Laura Ruby


Summer 2013

 

Introduction to Visual Arts

 

Art 1000

Course Objectives
Texts
Course Content
Writing Criteria
Visual Art Grading Criteria
Participation--Attendance and Punctuality
Supplies
Visual Perception

The Cultural Image -- Nature and Culture

Setting the Context--The Form

Ways of Communicating

 

Exam
SPACE
Getting to the Roots--Western Euro-centric Space and Visual Display
Rendering Perspective
Our Own Spatial Culture
Pluralism

TIME

Time and Motion--The Movies--The 4th Dimension

Film Time and Movement

Exam


 

 

 

This course will explore the nature of the world's visual arts and their influences on the quality of our lives. It will discuss:
 
  • What is visual culture?:
  • Understanding our own ways of seeing and of becoming visually literate;
  • Employing visual thinking and creating through visual communication;
  • Understanding the roots of visual culture and visual production.
 
COURSE OBJECTIVES:
 
1. To discover the purpose of the visual arts;
2. To realize the scope of the visual arts;
3. To develop an awareness of and appreciation for the diversity of human visual responses;
4. To become aware of and involved in the act of creativity; and
5. To become a motivating force for bettering your visual environment.

Student Learning Outcomes for Art

1) To develop fundamental skills and concepts relative to the practice of art.

2) To develop an understanding and appreciation of the tradition which formed our present approach to the visual arts.

3) To develop the ability to analyze the merits of art works and develop informed opinions applicable to the broad range of human cultural production.

4) To develop specific skills and knowledge of a medium(s) to be utilized as a means of visual communication and self expression5) To encourage the development of new approaches, methodologies and philosophies of art as well as the understanding of traditional modes and paradigms.

 
 
TEXTS:
  • Prebles' Artforms 10th edition--Patrick Frank
  • selections from The Humanistic Tradition Volumes 3 & 6 --Gloria Fiero
  • packet of Art 1000 handouts 
  • [Art Basics (optional--no author listed)]
 
COURSE CONTENT:
 
  • 30% -- Written Entries (for example: Casablanca --written response to 1 question using light and value terminology)
  • 30% -- Visual Entries/Artworks
    • 5% ---Casablanca value study
    • 5% -- realistic drawing,
    • 5% -- abstract drawing,
    • 5% -- small art projects
    • 10% -- Global Art History Archive
  • 10% -- First Exam (Part Take-Home, Part In-Class)
  • 10% -- Second Exam ( " )
  • 10% -- Class Participation
  • 10% -- Attendance
  • (The class may decide to give more weight to some items at a later time.)
 WRITING/GREAT DEBATE CRITERIA:
 
All papers should be:
1. typed, double-spaced, 3/4 to 1+ pages long, 1.5" margins;
2. state your position and present your evidence--support your statement; and
3. be prepared for the discussions to follow--small groups and whole class discussions
 
VISUAL ART GRADING CRITERIA:
 
All visual artwork will be evaluated in terms of:
l. imagination, enthusiasm, and risk taking;
2. clarity of concept, organization;
3. timely participation (come to class, turn in work on time, and participate in discussions); and
4. quality of execution (craftsmanship and thoroughness) and the ability to be self-correcting.
 
 
PARTICIPATION -- ATTENDANCE AND PUNCTUALITY
 
This course requires full attendance. Visual concepts are often only understood after sharing, comparing, questioning, revising and synthesizing, as well as listening. A tardy or absent student diminishes the overall quality of the class. Three tardies will equal one unexcused absence. Three unexcused absences will lower the final grade.
HONESTY POLICY

The policy of Hawai'i Pacific University is clear regarding academic dishonesty. Any student who cheats on an academic exercise, lends assistance to others, or who hands in, as a completed assignment, work that is not his or her own will be penalized. The ultimate penalty is suspension from the University. For more information, go to this link: HPU Academic Honesty Policy and Procedures.
 

PLEASE TURN OFF ALL ELECTRONICS--CELLPHONES, BEEPERS AND PAGERS BEFORE ENTERING THE CLASSROOM.

