Lucie Stern Center
Middlefield Road
Palo Alto, CA
10:00 AM - 5:00 PM
$20.00 half a day and $30.00 all day
Saturday, June 23, 2012
Thursday, June 21, 2012
Final Date and Time
The date for the final in this life drawing class is Thursday 28, 2012 between 4 PM and 6 PM.
It is at that time I will return your graded portfolios. Then you are to present to the class two of your drawings and tell the class what you learned from doing the drawing why you think it is good. You could say something like this is the first time I used pen and ink or it was the first time using 30 second gesture drawings. Do not make your presentation longer than five min.
It is at that time I will return your graded portfolios. Then you are to present to the class two of your drawings and tell the class what you learned from doing the drawing why you think it is good. You could say something like this is the first time I used pen and ink or it was the first time using 30 second gesture drawings. Do not make your presentation longer than five min.
Wednesday, April 18, 2012
Wednesday, April 11, 2012
Life Drawing Supplies
ARTS 4C Life Drawing Supplies
Newsprint pad rough 18x24
Drawing pad 18x24
Higgins Brown Ink
Higgins Black Ink
Soft Vine Charcoal
Charcoal Sticks 3 pack
Kneaded eraser
Graphite pencils 2B,4B,6B,2H,4H,6H
Charcoal pencil 6B
Artgum eraser
Pink pearl eraser
Conte Crayons--Bistre,White,Black
Xacto #11 blades
Xacto Knife W/safety cap
Blending Stumps #3
Speedball Pen holder
Artist nib #513
Steel Rulwer 18"
Medium Chamois
Workable Fixative
Life Drawing Greensheet
ARTS 4C (00127 Arts-004C-01) LIFE DRAWING SPRING (April 9 – June 29) 2012
DE ANZA COLLEGE
INSTRUCTOR BARBARA ALLIE
Classes Meets: 3:30 PM – 6:20 PM - Room A94
Spring 2012: Classes meet twelve weeks (April 9-June 29) unless otherwise indicated. Holidays - classes will not be held Memorial Day weekend--Sat, May 26, 27 & Monday, May 28.
Email: alliebarbara@fhda.edu My Phone Number: 408.864.3524 http://lifedrawingblogspot.com/
A list of all of the supplies for this class may be found on the above blog. There is also a list of art terms you should know, and a couple of interesting videos pertaining to life drawing.
“Kenneth Clark opens his classic study, The Nude: A Study in Ideal Form, by pointing out that
The English language, with its elaborate generosity, distinguishes between the naked and the nude. To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The word "nude," on the other hand, carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenseless body, but of a balanced, prosperous, and confident body: the body re-formed. In fact, the word was forced into our vocabulary by critics of the early eighteenth century to persuade the artless islanders [of the UK] that, in countries where painting and sculpture were practiced and valued as they should be, the naked human body was the central subject of art.”[]
COURSE DESCRIPTION:
This class is a beginning drawing course focusing on the representation of and interpretation of the human form, with attention to drawing from a live model. The class will include traditional and contemporary methods, as well as a continuing exploration of various drawing mediums.
PREREQUISTE: Arts 4A. Advisory: English Writing 211 and Reading 211 (or Language Arts 211), or English as a Second Language 272 and 273; Arts 4B, 4D, and 8
REQUIRED BOOK: Giovanni Civardi “Drawing, A Complete Guide” ISBN 978-1-84448-508-6
CLASS PROJECTS:
Each class will begin with a lecture, demonstration and or discussion. There will be at least one drawing assigned each day, and with short exercises at the beginning of class. Extra time will be allocated for more advanced figure drawings.
THINGS YOU SHOULD KNOW!
I expect all of you to be respectful of myself, of your peers and of the learning environment and to take responsibility for your own actions and behaviors. Any behavior that interferes with either (1) my ability to conduct the class or (2) the ability of other students (or yourself) to profit from the instructional program will not be tolerated.
This includes:
- Arriving late to class.
- Disruptive entrances and exits during lecture, if you must leave early, or arrive late, do so quietly.
