SEMESTER AT SEA COURSE SYLLABUS University of Virginia, Academic Sponsor

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1 SEMESTER AT SEA COURSE SYLLABUS University of Virginia, Academic Sponsor Voyage: Summer 2014 Discipline: Studio Art ARTS : Mixed-Media Travel Journal Lower Division Faculty Name: Marit Berg Credit Hours: 3; Contact Hours: 38 Pre-requisites: none COURSE DESCRIPTION This class will focus on creating a visual record of daily life aboard ship and of cultural studies in port cities. Students will keep a journal-sketchbook in which they will practice mixmedia techniques to sketch with in port cities. They will use this sketchbook, along with collected ephemera and photo references as a basis for a mixed- media accordion style journal /sketchbook. We will cover basic drawing and painting foundations including drawing from observation; perspective and proportions of the human form; opaque and transparent paint techniques; color theory; and collage. In addition to completing a unique and personal record of the voyage in their journal, students will present the more developed mixed-media freestanding accordion sketchbook in a gallery setting on board. COURSE OBJECTIVES - Apply the technical lessons of drawing and painting in assignments with an emphasis on observation. -Apply formal elements and principles of composition in assignments. -Experiment with a variety of media in assignments. -Develop a variety of compositions based on pallets outlined in color theory lectures; from field notes; and in practice-experimentation. -Produce work which combines a variety of media in an organized and thoughtful way. -Explain challenges and show solutions to travel sketching from your own perspective and as lectured about in class. -Distinguish what makes a good subject in order to make your sketchbook personal, representational, and later may serve to present your ideas in a meaningful way. -Recall from memory, and quick notes, visual impressions of a county and compile these in your journal. -Using your travel journal as your resource, compose work which demonstrates your growing technical skills, and synthesizes your experiences in a meaningful way. -In group critique, interpret and evaluate your own work and the work of others, based on what you have learned in class and during the voyage at large. -Recognize artistic cultural traditions for each port/country visited and share this information in class discussion. REQUIRED TEXTBOOKS 1

2 No textbook required. Specific supplies for this class must be purchased ahead of the voyage and brought with you. A detailed list can be found at: Look for Registries and Lists menu and choose Blick U State: Virginia School Name: University of Virginia Search Results will show Mixed-Media Travel Journal Be sure to order your supplies 3-4 weeks before you go. You need to pack them in your bag! Additional household items: -mini water mister (may be small recycled, or travel size) -small household sponge (the regular cellulous kind you clean your sink with no scrubby side) -pencil bag to keep pencils/pens/brushes in TOPICAL OUTLINE OF COURSE This class will emphasize the recording of daily life and cultural obsevations, a visual record of your voyage. It will be necessary to keep your sketchbook/journal with you at all times, especially in port. Because so much of your work will be recorded in this book it is especially important that it is well cared for. There will be suggested places to sketch and view artwork for every port, an emphasis will be on historic and contemporary architecture; important art museums/ galleries; traditional cultural arts of the region; market places and other social gathering places. As part of our field lab in Oslo we will be visiting and sketching historic and modern architecture and the traditional arts of Norway. We will also focus on Norway s most famous artist, Edvard Munch, who worked in a variety of media. Essential minimum requirements: Complete 3-4 pages in your journal in each port. Always record a general time (amount spent) and date with every sketch you make. Complete in class assignments and accordion journal segments within the stated timeframe. Complete all homework before the next class period, unless otherwise noted. Visit 5 museums/ galleries out of the 9 different countries we visit. Suggestions will be provided before each port. Please inquire at the museum first about sketching in the galleries and using cameras to photograph artwork. Also note most museums are closed on Mondays. Classroom attendance is mandatory including using time productively and participation in class discussion. Participate in Field Lab and complete associated assignments. As you develop a familiarity with the materials and explore ways to combine them, you will begin to construct stronger compositions, and meaningful ideas for your designs will emerge. You will synthesize these ideas in an accordion sketch book which can be viewed from both sides; a unique memento of your summer voyage. June 16: Depart Southampton 2

