SHORT CATALOGUE DESCRIPTION:
Advanced Drawing: Directed research and critical analysis within the
drawing genre. Students are encouraged to pursue individual approaches through
a combination of studio practice in drawing integrated with study of historical
and contemporary art theory. Studio component includes further study of drawing
fundamentals via the figure.
Graduate Drawing: Emphasis on self-directed research and critical analysis
within the drawing genre. Students are encouraged to pursue a focused personal
vision through a combination of studio practice integrated with study of historical
and contemporary art theory. Instruction is tailored to the students individual
investigations. Ultimate goal is development of a visually coherent and conceptually
unified body of work.
This advanced drawing course may be considered as a capstone course that
is, an opportunity for students to utilize all the knowledge and experience
acquired in their previous art courses, in order to create a body of work that
demonstrates expertise in drawing. It will further develop and refine drawing
techniques and concepts, as well as understanding of human anatomy for the purpose
of artistic expression. Linear perspective, compositional structure, figure/ground
integration, spatial perception, critical thinking, and analytical skills will
all be emphasized extensively. In the first half of the course, we will lean
toward a realistic approach in our work from still-life, life and nude models;
however, we will also explore other conceptual approaches, such as surrealism
or abstraction. We will study and research major drawing styles and movements
in historical context. The hope is that students will use this global approach
to develop a critical eye in evaluation of contemporary drawing.
Slide lectures, group or individual critiques and discussions will be given
throughout the course. Graduate students could work on their own projects or
join the class; please discuss goals individually with me. This may seem like
a lot to absorb but always remember that our main emphasis in this course
will be to encourage and nourish individuality and creativity.
To continue the development of students expertise technically,
conceptually and professionally in the field of drawing and figure drawing.
To formalize students ability to verbally articulate ideas, artistic processes,
and personal expression.
To develop students awareness of artistic contexts in history and theory,
and their roles in the creative processes as contemporary artists in drawing.
To nurture students ability to establish personal focus and direction
To help students create a body of drawing that has consistency and sophistication.
REFERENCE BOOKS & REQUIRED TEXT:
Drawing: A Contemporary Approach by Teel Sale & Claudia
Belmont, CA: Wadsworth/Thomson Learning (5th Ed) 2004. ISBN 0-534-61335-7
Artistic Anatomy by Dr. Paul Richer, translated by Robert Beverly
New York: Watson Guptill Publications, 1971. ISBN 0-8230-0297-7 (Required text)
Perspective Drawing by Kenneth W. Auvil,
Mountain View: Mayfield Publishing Co., 1990. ISBN 0-87484-943-8
A Guide to Drawing by D. Mendelowitz & D. Wakeham
New York: Harcourt College Publishers, (5th Ed) 1995. ISBN 0-03-055487-X
Drawing as Expression by Sandy Brooke
New Jersey: Prentice Hall, 2002. ISBN 0-13-089313-7
Drawing Lessons from the Great Masters by Robert
New York: Wason-Guptill Publications, 1989. ISBN 0-8230-1401-0
Anatomy Lessons from the Great Masters by Robert Beverly
Hale and Terence Cole
New York: Watson-Guptill Publications, 1977. ISBN 0-8230-0222-5
Artists Manual: A Complete Guide to Painting & Drawing Materials
&Techniques by Angela Gair. San Francisco: Chronicle Books,
1996. ISBN 0-8118-1377-0
COURSE CONTENT & SCOPE:
Perspective: Linear Perspective (one, two & three point), Aerial
Perspective, Shifting Perspective, & Overlap.
Tonal Values: Highlight, Mid-tone, Junction of Dark/Light, Reflection,
Cast Shadow & Hard/Soft Edges.
Space: Flat (no depth, primitive art), Illusionistic (linear
perspective) & Limited Depth (Cézanne).
Movement, Direction & Rhythm: Horizontal, Vertical,
Diagonal, Triangular & S curve.
Balance& Proportion: Symmetry, Asymmetry & Cropping;
Golden Section & Proportion.
Shape: Positive/Negative Shapes, Figure/Ground Relationships
& Interior/Exterior Rhythms.
Dark & Light Contrast: Side Lighting, Flat Lighting
(front) & Rim Lighting (back).
Proportion: Golden Section (1:1.618 or 5:8) & Proportion.
Elements of Design: Square, Stage, Diamond, Circular, Linear
Pattern & Lines.
Image Interpretation: Pictography, Realism, Stylized, Cubism
Drawing History: Major styles & masters in Renaissance, Realism,
Impressionism, Post-impressionism, Expressionism, Modern, Contemporary &
Anatomy: In-depth study of human bones, muscles and form.
