Drawing / Painting
The concentration in Drawing (FADP) provides students with the fundamental skills needed for communicating visual ideas and images on a two dimensional surface. These skills are the necessary foundation for all visual art practice. In Drawing I, a general foundation course, students learn to analyze the subject of the drawing to its basic formal components. The visual information is then organized in order to build the drawing in a logical sequence from its core abstraction to its most particular details. The course includes an in depth study of linear perspective and light logic, the study of how light falls on surfaces. These tools make it possible to create convincing volumes, light effects, and spatial environments. Over the course of the semester students explore different mark making techniques, different materials, and a wide variety of subject matter. Personal expression and visual problem solving is emphasized; students are encouraged to be attentive to the development of their own distinctive mark making and approaches to drawing.
As part of the general foundation, drawing skills are further developed and honed in Drawing II, a beginning figure drawing course. The principles and methods of observation, analysis and synthesis are applied to perhaps the most demanding subject of all, the human figure. Working each class session from the live model, students learn to analyze the movement of the figure and to interpret the figure as a sequence of three-dimensional solids in space. The study of anatomy leads to a deeper understanding of the structure, forms and topography of the human body. Further development of technical skills permit the student to capture the volumes and vitality of the human figure. Also addressed are the canons of proportion, and techniques for measuring and relating the different parts and volumes of the figure. As the semester proceeds students learn to apply their distinctive mark making skills and vision to create lively, realistic figures in the classical tradition.
The curriculum in Drawing III: Formal Issues addresses advanced issues in drawing, and makes the bridge between traditional and contemporary approaches to mark making and content. Students are expected to challenge their preconceived notions of drawing, and to explore non-traditional and experimental media. Subject matter is drawn from personal experience and related fields of thought and practice. Conception of the idea, selection of the media, the act of mark making, understanding creative process, technical execution, aesthetic impact, intended audience, motive and content of the work are some of the issues that receive careful scrutiny.
Other creative opportunities and special classes are offered for mid-level to advanced students. Figure Drawing Workshops that emphasize quick, gestural drawings of the human figure are offered from the sophomore through the senior level. These workshops can be varied each semester, for example exploring costume or anatomy–offering new ways of approaching media and insights into the gestural approach. In Drawing IV: Figure Composition students learn to use a wide range of materials and approaches to drawing the human figure, and to place the human figure in complex compositions. Students also have the opportunity to study figure sculpture with an Artist-in-Residence sculptor sponsored by the Marymount Institute of Faith, Culture, and the Arts. In this course students learn to make the transition to the three dimensional form, and to think three dimensionally. Also offered are special study opportunities such as Animal Drawing that explore the particular formal issues related to drawing animals.
The concentration in Painting (FADP) is an important part of the traditional foundation program here at Loyola Marymount University. As the medium incorporates both drawing and innate knowledge of color theory, these important elements are reiterated throughout the curriculum.
The painting program strives to incorporate technical and conceptual development as well as a keen knowledge of formal issues. Some of these issues include: the creation of illusionistic space via changes in hue and value; the differences between non-objective and abstraction, utilizing devices to develop dynamic compositions, and finally an exploration and understanding of materials.
In advanced courses, the development of a personal aesthetic is of paramount importance with the end goal being the realization of a unique cohesive body of work in the senior year.
All students, regardless of emphasis or concentration, are expected to engage in studio work in addition to scheduled class time. Studios are open to enrolled students outside of class time on a twenty-four hour basis.