Architecture, Landscape & Visual Arts

Unit Outline

Art of Drawing
VISA1054
SEM-2, 2015
Campus: Crawley
Unit Coordinator: Miss Stephanie Reisch

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(Cth).
Copying of this material by students, except for fair dealing purposes under the Copyright Act, is prohibited. For the purposes
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the course material itself
The University of Western Australia 2001

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Unit details
Unit title
Unit code
Availability
Location

Art of Drawing
VISA1054
SEM-2, 2015 (27/07/2015 - 21/11/2015)
Crawley

Credit points

Mode

Face to face

Contact details
Faculty
School
School website
Unit coordinator
Email
Consultation hours
Tutors
Unit contact hours

Faculty of Architecture, Landscape and Visual Arts

Architecture, Landscape & Visual Arts
http://www.alva.uwa.edu.au/
Miss Stephanie Reisch
stephanie.reisch@uwa.edu.au
Additional consultation times can be arranged by appointment on Tuesdays 12-1pm in room 1:16.
Joshua Cobb-Diamond, Andy Quilty, Rachelle Dusting

Lecture capture system

Online handbook
Other contact details

48 (lectures: 12 hrs; practical workshops and tutorials: 36 hrs)

4 contact hours per week
LCS is implemented for this unit.
http://units.handbooks.uwa.edu.au/units/VISA/VISA1054
64883164

Unit description
This unit explores drawing as a process central to a number of fields of study. A series of lectures, tutorials and practical sessions
introduces a rationale for inventive and conventional strategies for drawing and positions these techniques within a historical context
from cave painting to the present. It encourages lateral thinking through material investigation and explores many different responses to
vision and expression. The intersection between drawing, writing, mapping, cartooning and storytelling is considered.
The unit will identify skills in drawing as a primary means of enquiry, communication and expression, all of which underpin the
conveyance of ideas in art and will include reference to a range of practices. This unit expands drawing as a process of seeing and
thinking. It is expected that students will build and expand a vocabulary of skills that will have broader applications in chosen fields and
develop an appreciation for the value of drawing. Drawing is a device usually associated with artistic expression therefore there will be
references to work from major moments in history of art up to contemporary practice. From this drawing is expanded to connect to a
much wider set of implications.
Students develop an understanding of drawing as a means of communication, enquiry and expression of ideas, thoughts and
observations. Students will develop a folio of drawings, which demonstrate the application of new skills and the appreciation and
understanding of the degrees of difference between the sketch and finished work. Here drawing is expanded as a way of seeing, a way
of thinking and explored as a means of critical exchange. Students research ideas and produce an essay relevant to the historical and
theoretical development of the medium and its reference within existing cultural practices.
The investigation of contemporary ideas through these structured approaches is paramount. The development of an ability to critically
evaluate artwork is also an important objective. While the process of the translation of ideas into drawings is expected, evidence of
building skills and facility in drawing will be an aim within the unit. This is achieved through applied drawing practices and will result in a
folio of guided studio drawings, the completion of a project and an essay component.

Learning outcomes
Students are able to (1) develop skills of observation and rendering in a range of drawing materials and approaches; (2) demonstrate
the ability to develop ideas and communicate observations in a range of drawing methodologies; and (3) develop knowledge of drawing
as an interdisciplinary practice.

Unit structure
Weekly lecture on Tuesdays 9am to 9.45am in the Wilsmore Lecture Theatre, Chemistry Building and 3 hrs per week of studio
workshop sessions, Studio 1.01A Level 1 Faculty of Architecture, Landscape and Visual Arts

Unit schedule
Week Date
1
2

Lecture Topic

Lecturer Tutorial

28th July

Introduction to Unit and Key concepts in the Stephanie Tools, materials and unit overview,
art of drawing.
Reisch
studio drawing
4th August From 2D to 3D, spatial mapping
Stephanie Head studies, drawing with line.
Reisch
Mapping the head and measured
drawing

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Laboratory

11th
August

10

18th
August
25th
August
1st
September
8th
September
15th
September
22nd
September
Non
teaching
week
6th Oct

