Anatomy Research project: TORSO

NOTE: this assignment will we graded at the end of the whole anatomy research project. You are encouraged to bring work in progress and questions to class, but you don't have to deliver each assignment every week ( the project as a whole will be graded in its due date: November 1st of the fall semester).

- Representational images of the requested anatomical features. This week: torso, front and back, bone and muscle. (torso will encompass clavicles, spine, ribcage and pelvis).

- Drawings must be life size. As size reference, use your own body. The image of the ribcage, for example, cannot be smaller than your very own ribcage.

- Information must be accurate: make sure to draw the right number or ribs, vertebrae and other parts.

- Use shading and color to describe roundness, perspective and difference of materials. You don't have to make muscles red, but it must be clear to the viewer the difference between bones and muscles.

- Use at least two references. You can settle for a composition or view out of one reference alone , but you must compare what you are drawing with more than one source to make sure you draw issues of topology properly.

-Make this assignment your own! Use different materials, colors, techniques and even narratives to present the information.

Memory Drawing

-Observe the assigned drawings for as long as needed in order to memorize the information.

-Cover the drawing and reproduce it in a new piece of paper or canvas, trying to make an accurate copy of it.

-Do not make up information! If you find yourself not knowing what to draw next, put the drawing tool down and look at the assigned drawing once more, for as long as it takes.

-The key to a successful assignment is to not cheat yourself! Commit to memory as much as you can, and then draw from memory onto the paper (do not draw while you look at the assigned drawing).

-Pay attention to proportions, anatomical information and movement.

The Figure in Space

-Illustrate an environment using perspective. Place in it a minimum of three figures in three different poses (at least one of it must be sitting or reclining)

-The figure must have naturalistic human proportions (no cartoons).

-Use real-life observational reference.

-The space must be descriptive of an environment: consider props, terrain, lighting, and other features that make your location feel believable.

-Consider the interaction that could exist between the figures. This is a great assignment to explore concept and storytelling.

100 Drawings of the Figure in Movement

-You must draw one hundred human figures in a series describing movement. It does not have to be a single action across the 100 drawings. A good minimum is 20 drawings per action.

-Your drawings do not have to be detailed, BUT must describe the entire figure, head to toes, shoulder to shoulder.

-No simple stick figures! Use real human proportions (no cartoons).

-If possible, use a live person as a reference. If you can’t, videos or photos are ok. Martial arts or dancing movies are good reference, but try to be creative!

-Presentation is important! You will show your work to the rest of class.

Class Objectives

The Human Figure in Illustration class has two main objectives: 

1. To provide students with techniques that develop and further the skill of drawing from observation: focusing on elements such as movement, gesture, weight, and abstraction, we will develop a set of skills that will aid us in rendering the human body. We will learn how to compose figure drawings, place the human form in space, exercise our visual memory, and analyze the different components of our artwork. We will discover the advantages that drawing from observation brings to our work, and strive for the development of the inquisitive eye of an artist.
2. To gain proficiency in the rendering of the human form, and understanding of the human anatomy: we will study the human anatomy in both its superficial appearance and inner structures. Through practice, we will commit to memory concrete information about the human head, neck, torso and extremities. By exploring presentation, technique, and concept, we will discover expression and personal voice in the description of true anatomical information. We will discuss figure drawing as a language, and its potential to inform and inspire.

Class Structure

Most of our time in class will be dedicated to drawing the model from observation. Depending on the topic of the day, we will have shorter or longer poses that you must render, and then show to the class for discussion. Everyone is required to participate in these discussions at some point during the semester. Participation in class will determine part of your grade.

The instructor will demonstrate techniques, show examples using a projector, request specific materials, and evaluate the student progress. You are encouraged to bring up questions and concerns during class. Office hours and contact by email are also available. Every student will have a one-on-one meeting with the instructor mid-semester. Remember that personal goals are as important as course goals! 

Consistent with other classes, more than two unexcused absences will result in failure of the course. Out of respect for the model and other students, you will not be admitted into the classroom if you are 15 minutes late. There will be short breaks during the drawing sessions. It will be important to return from these on time. Drawing requires concentration and focus, do not break it by being late.

Assignments

A new assignment will be completed each week. These assignments will be one of two types: assignments that reinforce observational skills discussed in class, and a four week long anatomy research project. All assignments must be delivered for class discussion on the specified due date (normally, the following week). Assignment grades decrease by one letter for every week that they are late. Remember: your assignments are part of the class discussion, and serve not only you, but also everyone else in the class.

Every assignment will have minimum requirements and specific goals. However, satisfactory completion of the homework takes into account the interest that you put into making each piece your own: successful projects will satisfy the minimum requirements AND explore concept and presentation. You are encouraged to try new techniques and ideas, provided that your work presents accurate information.

Whenever possible, you must use real-life observation for reference in your assignments. When this is not possible (for example, in the anatomy research project), you must make sure to use at least two references that describe the same subject. This will minimize inaccuracy due to lack of perspective. Remember: photos and illustrations as references limit you to one point of view!

Supplies and Texts

For every class, you are required to bring a large drawing pad (the largest you can find and transport), charcoal pieces, and a variety of erasers. At least once in the semester, we will draw light on shadow, and therefore you will need dark toned paper and light toned crayons. Also, at least once in the semester, we will do an exercise that requires different color crayons. However, you are encouraged to try different colors and techniques in every class (the only limitation being no oil painting).

You will require at least two anatomy books in this class, but you will get to pick and choose which ones fit your goals the best. It is recommended that you buy George Bridgman’s Constructive Anatomy, or The Human Figure by John H. Vanderpoel, as these two will cover in great detail important subjects in class. The anatomy research project will require that you obtain strict anatomical reference. Below you will find a list of helpful books and resources.

Recommended Books:

• Constructive Anatomy, by George B. Bridgman
• The human figure, by John Henry Vanderpoel
• Classic Human Anatomy, by Valerie L. Winslow
• An Atlas of Anatomy for Artists, by Fritz Schider
• Anatomy for Artist, by Sarah Simblet
• Artistic Anatomy, by Richer Hale
• Strength Training Anatomy, by Frederic Delavier