The information will not be changed unless absolutely necessary and any change will be clearly indicated by an approved correction included in the profile.
Overview
In this unit, you will extend your competence in drawing so that it may form a key activity in your creative practice. You will use drawing as an expressive mode of communication and develop a portfolio of drawings using a variety of media and approaches. You will also adapt drawing processes so that they may meet your own creative needs, whilst critically reflecting on your relationship with broad-ranging drawing practices.
Details
Pre-requisites or Co-requisites
Completion of 18 credit points from the Visual Arts major.
Important note: Students enrolled in a subsequent unit who failed their pre-requisite unit, should drop the subsequent unit before the census date or within 10 working days of Fail grade notification. Students who do not drop the unit in this timeframe cannot later drop the unit without academic and financial liability. See details in the Assessment Policy and Procedure (Higher Education Coursework).
Offerings For Term 2 - 2025
Attendance Requirements
All on-campus students are expected to attend scheduled classes - in some units, these classes are identified as a mandatory (pass/fail) component and attendance is compulsory. International students, on a student visa, must maintain a full time study load and meet both attendance and academic progress requirements in each study period (satisfactory attendance for International students is defined as maintaining at least an 80% attendance record).
Recommended Student Time Commitment
Each 6-credit Postgraduate unit at CQUniversity requires an overall time commitment of an average of 12.5 hours of study per week, making a total of 150 hours for the unit.
Class Timetable
Assessment Overview
Assessment Grading
This is a graded unit: your overall grade will be calculated from the marks or grades for each assessment task, based on the relative weightings shown in the table above. You must obtain an overall mark for the unit of at least 50%, or an overall grade of 'pass' in order to pass the unit. If any 'pass/fail' tasks are shown in the table above they must also be completed successfully ('pass' grade). You must also meet any minimum mark requirements specified for a particular assessment task, as detailed in the 'assessment task' section (note that in some instances, the minimum mark for a task may be greater than 50%). Consult the University's Grades and Results Policy for more details of interim results and final grades.
All University policies are available on the CQUniversity Policy site.
You may wish to view these policies:
- Grades and Results Policy
- Assessment Policy and Procedure (Higher Education Coursework)
- Review of Grade Procedure
- Student Academic Integrity Policy and Procedure
- Monitoring Academic Progress (MAP) Policy and Procedure - Domestic Students
- Monitoring Academic Progress (MAP) Policy and Procedure - International Students
- Student Refund and Credit Balance Policy and Procedure
- Student Feedback - Compliments and Complaints Policy and Procedure
- Information and Communications Technology Acceptable Use Policy and Procedure
This list is not an exhaustive list of all University policies. The full list of University policies are available on the CQUniversity Policy site.
- Critically reflect on various modes of drawing and how they may be beneficial to you as a contemporary visual artist, and how your unique approaches to drawing may be adapted to meet the demands of your own creative practice
- Integrate formal drawing elements and concepts including line, tone, shape, texture, pattern, proportion, space, perspective and emphasis to produce drawn documents with descriptive and suggestive power
- Create a folio of drawings which apply concepts relevant to observational, interpretative and experimental drawings.
No external accreditation is required for this unit.
Alignment of Assessment Tasks to Learning Outcomes
| Assessment Tasks | Learning Outcomes | ||
|---|---|---|---|
| 1 | 2 | 3 | |
| 1 - Reflective Practice Assignment - 40% | |||
| 2 - Portfolio - 60% | |||
Alignment of Graduate Attributes to Learning Outcomes
| Graduate Attributes | Learning Outcomes | ||
|---|---|---|---|
| 1 | 2 | 3 | |
| 1 - Knowledge | |||
| 2 - Communication | |||
| 3 - Cognitive, technical and creative skills | |||
| 4 - Research | |||
| 5 - Self-management | |||
| 6 - Ethical and Professional Responsibility | |||
| 7 - Leadership | |||
| 8 - Aboriginal and Torres Strait Islander Cultures | |||
Textbooks
There are no required textbooks.
Additional Textbook Information
As this is a practical, studio-based unit, students will be required access to basic drawing media and supports. The drawing media and support requirements are discussed early in the term.
