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JOHN CABOT UNIVERSITY

COURSE CODE: "AS 212"
COURSE NAME: "Figure Drawing"
SEMESTER & YEAR: Fall Semester 2012
SYLLABUS

INSTRUCTOR: Flaccus Peter
EMAIL: [email protected]
HOURS: T 9:00-11:45
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: This class requires a materials fee of €75/$85 to cover all basic art supplies.)
OFFICE HOURS:

COURSE DESCRIPTION:

Drawing and painting from the nude figure is the traditional basis for training the artist’s eye and hand.  With practice and specific exercises, students learn to depict the forms, porportions, positions and gestures of the human body, while improving their control over line, gesture, light and dark, color, and so on.  In this course basic pictorial issues are addressed:  structure, movement, material process, narrative and other kinds of content, and most especially, the creation of coherent pictorial space and the articulation of a pictorial idea. 

An attempt is made to create an atmosphere of study and experimentation, that is, working with patience in front of an objective reality.  The aim is to understand and to discover, rather than simply to follow the rigid steps of a traditional academic regime. Students are at all times encouraged to find their own, individual approaches, and no particular style is promoted.

Students should leave the course with improved skills in portraying the human figure, and a new understanding of some of the traditions and problems in figure drawing and painting.

SUMMARY OF COURSE CONTENT:
This class is a drawing workshop which allows students with different levels of experience to work together and learn from each other.   The consistent element is the availability of the nude model from which to draw.  Students must also do a considerable amount of work outside of class time, in the studio at school, at home, or elsewhere.  Slides of paintings from diverse historical periods are shown in order to illustrate points concerning the use of the figure in art.  Visits to exhibitions are also scheduled, in order to deepen knowledge of various painting traditions,  and most importantly, to study master works up close and in the flesh.  Group critiques help students develop a language for discussing their own drawings and paintings and those of others.

Students are guided through the five basic units in this course.

1.   Structure and proportions of the human body.  We will initiate the course with several sessions devoted to careful observation of proportions and structure of the figure.  During this period the main aim will be achieve rigor in the constant measurement and correction that is basic to a credible depiction of the human figure.  

2.   The figure in space.  All painting and drawing departs from the interesting problem of controlling the illusion of three-dimensions on a flat, two-dimensional surface. Students will execute drawings that specifically address the relationship of the nude figure to an interior space.  This will typically involve attention to the light environment: how the color, intensity, and direction of the light interact with the figure.  

3.  The portrait.  In art, the figure is often treated as neutrally and detachedly as a vase of flowers.   However when the artist’s intention becomes that of making visible particular physical or even psychological characteristics of the sitter, we have entered the realm of the portrait.  Students may  work on a portrait of the model, a portrait of a friend or relative, or even a self-portrait, always drawn from life, never from a photograph.

4.  Drawing (or painting) a life-sized figure.    

5.  A multi-figure composition.    After students have some practice in working from the nude model, they should be able to combine figures in a more complex composition.  This widens the possibilities of a narrative dimension in the work.   Here, as in the above problems, familiarity with the history of art is indispensible in finding ideas and interesting problems.   

Other Points:   

1.  The course involves working from direct observation.  Working from photographs is not permitted.   

2.  The course may include slide lectures and museum visits. 

3.  The core activity is working in class from the nude model.  Supplementary sessions may also be arranged.  Students are also expected to work at least as many hours outside of class as in class.  

4.  You can draw in many media.  We will do certain directed drawing exercises designed to liberate hand and eye.  

5.  The course is meant to be a framework allowing very free individual artistic choices.  The five assignments listed are meant to help students get started.  There is always leeway for alternatives, with consultation.  Interesting variations could include making a very large-scale work, working collaboratively, or creating a narrative cycle of works. 

6.  Students must come to class on time, because announcements, assignments, brief slide lectures, discussions, etc. take place at the beginning of the class. 

7.  A list of materials will be given at the first class meeting.  The basic media for drawing are charcoal, graphite, and ink on paper;  latitude is left to individual choice.  Students buy their own art supplies. There is no textbook. 

Art supply stores: Poggi (two locations, one in Trastevere on Via Merry del Val, just off Viale Trastevere, and the other on Via Pie’ di Marmo, near the Pantheon), Arte Tre, Via del Fiume near Via Ripetta and the Piazza del Popolo, and Vertecchi, a chain with several branches.


LEARNING OUTCOMES:
see above
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
The portfolio of drawings will include all the class exercises and work from outside class 100

-ASSESSMENT CRITERIA:

A:  Work of this quality shows excellent mastery of the course content. It is characterized by artistic awareness and skill, originality, improvement, resourcefulness, commitment and exceptional quantity of work. Work of this level shows acuteness in both seeing and the capacity to communicate that seeing, and demonstrates curiosity and autonomy in self-directed work.
B:  This is highly competent level of performance and directly addresses the content of the course, with very good quantity of work produced.
C:  This is an acceptable level of performance; the work shows awareness of the course content, but is very limited in quantity, commitment and skill.
D:  This level of performances demonstrates that the student lacks a coherent grasp of the material, and has failed to produce much work.
F: This work shows little or no engagement with the assigned problems.

-ATTENDANCE REQUIREMENTS:
Attendance is required.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

see above