- Carrying on personal conversations while I am lecturing.
- You Must stay the full length of the class!
Other important information:
- I reserve the right to make changes to my syllabus at any time.
- It is the responsibility of the student to attend class and keep informed on any changes or new information given during lecture.
- If you miss class, you will need to ask a peer for missed information.
- If you miss an exam, quiz or other assignment, and you have a valid excuse, you must bring proof of your valid excuse with you or I will not even consider your request to make up the missed work.
- It is the responsibility of the student to drop classes! If you decide you do not want to take this class and fail to drop, you will receive a grade of F at the end of the quarter. This grade is the bad because it makes you appear irresponsible.
COURSE OBJECTIVES
1. Learn basic design principles as it relates to drawing from life.
2. Demonstrate an understanding of the terminology, tools, and techniques used in life drawing process.
3. Knowledge that drawing is both a “tool and an end product”
4. Plan and produce effective drawings demonstrating skills and an understanding with regard to skeletal frame of the figure.
5. Create Sketch Book of figure drawings from life and book
STUDENET LEARNING OBJECTIVES
On successful completion of this course students should be able to:
- Demonstrate an understanding of the creative process: planning, intuition, execution, evaluation, and express verbally how drawings were made.
- Render in color and black and white the human figure.
- Learn to creativity represent the human form in both traditional and non-traditional ways.
METHODS OF EVALUATION
§ Student’s ability to solve drawing problems
§ Projects that demonstrate an understanding of various elements and principles of drawing the figure.
§ Portfolio of all course work.
q Demonstration of growth! Are you improving and developing new ideas and skills?
§ How well you clean up after yourself and adhere to cleaning policies.
§ Failure to submit assignments or late submissions
q Effort, neatness, professional appearance, working diligently and with focus
q Punctuality and handing in all required work on time.
q Class participation: sharing ideas in class discussions and critiques, alertness, following instructions, being respectful and cooperative in the classroom
POINT SYSTEM:
1,000 possible points
Knowledge of software features = 150 points
Class Projects= 500 points
Final Project= 200 points
Test = 100 points (the tests may be written or painting assignments)
Class participation = 50 points
GRADING
Your earned grade will depend on the effort you put into class participation, assignments, quizzes, and your final project. Assignments are due at the beginning of class on the designated date. All written work must be typed, and proofread before it is submitted.
1000 points – 800 = A
800 points – 600 = B
600 points – 500 = C
500 points – 400 = D
400 points – 200 = F
MISSED ASSIGNMENTS:
If unable to attend class, it is your responsibility to get the missing assignments from peers. I would advise you to get the name and email of another student in class within the first two or three days of class.
FINAL PROJECT (It is mandatory that you be in attendance during the final day – no exceptions). If you are unable to attend because of an excused reason, you will be required to turn in a five-page term paper on a subject approved by me.
Students are to present examples of their assignments created during the quarter in class. I will discuss this in more detail as the final draws near
CLASS PARTICIPATION
Participation grades will be determined by 1) the quality and quantity of class exercises and course activities completed and 2) participation in class.
Additional descriptive material and course content will be presented as the courses proceeds. Please feel free to contact instructor about all concerns related to this class. Should you want to talk on a one on one basis please email me at the above address.
Monday, March 19, 2012
Final Project - Presented To Class
You are to turn in a sampling of the figure drawings you have made in class the last day of class. The drawings along with your sketchbook I will collect the last day and return to you graded for the final.
Your final will then be a presentation of one or two drawings that you feel are good and successful examples of your work. Then, tell what you got from that particular drawing. For example, you could say this was the first time I used this medium and now I feel more comfortable working with it.
I would like for you to include examples of:
· Hand drawings
· Foreshorten drawings
· Gester drawings
· Figure drawing using pen and ink
· Charcoal drawings
· Pencil drawings
· Drawings using drapery
· And, any other drawings you are happy with
Thursday, March 1, 2012
Proportions of the Human Body
A perfect body is 8 heads high, slightly rearranged for this artist.