IMPORTANT ELEMENTS IN FIGURE DRAWING:
Why Study Figure Drawing:
Foundation of visual arts, and as tools of expression
Brief History of Drawing:
Great masters of High Renaissance: to capture the beauty from models
in an idealized form
Impressionists as a turning point: to emphasize personal expressions
and abstract quality
Proportion of figure
Weight and gravity line of figure
Seeing the figure in large forms & geometric shapes: blocks, spheres,
columns & their combinations
Finding the gesture, thrust and the rotation point
Perspective, foreshortening and capturing corresponding points of symmetrical
forms in space
Visualizing a figure and each part in cross-section
Understanding the bone structure
Understanding muscle: shape, beginnings, endings, insertion and relationships
Imaginative resolution: rhythm and spirit of drawing
Lines: contour & structure lines
Shadows (tone, shading): indicate meeting point of planes
Line and shading combinations
There will be lectures of important content about 30 minutes
at the beginning of many classes. Some lecture time will be used for critique,
discussion of required reading or educational video shown, students presentation
and material demonstration.
Required class assignments will be started in class and may be completed
outside-of-class. Additional out-of-class assignments, research and homework,
may take approximately six hours per week, should be turned in for grading.
Students are expected to keep, and turn in for evaluation, a sketchbook
for sketching, thumbnail sketching, planning, idea drafting and note.
Research and class presentation are important parts of this course. The
class will be divided into teams to research on specific artists, styles and
art movements. Each team needs to organize their findings and thoughts and then
present (with images of artwork) to the whole class. This assignment measures
students research ability, comprehension of materials, depth of study,
organization, presentation, as well as effectiveness of social interaction for
the sake of achieving group goals.
Artistic creation is a comprehensive, developmental activity. Grading
is based on the students performance in several related areas:
Evidence of students understanding and mastery
of techniques and concepts
Implementation of those
ideas in the particular assignments
Degree of participation
in class and in group-critiques
Willingness and attitude
and individual effort during and after class time
and progress through the semester
Students completing the basic requirements will receive a grade corresponding
approximately to a C.
Students meeting the basic requirements of each assignment, who attends
every class and contributes reasonably to the general educational environment
of the group, will receive a grade of C+.
B work exceeds the basic requirements. A work
Each project, in or outside class, will receive a letter grade. Your
final grade will be roughly the average of all grades received, plus the 25%
final project and class participation.
You are expected to attend class regularly. Excessive absences may result
in a failing grade. In this class, excessive absences is defined
as missing more than two times. After that, your final grade will be reduced
by one-third-letter grade for each additional absence despite your performance
Medical or personal problems will be excused but only with professional
documentation. This means a statement from a medical professional declaring
that you have been ill enough to miss class. A document that states that you
had an appointment or that you saw a doctor is not enough. Your illness must
be documented as having kept you incapacitated.
All missed activities and work will need to be made-up outside the regular
class. You are responsible for the information missed by an absence. Make an
appointment to see me for missed lectures. You are responsible for what you
Three times of tardiness will equal one absence. Missing more than 30
minutes of a class at the beginning or at the end will both be considered an
absence. If you have trouble attending class, please discuss your attendance
problems privately with me after class.
Excessive tardiness and absences will be referred to the Dean of Arts
After six unexcused absences, you will be dropped from the course with
a failing grade.
Academic honesty is fundamental to the activities and principles of a university.
All members of the academic community must be confident that each persons
work has been responsibly and honorably acquired, developed, and presented.
Any effort to gain an advantage not given to all students is dishonest whether
or not the effort is successful. The academic community regards academic dishonesty
as an extremely serious matter, with serious consequences that range from probation
to expulsion. When in doubt about plagiarism, paraphrasing, quoting or collaboration,
consult the course instructor. Any student suspected of submitting work done
by someone else will be reported to the Office of the Provost.
AMERICANS WITH DISABILITIES ACT:
If you have special needs as addressed by the Americans with Disabilities Act
(ADA) and need assistance, please notify the Office of Disability Services,
A048 Brady Commons, 882-4696, or the course instructor immediately. Reasonable
efforts will be made to accommodate your special needs.
MATERIAL LIST FOR THIS DRAWING CLASS:
Materials needed for this class vary from students to students and projects
to projects. Since we are all advanced painters/draftsmen, I will leave that
up to your own choice. However, if you need suggestions, please refer to the
material list provided on separate pages as well as the list online: www.LampoLeong.com
> Teaching > Material List for Advanced Drawing. Please discuss your plan
with the professor and obtain approval.
COURSE DAILY ACTIVITIES: