Figure Drawing

Code:

DSC500

Acronym:

DSC

Keywords
Classification	Keyword
OFICIAL	Drawing

Instance: 2011/2012 - 2S

Active?	Yes
Web Page:	http://desenhosdocorpo.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	29	Official Study Plan 2011	3	-	4,5	64	121,5
			4

Teaching language

Portuguese

Objectives

This theoretical and practical course has, as unique subject the study of human body in its visual complexity, morphological and as image, using the drawing, in its various strategies, as a tool for the study.
The goal is not to produce "autonomous" drawings, but, rather, to overestimate the skills of drawing as a means to understand, organize and communicate knowledge.
In the cross between the "old " and "new " anatomy seeks to systematize, exploring and developing skills in the study of the body and its various representations, develop and frame graphics capability of processing, discussing the issues involved in this selections as well as develop knowledge about the concepts involved such as representation, image, figure, body and model.

Program

The body as subject. The study of the human body.
The study of proportion. How to measure.
Optical imaging and cognitive image. See and recognize.
The structure and volume of the human body. Study general and particular.
The applied anatomy: osteology and miology. The anatomy drawing.
Structure and surface. Modeling and "cross-contour".
Analysis of drawings. The specific vocabulary.


Main Bibliography
BAMM, Gottfried (1982). Der_nackte_Mensch. Dresden Veb Verlag der Kunst,
BAMM, Gottfried (1989). Wir zeichnen den Menschen. Berlin, Volk und Wissen Verlag Volkseigener.
BAMM, Gottfried (1990). L'étude du corps humain. Paris, Dessain et Tolra.
GOLDSTEIN, Natham, Figure Drawing. New Jersey, Prentice Hall, 1992.
HALE, R. B. (1985). Master Class in Figure Drawing. New York, Watson Guptill.

Recommended Books
BARCSAY, J. (1982). Anatomie artistique. Paris, Berger-Levrault.
BORDES, J. (2003). História de las teorias de la Figura Humana. El dibujo, la anatomia, la proporcion, la fisiognomia. Madrid, Cátedra
HALE, R. B. (1964). Drawing Lessons from the Great Masters. New York, Watson Guptill.
HALE, R. B. (1977). Anatomy Lessons from the Great Masters. New York, Watson Guptill
BOREL, F. (1990). Le modèle ou l' artiste séduit. Genéve, Skira.
DESCARGUES, P. and J.-L. BINET (1980). Dessins et traités d'anatomie. Paris, Ed. du Chêne.
DIDI-HUBERMAN, G. (1999). Ouvrir Venus. Paris, Galimard.
GIL, J. (1997). Metamorfoses do corpo. Lisboa, Relogio d'agua.
(1995). Identity and alterity. Figures of the body 1895/1995 Venezia. l. B. d. Venezia, Marsilio Ed.
KEMP, M. and M. WALLACE (2000). Spectacular bodies. London. H. Gallery, University of California Press.
MOLINA, J. J. G., L. CABEZAS, et al. (1989). Fortuny - Picasso y los modelos académicos de enseñanza, Junta de Castilla y Leon.
MOREAU, A. (1988). Anatomia artística. Madrid, Ediciones Norma.
MUYBRIDGE, E. (1955). The human figure in motion. New York, Dover Publ.
SILVA, P. C. (1995). O lugar do corpo. Faculdade de Ciências do Desporto. Porto.
STRAUSS, W. L. (1972). The human figure by Albercht Dürer. New York, Dover Publications.
TAVARES, E. (1994). Anatomia artística. Porto, Asa.
TOLNAY, Charles, History and Technique of Old Masters Drawings. New York, Hacker Art Books, 1983.
WALLER, S. (2006). The invention of the model. Artists and models in Paris, 1830-1870. Aldershot, England; Burlington, USA, Ashgate Publishing
WEIERMAIR, P. (1998). Ideal and reality; the image of the body in20th century art from Bonnard to Warhol. Salzburg, Salzburger Landessammlungen für modern und zeitgenössische Kunst Rupertinum.

Teaching methods and learning activities

The 126 Semester Hours of Work (HTS) in this course is organized as follows:
68 Hours Contact Semester (HCS) (17 lessons 4h / s) distributed by:
Lectures presentation and explanation.
Theoretical and practical:
Achievement, development and operation of the exercises / content.
Analysis, critique and evaluation of results.
The remaining "HTS" (58h) are used in the development and deepening of the practice involved, from the utterances, and exploration of specific content.
Will be study visits to exhibitions and places of interest to the discipline and is still open to participation in seminars, workshops, etc.

Evaluation Type

Distributed evaluation without final exam

Examinations or Special Assignments

Assessment is continuous and respects its planned timetable.
Attainment of discipline, correct implementation of the proposed working methods.
Strict compliance with the proposed work plan, given their level of understanding and development.
Attendance and punctuality.
Application of observation skills through different types of design.
Understanding of the constructive attitudes of graphic records.
Knowledge of the historical heritage of the design.
Ability to organize and systematize the work.
Involvement and ability to work individually.
Capacity for reflection and self-criticism.

Classification improvement

Continuous assessment, which involves the systematic presence of students of all classes. It is considered to obtain the participation rate to at least 75% of classes.