Fine Arts Department 2 Fort Road South Portland, Maine Midcoast Campus 29 Sewall Street Brunswick, Maine

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1 Fine Arts Department 2 Fort Road South Portland, Maine Midcoast Campus 29 Sewall Street Brunswick, Maine Title: Drawing I Catalog Number: ARTS 110 Credit Hours: 3 / Total Contact Hours: 80 Lecture (or Lab): Lecture and Lab Instructor: Michael Branca Mon/Wed 3:00 5:30 PM mbranca@smccme.edu Office Hours by Appointment Drawing I Syllabus: Fall 2016 Course Description This class will teach the fundamentals of observational drawing, beginning with the basic elements: line, value, shape, texture, and composition, as explored through the use of a variety of drawing materials. Through class projects, homework, visits to galleries and museums, class discussion, and critique, students will analyze and articulate how visual art can be used for communication and expression. Course Objectives Develop an integrated use of line, shape, value, texture, and compositional design. Successfully apply the core components of drawing to a variety of subject matter. Articulate an understanding of artwork as a means of visual communication. Use a basic vocabulary of visual language to engage in critical discussions related to drawing. Examine and evaluate local art resources. Course Requirements Attend and participate in studio classes. Complete at least three hours of homework per week. Active participation in class activities, discussions, critiques, presentations, and field trips. Save all exercises, studies, and formal projects in a portfolio to be submitted multiple times for critique and assessment. Complete a research project and paper.. I have learned that what I have not drawn, I have never really seen, and that when I start drawing an ordinary thing, I realize how extraordinary it is, sheer miracle. -- Frederick Franck, The Zen of Seeing

2 Week Date Classwork (subject to change) 1 8/29 Introductions and first drawings 8/31 Contour Line (continuous, blind and sustained) 2 9/5 LABOR DAY: NO CLASSES 9/7 More contour 3 9/12 Gesture Line and Composition 9/14 Negative space 4 9/19 Two-tone ink drawings from photographs 9/21 Value scales / Thumbnail sketches 5 9/26 Full value still life 9/28 Field Trip. Bring small sketchbook and pencil. 6 10/3 Full value still life 10/5 One-Point Perspective 7 10/10 COLUMBUS DAY: NO CLASSES 10/12 One-Point Perspective 8 10/17 Two-Point Perspective 10/19 Two-Point Perspective 9 10/24 Midterm Cumulative Project (Still Life) 10/26 Midterm Cumulative Project (Still Life) 10 10/31 Midterm Critique 11/2 Landscape 11 11/7 Landscape 11/9 Portraits 12 11/14 No-mirror self portraits 11/16 No-mirror self portraits 13 11/21 Texture studies 11/23 THANKSGIVING BREAK: NO CLASSES 14 11/28 Work on final projects 11/30 Collage scissor drawings 15 12/5 Collage scissor drawings 12/7 TBA 16 12/12 TBA 12/14 Final critique Week Due Date Homework (subject to change) Unless otherwise instructed, please choose all subjects from life, not photographs. 1 Wed 8/31 Go to images.google.com and type in the following search terms: Picasso Line Drawing / Matisse Line Drawing / Ellsworth Kelly Line Drawing / Richard Diebenkorn Line Drawing. Select a contour line drawing by one of these artists and do your best to copy it at least two separate times. When doing your drawings, turn the original upside down and draw your version upside down as well. Bring a printout of your original to class. 2 Wed 9/7 Eight continuous contour line drawings of your hand holding different objects. Do not stop or pick up your pencil. 3 Mon 9/12 Create a busy pile of objects collected from your home or from nature. On a large sheet of paper, do a continuous line contour drawing of the pile. Rearrange the same objects and do a second contour drawing on another page. Spend one hour on each drawing. Wed 9/14 1. Do another drawing like the longer drawing you did in class today. 2. Bring to class one or more photos of a face (yours, a friend s, or a famous person s) printed in black & white at least 5x7 on copy paper. Find or create a picture that has dramatic light and shadow. Be sure the resolution is not pixilated.

