Foundation Figure Drawing 2

Structure

T – Th, 1:30-4:30

Instructor Michael Magrath mmagrath@gmail.com

www.magrathsculpture.com (206)276-6038

Course Syllabus

Overview.

This is the second section of a full year course. The whole course is designed to make you as proficient at drawing the human figure as possible within the time allotted. The course is split up into three sections, Autumn, Winter and Spring.

In the first section we investigated the fundamentals and mechanics of drawing, a kind of expanded Intro Figure Drawing course. In this second section we will be investigating the structural elements, that make up the human figure, their general forms and their purpose. In the Spring we will look at a variety of styles and methods of drawing in order to broaden your pallet and develop your voice and expression.

While this second section covers a lot of basic human anatomy as is relevant to an artist, it is not perforce an anatomy class. You will not be asked to memorize any muscle names. However, it would be highly advantageous to the student to concurrently attend outside Anatomy lectures to firm up his or her own understanding of this complex, critical and fascinating subject. Our goal in this class is to gain a working understanding of the overall structures present in every human subject with the goal of creating a sophisticated internal understanding of the human form, so that we may draw it with clarity and understanding.

Why is this necessary?

In every serious investigation into the natural world a student must maintain two simultaneous and at times mutually antagonistic methodologies. On one hand he or she must make concrete and objective observations of the subject, independent of any preconceptions, in order to see what is really there. On the other, she or he needs to maintain and develop an abstract model, a working theory of the underlying structure by which to guide further observation and to put in context anything unexpected that should turn up.

Without the first part, an artist quickly begins to repeat him or herself and falls into tired cliché’s, and without the second, guiding principle, the artist is as good as blind. He or she will see’s only the surface complexity, and makes at best a jumbled hash without any unity or understanding. At the same time, over-reliance on theory makes for a dull manniken, a lifeless and generic thing, while relentless observation renders the artist a mere copyist, and renders the entire endeavor a simple exercise.

Maintaining an even balance between both of these things at the same time takes discipline.

In this section we will look at the structures that are common to all humanity, and we will seek those commonalities in the variety of models that stand before us. By gathering a variety of observations from a variety of individuals we parallax towards a common mean. Increasing the sophistication of your internal manniken is your goal, so that through the manniken you may begin to see the individual. To that end we will cover;

Common, standard proportional systems.
Constructive anatomy and anatomical reference points
The general forms of each anatomical region and their overall function
You should be able, by the end, to construct a human figure of believable proportion doing virtually any pose that you desire.

Class Structure

We will start every class with a series of short gestures to both warm up and to remember why we are here. There will then be a discussion and demonstration on the topic(s) of the day, whether basic proportions, the structure of the knee, etc. You should be prepared to keep a running notebook on the material covered in class. I will have handouts and or will post study materials online for your notes.

We will then draw from the model with specific focus on the areas discussed.

I will spend time with each of you, one on one, every class period.

Important; though I may seem to be speaking to an individual student, I am as often speaking to the entire group, as many beginning draftspersons have the same issues…Please keep your ears tuned. Eavesdropping is encouraged. In crits nothing is personal. It’s always about the drawing, not the drawer.

Class Expectations

You should come to class with what-ever media the instructor has indicated. If you need to miss a session, please contact the Monitor for a review of what you missed and what is needed for the next session. Be prepared to work as much outside the class as in it. Generally we will stand to work, but if you have problems that please let me know and we can accommodate It should go without saying that you will treat each other and the models, and the Gage environment with respect. There is no photography allowed in the studio and phones should be turned off for class. Please be at your stand and ready to draw at 1:30.

Homework/Outside Assignments

I will provide the entire class with specific assignments which everyone is expected to tackle, as well as occasional individual tasks tailored to address particular problems Additionally you will be expected to attend at least one, preferably two open studios per week. Again, you will be asked to keep a sketch/notebook for class information, handouts, as well as your own drawing outside of class. I will ask to see this book from time to time. I will also suggest readings and offer the occasional reading handout.

Your homework will comprise of outside excercises designed to reinforce concepts covered in class and will be rigourous. The amount and time you can dedicate to outside work will have a direct impact on your comprehension of class materials. We will discuss homework in class as time permits.

General Course Outline

Week #1. Intro and basic proportions

Week #2. Pelvis

Week #3. Ribs, Box and Egg

Week #4. Spine and shoulder

Week #5. Arm

Week #6. Legs

Week #7. Feet and Hands

Week #8. Skull and neck

Week #9. Facial features

Week #10. Full Figure Construction and Review

Supply List

Course Materials; please have by first day of class

· 18x24” drawing pad. Medium weight with good tooth - "Layout Bond" or "Biggie Sketch"

· Vine Charcoal, Willow sticks – thin, soft. One box., min 10 sticks

· small bit of rag… soft Chamois best, a bit of old tee shirt will work ; Note, can buy chamois at an auto parts store, much cheaper than at art store

The following materials will be needed for class this quarter, but you may wait until after first day to discuss.

· Sketchbook / notebook - min 8 1/2 x 11”, 11 x 17" better

· 18 x 24" Bristol Pad, Smooth

· Ruler - 24" long, bonus if transparent

· Drawing Dividers

· Pony, Bulldog or Binder clips wide enough for pads above or drawing board with built in clips for 18 x 24 pads

· Box of Drawing Pencils, 4h - 4b and a sharpener, Better; Mechanical drafting pencils with 2H, HB, and 4B leads, and appropriate sharpener.

Pens and pencils of many colors, alt; multi colored leads for mech pencil

· White Eraser, Steadtler Mars, Hard

· White Eraser Pen

· Sandpaper or lead pointer

· Tackle other utility box to carry above supplies in.

· Portfolio (for carrying drawing pads)

Suggested Additional Materials, not critical, but good to have. Will discuss in class

Plumb bob
Spray Fixative, Odorless, or Aquanet hair spray

Recommended Books

Ø Constructive Anatomy, George Bridgeman

Ø The Human Machine, George Bridgeman

Ø Der Nacte Mensch. Gottfried Bammes

Ø The Complete Guide to Life Drawing, Gottfried Bammes

Ø Struttura Uomo - Manuale di Anatomia Artistica Vol. 1 Neri Pozza, ed;

all illustrations this page; Gottfried Bammes; Der Nacte Mensch

Foundation Figure

Monday, January 30, 2012

Day 3, pelvis

Wednesday, January 25, 2012

Day 2 - Basic mechanics, the types and action of the joints, and muscles

Day 1 - basic divisions of the body

Monday, January 23, 2012

syllabus