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Life Drawing: The Hidden Structure (10 credit points)

Course Times & Enrolment

This course is currently unavailable.

Course Summary

This course will introduce and examine ways to interpret and record the underlying structure, form and proportions of the human figure. An evolving sequence of life poses will be contextualized in the drawing studio to provide the student with a basic understanding of human anatomy to create a body of considered works, generated from a range of drawing approaches.

Course Details

Pre-requisites for enrolment

None.

Special Information

Materials you will need to bring to the first class:

  • A1 or A2 cartridge paper

  • Charcoals - willow and compressed - 1 stick of each

  • Soft putty rubber

  • HB, B, 2B, 6B pencils

  • Graphite stick

  • Pencil sharpener or craft knife

  • Masking tape

  • Sketchbook A3

In addition to the course fee, students are expected to provide the following list of indicative tools, materials and equipment:

  • A selection of drawing papers - sheets of A2 or larger

  • Sketchbook

  • Willow charcoal

  • Compressed charcoal

  • Charcoal pencil

  • Chalk pastels or conte sticks

  • Black drawing ink

  • Coloured drawing inks (optional)

  • White oil bar

  • Oil pastels (optional)

  • Drawing nib

  • Waterproof fine liner pen

  • Small and medium brushes for ink and washes

  • Selection of pencils including HB, B, 2B and 4B.

  • Coloured pencils (optional)

  • Graphite stick

  • Putty rubber

  • Fixative

  • Masking tape.

Content of Course

Over the class sessions the course will cover:

1. Introduction to the figure- Finding the figure in space through line.

2. Classical and contemporary, bridging the gap. Examining classical representations of the figure and the contemporary resonance.

3. Deconstruction- Identifying and defining bone structure and muscle through tone.

4. Load - The figure at rest. Volume and displacement. Measuring the figure.

5. Transition - The ecstatic figure in the moment.

6. Movement - The figure at work.

7. Expression - Investigating mark making and identifying key parts of the body as emotive signifiers. Head, hands and feet.

8. Rapid recording - time restricted drawing.

9. Embedding - drawing from memory.

10. Scaling up - developing the figure from thumbnail sketches and study drawings.

11. Beyond the framework - the figure in composition.

Teaching method(s)

The teaching will be based and delivered in specialist art and design studios or workshops and will typically include a range of practical exercises, introductions to techniques, processes and concepts, and set projects which lead to more focused and personal exploration. Over the course, students’ progress will be monitored and supported by the tutor.  Teaching will include practical demonstrations, one to one tuition, group discussions and critiques.

For work required to be undertaken after the class hours are complete, the course tutor will set students a ‘directed study plan’ which can be undertaken without the need for specialist workshops or access to models.

Directed study will include research into a range of suggested artists and their associated movements to engender a contextual awareness. Students are expected to demonstrate how their research has informed their work through annotated sketchbooks, a visual digital journal and practical outcomes. 

The Directed Study Plan will include preparing evidence of research and practical work to form an appropriate presentation for assessment.

Learning outcomes

On completion of this course, the student will be able to:

  • Demonstrate an understanding of the structure and basic anatomy of the human form through observation and research into how other artists approach the figure.

  • Create a series of investigative drawings which demonstrate an understanding of the structure and form of the human figure exploiting a range of media.

  • Select, edit and present a body of drawings and research which demonstrate a considered and personal approach to the human figure.

Sources

Core Readings

Recommended:

  • Marsh, R., 1970. Anatomy for artists. London: Dover.

  • Wolff, E., 1958. Anatomy for artists, 4th ed. London: H K Lewis.

  • Figura, S. and Freud, L., 2007. Lucian Freud: The Painter’s Etchings. New York: Museum of Modern Art.

  • Browse and Darby, 1999. Euan Uglow, London: Browse and Darby

  • Kantor, J., Zabel, I., and Dexter, E., 2005. Vitamin D: New Perspectives in Drawing . London: Phaidon

Assessment

Details of the Art and Design assessment requirements can be found on the short course website. Please click on the following link for more information: Submission and Assessment Information

Studying for Credit

If you choose to study for credit you will need to allocate significant time outwith classes for coursework and assessment preparation. Credit points gained from this course can count towards the Certificate of Higher Education.

Queries

If you have questions regarding the course or enrolment, please contact COL Reception at Paterson's Land by email or by phone 0131 650 4400.

Student support

If you have a disability, learning difficulty or health condition which may affect your studies, please let us know by ticking the 'specific support needs' box on your course application form. This will allow us to make appropriate adjustments in advance and in accordance with your rights under the Equality Act 2010. For more information please visit the Student Support section of our website.