 
 
SUPPLIES:
ART KIT available at the HPU Bookstore (almost everything below can be shared)
  • cellphone or digital camera printouts OR thumbnail sketches
  • bristol board pad--vellum (or rough surface--if available), approximately 9" x 12"
  • watercolor compact, small tube of white watercolor paint and #6 brush
  • graphite drawing pencils (2B, HB, 2H) and eraser
  • pencil sharpener
  • ruler
  • glue stick
  • scissors
  • mat for framing images
  • Prismacolor or Spectracolor colored pencils
  • shared pad of see-through tracing paper
  • additional materials to be announced later   
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In-Class Discussion Topics
 
 
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Visual Artworks
and
Written Entries/Great Debates
and
Exams

 

 

Readings

 

 

 

 

Week One: Syllabus & the Big Picture
 
 
Visual Perception
  • setting the context: the perceptual experience
  • I, the observer, and the "stuff" out there
  • gestalt
  • visual illusions
 
Representations/depictions/correspondences
  • setting the context: the the "stuff" out there depicted

 

 

 

 

 

 

 

 

 

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a. Small Art Project

Look through your viewfinder and capture images of a day in the life of yourself. Create 10 thumbnails sketches or photos of objects you come in contact with--home, school, work, leisure. Use a variety of framed points of view--worm's or bird's eye points of view and select tipped/tilted framing or parallel-to-the-horizon framing. These should be done quickly.


1. Informal writing/discussion

We will arbitrarily divide up the class to cover these 4 points of view:

a) worm's eye vs. bird's eye point of view

--how is meaning created from this point of view?

and

b) tipped or tilted framing vs. parallel-to-the-horizon framing

--how is meaning created from this point of view?

All  papers should be typed, double-spaced. State your position and present your evidence--support your statement. Discussions will follow--small groups and individuals will represent different points of view.

 

Readings:

Chapter 1

first readings in pdf packet

Chapter 2



 

 

Week One: The Cultural Image--Nature/Culture
 
  • How do we look at visual culture?
  • Am I a feral child?
  • The Innocent Eye Test
The Innocent Eye Test, 1981 -- Mark Tansey
 
 
Representations/depictions
  • Treason of Images
 
Treason of Images, 1928-9 -- Rene Magritte
 
 
 
Captain Cook and the Visual Depiction of Hawai'i
 
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2. Informal writing and discussion

Innocent eye vs. Sophisticated eye

 

Answer the Innocent Eye Test questions

 

Innocent Eye Test questions in packet

 

 

 

 

 

 

 

  Week One: Our Cultural Frame
 
SHIFT--thinking about self and the world as expressed in visual depictions
 
 
The Form--realistic, abstract, non-objective
 
Cow, 1917 -- Theo van Doesburg
 
Cow, 1917 -- Theo van Doesburg
 
Cow, 1917 -- Theo van Doesburg
 
Cow, 1917 -- Theo van Doesburg

 

 
 
Les Demoiselles d'Avignon, 1907 -- Pablo Picasso
 
Nude Descending a Staircase, No. 2, 1912 -- Marcel Duchamp

2 and 3. Artworks

Using watercolor or colored pencils, render/draw your object 2 times:

2. as realistically as possible

3. in an abstract way

EC. as a study in light and value--aim for chiaroscuro (highlight and shadow) using black pencil only--do not use lines;

EC. establishing a sense of scale--place your object in relationship to another object or in a particular setting. Give some sense of size relationships.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

p78ff Drawing

 

see handouts in packet

p47-51

 

Look over Chapters 4-9

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Abstract Drawing

EC
 
 
 
 
 
 
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[optional artwork

Create a mask or costume based on your depicted animal image. Research another cultural context and use the forms of that culture or transfer these animal attributes into a wearable form in your own personal contemporary context. Please link to Creating a Mask on the website www.hawaii.edu/lruby/---Art 101]


 

 

 

 

 

 

 

Representations/depictions
 
Week One
Ways of Communicating--icon, index, symbol
 
 
Flag, 1954-55 -- Jasper Johns
  • a national icon: the American flag
  • the First Amendment
 
