Drawing III

Code:

DSIII01

Acronym:

DSIII

Keywords
Classification	Keyword
OFICIAL	Drawing

Instance: 2024/2025 - 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	76	Plano de estudos de LAP_publicaçao em DR de 24/05/2021	2	-	6	90	162

Teaching language

Suitable for English-speaking students

Objectives

Introduce and develop technical and process skills in drawing, that improved the instrumental capabilities of each student.

Consolidate the eye-hand coordination in the representations of the real.

Engage in the confrontation with the historical and functional universe of drawings.

Place the relationship between visual and haptic perception as a 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 and competences

Consolidate the eye-hand coordination in the expression of form, space and movement.
Relate perception and material imagination.
Know the properties of means, methods and design processes.
Adapt the potential of the means and processes of drawing to different functions and creative activities.
Develop skills for experimentation and synthesis in the relationship between historical approaches to drawing and new technological possibilities.
Develop a critical understanding of the impact of media in making sense of images.
Relate acquired knowledge, history, contemporary approaches and individual expectations.

Working method

Presencial

Pre-requirements (prior knowledge) and co-requirements (common knowledge)

Obtaining frequency in Drawing I
Demonstration of knowledge of similar content and level to the program of Drawing I

Program

To draw is to commit ourselves with ideas that are better addressed visually. When we draw, however, we are never 'just' looking. Drawing is a constant negotiation between reasoning and looking, between the body and the materials. This negotiation relates different modes of perception such as sight and touch; it involves information collected by gestures and body movements; it reflects the awareness we have of the sensations and emotions triggered by the sensitive world Through drawing, we are simultaneously committed to these various dimensions of knowledge.

The syllabus is designed to consolidate the relationship between perception/representation and expression, deepening the mastery of technique skills, conceptual strategies and materials as the language of drawing. This domain stems from the knowledge of the repertoire of drawing practices, but also from its intersections with other image technologies.

The syllabus is organized in two parts:

PART 1: INSTRUMENTALITY AND EXPRESSION
- Drawing between optical perception and haptic perception.
- Drawing materials and processes: abrasive and fluid use of media; image transfer processes; the relationship between new and old media.
- Interconnections between the drawn mark, the printed image and the projected image.

PART 2: DRAWING AS COMMUNICATION
- Reportage drawing: recognition strategies, recording and narrative organization.
- The disposition of the body in space and time.
- Chromatic modes in Drawing.
- Calligraphic approach and taxonomic approach

The FIRST PART consists of two projects: «OPTICAL AND HAPTIC» and «THE DRAWING OF OTHERS». In the first project, students are encouraged to use drawing to find ways to translate stimuli arising from other senses and body movement, relating them to observational studies; to explore the role that light and shadows play in creating new forms and finding ways to represent them; to develop strategies for representation of space in motion. The second project encourages new relationships between the media traditionally associated with drawing and processes of reproduction and transfer of images, through the creative exploration of the drawings and methods of other artists, designers, illustrators, architects or cartographers.

THE SECOND PART comprises projects 3 and 4: «THE BODY AS AN OBJECT AND SUBJECT» and «REPORTAGE DRAWING». The face-to-face classes will be held around the third project: from the observation of the body in real time, students will relate observation and measurement skills, memory drawings and ways to capture and respond to movement. Drawing will be a way of questioning the perception of the body today and creating new forms for its representation. In distance classes, the fourth project on Report Drawing will be developed. In this project, each student will use the drawing to document a real event and narratively organize the entire research process.

THE COMPLEMENTARY WORK of Drawing II is realized in the constant and personal use of a drawing journal (minimum A4). in a relationship between the contents covered in class and the interests and expectations of each student.

Mandatory literature

Nathan Goldstein; The^art of responsive drawing
Manfredo Massironi; The^Psychology of graphic images. ISBN: 0-8058-2933-4
Juan José Gómez Molina; Estrategias del dibujo en el arte contemporáneo. ISBN: 84-376-1694-8
Juan José Gómez Molina; La^representación de la representación. ISBN: 978-84-376-2425-9
Alberto Carneiro; Desenho projecto de desenho. ISBN: 972-8560-249
Rosand, David; Drawing Acts: Studies in Graphic Expression and Representation, Cambridge University Press, 2016. ISBN: 978-1316637524
James Watrous; The^craft of old-master drawings. ISBN: 978-0-299-01425-4
MASLEN, Mick; SOUTHERN, Jack; Drawing Projects – An exploration on the language of drawing, Black Dog Press, 2011. ISBN: 978-1907317255

Teaching methods and learning activities

Practice-based and theoretical teaching, based on:

Theoretical and visual sessions of discussion;
Developement and exploration of the contents, trough studio and field work;
Discussion and critical analysis of students' work.
Development of students' individual work and skills through complementary work, based on specific framework exercises, to be made during the working hours without the contact with the professor.

The course also provides field trips for thematic classes and visits to exhibitions and places of interest, being also open for seminars and workshops.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	60,00
Trabalho prático ou de projeto	40,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Estudo autónomo	72,00
Frequência das aulas	90,00
Total:	162,00

Eligibility for exams

 Frequency is obtained through the rigorous and accurate compliance of the working plan, during classes and through complementary exercises, demonstrating the learning outcomes. All students are obliged to a minimum of 75 % of attendance to all classes.

Calculation formula of final grade

Work developed curing classes: 70%
Project 'Optical and Haptic': 15%
Project 'The Drawing of Others': 15%
Project 'The Body as Object and Subject': 20%
Project 'Reportage Drawing': 20%

Complementary work in drawing journal: 30%

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.
(Nota: outros recursos bibliográficos/icónicos serão fornecidos através das plataformas on-line)