RED DEER COLLEGE COURSE OUTLINE Art 341B/Art 343 B Drawing III, IV Fall Term Monday 2:00-4:50 PM

Transcription

1 RED DEER COLLEGE COURSE OUTLINE Art 341B/Art 343 B Drawing III, IV Fall Term 2017 INSTRUCTOR Ian Cook OFFICE: PHONE: OFFICE (403) STUDIO (403) mlcook@shaw.ca and Ian.Cook@rdc.ab.ca OFFICE HOURS - Mon. 12:30-1:45 PM, and Wed. 12:30-1:45 PM CLASS ROOM: 2507 CLASS HOURS: Art 341B / 343B Monday 9:00-11:50 AM, Monday 2:00-4:50 PM Please Note. Morning and Afternoon Classes are considered as two different days for Attendance. There is a sign in and sign out policy for the morning and afternoon classes. ACADEMIC CALENDAR COURSE DESCRIPTION FOR ART 341: ART CREDITS (4-2) 15 weeks DRAWING III. Theory and practice of drawing. Emphasis is on developing more advanced drawing and perception skills. Note: may include use of life models. Prerequisites Art 231, 233, and 243 ACADEMIC CALENDAR COURSE DESCRIPTION FOR ART 343: ART CREDITS (4-2) 15 weeks DRAWING IV. Emphasis is on refining techniques and resolution of working concepts. Prerequisite: Art 341 Note: May include Life Models Note: Not eligible for challenge. These courses may be eligible for prior learning assessment. Students should refer to the RDC Calendar for a list of excluded courses. Classroom learning resources may be available to students in different formats. 1

2 COURSE OBJECTIVES Art 341 and Art 343 are sequential Second Year Drawing Courses. It is important to build strength in Art 341 in order to do well in Art 343 Art 341 will take drawing to a higher level than First Year in terms of concept and idea, composition, technical competence, and overall visual fluency. For this to happen, it is important for the student to take ownership of their work in order that it become more sophisticated, more contemporary, and more personal. Rather than leaving a drawing as a single strong solution, or as a single lucky drawing, Art 341 and Art 343 will emphasize the importance of extending strong individual drawings into a series of three or more drawings, each of which shares the same compositional framework and theme. The three drawings within the series become family related and reinforce one another. Throughout the centuries artists have worked on bodies of thematically based work. This includes Rembrandt and his self portraits, Claude Monet and his Haystack paintings, Rouen Cathedral, and Poplar Tree paintings; Andy Warhol and many of his Pop based paintings and prints; the work of Jim Dine, Jasper Johns, Wayne Thiebaud, Richard Diebenkorn, and the list goes on. cen- Your portfolio by the end of the course will showcase sets of Serial Progressions tered around researching the structures within landscape, researching different approaches to portrait and life drawing. A strong personal commitment to drawing will be necessary to do well in the course. Maintaining a positive attitude, strong work ethic, and having a clarity of purpose, will support and strengthen your drawing experience. To be successful in this course, it will be important to be highly perceptive, be willing to practice and rework drawings until they are right, and work towards insightful moments which deepen understandings. While honing technical skills, it will be important to refine ideas and the conceptual basis of the work. Marshall McLuhan once stated, the medium is the message. This statement is true. If the medium is not handled well, regardless of how profound the concept, the art will have little aesthetic value. If the medium is handled well, beauty will be evident in the handling of process. If the medium is handled well, there will be fewer tripping points for the viewer. The medium is the conveyor of the message. 2