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3. Informal Writing
 Flag by Jasper Johns
 
a) this is a flag vs. this is an artwork
or
b) the flag or flag imagery can be used in artworks vs. prohibition of the flag's use in artworks

 

read handouts in your packet on the American flag exhibitions and American iconic depictions

 

 LIGHT

Week Two: Light and Optical Correspondences
 
Light and Film and the Flicks--The Magic Lantern Show
 
  • light an illuminating notion
  • light logic
  •  
  • influences from:
  • The European Baroque Frame
  • German Expressionist Theater and Cinema
  • Edward Hopper
  • film noir
 
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b. and c. Small Art Projects

b. light logic sketch

c. color projects

read pages in your packet

p38-47

 

 light logic

Light logic
1 highlight--the lightest, brightest spot on the object
2 lowlight/midtone--maximum color intensity--this is the local value that an object would have under ambient/indirect light
3 reflected light--the light that hits other things and bounces back on the object
4 core shadow--the shadow on on and created by the object itself
5 cast shadow--the shadow that cuts out the shining light source--its always the darkest part

Chiaroscuro--light to dark
value notation--the illusion of volume

Week Two: A 20th Century Foray 

 
Gas, 1940 -- Edward Hopper
 
 
New York Movie, 1939 -- Edward Hopper
 
Drug Store, 1927 -- Edward Hopper

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Global Art History Archive 1
Gas, 1940 -- Hopper
New York Movie, 1939 -- Hopper
Drug Store, 1927 -- Hopper

 

Global Art History Archive 2

Rue Transonian

Global Art History Archive 3

High Noon

The Third Man

 

 

 

p390

 

 

Week Two: Cinematography & Film
 
 
  • Casablanca and "Play it again, Sam."
 
Casablanca, 1943 -- Michael Curtiz
 
Casablanca, 1943 -- Michael Curtiz

 

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4. Writing

& 5. Artwork

A. Reflect on the Casablanca questions and write on 1 question.

B. Create a value drawing of 1 shot related to your question--do not copy from the xerox images. (Please see separate handout.) This is a study in light and value--aim for chiaroscuro (highlight and shadow) using black pencil only--do not use lines.

C. Sketch a plan view, diagramming the lighting, set and actors.

refer to the questions in your packet

 

 

Week Three:
 
  • Casablanca discussion
  • Carrotblanca
  • film genres
 
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EC--light in film

Select 1 of the 100 classic films. Write a 1 paragraph synopsis and create a value drawing of a crucial shot.

list located in your packet

 

 

SPACE

 
Week Three: Getting to the Roots -- Western Euro-centric Space and Visual Display

SHIFT -- thinking about self and the world as expressed in visual depictions

 

Rendering Perspective -- The Illusion of 3-Dimensional Space on a 2-Dimensional Picture Plane

 

  • space a 2-D perspective
  • our visual spatial cultural legacy -- 500 years of European Renaissance
  • video: The Day the Universe Changed -- "Point of View"

The Holy Trinity, 1425 -- Masaccio

Global Art History Archive 4 American Gothic

 

 

 

 

 

 

 

 

 

Global Art History Archive 5 The Holy Trinity

 

EC create a perspective drawing


ch 10, pp411-422

 

 

 

 

Blackboard/Pipeline: Humanistic Tradition 3: The Renaissance

pp26-33, pp248-270


 

 

Week Three: Our Own Spatial Culture

Other Cultural Forays

Japanese ukioye landscape prints and compositinal organization -- in contrast

Wave at Kanagawa c. 1830 -- Hokusai

Naito Shinjuku, Yotsuya, 1857 -- Hiroshige

Islamic Art

Global Art History Archive 6 Wave at Kanagawa

handouts

 

pp290-296

-other cultures but the same time frame






 

 

 

Week Four: Real/Actual Space --Space a 3-D Perspective

  • art in public places
  • Claes Oldenberg -- "Object into Monument"