3 4 Mon 9/19 In your small sketchbook, draw at least 20 quick candid drawings of other people in the world around you. You will probably want to set up in a public space like a park, coffee shop, or the campus center. Multiple figures may be drawn on the same page. Some may only take a few seconds, others might take a couple of minutes. Spend no more than 5 minutes on any one drawing. Wed 9/21 In your sketchbook, do three compositional studies of arrangements of tools or kitchen utensils. Plan your compositions to create interesting designs within the frame of your drawing. Experiment with the power of cropping. Pay attention to the negative shapes that you create. 5 Mon 9/26 Following up on the in-class project, do a more finished two-tone ink drawing of a face from a photo. You may choose to use the same picture you used in class or you may select something new. If you prefer to map out this drawing lightly in pencil before starting with the ink, it might be helpful. Wed 9/28 Assignment TBA. 6 Mon 10/3 1. Research Project proposal is due. a one paragraph explanation of your project along with a picture of the master drawing you have selected. Be sure to know the name of the artist and the title, date and medium of the artwork. You should also do some preliminary sketches in your sketchbook and bring these to class. See full assignment in syllabus below. 2. Portfolios collected for grade. Make sure all work is labeled with your name, date and title of the assignment. Wed 10/5 Using charcoal and white chalk on a large sheet of toned paper, do a fully-developed version of one of the tool sketches you did last week. This drawing should utilize the entire value scale, ranging from black to white with many gray variations. 7 Wed 10/12 1. Follow up the class lesson on perspective by practicing in your journal. 2. Begin work on Research Project and bring in what you have done. 8 Mon 10/17 Work on Research Project and bring in what you have done. Wed 10/19 Work on Research Project and bring in what you have done. 9 Mon 10/24 Work on Research Project and bring in what you have done. Wed 10/26 Research Project paper and art due. 10 Mon 10/31 Final Project proposal is due. a written explanation of what you intend to do along with any photographs which might help show what you intend to do. Sketch out initial ideas in your sketchbook and bring these to class. See full assignment in the syllabus below. each. Wed 11/2 Do ten small landscape or interior studies in your sketchbook. Spend about ten minutes on 11 Mon 11/7 Sketch facial features in sketchbook: at least three attempts each of eyes, ears, noses and mouths. You may do them from life (yourself or someone else), from photos or from someone else s art. Wed 11/9 Three 20-minute self portraits done from a mirror. Set a timer and get as much done on each one as you can. 12 Mon 11/14 Do a self portrait in the spirit of the final project. Compose one large page with a variety of studies. The bulk of the page should be filled with a full head. In the surrounding space you should include a series of details such as close-ups of facial features, hands or feet, close-up texture studies of hair or skin, a full body, etc. You might also choose to add photographs, words, copies of tattoos, and anything else that would help tell the viewer about you as a person. Bring to class your work in progress.

4 Wed 11/16 1. Continue to work on your multi-part self portrait and bring to class what you have done. 2. Finalize your idea for the final project with thumbnail sketches in your sketchbook. Bring in any reference materials (photos, etc.) that you will need to complete the project. 13 Mon 11/21 1. Portfolio collected for final grade. 2. Multi-part self portrait is due. 14 Mon 11/28 1. Come to class prepared to work on your Final Project. 2. Choose an object or combination of objects with interesting textures. Do two 4-inch square drawings in which you zoom in on your object, cropping on all four sides. Your subject should be ordinary but the drawing should make it difficult to immediately recognize. Use any medium or combination of media to effectively portray the textures in your subject. Wed 11/30 Work on Final Project and bring in what you have done. 15 Mon 12/5 Work on Final Project and bring in what you have done. Wed 12/7 Work on Final Project and bring in what you have done. 16 Mon 12/12 Work on Final Project and bring in what you have done. Wed 12/14 Complete Final Project. Materials You are required to provide your own art supplies. A prepackaged kit is available for around $50 at Artist & Craftsman (540 Deering Ave, Portland, ) at a 20% discount off the retail price. Students with financial aid book vouchers can pay for kits at the SMCC bookstore and bring the receipt to A&C to receive their kit. Or you may assemble your own kit. The kit includes: 20 x 26" portfolio (may be homemade) 18x24 white drawing pad (100 sheets) 8 x 11 drawing pad variety of drawing pencils (2B, 4B, 6B) grey kneaded eraser white plastic eraser pencil sharpener (or X-acto knife) compressed charcoal cont crayons (white, sanguine) vine or willow charcoal India ink and sumi brush Grading: Criteria for evaluation include: attendance; level of self-challenge; quantity and quality of work produced; active participation in projects, discussions & critiques; timely completion of assignments; understanding of concepts covered; neatness of presentation. A: A s are reserved for excellent work. These are students who are serious about learning to draw, who come to class on time, who ask lots of questions and participate in class discussions, and who complete all assignments beyond expectations. B: The B student has a very good attendance record and shows a high level of effort and enthusiasm, with a sincere level of commitment and a devotion to learning the skills of the class. All or most assignments are completed as assigned. C: A satisfactory level of achievement in quantity and quality of work. Multiple assignments are incomplete or rushed. Student may have a poor attendance record. D: Deficiency in commitment and accomplishment. Many assignments are incomplete. Generally a significant amount of class time is missed and/or student has not actively participated in class exercises and discussions.

