THE DRAWING COURSE (Syllabus)One instructional Session per week (3 hrs). One Practicum per week (3 hr), optional. See separate PAGE for Course Description and Fees. Links are to books consulted and used for the course. | ||||
| SESSION | RYDER LESSON | COMPOSITION | ANATOMY | HISTORY |
| INTRODUCTION | ||||
| Session 1 | Materials & Basic Strokes | Shape Relationships | Introduction | Why History? |
| Session 2 | Historical Perspective | Growing a Composition | History of Anatomy | Pre-Renaissance |
| UNDERSTANDING LIGHT & SHADOW (Part One) | ||||
| Session 3 | First Thing About Light | Figure in Composition | Feet | Renaissance |
| Session 4 | First Thing About Value | Relating Light (Part 1) | Buttocks | Baroque |
| THE BLOCK-IN | ||||
| Session 5 | The Envelope & Block-In | Relating Light (Part 2) | Fingers | Neo-Classicism |
| Session 6 | Measurement (Part 1) | Turning Day into Night | Hand | Romanticism |
| Session 7 | Measurement (Part 2) | Compositional Approach | Shoulders | Naturalism And this |
| Session 8 | Non-Parallelism & Two Sides of Form | Redesigning Composition with Negative Spaces | Thighs | ImpressionismAnd this |
| UNDERSTANDING GESTURE | ||||
| Session 9 | Active & Passive Side of Form | Correcting a Composition | Mouth/Chin | Expressionism |
| Session 10 | The Inner Curve (Part 1) | Negative Space | Nose | Durer (Part 1) |
| Session 11 | The Inner Curve (Part 2) | Closed Negative Space | Ear | Durer (Part 2) |
| Session 12 | The Inner Curve (Part 3) | Improving Composition | Eye (Part 1) | Michelangelo (Part 1) |
| THE CONTOUR | ||||
| Session 13 | Drawing the Contour (Part 1) | Simplifying a Composition | Eye (Part 2) | Michelangelo (Part 2) |
| Session 14 | Drawing the Contour (Part 2) | Building up a Composition | Head and Neck (Part 1) | Pieter Bruegel the Elder |
| Session 15 | Form of the Body (Part 1) | Study 7 Sketch | Head/Neck (Part 2) | Tiepolo (Part 1) |
| Session 16 | Form of the Body (Part 2) | Horizontal Composition | Upper Torso (Male) | Tiepolo (Part 2) |
| UNDERSTANDING LIGHT & SHADOW (Part Two) | ||||
| Session 17 | Interaction of Light & Form (Part 1) | Relating Light Values | Upper Torso (Female) | Caravaggio (Part 1) |
| Session 18 | Interaction of Light & Form (Part 2) | Spotlighting Figures | Arms | Caravaggio (Part 2) |
| Session 19 | Light & Shadow on Model (Part 1) | Turning Day into Night | Legs | Rembrandt & Rubens (Part 1) |
| Session 20 | Light & Shadow on Model (Part 2) | Compositional Approach | Skin | Rembrandt & Rubens (Part 2) |
| UNDERSTANDING FORM ON THE INSIDE | ||||
| Session 21 | Fullness | Vertical Composition | Hair (Part 1) | Delacroix |
| Session 22 | Continuity & Discreteness | Testing a Vertical Composition | Hair (Part 2) | Constable |
| Session 23 | Effect of the Gesture | Balancing Surface Area | Sex (Male) | Eakins (Part 1) |
| Session 24 | Organization | Correcting Imbalances | Sex (Female ) | Eakins (Part 2) |
| DRAWING ON THE INSIDE | ||||
| Session 25 | Shaping the Light | Eliminating Emptiness | Proportion (Part 1) | Van Gogh (Part 1) |
| Session 26 | The Shading Process (Part 1) | Controlling Line and Texture | Proportion (Part 2) | Van Gogh (Part 2) |
| Session 27 | The Shading Process (Part 2) | Varying Line and Texture | Movement (Part 1) | 20th Century Drawing |
| Session 28 | The Shading Process (Part 3) | Improvising with Texture and Line | Movement Part 2) | The American West |
EXHIBITION: Local show & reception of student works. The Drawing Fellowship. | ||||
COURSE SYLLABUS: The Drawing Fellowship
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