Drawing I Syllabus : :
Drawing I (Fine Arts 041-11) Spring 2004
Smith Hall A-401 Tuesday and Thursday 1:00m-4:00pm
Professor Paul Reuther (email@example.com, 202-994-8656)
Office A103: hours by appointment
This course is primarily designed to introduce students to the discipline of drawing from life in a variety of media, prior
study in drawing is not requisite. The practice of drawing from life implies close observation and active response to things
in the physical world, the relationship of these objects one to another, and the spatial context in which they exist. The
main focus of study will be the human figure; correspondingly, the basic principles of figure anatomy will be presented in
brief lectures. Ongoing discussion of relevant art historical and contemporary ideas pertaining to drawing and related arts
plays a fundamental role in the studio. The work of many artists from the Italian Renaissance to the present day will be
presented in slide lectures. Two visits to the National gallery will be scheduled to view and discuss drawings in the most
direct manner possible.
Required work for the course may be broken down as follows:
I. Drawing Studio (20 meetings): In the classroom students will draw from the life figure and still life in a variety
II. Homework (6 assignments): 1 to 2 hour homework projects will be assigned (handouts)
III. Sketchbook (20 assignments): A record of preliminary studies (handout)
IV. Critiques (4) : Student led critiques
V. Museum visits (1 or 2)
VI. Midterm Project (1) Three (3) drawings and critique
VII. Final Project (1): Suite of drawings and critique (handout)
Progressing in the coursework, it is expected that students will achieve increasing confidence and competence in their
drawing ability, while developing meaningful critical judgement and the capacity to articulate their views effectively. For
students continuing in fine arts study, this course should provide opportunities for portfolio development.
Attendance will be taken each class meeting. A good attendance record in this course means arriving in class prepared to
begin working at 1:00 p.m. and to continue working until 4:00 p.m. The instructor may take attendance at any point during
Due to the nature of studio arts courses it is not possible to make-up time missed, however the absent student is responsible
for work assigned during her/ his absence
Three (3) unexcused absences will be allowed. Additional absences will result in a lower grade for the course. It is advisable
to remain in contact with Professor Reuther as attendance and other issues arise.
The following are factors in grading assessment:
· Presentation of work: all work submitted for a grade must include name, date, and assignment title in legible written
· Attendance, promptness, and time management
· Class participation: level of involvement in class discussions and critiques
· Preparation of materials for assignments: coming to class prepared
· Positive work practice: includes maintaining an organized portfolio/ folder of work completed for the course and
cleaning up one's area after use*
· Comprehension of assignments
· Completion of assignments: late work will affect grade adversely
· Proficiency in execution of assignments
*Note: The drawing studios are multi-use areas: it is important to maintain a safe and clean working environment. Take
your rubbish with you and be responsible for your own work and materials
Week 1: Introduction to course; discussion toward a definition of drawing; preliminary remarks on composition and
pictorial structure; useful tools for developing accuracy and control in sighting; rule of thumb; construction lines;
vertical, horizontal, and center alignment; thumbnail sketches; viewfinder
13 January Introduction, course materials
15 January Making Marks, Rendering, Handling
Materials, Measurement, Proportion (mixed media) Still-Life
Week 2: Slow drawing: using paper collage, drawings will be produced in which the picture plane will be treated as a
seamless unity. Continued exercises in proportion and accurate sighting, composition and pictorial structure,
implied spatial effects in limited media; primer on values
20 January Paper Collage (mixed media) Still-Life
22 January Paper Collage (mixed media) Still-Life
Week 3: Fast drawing: searching for essential graphic information in rapidly executed gesture drawings: specifically
the action/ movement of the subject seen/ conceived in its entirety and the basic relationship of part to whole;
coordination and facility of hand and eye
27 January Gesture/Croquis (charcoal) Figure male
29 January Gesture/Croquis (charcoal) Figure female
Week 4: Approaching form in broad, simplified terms, constructing a picture from the general to the specific;
figure to ground relationship; "responding to spirit and substance before detail and surface"
02 February Shape-Mass-Structure (charcoal) Still-life
04 February Shape-Mass-Structure (charcoal) Figure male
10 February NGA Visit (old master/ European drawing)
12 February Shape-Mass-Structure (charcoal) Figure female
Week 6: Lines don't exist in nature but are "indispensable" in drawing; contour blind and sighted; the function of line
as a means of structure and form; the expressive possibilities of line; lost and discovered lines; the subtlety and
power of edges; the significance of a varied line; line and human anatomy
17 February Line (charcoal, pencil) Still-life
19 February Line (charcoal, pencil) Figure female
24 February Line (charcoal, pencil) Figure male
26 February Line (charcoal, pencil) Figure female
Week 8: Consideration is given to the inner forces objects: their "structural condition", weight, and solidity; surface
attributes of objects de-emphasized
02 March Volume and Planes (charcoal, pencil) Still-life
04 March Volume and Planes (charcoal, pencil) Figure male
09 March NGA Visit (20th C. and later/American)
11 March Midterm Critique 3 drawings and sketchbook
Week 10: ------ SPRING BREAK MARCH 15~19 ---------
Week 11: Approach to the form of objects as a function of light effect; duality of light effect in creating and dissolving
form; surface form; gradation and tonality; modeling; rendering
23 March Light-Value-Modeling (mixed) Still-life
25 March Light-Value-Modeling (mixed) Figure female
Week 12: Final project drawing for remaining meetings
30 March Open Drawing/ Final Project Male Figure 1 0f 3 consecutive
01 April Open Drawing/ Final Project Male Figure 2 0f 3 consecutive
06 April Open Drawing/ Final Project Male Figure 3 0f 3 consecutive
08 April Open Drawing/ Final Project Female Figure 1 0f 3 consecutive
13 April Open Drawing/ Final Project Female Figure 2 0f 3 consecutive
15 April Open Drawing/Final Project Female Figure 3 0f 3 consecutive
20 April Critique / Final Project I
22 April Critique / Final Project II
27 April Make-up Day
Betti, Claudia and Teel Sale, Drawing: A Contemporary Approach, New York:Holt-Rinehart and Winston, 1980.