11

13th Oct

12

20th Oct

13

30th Oct

5
6
7
8
9

Cave walls, overtones, erasure and the

drawing process of artists William
Kentridge and Mike Parr.
Artist Talk

Stephanie Tonal rendering - cross hatching light

Reisch
and shadow

Andy
Quilty
Drawing with Space
Stephanie
Reisch
Anatomy and the body in art, drawing from Stephanie
life and death
Reisch
Biomorphic drawing, art and science cross- Stephanie
exchanges
Reisch
Artist Talk
Rachelle
Dusting
Permanence in drawing
Stephanie
Reisch
Non
teaching
week
Transformation in art, drawing assignment Stephanie
introduction
Reisch
Sound Art
Stephanie
Reisch
Drawing in the open field, trans disciplinary Stephanie
practices, unit review
Reisch

Working with grids and image

distortions
Miniature drawing, working with
surfaces and textures
Anatomical drawing
Life Drawing
Life Drawing
Life Drawing and folio submission 70%

Life Drawing
Working with sound as material. NEAF
Artlaab sessions TBC
Submission of drawing assignment
30% Individual consultation, pin up work
in Level 1 gallery
Class critique of drawings. Exhibition
setup. Semester concludes

Assessment
Assessment overview
Typically this unit is assessed in the following way(s): (1) an essay; (2) tutorial presentation; and (3) a folio submission. Further
information is available in the unit outline.

The Drawing Folio:

Folios will contain a selection of the work completed over the course of the first part of the semester, up to week 9 inclusive. Ten
drawings form part of the submission. This A2 folio of drawings is to be ordered chronologically and be clearly connected to each
session. Select 1 drawing from each session plus 1, making up 10 in total.
Write a 500 word text about the work you have submitted. This is a piece of descriptive writing in the first person, the text a guide for the
assessors to gain insight into your appraisal of your own development. It also allows the assessors to understand your understanding
and application of workshop learning.

The Transformation Drawing Project:

Submission Format: one A2 drawing on single sheet of quality white cartridge paper or heavier gsm. You may select from one or
combination of the following materials: pencil, graphite, charcoal, pen or ink.
Subject: A single drawing that explores the concept of transition and transformation. This will be a portrait that reveals the human form
changing from one state to another, in three or more clear stages of transformation.
For example, the head study may change into an animal or other biological form, an inanimate object or even change its structure or
emotional state.
The image may be one of overlays or frame shifts that offer differing views. It may be an extreme perspective or one that picks up on a
combination of techniques introduced in the studio sessions; for example, explore Identikits, mapping, metamorphosis, as follows:

Ageing
Movement
Human to Animal
Human to Machine
Extreme Viewpoint
Codification
The drawing is to be considered as a fully resolved artwork, exhibition ready and will be expected to have taken a considerable amount
of time, at least 6 hours on the final work.

Criteria for assessment is:

Application to assignment.
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Quality of visual representation.

Quality of drawing techniques.
Resolution of drawing as stand-alone artwork.
The work is be accompanied by a max 100 word text statement of intent. This may be a piece of descriptive text.
The Drawing Assignment will demonstrate a commitment to a disciplined and sustained effort commensurate to the time and breadth
of the unit requirements. The final Folio must demonstrate the following attributes:
1. A disciplined approach to the drawing subject.
2. A level of skills in media and technology.
3. Articulate conceptual understandings.
Each folio/assignment will be graded according to the criteria set out for this unit of studio study (noted above). A single numerical
grade will be assigned to the folio during final assessment - this grade will be entered upon each students record.
The Assessment Panel in the formulation of grades will consider the following points:
The level of technical skill used in the development of the work
The level of conceptual clarity
The resolution required within each project
Other points relevant to each individual student submission will be considered if deemed appropriate by the Assessment Panel.

