The student will be able to:
A. Demonstrate skills in drawing the human figure from observation, from a live figure model in a representational style.
B. Demonstrate an ability to draw interpretive expressions of the human figure from a live figure model.
C. Demonstrate accurate figure proportion from a live model.
D. Demonstrate accurate rendering of the human form from a live figure model.
E. Incorporate historical and contemporary approaches to drawing the human figure from a live figure model.
F. Experiment with a variety of materials to render and complement the human figure from a live figure model.
G. Demonstrate an understanding of the creative process, drawing from a live figure model.
H. Demonstrate verbal communication skills in self-critiques.

A. Demonstrate skills in drawing the human figure from observation, from a live model.
1. Hand-eye coordination from a live model.
2. Sighting and measuring observational skills from a live model.
B. Demonstrate an ability to draw interpretive expressions of the human figure from a live model.
1. Gesture drawing capturing movement from a live model.
a. Mass gesture drawings from a live model.
b. Gesture drawings using the skeleton structure from a live model.
2. Figure in action poses from a live model.
3. Stylization and abstraction of the human figure from a live model.
C. Demonstrate accurate figure proportion from a live model.
1. Ideal human proportions from a live model.
2. Alignment and measuring techniques from a live model.
3. Foreshortening from a live model.
D. Demonstrate accurate rendering of the human form from a live model.
1. Uses of line in describing the human figure from a live model.
a. Contour line drawing from a live model.
2. Demonstrate the accurate structural of the human figure from a live model.
a. Cross contour line drawing from a live model.
b. Planar study of the figure from a live model.
c. Skeleton and muscular structure of the human figure from a live model.
3. Use of value in describing the human form from a live model.
E. Incorporate historical and contemporary approaches to drawing the human figure from a live model.
1. Study the style and use of materials of a known figurative artist.
2. Development of composition using the human figure from a live model.
F. Experiment with a variety of materials to render and complement the human figure from a live model.
1. Sanguine Conte.
2. Vine charcoal.
3. Pencil.
G. Demonstrate an understanding of the creative process from a live model.
1. Planning the drawing with thumbnail sketches and mock-ups from a live model.
2. Incorporate intuition in the conceptualization of the drawing.
3. Practice technique and execution in the choice and use of materials.
H. Demonstrate communication skills in a class critique.
1. Evaluate the strengths and areas for improvement on the works in progress.
2. Engage in a verbal dialogue about the finished drawings in the form of group critiques both large and small.

A. Assignments and figure drawing exercises that explore a range of line applications, such as contour, cross contour, and gesture figure sketching from a live figure model.
B. Assignments and exercises related to form, chiaroscuro, shading techniques-hatching, cross-hatching and the additive and subtractive method of figure drawing from a live model.
C. Assignments that use the application of foreshortening perspective from a live model.
D. Application of basic anatomy in gesture drawing exercise and short poses from a live model.
E. Observation exercises that use measuring proportions, sighting, checking symmetry and alignment techniques in a figure drawing from a live model.
F. Exercises that use the application of drawing media and tools, such as traditional drawing media by various artists throughout history.
G. Exercises that focus on human expression from a live model.
H. Exercises that have students make drawing revisions or corrections from a live model.
I. Verbal critiques, self-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. Oral critiques.
C. Written participation in lectures of historical and contemporary figure drawings.
D. Drawing revisions from a live model.

A. Lecture presentation using the vocabulary of figure drawings and human anatomy.
B. Discussion using the language of anatomy and figure drawing.
C. Demonstration of a variety of proportion techniques, such as drawing from observation, sighting skills and methods, planar drawing, contour drawing and rendering the figure with shadow and light.
D. Critique and group presentation of weekly in-progress figure drawing projects followed by in-class discussion and evaluation.

Bridgman, George B. Complete Guide To Drawing from Life. Sterling Publishing, 2009.
Note: This textbook is a relevant textbook for this course. The classical approach to figure drawing has not changed in the past 15 years.
 

A. Copy of a master or historical or contemporary figure drawing.
B. Research the artwork, the artist, the style, subject matter, content and context.
C. Write a self-critique describing the process of making an artist copy or figure drawing study from a great work of art.