The second head is the shoulders head. It is the top of three trunk heads and is drawn under this neck space.
One quarter of one head down in this second head is the shoulder line. This leaves space for the neck-support muscles above the clavicle.
This shoulder line is two head-lengths (two widths on a female) wide and is the top line of the torso triangle that extends down to the space between the legs, or the chest triangle that only extends down to the hip line.
The chin to the shoulder line is 1/2 of one heads-length. That is, 1/4 head extra neck space and 1/4 head down on the second head.
The nipples separation space equals one-head length, at the bottom of the second head.
The nipples to the belly button equals one head-length, ending at the top of the third torso head down.
From the belly button to the space between the legs is one head, ending at the bottom of the third torso head. This leg space is actually 4 and 1/4 heads down from the top, including the 1/4 head neck space or... 3 and 3/4 heads up from the bottom, making for a total of 8 heads high. Vertically overlap the two center heads by 1/4 of a head. The top three torso heads are lowered 1/4 head because of the empty neck space.
The width of the waist at the belly button is one head length wide, not head-width wide.
From the top line of the hip or trunk triangle line to the space between the legs, is 3/4's of one head-length high up into the lowest torso head, and is two head-widths wide, not more.
At the center of the body is the bend-line, which forms the top line of this third, smallest triangle, the bend-line-triangle. The top line is 1/4 head above the space between the legs and two head-widths wide, not more.
This bend-line can also be measured as four heads up from the base, which has no added 1/4 head space for the neck as happened in the top 4 heads.
The big torso triangle is from the shoulder line to the space between the legs. The second triangle is the hip triangle, marking the hip bones down to the space between the legs. The third bend line triangle is the quarter head high triangle within the 3rd trunk head.
The rib cage can be represented by a 3x4 oval two heads high, starting at the top of the second head.
The upper arm, from the shoulder triangles outside edge, is 1 and 1/2 heads long.
The lower arm is 1 and 1/4 heads long.
The hand is 3/4 of a head long, equal to the average face height.
The chest side view is one head-width wide at the nipples.
The upper arm, which was 1 and 1/4 head-lengths, connects
from the center of the shoulder ball which is a quarter head circle reaching the end of the shoulder line.
Just below the leg space, the legs and the body are at their widest.
Two egg shaped heads, side-by-side, upside-down, will fit into the trunk area.
From the outside points of the bend-line triangle
to the bottom of the knee caps is two head-lengths. The bend-line is always considered the center of the body.
The knee cap is a 1/4 head length circle.
The calf muscles are higher on the outside of each leg than on the inside.
From the center of the knee cap
to the ground is two head-lengths.
The ankle is 1/4 head off the ground.
The foot is one head-length long.
The ankle bones are higher on the inside.
The above information taken from the following website: http://www.realcolorwheel.com/human.htm
Thursday, February 16, 2012
Recommended Book
"Figure Drawing Design and Invention" by Michael Hampton.
This is the book from where I took the concept of creating a figure by first seeing the blocks that make up the body.
ISBN 13: 978-0-615-27281-8
Tuesday, January 10, 2012
First Assignment: Paper on the Nude
[
Barbara Allie, Instructor
Life Drawing
DeAnza College
Assignment I
Read the following paper and write a page and a half opinion paper about its content your thoughts on the subject. The paper should be type written and double spaced, and not to exceed two pages.
The document below is taken from a paper by George P. Landow, Professor of English and the History of Art, Brown University. The paper is titled “Kenneth Clark on Naked, Nude, and Ideal’ and is based on Kenneth Clark’s book “ The Nude”.