3 June 17: Orientation C1-June 18: -Introduction to art materials (part 1) -Geometric constructive drawing through formal analysis -Observing light and shadow as rendered with value / value scale -Value scale exercise to develop techniques of blending -2 to 3 still life drawings demonstrating these drawing techniques using graphite pencil set and graphite wash (1) minute drawing of objects from your bathroom. Template for homework: Emphasize the drawing skills and specific media we are using in class. As the course progresses you will gravitate toward specific media combinations which suit your expressive style and homework subject matter will be less specific. C2- June 19: C3- June 20: -Making a quick sketch: gesture and expressive line -Basic watercolor techniques -The artists travel journal: slide lecture/examples from artist s sketchbooks A number of timed quick sketches, and sketching from memory using graphite pencil set and graphite wash and watercolor wash. (3 to 5) 5 minute sketches practicing lessons from class -Formal elements and principles of composition -Cultural arts of Portugal; places to sketch in Lisbon and suggested subject matter. A list of suggested art museums and galleries to consider visiting. -Discuss photography protocols for in port -Color theory: The color wheel Working on 11x14 mix-media board, make a color wheel based on the example in class. Cotman watercolor set. (1) minute sketch of something personal you brought with you. June 21-24: Lisbon Port 3-4 pages in your sketchbook-journal. Template for all port drawing assignments. Drawing should fill the pages and may crossover the center between pages. Plan to sketch on location for minutes stretches. Depending on your port agenda, consider visiting 1 of the 5 required art museums or art galleries to gather information and impressions of contemporary and historical/ traditional arts, crafts, and architecture. Sketches should contain media and techniques practiced in class. They may also contain written detailed observations. Make pallet notes and take photographic references you might want to refer to in later drawings. Follow protocol as discussed in class regarding photographing people and inside 3

4 places such as museums, galleries, and religious sites. Consider a thematic focus which highlights a personal interest or is a visual emphasis in the port city, such as food; architectural detail; public sculpture/art; animals/nature. Collect ephemera from your days outing which might evoke a time or place. C4- June 25: experiences and cultural/art observations. Share collected ephemera and how it might be used in a drawing. -Color theory: color intensity -Begin first 2 pages of your accordion journal based in your sketches, photos, and collected ephemera. Consider formal elements and principles of composition. -Make color intensity scales on same 11x14 board as color wheel (1) minute sketch of a meal or snack you eat that day/evening C5- June 26: -Introduction to art materials (part 2) -Cultural arts of Spain (Basque); places to sketch in Bilbao and suggested subject matter; a list of suggested art museums and galleries to consider visiting. -Principles of linear and aerial perspective. In your sketchbook, work on a perspective drawing from a ship location using fine tip black drawing pen and intensity (high/ low) color watercolor washes. (1) minute sketch perspective drawing from your cabin of a piece of furniture (dresser, chair, etc). June 27-30: Bilbao Port. Include use of perspective drawing in buildings; café chairs/tables; etc. C6- July 1: countries. -Continue on the next segment of your accordion journal based in your sketches, photos, and collected ephemera. Consider formal elements and principles of composition. -Add to 11x14 color theory board and replicate color wheel and intensity scales in color pencil. -Finish color pencil color wheel work. Make a quick sketch of an object using color compliments exploring high and low intensity. C7- July 2: -Contour line drawing and weighted contour line; describing organic shapes using a singular line. 4

5 C8- July 3: -The artists travel journal: slide lecture/examples from artist s sketchbooks. -Mixing color pencil and watercolor in analogous color pallets. - Practice 2-3 watercolor washes and developing them with contour line drawings in color pencil. -Continue on the next segment of your accordion journal exploring combinations of new media. (1) minute color wash/ contour line drawing of an article of clothing or jewelry. -Cultural arts of Scotland; places to sketch in Glasgow and suggested subject matter; a list of suggested art museums and galleries to consider visiting. -Continue on the next segment of your accordion journal exploring combinations of new media. Finish up previous assignments if needed. (1 ) minute color wash/ weighted contour line drawing of a pair of shoes. July 4-7: Glasgow Port Emphasize contour and weighted line in your port sketching. Look for organic objects (plants, trees) which you can use organic line with contrasting buildings using perspective/scale.. Make color pallet notes alongside ink or graphite sketches add this to port assignment template. C9- July 8: countries. -Crosshatching to render form and show value (light and shadow) -Value scale exercise to develop techniques of value transitions. Faber Castel fine point pens. -Continue on the next segment of your accordion journal exploring combinations of new media. Enhance sketchbook journal with additional crosshatching in pen. C10-July 9: -Cultural arts of Ireland; places to sketch in Dublin and suggested subject matter; a list of suggested art museums and galleries to consider visiting. -The traveling artist: focus on architectural details and ways to include them in your sketching. -Introduction to opaque painting techniques -Black and white value scale exercise in acrylic. (1) min. mixed-media sketch that you will enhance with opaque paint in class next time. July 10-13: Dublin 5

