SEMESTER AT SEA COURSE SYLLABUS University of Virginia, Academic Sponsor

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1 Voyage: Fall 2015 Discipline: Studio Art ARTS 1559: Collage Division: Lower Faculty Name: Judy McLeod Credit Hours: 3; Contact Hours: 38 SEMESTER AT SEA COURSE SYLLABUS University of Virginia, Academic Sponsor Pre-requisites: Successful completion of a college level studio art course which may include Art Foundations, Drawing, Painting, or 2D Design. If you have not completed a college level studio art course, please contact the instructor to apply for permission to enroll. Do not sign up for this course if you do not satisfy this pre-requisite requirement. COURSE DESCRIPTION This course explores mixed-media collage as an art form. The activity of creating collage includes appropriation, assemblage, drawing, painting, and craftsmanship. Students will develop critical artistic vision in assembling collages. In producing collage, the artist must include/exclude, mute/amplify, balance/imbalance, configure/reconfigure, and imaginatively enhance the various visual components of the work. Drawing and painting are equally important in the construction of a visual collage statement, and that visual statement must be firmly based on a concise conceptual idea or underpinning. Students will collect in their Field Journal a myriad of visual data including sketches, photos, and cultural evidence from the ports-of-call. These fragments of visual information will be crafted together with drawing and painting to produce collages descriptive of and sensitive to the various cultures visited on the voyage. COURSE OBJECTIVES To introduce students to the fundamentals of mixed-media collage as an art form. To introduce students to the regular and intensive use of a visual drawing journal, the Field Journal. Students will be required to use their sketchbook journal in Collage class aboard ship and in every port-of-call. To develop and improve students skills and techniques of building mixed-media collage. Class and individual critiques will fine-tune the creative process. To employ students skills in drawing, painting, and assemblage in conceptualizing cultural observations. To guide and stimulate students development of a conceptual basis for collage as an art form. The idea of the collage dictates the aesthetic decision-making in the construction of the collage. Students will record their collage ideas in the Field Journal. To develop skills and sensitivities in students to re-visit, revise, and bring collages to aesthetic completion. Class and individual critiques will be structured toward refining artworks and/or taking it one step further. 1

2 REQUIRED TEXTBOOKS REQUIRED MATERIALS: Required drawing materials and supplies are listed at the end of the class syllabus. TOPICAL OUTLINE OF COURSE Depart Tilbury September 13 A1 September 15: Introduction & Overview: Collage as an art form Appropriation Assembly Drawing/Painting Collage Exercise: The conceptual basis of collage: One object (or material) in collage. Everyday object or materials are transformed to be and mean something else in the collage world. The collage world is created by shapes, textures, objects, drawing, painting. A2 September 17: Discussion of Collage Exercise Discuss: Successful/Unsuccessful transformations Demonstration: cutting, building textures, adhesives and gluing A3 September 19: Critique: Collage Exercise Demonstration: The design approach Assign: Cultural Collage I Italy: A Cultural Observation using the design approach. What is a cultural observation? How can a cultural observation be expressed visually? No cut out figures or objects. Shapes may be cut from appropriated materials or images. Build the collage from back to front. Civitavecchia September Naples September A4 September 27: Critique Field Journals Studio Production: Italy collage A5 September 29: Critique and submit Italy collages Assign: Cultural Collage II Turkey: Transformation: objects, papers, patterns, memorabilia transformed in the collage world to visually express a cultural observation Istanbul September 30-October 5 2

3 A6 October 7: Critique Field Journals Demonstration: Photography in collage: introduction to incorporating photographic images into collage. Course requirement: you must include your own photography images in at least two of the collages in this course and, conversely you must have at least two of the collages you create that do not incorporate photography. Introduction to the color printer for processing cultural photos. Study Day October 8 A7 October 10: Critique Field Journals Critique Cultural Collage II Turkey Assign: Cultural Collage III Spain: Selectivity: select a piece of visual evidence and create a collage describing that object and its cultural impact. Barcelona October A8 October 18: Critique Field Journals Discuss: using words in collage: what works, what is forbidden Study Day October 20 A9 October 21: A10 October 23: Demonstration: Artist s journals, inclusion/exclusion/editing Assignment: review the books on reserve; write and date a short impression entry into your Field Journal which may include drawing. Critique and submit: Cultural Collage III Spain Assign: Cultural Collage IV: Senegal Gender Observations: Comment visually on gender roles and behaviors that you observe in the Senegal culture that are distinct and different from your home culture. Dakar October A11 October 30: Critique Field Journal Discuss: Gender differences A12 November 1: Critique and submit: Cultural Collage IV Senegal Assign: Cultural Collage V: Ghana Narrative: As an observer, report a specific personal experience of the culture that exemplifies your sense of Ghana and Ghanaians. Employ observation, collection, and selection. Takoradi November 2-6 A13 November 8 Critique Field Journals Discuss: Romare Bearden: appropriated images and fragments of images 3