IT Resources
- CQUniversity Student Email
- Internet
- Unit Website (Moodle)
All submissions for this unit must use the referencing style: American Psychological Association 7th Edition (APA 7th edition)
For further information, see the Assessment Tasks.
p.connor@cqu.edu.au
Module/Topic
• Get to know your media and supports.
• Which media and supports do I purchase?
• Pictorial space - Basic 2- point perspective.
• Measure relative distances to accurately describe proportions and foreshortened structures within basic forms.
Chapter
Week 1 Drawing Activities:
a) Use visual measuring to draw a table receding in space to describe space and perspective.
b) Use one or two chairs to complete a negative space drawing (drawing the visible negative space, not the chairs). To prepare for these drawing activities, please view/read your week 1 learning resources in Moodle.
Events and Submissions/Topic
Introduction to:
• Common wet and dry drawing media.
• Perspective devices including twopoint perspective.
• Measuring, proportion and perspective drawing.
• Negative space drawing.
Module/Topic
• Use a constructive and analytic approach to draw a still-life arrangement.
• Draw ellipses and use contour, cross contour, hatched and cross-hatched lines.
• Describe tone and form using multiple techniques with charcoal.
Chapter
Week 2 Drawing Activities:
a) Use line and a constructive approach to draw a simple still life arrangement.
b) Use line, tone and a constructive approach to draw a simple still life arrangement. To prepare for these drawing activities, please view/read your week 2 learning resources in Moodle.
Events and Submissions/Topic
• Constructive and analytical drawing approaches.
• Contour and cross--contour lines, hatching and cross-hatching.
• Line and tone to describe tone and form.
• Tips for drawing ellipses in still-life drawings.
Module/Topic
• Recognise generic proportions in the adult human figure.
• Use a constructive approach to draw basic, adult, human skeletal structures.
• Use broken contour and gestural lines to create simple, yet dynamic figure drawings.
Chapter
Week 3 Drawing Activities:
a) Using a live model or a life drawing app., complete several schematic drawings which describe the correct proportions and basic skeletal structures of posed, human figures.
b) Using a live model or a life drawing app., complete several schematic drawings which incorporate a constructive approach, broken contour lines and gestural lines to describe the structure and proportions of posed, human figures. To prepare for these drawing activities, please view/read your week 3 learning resources in Moodle.
Events and Submissions/Topic
• Broken contour lines.
• Gestural drawing.
• Proportions of the adult human figure.
• Drawing structure and generic skeletal arrangements
Module/Topic
• Use a constructive approach to simply describe dynamic relationships between key components of the adult, human form.
• Incorporate negative space and describe the edges of form.
• Use line and tone to describe human figures in space and which suggest the action of gravity on the body.
Chapter
Week 4 Drawing Activities:
a) Using a live model or a life drawing app., complete at least one drawing which incorporates a constructive approach, to describe, structure, mass and imply the weight of posed, human figures.
b) Using a live model or a life drawing app., complete at least one drawing which incorporates the use of line, tone, positive and negative space, and a constructive approach, to describe,
structure and mass of posed, human figures. The drawings should also acknowledge the model's centre of
gravity, and imply the activation of specific muscle groups to contest the action of gravity of the body. To prepare for these drawing activities, please view/read your week 4 learning resources in Moodle.
Events and Submissions/Topic
Module/Topic
• Recognise the proportions of the adult human head.
• Draw a generic human head in front view and in profile.
• Recognise how observational, interpretive and expressive drawings may be differentiated.
• Create an interpretive or expressive self-portrait.
Chapter
Week 5 Drawing Activities:
a) Use charcoal and a basic drawing support to complete at least one schematic drawing which describes the proportions of a generic, human head from a front view.
b) Use charcoal and a basic drawing support to complete at least one schematic drawing which describes the proportions of a generic, human head in profile.
c) Use the drawing media and drawing support of your choice to complete at least one interpretive or expressive self-portrait.
To prepare for these drawing activities, please view/read your week 5 learning resources in Moodle.
Events and Submissions/Topic
• Proportions of the adult human head.
• Observational, interpretive and expressive drawings.
• Exploring media and supports, relative to the subject matter.
Module/Topic
No topics this week.