6 Port Include crosshatching technique in a variety of media. Focus on including architectural details alongside building sketches. C11- July 14: countries. -Opaque painting color mixing and associated value scales -Color wheel exercise and value scales. Add to the others previous completed on the same mixed-media 11 x 14 board. -Add opaque painting techniques to your previous homework sketch. C12- July 15: -The artists travel journal: slide lecture/examples from artist s sketchbooks -Proportions of the human form using constructive drawing approach. -Practice drawing each other standing and sitting and fill in with using opaque painting technique in monochromatic pallets. C13- July 16: -Cultural arts of Norway; places to sketch in Bergen and Oslo (Field Lab) and suggested subject matter; a list of suggested art museums and galleries to consider visiting. -Thumbnail composition sketches to brainstorm for larger format drawing (Field Lab). -Sketching on board location (TBD) considering compositions with figures using a viewfinder. Choose a combination of media. July 17-20: Bergen and Oslo Port FIELD LAB 7/20 C14- July 21: Post Field Lab Discussion: discuss day; share sketchbook pages; evaluate and select sketches you will develop in large format mixed-media work. Be able to clearly articulate your concept for the work. -Work on 11 x 14 mixed-media composition from the field assignment. Begin with thumb-nail studies and mix-media studies for pallet choices. -Work on your accordion journal. TURN IN SKETCHBOOKS FOR MID-TERM REVIEW C15- July 23: 6

7 -Cultural arts of Russia; places to sketch in St. Petersburg and suggested subject matter; a list of suggested art museums and galleries to consider visiting. AND review progress on field assignment individually. -The human form; foreshortening; the figure in action. Continue work on 11 x 14 mixed-media composition from the field assignment. (1) min. sketch practicing foreshortening. SKETCHBOOKS RETURNED July 24-28: St. Petersburg Port Seek out gathering places to sketch. Emphasize people in your drawings (singular; groups; in motion) C16- July 29: countries. AND review progress on field assignment individually. -Proportions of the human head/face; portrait drawing. -Artists examples of portrait drawing in a variety of media. -Prepare some tonal wash preliminary sketches, painting each other s portraits in class. Continue work on 11 x 14 mixed-media composition from the field assignment. C17- July 30: -Cultural arts of Sweden; places to sketch in Stockholm and suggested subject matter; a list of suggested art museums and galleries to consider visiting. -Working on toned paper use highlights and shading to show value -color pencils -Value scale exercise to understand working from a mid-tone. -Adding tonal highlights and shadows to preliminary sketches, of each other s portraits in class. Continue work on 11 x 14 mixed-media composition from the field assignment. July 31- August 3: Stockholm Port Port Seek out gathering places to sketch. Emphasize people in your drawings (singular; groups; in motion). Also longer portraits if you have a willing subject. C18- August 4 countries. Review finished 11 x 14 Field Assignment independent work. Lecture(s): -Artists examples of self-portrait drawing in a variety of media. -take a selfie with your image capture devise (camera, phone, ipad). Start a drawing based on your image in your accordion sketchbook. Enhance sketchbook journal with additional media. C19- August 5 7

8 -Cultural arts of Finland; places to sketch in Helsinki and suggested subject matter; a list of suggested art museums and galleries to consider visiting. -Working with collage; artist s examples -Begin an 11 x14 work exploring mixed media and collage. -Catch up on all assignments including enhancing sketchbook journal with additional media August 6-9: Helsinki Port C20- August 10 countries. -Artists subject: The landscape and the urban landscape -Continue 11 x14 work exploring mixed media and collage. -Catch up on all assignments including enhancing sketchbook journal with additional media C21- August 11 -Cultural arts of Poland; places to sketch in Gdansk and suggested subject matter; a list of suggested art museums and galleries to consider visiting. -Continue 11 x14 work exploring mixed media and collage. Introduce elements of landscape, or complete a small companion collage piece for this work. -Catch up on all assignments including enhancing sketchbook journal with additional media August 12-15: Gdansk Port Port find a view in the city that allows for a larger urban view. Such as the view of buildings from the opposite side of the river; a high vantage point in a building structure. Or if you are traveling outside of the city, make sketches of the rural landscape. C22- August 16 countries. -Bringing synthesis to your accordion journal -Completing your accordion journal -Catch up on all assignments including enhancing sketchbook journal with additional media 8

