Course Title: Create observational drawings
Part B: Course Detail
Teaching Period: Term1 2017
Course Code: VART6363C
Course Title: Create observational drawings
School: 340T Art
Campus: City Campus
Program: C5348 - Diploma of Visual Arts
Course Contact: Phillip Allan
Course Contact Phone: 9925 4030
Course Contact Email: p.allan@rmit.edu.au
Name and Contact Details of All Other Relevant Staff
Anthony Riccardi
Sharon West
Kathleen McCann
Nominal Hours: 50
Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.
Pre-requisites and Co-requisites
None
Course Description
In this course you will develop skills and knowledge required to research and explore selected drawing materials and processes and integrate their use into creative practice.
This course relates to drawing as an art form where you will explore a diverse range of drawing materials, process and techniques. Drawing is a means of creative expression and this course allows you to use drawing as a means of discovery.
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title: |
CUAACD502 Create observational drawings |
Element: |
1. Develop and refine observational drawing technique |
Performance Criteria: |
1.1 Investigate specific techniques and considerations for observational drawing 1.2 Establish and follow safe work practices for selected technique 1.3 Explore ways to achieve perspective in drawings 1.4 Experiment with use of lines and edges 1.5 Consider ways to recognise and accurately represent space 1.6 Work with different techniques to observe and depict light and shade 1.7 Identify problems in own drawing technique and explore ways to resolve them |
Element: |
2. Explore media and tools for observational drawings |
Performance Criteria: |
2.1 Research historical and contemporary observational drawing in the context of own work 2.2 Determine how different media and tools can create different effects in drawings 2.3 Select and use appropriate media to achieve the desired outcome |
Element: |
3. Produce finished observational drawings |
Performance Criteria: |
3.1 Select subjects for observational drawing projects based on the needs of own work 3.2 Confirm key objectives for the drawing project 3.3 Create finished drawings that show command of observational drawing techniques and appropriate selection of media 3.4 Evaluate own observational drawing in terms of key objectives 3.5 Seek critical feedback from others 3.6 Reflect and act on the need for further development of skills |
Learning Outcomes
On successful completion of this course, you will have acquired the skills and knowledge to produce figure drawings that represent and communicate ideas linked to your elective practices.
Details of Learning Activities
The major learning experience in this unit involves studio based workshops drawing observationally from a live model. It is recommended that you attend all classes in order for you to produce the required drawings from life required for assessment.
In class activities may include:
- teacher directed studio activities/exercises
- group review discussions
- practical demonstrations in the studio
- peer teaching and class presentations
- student initiated drawings
- peer learning
- individual tutorials
Out of class activities may include:
- group discussion
- online research
- practical exercises
- independent visual and material research
- attending exhibitions and galleries
Teaching Schedule
Week |
Class content/Activities |
Visual Diary Tasks |
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Week 1 6-10 Feb |
Overview of course structure, introductions and Protocols in the Life Drawing Studio
Powerpoints: Investigate Drawing –overview of ways to look at the figure. Formal Elements of Drawing
Drawing from observation: the studio skeleton. Tonal Rub Back Drawing Technique: use of tonal grounds to rub back to the light and charcoal to develop the darks. Focus on structure of the skeleton as a basis for understanding the human figure.
Materials: Clips, Willow Charcoal, soft and hard erasers, Conté (compressed charcoal)
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Use anatomy books or internet sources from to draw from the skeleton. In particular familiarize yourself with the skull and overall shapes made by the skeleton. |
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Week 2 13-17 Feb |
Drawing from observation : the live model. Short poses (1 min up to 20 mins)
Focus on space – positive and negative space and basic issues of perception (drawing what you actually see rather than what you think you see).
“Blind” drawing, contour, silhouette, figure/ground relationship, axis/alignment lines, simplified shape (block or geometric), drawing mass.
Materials: Clips, Willow Charcoal, soft and hard erasers, Conté (compressed charcoal)
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Use live models, photographs or other sources such as existing artworks, sculptures or paintings as a reference to draw the observed figure in a realistic way.
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Week 3 20-24 Feb |
Drawing from observation : the live model. Short poses (1 min up to 20 mins)
Tonal Rub Back Drawing Technique: use of tonal grounds to rub back to the light and charcoal to develop the darks.
Materials: Clips, Willow Charcoal, soft and hard erasers, Conté (compressed charcoal), masking tape.
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Make small tonal rub back drawings in the visual diary based on figures from any source aiming for realism.
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Week 4 27 Feb-3 Mar |
Drawing from observation : the live model. Short poses (1 min up to 20 mins)
Head studies, hand and feet studies. Considering the structures and common issues.
Materials: Clips, Willow Charcoal, soft and hard erasers, Conté (compressed charcoal)
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Using varied sources including your own reflection, your hands and feet, make multiple studies. These can be quick gestural “thinking” drawings or more finished sustained drawings. |
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Week 5 6-10 Mar |
Drawing from observation : the live model. Short poses (1 min up to 20 mins)
Head studies, hand and feet studies. Considering the structures and common issues.
