CURSO DE DESENHO ARTÍSTICO
Autor: Eli de Castro | Publicado: 2014-03-12T19:10:00-07:00



TRABALHO FINAL DA PRIMEIRA FASE DO CURSO DE DESENHO ARTÍSTICO



DEPOIS DE PARTICIPAR DE ALGUNS CURSOS DE DESENHO&nbsp; E TER CONCLUÍDO O CURSO DE ARTES PLÁSTICAS PELA UNIVERSIDADE FEDERAL DA BAHIA, TENDO COMO FOCO DE PESQUISA O DESENHO ARTÍSTICO, REALIZEI CURSOS VOLTADOS PARA ESTA ÁREA DIRECIONADOS PARA INICIANTES OU PESSOAS QUE NÃO SABIAM DESENHAR ALCANÇANDO RESULTADOS SATISFATÓRIOS PARA AMBOS OS GRUPOS. DESTE MODO, ATRAVÉS DESTA POSTAGEM, GOSTARIA DE COMPARTILHAR COM VOCÊS MEU MÉTODO DE ENSINO E O OBJETIVO DO MEU CURSO.



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PLANO
DE CURSO



 

  
CURSO

 

  
DESENHO
  ARTÍSTICO

 

  
PROFESSOR

 

  
ELI
  SANTOS DE CASTRO

 

  
CARGA HORÁRIA DAS AULAS 

 

  
02
  A 03 HRS/AULA – UM DIA/SEMANA

 




 

  
EMENTA DO CURSO

 

  
Estudo teórico e prático
  do desenho artístico e desenvolvimento de habilidades técnicas indispensáveis
  para o iniciante que deseja expressar-se realisticamente e desenvolver sua
  percepção visual, criatividade e auto expressão.

 




 

  
OBJETIVOS

 

  
Este curso tem como
  objetivo ensinar uma nova modalidade de percepção visual através do desenho,
  desenvolvendo a capacidade de observação e representação gráfica por meio de
  estudos teóricos e práticos visando capacitar o iniciante ou quem não sabe
  desenhar a expressar-se graficamente de modo realista desenvolvendo a
  criatividade e a auto expressão.

 




 

  
METODOLOGIA

 

  
Aulas
  Expositivas – aulas teóricas – apresentação de slide -
  discussão em grupo – análise e produção de texto.

Aulas
  Práticas – atividades lúdicas - técnicas de
  observação – técnicas de representação gráfica – técnicas de percepção e
  representação espacial – composição – desenvolvimento da criatividade e auto expressão.

 




 

  
CRITÉRIOS DE AVALIAÇÃO

 

  
O aluno será avaliado pelo
  seu crescimento pessoal ao longo do curso e interesse nas atividades em
  classe e extraclasse. Todo processo individual do aluno será datado e acompanhado
  de opinião pessoal. A cada fase do curso ele realizará uma obra apoiado no
  conhecimento técnico adquirido na fase presente, acompanhado de texto com fotografia
  da obra, poética e fotografias das referências visuais que inspiraram o
  trabalho. Por fim, esse trabalho será apresentado pelo aluno, discutido com
  os colegas e avaliado pelo professor.

 




 

  
BIBLIOGRAFIA

 

  
EDWARDS, Betty. Desenhando com o Lado Direito do Cérebro.
  Betty Edwards; tradução Roberto Raposo: Ediouro. 

EDWARDS, Betty. Exercícios para Desenhar com o Lado
  Direito do Cérebro. Rio de Janeiro: Ediouro. 2003. 

A
  ARTE DE VER I Curso de Desenho e Pintura. São Paulo: Editora Globo. 1985. 

DESENHO
  A LÁPIS Curso de Desenho e Pintura. São Paulo: Editora Globo. 1985. 

RODRIGUES, Luiz. Como Desenhar Dicas e Truques. N&nbsp; 08. São Paulo SP: Editora Escala.









 






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CONTEÚDO
PROGRAMÁTICO

&nbsp;

Primeira
Fase – Teoria, Intimidade com o Papel, Aprendendo a Ver e a Traçar

&nbsp;

1
– Teoria do desenho:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Apresentação.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Apresentação da prática do artista.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Representação gráfica do professor.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Opinião particular sobre a teoria do
desenho.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Discussão em classe.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Discussão em grupo.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Leitura de texto em grupo e justificação
escrita de 15 linhas sobre a teoria apresentada.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Aula expositiva sobre a teoria do
desenho.

