Gesture Drawing:

1. Should begin with organizational lines such as the longest line. Then work from the middle out looking at the whole body
2. The figure should always be considered transparent
3. You should be recording movement rather than making a drawing of the figure itself
4. Move in, out, and around the figure as you begin from the middle
5. Keep the charcoal or pencil in contact with the paper and never look at what you are doing
6. The purpose behind this is to teach you to focus and concentrate so that you transcend stifling thoughts and force concentration

Blind contour

1. Traces the edges of the figure or object
2. It is always a sharp incised line made by a tool that can make a continuous line
3. The eye is constantly on the figure and never on the paper
4. Begin on the outside edge and travel within the figure noting the shapes made by sides (planes), shadows, bone structure, fat, and weight
5. The purpose is to create an accurate sense of the dimension of the figure in space, and to train the eye

 Contour.  Blind contour changes to an allowance of looking when necessary

Organizational line

The preliminary step in drawing where relationships are plotted

This may be a notation of the outline, the diagonals, the verticals, horizontals and any placement lines that provide a structure for the drawing.

Sighting

Taking measure of the figure with one eye closed for depth perception to be flattened

1. Using an opposite arm lock the elbow
2. Measure the head using a pencil, thumb, or straight tool
3. This should correspond to an oval you have drawn on your paper ( for a body, a small part of an object will work for anything else)
4. Using the head as a means of measure, formulate relationships.
5. The body is usually eight heads long
6. The shoulder to elbow two the hands are usually the length of the head and so are the feet.

Final Criteria sheet for Session one workshop in Drawing

1. Your daily grade in Drawing class:
2. Classes attended:
3. Two drawings for exhibition:
4. Self Portrait:
5. Criteria for your final drawings is based upon concepts ant techniques taught in class
6. Understanding and Application of the following concepts:   
7. Line as a technical and emotive device
       * Tension (placement),
       * Variety,
       * Similarity (balance)
       * Metaphor

Thank you for being in my Drawing Class.

If I can be of help to you in the future you can e mail me at dreamlanguage@lycos.com

 * Drawing classes at UTD are taught by John Pomara and Greg Metz both good

* Also there is a great figure sculpting class (like drawing only you sculpt the stance of the figure)

* Some books that could add to your knowledge and can help guide you are:

              * Nicolaides, Kimon. The Natural Way to Draw.  Boston: Houghton Mifflin. 1941. 
              * Betti, Claudiaand Teel Sale.  Drawing, a Contemporary Approach any other three additions.   New York: Holt Rinehart Winston.
              * Kaupelis, Robert.  Experimental Drawing   New York: Watson-Guptill Publications.
              * Edwards, Betti Drawing on the Right Side of the Brain. Revised new addition 1999

Drawing on the Artist Within

Some Artists we have in the library on the fourth floor:
John Baldessari
Romare Bearden
Paul Cezanne
Jim Dine
Jean Dubuffet
Alberto Giacometti
Gerge Grosz
David Hockney
Jasper Johns 
Wassily Kandinsky
Kathe Kollowitz
Fernand Leger
Roy Lichtenstein
Robert Smithson
Henri Matisse
Ben Shahn
Henry Moore
Larry Rivers
Pat Steir
Robert Rauschenberg
Andy Warhol 
Jackson Pollock
Pablo Picasso
Neil Welliver