Kenneth Clark opens his classic study, The Nude: A Study in Ideal Form, by pointing out that
The English language, with its elaborate generosity, distinguishes between the naked and the nude. To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The word "nude," on the other hand, carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenseless body, but of a balanced, prosperous, and confident body: the body re-formed. In fact, the word was forced into our vocabulary by critics of the early eighteenth century to persuade the artless islanders [of the UK] that, in countries where painting and sculpture were practiced and valued as they should be, the naked human body was the central subject of art. [3]
Clark continues that "in the greatest age of painting, the nude inspired the greatest works; and even when it ceased to be a compulsive subject it held its position as an academic exercise and a demonstration of mastery" (3). It did so, he explains because the nude as a conceptual and artistic category always involved the notion of an ideal abstracted from the reality we confront in our everyday lives. As such, we may add, the nude in art plays a role similar to that of the hero in epic: it provides the means and occasion to figure forth what a particular society takes to be greatest excellence. The nude, therefore, "is not the subject of art, but a form of art" (5), in part because "The body is not one of those subjects which can be made into art by direct transcription — like a tiger or a snowy landscape. . . . We do not wish to imitate; we wish to perfect" (5-6) — an idea, like so many others, perhaps first formulated by Aristotle "with his usual deceptive simplicity. 'Art,' he says, 'completes what nature cannot bring to a finish. The artist gives us knowledge of nature's unrealized ends.' A great many assumptions underlie this statement, the chief of which is that everything has an ideal form of which the phenomena of experience are more or less corrupted replicas. . . . Every time we criticize a figure, saying that a neck is too long, hips are too wide or breasts too small, we are admitting, in quite concrete terms, the existence of ideal beauty" (12-13).
This nude as idea form can embody not only "biological needs" but also the harmony of classical art, the energy and ecstasy of romanticism, and the pathos of the sufferings of Christ and His martyrs, and "when we see the beautiful results of such embodiments, it must seem as if the nude as a means of expression is of universal and eternal value. But we know this to be historically untrue" (9).
References
Clark, Kenneth. The Nude: A Study in Ideal Form. Bollingen Series 35.2. New York: Pantheon Books, 1956.
LIFE DRAWING GREENSHEET & SUPPLIES
ARTS 4C LIFE DRAWING WINTER 2012– DE ANZA COLLEGE INSTRUCTOR BARBARA ALLIE
Classes Meets: 3:30 PM – 6:20 PM - Room A94
Email: alliebarbara@fhda.edu My Phone Number: 408.864.3524 http://lifedrawingblogspot.com/
A list of all of the supplies for this class may be found on the above blog. There is also a list of art terms you should know, and a couple of interesting videos pertaining to life drawing.
“Kenneth Clark opens his classic study, The Nude: A Study in Ideal Form, by pointing out that
The English language, with its elaborate generosity, distinguishes between the naked and the nude. To be naked is to be deprived of our clothes, and the word implies some of the embarrassment most of us feel in that condition. The word "nude," on the other hand, carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenseless body, but of a balanced, prosperous, and confident body: the body re-formed. In fact, the word was forced into our vocabulary by critics of the early eighteenth century to persuade the artless islanders [of the UK] that, in countries where painting and sculpture were practiced and valued as they should be, the naked human body was the central subject of art.”[]
COURSE DESCRIPTION:
This class is a beginning drawing course focusing on the representation of and interpretation of the human form, with attention to drawing from a live model. The class will include traditional and contemporary methods, as well as a continuing exploration of various drawing mediums.
PREREQUISTE: Arts 4A. Advisory: English Writing 211 and Reading 211 (or Language Arts 211), or English as a Second Language 272 and 273; Arts 4B, 4D, and 8
REQUIRED BOOK: Giovanni Civardi “Drawing, A Complete Guide” ISBN 978-1-84448-508-6
CLASS PROJECTS:
Each class will begin with a lecture, demonstration and or discussion. There will be at least one drawing assigned each day, and with short exercises at the beginning of class. Extra time will be allocated for more advanced figure drawings.
THINGS YOU SHOULD KNOW!
I expect all of you to be respectful of myself, of your peers and of the learning environment and to take responsibility for your own actions and behaviors. Any behavior that interferes with either (1) my ability to conduct the class or (2) the ability of other students (or yourself) to profit from the instructional program will not be tolerated.
This includes:
- Arriving late to class.