Bro, Lu, Drawing: A Studio Guide. Norton: New York, 1978.
Chaet, Bernard, The Art of Drawing. New York:Holt-Rinehart and Winston, 1970.
Goldstein, Nathan, The Art of Responsive Drawing. Englewood Cliffs, NJ: Prentice-Hall, 1973.
Goldstein, Nathan, Prentice Hall, 1981.
Hale, Robert Beverly, Drawing Lessons from the Great Masters. New York: Watson-Guptill, 1964.
Mendelowitz, Daniel M., Drawing. New York: Holt-Rinehart and Winston, 1967.
Mendelowitz, Daniel M., and Wakeham, Duane A., A Guide to Drawing. New York: Holt-Rinehart and Winston, 1988.
Nicolaides, Kimon, The Natural Way to Draw. Houghton-Mifflin: Boston, 1941.
Bridgman, George B., The Human Machine. New York: Dover, 1972.
Bridgman, George B., Bridgman's Life Drawing. New York: Dover, 1971.
Bridgman, George B., Constructive Anatomy. New York: Dover, 1972.
Albert, Calvin and Seckler, Dorothy Gees, Figure Drawing Comes to Life. New York: Reinhold, 1957.
Farris, Edmond J., Art Student's Anatomy. New York: Dover, 1961.
Hale, Robert Beverly and Terence Coyle, Anatomy Lessons from the Great Masters. New York: Watson-Guptill, 1977.
Peck, Stephen Rogers, Atlas of Human Anatomy for the Artist. New York: Oxford U.P., 1951.
Thomson, Arthur, A Handbook of Anatomy for Art Students. Oxford: Oxford U. P., 5th ed., 1915.
Doerner, Max, The Materials of the Artist and Their Use in Painting. New York: Harcourt Brace Jovanovich, 1934.
Mayer, Ralph W., The Artist's Handbook of Materials and Techniques. New York: Viking Press, 1970.
Watrous, James, The Craft of Old Master Drawings. Madison, WI.: U. of Wisc. P., 1957.
Barnet, Sylvan, A short Guide to writing About Art. New York: Longman's, 1997.
Dondis, Donis A., A Primer of Visual Literacy. Cambridge, MA.: M.I.T. Pr., 1973.
(01) 18X24 All-Purpose White Drawing Paper Pad
(01) 24X36 Newsprint Pad
(01) 18X24 Charcoal/ Pastel Pad
(01) 9X12 Sketchbook (larger format is acceptable)
(04) 22X30 Sheets Rives BFK or Cover (will advise when to purchase)
(04) Sheet Neutral Toned Drawing Paper: Grey, Tan, Blue:Artagain Strathmore (will advise when to purchase)
(01) Box Vine Charcoal (soft or medium)
(01) Box Soft Compressed Charcoal
(01) Thick Charcoal Stick (optional)
(01) Charcoal Pencil: Soft, Medium
(01) Set Drawing Pencils 6B, 2B, H, 2H
(01) Conte Crayons: Sanguine (or terra-cotta), White, Black
(01) Colored Pencils: Sanguine (or terra-cotta*), White, Black
* Try to match closely your "red" conte crayon
(01) Reed Brush, Reed Pen
(01)2" Flat Bristle Brush
(01) Watercolor Brush: #1, #6, #10, 1" Wash Brush
(01) Palette (glass), Pair of Media Jars
(01) Watercolor Tubes: B. Umber, B. Sienna, Yellow Ochre,
Raw Sienna, Ivory Black
Pencil loaded eraser
Straight Edge Razor
The Art Store (202) 342-7030 3019 M Street, Georgetown
(703) 960-3900 5695 Telegraph Road, Alexandria