Students in this course will investigate the specific physical structure of the human body, with the aim of producing drawings of greater structural and visual integrity and more fluid descriptions of movement and weight in the figure. We will proceed through the skeletal and muscular systems at a brisk but reasonable pace, learning names, points of articulation and the dynamic functions of each component of the body. Each weekly assignment will consist of a careful, descriptive drawing of an element of the skeletal or muscular system, and a 'dynamic' drawing in which that same element is shown in action in the living figure. We will also review the work of artists, both contemporary and historical, who have made vital artistic use of the elements of anatomical study. The course includes an optional field trip to the Brown University Evolutionary Biology Lab to draw from cadavers. There will be at least one written test on anatomical facts and terminology. The course culminates in a final project on the theme of 'A Human Ideal', exploring past concepts of idealized form in the figure in relation to anatomical reality and contemporary cultural perspectives.

Elective

This course will build on the skills established in Sophomore Painting, while broadening the students' understanding of options available to the painter. The primary work of the semester will be on individually directed projects, worked on both in and out of class. Overall, a goal of establishing a personal visual vocabulary of facture and image will be emphasized. Students will be encouraged to particularize their use of the painting medium and their approach to subject and statement through color, painterly touch, format, use of materials, drawing and compositional decisions, stylistic reference and implied narrative. The core medium of the class will be oil paint, but this may be augmented or extended by other media. The course will include group exercises designed to solidify a basic understanding of drawing, the use of the medium and the principles of color. Periodic outside assignments will extend this practice while emphasizing personal choice and expressive adjustment based on individual priorities. A flexible format for in-class work on personal projects will allow group interaction to coexist with individually directed work. The semester's goal for each student will be to define a direction for future work in painting.

Elective

Students in this course will investigate the specific physical structure of the human body, with the aim of producing drawings of greater structural and visual integrity and more fluid descriptions of movement and weight in the figure. We will proceed through the skeletal and muscular systems at a brisk but reasonable pace, learning names, points of articulation and the dynamic functions of each component of the body. Each weekly assignment will consist of a careful, descriptive drawing of an element of the skeletal or muscular system, and a 'dynamic' drawing in which that same element is shown in action in the living figure. We will also review the work of artists, both contemporary and historical, who have made vital artistic use of the elements of anatomical study. The course includes an optional field trip to the Brown University Evolutionary Biology Lab to draw from cadavers. There will be at least one written test on anatomical facts and terminology. The course culminates in a final project on the theme of 'A Human Ideal', exploring past concepts of idealized form in the figure in relation to anatomical reality and contemporary cultural perspectives.

Elective

This course will be a forum for the interchange of ideas on personal fine art practice, extending the discussion and direction of Advanced Painting (ILLUS-3216) and other fine arts media practice. The principle goal of the course is to strengthen the understanding and the creative work of the participants in relation to the visual arts, as it is understood in our culture at this time, including painting, drawing and 3-D media. through study of the history of art, and through concerted work on individual projects, and group discussion. The 20th and 21st century have witnessed a far-reaching series of revolutions in the visual arts during which all components of art media were dissected, analyzed and reassembled in radically different form. Through an awareness of these developments, students in the Illustration Department can gain an advanced understanding of painting, drawing and 3-D media beyond our traditional emphasis on classical realism, though not exclusive of realistic practice. Students specifically interested in a career as a fine artist, making work for exhibition as an expression of personal vision, will find a thorough examination of this path at it existed in the past, and as it exists now, both in terms of philosophical and expressive ambition, critical expectations and in terms of the practicalities of the marketplace. Students who are primarily interested in illustration will find new ways of thinking about concept and innovative methods for giving an idea visual form. The primary vehicle for our discussions will be weekly reviews of work generated by the students in the class. We will alternate between group critiques every two weeks, and one on one discussions between myself and each participant in the class every other week. Each student will be responsible for conceiving and executing an open-ended project in painting that they will develop during the course. The course will also include slide lectures on various aspects of contemporary and historical practice in painting, readings from various texts, brief writing assignments based on those texts and a field trip to New York or another professional venue for contemporary art. Evaluation of individual participation in the course will also be based on vocal participation in group critiques, thoughtful response to assigned readings, and the quality of verbal and written artist's statements.

Elective