डॉ. बी. आर. अम्बेडकर विश्वविद्यालय दिल्ली 
| Course Type | Course Code | No. Of Credits |
|---|---|---|
| Discipline Core | SCC1VA101 | 4 |
Programme Coordinator: Dr. Kshama Divedi
1. Does the course connect to, build on or overlap with any other courses offered in AUD?
Yes. This cours is a foundational studio course that both builds on and supports several other courses within the BVA curriculum at AUD. It establishes the visual observation, drawing, and compositional skills that are essential for advanced studio practice. This interdisciplinary and practice-based progression aligns with AUD's emphasis on integrated visual arts education.
2. Specific requirements on the part of students who can be admitted to this course: None (Pre-requisites; prior knowledge level; any others – please specify)
None.
The course is designed for first-year undergraduate students enrolled in the Bachelor of Visual Arts programme. No prior formal training in drawing is required.
3. No. of students to be admitted (with justification if lower than usual cohort size is proposed):
Usual cohort size as approved for the Bachelor of Visual Arts programme.
4. Course scheduling (semester; semester-long/half-semester course; workshop mode; seminar mode; any other – please specify):
Semester: I
Duration: Semester-long
Mode: Studio-based Practical Course
5. How does the course link with the vision of AUD?
This course aligns closely with the vision of Ambedkar University Delhi by promoting creativity, critical thinking, interdisciplinary engagement, and socially responsive learning. Drawing–I encourages students to observe, analyse, and interpret the visual world through structured studio practice and experimentation. It nurtures individual creativity while strengthening fundamental artistic skills and visual literacy.
Through engagement with objects, nature, and the human figure, students develop sensitivity towards diverse perspectives, visual cultures, and modes of representation. The course supports AUD's commitment to inclusive, democratic, reflective, and socially engaged education by encouraging learners to express ideas through visual language while fostering observation, inquiry, and creative confidence.
6. How does the course link with the specific programme(s) where it is being offered?
Drawing–I is one of the foundational studio courses of the Bachelor of Visual Arts programme. It introduces students to the essential principles and techniques of drawing that serve as the basis for advanced learning in painting, sculpture, printmaking, design, and other visual art disciplines.
The course develops observation, hand-eye coordination, proportion, spatial understanding, and visual analysis, thereby establishing the technical and conceptual foundation required for higher-level studio practice and artistic research throughout the BVA programme.
Course Description:
Drawing–I is a foundational practical course designed to develop essential skills in observation, representation, and visual expression. It introduces students to basic drawing techniques through the study of geometric forms, still life arrangements, natural elements, and the human figure.
The course emphasises understanding proportion, perspective, light and shadow, and tonal values. Students explore different drawing methods, including line drawing, shading, rapid sketching, outdoor sketching, and nature study. The course enables students to observe real-life environments and translate them into visual forms through systematic studio practice.
By the end of the course, students gain confidence in handling drawing materials, strengthen their observational abilities, and develop a strong visual vocabulary that forms the foundation for advanced studio practice throughout the Bachelor of Visual Arts programme
Course Objectives:
The course aims to:
- Develop basic drawing and observational skills.
- Understand form, proportion, and perspective.
- Explore light, shade, and tonal values.
- Introduce different drawing techniques and materials.
- Encourage creative expression through visual representation.
Course Outcomes: Course Outcomes describe what students are expected to know and be able to do by the end of a specific course. Each CO should be clearly observable and measurable. Mention 4-6 course outcomes.
At the end of the course students will be able to:
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CO1 |
Develop the ability to observe and accurately represent objects and forms through drawing. |
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CO2 |
Demonstrate an understanding of the fundamentals of line, shape, form, texture, proportion, and perspective. |
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CO3 |
Apply tonal variation, light, shadow, and shading techniques effectively in visual representation. |
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CO4 |
Produce quick sketches, gesture drawings, and observational studies using appropriate drawing techniques and materials. |
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CO5 |
Develop sensitivity towards natural and human forms while building a strong foundation for advanced visual art practices. |
Modules and Readings
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Module 1 (Lecture Hours Weeks 1–4)
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Module Name: Basic Drawing - Study of Geometric Objects, Still Life and Tonal Drawing
This module introduces students to the fundamentals of drawing through simple geometric forms such as cubes, spheres and cylinders. It focuses on developing an understanding of proportion, balance and spatial relationships. Through still-life compositions, students learn to observe objects carefully and represent them accurately. Special emphasis is placed on tonal drawing, enabling students to understand light sources, shadow formation, gradation and depth. This module lays the technical foundation necessary for all subsequent visual art practices.