Chapter
Events and Submissions/Topic
Module/Topic
• Recognise the ways in which drawings may be valued as artworks.
• Identify a subject, topic, theme, or precept to focus the
creation of a small series of drawings.
• Identify, media, supports, resources and processes that
will usefully align with your drawing series theme/topic/concept.
• Identify a budget and retail businesses that can supply
required materials.
Chapter
Week 6 drawing activity:
a) Drawing from your emerging creative practice, and using quality drawing supports and the media of your choice, develop a small series of engaging, professional and exhibitable creative drawings. To prepare for these drawing
activities, please view/read your week 6 learning resources in Moodle.
Events and Submissions/Topic
• Drawings as artworks.
• Plan your drawing series (content, media and support).
• Time-management and budget constraints.
Module/Topic
• Complete further research to acquire more knowledge of
your selected media and techniques.
• Complete further research to acquire more knowledge of
your topic, theme or concept.
• Take photographs to develop useful support material if required.
• Complete thumbnail sketches to plan the compositions of your drawings.
Chapter
Week 7 drawing activity:
a) Taking inspiration from your emerging creative practice, and using quality drawing supports and the media of your choice, develop a small series of engaging, professional and
exhibitable creative drawings.
Events and Submissions/Topic
• Plan your drawing series (research media, techniques, process and related supports).
• Other constraints (OHS, physical mobility, allergies and sensitivities).
Module/Topic
• Begin all drawings for
Drawing Project 1. (your drawings require generous
margins?
Chapter
Week 8 drawing activity:
a) Continue to develop a small series of engaging, professional and exhibitable creative drawings.
Events and Submissions/Topic
• Scale and presentation requirements.
• Drawing hurdles and getting started.
Module/Topic
• Seek feedback about your drawing project outcomes from your
lecturer.
• Complete drawing project # 1.
Chapter
Week 9 drawing activity:
a) Continue to develop a small series of engaging, professional and exhibitable creative drawings.
Events and Submissions/Topic
• Incorporate critical and creative thinking skills into your creative
process.
• Seek feedback from others.
• Creative processes as iterative and reflexive practices.
Module/Topic
• Recognise common attributes of experimental drawings.
• Research experimental drawing processes and media.
• Plan your experimental drawing (What materials and space will you require?)
Chapter
Week 10 drawing activity:
a) Using any media or support, complete at least one experimental drawing which explores the limits of common assumptions about drawing processes and outcomes. To prepare for these drawing activities, please view/read your week 10 learning resources in Moodle.
Events and Submissions/Topic
• Experimental drawing (media and process).
• Plan your project.
Module/Topic
• Source materials and space required to create your
experimental drawing/s.
• Create your experimental drawing/s.
Chapter
Week 11 drawing activity:
a) Continue to develop your experimental drawing project.
Events and Submissions/Topic
• Acquire your materials, set-up your space and get started.
• Be prepared to repeat the process.
Module/Topic
• Seek feedback regarding your completed experimental
drawing/s (Drawing Project #2).
• Complete your experimental drawing/s (Drawing Project #2).
• Document your outcomes.
Chapter
Week 12 drawing activity:
a) Complete your experimental drawing project.
Events and Submissions/Topic
• Create experimental drawings.
• Evaluate and document the outcome/s.
Reflective Practice Assignment Due: Week 12 Friday (10 Oct 2025) 11:45 pm AEST
Module/Topic
• Finalise and submit your reflective practice essay.
Chapter
Events and Submissions/Topic
Module/Topic
• Finalise your drawing projects and submit your folio of drawings.
Chapter
Events and Submissions/Topic
1 Reflective Practice Assignment
Critically reflect and then discuss in 2500 words (+ or – 10 %) how various modes of drawing may either benefit or have limited relevance to your emerging, contemporary, visual art practice. In instances where modes of drawing are deemed to have significance to your future practice, it is important that you critically reflect on the processes, drawing media and supports that you have used this term, and how adapting the use of these in specific processes may enhance how these modes of drawing may benefit your future creative practice. Modes of drawing will include:
a) Preparatory drawings and thumbnails sketches, that may not be seen by others but support your ability to resolve artworks in another medium.
b) Observational drawings completed for the purpose of improving drawing skills and knowledge.
c) Creative studio drawings completed for the purpose of exhibition and/or sale, and which represent your creative practice through drawing media or approaches.
d) Experimental drawings completed to explore the limits of common drawing practices.
