Spring 2009

Syllabus
Basic art concepts, elements, and principles of organization -- this course will focus on the elements of form, the principles of design, and the fundamentals of spatial structure/organization in two dimensional visual art forms. Students will be introduced to basic terms/vocabulary and appropriate methods of working with a range of materials and techniques.

The class will consist of discussions/demonstrations on particular concepts and/or projects. Students will work out ideas in their sketchbooks/journals. Finished projects will be presented at class reviews. Daily informal critiques and discussions will be held on an on-going basis. Students will be responsible for all information given in class.

 

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 expression

5) To encourage the development of new approaches, methodologies and philosophies of art as well as the understanding of traditional modes and paradigms.

Upon successful completion of Art 115 students should be able to:

• Comprehend and successfully apply the visual elements of line, shape, space, value, texture, pattern, color, and design principles of balance, rhythm, emphasis, contrast, proportion, variation, repetition, and unity.

• Understand and demonstrate a critical awareness of compositional structure in two-dimensional artworks.

• Use basic art/design technique and media skillfully, i.e., measuring & cutting, drawing & painting materials and tools.

• Understand and experiment with creative problem solving processes and risk-taking exploration methods.

• Learn rudimentary abilities in identifying, verbally articulating, and critically analyzing compositional principles in two-dimensional artworks.

• Achieve a level of independent assessment that will enable continued individual growth.

 

 

 

 

Questions for discussion:

1. Why do I want to make art?
2. How do I get ideas?
3. What format is best for my idea?
4. How are works of art organized?
5. How will I know when my work is finished?

Grading criteria -- projects will be evaluated in terms of:

1. 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 critiques)
4. Quality of execution (craftsmanship)

Attendance -- 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.

PLEASE TURN OFF ALL ELECTRONICS--CELLPHONES, BEEPERS AND PAGERS BEFORE ENTERING THE CLASSROOM. THE FIRST ELECTRONIC INTERRUPTION WILL LOWER YOUR GRADE. YOU WILL NOT BE ASKED BACK TO THE CLASS SHOULD THIS OCCUR AGAIN. YOUR EDUCATION IS YOUR MOST IMPORTANT PRIORITY AT THIS TIME. NO I-PODS OR WALKMEN PLEASE. PLEASE ARRANGE YOUR WORK AND SOCIAL SCHEDULES AROUND YOUR EDUCATIONAL SCHEDULE.

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15% 1. In Depth--Illusion of "Apparent 3-Dimensional Reality"

15% 2. Framing It All--Organizing 2-Dimensional Space

-visual framing strategies

-location on the picture plane

-a brief exploration into computer graphics

-meaning and content

-still framing

-more meaning and content

-master painting analysis

 

 

20% 3. Big Painting -- Color Phenomena and Color Schemes

 

15% 4. X Marks the Spot -- Mapping Space

 

15% 5. Relief Composition

10% 6. HiSAM Field Trip and typed Review

10% 7. Participation -- attendance and punctuality

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---

Supplies --

Paper

 

-Sketchbook or binder brought every day

-Bristol board pad, rough (vellum) surface, 18" x 24" or larger (share)

-Chipboard for use as cutting board (13" x 19" -- minimum size)

-Tracing paper pad, 14" x 17" (share)

-1 sheet of black paper

-Several dozen pieces of lined and unlined 8 1/2" x 11" paper

-Small thumbnail xeroxes

-Large thumbnail xeroxes

-(Newsprint pad -- if you already have it)

Pens & pencils

 

-Pencil

-Kohinoor soft white vinyl eraser

-Prismacolor/Spectracolor colored pencils (basic set or more)

 

-Thick and thin Sharpie or other markers

Rulers

 

-18" metal ruler with cork back

Knife/blades

 

-X-acto knife, #11

-X-acto blades for #11 knife

Glue/tape

 

-Scotch Magic-Plus tape (removeable -- blue label)

-Scotch transparent tape (red label)

-Dispenser for Magic -Plus tape

-Rubber cement

 

-Glue stic

 

 

 

 

 

Paints & Brushes

-Acrylic paint (Golden) (please share) (UH Bookstore)

-Primary Yellow

-Primary Magenta

-Primary Cyan

-Mars Black

-Titanium White

-3 or 4 round acrylic brush

-3/4-1" flat acrylic brush

-palette knife

Relief Printmaking Tools

-Speedball or other brand linoleum cutting tools (available in the UH Bookstore and Hawaiian Graphics)

 

-linoleum plates/blocks

Miscellaneous

-several sheets of acetate or other clear plastic

-Inexpensive large manila envelope

-Viewfinder -- 1 1/2" x 2" interior opening

-Framing L's

-Tracing paper templates

-Value finder

-Paper/plastic palettes

-Paper towels

-Large and small plastic containers + covers

-Old newspapers

-Scissors

-Apron or old clothes

-Combination lock

 

-Change for the copy machine

-Other supplies to be announced

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2. IN DEPTH -- IMAGINARY BUILDING

- intro/video/slides/handouts/string figures

- "Illusion of Space" chapter due--create at least 4 simple diagrams based on the reading--also include explanatory legends

Week 4

Week 5

 

 

-review imaginary building

 

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6. Global Art History Archive images (optional)

-organizing 2-D space--visual framing strategies

-depth spatial clues

-reading across and into the picture plane

-asymmetry

-proximity and varying intervals

-lateral spatial clues

1. & 2. 28-73 American Gothic, 1930 -- Grant Wood

 

 

 3. 22-10 Matsushima screen, 17 c. -- Tawaraya Sotatsu

 

 

 

4. 26 Rue Transonian, 1834 -- Honore Daumier

 

 

 

5. 58 The Unswept Floor, 2 c. c.e. -- Herakleitos

 

 

 

6. 27-16 The Sleep of Reason Produces Monsters, 1799 -- Francisco Goya

 

 

7. 27-17 Third of May 1808, 1814-15 -- Francisco Goya

 

 

 

 

 

 

8. 11-18 Monk Sewing, early 14th c. -- Attributed to Kao Ninga

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Take Offs

American Gothic, 1930 -- Grant Wood

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Week 16----last day of class
-review RELIEF PRINTS

-evaluations
-refreshments
pau

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