5 F: Extreme deficiency in commitment and accomplishment. Very few assignments are attempted. Much class time is missed. Final grade breakdown: Classwork & Participation (50%) In-class drawings 33% Midterm project 7% Active participation in projects, discussions and critiques 10% Homework (50%) Weekly homework projects 33% Research project 7% Final project 10% Attendance Policy All class meetings are mandatory. Showing up and playing an active role in class discussions, exercises and critiques are essential to success. With no textbook, it is impossible to fully make up lessons missed. If you do miss class, it is your responsibility to obtain and complete all assignments, be aware of all deadlines and know what you will need in class. Missed classes will affect your grade in the following ways: Up to two absences may be excused without hurting your grade if all missed work is made up. Beginning with the third absence, each subsequent absence will lower your grade by 5%. Any student who misses five or more classes may be assigned an Administrative Failure and/or be advised to withdraw from the course. Any student who misses three consecutive classes without communicating with the instructor will be assigned an Administrative Failure. Late arrivals and early departures will be recorded. Three late arrivals or early departures will be considered an absence. Portfolio of Drawings Your portfolio will be reviewed and graded periodically during the semester. Individual drawings will be assessed as follows: 33.3% Projects follow the parameters of the assignment in form and spirit and are completed on time. 33.3% Projects demonstrate a working understanding of the specific learning objectives of the assignment. 33.3% Student challenged his/herself to get the most out of the assignment and executed the project to the best of his/her ability. Your portfolio is defined as all homework and classwork. It should also include preparatory sketches and any extra drawings you do which relate directly to issues we are working on in class. Please keep and turn in everything (even failed attempts), each time your portfolio is collected. When turning in your portfolio, please consider presentation. All drawings must be submitted in a flat 20 x 26" portfolio case or equivalent. Portfolios that include drawing pads, drawing boards, art supplies, or drawings that are folded, rolled, torn, frayed or crumpled may not be accepted. If you miss any assignments you will be allowed to make them up at a later date for partial credit. Old assignments may be embellished, reworked or redone at any time and may increase your grade. Sketchbook Your sketchbook is your creative companion for the duration of this class and should be added to regularly. Several specific sketchbook assignments will be given, but you should also get in the habit of using it for your own development. Use it to work out ideas for class projects, experiment with new skills, record your experiences and create a physical timeline of your progress throughout the semester. You are encouraged to experiment with different materials, imagery and means of creative visual expression to extend your creative scope beyond the classroom. Up to 5% extra credit may be assessed to sketchbooks which demonstrate a deep commitment to furthering the development of skills introduced in class. Drawing I 5

