Make the student aware to the fact that Drawing, as a discipline, crosses different kinds of knowledge, related with Human Sciences, Pure Sciences and Conservation-Restoration Science, raising various practical, technical, physic and chemical, ideological and aesthetical questions among others.
Heighten the student’s awareness of drawing history, of the hand-made production, sometimes empirical, of the materials used in the past, and of the importance of the graphical cultural heritage.
Know the basic terminology applied to Drawing, and the difficulty or limits that linguistic aspects raise in Portuguese to specify different ways of representation.
Confront the student with the conceptual, visual and material distance that exists between the perceptive world and the depicted world.
Develop the student’s manual skills and their capacity to work with different materials and supports.
Develop the student’s capacity to produce two-dimensional and three-dimensional renditions of objects.
Develop the student’s keenness of vision and the notion of «points of view», conducing the students to draw objects, monuments or spaces, in different contexts (in the classroom, in situ or in museums, and in the open air).
Train visual memory, mastering progressively the shape of simple and complex objects, drawing them repetitively with or without direct observation.
Agnés Anne Françoise Le Gac Arinto
Weekly - 5
Total - 70
GOMBRICH Ernest H., Art and Illusion. A study in the psychology of pictorial representation, Princeton University Press, 2000.
MASSIRONI Manfredo, Psychology of graphic images: Seeing, drawing, com-municating, Nahwah: L. Erlbaum, 2002.
NICOLAIDES Kimon, The natural way to draw, Boston: Houghton Mifflin Company, 1941.
PARRAMÓN José M., A perspectiva na arte, Colecção Desenhar e pintar, Lisboa: Editorial Presença, 1994.
PARRAMÓN José M., Como desenhar com carvão, sanguina e giz, Colecção Desenhar e pintar, Lisboa: Editorial Presença, 1995
Use of a wide variety of materials and supports with different sizes and qualities, textures, hues and strengths, to understand how they work
Systematical approach and laboratorial experiments on the specific instruments and techniques used in the past to make drawings.
Visiting sites of interest.
Assessment is individual and continuous, without any exam or final work.
Regular attendance to the lessons and practical work is compulsory. The number of unexcused absences may not exceed 3.
Assessment relies on the practical exercises produced during the semester.
The final classification corresponds to the average of the practical works.
- The sensory organs, in particular sight and touch, and the associated mechanics of the human brain.
- To create marks on a support – The tools involved in the writing and drawing process, and the supports used .
- Fundamentals of Drawing – lines, shapes, plans, contrast, contour, positive forms and negative space.
- Composition and construction lines of the works of art – Architectonic structures and statuary from different periods – The drapery as a specific language of Sculpture – Morphological analysis – Rhythmic and amplitude variations – Styles and authorship.
- Points of view and perspective
- Real grey(s) and optical grey(s) – Gradients from light to dark and shading, tonal values and textures – Dry, water-based and mixed techniques.
- Stocks images and mechanical reproduction – True copy of something.
- Proportional divider, grid and scales.
- Drawing from the model – The representation of the human figure’s proportions and gesture.
- Portrait and self-portrait – Truth, likeness (or lifelike resemblance) and stereotype.
- The impact produced by gaps in works of art and the contribution of drawing in the restitution of their essential meaning.
- Raw materials and tools used in the past to make drawings – Reconstitution of old masters’ techniques, applying different laboratory experiments
Programs where the course is taught: