September 10

UNIT OVERVIEW

• Attendance and absenteeism

• Tuition pattern
• Drawing materials
• Studio rules and regulations
• Coursework: studio exercises and assignments
FHAD1034 FIGURE DRAWING
INTRODUCTION AND UNIT
OVERVIEW

Introduction & Overview Introduction & Overview

• UNIT DETAILS COVERED • GRADING POLICIES

• Surface and Media • Coursework
• The Drawing Process • Grading System
• Drawing with Elements
• Drawing Composition and Sighting Technique
• Scale and Perspective

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Introduction & Overview Introduction & Overview

• Coursework and Grading • Studio Practical Submission Format

• Coursework 100%
• Studio Practical (Ind.)
• Assignments (Ind.)
• No Examination!
• Studio practical exercises will be conducted on
50% weekly basis.
50% • Students MUST follow the guidelines given to
avoid marks deduction.

• Check your coursework submission dates!

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Introduction & Overview Introduction & Overview

• Back of art block paper as below: • Back of ASSIGNMENT art block paper as below:

Picture printout:
Back of art block paper
Black & white for
Back of art block paper value drawing; colour
for colour drawing.
Stick the colour picture
of what you draw at
the left bottom corner Stick the colour picture
beside the label of the of what you draw at
art block paper. the left bottom corner
beside the label of the
Stick the label provided by Stick the label provided by art block paper.
lecturer at the left bottom lecturer at the left bottom
corner of the art block paper. 7 corner of the art block paper.
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Introduction & Overview Introduction & Overview

• GRADING SYSTEM • LATE COURSEWORK

• Any late submission is strictly adhered! No
extension is allowed!
• Grade Marks Range Grade Point Grade Description
A 80 – 100 4.0 Excellent
A- 75 – 79 3.7 Excellent • Marks will be deducted subjected to the
B+ 70 – 74 3.3 Very Good following conditions:
B 65 – 69 3.0 Good • Late submission (on the same day, within 30
minutes after the fixed deadline) will result in
B- 60 – 64 2.7 Good
deducting 5%.
C+ 55 – 59 2.3 Satisfactory • Late submission (within 24 hours after the fixed
C 50 – 54 2.0 Pass deadline) will result in deducting 50%.
F 0 – 49 0.0 Fail
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Introduction & Overview Introduction & Overview

• LATE COURSEWORK • COURSE MATERIALS

• No acceptance of any submission after 24 hours
from the fixed deadline. Grade given will be F • Text Book
grade.
• WBLE
• Weekends and public holidays are included in
• Basic Lab Materials
the calculation of late submission.

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Introduction & Overview Introduction & Overview

• Text Book • WBLE

There is no compulsory text books! • Lecture notes

• Assignments
• Practical questions

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Introduction & Overview Introduction & Overview

• Basic Studio Materials •Basic Studio Materials

• Graphite pencil: HB, 2B, 4B, 6B and 8B (Derwent) • Colour pencils
• Black tipped marker: fine 0.5 and (Artline) • A3 or A2 size cutting mat
medium 0.6
• Water colour (Most recommended brand:
• Willow / vine charcoal: soft
Derwent, Artist, Pentel, Buncho)
• Charcoal pencil: light, medium and dark
• Watercolour brushes fine, medium, and large
• Tortillion paper blender for charcoal and soft pastel (round, flat, and bristle) – (Most recommended
• Sharpen pencil with cutter brand: ArtPac & Pentel pony)
• Eraser: kneaded rubber eraser and vinyl • Palette, water container, old newspapers, and
• Soft pastel rag
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Introduction & Overview Introduction & Overview

•Basic Studio Materials • Where can I find them?

• 12 inch metal ruler, glue, scissors, cutter
• Viewfinder Highly recommended art shop:
• A3 Drawing paper: smooth, medium and rough
• A2 Drawing paper: smooth and rough West Star
323, 324, & 325
• A3 size Newsprint paper
Jalan Bandar Melawati Square
• Handy A2 drawing wooden board with handle
Pusat Bandar Melawati
and 3 or 4 bulldog clips
53100 Kuala Lumpur
• Tool or tackle box to carry art supplies
Tel: 03-4147 7288
• 12 inch wooden human model Fax: 03-4147 7188
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Introduction & Overview Introduction & Overview

• Where can I find them? • Where can I find them?

Highly recommended art shop:

Other art shops:
Jensen Hew 012-520 3788
• Nanyang
Stat Mart • Venus
39-41 Jalan Yau Tet Shin • Art Friend
30300 Ipoh, Perak • Art shops in Centre Market
Tel: 05-240 3493, 240 3034
Fax: 05-240 2794
• Art shops nearby those art colleges

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Introduction & Overview Introduction & Overview

• STUDIO POLICIES • Lecture and Practical Hours

• Lecture and Practical Hours
• Attendance Lecture 1.5 hours x 12 weeks
• Dress Code and Grooming Practical 3 hours x 12 weeks
• Noise Pollution and Courtesy
• Mobile Phone

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Introduction & Overview Introduction & Overview

• Dress Code • SAFETY

• PLEASE also put on your student ID so that we
• When you were in school, you had to follow a dress know that you are not an “outsider”.
code.
• Safety of students is of paramount importance!
• Every student wore the same UNIFORM.

… & YOU KNOW IT WELL!

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Introduction & Overview Introduction & Overview

• Attendance • Courtesy
– Class Attendance • Please ensure that you have TURNED OFF ALL
• 15mins late consider no attendance during lectures and tutorials
– Absence • Laptop
• Only allow with valid reason • Any electronically device
• Hand in valid certificate within TWO days after • Notes and assignments of other subject
you’re back
• For emergency, any document is required – but • Noises!
may not take into account of consideration. (Check
with FGO)
• Mobile Phone
• Turn it to silent mode
– Chances of fall in Exam Bar List
• Approximately of 2 absents and above!

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Introduction & Overview Introduction & Overview

• CONTACT INFORMATION • English Proficiency

• Centre of Foundation Studies • If you have any difficulty facing English

language, what can you do?
• yeewl@utar.edu.my
• Handy dictionary
• Internet dictionary
• PE Block, PJ Campus • Ask your tutor
• Heritage Building, Kampar Campus • Ask your fellow student, etc.

……..Self learning is important!

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Introduction & Click to edit Master title

Ov erv iew style

QUESTION TIME! FHAD1034 FIGURE DRAWING

LESSON 1

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FHAD1034 THE NATURE OF DRAWING

FIGURE DRAWING SUBJECT, FORM, & CONTENT

FORM
The “how”

SUBJECT
THE NATURE OF DRAWING The “what” CONTENT
The “why”
SUBJECT, FORM, AND CONTENT

Combining to produce
ORGANICE UNITY
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THE NATURE OF DRAWING THE NATURE OF DRAWING

SUBJECT, FORM, & CONTENT SUBJECT, FORM, & CONTENT

SUBJECT MATTER SUBJECT MATTER

Figure Drawing Figure Drawing
The human figure represented in an work of art. • The angle of head
• Drawings of the draped • The action of the arms
• Nude figure • The use of the hands and the weight
• Drawings of parts of the figure distribution of the body.
• Drawings in which the figure represents only a
small part of the configuration

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THE NATURE OF DRAWING THE NATURE OF DRAWING

SUBJECT, FORM, & CONTENT SUBJECT, FORM, & CONTENT

The ability to draw the figure well is important:

• We view figure with a more knowing and a
more demanding eye to the figure’s spirit and
form.
• The context of the figure help us to recognize
the concepts and skills.

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THE NATURE OF DRAWING THE NATURE OF DRAWING

SUBJECT, FORM, & CONTENT SUBJECT, FORM, & CONTENT

THE FIGURE’S MEASURABLE FEATURES THE FIGURE’S MEASURABLE FEATURES

Basic Factors of Figure Drawing: Structural Factor and Anatomical Factor:
• The structure factor • Masses
• The anatomical factor • Shapes
• Planes
• Values
• Textures
• Sizes
• Location in space

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THE NATURE OF DRAWING THE NATURE OF DRAWING

SUBJECT, FORM, & CONTENT SUBJECT, FORM, & CONTENT

THE DESIGN FACTOR

FORM
• The Relational Content of Figure Drawing:
The “how”
• The visual elements
• The elements in action
SUBJECT
The “what”
CONTENT
The “why”

Combining to produce
ORGANICE UNITY
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THE NATURE OF DRAWING THE NATURE OF DRAWING

SUBJECT, FORM, & CONTENT SUBJECT, FORM, & CONTENT

The Visual Elements The Elements In Action

• The representational content is coexist and • In creative figure drawings, the dynamic nature of
marks not only define, the recognizable forms also
interact with a system of dynamic and affect the character of the subject, bring the image
expressive content: to life:
• Line • Direction
• Shape • Rhythm
• Value • Handling or character
• Location and proximity
• Volume • Subdivision
• Colour • Visual weight
• Space • Tension
• Texture • Figurative influence

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THE NATURE OF DRAWING THE NATURE OF DRAWING

SUBJECT, FORM, & CONTENT SUBJECT, FORM, & CONTENT

FORM
The “how”

SUBJECT
The “what”
CONTENT
The “why”

Combining to produce
ORGANICE UNITY
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THE NATURE OF DRAWING THE NATURE OF DRAWING

SUBJECT, FORM, & CONTENT SUBJECT, FORM, & CONTENT

THE EXPRESSION Descriptive Content

• To understand the vitality expressive impact of • The best figure drawing
the best drawing not explained solely in terms always impart some kind
of facility, cultural ideals, accuracy, design, or of psychological or
narrative theme, we must begin to recognize spiritual attraction.
each of the respond far more than the • Figure drawings are
representational content: often concentrate on
• Descriptive content investigating the nature
• Figurative content of a subject’s forms.

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THE NATURE OF DRAWING THE NATURE OF DRAWING

SUBJECT, FORM, & CONTENT SUBJECT, FORM, & CONTENT

Figurative Content Figurative Content

• The works possess a • The network of activities –
dynamic “life” – a the sense of movements,
network of visual rhythms, and tensions,
relationships and among a drawing’s parts –
energies between the produce sensations in us
drawn marks and that effect the way that
between the forms we “read” a drawing.
they produce.

