing stellar work.
The “B” student will attend all classes and complete all assignments on time; follow all instructions, demonstrate above average skills and creativity in completing assignments, turn in consistently above average, good work though some further development of knowledge and skills is possible; frequently contribute to discussions and critiques and complete good work overall.
The typical “C” student will have less than perfect attendance; complete all assignments with average skills, attitude and creativity demonstrating limited commitment to the learning process, average use of materials, and ideas that need further development. Occasionally contribute to class discussions and critiques. The “C” student performs average work.
The “D” student has poor attendance; seldom meet deadlines, have an unconcerned attitude; work below average; contribute very little to class discussions and critiques.
The “F” student continues to display poor attendance; seldom meet deadlines; turn in poor work; has a poor attitude, and/or impervious to the learning process. This type of student will fail the course.
Class Policy
The atmosphere throughout this course is to create a community of active learners.
We need to realize that world experience produces difference in all people.
Our differences often make communication and understanding difficult to comprehend, or even agree with, when considering the ideas of others.
We need to create a safe space where individuals can interject their ideas even if they may not be reflective of others. Our space needs to be one where people are encouraged to take risks, and not worry if they don’t have the ‘right’ answer, and have the space to take a wild guess by connecting earlier information together.
Each of us need to remain active participants in the world of learning.
The course asks you to cultivate a relationship of mutual respect between each other and the work at large, your faculty, Master Students and outside guests. This respect, and is hoped, may extend outside the walls of this community into the world in general. The key is to listen and be considerate of all people.
Confidentiality
Self-expression and honest reflection will take place through our discussions, studio and written work. It is expected that each student will recognize that s/he will be privy to personal information about others in the class and must protect their privacy of the others by exercising strict confidentiality outside of class. When discussing class content outside of class it is recommended that all identifying descriptors be removed from statements so that the statements cannot be attributed directly to the individual who had made the statement. Respect for others is mandatory and non-negotiable. Please note that failure to adhere to confidentiality is a serious offense carrying severe penalties.
Academic Honesty
Cazenovia College is committed to academic honesty. The Committee on Academic honesty reviews all reported cases of alleged plagiarism, cheating on examinations, undocumented copying of art, and similar forms of academic dishonesty. At the beginning of each full academic term, all new students receive a comprehensive orientation to the College's expectations regarding academic honesty. It is expected that each student in this course will carry out all the assignments appropriately and that all work submitted by the student will be her or his own. Academic dishonesty in any form (e.g., cheating in exams, using another's plan or project, fabricating a study, plagiarism, etc.) is a serious offense with severe penalties. At the very least, the student will receive an F on the particular assignment or exam in question. Cazenovia College’s policy for students who abuse the academic honesty policy are as follows: First offense the student is given a warning. Depending on the circumstances, the student may fail the course. Second offense is reported to the Dean of Faculty and depending on the circumstances, the student may fail the course. Third offense, depending on the circumstances, the student may be dismissed from the college. A description of plagiarism and other forms of academic dishonesty are to be found in the on-line Student Handbook @ www.cazenovia.edu
The Center for Teaching & Learning (CTL) A description from the Cazenovia College catalogue states:
“Students are expected to succeed within a challenging intellectual environment.”
It is not unusual for students to need assistance in maximizing their educational growth in a variety of areas during their four years at the college. The Center for Teaching & Learning assists students in these efforts and making appointments with their faculty when trouble arises. Make an appointment well in advance (1.5 weeks minimum) at the Center to assist you in the writing process. The Center should be used throughout your career at the college to help you in the refinement and organization of your writing examples. 315.655.7296. I am here to help you with your on going work as well. See my office hours posted or make an appointment with me two days in advance of a meeting.
Special Educational Needs
Any student who requires special accommodations for classroom work, independent assignments, and/or examinations should notify the Office of Special Services at 315-655-7170. The Office of Special Services will grant students accommodations in accordance with their identified individualized educational plans. Students with accommodations are responsible for informing their instructors of their needs and giving them the accommodations report provided by the Office of Special Services.
