Monday, August 17, 2015

Course Syllabus for TR, 9:30 AM

Click below for the full text of the course syllabus:


ART 111-1 – Introduction to Drawing – 3 Semester Hours
Fall 2015
TR 9:30-10:45 AM, Dickey Fine Arts 130
Bethel University
Instructor:  Jason Cole
Office Hours:
MWF: 10am-12pm;  TR: 8-9am, 11am-12pm.
Office Location: DFAB 113
Office Phone: 731.352.4082

Course Prerequisites/Co Requisites:
None

Course Description:
Introduction to Drawing is an introduction class which will expose the student to a number of traditional skills and ideas that have occupied artists throughout history.  The class involves drawing from direct observation with an emphasis on accuracy of representation, space, volume, linear and free hand perspective, and other basic techniques and concepts.  In Basic Drawing I there is an emphasis on line as the principle conveyor of form.

Course Goals:
The student will:
1)     Demonstrate knowledge of linear and free hand perspective and foreshortening.
2)     Demonstrate a variety of drawing techniques using basic drawing materials.
3)     Demonstrate the basic “structure” concept of drawing.
4)     Demonstrate the ways in which line can define form.
5)     Demonstrate traditional areas of subject matter (still life, landscape, self-portraiture).
6)     Develop skills of observation, personal expression, and abstract thinking.

Relationship of this Course to Content Area Knowledge and Skills:
This course is not used to address TN Matrix knowledge and skills.

Text:
None

Course Objectives:
The student will:
a)     Develop problem-solving skills.
b)     Strengthen self-disciple.
c)     Learn to use many different types of drawing media.
d)     Learn to use the elements and principles of design to create a work of art.
e)     Observe, research, and learn from the work of other artists.
f)      Learn to “draw what you see” by using the eyes and hands.
g)     Develop and enhance his/her proficiency in the vocabulary of the artist.
h)     Actively engage in constructive critique.

Units of Study:
                Familiarization with tools & materials
Unit 1      Linear Perspective
1-point perspective
2-point perspective
Intuitive perspective
Unit 2      Planar Analysis
Ruler Drawings
Unit 3      Loose to Tight/Unfinished to Finished
Blind and controlled contour
Gesture
Loose-to-Tight
Unit 4      Line and Limited Value
Perspective, Blocking-in Compositions, Line Quality, Loosening Up, Loose to Tight, Limited Value

Required Reading:
Various articles and printed materials that will be provided by the instructor.

Suggested Reading:
De, Reyna Rudy. How to Draw What You See. New York: Watson-Guptill Publications, 2005.

Methods Of Instruction:
Lecture, discussion, in-class work, outside assignments, sketchbook, critique.


Course Requirements:
In addition to in-class assignments, there are three requirements of this course:
1)     A personal sketchbook/journal is an important requirement of this course.  It is a depository for ideas, visual observations, and written responses to anything (in-class or outside).  Include research of artists of special interest, techniques, subjects, methods, media, processes, master studies, reproductions, etc.  Drill yourself on in-class skills.  Research artists mentioned in class.  Include thumbnails of intended compositions.  WRITE.  Don’t do ANYTHING in the sketchbook without also writing some notes about what you did.
The Sketchbook will reviewed on specific listed days and will be submitted and graded at midterm and finals.
2)     Completion of weekly in-class assignments and a related homework assignment is required for the course.
3)     A final portfolio of all work done for the course is due at finals.

Attendance Policy:
o    If you miss SEVEN classes you will immediately fail the course.  Seven absences means too much information and work has been missed for anyone to legitimately pass the course. The only excused absences are for students who must miss class due to approved scheduled university extracurricular activities.  Medical absences can be discussed on an individual basis, but it is not guaranteed that they will be excused.
o    If you are unable to submit an assignment on its due date because of an approved scheduled university extracurricular activity, that assignment can be submitted at the beginning of the next class without penalization.
o    If you are having trouble with the course or have problems outside the class that are affecting your performance please talk to me about it so that we can work out a solution.  Do not wait until it is too late.  I will be glad to help you in any way I can.
o    Lateness is not acceptable.  It is disruptive and frankly disrespectful not only to me but to your fellow students to enter the classroom in the middle of a lecture, demonstration, or critique.  Three late arrivals to class will count as an absence.
o    All students will work for the entire class period.  The class runs from 9:30 to 10:45 a.m.  Students will not leave the classroom unless excused.  I am tolerant of discussion among students during class to a point.  However, excessive talking, walking about or leaving the room will be noted in my grade book and counted against your final grade.
o    If you miss an assignment because of lateness or absence get it from another student. If you then have questions come and see me.

