II Institute National Council for

Ef- National Culture and the

Arts
Fine arts

FIGURE DRAWING

SYLLABUS

General Subdirectorateof
Artistic Education and
Research
DIRECTORATE OF ACADEMIC AFFAIRS
NATIONAL INSTITUTE OF FINE ARTS
SUB-DIRECTORATE GENERAL OF ARTISTIC EDUCATION AND RESEARCH
DIRECTORATE OF ACADEMIC AFFAIRS

SYLLABUS

KEY FIFTH
SEMESTER PV0521 ARTISTIC AREA PLASTIC ARTS AND
VISUALS
ALLOTTED TIME 32 HOURS CREDITS 2

In this program you will find: To achieve the UNITS OF COMPETENCE

Generic skills and
thei attribute th
rcompetencies
s disciplinary
e And
extended relative to DRAWING generate:
To cover:
Evidence of
OF FIGURE HUMAN It requires: Performanc
learning
integrated into learning blocks, Specific elements e indicators
which seek to develop units of Knowledge
Abilities and Skills
specific competencies. Attitudes and
Values

PV0521/V02.1/2012 1
 RATIONALE
HUMAN FIGURE DRAWING

The modernization process of the National Educational System launched in Mexico since 1988 has had as one of its foundations the competency-based
educational approach. This has become a tool that helps improve the quality of training processes. In this context, the National Institute of Fine Arts and
Literature (INBAL), through the General Subdirectorate of Artistic Education and Research (SGEIA), proposed to renew the Curriculum of the Baccalaureate
of Arts and Humanities (BAH) that is taught in the Artistic Education Centers (CEDART).

The changes that are being carried out in our country within educational services are due, among other things, to the new socioeconomic, historical,
cultural and technological realities and the arrival of new educational theories and models that, in turn, They present to us the need to generate changes in
the way in which educational activity is conceived and carried out.

Young Mexicans of the 21st century must develop potential, competencies (knowledge, abilities, skills, attitudes and values) within a framework of the
exercise of values such as respect, solidarity and democracy, in a context of multiculturalism and with a perspective of gender, that allow them to take
advantage of and participate in new economic, social and technological dynamics and actions. If these skills are enhanced from school spaces, students will
have greater possibilities of accessing better living conditions, performance, participation in higher education and future social and cultural life.

With this perspective, it is necessary that educational services provide young people not only with preparation that makes it easier for them to interpret
and acquire tools aimed at appropriating knowledge, skills, attitudes and values, but also contribute to the development of their potential. Consequently,
INBAL has considered updating the Study Plan.

The Baccalaureate of Arts and Humanities aims to generate changes and adaptations to give way to the reform of study programs that respond to
current social expectations and needs. The actors in this process must responsibly assume the historical challenge that corresponds to them.

PV0521/V02.1/2012 2
 RATIONALE
HUMAN FIGURE DRAWING

The competency-based educational approach

a"g Yo

The Ministry of Public Education (SEP) has been implementing new curricula for education, focused on the development of skills, in this sense the
Comprehensive Reform of Higher Secondary Education (RIEB, culminates a cycle of curricular reforms in each of the three levels that make up Basic
Education, preschool level (2004), primary level (2009), and secondary level (2006), 1 . This same approach is now proposed for upper secondary education.
The Comprehensive Reform of Higher Secondary Education (RIEMS) (said by the same secretariat), seeks to “…strengthen and consolidate the identity of
this educational level, based on the recognition of all its modalities and subsystems; provide pertinent and relevant education to the student that allows him to
establish a relationship between the school and his environment; and facilitate the academic transit of students between the subsystems and schools. To
achieve these purposes, one of the main axes of the Reform is the definition of a Common Curricular Framework, which will be shared by all high school
institutions, based on an educational model oriented to the development of competencies.” 2

INBAL decided to address the purposes of the Reform proposed by the SEP and take as reference the Common Curricular Framework (MCC)
established in agreement 442 and the generic competencies established in Agreement 444; However, the preparatory role of this baccalaureate and the
areas of specialization that are prioritized in it are reaffirmed: the Arts and the Humanities. For this reason, extended disciplinary competencies are
incorporated that will accompany graduates and will influence their higher education and professional life, regardless of the field in which they work, since the
sensitivity and creativity fostered by the study of the arts will permeate all spheres of life. his life.

The SEP defines that “A competency is the integration of skills, knowledge, attitudes and values in a specific context.”3 At the same time, it returns to the
following definitions in its new study programs:

A competence will be defined by the capacity for effective action in a family of situations that has the necessary knowledge and the ability to mobilize it
with good judgment, in due time, to define and solve real problems.4

1
2011 study plan. Basic education. Mexico. First edition. 2011
2
Ethics and Values l, Study Program Series, SEP México, 2009. Q. 3 (DGB/DCA/2009-03)
3
Agreement number 442 establishing the National Baccalaureate System within a framework of diversity, in the Official Gazette of the Federation , September 26, 2008.
4
Perrenoud, Phillipe. Build skills from school , Santiago de Chile, Ediciones Dolmen.
PV0521/V02.1/2012 3
 RATIONALE
HUMAN FIGURE DRAWING

Competencies are complex processes of comprehensive performance with suitability in certain contexts, which involve the articulation and application of
diverse knowledge, to carry out activities and/or solve problems with a sense of challenge, motivation, flexibility, creativity and understanding, within a
perspective of continuous improvement and ethical commitment. 5

Because it is a concept under construction and constant use, definitions of “competence” abound. At INBAL we will understand by competence:

“The application of knowledge, abilities, skills and attitudes and values that allow the student to develop consciousness, creativity, conceptualization and
its social connection through perception, expression, practice, contextualization, as well as , solve specific problems autonomously and flexibly in specific
contexts”

In this way, a competent person has the capabilities to resolve a specific situation, using the combination of cognitive and methodological abilities,
physical abilities, complex and emotional thinking, with a flexible, creative attitude and ethical commitment.

