DUTCHESS COMMUNITY COLLEGE

Transcription

1 DUTCHESS COMMUNITY COLLEGE EXTENDED COURSE OUTLINE FORM Directions for completing this form are in the Curriculum Committee Handbook, Appendix A: Guidelines for Extended Course Outlines. PART I. Course Number: ART 113 Course Title: Drawing II Department: PVAC Semester and year of this review/revision: Fall 2014 Semester and year of last review/revision: Fall 2013 Programs to which this course is applicable: All Programs (if any) that require this course: VAT / ASP SUNY Gen Ed Appendix(if applicable): App. H: The Arts 2 Lec. 2 Lab. 3 Cr. Hrs. PART II: Course Description: This course is an expansion of Drawing I s principles, practices and techniques with a focus on drawing the figure in context. Students complete a variety of projects that emphasize observation, line, value, shape, texture, picture plane organization, foreshortening, use of materials, methods for developing drawings from initial sketch to finished drawing, and discussion of course concepts. Pre-requisites: ART 112 with a C or higher. PART III: DCC Institutional Student Learning Outcomes (ISLOs) (If Applicable) (5) Technological Competency: Students will demonstrate the ability to use technology and software applications to produce an output or perform analyses appropriate to their academic program/discipline. PART IV: Course Student Learning Outcomes: On successful completion of the course a student will have produced a portfolio of drawings that show proficiency in and effective use of course content. 1) Create advanced drawings that show correct composition and spatial illusion, including strong negative and positive shapes throughout the picture plane and spatial illusions by the following means: (5) Page 1 of 6 Form Version 10.14

2 a) The visual elements (point-to-point relationships, line, shape, value/light, mass and space volumes, texture, organizing the picture plane, creating spatial illusion and balance). b) The principles for organizing composition (line and value, axes and edges, size, proportion, direction/orientation, movement, speed, rhythm, weight, balance, unity with simplicity and variety). 2) Create advanced drawings of still life set-ups that successfully: (5) a) Show light on objects that show volume. b) Show objects on one or more ground planes (so they organize and clarify space in the foreground, mid-ground and background and have a well-chosen position/point of view). c) Show objects on one or more ground planes (so they organize and clarify space in the foreground, mid-ground and background and have a well-chosen position/point of view). d) Show proper proportion (showing visual acuity by drawing from observation of height, width, angle and/or curve). e) Show technical skill (in terms of using line and tone/value in a variety of dry media to organize the picture plane and show spatial illusion, modulating line weight to show spatial illusion, and using 3 tonal zones to show spatial illusion). f) Show concept and meaning (in terms of showing non-visual meaning by visual means, i.e. point of view, closeness to/of objects, use of line and value, and meaning beyond the visual). g) Show proper perspective (in terms of linear and atmospheric/aerial perspective principles applications of 1-, 2- and 3-point perspective). 3) Create workable and effective advanced thumbnail sketches and small studies as preparation for finished drawings. (5) 4) Explain how drawing set-up, technique, visual organization, and subject matter lead to concept and meaning within a given cultural context, and define perspective and explain how it is altered in differing cultures and times. 5) Define the Gestalt Principles of Visual Perception, and list the principles for organizing a composition (using line and value as makers). 6) List the ways in which to develop an effective working method (including problem solving, establishing project criteria, researching, using proper vocabulary, observation, journals, sketches, describing, comparing, evaluating, selecting projects for further development, and analysis) and in which to develop technical skills, preservation skills, and portfolio presentation and critique skills. PART V: Course Outline: a) Topics Covered Page 2 of 6 Form Version 10.14

3 1) Composition with and spatial illusion of the figure in context: Picture plane organization in drawings that show strong negative and positive shapes throughout the picture plane due to use of the visual elements: Point-to-point relationships, line, shape, value/light, mass and space volumes, texture, and time to organize the picture plane, create spatial illusion in and balance their drawings. a) The Gestalt Principles of Visual Perception: Figure/ground reversal aka negative/positive shape; grouping; closure; the dominance of some patterns of seeing over others how attention selects, combines and recombines visual perception, emotions and concepts through figure/ground reversal, grouping, and closure, i.e. how sensation and perception become feeling and thinking in new combinations that form our changing experiences and beliefs. b) Principles for organizing composition using line and value: axes and edges, size, proportion, direction/orientation, movement, speed, rhythm, weight, balance, unity with simplicity and variety. 2) Drawing the figure in context in class and for homework to do the following: a) Illuminate (homework) and draw objects so that they show volume. b) Distribute objects on one or more ground planes and draw them so they organize and clarify space in a drawing(s), i.e. foreground, midground and background. The drawing(s) should demonstrate a wellchosen position/point of view. (see 3. Perspective below.) c) Proportion: Develop visual acuity by drawing from observation how high, how wide, what angle and/or curve. Framing Siting Triangulation d) Technical skill: Learn skillful handling of line and tone/value in a variety of dry media (wet media optional) to organize picture plane and show spatial illusion. (See 5. Technical skills below.) Modulate line weight to show spatial illusion. Line and tone that emphasize contours, cross contours, light, shade and shadow to show volume. Values that effectively show 3 tonal zones light, middle, dark to show spatial illusion. Drawings may vary in the emphasis of tonal zones. e) Concept and meaning: Selecting and drawing the figure with objects in space to suggest non-visual meaning by visual means, i.e. point of view, closeness to figure/objects, figure and objects themselves, use of line and value point to concepts and meaning beyond the visual within a given cultural context. f) Perspective: (a negotiation of what we know with what we see). (Lectures include perspective use in non-western cultures.) g) Foreshortening. h) Atmospheric/aerial perspective principles. i) Linear perspective principles and applications of 1-, 2- and 3-point perspective embodied in foreshortening and atmospheric perspective. Page 3 of 6 Form Version 10.14

