Course overview:
Learn the basic skills of drawing from observation while working from still-life arrangements and the human figure. A variety of drawing media will be explored for their descriptive and expressive characteristics, including graphite, charcoal, and ink. The principles of contour line, line weight, value, positive and negative shape and perspective will be employed to create convincing illusion and unified compositions. Students will learn to analyze drawings from the pre-Renaissance to present using the vocabulary of the visual arts, and will use the practice of drawing to discover and develop their own ideas.

Attendance:
Attendance is critical. Classes involve working time and discussions that cannot be duplicated. All students are responsible for missed assignments and class work and should make arrangements to contact the instructor or a fellow student to obtain this information before returning to class.

Homework:
I encourage you to work at home on similar concepts introduced in class. Those of you who are taking this as a credit course, homework is mandatory. Sketches, ideas and notes will be the primary use of your 9 x 12-spiral sketchbook. This sketchbook is mostly used outside of class, and for taking notes in class.

Grading:
Relevant to credit course students. I take into account the students growth, work ethic, attendance, and ability to receive and use criticism. Assignments are very particular and the grade reflects your ability to meet the specifics of the assignment. I measure the student’s class work, homework, and sketchbook as evidence of development. The assignments will be collected on the due date and at the end of the semester. When assignments are returned, each student will receive a “grading sheet” explaining the grade. We will have a one on one critique during the semester, so students know where they stand.
A…90-100 Assignments…40%
B…80-89 homework…30%
C…70-79 Attendance, class participation…15%
D…60-69 Final Assignment…15%
F…59-or below
PAFA

MATERIALS LIST

1. 9 x 12-inch sketch basic book (ringed binder)
2. 18 x 24 inch all purpose white paper (80 wieght). Preferably strathmore, brown cover
3. Tackle Box or Art Box to hold materials
4. Straight edge 30 inch ruler, and a small ruler (6-12 inches)
5. Portfolio (nothing fancy) 20 x 26 inches
6. Pencils: (2)4H, (2)2H, (2)HB, (2)2B, (2) 4B
7. Pencil Sharpener (small metal one)
8. (5) Medium size kneaded erasers, (2) Art gum and (1) Whiter eraser
9. Vine charcoal, soft and thick, one pack each
10. Compressed Charcoal, (2) pieces
11. Conte crayon, 2 each (Ivory Black, Burnt Sienna, Raw Umber, and White)
12. Blending stumps: 1/2 inch and 1/4 inch
13. (2) black charcoal pencils, (1) white charcoal pencil
14. (1) Sketch clipboard 22.5 x 25 inches
15. White artists tape, wide not thin
16. Fixative spray workable
17. Exacto knife
18. Chamois cloth
19 (2) pieces of Quality gray tinted paper small enough to fit in the portfolio(BFK, Reeves, Strathmore, etc) little tooth used for charcoal. Leave the paper in a safe place at home until notified
20. (1) Sharpie black marker (fine), (1) Sharpie black marker (ultra fine)

Items needed for first day of class
-18 x 24 inch drawing pad
-Pencils
-Drawing board. #14 from above

Weekly course content (Subject to change)

Week 1: Course Introduction, material list, and questions. Receptive learning. Hand control exercises, line weight, blind contour drawings, and pure-contour line studies using organic objects. Make a 3 x 4 inch view-finder. Must have materials by the 2nd class

Week 2: Negative and positive space. Draw organic plant forms using a view-finder. Discuss basic rules of a successful composition.

Week 3: Introduction to linear perspective. Develop simple forms based on perspective. Ellipses and atmospheric perspective Introduce M,S,P, (measuring, sighting, and perspective) Discuss visual relationships between forms, shape, and space.

Week 4: Review Linear perspective, Draw simple forms from observation utilizing learned comparative skills. “Mechanical drawing”. Form, shape, and space.
--Measuring and sighting
-sighting for relative proportions, sighting for angles in relation to verticals and horizontals, sighting for plumb lines and alignments between landmarks.
-Establish a point of reference or unit of measure.

Week 5: Begin to draw the still life using learned visual skills. View finder, negative space, and composition.Work on a final contour line drawing of arranged still life. Combine all approaches, focus on deconstructing form, shape, and space.

Week 6: Value scale and application. Light, volume, edges. Small drawings: learn to manipulate the medium. Start larger drawing.

Week 7: finish pencil value drawing.

Week: 8: Introduction of Charcoal. Work in the still life room. Choose your own still life to draw. Observe and think about how that image will translate into charcoal. How will the lighting affect the mood? Where is the best or most interesting point of view?

Week 9: Continue working on charcoal drawing. Begin conte crayon drawings in the still-life room. Choose a different still life.

Week 10: Continue and finish conte crayon drawing.