5
Interpretation made by the General Directorate of the Baccalaureate in relation to the proposal made by Sergio Tobón.
PV0521/V02.1/2012 4
 RATIONALE
HUMAN FIGURE DRAWING

Based on the above, the competencies that guide the Curriculum of the Baccalaureate in Arts and Humanities are:
STRUCTURE OF THE COMPETENCES OF THE CURRICULAR FRAMEWORK OF THE BACHELOR OF ART AND HUMANITIES

They are common to all graduates of Higher Secondary Education. They are key competencies, due to
their importance and diverse applications throughout life; transversal, because they are relevant to all
GENERIC COMPETENCIES
disciplines and curricular spaces of Higher Secondary Education, and transferable, because they
reinforce students' ability to acquire other skills.

Common to all graduates of Higher Secondary Education. They represent the common basis of
disciplinary training within the framework of the National Baccalaureate System and correspond to the
following fields:
DISCIPLINARY Basic • Math
COMPETENCIES
• Humanities andsocial Sciences
• Experimental sciences
• Communication

It corresponds to the competencies that give specificity to the educational model of the Baccalaureate
of Art and Humanities, and are those that support the formation of the disciplinary field of art in order to

t
provide the student with conceptual, procedural and attitudinal knowledge, which allows them to
development of the areas of awareness (perception, appreciation), expression (technique and process)
and contextualization (social-historical) around the various artistic languages:
k• Plastic and visual arts

• Dance

o
• Literature
• Music
Extended
• Theater
9
The Generic competencies are transversal, so they do not correspond to a specific subject, but rather their “concretion or performance” will come from
the execution of activities in the different subjects included in the curricular framework. For its part, the extended disciplinary competencies correspond to the
different artistic languages.

PV0521/V02.1/2012 5
 RATIONALE
HUMAN FIGURE DRAWING

In this framework, the linking, contextualization and association of knowledge and information are essential. For this reason, the present reform has as its
central points the constructivist methodology to promote significant learning in the student, and the competency-based approach that emphasizes that the
knowledge, abilities, skills, attitudes and values that are developed in school spaces are worked on and appropriated by students in their daily activities and
throughout life, considering that they construct their own learning.
.

Human Figure Drawing

Drawing is an extensive and extremely peculiar process that consists of capturing, using basic plastic elements – point, line, spot, surface – an
image that represents shapes and structures from one of the three plastic production schemes: operational (gesture drawing), affective (imitation drawing)
and imaginative (invention drawing); with the techniques of the field. The specific case of human figure drawing refers to a space specific to drawing work that
focuses mainly on the exercise linked between observation and execution on human models. In other words, the ability to represent human figures and/or
details depends on the ability to observe and the skill to execute.

In many ways, teaching drawing can be similar to any other type of training, but as in most cases, explaining the process is complex. The content of this
subject, then, is aimed at modifying, on the one hand, the way of looking at figures, and on the other, it is a way of exercising the hand so that it responds to
certain work requirements, and unblocking obstacles coming from graphic-figurative stereotypes (incipient reproductions acquired as a result of educational
imposition) and idiosyncratic-social stereotypes (I am clumsy at drawing, I am afraid of criticism, I am already an artist and no one is going to tell me how to
act, etc.) .

On the other hand, learning to draw of this type (reliable representation of the human figure and/or its parts) implies acquiring the vision and operational
capacity of the artist to process, in a different way, visual information, and power, to Dessert, objectively represent this reality accurately and neatly, even
using simplification. The teacher, of course, must begin by understanding that the appreciation exercise involves a multipurpose training of the mental-
perceptive faculties, which will highlight the differences between an aesthetic appreciation and a conventional perception. On the one hand, it is essential that
the visual characteristics of each and every detail be understood; But on the other hand, it is essential to understand visually and at the same time, the grid of
binding relationships that give the perceived form its essential characteristics. A final training corresponds to the knowledge of the potentialities and
restrictions that each material and each support possess.

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 RATIONALE
HUMAN FIGURE
DRAWING
In the end, it is essential that the teacher takes into account that, although all the different techniques are interdependent, two of drawing are quica
the creativity and expression characteristic of inventive drawing, as well as the absolute freedom of gesture drawing
They are increasingly restricted due to interpretive rigor, and only appear as supporting elements for the neat translation of the motifs or as means to
solve certain problems faced during execution.

The subject HUMAN FIGURE DRAWING is directly related to:

biology Plastic Composition

Pictorial Body Resources

Techniques Experimental for
Expression and Creativity

Drawing
Experimenta
FIGURE DRAWING
l HUMAN
Analysis of the Arts Representation
Visuals Workshop
Three dimensional

Printing
Workshop Imitation Drawing

Introduction to
Language
Kinesiology
Plastic and Visual

PV0521/V02.1/2012 7
 RATIONALE
Block I. HUMAN FIGURE DRAWING
OBSERVATION VS STEREOTYPY

The Blocks for this subject were formed as follows:

Canon vs anthropometry.
Schematization of the human figure.
Hands, feet and head.
Materials, papers and tools typical of these techniques.

Block II.
REPRESENTATION OF THE HUMAN FIGURE

Naked and clothed human figure.

Anthropometry in relation to the environment.
Materials, papers and tools typical of these
techniques.

Block III.
REPRESENTATION OF THE HUMAN FIGURE WITH PERSONAL LINES OF EXPRESSION

• Plastic and aesthetic values of drawing the human figure.

• Personal expression in drawing the human figure.
• Materials, papers and tools typical of these techniques.

PV0521/V02.1/2012 8
 RATIONALE
HUMAN FIGURE DRAWING

Considerations for the application of the study program

The competency-based approach is focused on the act of learning that the student performs and also rsonal; However, this process
implies a group interaction in which affective and social competencies are developed; permanent and systematic does privilege the activity of
the student, because he will put into practice a series of actions that will allow him to develop general and specific skills.