2
– Uma nova modalidade de percepção visual através do desenho.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; O desenho e a arte de andar de
bicicleta.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Atividade lúdica.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Discussão em classe.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Aula expositiva confirmando a ideia do
desenho como uma habilidade que pode ser aprendida.

3
– Poética.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Poema e poesia.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Poética e poesia.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Definições orais e textuais.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Análise crítica da folha de respostas.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Aula expositiva sobre o conceito de
poética.

4–
Arte Figurativa, Naturalista, Abstrata e Geométrica.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Teoria.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho Abstrato.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho Geométrico.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia de um desenho realista – decalcado
ou copiado. 

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho Modificado.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho aleatório de imagens abstratas e
geométricas.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Recorte das imagens abstratas e
geométricas.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Procurando e fotografando novas
possibilidades com as imagens recortadas.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Escolha de uma imagem para reproduzir.

5
– Desenhos preliminares:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenhando uma pessoa sem modelo.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de criação de alguém realizando uma
atividade.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de observação da própria mão.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de observação de uma cadeira.

Exercício extraclasse – Realizar cinco
desenhos de observação de livre escolha e trazer na próxima aula com as referências.

6
– Familiarizando-se com o papel de desenho:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Exercício de relaxamento.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de vasos e rostos.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Vaso Barroco e o rosto de monstro.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Expressão pessoal linear.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho executado de cabeça para baixo.

Atividade Extraclasse - Realizar 3
desenhos de observação. Antes de desenhar, realizar o exercício de relaxamento
e com o desenho de cabeça pra baixo. Trazer na próxima aula com as referências.

7
– Contornando nosso sistema de símbolos juntando arestas e contornos:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Exercício de relaxamento.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho executado de cabeça para baixo.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenhando a mão sem olhar para o papel.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenhando a mão olhando para o papel.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Atividade Extraclasse - Realizar 3
desenhos de observação. Antes de desenhar, realizar o exercício de relaxamento
e com o desenho de cabeça pra baixo. Trazer na próxima aula com as referências.

(Levar uma flor complexa
para a sétima aula).

8
– Juntando arestas e contornos.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de puros contornos de uma flor
complexa. Desenhe durante trinta minutos.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de puros contornos de um objeto
natural inanimado. Desenhe durante trinta minutos.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de puros contornos de uma folha
de papel amassada. Desenhe durante trinta minutos.

Atividade Extraclasse - Realizar 3
desenhos de observação. Antes de desenhar, realizar o exercício de relaxamento
e com o desenho de cabeça pra baixo. Trazer na próxima aula com as referências.

(levar uma pinha, saco de
papel e dois objetos caseiros complexos para a oitava aula).

9
– Exercícios suplementares:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Antes de começar – passar cinco minutos
fazendo um desenho de meros contornos de qualquer objeto complexo, a fim de
preparar-se para a transição cognitiva para a modalidade-D.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho modificado de contornos de uma
pinha.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho modificado de contornos de um
saco comum de papel, em qualquer estado ou posição que desejar.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho modificado de contornos de um
objeto caseiro comum.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho modificado de contornos do seu
próprio pé descalço ou não.

(levar máquina digital e referências
para desenho de observação e criação de uma obra de arte para a nona aula).

10
– Desenvolvendo a criatividade e a auto expressão:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho linear de observação e criação
de uma obra de arte com desenvolvimento poético.

Obs. Desenho realista.

11
– Avaliação dos resultados alcançados na primeira fase:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Apresentação individual e oral com
explanação da poética.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Discussão com os colegas a respeito da
obra.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Avaliação do professor.

(levar uma cartolina branca e um papel
colorido para a décima primeira aula).

&nbsp;

Segunda
Fase – Composição, Espaço, Perspectiva e Aferição

&nbsp;

12 – Composição e o desenho
de espaços negativos:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Formatos diversos de formas geométricas
e desenho de uma árvore.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de duas estrelas do mar.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Recorte do negativo.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Colagem das estrelas do mar em papel
colorido.

(trazer uma tesoura, um papel branco
tamanho A4 e um papel cartolina tamanho A4 para a décima segunda aula).