Week 11: Caste room

Week 12: Caste room Drawings. Practice drawing the figure in the Caste room

Week 13, 14: Live model sessions incorporating gesture, contour, value, and mark making using a variety of mediums. These drawings will evolve into a 3-6 hour pose drawing.

PAFA

ART STORE LIST: Local stores:

Merion Art & Repro Center Pearl Paint
17 West Lancaster 417 South Street
Avenue. Ardmore, PA 9003 Philadelphia, PA 19147
61 0-896-61 61 215 238-1900

Rubinstein's Utrecht Art Supply
250 East Market Street 301 South Broad Street
West Chester, PA 9380 Philadelphia, PA 19107
6 10 696- 1150 215 546-5600

Village Art Shop Utrecht Art Supply
23 E. State Street 2020 Chestnut Street
Media, PA 9063 Philadelphia, PA 19103
6 10 566-6242 215 563 5600

AC Moore Michaels
Broomall Plaza 601 West Baltimore Pike
2940 Springfield Rd Springfield, PA 19064
Broomall, PA 9008 610 690-1633
6 10 353- 1117

Also available is the PAFA store located on site for your convenience. Remember to present your ID for possible discounts at all stores.

Drawing Vocabulary:

Contour Line: A line that represents the shared edges of a form, a group of forms, or forms and spaces.
Line weight: Varying line thickness achieved from applied pressure to the drawing tool.
Linear perspective: A Mathematical system for creating the illusion of space and distance on a flat surface
One point perspective: Uses one perspective point; all parallel lines converge to one point. That point is called the vanishing point.
Two point perspective: Uses two perspective points or vanishing points. In two point perspective the sides of the object vanish to one of the two vanishing points on the horizon line. Vertical lines in the object have no perspective applied to them.
Three point perspective: All lines go to a vanishing point. Two vanishing points on the horizon line; one above or below.
Atmospheric perspective: Using value to create the illusion of depth and space. As objects recede into space their value becomes lighter.
Vanishing Point: Is where all parallel lines (convergence lines) that run towards the horizon line appear to come together like train tracks in the distance.
Eye level: In perspective drawing, a horizontal line on which lines above and below it in the horizontal plane appear to converge.
Horizon line: Runs across the canvas at the eye level of the viewer. The horizon line is where the sky appears to meet the ground.
Convergence lines: “Visual rays” helping the viewer’s eye to connect points around the edges of the canvas to the vanishing point (also known as orthogonal lines).
Value: In art, the darkness or lightness of tones or colors. White is the lightest, or highest, value; black is the darkest, or lowest, value.
Composition: An ordered relationship among parts or elements of a work of art. The arrangement of forms and spaces: (the design of the page).
Medium: Material used by the artist. e.g. Charcoal, graphite, conte crayon, oil paint, welded metal, terra cotta, etc. These are all different mediums.
Gesture drawing: A quick simple translation of an organic shape; usually associated with the human figure.
Texture: The visual or tactile surface characteristics and appearance of something.
Mass: Refers to the effect and degree of bulk, density, and weight of….
Volume: Space within a space.
Negative space: Empty space.
Positive space: Opposite of negative space; filled with something. Both spaces have equal importance.
Figure / ground relationship: The depth ambiguity between the positive and negative shapes / space.

Shape: An enclosed space defined and determined by other information. e.g. A donut has two shapes.
Edge: The place where two things meet (e.g. where the sky meets the ground); the line of separation between two shapes or a space and a shape.
Picture Plane: An Imaginary construct of a transparent plane, like a framed window, which always remains parallel to the vertical plane of the artist’s face. The artist draws on paper what he or she sees beyond the plane as though the view were flattened on the plane.
Crosshatching: A series of intersecting sets of parallel lines used to indicate value change or volume in a drawing.
Symmetry: Equal balance on both sides. The parts of an image or object organized so that one side duplicates, or mirrors, the other.
Asymmetry: Opposite of Symmetry. Both sides do not mirror each other.
Balance: Equal distribution of elements on both sides of a drawing.
Rendering: To represent in a drawing or painting, especially in perspective. Also, to create an interpretation of another artist’s work.
Sighting: Also known as “Rule of thumb”, Measuring relative sizes by means of a constant measure ( the pencil held at arm’s length is the most usual measuring device); determining relative points in a drawing—the location of one part relative to some other part. Also, determining angles relative to the constant’s vertical and horizontal.
Foreshortening: A way to portray forms on a two-dimensional surface so that they appear to project from or recede behind a flat surface; a means of creating the illusion of spatial depth in figures or forms.
Chiaroscuro: Italian (light and shade or dark) High contrast; the use of light and dark to achieve a heightened illusion of depth. Can be used to heighten drama or feeling as used in the theater.
Figurative: Describes artwork representing the form of a human, an animal, or a thing;
Abstraction: Imagery which departs from representational accuracy, to a variable range of possible degrees; to exaggerate or simplify surrounding forms. Picasso / Braque