Readings with page numbers: Edwards, Betty (2012). Drawing on the Right Side of the Brain. pp. 40–85. Dodson, Bert (1990). Keys to Drawing. pp. 1–45. Ching, Francis D.K. (2010). Drawing: A Creative Process. pp. 25–60. Smith, Ray (2003). The Artist's Handbook. pp. 70–110.
Suggested Readings: Edwards, Betty (2012). Drawing on the Right Side of the Brain. pp. 40–85. Dodson, Bert (1990). Keys to Drawing. pp. 1–45. Ching, Francis D.K. (2010). Drawing: A Creative Process. pp. 25–60. Smith, Ray (2003). The Artist's Handbook. pp. 70–110. |
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Module 2 (Lecture Hours Weeks 5–7) |
Module Name: Sketching – Techniques, Shading and Rapid Sketching
This module focuses on developing sketching techniques and enhancing the student's ability to draw with speed and confidence. Students will explore different types of lines, mark-making techniques, and shading methods such as hatching, cross-hatching, stippling, and blending. Rapid sketching exercises will train students to capture essential forms and movements quickly, improving both observation and hand coordination. The module encourages spontaneity and experimentation with different drawing tools.
Readings with page numbers: -Dalley, Terence. (2009). The Complete Guide to Illustration and Design. London: Chartwell Books. (pp. 120–150: Illustration basics and sketch development)
-Eissen, Koos & Steur, Roselien. (2011). Sketching: Drawing Techniques for Product Designers. Amsterdam: BIS Publishers. (pp. 10–55: Line work, ideation, and sketching techniques)
-Powell, William F. (2005). Drawing: Basic Techniques. Irvine: Walter Foster Publishing. (pp. 15–60: Shading methods—hatching, cross-hatching, blending)
- Simblet, Sarah. (2005). The Drawing Book. London: Dorling Kindersley. (pp. 90–140: Mark-making, sketching approaches, and expressive drawing)
Suggested Readings: - Edwards, Betty. Drawing on the Right Side of the Brain. - Dodson, Bert. Keys to Drawing.
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Module 3 (Lecture Hours Weeks 8–11) |
Module Name: Outdoor Sketching and Human Gesture Drawing
This module introduces students to drawing in real-life environments through outdoor sketching. Students will observe landscapes, architecture, and everyday surroundings to develop an understanding of perspective, composition, and spatial depth. The module also focuses on human gesture drawing, emphasising movement, posture, and proportion. Students will learn to capture the dynamic quality of the human body through quick sketches, focusing on fluidity rather than detail. This practice enhances observational sensitivity and expressive ability.
Readings with page numbers: - Hogarth, Burne. (1996). Dynamic Figure Drawing. New York: Watson-Guptill. (pp. 20–80: Movement, gesture, and dynamic proportions)
- Nicolaides, Kimon. (1941). The Natural Way to Draw. Boston: Houghton Mifflin. (pp. 5–60: Gesture drawing exercises and contour studies)
- Simblet, Sarah. (2001). Anatomy for the Artist. London: DK Publishing. (pp. 30–100: Human structure and anatomical observation)
- Gurney, James. (2017). Sketching from the Imagination: An Insight into Creative Drawing. Worcester: 3DTotal Publishing. (pp. 50–110: Outdoor sketching and observational drawing practices)
Suggested Readings: - Goldstein, Nathan. Figure Drawing. - Mason, Antony. Drawing Nature.
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Module 4 (Lecture Hours Weeks 12–15) |
Module Name: Nature Study and Nature Drawing
This module introduces students to drawing in real-life environments through outdoor sketching. Students will observe landscapes, architecture, and everyday surroundings to develop an understanding of perspective, composition, and spatial depth. The module also focuses on human gesture drawing, emphasising movement, posture, and proportion. Students will learn to capture the dynamic quality of the human body through quick sketches, focusing on fluidity rather than detail. This practice enhances observational sensitivity and expressive ability.
Readings with page numbers: - Ruskin, John. (1904). The Elements of Drawing. London: Smith, Elder & Co. (pp. 1–50: Observation of natural forms and drawing exercises)
- Mason, Antony. (2003). Drawing Nature. London: Hamlyn. (pp. 25–85: Plants, textures, and landscape drawing)
- Wilcox, Michael. (2009). The Artist's Guide to Drawing Realistic Animals. Cincinnati: North Light Books. (pp. 40–95: Animal structure and natural detailing)
- Goldstein, Nathan. (1999). Figure Drawing: The Structure, Anatomy and Expressive Design of the Human Form. Upper Saddle River: Prentice Hall. (pp. 60–120: Structural observation and natural form principles)
Suggested Readings: - Gurney, James. Sketching from the Imagination. - Ching, Francis D.K. Drawing: A Creative Process.
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