Methods of Assessment/Evaluation/Grading System:

Each assignment will be collected on a specific due date and time.  Persons not handing in work on time will be penalized one full grade.  (See the exception rule above.)  The work will be graded and returned as soon as possible.  At times it may be necessary for me to hold some of the work for exhibitions or photographing.  In cases like this, I will notify you.

All homework assignments that have been submitted properly and graded may be re-worked for a better grade.  In-class drawings may not be re-worked.

Sketchbooks will be reviewed at midterm and finals.  It is expected that you are making extensive use of your sketchbook throughout the semester to practice and drill yourself on skills as well as experiment.

Final grades reflect accomplishment in three areas:
o    Homework/portfolio (60%)
o    Sketchbook (15%)
o    Class performance/participation/attitude (25%)
Final grades will be determined by:
o    Completion of all assignments.
o    Consistency of effort
o    Development of skills in seeing and thinking.
o    Presentation and craftsmanship.
o    Participation in critiques and discussions.
o    General attitude.

Individual assignment grade definitions:
o    A - Excellent. Assignment is completely and creatively fulfilled.  No significant problems.
o    B - All aspects of assignment are completely fulfilled and well done.  A few problems remain to be solved.
o    C - Work fulfills the requirements of the assignment to the letter and is generally successful.  Work is completely finished.  Craftsmanship is acceptable.  Some problems remain to be solved.
o    D - Work is not yet completely finished or has obvious technical or conceptual flaws.
o    F - Unacceptable in technique or craft or concept (or any combination of these).
o    X - Assignment not handed in.  This assignment may not be re-submitted.
Final letter grade definitions:
o    A – The student earning an A has shown great effort and near-perfect success in all aspects of the class.  Only students absolutely excelling far above expectations will be awarded this grade.
o    B - A very good job.  The person earning this grade has worked very hard; has pushed his/herself to go beyond the mere fulfillment of each problem and has shown strong advances in technical and conceptual skills.
o    C - The student earning a C has fulfilled the requirements of the course, has a positive attitude, worked hard, shown growth in skills and thinking, and did an overall good job.
o    D - Below par.  This grade indicates that the student has obvious difficulties with basic drawing skills and/or trouble in fulfilling the requirements of the class for some other reason.
o    F - This grade indicates a severe problem in one or more of the following categories:  lack of interest, bad attitude, failure to complete assignments, excess lateness, or absence. 

Clinical/Laboratory/Field Experiences:
None

Critical Thinking Statement:
Critical thinking is the art of analyzing and evaluating thinking with a view to improving it.  In this class we will raise vital questions and problems, formulate them clearly and precisely; gather and assess relevant information, by using abstract ideas to interpret it effectively.


General Requirements:
o    In the interest of developing an appreciation of quality materials and maximizing the life span of your work, major drawings will be executed on good quality artist papers. Using lesser types of paper for a finished drawing will result in a lower grade. 
o    All work must be kept in a portfolio.  Respect and protect your work if you expect anyone else to do so.
o    All work that is handed in for grading must have your name and the date printed unobtrusively on the back.
o    All finished work must be fixed.  Make sure you have fixative and bring it with you to class.
o    Do not spray fixative in the classroom.  TAKE IT OUTSIDE!  Our lungs will appreciate the consideration.
o    All students are expected to participate during critiques.  Failing to engage in discussions will be noted in the gradebook.
o    Prohibited from my classroom: Cell phones (you may have it pocketed, but silence it and DO NOT ANSWER IT), texting, any device with headphones, tobacco of any kind, drugs or alcohol, Internet social networking sites, and laziness.

