Syllabus
FACULTY OF FINE ARTS
Department of Visual Arts
Course: FA/VISA2081.3 Drawing Perception, Proportion, Structure
Course Webpage: www.drawing123.weebly.com
Term: Fall Term 2012
Prerequisite / Co-requisite: none
Course Instructor
Troy Ouellette
Office 328, 3rd floor, Goldfarb Centre for Fine Arts
Course consultation hours: by appointment
[email protected]
Section A
Course Time and Location - Monday, 1:30pm-5:30pm Room 284
Goldfarb Centre for Fine Art
Tutorial Group list: time, dates and location (note: all presentations will take place in Rm. 338 and all course consultation hours with instructors are by appointment)
Section B Time: Tuesday 1:30PM-5:30PM
Rm. 284
Instructor: Laura Moore
[email protected]
Section C
Time: Wednesday, 8:30PM-12:30PM
Rm. 284
Instructor: Colleen Wolstenholme
[email protected]
Section D
Time: Wednesday, 1:30PM-5:30PM
Rm. 284
Instructor: Laura Moore
[email protected]
Section E
Time: Friday, 8:30PM-12:30PM
Rm. 284
Instructor: Laura Moore
[email protected]
Section F
Time: Friday, 1:30PM-5:30PM
Rm. 284
Instructor: Laura Moore
[email protected]
Expanded Course Description
This studio course introduces the student to a wide range of artists, techniques and concepts associated with contemporary drawing. Some techniques and projects will involve perceptual studies looking at different types of sensory input to inform mark-making. Gesture, eye/hand synchronicity, explorations of tone, space and colour and, in the final project, drawing installation will also be covered. Students will also have the opportunity to write about each major theme to better articulate their line of inquiry and research in the final discussions.
Organization of the Course
The number of students in this course range from 20-25. Each of the three main “project sections” is augmented by presentations, which will introduce the main themes. These presentations are both historical and contemporary to give the student the ability to see how drawing has progressed through the centuries. All three major projects will conclude with a discussion regarding the use and integration of research concepts, materials and process. There will be hands-on demonstrations to show technique and there will be individual instruction provided when needed. The student must purchase materials, keep a sketchbook for in-class exercises and projects and construct a portfolio.
Course Learning Objectives
The purpose of this course is to introduce the student to the versatility and importance of drawing today. Students will see a wide range of drawing applications and gain an understanding of the possibilities by using drawing to convey a variety of subjects including: still-life, portraiture, figuration, abstraction as well as utilize information such as statistics for speculative ideas, projections or imaginative conjecture. All of these topics feed into contemporary drawing.
The specific learning objectives of the course will enable the student to:
· Conceptualize the subject/object/situation and articulate this using drawing.
· Explore and expand on the use of drawing materials and techniques including charcoal, graphite, conté and mixed media.
· Arrive at creative and compositional ideas through research and use drawing to solve problems and widen visual vocabulary so the student may speak articulately and critically about their work and the work of others.
· Use line in a variety of expressive ways including contour, gesture, expressive or lyrical line, and lost and found edges and use value/tone in a variety of expressive and emotive ways including chiaroscuro, shading, tone, light source indications, shadow, and surface texture, using additive and reductive techniques.
· Develop compositions that address balance, point of view, positive and negative space, proportion, picture plane usage, as well as provide visual interest and/or dynamism. Learn about 1,2,3 and multiple point perspective.
· Develop an understanding of the role of drawing in the contemporary art world in relation to other historical works and use traditional and experimental, non-objective approaches for content-based drawings, which include using information as a starting point for drawing.
Main Project Descriptions
All three projects, listed below, will require an accompanying paragraph taped to the back after the final evaluation, describing what you did and what the drawing is about. Do not cut and paste information use your own words to describe what it is that you have done and reflect on the process. This will be factored into your mark. You can see a more detailed description of these projects on the course website.
Project #1 Perception – Drawing on Psychology
This project deals with topics you are concerned about or subjects you find interesting including but not limited to: identity, social concerns, environmentalism and politics. Each student will produce a large-scale drawing that will depict some of these concerns through literal representation and realism. This section is about perceptive skills – indeed copying what you see in front of you. This could take the form of drawing on a theme. As an example the student may take the profile of a person they relate too and use this to create a visual essay on a particular person using photographs and/or life drawing.