3 LEARNING OUTCOMES FOR ART 341 / 343 Students who successfully complete Art 341 and Art 343 will have a drawings which demonstrate the following skills and understandings. These students will: 1 Create drawings which employ perceptual skills in sighting, measuring, and scaling as part of the drawing process. 2 Employ canons of measurement to create perceptually accurate portrait drawings and life drawings. 3 Incorporate the visual notation of old and contemporary masters into their own work. 4 Develop, improve, and revise drawings through stages of development, from initial underdrawings through to fully resolved finished drawings. 5 Process and develop an idea through different stages of development from a thumb nail sketches to finished drawings. 6 Employ safe practices in the use drawing media and chemicals, as part of the drawing process. 7 Through personal work drawing describe and express contemporary issues which affect the artist and society. 8 Plan, propose, and develop a series of drawings which respond to personal experience. 9 Synthesize and combine new ideas with existing work into a series of new drawings. 10 Employ creative risk in order to achieve new drawing outcomes. 11 Extend and improve a single drawing success into a series of drawing successes. 12 Critically analyze and appraise personal drawing work in order to take it to a higher level. 13 Incorporate constructive feedback to improve personal work. COURSE STRUCTURE 1 Drawing Research based on Landscape 2 Drawing Field Trips such as a visit to the Red Deer Airport or drawing off campus. 3 Continuation of Perceptual Portrait Drawing 4 Continuation of Perceptual Life Drawing 5 Drawing Equations, Conceptually driven work (ART 343) COURSE TOPICS Technical Approaches to Drawing - learning how to set up an easel for proper sighting of subject matter. - learning measuring techniques using a ruler, pencil, and viewfinder to establish comparative measurements. - learning how to use using a pencil, ruler, and viewfinder to measure and record angle relationships within the subject matter being viewed, and transfer to a drawing, - learning how to use a viewfinder as a compositional aid to establish the scale of the composition, the boundaries of the composition, and the placement of composition on the page. 3

4 - using a viewfinder to determine if the composition should be a vertical or horizontal format. - stretching paper in preparation for the application of wet media. Landscape Drawing - analyzing tree structures in terms of volume, texture, and value. - completing a series of structural landscape studies as, and Tone (additive process) in charcoal - completing a series of structural landscape studies as Tone, (subtractive process) in charcoal. - completing a series of Portraits Of A Bush. - completing historical research of landscape drawings by famous artists in order to assimilate their notation and compositional structures, and apply them to personal work. - exploring a Conceptual / Creative Approach to Landscape Drawing. - exploring a Total In formation Approach to Landscape Drawing. Still Life Drawing and Landscape Combined - a review on how to process still life drawings - learning how to apply mechanical perspective systems to still life and employ understandings of perspective as a check on the accuracy of perceptual perspective. - learning how to create accuracy in perceptual perspective drawing without having to use vanishing points. - drawing still life drawing as Line, Tone, and Line-Tone. - still life drawing / landscape drawing using a reductive drawing process. - completing a Serial Progression using the best work as the key. - completing a Total Information Approach to drawing still life subject matter. Portrait Drawing - a review of the canons of portraiture and a demonstration on how to process a portrait drawing using a system of proportion. - more in depth research studies of old master portrait drawings. - continuation of perceptually drawn portrait drawings as line, as tone, and as line-tone. - reductive tonal portrait drawing. - portrait drawings from a variety of angles. - portrait drawings which embody conceptual parameters. - a Total Information approach to portraiture. - Life Drawing - a review of the canons of measurement for life drawing. - review of how to process figure drawings. - figure drawing exercises in proportion as line, tone, and line-tone. - historical research of the visual notation of old and contemporary master drawings and application of those understandings to one s own work. - figure drawing as pressure sensitive line. - figure drawing as a sustained line study. - figure drawing as tone(shadows as shapes) 4