Required Materials & Supplies
Materials
o    Sketchbook (at least 9”x12”)
o    Graphite drawing pencils: 2H, 2B, 4B, 6B
o    Charcoal pencils: 2B, 4B, 6B
o    Black conte
o    Black India ink
o    Drawing or small paint brush
o    Workable fixative
o    Kneaded erasers
o    Hard erasers
o    Pencil sharpener
o    Yardstick or ruler
o    Portfolio for carrying drawings (large enough to accommodate 18”x24” paper)
o    Container for drawing tools (an Artbox or a simple zipper bag will do)

Paper
o    18”x24” pads of newsprint paper (or SEVERAL sheets of unbound newsprint paper)
o    18”x24”” high-quality paper for projects (specified by instructor when assignment is given)



Artists to Consider


Alberto Giacometti
August Rodin
Bill Waterson
Christopher Wilmarth
David Hockney
Edgar Degas
Edmund Dulac
Egon Schiele
Fernando Bryce
George Harriman
Georges Seurat
Gwen John
Henry O. Tanner
Horst Janssen
Janet Fish
Jean-Auguste Dominque Ingres
Jim Dine
Kathe Kollwitz
Luca Cambiaso
Martin Puryear
Mary Cassatt
Paul Cezanne
Paula Modersohn-Becker
Rembrandt Van Rijn
Richard Diebenkorn
Rico Lebrun
Romare Bearden
Susan Rothenberg
Vincent Van Gogh
William Beckmann
Winsor McKay
Zak Smith



                                                                                                                                                                                                                                               


Class Schedule



Week 1
8-18
Introduction, Review of syllabus
8-20
Familiarization With Materials, Discuss Sketchbook Expectations
Outside Assignment:
o    Divide paper into at least eight horizontal bands that fill the page.  Fill each band with vertical lines that explore different line weights and methods of drawing.  Don’t try to draw objects or things.  Consider weight, speed, and positive/negative relationships.  Lines can touch but not cross.
o    Materials
·          18”x24” white bond paper (provided by instructor)
·          2B, 4B, 6B drawing pencils
·          Yardstick/ruler
·          Eraser
o    Create a pocket inside the back cover of your sketchbook (staple or tape a piece of cardboard)
o    Place syllabus in pocket
o    Find at least one article explaining 1, 2, 3-point perspective and place in pocket

Week 2
8-25
Linear Perspective: One Point
o    One-point perspective: work from still life of cubes spheres, and cones (planes & ellipses)
o    Eye level, below eye level, above eye level.
o    Work to edge of page, push line variation
o    Materials
·          2B, 4B, 6B drawing pencils
·          Eraser
·          Yardstick/ruler
·          Newsprint (18”x24”)
8-27
Linear Perspective: One Point
o    One-point perspective: work from still life of cubes spheres, and cones (planes & ellipses)
o    Multiple points of view
o    Work to edge of page, push line variation
o    Materials
·          Pencils, yardstick, eraser, newsprint (18”x24”)
Outside Assignment:
o    Interior: one-point perspective
o    Line only
o    Materials
·          Pencils, yardstick, eraser, bond paper (18”x24”)

Week 3
9-1
Linear Perspective: Two Point
o    Two-point perspective: work from still life of cubes spheres, and cones (planes & ellipses)
o    Multiple points of view
o    Work to edge of page, push line variation
o    Materials
·          Pencils, yardstick, eraser, newsprint (18”x24”)
9-3
Linear Perspective: Two Point
o    Two-point perspective: work from still life of cubes spheres, and cones (planes & ellipses)
o    Multiple points of view
o    Work to edge of page, push line variation
o    Materials
·          Pencils, yardstick, eraser, newsprint (18”x24”)
Outside Assignment:
o    Interior (same as last homework): two-point perspective/Consider different point of view
o    Line only
o    Materials
·          Pencils, yardstick, eraser, newsprint (18”x24”)


*LABOR DAY HOLIDAY – SEPTEMBER 7*

Week 4
9-8
Free Hand (Intuitive) Perspective
o    Free hand perspective: work from still life of cubes spheres, and cones (planes & ellipses)
o    Multiple points of view
o    Consider proportion
o    Work to edge of page, push line variation
o    Materials
·          Pencils, yardstick, eraser, newsprint (18”x24”)
9-10
REVIEW SKETCHBOOKS
Free Hand (Intuitive) Perspective
o    Free hand perspective: work from still life of cubes spheres, and cones (planes & ellipses)
o    Multiple points of view
o    Consider proportion
o    Work to edge of page, push line variation
o    Materials
·          Pencils, yardstick, eraser, newsprint (18”x24”)
Outside Assignment:
o    Interior (same as last homework): free hand perspective/Consider different view
o    Line only
o    Materials
·          Pencils, yardstick, eraser, newsprint (18”x24”)

