ART06093 2019 Drawing 2 (Foundation in Drawing Mediums)

General Details

Full Title
Drawing 2 (Foundation in Drawing Mediums)
Transcript Title
Drawing 2 (Foundation in Drawi
Code
ART06093
Attendance
80 %
Subject Area
ART - Art
Department
YADA - Yeats Academy Art Dsgn & Arch
Level
06 - NFQ Level 6
Credit
05 - 05 Credits
Duration
Semester
Fee
Start Term
2019 - Full Academic Year 2019-20
End Term
9999 - The End of Time
Author(s)
Ronnie Hughes, Lizzie Kinsella
Programme Membership
SG_AARTT_B07 201900 Bachelor of Arts in Fine Art SG_AARTT_H08 201900 Bachelor of Arts (Honours) in Fine Art
Description

This module aims to provide and expand a broad range of drawing skills. The programme offers a series of drawing projects that are designed to engender confidence, develop analytical skills, establish critical analysis to amplify and extend a foundation of practical applications in the drawing medium.

Learning Outcomes

On completion of this module the learner will/should be able to;

1.

Have begun to developed an awareness of drawing skills, sensitivity to materials and understanding of drawing vocabulary and processes.

2.

Have acquired a range of drawing skills that address observational, analytical, creative and imaginative processes and concerns within the drawing projects.

3.

Have demonstrated an independence and resourceful ability to record, assemble, visually articulate images and ideas in context with historical and contemporary art and artist practices in sketch/drawing books and visual research journals.

4.

Have acquired a good standard of studio practice and participated in individual and group tutorials.

Teaching and Learning Strategies

A range of teaching and learning strategies are engaged, ranging from individual and group tutorials to practical demonstrations of materials and techniques within the studio/drawing room. Illustrated talks on artists and arts practices along with a visiting artist programme provide an opportunity for deeper understanding. Field trips to museums and galleries at home and abroad add to knowledge depth.

Module Assessment Strategies

Practical work will be reviewed on an ongoing basis and there will be a formal mid semester review. Assessment will take place at the end of the semester. At this point each of the learning outcomes are considered in relation to the art works presented and in relation to the supporting portfolio (which should include support studies, accompanying documentation, visual journals and texts where appropriate).

 

Repeat Assessments

Students will be given repeat project briefs which will be issued at the end of the academic stage and submitted in the autumn.

Indicative Syllabus

Exploration and Development of Drawing Vocabulary

Including; line, tone, volume, shape, positive, negative, contour, texture, scale, perspective, composition and proportion through form and analytical  processes.

Drawing/Sketch Books and Visual Research Journals

Foster capacity for independent study and research while developing ability to contextualise historical and contemporary artists.

Develop aptitude to utilise found materials and images along with drawing vocabulary and carry out experimental processes relating to project briefs.

Observational Drawing Studio/Drawing Room

Develop exploration of form and image through a range of drawing mediums.

Develop the drawing vocabulary through observational and/or life model practice.

Project Studio Practice

Develop an exciting and engaging discipline that responds to studio projects.

Participation in individual and group tutorials around project briefs and research journal development.

Coursework & Assessment Breakdown

Coursework & Continuous Assessment
100 %

Coursework Assessment

Title Type Form Percent Week Learning Outcomes Assessed
1 Exhibition/Presentation of a body of drawing. Practical Assessment 100 % End of Semester 1,2,3,4
             
             

Full Time Mode Workload


Type Location Description Hours Frequency Avg Workload
Practical Studio Drawing 3 Weekly 3.00
Total Full Time Average Weekly Learner Contact Time 3.00 Hours

Required & Recommended Book List

Recommended Reading
1993 Creative Drawing McGraw-Hill Humanities, Social Sciences & World Languages
ISBN 0697149544 ISBN-13 9780697149541

Designed for an undergraduate course in Drawing I, Drawing Concepts, or Creative Drawing, Smagula's Creative Drawing emphasizes critical thinking in conjunction with fundamental techniques to achieve practical results.

Recommended Reading
1996-04-01 Drawing New Holland Pub Limited
ISBN 1852385413 ISBN-13 9781852385415

Proven techniques are clearly and simply shown with hundreds of full-color sketches, as well as full-color, full-page exhibits of finished projects. Simple exercises introduce basic methods for mastering perspective, shading, and proportioning. Try your hand at 14 original drawing projects, each focusing on a particular technique, including brush drawing, charcoal, and more.

Recommended Reading
2001 The New Drawing on the Right Side of the Brain HarperCollins UK
ISBN 9780007116454 ISBN-13 0007116454

This volume uses the results of discoveries in brain research to enable anyone to draw well. The step-by-step text shows how to stimulate the 'right side of the brain' which is the more creative, intuitive and artistic half.

Recommended Reading
1992 Experimental Drawing
ISBN UOM:39015029516005

Suggests new ways to use contour, gesture, organization, light, and dark, and new techniques involving photographs, grids, and photocopiers, to produce innovative drawings

Recommended Reading
2011 Contemporary Drawing Random House Digital, Inc.
ISBN 9780823033157 ISBN-13 0823033155

A reference for serious artists explores the conceptual and technical foundations of contemporary art as expressed in biennials, art fairs and exhibitions, offering insight into such topics as the historical and conceptual origins of today's drawing techniques and the examples of leading modern masters.

Recommended Reading
2008-09-25 Ways of Seeing Penguin UK
ISBN 9780141035796 ISBN-13 014103579X

John Berger's Ways of Seeing changed the way people think about painting and art criticism. This watershed work shows, through word and image, how what we see is always influenced by a whole hose of assumptions concerning that nature of beauty, truth, civilization, form, taste, class and gender. Exploring the layers of meaning within oil paintings, photographs and graphic art, Berger argues that when we see, we are not just looking - we are reading the language of images.

Module Resources

Journal Resources

Visual Artists Ireland Newsletter 

Modern Painters Magazine

Flash Art Magazine

Art International Magazine

URL Resources

www.imma.ie

www.nationalgallery.ie

www.hughlane.ie

www.moma.org

Other Resources

Field Trips, Local and International

Visiting Artist Programme