The competencies also present “attributes” (performance indicators), which are descriptors of the process to develop the competency; They are the
elements that make it evident that the competition is in process or has been achieved. This information allows:

The teacher:
- Have elements for process planning
- Have elements to observe the development and its
processes
- Have elements to agree on criteria and
evidence

To the
student:

- Know what you are going to develop

- Have knowledge and/or agree on evaluation criteria and evidence of their performances
- Have elements for your self-assessment

• The same project or educational approach requires the teacher, on the one hand, to modify the attitude towards his or her professional practice, and on
the other hand, to put into practice work forms and strategies that guide his or her pedagogical action. The educational approach, in general, requires
teaching to be undertaken with a sense of guidance and facilitation of learning. The above implies that the teacher must plan and implement each class
session to conduct the learning process with methods and tools that lead to the achievement of the purposes set out in each program and in each
thematic block he must monitor the students' learning activities. either through guides (instructions, checklists, observation guides, readings,
discussions) among others. Likewise, the teacher will stipulate the quality and performance requirements of the student, to access a satisfactory
evaluation. The teacher will have to generate the conditions so that the student is also an active agent in the continuous and permanent evaluation
processes.

PV0521/V02.1/2012 9
 RATIONALE
HUMAN FIGURE DRAWING

The study program must be assumed as a guide, on which learning experiences can be designed that promote the mobilization of resources:
knowledge and cognitive skills, and link them to the knowledge, abilities, skills, attitudes and values developed in all areas. subjects that make up
the curriculum of the Baccalaureate of Arts and Humanities.

The program includes a description of the set of generic (SEP) and extended disciplinary competencies, with the intention that they be used as
references for approaching each of the blocks.

The consolidation of the competency-based approach in the Baccalaureate of Arts and Humanities will represent a gradual process that requires a
creative
attitude
towards the
educational
process.

PV0521/V02.1/2012 10
 GENERIC COMPETENCES AND THEIR
ATTRIBUTES
HUMAN FIGURE DRAWING

The generic competencies are listed below:

Self-determines and takes care of itself

1. Knows and values himself and addresses problems and challenges taking into account the
objectives he pursues.

1.1 He faces the difficulties that arise and is aware of his values, strengths and weaknesses.

1.2 He identifies his emotions, manages them constructively and recognizes the need to request support in a situation that overwhelms him.

1.3 Choose alternatives and courses of action based on supported criteria and within the framework of a life project.

1.4 Critically analyze the factors that influence your decision making.

1.5 Assume the consequences of your behaviors and decisions.

1.6 Manages available resources taking into account restrictions to achieve your goals.

2. He is sensitive to art and participates in the appreciation and interpretation of its expressions in different genres.

2.1 Values art as a manifestation of beauty and expression of ideas, sensations and emotions.

2.2 Experience art as a shared historical fact that allows communication between individuals and cultures in time and space, while developing a sense of
identity.

2.3 Participate in practices related to art.

3. Choose and practice healthy lifestyles.

3.1 Recognizes physical activity as a means for physical, mental and social development.

3.2 Make decisions based on the assessment of the consequences of different consumption habits and risk behaviors.

3.3 He cultivates interpersonal relationships that contribute to his human development and that of those around him.

Expresses and communicates

OR
4. Listens, interprets and emits relevant messages in different contexts through the use of appropriate media, codes and tools.

4.1 Expresses ideas and concepts through linguistic, mathematical or graphic representations.

PV0521/V02.1/2012 11
 GENERIC COMPETENCES AND THEIR
ATTRIBUTESHUMAN FIGURE DRAWING
4.2 He applies different communication strategies depending on who his interlocutors are, the context in which he finds himself and the objectives he
pursues.

4.3 Identify the key ideas in a text or oral speech and infer conclusions from them.

4.4 He communicates in a second language on daily situations.

4.5 Use information and communication technologies to obtain information and express ideas.

Think critically and reflectively

5. Develops innovations and proposes solutions to problems based on established methods

contributes to the achievement of an
5.1 Follow instructions and procedures thoughtfully, understanding how each of them objective.
5.2 Sort information according to categories, hierarchies and relationships
5.3 Identifies the systems and rules or core principles that underlie a series of phenomena.

5.4 Build hypotheses and design and apply models to test their validity.

5.5 Synthesizes evidence obtained through experimentation to produce conclusions and formulate new questions

5.6 Uses information and communication technologies to process and interpret information.
5.6 Uses information and communication technologies to process and interpret information.

6. Supports a personal position on topics of general interest and relevance, considering other points of view in a critical and reflective
manner.

6.1 Choose the most relevant sources of information for a specific purpose and discriminate between them according to their relevance and reliability.

6.2 Evaluate arguments and opinions and identify prejudices and fallacies.

6.3 Recognizes one's own prejudices, modifies one's points of view when learning new evidence, and integrates new knowledge and perspectives into the
knowledge one has.

6.4 Structure ideas and arguments in a clear, coherent and synthetic way.

Learn autonomously

7. Learn through initiative and self-interest throughout life.

7.1 Defines goals and monitors its knowledge construction processes.

PV0521/V02.1/2012 12
 GENERIC COMPETENCES AND THEIR
ATTRIBUTES HUMAN HUMANFIGURE DRAWING
7.2 Identify the activities that are of least and greatest interest and difficulty, recognizing and controlling their reactions to challenges and obstacles.
FIGURE
DRAWING
7.3 Articulates knowledge from various fields and establishes relationships between them and their daily lives.

Work collaboratively
onal.
8. Participate and collaborate effectively on diverse teams.
interdependent global context.
8.1 Proposes ways to solve a problem or develop a team project, defining a course of action with specific steps.

