SEMESTER AT SEA COURSE SYLLABUS University of Virginia, Academic Sponsor

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1 Voyage: Spring 2015 Discipline: Studio Arts ARTS : Drawing at Sea I (Section 1) Division: Lower Faculty Name: Eunshin Grace Kim Credit Hours: 3; Contact Hours: 38 Pre-requisites: None SEMESTER AT SEA COURSE SYLLABUS University of Virginia, Academic Sponsor COURSE DESCRIPTION This course focuses on the fundamentals of drawing and is intended for beginning students. During the semester, students will learn basic drawing skills and techniques to sharpen their observational sensibilities and to strengthen hand-eye coordination. Students will explore the formal visual elements of drawing (line, shape, value, texture, and space) while using a broad range of drawing media (pencil, charcoal, conte crayon, ink.) The concepts such as figure/ground, proportion, positive & negative space, perspective, volume & weight, light, and composition will be introduced. As the semester progresses, students will examine the nuances of visual language across cultures. In ports, students will record the visual informations that represent aspects of the culture they encounter on their sketchbooks and collect materials to be incorporated into projects at sea. Slide presentations will provide useful examples of works of Art from the History as well as Contemporary Art. COURSE OBJECTIVES Students will acquire the following: Ability to see objectively and translate visual information from 3D to 2D Ability to analyze and articulate one s own work and the work of others Ability to express your ideas visually through the intellectual, emotional, technical process of drawing and its vocabulary REQUIRED TEXTBOOKS There are no required textbooks for this course. TOPICAL OUTLINE OF COURSE Depart Ensenada- January 7: A1- January 9: Overview of Course, Syllabus, Material List, Policy PPT Presentation: Drawing & Visual Journal 1

2 HW: Start your visual journal, bring your favorite Drawing reproduction image by Old Master or other artists from the history to class A2-January 11: Line PPT: Contour Drawing Blind Contour, nuances of line weight & sensitivity, tactile quality HW: 3 thumbnail sketches of still life, 1 blind contour drawing A3- January 13: Quick Contour Drawing/Gesture Drawing PPT: Gesture Drawing Sample Balance, tension, rhythm, and movement HW: 10 ten second & 10 twenty second gesture drawings on 1sheet of paper, 1 very detailed contour drawing of an industrial/mechanical object Hilo: January 14 A4-January 16: A5-January 19: Line & Volume Cross contour drawing, sighting & measuring, line weight HW: a cross contour drawing Finding Form Modeled Drawing- Pushing the Form with Tone HW: 1 modeled drawings of an ordinary, everyday object you use. Study Day: January 21 A6- January 22: Organization/Structure PPT: How Old/Modern Masters made things work together? Structural Drawing, movement in space, proximity, tension HW: 1 Structure drawing of a messy interior A7-January 24: Perspective PPT: Renaissance examples of one point perspective through contemporary multiple point perspective as well as alternative Egyptian, Persian, South Asian and East Asian system Structural Drawing of a city of boxes Yokohama: January In-Transit: January 28 Kobe: January A8- February 1: Figure/Ground Relationship PPT: Positive/Negative shapes in Master Drawings Complex Still life, Drawn Formats, Shapes HW: Collect postcards, magazines, newspapers, tickets or other interesting visual materials from the next port 2

3 Shanghai: February 3-4 In-Transit: February 5-6 Hong Kong:7-8 A9- February 9: Line, Form, Structure PPT: Cubist Drawings Structural Drawing with intersections & tones Ho Chi Minh: February A10- February 17: Value: Using Light & Dark PPT: Tonal Drawing Examples Simplifying shapes of different Value, Collage HW: 1 still-life, 1 interior value collage Singapore: February Study Day: February 21 A11-February 22: Value Gray Scale using photograph HW: Gray Scale drawing of your own photograph Rangoon: February 24-March 1 A12-March 2: Toned Page Reductive Drawing using Eraser Complex Still Life HW: Small Still life set up Dramatic Value Drawing A13- March 4: Value & Space PPT: Pastel & Conte Drawing from Modern Masters Atmospheric Drawing of still life in interior HW: Bring Photographs you take from next port stop Cochin: March 6-11 Study Day: March 12 A14-March 13: Finding a Subject by Cropping Cropped Photograph & Collage image making using tones HW: Finish the collage & bring original photos for next class A15-March 15: Building more complex space 3

4 Group Project HW: Finish the project & Take interesting landscape pictures Study Day: March 17 Port Louis: March 18 A16- March 19: Ink Drawing Simplifying values using wet medium HW: ink drawing of still life A17-March 21: Pen & Ink Drawing Mark making, Building Form & Space HW: Bring a black & white portrait photo image A18- March 23: Grid & Rearrangement Portrait Photograph HW: Finish the project Cape Town: March Study Day: March 31 A19-April 1: Working from Projected Images Blind Contour/Gesture Drawing from Figures, mark making HW: expressive mark making drawing Walvis Bay, Namibia: April 2-6 A20-April 8: Portrait Drawing Blind Contour, Structural Drawing, Modeled Drawing HW: Self Portrait Blind A21- April 10: Touch & Feel Drawing Blindfold Drawing HW: Research for Final Assignment A22-April 12: Work on Final Assignment Study Day: April 14 A23: April 15: Work on Final Assignment 4

5 A24: April 17: Exhibition Preparation, Final Portfolios Submission Casablanca, Morocco: April Global Lens Exams and Study Day: April 24 A25: A Day Finals, April 25: Student Work Exhibition April 29: Arrive in Southampton 5

