Galicia PAU Artistic Drawing II / Dibujo Artístico II CIUG study plan

Draw 20 five-minute line studies of the same still-life group, varying line weight (from 0.3 mm to 2 mm) to distinguish contour, overlap and interior structure.

Build a nine-step value scale in graphite and a second one in charcoal, then shade three simple solids so each shows at least five distinct values with a clear light source.

Construct a one-point perspective grid from observation of a corridor or classroom, placing at least eight objects at correct heights on the ground plane.

Label each study with the light direction, the value range used and one sentence on what the line or value choice communicates.

Construct two-point perspective drawings of a box, a chair and a staircase, verifying vanishing points and horizon line with a ruler overlay.

Model at least four objects in different materials (matte ceramic, metal, glass, fabric) so surface response to light is visibly different.

Compose three thumbnail arrangements of the same objects, changing viewpoint and cropping, and select one for a larger resolved drawing.

Explain in writing how proportion error was detected and corrected in at least two of the perspective constructions.

Draw the human figure in eight 10-minute gesture poses, capturing the line of action and weight-bearing leg before any contour.

Construct the head with the cranial mass, facial planes and the standard proportion canons (eye line, nose base, ear placement) in four views.

Build a texture library of at least 12 samples (hatching, cross-hatching, stippling, frottage, smudging, erasing) and apply three of them to describe skin, hair and cloth on the same figure study.

Compose one figure study where the placement of the figure on the page creates a stated emotional effect, and justify the choice in two sentences.

Draw a portrait from life or a mirror in three sittings, using the cranial construction to place features rather than copying outlines.

Render the same portrait study in three dry media (graphite, charcoal, coloured pencil or pastel) and compare how each medium handles edge, value and blending.

Draw hands and feet from at least six different angles, treating them as block structures before detail.

Map the figure's skeletal landmarks (clavicle, sternum, iliac crest, patella) onto one full-figure drawing to check proportion.

Test wet media (ink wash, watercolour, gouache) on at least three paper weights and record absorption, buckling and edge behaviour for each combination.

Produce two mixed-media studies combining a dry and a wet medium, controlling which layer stays dominant.

Analyse three artworks using a fixed four-part frame: formal description, medium and technique, compositional structure, and historical context.

Write a 150-word commentary on one of your own week-4 pieces using the same four-part frame, identifying one technical weakness and one strength.

Compare two artworks from different periods on the same theme (the figure, the interior, or the landscape) and argue how each context shaped its formal choices.

Identify and describe the drawing strategies of at least four contemporary practitioners working across drawing, installation or digital media, citing what each borrows or rejects from tradition.

Reproduce a detail from a historical drawing in the original medium and explain what the exercise revealed about the maker's working order.

Draft a 250-word commentary on a contemporary work that connects it to at least one earlier reference.

Generate 15 thumbnail sketches for a single self-directed project, exploring at least three different compositional formats.

Narrow to two directions, test each in a small-scale study, and record in writing why one is abandoned.

Set explicit constraints for the final piece (support size, medium, time budget, one compositional rule) and stick to them through the resolved drawing.

Produce a contact sheet of process photographs or scans documenting the sequence from sketch to final.

Complete a timed mock exam: one analytical commentary on an unseen image and one practical drawing, both within the official time allocation.

Self-assess the mock against the exam criteria, scoring commentary, technical execution and compositional coherence separately.

Rework the weakest section identified in the mock and document the specific change made.

Assemble a final portfolio of 10 selected pieces with a one-line rationale for each inclusion.