Drawing II

Code:

D201

Acronym:

DII

Keywords
Classification	Keyword
OFICIAL	Drawing

Instance: 2012/2013 - 1S

Active?	Yes
Web Page:	http://d2fbaup.wordpress.com/
Responsible unit:	Desenho
Course/CS Responsible:	Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
AP	100	Official Study Plan 2011	2	-	7,5	96	202,5
DC	67	Licenciatura em Design de Comunicação	2	-	7,5	96	202,5

Teaching language

Portuguese

Objectives

AIMS:
Consolidate visual acuity and manual dexterity in the depiction of reality.
Explore the links between perceptual processes, means and the images of drawing.
Start the confrontation with the historical and functional universe of drawings.
Introduce and develop technical and process skills in drawing, that improved the instrumental capabilities of each student.
Place the relationship between visual and haptic perception as drawing framework.
Use drawing as a process of hypothesis and correction.
Encourage the use of drawing as a privileged instrument for the communication of visible and conceptual reality.
Develop skills that promote a continuous learning and self-management of the work.

LEARNING OUTCOMES:
Capability to deal with complex visual information in a clear, proportional and critical way, particularly in subjects related to spatial, anatomical and scenic contexts.
Capability for mobilize and adapt the procedures and strategies appropriate to the work.
Knowledge and versatility in the use of means and drawing techniques.
Familiarity with graphic behaviors of various kinds, from taxonomic to calligraphy approaches.
Capability to relate acquired knowledge, history, modes of drawing, and individual expectations.

Program

PROGRAM:
Drawing II explores and deepens the relationship between direct perception and representation started with Drawing I. The program is designed to consolidate drawing as an expressive instrument that operates and mediates the visible and conceptual reality of students.
Assuming that the knowledge acquired by direct observation, ground of conceptual images, is closely related with the gestural conduct of the draughtsman and with the properties of the media of representation, the program is based in four modules, gradually deepening in the interconnections between spatial perception and mobility of the body, drawing’ historical memory and its means of expression.

First module: "Drawing through drawing"
We draw the drawings we have seen: analysis and interpretation of drawings.
Compared studies of drawing instruments, procedures, gestural behavior and their contexts, of a group of drawings.
Mobilization and adaptation of the analyzed processes towards situations of direct observation.

Second module: "The scenographic space and the mobility of the body"
Introduction to miology: representation of the skinned body. Comparative analysis.
From body’s place to the perception of space.
Choreographic approaches of the body/space relationships: from action perception to drawing.
Motion perception and motor contagion; synchrony between vision and gesture.
Tone and expression in the depiction of the scenic space.



Third module: The instrumentality of Drawing
Abrasives and fluid media: characteristics, inconsistencies and intersections.
Appropriation, deviation and the invention of means.
The processes of variation, of repentance and reserve in drawing.

Fourth module: perception, gestural conduct and graphic behavior
Temporality and graphic behaviors in representation processes: from the taxonomic to the calligraphic approach.
Intensity, amplitude, speed and frequency in gestural behavior.
Fictitious games with time: drawing in real time.
The image as caligram.

Teaching methods and learning activities

The 204 semester hours of work (HTS) in this course are organized as follows:
102 contact hours (HCS) from lecture classes to mostly practical exercises, including critical analysis of students work.
The remaining 102 hours are used by the students in the development of their individual work and skills. The course also provides field trips for thematic classes and visits to exhibitions and places of interest, being also open for seminars, workshops, etc.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Description	Type	Time (hours)	Weight (%)	End date
Attendance (estimated)	Participação presencial	114,00
	Total:	-	0,00

Eligibility for exams

Evaluation is continuous and constant throughout the course and respects its planned schedule.
It is expected from the student: correct implementation of the proposed working methods; strict compliance with the proposed work plan; attendance and punctuality; application of observation skills through different types of drawing; understanding of the constructive attitudes of drawing; understanding the different ways of drawing and representational systems; acquaintance with the historical heritage of drawing; ability to organize and systematize the work; involvement and ability to work individually; capacity for reflection and self-criticism.

Calculation formula of final grade

Compliance with general course plan, including attendance to classes.

Classification improvement

By repeating the course in the next school year

Observations

BIBLIOGRAPHY

CARNEIRO, Alberto; TÁVORA, Fernando; MORENO, Joaquim (2002). Desenho Projecto de Desenho (cat. exp.) Porto: Museu Nacional Soares dos Reis, 18 de Maio – 30 de Junho de 2002.
COZENS, Alexander ([1785] 1977). A New Method of Landscape. London: Paddington Press.
GOLDSTEIN, Nathan (1999). The Art of Responsive Drawing. 5º Edição. New Jersey, Prentice-Hall.
MASSIRONI, Manfredo (2002). The Psychology of Graphic Images – Seeing, Drawing, Communicating. Tradução de Nicola Bruno. New Jersey: Lawrence Erlbaum Associates.
MOLINA, Juan José Gómez (ed.) (1999) Estrategias del Dibujo en el Arte Contemporâneo. Madrid: Cátedra.
MOLINA, Juan José Gómez (ed.) (2007). La Representación de la Representación - Danza, Teatro, Cine, Música. Madrid: Cátedra.
ROSAND, David (2002). Drawing Acts: Studies in Graphic Expression and Representation. Cambridge: Cambridge University Press.
SALE, Tell; BETTI, Claudia (2004). Drawing – A Contemporary Aproach. 5ª Edição. Belmont: Thomson.
TAVARES, Eduardo (1994). Anatomia Artística: construção plástica do corpo humano. Porto: Asa.
TOFANI, A.M. Petrioli; RODINÓ, S.P. Valenti; SCIOLLA, G. Carlo (1991). Drawing - Forms, techniques, meanings. Milano: Silvana Editoriale.
WATROUS, James (2006). The Draft of Old Master Drawings. Madison: University of Wisconsin Press.
MASLEN, Mick; SOUTHERN, Jack (2011). Drawing Projects – An exploration on the language of drawing. London: Black Dog Publishing.