Please note: To successfully complete this assessment, you must include at least twelve (12) citations from scholarly or reliably authoritative sources. You must also include a reference list. The following reflective essay structure is recommended:
1. Introduction (250 words)
2. Preparatory drawings (500 words)
3. Observational drawings (500 words)
4. Creative studio drawings (500 words)
5. Experimental drawings (500 words)
6. Conclusions (250 words).
It is further recommended that at least two (2) reliable and authoritative citations are used to support your critical reflections in each of the proposed sections (above). These citations will be used to either support or offer further opportunities to critically engage with your reflections on your own drawing experiences and outcomes this term.
Use of Generative Artificial Intelligence agents (Gen AI)
AI Assessment scale tool:
Level 1: You must not use Al at any point during the assessment. You must demonstrate your core skills and knowledge. Any misuse or lack of disclosure regarding the use of AI tools will be considered a breach of academic integrity.
Please refer to the Moodle assessment tile for specific details.
This assessment addresses learning outcome 1 of this unit:
L.O.1 - Critically reflect on various modes of drawing and how they may be beneficial to you as a contemporary visual artist, and how your unique approaches to drawing may be adapted to meet the demands of your own creative practice.
Assignment format:
· Use 12-point Times New Roman font for the body of the essay.
· 1.5 spacing throughout
· You may use sub-headings if you wish to organise your assignment. These may be in a different colour or different size font.
· Include in-text references (citations) throughout the assignment.
· Include your name and student number in the header of the document
· Include page numbers in the footer of the document
· Include a Reference List at the end of the assignment in APA style, 7th edition.
· You should have a minimum of 12 references for this assignment.
· Do NOT cite from Wikipedia or other websites that do not have an acknowledged author.
Important information about Word Count:
The word count is considered from the first word of the introduction to the last word of the conclusion. It excludes the cover page, abstract, contents page, reference page and appendices. It includes in-text references and direct quotations.
Week 12 Friday (10 Oct 2025) 11:45 pm AEST
Please submit your assessment as a Microsoft Word document via Moodle by the due date.
Review/Exam Week Friday (17 Oct 2025)
Assessment returns and feedback are made via Moodle.
- Evidence of research and integration of theoretical perspectives (20%)
- Structure (10%)
- Critical Reflection (20%)
- Writing Standard (20%)
- Attention to requirements of task (20%)
No submission method provided.
- Critically reflect on various modes of drawing and how they may be beneficial to you as a contemporary visual artist, and how your unique approaches to drawing may be adapted to meet the demands of your own creative practice
2 Portfolio
This assessment task (portfolio of drawings) requires the submission of:
2.0). Observational drawings that relate to each of the 10 observational drawing tasks which span weeks 1-5 of this unit. Each observational drawing will be completed on A2 cartridge paper. Each observational drawing must be drawn from life or be completed with the aid of a figure drawing app.
2.1). Your complete series of studio drawings which respond to drawing project task #1.
2.2). Your completed drawing or drawings which respond to drawing project task #2.
2.0 The observational drawing tasks (drawing exercises) are:
A. At least two (2) observational drawing (drawn from life, without the aid of photographs) of a table in perspective (week 1, task 1). (If the table has a rectangular tabletop, its longest dimension should be receding away from you in space when you draw it). Media and support: Charcoal (willow, hard compressed, charcoal pencil) on cartridge paper. To complete this task, you will use the measuring and sizing process demonstrated in this week's workshop and this week's Moodle resources.
B. At least two (2) observational drawing (drawn from life, without the aid of photographs) negative space drawing of a chair or small group of chairs (week 1, task 2). Media and support: Charcoal (willow, hard compressed, charcoal pencil) on cartridge paper. To complete this task, you will use the measuring and sizing process demonstrated in this week's workshop and this week's Moodle resources.