4 3) Effective working method: Thumbnail sketches and small studies as preparation for and followed by finished drawings (in class and for homework). 4) Portfolio preservation and presentation skills. b) Instructional Methods 1. Lecture, demonstration, discussion and critique covering images from western and other cultures. 2. Slides, overhead projections, Videotapes, CD, DVD, Internet as needed 3. Hands-on studio practice 4. Research techniques including personal experience, readings, internet and library research, museum/gallery visits as needed. c) Course Requirements 1. Regular attendance. 2. Timely textbook readings. 3. Timely project development and completion. 4. Frequent and timely verbal and visual class participation. 5. Notes, take-home tests and quizzes as instructor assigns. d) Grading Practices Effective drawing development/working method, and drawing achievement including visual and technical skill. 40% of 80% homework and 60% of 80% class work.=80% of course grade. Length of project determines how much it counts towards final grade, e.g. a 2-week project counts grade x 2. Class participation including timely project development, regular attendance, sharing visual work, importance of questions, comments and visual work to class understanding, and visual and verbal proof of conceptual understanding. Instructor s attendance policy may further affect grade. Visual participation 10% + verbal participation 10% = 20% of course grade. Effective drawing development/working method, and drawing achievement including visual and technical skill.80% (approximately 15% per drawing) Class participation including timely project development, regular attendance, sharing visual work, and visual and verbal proof of conceptual understanding.- 20% e) Required Text (s) Drawing: Space, Form and Expression, 3rd Ed., Enstice and Peters, Prentice-Hall, NY, 2012: Review: Chaps. 2, 3, 4 Review and emphasize: Chaps. 6, 7 Emphasize: Chaps 8, 9, 11 Page 4 of 6 Form Version 10.14

5 f) Supplementary Readings As required by instructor. g) Supplies and Required Technology Although brands and quantities of supplies are suggested below, instructors may determine their specifics. Supports (papers or boards): Recycled papers suggested Tools/Media Low-risk paper Sketch paper, 18 x 24, Richeson Drawing Paper 100 sheets, Canson Biggie Sketch or equivalent. Start with 1 pad. Medium-risk paper Buy midterm. Drawing paper, 18 x 24, Strathmore, Canson or equiv. Start with 1 pad. Charcoal /pastel paper, 19.5 x 25 +, Strathmore, Canson. Comes in various colors. Try buff, gray, brown or black. Higher-risk paper lb. drawing, watercolor, and printing papers, 22 x 30 +, Stonehenge, Arches, Rives. Optional. Charcoals: Common brand names: Alphacolor, Koh-I-Noor, Grumbacker, Pro Art. 1 box ProArt 3092 or Alphacolor compressed charcoal squares, very soft. 1 Cretacolor or similar brand compressed charcoal round sticks, softest. 2 Peel & Sketch charcoal pencils, softest. 2 jumbo vine charcoal sticks, e.g. Richeson, Danielle, Grumbacher. 1 box thin vine charcoal stick, softest. 1 Negro pencil, Koh-i-noor, or Prismacolor or Conte charcoal pencil 2 white pastels sticks. 2 sanguine (reddish) or bistre (brownish) conte crayons. 2 white conte crayons or chalks. Graphites: Common brand names: Staedtler Mars, Faber Castell, Koh-I-Noor, Grumbacher, Mars, General, Berol, Cyclop, Eberhard Faber, Pentalic, Prismacolor, Spectrum 1 1/4 x 1/4 graphite stick, 6B or 4B Woodless pencil, Prismacolor, Pentalic, Spectrum, 6B or 4B 1 Ebony pencil, extra soft 1 each 6B, 4B, 2B, H drawing pencil, Staedtler Mars or Faber Castell brands Page 5 of 6 Form Version 10.14

6 Erasers and blending tools: Kneaded eraser, large. Eberhard Faber or equivalent Staedtler Mars combi eraser (blue and white) for graphite and charcoal 2 large blending stomps, hard, for blending graphite or charcoal. Also used for drawing in ink. Chamois cloth for blending graphite and charcoal Pink pearl eraser (optional) Ink eraser (optional) Brushes, Inks: Buy at midterm Black India ink. Comes in permanent (good for line work) and workable (good for gray washes). Watercolor palette or small cans or jars (at least 5) for mixing gray washes. 1 Princeton #9047 brush set 1 #Bru gesso brush Miscellaneous: Pencil sharpener with barrel to catch shavings ruler #11 X-acto knife, or equivalent, and 5 #1 blades Medium 120-grit or fine sandpaper or sandpaper block Corrugated cardboard 24 x 36, 4 sheets for stiff-sided portfolios, one for turning in work, one for carrying and one for storing drawings Plastic bag to protect portfolio in rain Container for supplies (optional) PART VI: Additional Items of Importance: Prepared By Signature Date Dept. Head Signature Date Page 6 of 6 Form Version 10.14