Materials: Clips, Willow Charcoal, soft and hard erasers, Conté (compressed charcoal)
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Research two contemporary artists who work with the figure (still working, exhibiting and referenced in either art journals or books). Hint: check actual books or journals in the Visual Art section of a library or search websites of significant Art organisations or Institutions. |
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Week 6 13-17 Mar |
Drawing from observation : the live model. Long poses (20 mins or more)
Focus on depicting formand elements of the body - consideration of planes, shape, convex and concave, and how light and shadow can be used to create the illusion of three dimensionality.
Materials: Clips, Willow Charcoal, soft and hard erasers, Conté (compressed charcoal), masking tape. |
List the work health and safety considerations for drawing in this context. |
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Week 7 20-24 Mar |
Drawing from observation : the live model. Long poses (20 mins or more)
Focus on composition – placement of elements within the picture plane and figure on the page, considering the use of framing devices, foreshortening, cropping, scale.
Materials: Clips, Willow Charcoal, soft and hard erasers, Conté (compressed charcoal), masking tape.
|
Make a series of small “thumbnail” figure drawings within a “picture planes”/ frames from any source. Experiment with alternative versions of composition, cropping, tonal emphasis etc. |
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Week 8 27-31 Mar Tutorial Week |
Drawing from observation : the live model. Short and long poses (1 min up to 20 mins or more) - INDIVIDUAL TUTORIALS
Focus on Proportion – relationship of form, overlapping, scale, foreshortening.
Materials: Clips, Willow Charcoal, soft and hard erasers, Conté (compressed charcoal), masking tape.
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Make a series of small drawings focusing on proportion and foreshortening.
Tutorial Week: Bring your Visual Diary to class for review. |
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Week 9 3-7 Apr |
Drawing from observation : the live model. Short and long poses (1 min up to 20 mins or more)
Focus on gesture, tension and rhythm in the figure and drawing. “Contrapposto” (counterpose, twisted body pose) and realism.
Materials: Clips, Willow Charcoal, soft and hard erasers, Conté (compressed charcoal), masking tape.
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Week 10 10-12 Apr |
Drawing from observation : the live model.
Short poses and longer pose (over 20 mins)
Focus: Brown craft paper as a “mid-tone” drawing surface and ground for use of black, grey and white soft pastels, warm coloured conté pencils or sticks.
Materials: Craft paper (supplied) black, grey and white soft pastles, warm coloured conté pencils or sticks.
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Find some brown paper and stick it into a couple of pages of your diary. Working with black and white conte make a couple of drawings from a figure using the brown of the paper as the midtone. |
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13-25 April |
Easter / Mid Semester Break
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Find 2-3 examples of observational drawing from historical or contemporary sources and suggest ways that these are relevant to your own work. |
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Week 11 26-28 Apr |
Drawing from observation : the live model.
Focus: Colour pastels. Colour relationships. Flesh tones. Layering techniques. Using prepared paper with coloured grounds.
Materials: coloured soft pastels.
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Make a few pages of experiments with layers of coloured soft pastel. Use cool colours underneath warm colours and vice versa. Try different textures and saturations. |
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Week 12 1-5 May |
Drawing from observation : the live model. Short poses and several 20 mins poses.
Focus: Colour pastels. Colour relationships. Flesh tones. Layering techniques. Using prepared paper with coloured grounds.
Materials: coloured soft pastels.
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Make a couple of small studies of hands and feet with the colour pastels aiming for convincing flesh tones. |
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Week 13 8-12 May |
Drawing from observation : the live model. Short poses and several 20 mins poses.
Focus and Materials: Ink. Gestural marks. Quick poses. Using brushes, nibs and other implements (eg. sponges, sticks, rags)
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Experiment with mark making in ink – use both controlled and gestural marks to see how you can build up a tonal range. Make a couple of quick small sketches from a figure in ink in the diary. |
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Week 14 15-19 May |
Drawing from observation : the live model.
Focus and Materials: Ink. Building up tonal with ink washes for longer poses. Using brushes, nibs and other implements (eg. sponges, sticks, rags)
Long poses (20 mins or more)
|
Describe what materials you prefer to use in a life drawing context and why. Describe the materials you least prefer and why. |
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Week 15 22-26 May |
Drawing from observation : the live model. Short and long poses.
Focus: Consolidating and applying the skills, materials and methods built up throughout the semester to address a long pose.
Materials: Choice of mediums and papers.
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Reflect in writing what you think you have learnt this semester in Create Observational Drawings. |
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Week 16 29 May-2 June |
Drawing from observation : the live model.
Focus: Consolidating and applying the skills, materials and methods built up throughout the semester to address a long pose.
Materials: Choice of mediums and papers.
Review of Semester 1 and reminder of Assessment Requirements.