8.2 Contribute points of view openly and consider other people's points of view thoughtfully.

8.3 Assume a constructive attitude, consistent with the knowledge and skills they have within different work teams.

Participate responsibly in society

9. Participate with a civic and ethical conscience in the life of your community, region, Mexico and the world.

9.1 It privileges dialogue as a mechanism for conflict resolution.

9.2 Make decisions in order to contribute to the equity, well-being and democratic development of society.

9.3 Know your rights and obligations as a Mexican and a member of different communities and institutions, and recognize the value of participation as a tool
to exercise them.
11. Contributes to sustainable development in a critical way, with responsible actions.
9.4 It contributes to achieving a balance between individual interest and well-being and the general interest of society.
11.1 Assume an attitude that favors the solution of environmental problems at the local, national and international
9.5 Acts proactively in the face of societal phenomena and stays informed.
levels.
9.6 Recognizes
11.2 It warns thatand
the understands
phenomena that develop ateconomic,
the biological, the local, national
political and
and international levels of
social implications occur within an interdependent global context.
environmental
damage in a
10. Maintains a respectful attitude towards interculturality and the diversity of beliefs, values, ideas and social practices.
11.3 It contributes to achieving a balance between short- and long-term interests in relation to the environment. h"
10.1 It recognizes that diversity takes place in a democratic space of equal dignity and rights for all people, and rejects all forms of discrimination.

10.2 Dialogue and learn from people with different points of view and cultural traditions by placing your own circumstances in a broader context.

10.3 It assumes that respect for differences is the principle of integration and coexistence in local, national and international contexts.

eg 49

PV0521/V02.1/2012 13
GENERIC COMPETENCES AND THEIR
ATTRIBUTES

PV0521/V02.1/2012 14
 EXTENDED DISCIPLINARY COMPETENCES
HUMAN FIGURE DRAWING

TABLE OF RELATIONSHIP OF EXTENDED DISCIPLINARY COMPETENCES WITH THE BLOCKS BLOCKS

_______________- ESTABLISHED*
1 2 3
Uses various artistic languages to develop their intuition, imagination, sensations and emotions, valuing the impact these have on
x
the construction of their identity in a context of cultural diversity.

It links the theoretical and methodological elements of various currents of thought with artistic languages.

Develops analytical, interpretive, reflective skills and the basic processes of the Plastic and Visual Arts. x x x

Identifies the cognitive processes of procedures and concepts, which make up two- and three-dimensional plastic creation. x x x
It interacts experimentally from conception to materialization and vice versa, involving knowledge of various artistic and academic
x x x
subjects in an interdisciplinary manner.

It integrates the artistic concepts of form (creation), function and meaning within plastic arts. x x x
It recognizes plastic arts as a process of ideas that lead to the materialization of objects and situations that tend to re constantly
x x x
meaning (and re-creating) reality, which requires general and, above all, cultural knowledge.

Shows interest to investigate, create, experiment, propose and conclude. x

Develops your creativity, sensitivity and degree of artistic appreciation. x x x

Recognizes historical-cultural aspects of contemporary plastic work. x x x

It uses the multiple languages involved in plastic arts to develop technological, psychomotor, technical and procedural skills.

Values the importance of work in the representation of figures and concepts, in order to express oneself clearly. x x x
It recognizes that the plastic and visual arts are the balance between knowledge, sensitivity, creativity, reflection, function, skill,
x x x
action and communication.

. ... ... . , .. , ,, ,, ....

The first two are shared with the other artistic languages and the others correspond to the area of Plastic and Visual Arts.

PV0521/V02.1/2012 15
 BLOCK I Observation vs stereotypy ALLOCATED TIME: 11 HOURS

COMPETITION UNIT

Compares and reproduces the naked or clothed human figure, in contrast to pre-established or acquired canons.

ELEMENTS REQUIRED FOR THE ACHIEVEMENT OF THE UNITS OF

COMPETENCE
INDICATORS OF SUGGESTIONS FOR EVIDENCE AND
PERFORMANCE FOR EVALUATION INSTRUMENTS
KNOWLEDGE SKILLS AND ATTITUDES AND
ACHIEVE THE UNITS OF THE LEARNINGS
ABILITIES VALUES COMPETITION

• Canon vs anthropometry. • Reproduces diagrams of the human

relation to the anthropometry of
the living model.
• figure relating it to the bone and • Drawings made of the human
Schematization of the
human figure.
muscle structure at different visual • Correctly identify the visual figure in relation to the bone and
angles; using different times against translation of the parts of the muscle structure (Portfolio of
human body from different works).
• Hands, feet and head.
the model.
visual angles for their
- Forehead
• Draw hands, feet and head carefully
representation. • Checklist that shows that the
- Profile student meets the work
- Foreshortening at different visual angles; using
different front tenses
• Recognize and identify materials requirements and delivery times.
for making drawings.
• Materials, papers and tools typical of • • Drawings of the human figure
Respect and value the naked human with the appropriate proportions
these techniques. (Checklist and rubrics).
- Pencils body. PROCEDURAL
-
-
Coals
Bars • Recognizes, values and respects • Solve
• Verbal and/or written
presentation of the techniques
- Pens their own work and that of their properly in their learned. (Report and watch list).
- Nibs colleagues.
- Brushes
• Assume an attitude of reflective self-
• Didactic presentation (exposition
- Others. to the school community) of the
criticism. works carried out with the
required quality (Checklist and
• Compare and differentiate the • Respect group norms. rubric).
different canons of human figure
drawing with the anthropometry of CONCEPTUAL • Written and illustrated report
(photographs, drawings,...) on
the living model. Account for
interpretive vices.
• Knows and sufficiently understands
the differences in aspects in the
canons of the human figure in

PV0521/V02.1/2012 16
 ELEMENTS REQUIRED FOR THE ACHIEVEMENT OF THE UNITS OF
COMPETENCE
INDICATORS OF SUGGESTIONS FOR EVIDENCE
PERFORMANCE FOR AND
KNOWLEDGE SKILLS AND ATTITUDES AND
ACHIEVE THE UNITS EVALUATION INSTRUMENTS
ABILITIES VALUES COMPETITION OF THE LEARNINGS

to the model. human figure production of human figure

exercises defined drawings, concluding in a
• Use and experiment with times didactic presentation. (Checklist,
your own materials for Rubric and portfolio of evidence)
drawing the human Effectively use physical
figure. spaces,
models and drawing
materials during the
exercises,

It adequately
represents and
provides the proposed
models at different
visual angles and within
the pre-established
format.

• Create your drawings with

neatness
.
ATTITUDINAL

• Consistently argue the

result of your work.

• He is critical and self-

critical in the final
results.