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FHAD1034 LEARNING TO DRAW

FIGURE DRAWING COMMUNICATING DRAWING

• Drawing, like many

• Since the conscious mind
LEARNING TO THINK AND DRAW
COMMUNICATING DRAWING
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other skills, is a matter
of being able to think
several things at once.
seems to be able to think
about only one thing at
a time, the subconscious
mind can largely take
over the control of our
hand.
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LEARNING TO DRAW LEARNING TO DRAW

COMMUNICATING DRAWING COMMUNICATING DRAWING

“Treat nature by
the cylinder, the
sphere, the cone.”

Paul Cezanne
The great French painter

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LEARNING TO DRAW LEARNING TO DRAW

COMMUNICATING DRAWING SYMBOLS, FORMS, & LINES

• In other words, IDEAS ARE COMMUNICATED BY SYMBOLS

discover the basic • A fundamentals characteristics are by means of
geometric volumes symbols that give the illusion of three
that underline all dimensional form.
forms. • The artist conceives a form, draw it, and other
people, who look at his drawing, receive the
idea he wishes to communicate.

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LEARNING TO DRAW LEARNING TO DRAW

SYMBOLS, FORMS, & LINES SYMBOLS, FORMS, & LINES

IDEAS ARE COMMUNICATED BY SYMBOLS IDEAS ARE COMMUNICATED BY SYMBOLS

This drawing is
composed largely of
simple symbols of three
dimensional form.
The artist often think
of it this way when the
model bends slightly
forward.

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LEARNING TO DRAW LEARNING TO DRAW

SYMBOLS, FORMS, & LINES SYMBOLS, FORMS, & LINES

IDEAS ARE COMMUNICATED BY SYMBOLS FORMS: THEIR SHAPE,

LIGHTING, AND POSITION
• In the human body, there
are many forms literally do
not exist.
Learn to draw the cube and you
have a good introduction to
basic perspective and to one of
the geometric building blocks of
all objects—including the human
figure.
Jon deMartin
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LEARNING TO DRAW LEARNING TO DRAW

SYMBOLS, FORMS, & LINES SYMBOLS, FORMS, & LINES

FORMS: THEIR SHAPE FORMS: THEIR SHAPE

• The human body can be reduced
to basic geometric volumes.
• Three main masses of the body,
and they are connected by the
vertebral column, which can
independently tip, turn, and tilt:
• Head
• Ribcage(the largest form in the
body)
• Pelvis
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LEARNING TO DRAW LEARNING TO DRAW

SYMBOLS, FORMS, & LINES SYMBOLS, FORMS, & LINES

FORMS: THEIR SHAPE FORMS: THEIR POSITION

• The front, side, and back views of the figure,
built as cubes, illustrate the variety of these
movements.
• Each mass is in a different position in space.
• Note the imaginary center marked on each
mass, describing the orientation in space.

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LEARNING TO DRAW LEARNING TO DRAW

SYMBOLS, FORMS, & LINES SYMBOLS, FORMS, & LINES

FORMS: THEIR POSITION FORMS: THEIR POSITION

• When imagining the head,
ribcage, or pelvis as boxes,
an exact conclusion as to
its shape.
• We find that they are
rarely seen at predictable
views but are continuously
changing in their positions
in space.

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LEARNING TO DRAW LEARNING TO DRAW

COMMUNICATING DRAWING SYMBOLS, FORMS, & LINES

FORMS: THEIR POSITION FORMS: THEIR POSITION

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LEARNING TO DRAW LEARNING TO DRAW

SYMBOLS, FORMS, & LINES SYMBOLS, FORMS, & LINES

FORMS: THEIR POSITION FORMS: THEIR LIGHTING

• Light the form in such a
way that is recognized for
what we have in mind
and not for something
else.

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LEARNING TO DRAW LEARNING TO DRAW

SYMBOLS, FORMS, & LINES SYMBOLS, FORMS, & LINES

FORMS: THEIR LIGHTING FORMS: THEIR LIGHTING

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LEARNING TO DRAW LEARNING TO DRAW

SYMBOLS, FORMS, & LINES SYMBOLS, FORMS, & LINES

FORMS: THEIR LIGHTING PRACTICING LINES

• Good drawing requires developing the ability to
depict anything so that it appears structurally
correct and undistorted.
• By far the best method for learning to draw:
• Draw actual objects from life—not copying
reproductions or photographs.

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LEARNING TO DRAW LEARNING TO DRAW

SYMBOLS, FORMS, & LINES SYMBOLS, FORMS, & LINES

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LEARNING TO DRAW LEARNING TO DRAW

SYMBOLS, FORMS, & LINES SYMBOLS, FORMS, & LINES

PRACTICING LINES
Drawing simple lines by making a really
straight line:
• Vertical line
• Horizontal line
• Circle
• Mastery comes through constant practicing of
drawing skills.
• Keep nurturing your creativity while working
on the more formal exercises. In the long view
they will help one another.
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THE END
THANK YOU!

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