Cell Phone Policy
Use of cell phones and/or text messaging during class is strictly prohibited. Students are also prohibited from cell phone usage during field trips and speaker presentations. Please place your phones on vibrate. Cell phone usage in class or while on field trips or speaker presentations will negatively impact a student’s final grade.
Statement of Understanding
I, __________________________________, have received and read the course syllabus for SA214.01. I acknowledge that as a student enrolled in this course, I am responsible for adhering to the policies, procedures and course requirements outlined in the syllabus. I understand that it is my responsibility to contact the course instructor if I require further clarification regarding any aspect outlined in this syllabus.
_________________________________________________________
Student Signature
_________________________________________________________
Date
Assignments
include 5 major + minor assignments
Project #1 :: Eye, Mouth, Ear + Nose participation grade
In your sketch book draw your own eye from 2 views on one page, your mouth closed and open in another, your nose from front and side views on another in 4B or softer pencil. Each drawing should be beautifully developed expressing light, shadow and volumes —practice using halftone techniques via cross hatching. Draw on what you know.
Now, explore on 18” x 24” drawing paper (your choice), in dry media only, develop values fully and explore scale shifts.
Light yourself thoughtfully for careful observation.
Detail is necessary in your drawings to feel like the beautifully rendered objects can be actually touched.
Project #2 :: Developed gesture / skeletal drawings (10% of final grade)
Take drawings from class and redraw them interacting on the same page with skeletal figures. Complete on drawing paper, minimum edge 18” - do some research for further information and place the evidence in your sketchbook.
Project #3 :: Eye, Mouth, Nose, Ear & Organs with Anatomical Illustrations - Mixed media > Figure Abstraction (10% of final grade)
From the Project #1 above, develop 5 thumbnails of each anatomical part composed onto one compositional area in pencil. You will be collecting B+W anatomical illustrations that will be collaged onto the finished drawn surface as anatomical illustrative pull outs. Developing final mixed-media collage on paper. Second part 3B > Using a un-stretched, unprimed piece of canvas place your anatomical drawings into the overall composition. Glue these onto the surface with Modge-podge or Acrylic Mat Medium. You may add Gesso if you wish to assist you in creating a stiffer surface to draw upon support with. The overall composition, drawn accuracy, developed volumes and the value of each anatomical part is key.
Project # 3A on paper
Experiment with line, color, mark making of both wet and dry materials. Create minimum of 6 abstract grounds on 140# rag watercolor paper. Making use of your full figure in-class gestures create a flat silhouette of figure on top of abstract grounds. Fill in negative shape with flat color. Your project should exemplify abstract mark making, composition, figure to ground relationships. Media choice. Minimum edge 24”
Project # 3B on canvas
From knowledge gained from Project #4, experiment with mixed media choices on canvas - minimum edge 36” (purchase one yard of canvas). This work may be 2D or 3D. Critique will take into consideration the installation in actual space of the work.
Project #4 Drawing of a hand(s) interacting with a foot (feet). Draw from direct observation. Light the pose carefully. Work life-sized or larger. Well-developed value and realistic local color should be emphasized. Develop in charcoal. Develop 5 thumbnails in pencil in your sketchbook prior to advancing onto 140# paper or canvas support to complete this drawing. You may use wet media, but you need to speak to me first about this and your approach to the drawing. Extra grade
Project #5 (10% of final grade)
5A Self Portrait from observation. Light the pose carefully. Work life-sized or larger. Well-developed value and realistic local color should be emphasized. Develop in charcoal and make use of actual lighting and chiaroscuro. Place figure in a believable space. Develop 5 thumbnails in pencil in your sketchbook prior to advancing onto 140# paper or canvas support to complete this drawing.
Project #5B, 5C & 5D towards the final portrait narrative
Media choice is yours
Develop 5 thumbnails in your sketchbook prior to advancing onto 140# archival paper or canvas support. Should you wish to include wet media, color and collage, speak to me about how you will use the media in the advancement of your final rendering for this course.
Complete on 140# or canvas support, minimum edge 24” - 3 times
Project #6 Final Portrait Narrative = 10% final grade
Activating Foreground, Middle-ground, Background.