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Use your visual diary to continue your observations of the human body in drawing. |
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Week 17 5-16 June |
Submission of Folio for Assessment |
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Note: While all course content in this schedule will be covered, the weekly order may change depending on class needs, availability of resources and models.
Learning Resources
Prescribed Texts
References
Other Resources
RMIT Library and Library Subject Guides:
The University Library has extensive resources. The Library has produced a number of subject guides that includes quality online and print resources for your studies. The Art Subject Guide can be found at :
http://rmit.libguides.com/sb.php?subject_id=67925
You will be encouraged to attend exhibition openings and visit public art projects/sites outside of your learning environment. RMIT school of Art has two galleries and an ongoing exhibition program.
Suggested References:
Dexter, E. 2005, Vitamin D: New Perspectives in Drawing, Phaidon, NY.
Garrett, C (Commissioning Editor), 2013, Vitamin D2, New Perspectives in Drawing, Phaidon Press Ltd, London
Barrett, R. 2008, Life Drawing, how to portray the figure with accuracy and expression, North Light Books, Ohio
Barcsay, J., 1973, Anatomy for the Artist, Octopus Books Ltd, London
Simblet, S., 2001, Anatomy for the Artist, DK Publishing, New York
Hill, B. (Editor), 2003, Prints and Drawings in the international collections of the National Gallery of Victoria, National Gallery of Victoria
Overview of Assessment
Assessment for this course is on going throughout the semester. Your knowledge and understanding of course content is assessed through completion of a body of work that demonstrates concept development, understanding of materials and adhering to the guidelines of working in the life drawing studio.
You will be assessed on the following:
- Practical tasks
- Direct observation including exploration of and experimentation with techniques
- Completion of an portfolio including personal reflection and observation of the figure.
An assessment charter summarises your responsibilities as an RMIT student as well as those of your teachers
Assessment Tasks
To demonstrate competency in this course, you will need to complete the following pieces of assessment to a satisfactory standard.
Assessment Task 1 title: Folio Submission
Description: a folio of drawings is to be submitted selected from the works made in class from direct observation of the live model.
- 10 long/sustained poses (more than 20 mins)
- 6 short poses (less than 20 mins)
The drawings should be in a variety of media and demonstrating accurate perspective, proportion, effective depiction of light, shade, depth, positive and negative space, form, shape and volume, and effective composition.
Note: Drawings are not to be submitted rolled up but presented flat in a hard plastic folio. Rolled drawings are not considered for assessment.
Assessment Task 2 Title: Submission of Visual Diary
Description: A visual diary is to be used over the semester to gather ideas, responses to observational drawing approaches, techniques and references that are relevant to your understanding of drawing processes and materials. Specific visual diary tasks including studies from the human form using life, photos and sculpture are outlined in the weekly schedule. A visual diary should also include ongoing documentation of exhibition experiences and independent research in the subject area.
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Graded Mark Table |
Graded assessment applies for units within the Diploma of Visual Arts.
Graded marks for “Create Observational Drawings” are given at the end of Semester 1.
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Assessment Matrix
The assessment matrix demonstrates alignment of assessment tasks with the relevant unit of competency. These matrices are available through the Course Co-ordinator.
Other Information
Assessment Feedback:
You will receive spoken and written feedback on your work during class and in Tutorial Week. Where relevant, this feedback will also include suggestions on how you can proceed to the next stage of developing your projects.
http://www1.rmit.edu.au/browse;ID=qwxbqbg739rl1
Student Progress:
Monitoring academic progress is an important enabling and proactive strategy designed to assist you in achieving your learning potential.
http://www1.rmit.edu.au/students/acadprogress
Adjustments to Assessment (eg. applying for an extension of time):
If you are unable to complete any piece of assessment satisfactorily by the due date, you can choose to apply for an adjustment to your assessment. RMIT University offers a range of adjustments designed to support you in your studies, including an extension of time to complete the assessment.
http://www1.rmit.edu.au/browse;ID=kehn9bz22r41
Academic Integrity and Plagiarism:
RMIT University has a strict policy on plagiarism and academic integrity. Please refer to the website for more information on this policy.
http://www1.rmit.edu.au/students/academic-integrity
Credit Transfer and Recognition of Prior Learning:
Credit transfer is the recognition of previously completed formal learning (an officially accredited qualification).
Recognition of Prior Learning (RPL) is an assessment process that allows you to demonstrate competence using the skills you have gained through experience in the workplace, voluntary work, informal or formal training or other life experiences.
Recognition of Current Competency (RCC) RCC applies only if you have previously successfully demonstrated competence in a unit of competency, and now require to be reassessed to ensure that the competence is being maintained.
Please speak to your teacher if you wish to discuss applying for Credit Transfer, RPL, or RCC for the unit(s) of competency addressed in this course.
http://www1.rmit.edu.au/browse;ID=az8fl470ucg41
Course Overview: Access Course Overview