Assessment mechanism
# Component

Weight Due Date

Relates To Outcomes

1 Folio Submission Drawings

70%

2 Transformation Drawing Assignment

Submission

30%

Students submit at the end of the class they are

enrolled in
Students submit at the end of the class they are
enrolled in

Commencing week 9
22nd Sept
Commencing week 12
20th Oct

Assessment items
Item Title

Description

Submission Procedure for Assignments

Folio Submission
Drawings

Students submit one drawing from each week plus

Write a 500 hundred word text about the work you
one of their own choosing, making up 10 drawings in have submitted. This a piece of descriptive writing in
total. Folio format A2
the first person, the text a guide to the assessors to
gain insight into your appraisal of your own
development and insights. This allows the assessors
to understand your thought process and application
of the studio sessions.
Project Submission one A2 drawing portrait format, on single sheet of
The drawing is to be considered a finished drawing,
drawing assignment quality white paper cartridge or heavier. Using pencils exhibition ready and will be expected to have taken a
and graphite, charcoal, pen and inks, wax crayons or considerable time, at least 6 hours on the final work.
a combination.

Textbooks and resources

Recommended texts
Important text for the unit overview:
Vitamin D, New Perspectives in Drawing, Phaidon Press inc2005, NewYork - Isbn 9780714845456

Contemporary Theory
The Haraway reader, Haraway, Donna Jeanne, New York : Routledge, c2004 INCLUDES: Manifesto for Cyborgs

Small Drawings:
Susan Stewart, The Open Studio, Essays on Art and Aesthetics, University of Chicago Press Chicago 2005.
Texts related to Identity/ masquerade
Undoing Culture: globalization, postmodernism and identity / Mike Featherstone, Published London: Sage, 1995
New feminist criticism: art, identity, action / edited by Joanna Frueh, Cassandra L. Langer & Arlene Raven, Published New York, NY:
Icon Editions, c1994, Edition 1st ed
Adrian Piper, Passing for White, Passing for Black
Life on the screen: identity in the age of the Internet, Turkle, Sherry, New York : Simon & Schuster, c1995
Dan Cameron, Carolyn Christov-Bakargiev, JM Coetzee, William Kentridge Phaidon Press London 1999

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Technical requirements
Material Requirements:
1: For the studio unit a drawing board exactly A3 dimension no smaller. This is 300mm by 420 mm and aprox 5 mm thick smooth
board, mdf or other. Two clips for holding paper in place top and bottom.
2: Each session will require use of at least six sheets of A3 cartridge paper.
3: Tools required are a pencil or range of pencils or graphite in pen holder, range from 2B to 6B.
4: A sharpener enclosed in case.
For this studio unit each student will need to supply their own consumable materials. These may vary, however it is important to be
equipped with a range of diverse, low cost materials. While there are many materials fine artists use such as, paper charcoal, to
name a few, contemporary practitioners work with a broad selection of industrial materials and processes. Material and the
attitude/situation/methods with which they are applied to the exploration of ideas are pivotal. Developing a facility and skill with materials
is a significant exploration in itself. Contemporary artists often use a combination of materials and technologies. Equipping yourself
with an abundance of materials will enable an open approach to your work.

Equipment/Equipment Loan
The Faculty provides a number of equipped facilities for student use. These have been significantly refined in preparation for the new
studio structure in Fine Arts. There is a pool of Faculty equipment available for students. All of the students and staff within the various
discipline and degree programs of the Faculty have access to this equipment during the semester weeks. Equipment loan of any of the
items available in the Faculty equipment pool should be carefully scheduled and booked through the Faculty Technical Officers (located
on the Ground Floor of the Faculty building). There are a series of procedures and protocols associated with the use of Faculty loan
equipment - all students should familiarize themselves with these in consultation with the technical staff of the Faculty.