Create an intrusion into a space of your choosing.
Media choice is yours.
Use a portion of your body, your hand, foot, etc. holding or advancing towards something, to activate the immediate foreground of a space.
The space you draw must have an active middle-ground and background.
Include objects, clothing, lighting source that expresses you; multiple objects such as thumbnails, found illustrations, books, etcetera are to be included. This study should be rendered with a careful study of value in dry media.
Research & Multi media presentations (2 research papers, 10% each = 20%)
Research of two artists that make use of the figure in their two dimensional works. One must be prior to the 1890 and is to be compared to a contemporary artist between the years 1965-2013. Research both artists developing a written research paper on both. Papers need to include a short biography on artists. The bulk of your paper should develop a well analyzed deconstructions of two works of art that emphasize the figure for each artist. Total pages for your 4 deconstructions should be a minimum of 4 pages total. Finally, your paper needs to address the similarities and differences found among the two researched artists (minimum of two pages). Your finished papers should be a minimum of 7 pages, excluding images. A formal biography needs to be completed with your paper. Print out thumbnails of the four works of art you are deconstructing, noting complete details, title, date, dimensions, media, collection of each and source.
You will give an eight minute presentation of your selected works towards the end of the course.
(Multi media presentation + research paper 10% > 2x = 20% total )
Minor media presentation (1 per student)
In addition, each student will present a minor media presentation on three figure drawings they find of interest. The selection can come from the same artist / designer, or three different individuals. Students need to present the images, along with details (title, artist/designer, date, media) with their personal remarks to their chosen works.
Active Sketchbooks 10% of final grade
Keeping and maintaining an active sketchbook of various works of art that make use of the figure as its main subject. Examples may be found in painting, drawing, photography, stills from video, installation art, etc. You need to shoot for works from art history, cross cultural examples, as well as contemporary creative works. Cite your sources. Include 5 examples per week. At the conclusion of the semester you will have 50 entries.
Class participation, effort & professionalism 20%
Materials: Supports, Substrates, Media, Applicators & Tools
pencils (HB - 6B) + handheld pencil sharpener
at least 2 erasers (kneaded and hard white plastic)
compressed charcoal (3 sticks, soft/med)
soft vine charcoal (both thick and thin sticks)
Durable found stick at least 36" in length
soft graphite sticks (4B – 8B)
conte crayon - white and sepia (1 @)
water-soluble crayons, small box, or at minimum, 3 primaries + 1 cool + 1 warm colors
Brands: Holbein, Caran D’Ache, Crayola, Prang Lyra Aquacolor, Faber Castell
small, inexpensive box of oil pastels or at minimum, 2 cools, 2 warm colors
scissors
small bottle of paper cement
workable spray fixative
1” wide masking, artist’s tape or blue painter’s tape
utility knife
India Ink, black and one other color
plastic containers for fluid media
1 bamboo Chinese brush
inexpensive set of watercolors with brushes
chalk pastels (4) 2 warm colors and 2 cool minimum
140# rag paper to be used on longer outside assignments
unprimed + un-stretched canvas, 2’ x 60” minimum
1 bamboo reed pen
optional :: Acrylic Matte Medium or small container of Modge-Podge and gesso
Paper Brands
Sketchbook (spiral or hard) at minimum of 10” edge
white (non-newsprint) drawing paper ::
Strathmore Drawing 400 Series / Canson / Canson Biggie Sketch pad / Fabriano Eco-White 56 – 94 # >> all 50 – 90#lb. >> size 18 x 24”
Watercolor Paper (loose or in spiral pad) ::
Fabriano Studio Watercolor sheets, cold or hot press, 140#
Fabriano Studio watercolor sheets, torchon 130#
Fabriano Artistico, traditional white, 90, 150#, Arches watercolor paper, cold or hot press, 150#, Strathmore watercolor paper 400 series, 140#, others >> however all papers watercolor paper should be 100% RAG, and either HOT (smooth) or COLD (rough) press, 140# + weight, at a minimum of 10” edge. Other brands may also be used similar to the listed products above.
