1. Reinforce perceptual awareness of visual elements and compositional
2. Develop in greater depth, concepts covered in Art 7A: line, volume,
light, tonal and textural contrasts, and space.
3. Employ a greater variety of graphic media, tools, and surfaces.
4. Develop confidence in using this greater range of media and tools
appropriately, flexible, and imaginatively.
5. Cultivate independence and ability to critically analyze and judge
one's own work and the work of others.
6. Investigate the non-objective: the unconscious, the gestural, the
spontaneous, the improvisational.
7. Explore the realm of an invented, fanciful world.
8. Involve a more personal approach, a greater self-expression.
9. Define health and safety issues that could arise from the use of
graphic arts materials. Properly use spray fixatives, inks and other
drawing materials safely.
The primary intent of Art 7B is visual literacy and performance using
specific media in a studio setting. This includes:
1. The ability to reinforce the basic elements of drawing: value,
texture, the plane, volume, space.
2. The ability to make aesthetic decisions and judgments about these
elements in drawing.
3. The ability to exercise drawing skills to apply these insights,
using line, tonal and textural contrasts, differentiations of sizes,
sharpness, variety of marks, etc.
4. The ability to use a combination of mixed graphic media and tools
such as lithographic crayon used with wash, bamboo sticks with ink,
compressed charcoal with water, litho crayon with paint thinner, etc.
5. The ability to involve a greater variety of papers and note how
their surfaces combine with various media to create differing effects.
6. The ability to exploit the techniques of collage and monotype as a
means of enriching the possibilities in drawing.
7. The ability to consider stylistic concepts of historical precedent
not covered in Art 7A, such as Cubism, Surrealism, etc., for use as
inspiration and a point of departure for further exploration.
8. The ability to elaborate upon areas such as Abstraction.
9. The ability to investigate more thoroughly the dynamics of space:
deep space, shallow space, the reconciliation of two and three dimen-
sional aspects, the mixing of viewpoints and eye-levels, the influence
of size and scale, the effect of light and shadow and other tonal and
The scope and sequence of the course will be presented as follows:
1. Through lectures concerning the concepts, elements and art historical
precedents of drawing.
2. Through lecture/demonstrations of the proper use of materials and
3. Through student practice and demonstration of compositional,
expressive and technical concepts.
4. Through evaluative one-on-one discussions with individual students.
5. Through group critique discussions and presentations of in-class
and homework drawings.
Specific areas of study within Art 7B include the continuation of basic
concerns covered in Art 7A, at greater depth.
1. Line: using line to define contour and act as an expressive
element in itself.
2. Value: employing tonal contrasts and gradients to develop volume,
depth, drama and movement.
3. Shape: recognizing the essential shape of forms first before
focusing on surface detail, using positive and negative shape relation-
ships to strengthen compositional drama and unity.
4. Proportaion: analyzing the proportions of a single object and
analyzing the proportional relationships between objects. Using plumb
lines and level lines as well as of sight measuring.
5. Scale: considering how size, scale and shape of format influence
a drawing. Concidering how the size and scale of what is drawn
influences the impact of a composition on the viewer.
6. Texture: using textural contrasts to describe surfaces and to
enrich or give visual weight to drawing.
7. Edge: emphasizing tonal variations as an alternate to contour lines
in achieving contrast between figure and ground.
8. Abstraction: introducing the concept of abstraction through
various means: using exaggeration, alteration, and distortion, and
including the spontaneous and improvisational use of materials,
guided by 20th century precedents.
9. Content: recognizing other-than aesthetic aspects of drawing
such as metaphor, symbol, narrative, etc.
10. Process: balancing the deliberate and planned with the accidental
1. Create a series of drawings of an object as viewed from a variety
2. Include multiple eye-levels in a single drawing.
3. Draw a still life in a series of various lighting situations.
4. Erase areas on a vine-charcoal toned surface to create lights.
Add charcoal for deeper darks.
5. Set up a still life with objects against a tonally varied background.
Make all values lower than a middle-tone black and leave white all values
in the set-up which are lighter than a middle-tone to create a high-
6. Discover multiple patterns in the environment, exterior or interior,
and combine with emphatic darks and lights in a drawing.
7. Find a subject matter which exemplifies active and contrasting
textues and combine with emphatic darks and lights in a drawing.
8. Translate a completed black and white drwing to white on black, using
chalk and/or white paint.
9. Draw a small subject considerable larger than life-size to alter
the scale and impact.
10. Create a "landscape" from objects such as bones, or tools, etc.
11. Draw the figure from a model in relation to the studio setting.
12. Draw unposed figures in the campus environment.
13. Stress the planar aspects of various subjects such as still life,
faces, interiors, the urban landscape, etc.
14. Draw "cubistically", using the work of Picasso, Braque and FGris
as a guide.
15. Draw non-objectively, employing the grid gesture or change, as a
point of departure.
16. Create sequential or otherwise related images in a single drawing
using a basic grid as employed in comic-strips for the initial layout.
17. Include cut-out shapes collaged onto a drawing in order to involve
tonal, textural and spatial contrasts and to sharpen or soften edges.
18. Use the technique of monotype (painting on glass with printing
inks) for self-portraits, still life, landscape, etc.
19. Use various methods such as enlarging, cropping, distortion, and/or
simplification as a means of abstracting an object or image.
20. Enlist the copy machine or opaque projector to reduce, enlarge,
or vary the contrast of images as a devise for developing an image.
Art and Fear, David Bayles, Ted Orland, Capra Press, Santa Barbara, CA,
Creative Drawing, Howard J. Smagula, UC Berkeley, Brown and Benchmark,
The Craft of Drwing, Dan Wood, Harcourt, Brace, Javanovich, 1988.