• Participate in a way
collaborative.

• Complies assiduously
with the defined
deadlines.

PV0521/V02.1/2012 17
BLOCK II Representation of the Human Figure ALLOCATED TIME: 11 HOURS

COMPETITION UNIT

It appropriately represents the naked or clothed human figure.

ELEMENTS REQUIRED FOR THE ACHIEVEMENT OF COMPETITION UNITS

INDICATORS OF PERFORMANCE SUGGESTIONS

TO ACHIEVE THE UNITS OF EVIDENCE AND
KNOWLEDGE SKILLS AND ATTITUDES AND VALUES
COMPETENCE INSTRUMENTS FOR
ABILITIES
EVALUATION OF LEARNING

• Human figure
• Use and experiment with • Respect and value the CONCEPTUAL
naked and dressed.
- Scale your own materials for naked human body.
• Know and understand
- Proportion
- Attitude
drawing the human figure.
• Recognizes, values and
sufficiently the characteristics • Make drawings of the
- Extension • It represents human figures respects their own work
and dynamism of the naked
and clothed human body based
human figure (evidence
folder)
- Forehead with scale, proportion, and that of their
on models.
- Profile extension and volume at colleagues.
• Work done
- Foreshortening
- Volume
different visual angles;
using different times • Assume an attitude of
• Clearly identify the shape respecting the instructions,
reflective self-criticism. of the plastic elements in the times and conditions
against the model. human body from different prescribed (Checklist and
• Anthropometry in
•
relationship with the • Represents and relates Respect group norms. visual angles for their
representation.
observation guide).
environment. -Animal anthropometry to the • Making drawings
- Vegetable
- Urban
physical environment.
• Correctly relate the of human figure respecting
human scale with the elements the measurement scales in
- Others of its environment. relation to the
environment. (rubrics and
• Materials, papers and • Recognize and identify observation guide)
tools specific to these materials for drawing drawings
techniques.
- Pencils
effectively. • Verbal presentation
and/or in writing of the
- Coals PROCEDURAL techniques learned.
- Bars (Report and watch list).
- Pens • Solve appropriately
- Nibs
- Brushes
his drawing exercises, the • Didactic presentation
human figure in the times (exposure to

PV0521/V02.1/2012 18
 ELEMENTS REQUIRED FOR THE ACHIEVEMENT OF THE UNITS OF
COMPETENCE
INDICATORS OF SUGGESTIONS
PERFORMANCE EVIDENCE AND
KNOWLEDGE SKILLS AND ATTITUDES AND TO ACHIEVE THE UNITS INSTRUMENTS OF
ABILITIES VALUES COMPETITION EVALUATION OF THE
LEARNINGS

Other defined. school community) of

s. the works carried out
• It proportionately represents the human scale in relation to the environment, at different visual angles. with the required quality
(Checklist and rubric).
• Effectively use physical spaces, models and drawing materials during the exercises,

• He makes his drawings neatly.

ATTITUDINAL

• Consistently argue the result of your work.

• He is critical and self-critical in the final results.

• Participate in a way
collaborative.

• Assiduously comply with the

established deadlines.

PV0521/V02.1/2012 19
BLOCK III
Representation of the Human Figure with personal lines of expression
It represents the human figure naked or dressed with lines of personal expression to give it an aesthetic and dynamic character.
ELEMENTS REQUIRED FOR THE ACHIEVEMENT OF COMPETITION UNITS
KNOWLEDGE
- Plastic and aesthetic values
of drawing the human figure.
- Line qualities.
- Clear qualities-
dark
- Personal expression in
drawing the human figure.
- continuous line and
sensual expression of
the natural dynamics of
the body.
- Line thickness and
expression of volume
and posture
- Duplication of the stroke
and
movement suggestion
• Materials, papers and tools
typical of these techniques.
- Pencils
- Coals
- Bars
SKILLS AND
ABILITIES
• It represents the human
figure plastically and
aesthetically with values
typical of drawing; using
different times against the
model
• Draw the human figure with
lines of personal
expression; using different
times against the model.
• Use and experiment with
your own materials for
drawing the human figure.
ALLOCATED TIME: 10 HOURS
COMPETITION UNIT
INDICATORS OF PERFORMANCE
TO ACHIEVE THE UNITS OF
ATTITUDES AND VALUES
COMPETENCE
k
• Respect and value the CONCEPTUAL
naked human body. •Recognize and understand
sufficiently plastic and
• Recognizes, values aesthetic values in the
and respects their drawing of the human figure.
own work and that of
their colleagues. • Identify in a way
• Assume an attitude of
aesthetics the expressive
character of its line in the
reflective self- exercises performed.
criticism.
• Recognize and identify
• Respect group norms. appropriately materials and
resources for the preparation
of drawings.
PROCEDURAL
• Use appropriately in
representations of the
human figure, the plastic and
aesthetic values of drawing
and the individual resources
and limitations to carry them
out.
PV0521/V02.1/2012
SUGGESTIONS
EVIDENCE AND
INSTRUMENTS FOR
EVALUATION OF LEARNING
• Make drawings of the
human figure plastically
and aesthetically with
values inherent to the
drawing (evidence folder)
• Work done
respecting the instructions,
times and conditions
prescribed (Checklist and
observation guide).
• Making drawings
of human figure with lines
of personal expression and
dome shows
experimentation with
technique. (rubrics and
observation guide)
• Drawing works that
show the
20
 ELEMENTS REQUIRED FOR THE ACHIEVEMENT OF COMPETITION UNITS

INDICATORS OF PERFORMANCE SUGGESTIONS

TO ACHIEVE THE UNITS OF EVIDENCE AND
KNOWLEDGE SKILLS AND ATTITUDES AND VALUES COMPETENCE INSTRUMENTS FOR
ABILITIES EVALUATION OF LEARNING

- Pens experimentation with

- Nibs
- Brushes
• Employ openly in
human figure drawings the
- Others.
expressive character of its
expressive line.
• Effectively use the
physical spaces, models
and drawing materials
during the exercises,
• Represents and provides
adequately the proposed
models at different visual
materials used for drawing
the human figure.
• Verbal presentation
and/or in writing of the
techniques learned.
(Report and watch list).
• Didactic presentation
(exposure to the school
community) of the works
carried out with the
required quality (Checklist
and rubric).

g
angles.

