Andalusia PAU Artistic Drawing II study plan

Construct a proportional grid for a still life of three objects of different heights, checking all relative widths with a ruler before any shading begins.

Draw the same simple box in one-point perspective from three eye levels, marking horizon line and vanishing point on each sheet.

Measure a natural form (a hand, a shoe, a shell) by sighting with a pencil and record at least eight landmark ratios in a notebook.

Build a scale strip from 1:1 to 1:4 and use it to enlarge a 10 cm thumbnail sketch to A3 without tracing.

Analyse three master compositions by drawing only their structural axes and focal points, then annotate the underlying geometric armature.

Produce a nine-step value scale in graphite and match three flat grey swatches to it within one step by eye.

Render one simple sphere and one cube from direct light, separating core shadow, reflected light and cast shadow in each.

Compose two thumbnail arrangements of the same objects, one symmetrical and one asymmetrical, and state in one sentence which reads faster and why.

Mix a twelve-hue colour wheel from a limited palette of primaries and record the mixing ratios beside each hue.

Produce a graded tint-and-shade strip for three hues, keeping chroma constant while value changes.

Execute the same simple still life twice, once in charcoal and once in ink wash, and compare how each medium handles edge and value.

Test at least three supports (smooth cartridge, rough watercolour paper, toned paper) with the same graphite and pastel marks, and note the differences.

Draw a complex interior corner or furniture group in charcoal, using vine charcoal for massing and compressed charcoal only for the darkest accents.

Build a full tonal drawing of an artificial object with at least five distinct values, checked against the week 2 scale.

Practise three line weights in ink (contour, interior, accent) on a single object drawing and label where each is used.

Redraw one earlier measured drawing at double scale, preserving all proportions within a 2 mm tolerance.

Produce twenty thirty-second gesture drawings of a person or moving figure, prioritising line of action over contour.

Draw a standing figure from life or a mirror and check head-count proportion and joint landmarks against a vertical plumb line.

Sketch five everyday scenes in under two minutes each, using a clear foreground, middle ground and background.

Draw the same figure three times with different line qualities (searching, confident, broken) and annotate the communicative effect of each.

Draw a portrait from a mirror or photograph, locating the eye line, nose base and mouth line on the central axis before any shading.

Render a head study with a single light source, modelling the planes of cheek, brow and jaw in three values.

Place a seated figure in an interior so that scale, eye level and cast shadow agree, and verify the horizon against the figure's head height.

Draw hands and feet in four positions each, simplifying each into two or three primary masses.

Write a 200-word critical commentary on one drawing, addressing composition, value structure, mark-making and likely intention, using evidence from the image.

Compare two drawings from different periods and identify one technique each borrows from the other's tradition.

Develop a project sketchbook for a self-set theme, producing at least ten thumbnails that explore composition before committing to a final.

Translate one thumbnail into a poster layout with a clear hierarchy of image, headline and secondary text.

Assemble a timed mock exam: complete one still-life drawing with proportion, value and composition checks in a single three-hour session.

Review the whole portfolio and list the three weakest skills with a concrete corrective exercise for each.

Refine two earlier pieces, reworking value structure or proportion, and note what changed and why.

Write a short statement explaining the choices made in your final drawing, as a project rationale.