4 Study Day November 10 A14 November 11: Studio Production: Ghana A15 November 13: Critique and submit: Cultural Collage V: Ghana Assign: Cultural Collage VI: Brazil Composite: many voices, cultural complexity, layers of information, ideas, and sensations. Salvador November A16 November 21: Critique Field Journals Discuss: Layers, design elements, text, appropriated images A17 November 23: Studio Production: Brazil Study Day November 25 A18 November 26: Studio Production: Brazil A19 November 28: Critique and submit: Cultural Collage VI Brazil Assign: Cultural Collage VII: Trinidad Snapshot: Based on one day s observation and your accumulated skills in cultural observation, create a snapshot cultural collage of your observations of Trinidad. Think travel poster plus Arrive/Depart Port of Spain November 29 A20 December 1: Studio production: Cultural Collage VII: Trinidad Study Day December 2 A21 December 4: Critique and submit: Cultural Collage VII Trinidad Assign: Cultural Collage VIII: Costa Rica Appropriation: Use and elaborate on an actual object that you acquire in Costa Rica (such as map, menu, placemat, brochure, church bulletin, magazine cover, bus schedule). Comment visually, humorously, graphically. Think the Mona Lisa with a mustache and be sure to have it somehow be about Costa Rica. Puntarenas December 6-11 A22 December 12: Studio Production A23 December 14: Study Day December 16 FINAL SUBMISSION: Field Journal, Collage Exercise and Cultural Collages I-VIII 4

5 A24 December 17; A-Day Finals: Collect graded portfolios and journal Arrive San Diego December 21 FIELD WORK Field lab attendance is mandatory for all students enrolled in this course. Do not book individual travel plans or a Semester at Sea sponsored trip on the day of your field lab. FIELD LAB (At least 20 percent of the contact hours for each course, to be led by the instructor.) FIRST CHOICE: Monday September 21 Civitavecchia to Rome and return Sistine Chapel St. Peter s Basilicca Lunch at restaurant Piazza St. Peter SECOND CHOICE: Monday September 21 Civitavecchia to Rome and return Villa Borghese Borghese Museum and Galleries Lunch at restaurant Spanish Steps THIRD CHOICE: Sunday October 11 Barcelona: Gaudi Sagrada Familia Lunch at restaurant Bark Gruell FIELD ASSIGNMENT Field Lab and Field Journal 20% Attendance, lively participation in field activities, drawings and collections on the day of the Field Lab Field Journal 1. Must include 2-3 dated entries from every port. At least one must be on-location sketch, finished or not finished. (On location is NOT FROM YOUR COMPUTER drawn back on the ship!...though you may also do this back on the ship if you like. Must include stuff you ve collected: ticket stubs, sand, plant materials, string, postcards, photos from brochures, special trash and these you will draw into, across, around, and/or denounce, applaud, explain. 2. Must include dated, annotated response to 4 of the reserve books. Draw, copy, comment, observe, mimic on ship 3. Document your thinking: Must include the cultural collage assignments and your notes to yourself, idea development, thumbnail sketches. Copy the assignments from the syllabus and take notes or record thoughts during the class critiques of that collage. 5