• Create your drawings with

neatness.

ATTITUDINAL

1 • Argue coherently
the result of your work.

in
• He is critical and self-critical
the final results.

• Participate in a way
collaborative.

• Assiduously comply with

the established deadlines.

PV0521/V02.1/2012 21
 GENERAL CONSIDERATIONS FOR THE DESIGN OF A LESSON PLAN
HUMAN FIGURE DRAWING

The National Baccalaureate System has established various levels of curricular specification to achieve quality education. The first inter-institutional level is the
one that refers to the participation of the Institutions to define the common MCC curricular framework and the management mechanisms to implement the
comprehensive reform. The second level of concretion, called institutional, provides the guidelines for institutions or subsystems to adapt their study plans and
programs to the general guidelines of the National Baccalaureate System, in addition to being able to define additional competencies to those of the MCC and
strategies consistent with its objectives. and the needs of its population with which the educational offer of the general high school is expanded and enriched. Both the
plan and the study programs are the fundamental elements of a curriculum and have a normative function, establishing the competencies and performances that are
intended to be developed in all students in response to what is established by the Common Curricular Framework.

The third and fourth levels of curricular specification, called school and classroom respectively, constitute the space where the educational approach based on
competencies will cease to be an educational intention, and will become a reality depending on the time and real conditions of the current semester and the squad. At
both levels, school and classroom, academic work and teaching planning are aimed at proposing an adequate distribution of activities and resources to achieve the
purposes established in the study programs. All didactic planning involves:

a) Analyze the study programs, know the established units of competence, possible teaching strategies, educational resources and materials, and evaluation
criteria proposed in the regulatory documents.
b) Relate the subject to be taught with the field of knowledge to which it belongs, as well as with the subjects that are taken in parallel during the semester and
with the study plan as a whole.
c) Take into account the actual times you have for class.
d) Define a real distribution of the activities to be developed according to the units of competence and curricular elements established in the study programs.

PV0521/V02.1/2012 22
 GENERAL CONSIDERATIONS FOR THE DESIGN OF A LESSON PLAN
HUMAN FIGURE DRAWING

Taking the above into account, we can conclude that a lesson plan is a graphic summary that must contain.

- Purpose, objectives and/or learning outcomes.

- Knowledge of the subject, skills and attitudes to develop a competence.
- Teaching methods or strategies.
- Time distribution for a class, it is recommended that every work session have at least three main moments: introduction
o class opening, development and closing or conclusions.
to
- Learning Assessment.

Of the previous elements, the one referring to the method or strategies has a particular importance, because they determine the motivation activities for the new
content, as well as the exploration of previous content, confrontation of ideas, conceptual construction, socialization and evaluation; With this, a didactic situation or
learning scenario is sought that is more meaningful to the student.

In order to facilitate decision-making in relation to the design of the lesson plan, regardless of whether the format is prepared by each educational institution
according to its particular needs and characteristics, it is recommended to consider:

• That generic competencies are transversal to any subject or disciplinary content; Therefore, it is convenient to analyze the impact and relationship that each
of the 11 competencies along with their attributes can be promoted in this subject. Among these competencies, those related to communication through the
different media, codes and tools with which the student has contact, autonomous learning and teamwork stand out.

• The analysis of the disciplinary competencies that will be addressed in each subject as part of a field of knowledge, in such a way that prior to the design of
the class plan it is recommended to have a clear definition that visualizes the scope, relevance and relevance of the units of competence.

• The design of learning activities, scenarios and selection of materials in line with the interests and needs of the students.
students.

PV0521/V02.1/2012 23
 GENERAL CONSIDERATIONS FOR THE DESIGN OF A LESSON PLAN
HUMAN FIGURE DRAWING
The concepts, skills, values and attitudes raised in the study programs may be ordered according to the characteristics of the group and the
teacher's experience. The important thing is to guarantee that the didactic planning leads the
student to the development of the indicated units of competence.

Performance indicators seek to guide didactic planning by defining the learners of the should cover for the achievement
competency units. Based on its analysis, it will be possible to design a group session. idactic according to the reality of the
campus and

Finally, evidence of learning allows the teacher to assess and evaluate

nteaching and learning.
Within the competency-based approach, it is important to seek and maintain a work
environment based on respect for the opinion of others, tolerance, openness to discussion and negotiation skills; as well as promoting team or group
work.

In both cases these values and attitudes are conceived as a primary part of the classroom environment.

For the design of teaching strategies in the subject of HUMAN FIGURE DRAWING, it is suggested to discuss with the students at the beginning of
the course, about the importance of observing their environment, bringing to the group everyday situations that they wish to analyze, expressing their
reflections, so that They can expand their framework of analysis in a responsible and committed manner, to carry out activities that allow them to
optimize their performance, emphasizing the basic use of the theoretical-methodological tools of the philosophical sciences in different contexts and
situations throughout their lives. It is also important to highlight that this subject requires continuous interaction between teacher and student, where the
teacher promotes the creation of environments conducive to work in the classroom; in addition to planning, preparing, problematizing, destructuring or
reactivating previous knowledge; model, complement your educational experience; by proposing meaningful, authentic and relevant reading materials;
provide feedback and/or monitor actions in the classroom and allow the development of an evaluation plan.

PV0521/V02.1/2012 24
 GENERAL CONSIDERATIONS FOR THE DESIGN OF EVALUATION STRATEGIES
HUMAN FIGURE DRAWING

From this Study Program it is important that teachers assume the need to transform their evaluation process; The educational approach based on
competencies proposes a change that allows all those aspects that intervene in teaching and learning to be assessed and addressed. To improve and
raise educational quality, it is necessary to have a comprehensive evaluation, since it currently plays a fundamental role in the teaching and learning
process, as Marissa Ramírez writes: “The evaluation will be a systematic and continuous process aimed at obtaining information through various
instruments and at various times to verify to what degree the purposes and objectives of a learning program were met and to be able to make decisions
based on the assessment made.”6

To propose an evaluation process, it is necessary to consider what you want to evaluate and how it could be done, select the instruments that
guarantee its validity and reliability, the elements that intervene in it (students, teachers, program) and identify the various moments. in which it can be
performed (diagnostic or initial, formative and summative).