13 – Usando um visor para
formar contornos:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho dos espaços vazios de uma
cadeira utilizando o visor.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de observação de uma mesa com um
objeto complexo sobre ela. Desenhe durante trinta minutos. 

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho dos espaços vazios de uma mesa
utilizando o visor.

(levar um objeto caseiro, uma fotografia
de uma figura humana numa posição complexa, fotografia de uma pessoa sentada
numa cadeira, fotografia de um movimento complexo do corpo humano e o visor
para a décima quarta aula).

14 – Exercícios
suplementares:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho dos espaços negativos de uma
planta utilizando o visor.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho dos espaços negativos de um
objeto caseiro utilizando o visor.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho dos espaços negativos de uma
figura humana a partir de uma fotografia utilizando o visor.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho dos espaços negativos de uma
pessoa sentada numa cadeira utilizando o visor.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho dos espaços negativos de um
movimento complexo do corpo humano a partir de uma fotografia utilizando o
visor.

(levar uma fotografia do interior de uma
sala ou de uma paisagem com rua e edifícios para a décima quarta aula).

15 – Desenhando a olho
utilizando as margens do papel para determinar ângulos:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de uma cadeira num canto da sala
utilizando as margens do papel.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Observar o ângulo de inclinação da
cabeça de uma pessoa em relação a vertical.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho do interior de uma sala ou de
uma paisagem com rua e edifícios.

(levar a fotografia de uma rua com edifícios
ou qualquer outra referência fotográfica complexa em perspectiva, uma régua e
papel canson branco ou cartolina branca para a décima quinta aula).

16 – Uma versão moderna do
artifício de Dürer:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de observação baseado em referência
fotográfica em perspectiva.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de observação baseado em
referencia fotográfica em perspectiva utilizando a técnica do quadriculado.

(levar uma laranja para a décima sexta
aula)

17 – Outro método de
desenhar a olho utilizando a comparação de comprimentos e larguras relativas:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de uma laranja utilizando a
técnica da aferição.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de uma mesa utilizando a técnica
da aferição.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho em perspectiva do canto de uma
sala utilizando a técnica da aferição.

(levar uma fotografia de uma pessoa em
perspectiva numa posição complexa).

18 – Exercícios
suplementares:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Focalizando uma unha até vê-la como uma
forma fechando um dos olhos.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de uma unha seguido do desenho
do dedo e dos demais elementos das mãos utilizando os espaços negativos e
calculando os ângulos das várias partes em relação a horizontal e a vertical.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de três objetos sobre uma mesa
em diferentes localizações.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho de observação de uma figura
humana em perspectiva numa posição complexa.

(levar fotografias de diversos rostos em
várias posições e um espelho de tamanho médio para a décima oitava aula).

19 – Reunindo tudo num
conjunto: O lugar da proporção:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenhando uma figura vazia e vendo
melhor do que nunca.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenhando um retrato.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Analisando o erro do crânio truncado.

(levar um espelho de tamanho médio para
a décima nona aula).

20 – Preenchendo a forma
vazia:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenhando sua própria cabeça observando
as relações de proporção diante de um espelho.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenhando sua própria cabeça de perfil
observando as relações de proporção diante de um espelho.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (levar máquina digital e referências para
a vigésima aula).

21 – Desenvolvendo a
criatividade e a auto expressão:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho linear de observação de um
ambiente em perspectiva contendo uma cópia de uma cabeça masculina e feminina
de um grande mestre e criação de uma obra de arte com desenvolvimento poético.

Obs. Desenho realista.

22 – Avaliação dos
resultados alcançados na primeira fase:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Apresentação individual e oral com
explanação da poética.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Discussão com os colegas a respeito da
obra.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Avaliação do professor.

&nbsp;

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Terceira
Fase – Retrato

&nbsp;

23 – Encarando o modelo:
Desenhando um retrato com facilidade:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenhando um retrato de perfil.

Olhos

Nariz

Boca

Queixo

Pescoço

Colarinho

Orelha

Cabelo

Acessórios – óculos, chapéu, etc.

(levar quatro fotografias da cabeça de
um desenho ou pintura de um grande mestre. Dois homens e duas mulheres para a
vigésima terceira aula).

24 – Exercícios
suplementares:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia do desenho ou pintura da cabeça
masculina de um grande mestre.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia do desenho ou pintura da cabeça
feminina de um grande mestre.

