Debra Goertz, Instructor
Syllabus: Figure Drawing I
Section A, Room 202
Monday 9:30 – 12:30am (uninstructed studio Monday, 2:00-5:00pm)
“The human body, with its varied beauty of construction, character and action, is so
complex that it is essential for the student, artist and sculptor not only to have a clear
knowledge of its intricate forms, but a comprehensive understanding and a habit of
simple treatment in order to apply this knowledge to its artistic end.” – John H.
Vanderpoel, The Human Figure, 1907
Purpose and Objectives: Drawing is an act of expressing one’s conception of space,
volume, anatomical construction, light, form, rhythm and more. Good drawing depends
on a high level of craft which comes from experience, intention, perception, imagination
and intuition. The purpose of this class is to set out a framework for learning the craft of
drawing from life as a foundation for serious figurative work. The course provides an indepth exploration into the traditional means of abstracting, mentally and manually, from
observation and experience, to create a pictorial representation of the human figure.
Students will use freehand drawing to construct two-dimensional representations, first
focusing on linear form description, developing a drawing from the totality to the related
details, comprehending form, perspective and proportion and analyzing complicated
anatomical structures to find their simple conceptual constructs. Later, introduction of
value gives the student an opportunity to move toward pictorial, dimensional illusion.
Direct observation of the model in poses of varying duration will be augmented by study
of diagrams, master drawings and the Academy’s extensive collection of casts.
General Outline: The course will comprise two components: observation in the studio
and homework assignments. Studio time will be spent primarily studying the model, with
poses of varying lengths from short, gestural poses to combine speed and accuracy to
poses of several hours to allow for sustained study of how light reveals volume and
texture. There will also be at least two days devoted to study from casts. Homework will
include, but will not be limited to a self-portrait, a copy from a master drawing, keeping a
sketchbook, and studying from drapery and portions of various casts. Students will be
encouraged to use a variety of drawing media. Concepts will be presented through
lectures and demonstrations. Critique will be conducted in groups as well as individually.
Evaluation: Evaluation will be based on demonstrated commitment to this work, both
inside and outside of class. This includes preparation, materials, attendance, work in the
studio (as well as outside of class), understanding and application of critique, energy and
drive given to the purposes and expectations of the course, and maturity in self-appraisal
of the performance of each drawing as well as the work of the entire semester. Evaluation
will be done continually on an individual basis, as well as during group critiques and a
final critique. Considerations are weighted as follows:
Class performance - This includes attendance, punctuality and attention during class,
effort, progress and execution, participation in critiques, and the ability to accept and
apply criticism - 60%
Homework - 40%
Draw outside of class. Your effort to bring outside drawings to my attention for critique
will be favorably considered at evaluation time. You may infer that the opposite applies.
Materials: A variety of drawing materials will be used, but to begin, please have:
Vine charcoal – lots of it, in various hardnesses
At least 18” X 24” newsprint paper pad (medium tooth!! NOT smooth)
At least 18” X 24” inexpensive white multipurpose drawing paper pad
At least 9 X 12 sketchbook and pencils
Kneaded eraser
Chamois ( should be large )
Sand paper on block for sharpening charcoal
Two skewers or thin knitting needles
Drawing board and clips
Suggested Reading:
The Human Figure, by J.H. Vanderpool, Dover
The Art of Responsive Drawing, by Nathan Goldstein, Prentice Hall
The Nude: A New Perspective, by Gill Saunders, Harper & Row
Drawing Lessons of the Great Masters, by Robert Hale, Watson Guptill
Contact Information:
Students may contact me by email at DKGoertz@aol.com