For the purposes of this Program, the evaluation must be considered from a perspective related to the achievement of competencies; taking into
account that a competence reflects the achievement of different aspects, among which the following can be noted:

Performances
Previous knowledge
Attitudes
Skill development
Interes
t
Stake

Based on these aspects, it is essential to make decisions regarding the knowledge demonstrated through evidence; Understanding these as the
demonstration of learning or skills through different means, this evidence will be evaluated through criteria and instruments, understanding the criterion
as the level of achievement expected of the student, Tobón points out “The criteria must address the different knowledge of the competition” 7 , including
attitudinal ones.

HUMAN FIGURE DRAWING

Regarding evaluation instruments, they are “a tool intended to document a person's performance, verify the results obtained (achievements) and

6 Ramírez, Apáez Marissa; Albarrán, Ortega Alma.2009. Guide to Evaluate by Competencies . Thresholds. Mexico., p.31.
7Tobón, Sergio. 2008. Anáhuac University Master Conference, Competencies in 21st century education Knowing how to teach better. Evaluation by competencies . Mexico.

PV0521/V02.1/2012 25
 GENERAL CONSIDERATIONS FOR THE DESIGN OF EVALUATION STRATEGIES
evaluate the products produced, in accordance with a previously defined standard or parameter in which the mechanisms and procedures are
established. criteria that allow determining whether a person is competent or not considering the abilities, skills, knowledge, attitudes and values put into
play in the exercise of an action in a given context” 8

Below is a table that allows you to identify the type of activity and the instruments that can be used according to the nature of the process generated
in the classroom:

Process Suggested instruments

• essays
COGNITIVE ASPECTS Instruments should be designed aimed at working on the knowledge or topics
proposed in the programs of the different subjects, from a logic of significant learning, cognitive aspects
• Worksheets
focus on these aspects. • Summaries
• Discussion forums
• Debates
PRACTICAL OR TRANSFER ASPECTS : The instruments or activities applied here are aimed at • Anecdotal records
assessing the procedural aspects through which the way in which students put the acquired learning into
practice is assessed: procedures, steps followed, methods used, problems overcome throughout a
• Checklists

practice, to mention a few. • Checklist

• Field diaries
INTEGRATED SITUATIONS : They will be instruments or activities aimed at promoting the approach of • Investigation project
students to real situations and that also allow them to integrate content from the different subjects they • Educational projects (the teacherand
study or from different units or blocks of the subject itself in which said situations arise. the student determine)
• Case studies
METACOGNITIVE STRATEGIES : They refer to those instruments that will be applied to promote the
• Questionnaires

recognition of the thinking strategy that students use to construct and self-regulate their learning and • Mental maps
develop their skills. In this case, it is essential that the teacher be clear that although metacognitive • Round tables
strategies can provide information that allows adjustments to the techniques used through their teaching, in • Comparative tables
order to promote learning, it is the students who will benefit greatly. performing this type of evaluation. • essays

Compilation (Ramírez, Apáez Marissa; Albarrán, Ortega Alma.2009. Guide to Evaluate by Competencies . Thresholds. Mexico.)
• Reflection of written processes.

8
Añorve, Añorve Gladys; Guzmán Marín, Francisco; Esmeralda Viñals Garmendia.2010. Topic: Evaluation instruments. Specialization in Teaching Competencies for Higher Secondary Education. Mexico DF

PV0521/V02.1/2012 26
 GENERAL CONSIDERATIONS FOR THE DESIGN OF EVALUATION STRATEGIES
HUMAN FIGURE DRAWING
To achieve the above purposes, it is necessary to carry out evaluations: diagnostic, formative and summative, throughout the learning process,
which have specific purposes, purposes and times as indicated below:

Evaluation type Diagnostic evaluation Formative evaluation Summative evaluation

Previous learning referring to knowledge, skills, The level of progress in the construction of The level of development of skills
What to evaluate?
attitudes, values and expectations of students. learning. or learning.

TEACHER, provide feedback and modify didactic TEACHER, determine the

TEACHER, to develop or adjust the didactic
planning. assignment of qualification and
planning.
Why evaluate? STUDENT, identify successes and errors in your accreditation.
STUDENT, identify possible obstacles and
learning process, as well as reflect on your STUDENT, reflect on your
difficulties
achievements and challenges. achievements and challenges.

The level of development of the

Previous conceptual, procedural and attitudinal The performance indicators established for
Criteria to consider competency units established in
knowledge. compliance with the units of competence.
the study programs

During the teaching and learning process, its

Before starting a new stage, learning block or Upon completion of one or more
When to evaluate? extension and degree of complexity will depend
session. units of competence or course.
on the competencies to be achieved.

When we talk about developing competencies, we necessarily have to evaluate performances in real contexts, which is also known as authentic evaluation.
For Archbal and Newman , this type of evaluation leads students to perform tasks that are more authentic or similar to those performed by experts, which
9

allows students to interact with the parts of a task and bring them together into a whole, in addition to promoting skills and knowledge that can be used in
various contexts.

9
Archbald and Newman (1988) Beyond standardized testing. Reston, VA: NASSP. In: Calfe, R &Hiebert, E. Classroom assessment of Reading. Handbook of Reading Research II (1991). Barr, R;
Kamil, M; Mosenthal, P. & Pearson, P (eds). New York.
“An authentic evaluation focused on performance seeks to evaluate what is done, as well as identify the link of coherence between the

PV0521/V02.1/2012 27
 GENERAL CONSIDERATIONS FOR THE DESIGN OF EVALUATION STRATEGIES
conceptual and the procedural, understand how performance occurs in a given context and situation, or follow the process of acquiring and perfecting
certain knowledge or forms of action.”

