Electronic Devices ARE OFF DURING CLASS. No texting or photography.

Transcription

1 Pierce College: Art 201 Beginning Drawing Syllabus Instructor: Julie Scott Summer 2017, Rm 3309; Mon thru Thurs. 11:30am 2:40pm, Section 1304 Office hours: Immediately after class or by appointment Electronic Devices ARE OFF DURING CLASS. No texting or photography. COURSE DESCRIPTION: Beginning Drawing emphasizes the practice of drawing through direct and accurate observation with intense focus on proportion, linear & atmospheric perspective, value, and composition as they relate to the fundamentals of artistic expression. STUDENT LEARNING OUTCOMES: students should be able to: Understand the formal language of drawing and its use for artistic expression including line, line quality, mark making, shape, volume, space, texture, value, proportion, linear and atmospheric perspective and composition. Identify and use the basic principles of drawing including balance, variety, harmony, rhythm, repetition, emphasis, tension, economy and contrast. Compose and develop resolved drawings from direct observation. Articulate drawing concepts & methods into effective verbal & written communication Identify traditional and contemporary drawing practices. Assess your finished drawings by comparing & contrasting to the work of others. METHOD OF INSTRUCTION INCLUDE: image presentations, demonstrations and a lecture before all assignments given. There will be class critiques in which all are encouraged to participate. COURSE REQUIREMENTS AND ASSESSMENT OF STUDENT PERFORMANCE: Students are expected to come to class prepared to work and have all necessary materials with you. Students are expected to complete all in-class projects and assigned homework on time. Students are expected to take copious notes as reference. Grading is based on your demonstration of the learned drawing techniques and concepts of each project within the granted time frame. A strong work ethic is important in this class. CLEAN UP: We are sharing this room with many other classes who come in the next morning after we leave. Cleaning up before leaving class is a must! * Professor retains the right to change any part of this syllabus.

2 CLASSROOM BEHAVIOR: Disobedient, disruptive or disorderly behavior exhibited by any student may result in disciplinary action in accordance with District policies and procedures. Action may include, but is not limited to expulsion from class. ACADEMIC HONESTY: The faculty and administration of Pierce College are committed to the belief that honesty and integrity are integral components of the academic process. The College expects students to be honest and ethical at all times in their pursuit of academic goals. Students who violate the code of academic conduct by which the College maintains its academic integrity will be dealt with in a manner reflecting the seriousness of these violations. I. Violations of academic honesty and integrity occur when a student participates in any act in which he/she uses deception or fraud while performing an academic activity. Violations include, but are not limited to, the following: Using study aids such as calculators, tape recorders or notes, when not authorized by the instructor. Cheating on exams, assignments or experiments (allowing another student to copy one s answers or copying the answers of other students; exchanging information by any means, including verbal exchanges, sign language, hand signals, secret codes, passed notes, creation of a distraction for the purpose of cheating; changing answers on a previously scored test, assignment or experiment; inventing information and/or data.) Allowing another student to assume one s identity in order to fulfill an assignment or take a test. Submitting for a grade the words, ideas, and/or written work (including laboratory notes and drawings) of another person without giving due credit to that person. This includes purchased papers or papers written by other students. Falsifying or attempting to falsify attendance records and/or grade rosters. Conspiring with other students to commit any of the above behaviors. II. Consequences for any offense against academic honesty and integrity may include: An F or a 0 on the examination or assignment. Suspension from the class and other sanctions and/or penalties authorized by the Board of Trustees for violations of the District Code of Conduct. A record of the student s violation placed in the student s disciplinary file. Students are required to be honest and complete their own work at all times (homework, class work, quizzes, tests, etc.). Additional information about plagiarism can be found at or through various websites on the Internet. **In this class, cheating and plagiarism are the use of or the completion of a project(s) by another individual to pass for your own work. The use of projectors to trace your work from a photo is also a form of cheating. Using a photo taken in the classroom or at home and used to draw from is cheating.