6 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 your field lab. One of the most unique attributes of studying through Semester at Sea is the experiential component of learning. Time spent in port constitute 20% of the contact hours for this course and consequently 20% of your grade. There are a number of ways that field assignments will be integrated into this course. Students may choose one of two Field lab from the list. FIELD LAB (At least 20 percent of the contact hours for each course, to be led by the instructor.) Contemporary Art in Shanghai: Students will visit YUZ Museum in the morning, which is a new contemporary art museum built on the old Longhua Airport. Out of a total area of 9,000 square meters, main gallery and exhibition space covers over 3,000 sqm. The museum's enormous structure and a unique sense of grandeur provides a perfect space for many large size installations. Students are asked to walk around the museum and pick one artwork and take a brief field note/report on the work. After Lunch break, students will visit Shanghai Power Station where they can see the contemporary art of chinese artists as well as international artists in Shanghai Biennale. The Shanghai Biennale is one of the major international art fair in Asia which provides a platform for the showcase of contemporary art production, but also forums where artists can meet, challenge their work and expand their experiences. This year's Biennale, entitled 'Social Factory', can inspire students to reflect on how our industrialized and modernized society influences cultures around individuals and the world. Finally, students will visit the French Concession, the area of Shanghai once designed for the French. The tree lines avenues and the many fine, historic old houses in the area still retain an air of the Paris of the East. Students will have a tea break at a local cafe, share their experience at the Biennale as well as YUZ museum, and discuss how they may influence and be incorporated into their art projects. Students then will be given time to walk around, draw, take pictures, collect visual data, and work on their journals before they return to the ship. FIELD ASSIGNMENTS Students' Field Assignments will be evaluated based on critiques of art work & drawings on site, Field Lab Report, and their Field Journal. FIELD JOURNAL: A significant part of your field assignment work will take place in your Field Journal. Collect things, record visual information, and write down your response to different art/culture you encounter. Your Field Journal is where you can collect your Art/Visual Research data from each port. You are required to make 15 min drawings on site, document any visual/cultural experiences, and write down their thoughts, ideas, and feelings. Sometimes I will provide you with specific parameters for your sketches. Students are required to submit their field report and to participate in a group discussion at the end of their Field Lab. And their drawings, writings of port experiences, and collected visual resources will be reviewed and incorporated into their next class assignments as well as a final project. METHODS OF EVALUATION / GRADING RUBRIC Field Assignments (Field Lab Report, participation, & collected visual materials) 20% 6

7 Field Journal/Homework 20% Drawing Portfolio/Projects 60% The factors that will be considered in the evaluation process: 1. Being on time 2. Attendance is imperative. Lost time can never be made up 3. Demonstration of a working process utilizing techniques covered in class 4. Level of involvement in the process (of drawing, critiques, & research) 5. Strength of work (craftsmanship, level of completion, effort, quality of visual resources) RESERVE BOOKS AND FILMS FOR THE LIBRARY AUTHOR: Teel Sale & Claudia Betti TITLE: Drawing: A Contemporary Approach PUBLISHER: Wadsworth, Centage Learning ISBN #: DATE/EDITION: 6th edition (or most recent) AUTHOR: Gerald F Brommer TITLE: Drawing: Ideas, Materials, and Techniques PUBLISHER: Davis Publications, Inc. ISBN #: DATE/EDITION: Revised edition (or most recent) AUTHOR: Fritz Drury & Joanne Stryker TITLE: Drawing: Structure and Vision PUBLISHER: Pearson/ Prentice Hall ISBN #: DATE/EDITION: 1st edition (or most recent) AUTHOR: Curtis, Brian TITLE: Drawing from Observation: an introduction to perceptual drawing PUBLISHER: McGraw-Hill ISBN #: DATE/EDITION: 2nd edition (or most recent) DVD: Ozu's Tokyo Story(1953), Satyajit Ray's The Music Room (1958), Zhang Yimou's To Live (1994) ELECTRONIC COURSE MATERIALS Electronic Images from PPT Presentation and sample images for projects will be available on intranet. ADDITIONAL RESOURCES None 7

8 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]. REQUIRED MATERIAL LIST 1. Gum eraser & Pink Eraser 2. White Sketch Pad (100sheets), medium or heavy weight, 18 x Newsprint paper pad, rough, 18 x Artist's hardbound Sketchbook, 5 x 8, heavyweight 5. 1 Sheet Black Paper, 1 Sheet Medium Gray Paper, Canson is a good brand, 19 x Graphite Drawing Pencils, 6B, 4B, 2B, B, HB, 2H 7. Vine Charcoal: soft, medium, and hard 8. Compressed Charcoal: soft, medium, hard 9. Black Conte Crayons 10. Black India Ink 11. Bamboo Pen 12. Cro-quil pen 13. Assorted Brushes: #2 round & #4 round (water color), 6 round (bamboo brush) 14. Oil-based Crayons (Cray-pas for example) 15. Masking Tape (¾ ) 16. Pencil Sharpener 17. Glue stick, Scissor, 12 ruler 18. Flashlight (optional) 19. Plastic water container w cap 20. Portfolio (large enough to fit your largest work) 21. Small art supply bin or case 22. Drawing Board (slightly larger than your drawing paper) 23. Clips, Magnets 24. OPTIONAL: Fineline Sharpie or Micropen(s), Water Soluble Watercolor or Crayon Set, Soft Pastels, Oil Pastels 8