6 METHODS OF EVALUATION / GRADING RUBRIC 10% Attendance and lively participation in class 6% Collage Exercise 20% Field Lab and Field Journal 64% Cultural Collages I VIII (8% each) RESERVE BOOKS AND FILMS FOR THE LIBRARY AUTHOR: Gwen Diehn TITLE: The Decorated Page PUBLISHER: Lark Books ISBN #: DATE/EDITION: 2002 COST: $24.95 AUTHOR: TITLE: PUBLISHER: ISBN #: DATE/EDITION: 2014 Danielle Krysa Collage: Contemporary Artists Hunt and Gather, Cut and Paste, Mash Up and Transform Cronicle Books AUTHOR: Kathleen M. Eldon TITLE: The Journals of Dan Eldon; The Journey is the Destination PUBLISHER: Chronicle Books ISBN #: DATE/EDITION: 1997 AUTHOR: TITLE: Danny Gregory An Illustrated Life: Drawing inspiration from the private sketchbooks of artists, illustrators and designers HOW Books, an imprint of F+W Publications, Inc. PUBLISHER: ISBN #: 13: DATE/EDITION: 2008 ELECTRONIC COURSE MATERIALS Each faculty member will have an electronic course folder housed on the ship s intranet. The University of Virginia library will scan articles and chapters identified by the faculty member as needed supplementary materials for the courses they are teaching. These materials will be placed in the faculty member s intranet folder for students to access. To be added REQUIRED MATERIALS and SUPPLIES 6

7 The Bookstore on the ship does NOT sell art materials. You must gather the supplies ahead. Some students pick up extra art supplies at art stores in the cities we visit but you may not rely on this for the required materials for the course. Please note those with * at the top of the Materials List and acquire these specific products. Sax Arts and Crafts ( and Cheap Joe s ( are sources for many of these materials. Please check the following list carefully ensuring that you have all these supplies or equivalents. REQUIRED MATERIALS *Sketchbook Journal: 5 x 8 size or 6 x 9 with 40 or more pages, hard bound or spiral wire bound. Select a sturdy sketchbook journal with heavyweight (70-80 lb. pgs.) Bound example: Moleskin Wire Spiral Bound: American Journey 5.5 x 8.5 from Cheap Joe s *Watercolor Pad 11 x 14 or 11 x 15, 140 lb. or heavier with 12 sheets or more. Example: Strathmore 400 Series Watercolor pad 11 x 15, 12 shts. 140 lb. OR Kilimanjaro Natural White watercolor pad 11 x shts.,140 lb *White or Cream Drawing Pad 11 x 14 with minimum 20 sheets, 90 lb. weight or heavier Example: Canson Classic Cream Drawing Pad; 11 x 14, 24 sheets, 90 lb. OR: Canson C a grain Drawing Pad; 11 x 14, 20 sheets, 111 lb. *Tracing Paper pad, 11 x 14 *Portfolio: Black Canvas messenger bag portfolio (in UVa Bookstore packet) OR School Specialty Artist Red Fiber, 17 x 22 with strap *1 Set of woodless Watercolor Pencils: Koh-i-Nor 24 colors OR CretaColor AquaStick 20 *1 Gouache set: Canson Talens 8-color set *1 Yasutomo Nori Paste 2 oz *ph Neutral PolyVinyl Adhesive (PVA) 4 oz. or 8 oz. *Conte Crayon Matchbook Assortment (4 colors) Drawing Pencils: 2H, HB, B, 2B, 4B, 6B OR Drawing Set: Faber-Castell Goldfaber Graphite Pencils (6) OR Stadtler Mars Lumograph Pencil set (6) 7

8 Hand-held pencil sharpener with compartment to collect the shavings 2- Ultra Fineline Sharpie or Micro pen(s) and 1 Fineline Sharpie 1 White Staedtler Eraser 1 small glue brush: ½ Flat acrylic brush, short handle 3 brushes for water media: 1 small detail size round size 2, 1 size 6 flat, one ¾ wash brush 1 small roll drafting tape 1 large 3 bulldog clip 1 small art supply plastic zipper pouch or small art supply bin 1 9 x 12 manilla envelope 1 paper scissors 1 Xacto knife w/#11 blades (5) 12 ruler 1 plastic water container (a regular plastic frosting container from the grocery store works well) 1 small Folding plastic palette 8 x 8 open Paper towels OPTIONAL: Small set of soft pastels- half stick or whole stick Example: Rembrandt, Grumbacher, Sennelier, Schmincke *Buy good quality don't waste your money on cheap student quality pastels. ADDITIONAL MATERIALS Students will be required to gather and acquire collage materials from every port of call including printed materials, papers, postcards, mementos, fabrics, photographs, etc. 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 8

9 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]. 9