3 EVALUATION AND GRADING: If you decide not to attend the class anymore, it is your responsibility to drop the class. If you are on my roster at the end of the semester and stopped coming to class during the semester, your final grade will be an F. The No Penalty Drop Date is now the day before census (end of 2nd week for full-term classes). You must drop by that date or you will be assigned a W for the class. W s count against your total attempts District wide! You can only attempt a class 3 times. That includes withdrawals, incompletes and substandard grades. Use your attempts wisely EVALUATION OF PROJECTS: (LATE ASSIGNMENTS = ONE GRADE REDUCTION) (5=Excellent work, 4 = Good work, 3 =Average, 2=Poor) = 60 max. points All homework assignments can be done over for a better grade, provided the first one was completed and handed in on time. They are due a week later from original due date. A. In-class assignments (8 total) 40 pts. B. Homework assignment drawings (8 total) 40 pts. C. Artist Essay (written assignment) 20 pts. TOTAL POSSIBLE POINTS pts *Final critique, Wednesday, December 7 CRITIQUES: Class critiques are for the class to engage in a conversation around the strengths and weaknesses of the project. They help the artist think about issues or ideas that he or she may have overlooked, or can improve upon. They only work if everyone is engaged and speaking. All critiques are mandatory. A missed Final Critique is an F for the final homework grade. FINAL GRADING SCALE (total point valuations for semester) Excellent - A = pts Good - B = pts Fair - C = pts Poor - D = Failure - F = 59 and below ASSIGNMENT GRADING EVALUATION 5 = Excellent finished work: Student demonstrates skills with materials, is flawless in presentation & understanding the concepts, and clear evidence of a creative initiative to assignments. No torn edges and CLEAN drawings. 4 = Completed work. Skills are demonstrated but could be improved. Clean 3 = Work demonstrates some understanding of concepts and skill but lacks completeness or needs improvement. 2 = Shows a minimal understanding of the assignment or is not meeting the requirements of the assignment. Work is unfinished. 0 = Fails to hand in project or invests very little or no time into the project

4 MATERIALS * Newsprint 18"x 24" of 50 sheets * Drawing paper Pad 18 x 24 of Strathmore Drawing paper * Sketchbook or unlined notebook (8 x 11 ) to take copious notes * 1-8 x 10 tag board or poster board, otherwise known as poster board or rail board (Office Depot, Michaels) * 1- sheet clear acetate (8 x 10 ) * Drawing Board with clips about 23 x 26 (large enough for 18" x 24" drawing paper) * 1-can Krylon Workable Fixative (Outside spraying only) * 1-inch low tack drafting tape or blue scotch 3M tape from home depot * Exacto knife With #11 blade * Sand paper pad * Chamois * 1- black felt tip ink pen to write on acetate (ask clerk for best for acetate). * Vine Charcoal 1 container of 10 (soft or medium only) * Charcoal pencil set - 2B, 4B, 6B (Ritmo are best, Primo or Generals) * Alpha color charkole blocks, package of 3 * Generals Graphite Pencil Set #25 (metal sharpener & white eraser) ($8.99) * Kneaded eraser * Ruler (24" or larger metal with cork back) * Utility Box to carry materials (Get the cheapest which can vary $5 to $10). Art Stores: Show student I.D or show syllabus for a student discount. Continental Art Supplies 7041 Reseda Boulevard, Reseda, CA (818) Dick Blick (310) Santa Monica Blvd, Los Angeles, CA Dick Blick (323) Beverly Blvd., Los Angeles, CA Dick Blick (626) S Raymond Ave., Pasadena, CA There is no text book for this class. Supplies should cost somewhere between $125 to $200 for the semester.