6 SMCC POLICIES End-of-Course Evaluation Students complete evaluations for each course attended at SMCC. Evaluations are submitted online and can be accessed through the student portal. Students can access the course evaluations beginning one week before the end of classes. The deadline for submission of evaluations occurs Monday at 5 PM following the last day of the class. You will receive an to your student account when course evaluations are available. ADA Syllabus Statement Southern Maine Community College is an equal opportunity/affirmative action institution and employer. For more information, please call If you have a disabling condition and wish to request accommodations in order to have reasonable access to the programs and services offered by SMCC, you must register with the Disability Services Coordinator, Sandra Lynham, who can be reached at Further information about services for students with disabilities and the accommodation process is available upon request at this number. Course policies about online testing are modified to suit each individual s accommodations. SMCC Pay-for-Print Policy In an effort to control the escalating cost of supplies and to encourage students to conserve resources, SMCC charges for printing. Students receive a $20 credit every semester. This credit resets for each semester and extra credit is not rolled over to the next semester. Per page costs are as follows: 8.5"x11" black and white: $0.10 per page 8.5"x11" color: $0.50 per page 8.5"x14" and 11"x17" black and white: $0.20 per page 8.5"x14" and 11"x17" color: $1.00 per page Duplex (two-sided) pages are discounted 50% from the listed page costs. Students can monitor their remaining credit and number of pages printed by visiting the IT Help tab on MySMCC or by checking the Printing Information icon in the lower right corner of the screen while logged in to an SMCC computer. More information about the Pay-for-Print Policy is available on the IT Help tab on MySMCC. Add-Drop Policy Students who drop a course during the one-week add/drop period in the fall and spring semesters and the first three days of summer sessions receive a 100% refund of the tuition and associated fees for that course. Please note any course that meets for less than the traditional semester length, i.e., 15 weeks, has a pro-rated add/drop period. There is no refund for non-attendance. Withdrawal Policy A student may withdraw from a course only during the semester in which s/he is registered for that course. The withdrawal period is the second through twelfth week of the fall and spring semesters and the second through ninth week of twelve-week summer courses. This period is pro-rated for shorter-length courses. To withdraw from a course, a student must complete and submit the appropriate course withdrawal form, available at the Enrollment Service Center (no phone calls, please). The designation W will appear on the transcript after a student has officially withdrawn. A course withdrawal is an uncompleted course and may adversely affect financial aid eligibility. Failure to attend or ceasing to attend class does not constitute withdrawal from the course. There is no refund associated with a withdrawal. Plagiarism Statement Adherence to ethical academic standards is obligatory. Cheating is a serious offense, whether it consists of taking credit for work done by another person or doing work for which another person will receive credit. Taking and using the ideas or writings of another person without clearly and fully crediting the source is plagiarism and violates the academic code as well as the Student Code of Conduct. If it is suspected that a student in any course in which s/he is enrolled has knowingly committed such a violation, the faculty member should refer the matter to the College s Disciplinary Officer and appropriate action will be taken under the Student Code of Conduct. Sanctions may include suspension from the course and a failing grade in the course. Students have the right to appeal these actions to the Disciplinary Committee under the terms outlined in the Student Code of Conduct. Drawing I 6

7 100 Artists to Know Frank Auerbach Francis Bacon Cecilia Beaux Romare Bearden George Bellows Pierre Bonnard Sandro Botticelli Georges Braque Claudio Bravo Charles Burchfield Caravaggio Emily Carr Mary Cassatt Paul Cézanne Frederic Edwin Church Thomas Cole Camille Corot Gustave Courbet Salvador Dalí Honore Daumier Jacques-Louis David Edgar Degas Eugène Delacroix Vincent Desiderio Richard Diebenkorn Otto Dix Lois Dodd Albrecht Dürer Thomas Eakins Jan van Eyck Piero della Francesca Lucian Freud Antonio López García Paul Gaugin Artemesia Gentileschi Théodore Gericault Vincent van Gogh Arshile Gorky Francisco Goya El Greco Matthias Grünewald Marsden Hartley Anne Harris Robert Henri Winslow Homer Edward Hopper Ian Ingram J.A.D. Ingres Frida Kahlo Wassily Kandinsky Rockwell Kent Anselm Kiefer Ernst Ludwig Kirchner Gustav Klimt Käthe Kollwitz Leon Kossoff Jacob Lawrence Élisabeth Vigée LeBrun Leonardo da Vinci Judith Leyster René Magritte Édouard Manet John Marin Henri Matisse Michelangelo Jean-François Millet Amedeo Modigliani Piet Mondrian Claude Monet Henry Moore Giorgio Morandi Berthe Morisot Edvard Munch Alice Neel Georgia O Keeffe Pablo Picasso Fairfield Porter Nicolas Poussin Raphael Odilon Redon Rembrandt van Rijn Diego Rivera Auguste Rodin Norman Rockwell Peter Paul Rubens John Singer Sargent Egon Scheile Joaquín Sorolla Jenny Saville Georges Seurat Henry Ossawa Tanner Titian George Tooker Henri Toulouse-Lautrec Euan Uglow Diego Velázquez Johannes Vermeer J.A.M. Whistler Andrew Wyeth Francisco de Zurbarán Drawing I 7