Week 5
9-15
Ruler Drawings (Planar analysis/line variation)
o    Work from drapery and objects
o    Create planar shapes to suggest form, volume, and space.
o    Materials
·          Pencils, yardstick, bond paper (18”x24”)
9-17
Ruler Drawings (Planar analysis/line variation)
o    Work from drapery and objects
o    Create planar shapes to suggest form, volume, and space.
o    Materials
·          Pencils, yardstick, eraser, newsprint (18”x24”)
Outside Assignment:
o    Ruler drawing: Drapery
o    Create a still life using a sheet or other non-patterned material
o    Work from observation
o    Include the full space
o    Line only
o    Materials
·          Charcoal pencil, hard eraser, yardstick, good-quality white paper (22”x30”)

Week 6
9-22
Ruler Drawings (Planar analysis/line variation)
o    Work from still life
o    Materials
·          2B, 4B, 6B charcoal pencils, yardstick, eraser, newsprint (18”x24”)
9-24
Ruler Drawings (Planar analysis/line variation)
o    Work from still life
o    Materials
·          Charcoal pencils, yardstick, eraser, newsprint (18”x24”)
Outside Assignment:
o    Ruler drawing: Portrait
o    Head in planes
o    Work from observation of a sitter
o    Reduce the head to a series of planes which clearly define the volume of the head as well as major features such as eyes, nose, mouth, ears, and hair
o    Include surrounding space
o    Line only
o    Materials
·          2B, 4B, 6B charcoal pencils, yardstick, hard eraser, good-quality white paper (22”x30”)

Week 7 MID-TERM
9-29
Ruler Drawings (Planar analysis/line variation)
o    Work from still life
o    Materials
·          Charcoal pencils, yardstick, eraser, newsprint (18”x24”)
10-1
MID-TERM SKETCHBOOKS DUE @ 9:30 AM
Ruler Drawings (Planar analysis/line variation)
o    Work from still life
o    Materials
·          Charcoal pencils, yardstick, eraser, newsprint (18”x24”)

Week 8
10-6
Line: Blind and controlled contour
o    Line quality (weight, width, value, space, thin/thick, dartk/light, fast/slow, push/pull)
o    Materials
·          Charcoal pencil, black conte, sharpened stick and ink, several sheets of newsprint & Bristol (18”x24” or larger)
Gesture Drawings (Line and mass gesture and combination)
o    Materials
§   Charcoal pencil, black conte, sharpened stick and ink, several sheets of newsprint & Bristol

*FALL BREAK OCTOBER 8-11*

Week 9
10-13
Line: Blind and controlled contour
o    Line quality (weight, width, value, space, thin/thick, dartk/light, fast/slow, push/pull)
o    Materials
·          Charcoal pencil, black conte, sharpened stick and ink, several sheets of newsprint & Bristol (18”x24” or larger)
Gesture Drawings (Line and mass gesture and combination)
o    Materials
§   Charcoal pencil, black conte, sharpened stick and ink, several sheets of newsprint & Bristol
10-15
Line: Blind and controlled contour
o    Line quality (weight, width, value, space, thin/thick, dartk/light, fast/slow, push/pull)
o    Materials
·          Charcoal pencil, black conte, sharpened stick and ink, several sheets of newsprint & Bristol
Gesture Drawings (Line and mass gesture and combination)
o    Materials
§   Charcoal pencil, black conte, sharpened stick and ink, several sheets of newsprint & Bristol
Outside Assignment:
o    Blind contour: Self-portrait
o    Draw 4 self-portraits in blind contour as we did in class.
o    1 in conte, 1 in pencil, 1 in stick and ink, 1 in brush and ink.
o    Work from a mirror
o    Line only
o    Materials
·          Black conte, ink, pencil, sharpened stick, bamboo brush, 2 sheets of newsprint (18”x24”) for dry material, 2 sheets of Bristol (18”x24”) for ink