C. At least one (1) linear, observational drawing (without the aid of photographs) that uses constructive and analytical drawing techniques, and which uses lines and ellipses to describe a simple still-life. The still-life arrangement must include one teapot, at least one teacup, and one apple (or similar spherical fruit) (week 2, task 1). The drawing must incorporate a slightly elevated perspective, relative to the still-life objects. Media and support: Charcoal (willow, hard compressed, charcoal pencil) on cartridge paper.
D. At least one (1) observational drawing (drawn from life, without the aid of photographs) that uses constructive and analytical drawing techniques, and which uses carefully observed and rendered tones to describe a simple still-life. The still-life arrangement must include one teapot, at least one teacup, and one apple (or similar spherical fruit) and find a suitable solution to the depiction of the space around these subjects. The drawing must incorporate a slightly elevated perspective, relative to the still-life objects (week 2, task 2). Media and support: Charcoal (willow, hard compressed, charcoal pencil) on cartridge paper. (This second still-life drawing may be the second stage of the linear, observational drawing of the still-life arrangement, using photographs to document the two stages of the drawing’s development.)
E. At least two (2) observational drawing (drawn from life or with the aid of a life-drawing app.) of an unclothed or clothed, standing human form in contrapposto pose, and which demonstrates the use of construction lines to describe the basic skeletal structure of the standing form (week 3, task 1). Media and support: Charcoal (willow, hard compressed, charcoal pencil) on cartridge paper.
F. At least two (2) observational drawing (drawn from life or with the aid of a life-drawing app.) of an unclothed or clothed, standing human form in contrapposto pose, and which demonstrates the use of construction lines to describe the form’s basic skeletal structure, and which incorporates broken contour as well as gestural lines which describe the edge of the form and imply dynamism in the form’s structure (week 3, task 3). Media and support: Charcoal (willow, hard compressed, charcoal pencil) on cartridge paper.
G. At least two (2) observational drawing (drawn from life or with the aid of a life-drawing app.) of an unclothed or clothed, standing human form in contrapposto pose, sketched using basic constructive forms that highlight dynamic movement and relationships between the spine, head, pelvis, and ribcage (the shoulders, humorous, elbows, radius and ulna, femur, patella, fibula, and tibia may be described with the use of straight lines and small circles (week 4, task 1). Media and support: Charcoal (willow, hard compressed, charcoal pencil) on cartridge paper.
H. At least two (2) observational drawing (drawn from life or with the aid of a life-drawing app.) of an unclothed or clothed, standing human form in contrapposto pose and which incorporates lines and tones, positive and negative space, and is suggestive of the force of gravity and its impact on the musculature of the human body (week 4, task 2). Media and support: Charcoal (willow, hard compressed, charcoal pencil) on cartridge paper.
I. At least one (1) linear drawing that depicts the generic proportions of an adult human head (front view). At least 1 linear drawing that depicts the generic proportions of an adult human head (side view/profile) (week 5, task 1). Media and support: Any drawing media or support. (Or simple generic head)
J. At least one (1) interpretive or expressive self-portrait. The process used to create this drawing may include the use of technologies including photography, photocopiers, projection, digital manipulation software (like Adobe Photoshop) and generative AI (artificial intelligence) or simply a mirror (week 5, task 2). Media and support: Any drawing media or support (however consideration should be given to the media and support’s archival properties and general quality.
2.1 Drawing Project #1 (creative studio drawing series – drawn artefacts as exhibitable artworks)
Complete a series of at least four (4) drawings that are no smaller than 45 cm in any direction, and which respond creatively to an idea, concept, theory, or precept that is also central to your emerging visual arts practice. As such, these drawings should be understood to represent your current practice, seek to be professional in approach and execution, and form a visual relationship with creative work completed in either CART12010 or CART13009. You may choose any media and support to complete this series of drawings, but consideration should be given to archival stability (permanence) and your reputation as an emerging professional. The same general approach, media, support, and image dimensions should be used to complete each drawing in the series.