25 – Desenhando um retrato
de três quartos.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho com modelo vivo.

(levar duas fotografias da cabeça de um
homem e uma mulher na posição de três quartos e uma lanterna e um espelho
tamanho médio para a vigésima quinta aula).

26 – Exercícios
suplementares:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia do desenho de um grande mestre
mostrando um homem na posição de três quartos.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia do desenho de um grande mestre
mostrando uma mulher na posição de três quartos.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Autorretrato diante do espelho com
iluminação, luz e sombra.

27 – Desenhando um retrato
visto de frente:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho com modelo vivo.

(levar duas fotografias da cabeça de um
homem e uma mulher vistos de frente, uma lanterna e um espelho tamanho médio
para a vigésima sétima aula).

28 – Exercícios
suplementares:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia do desenho de um grande mestre
mostrando um homem de frente.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia do desenho de um grande mestre
mostrando uma mulher de frente.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Autorretrato diante do espelho com
iluminação, luz e sombra.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (levar máquina digital e referências
para a vigésima oitava aula).

29 – Desenvolvendo a
criatividade e a auto expressão:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Releitura da obra de um grande mestre
através de um autorretrato contendo luz e sombra.

Obs. Desenho realista.

30 – Avaliação dos
resultados alcançados na primeira fase:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Apresentação individual e oral com
explanação da poética.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Discussão com os colegas a respeito da
obra.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Avaliação do professor.

(levar
um pincel número 07, um vidro de tinta nanquim e dois retratos em que a sombra
predomine sendo totalmente escura para a trigésima aula).

&nbsp;

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Quarta
Fase – Luz e Sombra

&nbsp;

31 – Percepção de sombras:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Concentrando seu olhar numa sombra,
virando a imagem de cabeça para baixo e vendo a sombra como forma.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Destacando as formas das sombras.

32 – Destacando as formas
das sombras:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Destacando as formas das sombras com
modelo vivo.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Sombras mais claras e mais escuras com
linhas entrecruzadas.

(levar pincel, lápis ou carvão, tinta
nanquim, um saco de papel, uma natureza-morta realizada com linhas
entrecruzadas, dois retratos de um grande mestre em que a sombra predomine para
a trigésima segunda aula).

Sugestão: pesquisar Grande
Natureza-Morta com Lata de Café (1934) de Giorgio Morandi.

&nbsp;

33 – Exercícios
suplementares:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia de um retrato de um grande mestre
utilizando luz e sombra.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia de um retrato de um grande mestre
usando pincel e tinta nanquim.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia de uma natureza morta com luz e
sombra usando linhas entrecruzadas.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Desenho a lápis de um saco de papel
usando luz e sombra.

(levar seu retrato, carvão, pincel,
tinta nanquim e três retratos de um grande mestre).

34 - Exercícios
suplementares II:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Duas cópias de um grande mestre a
carvão.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia de sua fotografia usando o papel
de desenho coberto de carvão retirando as partes iluminadas com uma borracha.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cópia de um grande mestre usando pincel
e tinta nanquim para destacar as sombras.

35 – Desenvolvendo a
criatividade e a auto expressão:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Criação de uma obra de arte por meio de
observação com luz e sombra com técnica livre.

Obs. Desenho realista.

36 – Avaliação dos
resultados alcançados na primeira fase:

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Apresentação individual e oral com
explanação da poética.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Discussão com os colegas a respeito da
obra.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Avaliação do professor.

37 – Exposição coletiva com
os melhores trabalhos de cada aluno.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Exposição coletiva.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Confraternização final.

&nbsp;