5 Comparative paintings or drawings Essay. Due: Tuesday, August 15, 2017 Chose a gallery(s) or a museum from the list from my syllabus to write about 2 different drawings or 2 different paintings from 2 different artists. The work must be image based or representational. This paper is about you sitting and looking at the work. It is NOT about the history of the work or the time period or doing any research in a library. It is about you sitting and closely observing the work of art. I don t want quotes from from books, or quotes from plaques in the museum or gallery. All words are from YOU! However, there are to be no feelings or opinions expressed in this paper. The important thing is to focus on and explore these artists works. This is a formal paper and should be typewritten (double spaced) and checked for spelling and grammatical errors. The paper s length should be at least 3-pages, doublespaced, in font Verdana, text size of 12. Please include an 8 x 10 color picture of both works taken with your camera when you hand in your paper. At least one picture should have you in the picture to the side of the work of art. Structure of the paper: The Introduction Paragraph: Tell me the names of the galleries or museums you attended. What were the names of each of the artists? What were the titles of each painting? What year were they completed? Include dimensions, medium. Second Paragraph: Describe in detail the formal aspects of one of the two drawings/paintings. Formal aspects include materials, line, colors, values, lighting, texture, scale, space and composition. All of these terms have been used in our class. If there is line in the painting what is the line quality in the work, is it gestural, an outline, a varied contour line, an implied line. Is it thick or thin or varied between both? What is the overall tonal value of the work, is it high key (light to mid-tone) or low key (mid-tone to dark). Does the light come from one light source or does it bathe the entire scene in light as if it is outside during the day, or is there any light quality at all? Does the work have texture (rough or smooth) that is implied through attention to detail or is texture due to the texture of paint or use of material itself. How would you describe the composition in terms of Rule of thirds, negative space and balance (symmetrical or asymmetrical)? Is there a focal point, a pattern, repetition of any shapes or a sense of distance? How is color used? What is the dominate color or form? Is there pattern of color throughout the painting? How would you describe the work in terms of space? Is it deep space, on the surface, crowded space, open space, ambiguous space or is there no illusion of space??? Describe each of these above formal aspects in detail. Third Paragraph: Address the second painting/drawing the same way you addressed the first in the Second Paragraph.

6 Fourth Paragraph: Compare and Contrast the two paintings/drawings. How are they similar? How are they different? Tell me all the differences you see. Fifth Paragraph: In your opinion, what do you find successful in each of these works and why? What, if anything do you find to be unsuccessful? After studying the works did you find that you came away with a greater understanding or appreciation of the work? If so, please explain how? TERMS AND PHRASES TO AVOID IN YOUR PAPER: 1. Easy on the eyes, such as The painting was easy on the eyes or the color combination was easy on the eyes. Any generic term such as this does not contribute or add any insights on the work of art you are writing about. 2. The Artist did a great job or The artist is a master at this or that yes, we already know this. That is why he or she is in the museum. This isn t about giving accolades to the artist, we are not trying to make friends with this artist. it s about looking and being specific about what we are looking at. What works, what doesn t work? 3. I really liked the painting by so- and- so This says nothing about the painting. This is a sentence that is about you. Try not to use nonsense and fluff sentences to fill the page. Study the painting, use the vocabulary that we ve used in class, that I have provided above. Remember this is not about you or if you like the art work. This is about the Art work that you are observing and about you paying attention to it. Museums and Galleries Gallery guide + map: Bergamot Station (Several galleries) Free everyday (Tues Sat) 2525 Michigan Avenue Santa Monica, CA Orange County Museum of Art (949) , 850 San Clemente Dr. Newport Beach, CA CLOSED on Monday and Tuesday / Wed-Sun 11am 5pm / Thurs 11am -8pm, Students with ID - $1, Free the 2nd Sunday of every month Culver City Galleries (Several galleries) free everyday (Tues Sat) La Cienega Blvd. and Washington Blvd. Wilshire Galleries (several galleries) 6150 Wilshire Blvd. Los Angeles, CA free everyday (Tues Sat) Museum of Contemporary Art (MOCA) (downtown LA) 250 S. Grand Ave. Los Angeles, CA 90012, : free Thursday 5-8pm.

7 Los Angeles County Museum of Art Wilshire Blvd., Los Angeles, CA 90036; free 2nd Tuesday of each month. Free for all L.A. County residents after 5pm on Mon, Tues, Thurs. and Fridays with proof of residence. (driver s license). Getty Museum free admission always. Cost of parking is $ Getty Center Drive, Los Angeles, CA 90049; Norton Simon Museum Free with student ID 411 W. Colorado Blvd., Pasadena, CA Hammer Museum free with student ID, free for all on Thursdays Wilshire Blvd. Los Angeles, CA The Broad Reserve tickets in advance at: thebroad.org Glossary of Drawing Terms ( Drawing Space, Form and Expression; Third Edition Wayne Enstice, Melody Peters) Ambiguous Space A visual phenomenon occurring when the spatial relationships between positive and negative shapes are perceptually unstable or uncertain. Also see Figure-Ground shift, Interspace and Positive-Negative reversal. Asymmetrical Balance Visual equilibrium achieved by adjusting such qualities as the scale and placement of elements in different parts of a composition. Atmospheric Perspective A means for achieving the illusion of threedimensional space in a pictorial work of art. Sometimes called aerial perspective, it is based on the fact that as objects recede into the distance their clarity of definition and surface contrast diminish. Background The most distant zone of space in a three-dimensional illusion. Blind Contour Line drawings produced without looking at the paper. Such drawings are done to heighten the feeling for space and form and to improve eye-hand coordination. Cast Shadow The shadow thrown by a form onto an adjacent surface away from the light source.

