FNAR 113 Drawing I
DRAWING I FNAR 113 – Fall 2013
Professor: Roberto Mannino
Art Studio - Wednesday 9:35 – 12:25
This course will introduce drawing as an instrument to explore the visual representation of reality. Comparative methods of measuring objects and elements in space will be illustrated. The analysis of non-visible structures and the introduction of self-awareness in the act of drawing will be emphasized. The aim will be to learn how to “see” things the way they truly are before translating them into marks on paper, with the best media choice and to organize our visual perceptions on the picture plane
Elements of composition, anatomy and portraiture with B&W techniques will be demonstrated in studio practice and further articulated in work on-site. The course will introduce various techniques applied to representation on paper; subjects will range from indoor studio still life work to outdoor sketching, life drawing and site visits to Museums in Rome.
Students should understand of the characteristics of line, shape, color, value, texture, space and the ways they are used expressively in two and three-dimensional works of art.
Because the main focus of an introductory studio is on creating, students will produce a continuous body of work which utilizes the mechanics of the specific media and incorporates appropriate use of the design principles of composition, value and tone, balance etc. to test and evaluate their effects in finished work.
Students are asked to apply the skills of formal principles and the techniques appropriate to each area as they develop ideas and make decisions regarding the content while exploring meaning in their work.
Through class critiques, the primary form of feedback in a studio class, students will develop verbal skills while discussing of media manipulation; they should learn how to appreciate and understand the many possibilities and approaches to solving a single problem and form evaluative judgments about art in general and specific judgments about individual works. The work itself should demonstrate an understanding of concepts, which have been presented throughout the course.
Texture – Rubbings and monotypes, techniques derived from printmaking, will expand the range of possible texture rendering, importing various patterns from different source, alerting your attention on the actual surface of objects.
Contour line will follow the edges of forms and the outlines of both positive and negative areas. An organized network of lines around volumes will help create a scaffold-like system to help you encompass a tri-dimensional form into basic geometric shapes.
Cross-hatching - Sequences of overlapped passages in the etchings and drawings of masters such as Piranesi and Rembrandt will be the subject of close examination to learn how to gain control over this tone rendering method. You will be using this technique either with hard pencils and ballpoint pens in small-scale drawing or with softer pencils and charcoals on larger compositions.
Gesture line - A gesture drawing session will be dedicated to exercise with repeated large and fast strokes, in attempt to loosen-up your mark making, and to gain control in pressure changes that will vary the depth of a single-line mark.
Tone - Eraser drawing will introduce reverse drawing techniques, from dark to light, on textured and toned papers. We will use compressed and natural charcoals to develop middle-tone gradations.
Anatomy - Approaching the human figure in Life Drawing sessions in the attempt to achieve correct proportions and use of the expressive potential of the body. The three sessions will be mainly devoted to: line contours; proportions and scale, solid masses and void. A special attention will be spent on the head structure and on various elements in portraiture.
Grades will be based as follow:
Drawing Portfolio (life drawings, site sketches, assignments): 60% (20%+20%+20%)
Drawing suite: 20%
Artist book: 20%
Grading will be incrementally lowered for lateness and lack of attendance.
The grading scale for this class, which assigns slightly more points to the solid letter grade, with pluses and minuses spanning few points on either side, is one commonly used at American universities:
(A) 100-93, (A-) 92-90, (B+) 89-87, (B) 86-83, (B-) 82-80, (C+) 79-77, (C) 76-73, (C-) 72-70, (D+) 69-67, (D) 65-60, (F) below 60.
The Drawing suite –
This project should develop as a series of at least three interrelated drawings, to be displayed as a vertical or horizontal sequence. You should choose your topic among the following:
artworks from an artist of your choice; a time/space sequence related to an itinerary in the city of Rome; a sequence or progression related to an event.
The Artist book –
Construct an handmade book or recycle an existing one, design and compose the physical support and develop a narrative around a chosen subject. Freedom of format, media choice and technique. Text, images and support should integrate with the design of the book.
The Art Studio will be locked after class; you will be able to get keys from the entrance desk and sign up your entry time; you must return keys at desk and lock the studio after you leave.
You will be given a standard set of drawing tools, a sketchbook and a shelf to store most of your work in progress.
Please keep the studio areas neat after work, clean your working station, brushes and containers.
A number of monographic and reference books will be at disposal in the Art Studio; you are invited to develop more extensive study on specific artists or artwork in the Library. Work in progress will be subject of review during class hours. Each mandatory drawing assignment will be illustrated in class. Extra hours (2 to 3) to complete drawing assignments are expected. Travel plans or other personal commitments may not interfere with attendance and examinations.
There is a 35.00 € supply cost associated to this class. Please make the payment at the student office.
SCHEDULE of meetings and assignments:
Sept. 4 - Intro to the Art Studio; relief and texture rendering – frottage and rubbings. Overlapping of layers and transparencies. Assignment: five compositions with rubbings.
Sept. 11 - Compose your picture; framing and comparative measuring methods. The viewfinder. Still life with light sources exercises. Assignment: five schematized compositions from Caravaggio’s paintings.
Sept. 18 - Chiaroscuro rendering; use of tone passages with graphite and charcoal.
Assignment: two drawings of same still life with different life sources.
Sept. 25 – Meeting on site: Modern Art Museum in Valle Giulia; bring sketchbook.
Assignment: choose two artist’s work from the Museum display and re-develop them.
Oct. 2 - Individual Mid-term Critique
Assignments for Fall Break: twelve sketches to be done on site.
Oct. 9 – Fall Semester Break
Oct. 16 - Life drawing – The figure in details - Art studio.
Assignment: 30 tracing paper copies of anatomical details.
Oct. 23 - Meeting on site: Barberini Palace.
Assignment: two copies from Master Drawings.
Oct. 30 Art Studio – study in cross hatching– still life –
Assignment: one detailed cross hatching drawing 8” x 5”
Nov. 6 – Art studio. Artist Book Project; visual and written narrative, binding and folding folios.
Assignment: work on the book structure.
Nov. 13 - Life drawing – The figure as solid masses and voids - Art studio.
Assignment: three ‘nocturnal’ eraser drawings.
Nov. 20 – Meeting on site (to be announced
Nov. 27 – Thanksgiving recess – no classes
Dec. 4 - Collage and de-collage - finishing the Artist book and the Drawing suite - Art Studio.
Dec. 6 (Friday) 9:00am to 11:30pm – Exhibition of student work.
Dec. 11 – 9:00am to 11:30pm - Final Critique on Portfolios, Drawing suite, Artist book .
An extra Friday class will be scheduled.