Week 10
10-20
Free hand Perspective, Blocking-in Compositions, Line Quality, Loosening Up, Loose to Tight
o    Work from still life of complex objects
o    Draw “through” objects
o    Materials
·          2B, 4B, 6B charcoal pencils, hard eraser, newsprint (18”x24”)

10-22
Continued: Free hand Perspective, Blocking-in Compositions, Line Quality, Loosening Up, Loose to Tight
o    Work from still life of complex objects
o    Draw “through” objects
o    Materials
·          Charcoal pencils, hard eraser newsprint (18”x24”)
Outside Assignment:
o    Paper Loops and Curls
o    Cut out at least 2 strips of drawing paper approximately 2”x24”
o    Attach strips to an non-patterned wall and light them
o    Draw from this still life 4 times from different angles
o    Emphasize line variation to heighten the illusion of three dimensional space
o    Line only
o    Materials
·          Charcoal pencil, hard eraser, 4 sheets of newsprint (18”x24”)

Week 11
10-27
Continued: Free hand Perspective, Blocking-in Compositions, Line Quality, Loosening Up, Loose to Tight
o    Work from still life of complex objects
o    Materials
·          Charcoal pencils, hard eraser, newsprint (18”x24”)
10-29
REVIEW SKETCHBOOKS
Continued: Free hand Perspective, Blocking-in Compositions, Line Quality, Loosening Up, Loose to Tight
o    Work from still life of complex objects
o    Materials
·          Charcoal pencil, hard eraser, newsprint (18”x24”)
Outside Assignment:
o    Exterior with Objects
o    Work from an outdoor view with objects defining the space
o    Examples: a parking lot with vehicles, a fenced-in patio with furniture, a sidewalk with parking meters, etc.
o    Use free hand perspective and line variation to heighten the illusion of three dimensions and the deeper space of exterior vs. still life
o    Line only
o    Materials
·          Drawing pencils or charcoal pencils, hard eraser, good-quality white paper (22”x30”)

Week 12
11-3
Line: Controlled contour, Limited Value, Placement
o    Work from skeleton still life
o    Materials
·          Black conté hard eraser, newsprint (18”x24”)
11-5
Line: Controlled contour, Finished to Unfinished, Limited Value, Placement
o    Work from skeleton still life
o    Materials
·          Black conté hard eraser, newsprint (18”x24”)
Week 13
11-10
Line: Controlled contour, Limited Value, Placement
o    Work from skeleton still life
o    Materials
·          Black conté, hard eraser, white bond paper (18”x24”)
11-12
Line: Controlled contour, Finished to Unfinished, Limited Value, Placement
o    Work from skeleton still life
o    Materials
·          Black conté, hard eraser, white bond paper (18”x24”)
Outside Assignment:
o    Controlled Contour: Self-portrait
o    Work from mirror
o    Line only
o    Materials
·          Black conté, hard eraser, good-quality white paper (22”x30”)
Week 14
11-17
Line & Limited Value on Toned Paper
·          Work from still life or outdoors
·          Materials
·          Charcoal pencil, black conté, white conté, toned (warm or cool) charcoal paper.
11-19
Line & Limited Value on Toned Paper
·          Work from still life or outdoors
·          Materials
·          Charcoal pencil, black conté, white conté, toned (warm or cool) charcoal paper.
Week 15
11-24
Line & Limited Value on Toned Paper
·          Work from still life or outdoors
·          Materials
·          Charcoal pencil, black conté, white conté, toned (warm or cool) charcoal paper.

*THANKSGIVING HOLIDAY – NOVEMBER 26-29*

FINALS WEEK
Monday, 11-30
·          PORTFOLIO AND SKETCHBOOK DUE @ 3:30 PM — PICKUP @ 6:00 PM




Month And Year Of Syllabus Revision:
August 2015

Bethel University is committed to equal opportunity in education for all students, including those with documented disabilities. If you have a diagnosed disability or if you believe that you have a disability that might require reasonable accommodation in this course, please contact Jean Little 4059. Bethel University policy states that it is the responsibility of students to contact instructors to discuss appropriate accommodations to ensure equity in grading, experiences and assignments.


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