9 C23- August 17 Lecture-Discussion: -Diverse media: strategies to continue the discipline of making art, beyond academia, as a record and an expression of your life. -Completing your accordion journal -Completing your accordion journal TURN IN SKETCHBOOK FOR FINAL REVIEW C24- August 19: Final Exams SKETCHBOOK RETURNED Display and critique of freestanding accordion journals and mixed media assignment from field lab. FIELD WORK Field lab attendance is mandatory for all students enrolled in this course. Please do not book individual travel plans or a Semester at Sea sponsored trip on the day of our field lab. After a brief meeting on board to discuss out itinerary and day s focus, we will start our adventure on Bygday Island where there is situated 150 well preserved buildings moved here from all over Norway, revealing distinctive regional styles. Here we will learn about the unique architecture of Norway s past with a particular focus on the remarkable 12th century wooden churches. We will spend time exploring and working in our sketchbooks drawing the many unique buildings from inside and out. This is a living museum and we will have opportunities to watch demonstrations and activities reflecting Norway s cultural past. Building up an appetite, we will then jump to the busy marketplace, Mathallan, featuring international and traditional Norwegian food. Here we will feast and take time to make gestural sketches of the busy atmosphere and perhaps some aesthetic food displays. Once we have eaten and explored the market we will meet up to share sketches and notes from Byday Island Norske Folk Museum and the market. From here we will visit the Munch Museum to view and learn more about Norway s most famous artist and the many different media he worked in. Finally, we will leap into the 21 st century and complete our day at the Oslo Opera house. We will view the permanent art installations inside the Opera House and do some sketching as well as sketch the architecture from the exterior. FIELD ASSIGMENT Academic Objectives: 1. Distinguish the different styles of architecture of Norway. 2. Practice perspective sketching and scale/distance relationships in sketchbook drawings. 3. Record in detail, architecture; architectural features; figures in relation to architecture for scale; and unique observations in terms of patterns and color pallet. 4. Record the style and color pallet used by Munch as well as the variety of media he worked in. 5. Demonstrate the use of mixed-media techniques in an independent 11x14 mixed-media work that visually synthesizes your Field Lab experience with an emphasis from your architectural drawings. Sketchbook work from that day will also be evaluated for competencies we have studies so far this term. METHODS OF EVALUATION / GRADING RUBRIC 9

10 Sketchbook: 20% Field Lab: 20% Classroom Assignments (including accordion journal): 40% Shipwork (homework): 10% Class Participation: 10% A "A" is earned for excellent work, exceeding expectations. The student must demonstrate a thorough understanding of all of the knowledge components and skills, and demonstrate proficiency far above the class average and be exceptionally prepared for later learning. The student must exceed the simple fulfillment of the requirements of the problem, and demonstrate insight into the processes involved. The visual manifestation of the solution to the problem must include all of the components, and must be thoughtfully presented, neatly produced. Participation in the critique is necessary to receive an A: %, A-: 90 93% B "B" is earned for good quality work that may lack in one or more aspects. The student must perform above the class average and above a minimum competency. The student must be prepared for later learning. Participation in the critique is necessary to receive a B: %, B+:87-89%, B-:80-83% C "C" is earned for acceptable work. A student must demonstrate understanding of fundamental knowledge and basic skill areas. A student receiving a C demonstrates that they understand the fundamental concept involved in the problem. Production skills may be lacking. Sufficient time to complete the problem to a higher level may not have been allocated by the student. C: %, B+:77-79%, B-:70-73% D "D" is earned for poor work, completed with some effort. The student lacks some fundamental knowledge, and some important skills are not attained. Many of the prerequisites for future learning are not attained. The student does not fully understand the concepts necessary for further learning. The physical product is below class standard. D: %, D+:67-69%, D-:60-63% E "E" is earned for unsatisfactory work, with little or no class participation. The student did not learn or demonstrate the fundamental knowledge, and lacks all of the basic skills and prerequisites for later learning. Below 60% RESERVE LIBRARY LIST AUTHOR: Veronica Lawlor. TITLE: One drawing a day : a 6-week course exploring creativity with illustration and mixed media PUBLISHER: Beverly, Mass. :Quarry Books,c2011. ISBN #: Semester at Sea stacks: NC730.L

11 DATE/EDITION: AUTHOR: Diana Craig & Hazel Harrison TITLE: The new encyclopedia of watercolor techniques PUBLISHER: Philadelphia, Pa. :Running Press,2010. ISBN #: Semester at Sea stacks: ND2420.C DATE/EDITION: AUTHOR: Elizabeth Tate TITLE: The North Light illustrated book of painting techniques PUBLISHER: Cincinnati, Ohio :North Light,c1986. ISBN #: Semester at Sea stacks: ND1500.T DATE/EDITION: AUTHOR: Jennifer New TITLE: Drawing from life : the journal as art PUBLISHER: New York :Princeton Architectural Press,c2005. ISBN #: Semester at Sea stacks: NC53.N DATE/EDITION: HONOR CODE Semester at Sea students enroll in an academic program administered by the University of Virginia, and thus bind themselves to the University s honor code. The code prohibits all acts of lying, cheating, and stealing. Please consult the Voyager s Handbook for further explanation of what constitutes an honor offense. Each written assignment for this course must be pledged by the student as follows: On my honor as a student, I pledge that I have neither given nor received aid on this assignment. The pledge must be signed, or, in the case of an electronic file, signed [signed]. 11