Since throughout the semester the student is encouraged to carry out authentic (or contextualized) learning activities, it is necessary that the
evaluation strategies focus their attention on the application of certain competencies in real scenarios, in such a way that the teacher and the student
can recognize the levels of development of the competence and reflect critically on this.

To this end, it is recommended to consider the active participation of students in the evaluation, and carry out self-assessment, co-assessment
and hetero-evaluation actions. Below are some features and advantages of these:

Self appraisal It is understood as the evaluation that the student makes of his own learning, as well as the factors that intervened in his
process. Self-assessment leads students to reflect on their work, identify their level of performance in relation to the
competence to be developed and make decisions regarding their learning process. It is recommended to prepare the
student for this type of evaluation and accompany it with permanent feedback to guide their future performance.

Co-assessment This type of evaluation consists of evaluating the performance of students, it is carried out among peers (student-student)
with the purpose of providing feedback and reflecting together. It is advisable to create a climate of trust in the classroom, so
that there is an atmosphere of respect and openness to different opinions. This evaluation is recommended for diagnostic
and formative evaluation.

This evaluation is carried out directly by the teacher to the students through various instruments, depending on the purposes
Heteroevaluation
and type of evaluation (diagnostic, formative or summative).

PV0521/V02.1/2012 28
 GENERAL CONSIDERATIONS FOR THE DESIGN OF EVALUATION STRATEGIES
HUMAN FIGURE DRAWING
Finally, the evaluation instruments require, for their choice and design, to identify the specificities of the subject, as well as the knowledge that allows
the scope of the competencies, which is made evident through:

• Indicators of performance G""

• Expected learning (knowledge)

It will be important, therefore, to have adequate, reliable and flexible planning in order to be clear about what the expected evidence and products
will be, with the objective that both the student and the teacher have the necessary information to meet the goals. established, this then implies giving a
more appropriate value to each product and, in this sense, giving a weighting more in line with the levels of performance demonstrated, which can be
indicated according to the level of complexity of the performance indicators and of the construction of the criteria.

The evaluation of learning is inherent to the educational process, so its implementation should not be seen as a separate component, since it
allows a value judgment to be made regarding the learning developed by the student, based on the parameters established in the educational
programs. study.

PV0521/V02.1/2012 29
 BIBLIOGRAPHY
HUMAN FIGURE DRAWING

• EDWARDS, Betty. “Learning to Draw: a guaranteed Method. Hermann Blume, 1984. ISBN: 84-7214-390-2.
• “Human Figure Drawing”. Parramón, 2005. ISBN–13: 978-8434224865.
• CIVARDI, Giovanni. “The Nude: elements of visual analysis.” El Drac Publishing House, 2007. ISBN - 13: 978-8496777415.
V
• RAYNES, John. “Complete course to draw the human figure.” Hermann Blume, 2008. ISBN-13: 978-8480767415.
• RYDER; Anthony. “The Artist's Complete Guide to Figure Drawing: A Contemporary Perspective On the Classical Tradition.” Watson-Guptill, 1999.
ISBN-13: 978-0823003037.

• HOGARTH, Burne. “Dynamic Figure Drawing”. Watson-Guptill, 1996. ISBN-13: 978-0823015771.

• HART; Christopher. “Drawing Cutting Edge Anatomy: The ultimate reference guide for comic book artists.” Watson-Guptill, 2004. ISBN: 0-8230-2398 2.
• ACASO, María, The visual language, Madrid, Paidós, 2006
• ACHA, Juan (2011) The essential concepts of the visual arts, Mexico, Ediciones Coyoacán.
• ACHA, Juan.-“Theory of drawing”, its sociology and its aesthetics.-Edicions Coyoacán.Mèxico2009
• BORDES, Juan.-History of the theories of the human figure, drawing, anatomy, proportion, Ediciones Cátedra, ISBN 8437620996
• EDWARDS, B., (1988) “Learning to Draw with the Right Side of the Brain.” Madrid. Ed. Hermann Blume, ISBN: 84-7214-390-2
• GARDNER, Howard (1994), Artistic education and human development, Barcelona, Paídos
• LAGOUTTE, D., “The plastic arts: contents, vicissitudes and purposes.” Paris. Ed. Armand Colin-Mason. (In French. Translation to Spanish:
INBA)

• SANZ, Juan Carlos, The book of the image, Madrid, Alianza, 1996.

• http://dibujocreacion.blogspot.mx/2010/04/dibujo-de-la-figura-humana.html
• Raynes Johns-Raynes Jody.-How to drow a human figure.-Edit Parragón 2003

PV0521/V02.1/2012 30
 CREDITS

Commission of teachers who participated in the analysis meeting of the area of Plastic and Visual Arts

Francisco Abad Cruz CEDART Alfonso Reyes

Jesús Miranda González CEDART Diego Rivera
Claudia Ávila Talavera CEDART Ermilo Apr
Virginia Arcos Aguilar CEDART Frida Kahlo
Ismael Olivares Zamarripa CEDART José Clemente Orozco •
Manuela Vázquez Moreno CEDART José Eduardo Pierson
Margarita Maciel Morán CEDART Juan Rulfo
Iris Salgado Duerte Ana CEDART Miguel Cabrera
Luisa Arizpe Pérez CEDART David Alfaro Siqueiros

Teachers who participated in the development of the study program for the subject of Human Figure Drawing:

Francisco Abad Cruz, Jesús Miranda González, Claudia Ávila Talavera, Virginia Arcos Aguilar, Ismael Olivares Zamarripa,
Manuela Vázquez Moreno, Margarita Maciel Morán, Iris Salgado Duerte and Ana Luisa Arizpe Pérez

Area facilitator:
Pedagogical Consulting:
Alberto David Zimbron Ortiz Jorge Eduardo González Ceciliano

August 2012.

uncil Fa Subdirectorate General of

Education and
Ekehtad Artistic Research
DIRECTORATE OF ACADEMIC AFFAIRS

PV0521/V02.1/2012 31