(Art 360/460 • Winter 2004 • 3 units • TR 11am-1:50pm • Room A214)
Professor Lampo Leong • • • A219 Fine Arts • Office Hours: TR 5–6:30pm • 573-882-9446

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 student’s 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 as artists.
To help students create a body of drawing that has consistency and sophistication.


Drawing: A Contemporary Approach • by Teel Sale & Claudia Betti
Belmont, CA: Wadsworth/Thomson Learning (5th Ed) 2004. ISBN 0-534-61335-7
Artistic Anatomy
• by Dr. Paul Richer, translated by Robert Beverly Hale
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 Beverly Hale
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
Artist’s Manual: A Complete Guide to Painting & Drawing Materials &Techniques • by Angela Gair. San Francisco: Chronicle Books, 1996. ISBN 0-8118-1377-0


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 & Abstraction.
Drawing History: Major styles & masters in Renaissance, Realism, Impressionism, Post-impressionism, Expressionism, Modern, Contemporary & Abstraction.
Anatomy: In-depth study of human bones, muscles and form.

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
Artistic Anatomy:
• 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, student’s 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 to experiment
  • Initiative demonstrated and individual effort during and after class time
  • Overall preparedness 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 is exceptional.
• 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 otherwise.
• 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 have missed.
• 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 and Sciences.
• 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 person’s 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.

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.

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: > Teaching > Material List for Advanced Drawing. Please discuss your plan with the professor and obtain approval.



Lecture: Introductory Slide Lecture, Overview & Course Objective; Materials
Video: Vermeer: Light, Love & Silence
Homework: Review Perspective Drawing, Chapters 1, 2 & 3
Review Drawing From Observation, Brian Curtis, (

1/22 Lecture: Review Linear Perspective (1, 2 & 3 points) & Hand Measurement
Exam: Linear Perspective (1, 2 & 3 points)
Exercise: One-section pencil drawing (18”x24”). Prop: Hexagonal column
Homework: Study paintings by Johannes Vermeer;
Research on contemporary still-life drawing
1/27 Exercise: Start a 4-section pencil drawing of still-life (basket & pitcher, 22”x28”)
Video: Cézanne: The Man and the Mountain
Homework: Study drawings by Leonardo da Vinci
Presentation: Research on contemporary drawing of still-life and present to the class
1/29 Exercise: Continue the pencil drawing of still-life (basket & pitcher)
Homework: Study drawings by Rembrandt and Albrecht Durer
Note: Professor is out of town in San Francisco for solo show opening
2/3 Lecture: Contemporary Drawing of Still-life
Exercise: Continue the pencil drawing of still-life (basket & pitcher)
2/5 Exercise: Complete the pencil drawing of still-life (basket & pitcher)
Homework: Study painting/drawing by Andrew Wyeth (American 1917-)
2/10 Exercise: Start a 4-section pencil drawing (22”x30”). Prop: Animal/human skull
Video: Van Gogh’s Van Goghs (56:46)
2/12 Exercise: Continue the drawing of animal or human skull
Homework: Portrait paintings by Hans Holbein
2/17 Exercise: Continue the drawing of animal or human skull.
2/19 Exercise: Complete the drawing of animal or human skull
Homework: Research on realistic drawings that emphasize abstract quality
Note: Professor is out of town in Seattle for CAA presentation
2/24 Lecture: Abstract Quality in Realism; Composition-Space, Movement, Balance
& Rhythm.
Exercise: Start a 4-section charcoal drawing with abstract quality (29”x41”,
Subject and approach of your own choice, but look for references)
Homework: Study drawings by Picasso & De Kooning
2/26 Exercise: Continue the abstract drawing (subject and approach of your choice)
Video: Matisse and Picasso: A Gentle Rivalry (26:46)
3/2 Exercise: Continue the abstract drawing in charcoal or other media
Presentation: Research on contemporary drawings that emphasize abstract quality
3/4 Exercise: Complete the abstract drawing in charcoal or other media
Video: Art of the 21th Century
Homework: Look for good drawing of portrait for reference; Study Lucian Freud
3/9 Lecture: Proportion of the Human Head & Various Styles of Portrait Drawing
Portrait Drawing by Hans Holbein
Exercise: Start a 4-section portrait drawing (22”x28”) in charcoal, life model
Homework: Study portrait paintings by Hans Holbein
3/11 Exercise: Continue the portrait drawing in charcoal from life model.
3/16 Exercise: Continue the portrait drawing in charcoal from life model
Presentation: Research on contemporary portrait drawings and present to class
3/18 Exercise: Complete the portrait drawing in charcoal from life model
Homework: Review human proportion & anatomy
3/30 Lecture: Proportion of Figure & Various Styles of Figure Drawing
Exercise: Start an 8-section full figure drawing (38”x51”). Subject: female nude
4/1 Exercise: Continue full figure drawing of nude model (charcoal or graphite)
Presentation: Research on contemporary nude figure drawings and present to class
4/6 Exercise: Continue full figure drawing of nude model
Video: Michelangelo: Self Portrait
4/8 Exercise: Continue full figure drawing of nude model
Homework: Study figure drawings by Michelangelo
4/13 Exercise: Continue full figure drawing of nude model
4/15 Exercise: Continue full figure drawing of nude model
4/20 Exercise: Continue full figure drawing of nude model.
Homework: Look for good photos for your surrealistic drawing project.
4/22 Exercise: Complete full figure drawing of nude model
Homework: Create 3 sketches for your surrealistic drawing project
4/27 Lecture: Work of Eduardo Naranjo and Other Surrealistic Artists.
Exercise: Start a 4-section surrealistic drawing (29”x41”) by combining photos
Video: Robert Rauschenberg: Inventive Genius
4/29 Exercise: Continue the surrealistic composite drawing using photo reference
Video: First Person Singular: I. M. Pei
5/4 Exercise: Continue the surrealistic composite drawing using photo reference
Presentation: Research on contemporary surrealistic drawing and present to class
Due: Writing assignment regarding art videos studied in last few classes
5/6 Exercise: Complete the surrealistic composite drawing using photo reference
5/10 Final Critique & Exam: Monday, 10:30 am – 12:30 pm

     This is the general pace of the class and it doesn’t mean to be a complete list of assignments & exams. Special assignments or slight modification of plan may occur in order to accommodate students’ needs and to solve specific drawing problems that come up.

Copyright © 2004 Lampo Leong • All Rights Reserved