- Disruptive entrances and exits during lecture, if you must leave early, or arrive late, do so quietly.
- Carrying on personal conversations while I am lecturing.
- You Must stay the full length of the class!
Other important information:
- I reserve the right to make changes to my syllabus at any time.
- It is the responsibility of the student to attend class and keep informed on any changes or new information given during lecture.
- If you miss class, you will need to ask a peer for missed information.
- If you miss an exam, quiz or other assignment, and you have a valid excuse, you must bring proof of your valid excuse with you or I will not even consider your request to make up the missed work.
- It is the responsibility of the student to drop classes! If you decide you do not want to take this class and fail to drop, you will receive a grade of F at the end of the quarter. This grade is the bad because it makes you appear irresponsible.
COURSE OBJECTIVES
1. Learn basic design principles as it relates to drawing from life.
2. Demonstrate an understanding of the terminology, tools, and techniques used in life drawing process.
3. Knowledge that drawing is both a “tool and an end product”
4. Plan and produce effective drawings demonstrating skills and an understanding with regard to skeletal frame of the figure.
5. Create Sketch Book of figure drawings from life and book
STUDENET LEARNING OBJECTIVES
On successful completion of this course students should be able to:
- Demonstrate an understanding of the creative process: planning, intuition, execution, evaluation, and express verbally how drawings were made.
- Render in color and black and white the human figure.
- Learn to creativity represent the human form in both traditional and non-traditional ways.
METHODS OF EVALUATION
§ Student’s ability to solve drawing problems
§ Projects that demonstrate an understanding of various elements and principles of drawing the figure.
§ Portfolio of all course work.
q Demonstration of growth! Are you improving and developing new ideas and skills?
§ How well you clean up after yourself and adhere to cleaning policies.
§ Failure to submit assignments or late submissions
q Effort, neatness, professional appearance, working diligently and with focus
q Punctuality and handing in all required work on time.
q Class participation: sharing ideas in class discussions and critiques, alertness, following instructions, being respectful and cooperative in the classroom
POINT SYSTEM:
1,000 possible points
Knowledge of drawing and materials = 150 points
Class Projects= 500 points
Final Project= 200 points
Test = 100 points (the tests may be written or special assignments)
Class participation = 50 points
GRADING
Your earned grade will depend on the effort you put into class participation, assignments, quizzes, and your final project. Assignments are due at the beginning of class on the designated date. All written work must be typed, and proofread before it is submitted.
1000 points – 800 = A
800 points – 600 = B
600 points – 500 = C
500 points – 400 = D
400 points – 200 = F
MISSED ASSIGNMENTS:
If unable to attend class, it is your responsibility to get the missing assignments from peers. I would advise you to get the name and email of another student in class within the first two or three days of class.
FINAL PROJECT (It is mandatory that you be in attendance during the final day – no exceptions). If unable to attend for approved explanation, then a five-page term paper may be substituted for the same number of points. The topic however, will need to be approved beforehand.
Students are to present examples of their assignments created during the quarter in class. I will discuss this in more detail as the final draws near
CLASS PARTICIPATION
Participation grades will be determined by 1) the quality and quantity of class exercises and course activities completed and 2) participation in class.
Additional descriptive material and course content will be presented as the courses proceeds. Please feel free to contact instructor about all concerns related to this class. Should you want to talk on a one on one basis please email me at the above address.
ARTS 4C Life Drawing Supplies
Newsprint pad rough 18x24
Drawing pad 18x24
Higgins Brown Ink
Higgins Black Ink
Soft Vine Charcoal
Charcoal Sticks 3 pack
Kneaded eraser
Graphite pencils 2B,4B,6B,2H,4H,6H
Charcoal pencil 6B
Artgum eraser
Pink pearl eraser
Conte Crayons--Bistre,White,Black
Xacto #11 blades
Xacto Knife W/safety cap
Blending Stumps #3
Speedball Pen holder
Artist nib #513
Steel Rulwer 18"
Medium Chamois
Workable Fixative
Subscribe to:
Posts (Atom)