8 Chiaroscuro Refers to the gradual transition of values used to create the illusion of light and shadow on a three-dimensional form. The gradations of light are separated into six separate zones: light, highlight, transition edge or shadow edge, core shadow, reflective light and cast shadow. Cone of Vision A conical volume that constitutes the three-dimensional field of vision. Its apex is located at eye level; its base lies within the imagined picture plane. Contour Line A line of varying thickness and often tone and speed used to suggest the three-dimensional qualities of an object. Contour line may be applied along as well as within the outer edges of a depicted form. Convergence In the system of linear perspective, parallel lines in nature appear to converge (come together) as they recede. Cropping Using a format to mask out parts of an image s subject matter. Cross-Contour Lines Contour lines that appear to go around a depicted object s surface, thereby indicating the turn of its form. Cross-Hatching The intersecting of hatched or massed lines to produce optical gray tones. Diminution In linear perspective, the phenomenon of similarly-scaled objects appearing smaller as they recede. Envisioned Images Depictions that are based on or in part on the artist s imagination or recall. Eye-Level The height at which your eyes are located in relation to the ground plane. Things seen by looking up are above eye-level (or seen from a worm s eye point of view); things seen by looking down are below eye-level (or seen from a bird s eye view) Figure The representation of a recognizable object or nonrepresentational shape which may be readily distinguished from its visual context in the drawing. Figure-Ground Shift A type of ambiguous space that combines aspects of interspace and positive-negative reversals. Fixed Viewpoint Refers to the depiction of an observed object in accordance with its appearance from one physical position.

9 Foreground The closest zone of a space in a three-dimensional illusion. Foreshortening In foreshortening, the longest dimension of an object is positioned at an angle to the picture plane. Form The shape, structure and volume of actual objects in our environment, or the depiction of three-dimensional objects in a work of art. Form also refers to a drawing s total visual structure or composition. Format The overall shape and size of the drawing surface. It can also refer to the position of the rectangular surface s orientation: a horizontal orientation is referred to Landscape format which the vertical orientation is referred to as a Portrait format. Gestalt A total mental picutrue, or conception, of a form Gesture Drawing A spontaneous representation of the dominant physical and expressive attitudes of an object or space. Ground The actual flat surface of a drawing, synonymous with a drawing s opaque picture plane. Ground Plane A horizontal plane parallel to the ey=level s plane. In nature this plane may correspond, for instance, to flat terrain, a floor, or a tabletop. Hatched Lines Massed strokes that are parallel or roughly parallel to each other. Used to produce optical gray tone values. Highlight The brightest area of illumination on a form. Horizon Line The line formed by the apparent intersection of the plane established by the eye-level with the ground plane. It is the same as eye-level. Where the sky and land meet in the distance. Intuition Direct mental insight gained without a process of rational thought. Layout The placement of an image within a two-dimensional format. Linear Perspective The representation of things on a flat surface as they are arranged in space and as they are seen from a single point of view. Line Quality Range in line quality heightens descriptive potential: you can describe textures, movement, light, space, etc. Using many different kinds of lines in your drawing can also add visual interest.