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  <w:LsdException Locked="false" Priority="60" SemiHidden="false"
   UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
  <w:LsdException Locked="false" Priority="61" SemiHidden="false"
   UnhideWhenUsed="false" Name="Light List Accent 5"/>
  <w:LsdException Locked="false" Priority="62" SemiHidden="false"
   UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
  <w:LsdException Locked="false" Priority="63" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
  <w:LsdException Locked="false" Priority="64" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
  <w:LsdException Locked="false" Priority="65" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
  <w:LsdException Locked="false" Priority="66" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
  <w:LsdException Locked="false" Priority="67" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
  <w:LsdException Locked="false" Priority="68" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
  <w:LsdException Locked="false" Priority="69" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
  <w:LsdException Locked="false" Priority="70" SemiHidden="false"
   UnhideWhenUsed="false" Name="Dark List Accent 5"/>
  <w:LsdException Locked="false" Priority="71" SemiHidden="false"
   UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
  <w:LsdException Locked="false" Priority="72" SemiHidden="false"
   UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
  <w:LsdException Locked="false" Priority="73" SemiHidden="false"
   UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
  <w:LsdException Locked="false" Priority="60" SemiHidden="false"
   UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
  <w:LsdException Locked="false" Priority="61" SemiHidden="false"
   UnhideWhenUsed="false" Name="Light List Accent 6"/>
  <w:LsdException Locked="false" Priority="62" SemiHidden="false"
   UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
  <w:LsdException Locked="false" Priority="63" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
  <w:LsdException Locked="false" Priority="64" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
  <w:LsdException Locked="false" Priority="65" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
  <w:LsdException Locked="false" Priority="66" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
  <w:LsdException Locked="false" Priority="67" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
  <w:LsdException Locked="false" Priority="68" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
  <w:LsdException Locked="false" Priority="69" SemiHidden="false"
   UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
  <w:LsdException Locked="false" Priority="70" SemiHidden="false"
   UnhideWhenUsed="false" Name="Dark List Accent 6"/>
  <w:LsdException Locked="false" Priority="71" SemiHidden="false"
   UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
  <w:LsdException Locked="false" Priority="72" SemiHidden="false"
   UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
  <w:LsdException Locked="false" Priority="73" SemiHidden="false"
   UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
  <w:LsdException Locked="false" Priority="19" SemiHidden="false"
   UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
  <w:LsdException Locked="false" Priority="21" SemiHidden="false"
   UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
  <w:LsdException Locked="false" Priority="31" SemiHidden="false"
   UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
  <w:LsdException Locked="false" Priority="32" SemiHidden="false"
   UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
  <w:LsdException Locked="false" Priority="33" SemiHidden="false"
   UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
  
  
 
<![endif]--><!--[if gte mso 10]>

 /* Style Definitions */
 table.MsoNormalTable
 {mso-style-name:"Tabela normal";
 mso-tstyle-rowband-size:0;
 mso-tstyle-colband-size:0;
 mso-style-noshow:yes;
 mso-style-priority:99;
 mso-style-parent:"";
 mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
 mso-para-margin-top:0cm;
 mso-para-margin-right:0cm;
 mso-para-margin-bottom:10.0pt;
 mso-para-margin-left:0cm;
 line-height:115%;
 mso-pagination:widow-orphan;
 font-size:11.0pt;
 font-family:"Calibri","sans-serif";
 mso-ascii-font-family:Calibri;
 mso-ascii-theme-font:minor-latin;
 mso-hansi-font-family:Calibri;
 mso-hansi-theme-font:minor-latin;
 mso-bidi-font-family:"Times New Roman";
 mso-bidi-theme-font:minor-bidi;
 mso-fareast-language:EN-US;}

<![endif]-->Despesas do aluno:

&nbsp;

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
500 FOLHAS DE PAPEL OFÍCIO.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
CADERNO DE DESENHO CANSON A4 DE FOLHA BRANCA COM 150 A 180 E GRAMATURA.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
LÁPIS DE DESENHO HB, 2B E 6B.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
BORRACHA BRANCA MACIA (NÃO COMPRAR BORRACHA PLÁSTICA).

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
ESTILETE.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
TESOURA.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
FITA CREPE.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
COMPENSADO.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
PASTA GRANDE PARA OS DESENHOS.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
TINTA NANQUIM.

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
PINCEL NÚMERO SETE (UTILIZADO PARA PINTAR COM AQUARELA).

·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
CARVÃO PARA DESENHO.





CURSO PARTICULAR DE DESENHO ARTÍSTICO 



OS DESENHOS EXIBIDOS A PARTIR DAQUI REVELAM A PRODUÇÃO DE UMA ALUNA DE DESENHO E SEU CRESCIMENTO AO LONGO DO CURSO.





























































ESTUDO PRELIMINAR DO TRABALHO FINAL












































































&nbsp;CURSO DE DESENHO ARTÍSTICO EM TIJUAÇU




PARTICIPAÇÃO DOS ALUNOS DO CURSO DE DESENHO NA UNEB DE SENHOR DO BONFIM


























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