Free-hand Drawing

Course Description

Theory

Systematic studying of the technical methods and drawing styles from antiquity down to our time. Thorough examination of the subject, using examples drawn from the history of art in regards to the concepts of light and shadow, as elements defining the visual shape of a ‘form’.

Practice

The course includes the following:

Familiarization exercises, concerning the various plastic means – materials used for drawing by artists in history. Exercises aimed to increase observation skills and the significant role of directness, through which the visual experience is perceived. Exercises aimed to understand the function of the line as method for producing tone and understand the difference behind the dynamics of the artists’ gestures. Exercises with the purpose of creating a drawing focused on light, demi-light and shadows (line, form, tone). Exercises with the purpose of demonstrating synthetic skills through drawing, in order to use not only tonal surfaces, but also the surrounding clearances.

 

The Scope of the Course and Objectives

Course objective

The students shall develop their optical perception, observation and examination skills concerning the visual presentation of a three-dimensional natural object on paper, through a schematic form constituting a logical “conceptual convention”, i.e. a symbol referring to a code of communication and interpretation.

Course purpose

This is the introduction of students to the basic principles, materials and techniques required for the development of skills concerning “Drawing”. A step-by-step examination and understanding of drawing procedures using [a] line, [b] form, [c] tone, [d] composition, as well as an introduction to basics in perspective. In addition, they shall perceive drawing as a dynamic activity – gesture that records in a direct manner the visual perception of the artist.

STUDENT ASSESSMENT
Language of evaluation: Greek (English for Erasmus students).

Public presentation and evaluation of exercises (100%).
Each student presents in the whole group of students of the course his/her workshop exercises/works, defending his/her preferences and outcomes.

ATTACHED BIBLIOGRAPHY
Greek and Translated in Greek:
ΑΡΦΑΡΑΣ Μ., Το ελεύθερο σχέδιο (Ίων 1997).
ΑΡΦΑΡΑΣ Μ., Το ελεύθερο σχέδιο ΙΙ, ο Άνθρωπος (Ίων 2003)
ΜΑΝΩΛΕΔΑΚΗ – ΛΑΖΑΡΙΔΗ Ι., Το σχέδιο: θεωρία & πρακτικές (Παρατηρητής).
ΠΑΠΑΛΟΠΟΥΛΟΥ Ο., Μέθοδος Ελευθέρου Σχεδίου (Παπασωτηρίου 2007).
ΠΑΠΑΣΤΑΜΟΥΛΗΣ Κ., Χρώμα, Σκίτσο & αρχές Ελευθέρου Σχεδίου (Ίων 2004).
KANDINSKY W., Σημείο – Γραμμή – Επίπεδο, μτφρ. Ε. Μαλάκη – Σταθάκη (Δωδώνη, 1980).
SIMPSON I., Εγκυκλοπαίδεια Εφαρμογών Σχεδίασης & Χρώματος (Ίων 2001).
Vitamin D; New Perspectives in Drawing (Phaidon 2005).
WELTON J., Σχέδιο: οδηγός για νεαρούς καλλιτέχνες (Ερευνητές 1995).

Foreign
CHING F.D.K., Drawing: a creative process (Reinhold, 1990).
GAIR A., A complete guide to painting & drawing materials & techniques (Collins, 1995).
HOPTMAN L., Drawing now: eight propositions (New York, 2002).
KAUPELIS R., Experimental Drawing (Reinhold 1990).
KINGSTON A., What is Drawing (Black Dog Publishing 2003).
KOVATS T., The drawing book: a survey of drawing: the primary means of expression (Black Dog Publishing 2006).