5 - figure drawing as line and tone. - reductive tonal drawing, reductive overdrawn tonal drawing,and additive/reductive tonal drawing. - life drawings which are contextual. - life drawings which embody conceptual parameters. (course topics will be expanded upon in class.) CONCEPTUAL AND EXPERIMENTAL DRAWING - As part of Art 341 and 343 there is the opportunity to explore conceptual, experimental and contemporary issues and boundaries of drawing. This will happen more and more as the year progresses. - Students will be encouraged to investigate visual answers to self imposed questions. - student will have the opportunity to explore different non traditional equations, Drawing as Metaphor, Drawing as a Game, Drawing as, etc. - students will also be encouraged to explore cross over nodes between different disciplines and possibly media.. STUDIO ACTIVITIES The studio learning experience includes formal studio instructional hours of 6 hours per week. The experience will include the formal presentation of problems reinforced by a slide presentation of art work by master artists from the RDC Permanent Collection, and Student Collection. There are technical and conceptual parameters to each problem. Students are expected to complete outside work and historical and contemporary research of artists and their work which will reinforce and support in class studio assignments. RECOMMENDED TEXT BOOKS 1 Lessons In Classical Drawing, by Juliette Aristides, (this was an Art 241 / 241 text) 2 Figure Drawing Masterclass- by Dan Gheno ART MATERIALS =RDC Drawing Locker available through Art Technician, lock rental charge. =Drawing Board available from Art Technician =Plastic Viewfinder Available from Art Technician =12 inch metal ruler to be cut and prepared as part of Viewfinder construction =Magnetic Tape, to be purchase for viewfinder =Cardboard stiff walled cheap Portfolio, not Soft Sided Portfolio =Drawing Spray Fixative =razor blade knife with snap off blades =24 inch stainless steel ruler =Tool box of decent size to carry drawing material but will still fit Drawing Locker =complete set of drawing pencils, white drafting eraser and kneaded eraser =Compressed Charcoal and vine/ willow charcoal box or package =Black,Sanguine,Brown and White conte,and drawing chalk 5

6 =Prisma Color pencils matching conte colours as well as matching coloured prepared papers =bottle of drawing ink, black and possibly sepia =sable water colour brushes, types and sizes will be outlined by instructor =sponge, water colour mixing tray, 3 baby food jars, bottle of liquid mask =water colours as required, guache as required, and acrylic paint as required =roll of low tack masking tape =chamois cloth, cotton cloth =large format hard covered sketchbook - approx. 9 inch x 12 inch size =Large assortment of drawing papers, large pad Bond Drawing Paper =drafting pens of different sizes to be outlined by instructor =other materials as required, possibly water colour, and replenishment of materials as consumed STUDIO FEE A RDC Studio Fee $30 is charged to students at time of Registration to help offset the cost of copied handouts, models, videos, still life materials, etc. STUDENT SAFETY - Always think about personal safety. - When using a Razor Blade Knife ALWAYS make sure that the hand holding the ruler is BEHIND the CUTTING BLADE! - when using the Paper Cutter ALWAYS make sure that your fingers are Away from the CUTTING EDGE! - Fix your drawings outside of class time or on break, not during class time as the sound is interfering - ALWAYS use the Fume Extraction Hood when Fixing Drawings as Fixative Spray is flammable and harmful to your lungs and fellow students lungs - There is a new College Policy which forbids Eating In Studios which will be discussed. STUDIO HOURS The semester has only 13 weeks of learning. Each class represents one week of semester time. If you miss 1 class you have missed 1 week of time, or 8% of the Academic Term. If you miss 3 full days of class you will miss approximately 25% of the term work and valuable class time. The studio learning experience includes formal studio instructional hours of 6 hours per week. You will need to put in minimum of 6-10 additional hours per week to do well. CLASS ATTENDANCE POLICY Attendance and active participation in class is mandatory. Attendance will be taken at the beginning of each class. More than two unexcused absences as well as late arrivals will adversely affect the final grade and will result in a reduction of the grade by up to 10% or IF YOU ARE GOING TO BE LATE OR MISS A CLASS DUE TO ILLNESS IT IS YOUR RESPONSIBILITY TO PHONE OR THE INSTRUCTOR. 6