Clothespin, 1976 -- Claes Oldenburg

Global Art History Archive 7 The Unswept Floor

Global Art History Archive 8 Monk Sewing

 

pp 416-418, 439, 231-243, 444-445

Dream Window--A Japanese Sense of Space and Place

 

 

Week Four: Our Own Spatial Community Culture


 

5. Writing --  Downtown Art -- field trip to visit and locate at least 9 artworks.

A. Please identify the artworks' and their locations and draw small thumbnail sketches of each work. Please number and identify each of the artworks and answer:

B. Compare and contrast 2 artworks:

a) List each's visual characteristics.

b) How does each artwork relate to its environment?

c) How do viewers/participants interact with these 2 artworks?

d) What is particularly striking about these artworks?

 

EC Create a watercolor or colored pencil drawing of 1 campus artwork.

please see 2-page handout in packet

 

Week Four: Our Own Spatial Culture

  • the built environment
  • inventing our own myths: inventions and vernacular architecture
  • the balloon frame house
  • international style/modern architecture: the Seagram building imperialism, skyscrapers
  • Learning from Las Vegas

 

Chapter 12, p189ff, pp431-433

 

 

Week Five: The Postmodern Frame--Art in Our Own Times
 
SHIFT--thinking about self and the world as expressed in visual depictions
 
Postmodern Architecture
  • Charles Moore, Frank Gehry, etc. and the pomo Piazza d'Italia
Piazza d'Italia, 1978-79 -- Charles Moore, et. al.

 

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Chapter 25

 

 

Week Five:
 
Exam--Thinking on Your Feet
 
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exam

on Visual Culture, Light and Space

 

 

 

Week Five:
 
  • museum visit
 
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6. Writing

Reflect on an exhibition at the Hawaii State Art Museum-HiSAM--Visit two different galleries (see handout).


 

see questions in packet

 

 

 


 

EC
 
 
 
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EC Select an historical or contemporary artwork from Artforms and place it in its cultural context.

 

Week Six Preserving Cultural Artifacts

 7. Informal Writing/Discussion from written notes

9. To preserve or not to preserve

 

read handouts from Puzzles and Artforms

 

 

 

Week Six:
  
 
The Postmodern Frame--Art in Our Own Times--Pluralism

 

Race, Ethnicity, Gender, Economic Class
  • contemporary visual culture
  • Jacob Lawrence and Robert Colescott
  • Barbara Kruger and the Guerrilla Girls
  • high culture & low culture
  • our own contemporary context and pop art
  • Nancy Drew
 
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Chapter 25

 

 

 

EC
 
 
Forward Retreat, 1986 -- Mark Tansey
 
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EC Answer the Forward Retreat questions

see questions in packet

 

 

 

EC: Aesthetics--How Might We Judge Beauty?
 
  • "Beauty, Ugliness, and Aesthetic Experience"
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EC Beauty and Ugliness--Select 1 "Beauty..." case study--state the different positions and support your preferred position and why.

Puzzles handouts

 

 

 TIME

Week Six: Time and Motion--The Movies--The 4th Dimension
 
  • the dynamic image
  • implied movement
    • Mark Tansey, Saul Steinberg, etc.
    • comics, storyboarding and continuity
  • apparent movement
    • the framed and filmed and edited image
    • "What's up Doc?"--animation
  • actual movement
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Global Art History Archive 9
Take One

 

 
Global Art History Archive 10
How Green Was My Valley

p133ff--Moving Images


and pages in packet

 

 

 

Week Seven: Film Time and Movement
 
 
 
 
 
 
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d. Small Art Project 

Film Editing--Select another classic film and create a 20 shot storyboard. (Please see separate handout.)

 

Week Seven: Film Time and Movement
 
 
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EC time and motion in film editing

Select another of the 100 classics and create a short storyboard.

 


Week Eight:
 
Guernica, 1937 -- Pablo Picasso
  • review &
  • Exam--Thinking on Your Feet
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exam

Guernica -- pp 84, 365, 383-384

 

 
Laura Ruby
 
lruby@hawaii.edu
May 2013