10 Local Value The inherent tonality of an object s surface, regardless of incidental lighting effects or surface texture. Mass The weight or density of an object. Mass Gesture A complex of gestural marks used to express the density and weight of a form. Middleground The intermediate zone of space in a three-dimensional illusion (se Background and Foreground.) Negative Shape The pictorial, flat counterpart of negative space in the real world. Nonobjective A style of art in which the imagery is solely the product of the artist s imagination and therefore without reference to things in the real world. One-Point Perspective In one-point perspective, a rectangular volue is centered on the line of vision, thus causing all receding (horizontal) parallel lines to appear to converge, or meet, at one point on the horizon line. Outline Usually a mechanical-looking line of uniform thickness, tone and speed, which serves as a boundary between a form and its environment. Overlap An effective way to represent and organize space in pictorial work. Overlapping occurs when one object obscures from view part of a second object. Pictorial Refers to a picture, not only its actual two-dimensional space but also its potential for three-dimensional illusion. Picture Plane The actual flat surface on which a drawing is produced. Planar Analysis Breaking down curved elements into planes. Positive Shape The pictorial, flat counterparts of forms in the real world. Principles of Design The means by which artists organize and integrate the visual elements into a unified arrangement, including unity and variety, contrast, emphasis, balance movement, repetition, rhythm and economy. Proportion The relative size of part to part within an object or a part to the whole within a composition. Push-Pull Spatial tension created by tonal value interaction or color interaction.

11 Reflected Light The relatively weak light that bounces off a nearby surface on to the shadowed side of a form. Relative Position A means by which to represent and judge the spatial position of an object in a three-dimensional illusion. Generally, the higher something has been depicted on the surface page, the farther away it will appear. Relative Scale A means by which to represent and judge the spatial position of an object in a three-dimensional illusion. Generally, things that are larger in scale seem closer: when there is a relative decrease in the scale of forms especially if we know them to be of similar size, we judge them to be receding into the distance. Rule of Thirds In the rule of thirds, picture plane is divided into thirds where two vertical imaginary lines and two horizontal lines divide the picture plane equally into nine rectangular sections. Important compositional elements and leading lines are placed on or near the imaginary lines and where the lines intersect. Shape A flat area with a particular outer edge, or boundary. In drawing, shape may refer to the overall area of the format or to the subdivided areas within the format, for example: light shape and shadow shape. Sighting A proportioning technique using a pencil to gauge the relative sizes of the longest and shortest dimensions of an object. Also used to find angles and alignments. Space In the environment, space may be defined as area, volume, or distance. In drawing space may be experienced as either a three-dimensional illusion or as the actual two-dimensional area upon which a drawing is produced. Station Point In the system of linear perspective, the fixed position you occupy in relation to your subject (often abbreviated SP). Symmetrical Balance is achieved by dividing an image into mirror-like halves. Three-Dimensional Space The actual space of our environment, or the representation of it, through a pictorial illusion. Tonal Key The coordination of a group of values in a drawing for purposes of organization and to set a pervasive mood. Tonal keys may be high, middle or low.

12 Topographical Marks Any marks or lines used to analyze and indicate the surface terrain of a depicted object. Cross-contour lines and hatched lines used to describe the inflections of planes are both topographical marks. Triangulation Angling between a set of three points on a picture plane to accurately proportion the overall image of your drawing. This is used in sighting. Two-Dimensional Space The flat, actual surface area of a drawing, which is the product of the length times the width of your paper or drawing support. Synonymous with the opaque picture plane and flat ground of a drawing. Two-Point Perspective In two-point perspective, a rectangular volume is positioned off-center that is it is not centered on the line of vision thus causing the receding (horizontal) parallel lines of each face to appear to meet at two separate vanishing points on the horizon line. Value Black, white, and the gradations of gray tones between them, or the lightness or darkness of a color when compared with a gray scale. Value Shapes The major areas of light and shade on a subject organized into shapes, each of which is assigned a particular tonal value tat is coordinated with the values of other shapes in the drawing. Vanishing Point In linear perspective, the point on the horizon line at which receding parallel lines appear to converge, or meet. Viewfinder A homemade device that functions as a rectangular window on your subject. It is a useful aid for proportioning and layout. Visual Elements The means by which artists make visible their ideas and responses to the world, including line, value (or tone), shape, texture and color. Visual Weight An element or area of a drawing emphasized attract the eye. Volume The overall size of an object and, by extension, the quantity of threedimensional space it occupies. Working Drawings The studies artists make in preparation for a final work of art.