7 PROPER CARE FOR YOUR DRAWINGS Your drawings are a record of your studio experience and educational growth. Take care of your work. Never settle for half measures. Have all of your home-work completed on time for each class. Always do more than is required. Sign and Date your work as it is completed, and when the work is complete, fix it for proper protection. ASSESSMENT OF STUDENT PERFORMANCE - Mid Term and Year End There are two assessment time periods: Mid Term Review (50%) and Final Portfolio Assessment (50%). At Mid Term the instructor will meet with students at an appointed time on an agreed to date during scheduled class time to review individual portfolios and provide Feedback and grade. The grade will reflect the completeness of the portfolio in terms of all assignments being present, the completeness of understanding of assignments, the overall quality of work produced to Midterm, and in the case of Final Assessment all work competed over the semester will be assessed including work before Mid Term. Grading will reflect the summative assessment of the required work for each assessment time period. Missed assignments will affect your grade. Grading will reflect your technical, compositional, and aesthetic mastery of drawing as process and drawing as product. Overall growth and development is an important factor in portfolio assessment. Attendance of all classes is important to the completeness of your portfolio, and unexcused absences will impact grades. NOTE: PLEASE SIGN. DATE, AND FIX ALL OF YOUR DRAWINGS FOR PORTFOLIO ASSESSMENT MID TERM FEEDBACK In Class interviews between the instructor and students will be conducted on an appointment basis to provide Feedback to the student. Mid Term Grade Is 50% of Final Grade. END OF TERM FINAL EVALUATION Studio Courses do not normally have written final exams. Portfolios will be called in for Final Assessment by the instructor at the end of term Dec 7. (The RDC Final Examination Policy Will Be Followed) 7

8 GRADING Grading will reference Course Learning Outcomes. Grading will be based on the overall quality of work produced including technical skill, compositional strength, conceptual understanding, completeness of portfolio presented, how well drawing solve the problems presented, and overall visual strength of the work, and level of creative insight shown. GRADING STRUCTURE The grading structure follows the established College structure as outlined in the RDC Calendar. Please consult the RDC Calendar description of the four point letter grade system. Grades of D do not generally transfer to other institutions. LETTER NUMBER DESCRIPTION A+ 4 A 4 Excellent Performance A- 3.7 B+ 3.3 B 3 Good Performance B- 2.3 C 2 Satisfactory Performance C- 1.7 D+ 1.3 D 1 Pass F 0 Fail CRITICAL RDC CALENDAR DATES - (ACADEMIC SCHEDULE) First Day Of Class Sep. 06 Last Day to Register or Add/DropCourses Sep. 15 Last day for tuition refund Sep. 15 Emergency Response Day Oct. 03 Thanksgiving day (College closed) Oct. 09 Mid Term Feedback Oct. 27 No credit classes (College open, no classes) Nov. 10 Remembrance Day (College closed) Nov. 13 Classes resume Nov. 14 Last Day For Withdraw with WD Dec. 06 Last Day Of Class Dec. 06 Final Exam Week Dec Final Grades Available Dec. 22 ACADEMIC MISCONDUCT Please be familiar with what constitutes Academic Misconduct as well as the consequences as outlined in the RDC Calendar. Plagiarism involves submitting work in a course as if it is your own. 8

9 CHANGES TO THE COURSE OUTLINE Changes can only be made with the consent of the class and consent of the Associate Dean. It is the student s responsibility to insure that all aspects of the course outline are clearly understood. If not clear please check with the instructor. STUDENT RESOURCES Students should be aware that Personal Counselling and Career, Learning and Disability Services are provided by RDC; and it is the student s responsibility to discuss their specific learning needs with the appropriate service provider. It is the student s responsibility to be familiar with the information contained in the Course Outline and to clarify any areas of concern with the instructor. Students should refer to the Appeals: Formal Policy, Appeals: Informal Resolution Policy and Student Misconduct: Academic and Non-Academic Policy should they have questions or concerns about the Course Outline that cannot be resolved with the instructor. Date: 31 August,