The student will be able to:
A. Recognize and describe works of drawings which distinguish different types of lines.
B. Analyze how artists use light and shadow to create depth of space by examining great works of drawing throughout history, including the progression of form and space.
C. Examine the development of linear perspective, through the study of historical and contemporary important works of drawing.
D. Identify the various uses of texture and explain how texture is related to the overall meaning and purpose of the drawing.
E. Compare great works in terms of composition and how the composition contributes to our perception and meaning of the drawing.
F. Examine use of the content and context in great works of drawing in written format.
G. Describe the use of drawing media throughout history, including how the use of different media results in establishing the overall expressive and conceptual meaning of the work.
H. Evaluate and critique class drawing perceptual projects using relevant terminology in oral or written formats.
I. Examine and describe contemporary developments, trends, materials and approaches in drawing.

A. History of Line--Contour, Cross Contour, and Gesture
1. Analyze great works by artists, such as Dominque Ingres, Giovanni Battista Tiepolo, Richard Diebenkorn, Ellsworth Kelly, August Rodin, Egon Schiele, Rapheal, Kathe Kollwitz, Leonardo Da Vinci, Rembrandt, Willem de Kooning, Franz Kline, Henri Matisse, Honore Daumier, Gioviani Domenico Tiepolo, Alberto Giacometi, David Hockney, Dawn Clements, and Cloe Piene
2. Application of the concepts of line in drawing exercise
B. History of Value
1. Analyze and applications of shadow pattern concepts: form shadow, core shadow, cast shadow, half tone, highlight and reflected shadow
2. Analyze chiaroscuro and great works by William Bailey, Henry Moore, Lucien Freud, Giorgio Morandi, Sidney Goodman, Walter Murch, Jasper Johns, Gerorge Seurat, Claudio Bravo, Corot, Leonardo da Vinci, Michelangelo, Peter Paul Rubens, John Singer Sargent, Vincent Van Gogh
3. Application of the concepts of shadow and light to create the illusion of form in drawing exercise
C. History of Linear Perspective
1. Analyze great works by artists, such as Jacopo Bellini, Raphael, Albrecht Durer, Giorgio de Chirico, Edward Hopper, Leonardo da Vinci and Rackstaw Dones
2. Application of the concepts of linear perspective
a. One point perspective
b. Two point perspective
c. Foreshortening
D. Visual Texture
1. Analyze great works by artists, such as Chuck Close, Jan van Eyck, Pablo Picasso, Pablo Picasso, Max Ernst and Claudio Bravo
2. Application of the concepts of visual or invented drawn texture
E. Composition Concepts
1. Analyze great works by such artists as Edward Hopper, Philip Pearlstein, Mary Cassatte, Wayne Thiebaud, Pablo Picasso, Paul Cezanne, Edgar Degas, Toulouse-Lautrec and Rene Magritte
2. Application of asymmetrical balance, positive and negative space, directional lines, sighting, measuring, alignment and movement in concept sketches or thumbnail sketches
F. Content and Context
1. Analyze contemporary great works by contemporary artists, such as William Kentridge and Antonio Lopez Garcia
2. Application and practice using metaphor, personal meaning and symbolism in a drawing
G. Drawing Media
1. Analyze great works of drawings by artists, such as Edgar Degas, Leonardo da Vinci, Michelangelo and Peter Paul Rubens
2. Application and practice using traditional drawing media by various artists throughout history in drawing exercises
H. Critique
1. Analyze and critique great works of drawings from history in written formats
2. Examine and describe contemporary developments, trends, materials and approaches in drawing artists, such as Cy Twombly

A. Assignments and exercises that explore a range of line applications, such as contour, cross contour, and gesture sketching
B. Assignments and exercises related to form, chiaroscuro, shading techniques-hatching, cross-hatching and the additive and subtractive method of drawing
C. Assignments that use the application of linear perspective
D. Application of texture in a drawing exercise or assignment
E. Exercises that use compositional rules, such as asymmetrical balance, directional eye movement, visual weight, overlapping space and problem-solving conceptual thumbnail sketches
F. Observation exercises that use measuring proportions, sighting, checking symmetry and alignment techniques
G. Exercises use the application of drawing media and tools, such as traditional drawing media by various artists throughout history
H. Exercises that have students make drawing revisions or corrections
I. Critiques and evaluation of drawing assignments and exercises

Evaluation methods may include, but are not limited to:
A. Portfolio review: each drawing will be evaluated for technical ability, craftsmanship and personal creative and conceptual approaches
B. Written or oral critiques
C. Written essays, field-trip papers or quizzes
D. Written participation in lectures of historical and contemporary drawings
E. Drawing revisions

A. Lecture
B. Discussion
C. Electronic discussions/chat
D. Laboratory
E. Demonstration
F. Critique

Rockman, Deborah. Drawing Essentials: A Guide to Drawing from Observation. 3rd ed. Oxford University Press, 2016.

 

Copy of a master charcoal drawing or contemporary drawing: research the artwork, the artist, the style, subject matter, content and context; write an essay or paper describing the artwork; write a self critique describing the process of making an artist copy or study.