Other important information

Material Requirements
1: Drawing board (supplied)
2: Each session will require use of at least four sheets of A 2 or A3 cartridge paper (supplied)
3: Tools required are a pencil or range of pencils or graphite in pen holder, range from 2B to 6B
4: An enclosed pencil sharpener
5: A kneadable eraser and hard eraser

General notes
For this studio unit each student will need to supply their own consumable materials. These may vary, however it is important to be
equipped with a range of diverse, low cost materials. While there are many materials fine artists use such as pencil, graphite,
charcoal, to name a few, contemporary practitioners work with a broad selection of industrial materials and processes. Materials and
the attitude/situation/methods with which they are applied to the exploration of ideas are pivotal. Developing a facility and skill with
materials is a significant exploration in itself. Contemporary artists often use a combination of materials and technologies. Equipping
yourself with an abundance of materials will enable an open approach to your work.

Enrolled students can access unit material via the LMS in units that use LMS

Building clean-up and folio collection (for units with folio submissions)
Studios are expected to be left clean and tidy. Drawing boards are to be cleaned. Students must remove all personal property
immediately after the submission of their folio. If the content of a folio is used for exhibition then the student must write their name on
the back of the work so that when the exhibition is demounted collection is simplified. If staff or the Faculty wish to reserve work for
reproduction and/or accreditation purposes then this should be negotiated with individual students.

Attendance
Attendance is required at all lectures, tutorials and workshops. These are the primary means of consultation with your Unit Coordinator
and Teaching Assistants. Do not expect questions relating to content missed through unjustified absence to be answered. Additionally,
it will be assumed that students have read all relevant course materials.

Authenticity of work
For Studio units, the Faculty may prevent your continuation in this unit if you fail to meet requirements for attendance at
classes to establish the authenticity and originality of your work.
Submissions
The ALVA Submissions policy is available at:
http://www.alva.uwa.edu.au/students/policies/

Submission of Late Work

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All assessment tasks are due no later than 4pm on the date indicated in the unit's Assessment Mechanism Statement, with the
exception of in-class assessment items such as tutorial presentations. Any assessment task which is submitted after the time
indicated in the assessment mechanism statement without a formal approved extension will be considered LATE and appropriate
penalities will be applied. Information on penalties can be obtained in the Faculty Policy on Submissions
at http://www.alva.uwa.edu.au/students/policies/.

Extensions
The Faculty approves extensions only in exceptional circumstances in order to ensure that all students are treated fairly and that
submission date schedules, which are designed to produce ordered work patterns for students, are not disrupted. Extensions may be
authorised only by the allocated Faculty Course Advising Office or a delegated representative. In all cases, requests for extensions
require the submission of Special Consideration form no later than three University working days after the due date.
Students are encouraged in the strongest possible terms to familiarise themselves with the Faculty Policy on Extensions available
at http://www.alva.uwa.edu.au/students/policies/.

Return of Student Work

Marked assessments submitted on time will be made available for collection by students at least one week before the next assessment
in the unit is due (if it is related to the previous assessment), or no more than four weeks after submission, whichever is sooner.

Special Consideration
For information regarding special consideration please go to:

http://www.student.uwa.edu.au/course/exams/consideration
Faculty Safety Inductions
The ALVA Health and Safety Induction (Part A) must be completed online by all students enrolled in a unit taught by the Faculty. This
online module is available for self-enrol via LMS. Completion of the Part A induction will ensure after-hours access to the ALVA Building
(including computer labs) is enabled.
The ALVA Workshop Induction (Part B) runs in Week 1 of each semester, and must be completed if the unit involves use of the
Workshop. Your Workshop Induction lasts for five years, after which you will be required to attend a refresher. Please refer to
http://www.alva.uwa.edu.au/students/facilities for more information on Inductions and Workshop close-down period.

Material and Equipment Costs

Costs specific to individual units will be communicated to students in this unit outline or early in semester.
All sites will require students to wear protective helmets; students needing to purchase a certified protective helmet may do so from
Alsafe Safety Industries Pty Ltd, 177 Bannister Rd Canningvale. Students must wear appropriate clothing when visiting building sites;
open toed shoes and sand shoes will not be accepted and students will not gain entry to site with these shoes. The sites also require
steel capped boots to be worn this is a condition of accessing these sites. These can be bought from Army Surplus stores or
borrowed, they are a worthy investment as will be required on future building sites of your own.

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