Jose Agustin Andreu
Observation and Imagination

Drawing from observation and the imagination, this course develops the student’s drawing
skills and personal imagery. The visual language of realism and formal and informal
abstraction is explored through drawing exercises using still-life, the figure, photographs, and
from the imagination. The course is an exploration of the expressive possibilities of image-
making, spatial relationships, and pattern and surface rendering. The fundamentals of
objective representation and abstraction are studied, including line, shape, and form, texture,
value, space, gesture, and color, as well as principles of design, unity, contrast, variety,
and composition. Mediums include charcoal, ink, soft and oil pastels. Historical, cultural and
personal styles are investigated.



The elements of drawing will be presented on a progressive schedule that emphasizes
objective representation and expressive stylization and abstraction. The principles of design
and composition will be continually emphasized along with the development of the historical
and conceptual language of drawing.

Day 1 

Introduction, abstract and representational forms and shapes
HW: supplies and self portrait

Day 2 

representational forms and shapes, viewfinder, pos-neg space
HW: seven expressions

Day 3

labstract/analogous forms and shapes, texture and pattern, gesture,
still life value with hatching and crosshatching
HW: still life with three objects

Day 4

representational shapes and gestures, one minute drawings then still life
HW: three texture and pattern finished from minute drawings

Day 5

pos-neg space, atmospheric perspective, ground plane mapping
HW: self and window and out of window

Day 6 

gesture and space; hatching and crosshatching still life, brush and ink
HW: half eaten food

Day 7 

value scale; subtractive still life, oil pastels
HW: narrative still life, at least 3 or more objects

Day 8

model; representational gesture and texture, soft pastels
HW: 6 terms, order, increase, bold, congested, tension, playful; 10”x10”

Day 9

still life; three abstract/analogous gestures, black and white oil pastels
HW: still life substitution from one in black & white or monochrome

Day 10

changing  point of view still-life,
monochrome with analogous color, soft pastels
HW: monument or memorial

Day 11

analogous color representation, oil pastels
HW: three or more spaces

Day 12

complementary representation, soft pastels
HW: still life with mirror

Day 13

complementary representation, oil pastels
HW: self portrait in color harmony

Day 14

abstract/analogous portrait and problem,
complementary color harmony in oil pastels
HW: keep drawing



Art Fundamentals: Theory and Practice Ocvirk, Stinson, et al; Brown & Benchmark
Form, Function and Design Grillo; Dover
Drawing: Space, Form, and Expression Enstice and Peters; Prentice Hall
The Joy of Drawing Bill Martin; Watson Guptill
Art as Experience John Dewey; Capricorn Books
The Art of Drawing Chaet; Holt, Rinehart
Guide to Drawing Mendelowitz; Holt, Rinehart
Designs Lessons from Nature Taylor; Watson Guptill
Abstraction in Art and Nature Nathan Cabot Hale; Dover
The Courage to Create Rollo May; Bantam Books
Patterns in Nature Peter S. Stevens; Little Brown & Co
The Language of Vision Gregory Kepes; Dover Publications
The Art of Responsive Drawing Goldstein; Prentice Hall


drawing sketch book, 14” x 17”, or larger,  55lb. or heavier paper
vine charcoal , medium grade
some sticks or box of compressed black charcoal,  Alphacolor is OK
some sticks or box of white charcoal or white pastel, Nupastel or better brand
charcoal pencil
kneaded eraser
black waterproof ink, small container
medium round brush or bamboo brush and bamboo or quill pen
water jar or plastic cups
1” masking tape
craft knife or X-acto knife
odorless workable spray fixative
3 bull clips
soft pastels, box set of 24 NuPastels recommended
oil pastels, box set of 24 Craypas recommended
smock or old shirt
desire, commitment, and perseverance. Talent optional.

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