2.2 Drawing Project #2 (experimental drawing – “This is a drawing”, “Is this a drawing?”)
For this drawing project you will complete an experimental drawing or drawings. To successfully complete this project brief you will develop and submit a graphic artefact that is engaging, and which seeks to extend the parameters commonly associated with the term ‘drawing’. You may do this by deploying a non-typical drawing process, by using non-typical drawing media, or by using non-typical drawing supports. (If temporary materials are used, it will be necessary to record the drawing using photographs.) The drawing process and outcome must show due respect for other people’s property, not be considered obscene, and not pose any health risk to yourself or others.
Use of Generative Artificial Intelligence agents (Gen AI)
AI Assessment scale tool:
Level 1: You must not use Al at any point during the assessment. You must demonstrate your core skills and knowledge. Any misuse or lack of disclosure regarding the use of AI tools will be considered a breach of academic integrity.
Please refer to the Moodle Assessment tile for specific details.
Please note: Before you submit your folio assessment, you must first complete the declaration acknowledging that you are the sole author of the drawings submitted for this assessment, and that the processes used to complete them strictly comply with the prescribed drawing tasks descriptions. Authorship also acknowledges that the submitted drawings have not been aided in part or in full by generative AI (artificial intelligence) technologies (with the exception of observational drawing task j).
Please note: To submit your portfolio of drawings, you must use the portfolio of drawings template provided and submit it via Moodle by the due date.
Review/Exam Week Friday (17 Oct 2025) 11:45 pm AEST
Please submit your assessment as a Microsoft Word document via Moodle by the due date.
Exam Week Friday (24 Oct 2025)
Assessment returns and feedback are made via Moodle. If your word document is too large (100 MB or more) then please compress your images in the Word document by using the compress pictures function > Picture format/compress pictures.
PART 2.0
- Line quality, variety and expressiveness. (15%)
- Application of tone and negative space. (10%)
- The suggestion of structure, mass and gravity. (15%)
- Accuracy of proportions. (15%)
- Process and use of media. (15%)
- Creative, interpretive, and innovative use of media. (15%)
- Attention to requirements of drawing task. (15%)
PART 2.1
- Use of line and/or tone. (20%)
- Technique, appropriateness of technique and compatibility of media. (20%)
- Creative and innovative use of media. (20%)
- Composition and presentation. (20%)
- Attention to requirements of drawing task. (20%)
PART 2.2
- Process and approach. (40%)
- Selection and use of media and supports. (40%)
- Attention to requirements of drawing task. (20%)
No submission method provided.
- Integrate formal drawing elements and concepts including line, tone, shape, texture, pattern, proportion, space, perspective and emphasis to produce drawn documents with descriptive and suggestive power
- Create a folio of drawings which apply concepts relevant to observational, interpretative and experimental drawings.
As a CQUniversity student you are expected to act honestly in all aspects of your academic work.
Any assessable work undertaken or submitted for review or assessment must be your own work. Assessable work is any type of work you do to meet the assessment requirements in the unit, including draft work submitted for review and feedback and final work to be assessed.
When you use the ideas, words or data of others in your assessment, you must thoroughly and clearly acknowledge the source of this information by using the correct referencing style for your unit. Using others’ work without proper acknowledgement may be considered a form of intellectual dishonesty.
Participating honestly, respectfully, responsibly, and fairly in your university study ensures the CQUniversity qualification you earn will be valued as a true indication of your individual academic achievement and will continue to receive the respect and recognition it deserves.
As a student, you are responsible for reading and following CQUniversity’s policies, including the Student Academic Integrity Policy and Procedure. This policy sets out CQUniversity’s expectations of you to act with integrity, examples of academic integrity breaches to avoid, the processes used to address alleged breaches of academic integrity, and potential penalties.
What is a breach of academic integrity?
A breach of academic integrity includes but is not limited to plagiarism, self-plagiarism, collusion, cheating, contract cheating, and academic misconduct. The Student Academic Integrity Policy and Procedure defines what these terms mean and gives examples.
Why is academic integrity important?
A breach of academic integrity may result in one or more penalties, including suspension or even expulsion from the University. It can also have negative implications for student visas and future enrolment at CQUniversity or elsewhere. Students who engage in contract cheating also risk being blackmailed by contract cheating services.
Where can I get assistance?
For academic advice and guidance, the Academic Learning Centre (ALC) can support you in becoming confident in completing assessments with integrity and of high standard.
What can you do to act with integrity?