Project #2 Proportion – Speculative Drawing Using Information
The real power of drawing exists in its immediacy - its ability to capture ideas on the fly. In this section the student will create a drawing over an extended time and could take the form of a mind map, flow-chat, scribbles and doodles. Think of this a plan for something to be built or perhaps it's a philosophy of life articulated through drawn fragments. It could also take the shape of data that you collect in your sketchbook to finally execute near the end of the project deadline. Drawing, in this instance, may be linked with performance and possibly a two-person collaboration. (This will be left up to the discretion of each instructor.) I will also accept computer-aided compositions but only if they are combined with manual methods. We will cover many areas having to do with proportion in this section including measurement and perspective.
Project #3 Structure and Abstraction
What will be explored in this project is the 20th Century history of abstraction, which was a complete paradigm shift in the academies even though it came from non-academic roots. In this work I would like you to come up with a drawing in three dimensions – in other words you will have to be able to walk around or through the work. You could utilize string, drawing on pavement with chalk, cut paper. There are many variations and permutations this could take and it will become clearer as the term progresses.
Please see the online project descriptions to obtain a list of artists and keywords.
Recommended Course Text / Readings*
Evaluation
The final grade for the course** will be based on the following items weighted as indicated:
Project #1 15%
Project #2 15%
Project #3 15%
Sketchbook 15%
In-Class Assignments (Portfolio) 30%
Tutorial and Presentation Participation 10%
The last day to drop this course without receiving academic penalty is Nov. 9th, 2012
Grading, Assignment Submission, Lateness Penalties and Missed Tests
Grading: The grading scheme for the course conforms to the 9-point grading system used in undergraduate programs at York (e.g., A+ = 9, A = 8, B+ - 7, C+ = 5, etc.). Assignments will bear either a letter grade designation or a corresponding number grade (e.g. A+ = 90 to 100, A = 80 to 90, B+ = 75 to 79, etc.)
Method of Instruction Evaluation/Grading Rubric
Each student will be evaluated on their ability to explore and apply the visual and thematic concepts of the course through class work, sketchbooks and home assignments. Participation, which develops the ability to 'perceive' and to 'articulate' ideas and work habits is an essential part of the assessment. As a student I want you to ask yourself the following questions regarding your work…
Criteria for Grading
York University Faculty of Fine Arts Grading System
Grade Grade-Point Per Cent Range Description
A+ 9 90-100% Exceptional
A 8 80-89% Excellent
B+ 7 75-79% Very Good
B 6 70-74% Good
C+ 5 65-69% Competent
C 4 60-64% Fairly Competent
D+ 3 55-59% Passing
D 2 50-54% Marginally Passing
E 1 40-49% Marginally Passing
F 0 0-39% Failing
For a full description of York grading system see the York University Undergraduate Calendar at
http://www.registrar.yorku.ca/calendars/2012-2013/academic/grades/.
Students may take a limited number of courses for degree credit on an ungraded (pass/fail) basis. For full information on this option see Alternative Grading Option in the Faculty of Fine Arts section of the Undergraduate Calendar - http://www.registrar.yorku.ca/calendars/2012-2013/faculty_rules/FA/grading.htm.
Assignment Submission: Proper academic performance depends on students doing their work not only well, but on time. Accordingly, assignments for this course must be received on the due date specified for the assignment. Major Assignments are to be presented in the drawing room before the critique/discussion.
Lateness Penalty: Assignments received later than the due date will be penalized one-half letter grade (1 grade point) everyday the assignment is late. Exceptions to the lateness penalty for valid reasons such as illness, compassionate grounds, etc., may be entertained by the Course Instructor but will require supporting documentation (e.g., a doctor’s letter).
ADDITIONAL INFORMATION
Material Requirements: The student is required to purchase at a bare minimum the following materials:
· Hard-bound sketch book no larger than 9 x 7: rectangular format and one large pad of newsprint for rough sketches
· Foamcore portfolio with bulldog clips as demonstrated in class - readymade cardboard portfolios are also acceptable
· Assortment of brushes; large/medium, small sponges, rags
· Black ink and watercolor kit
· 4H, 2H, HB, 2B, 4B Graphite Drawing Pencils
· Conte, black and brown
· Pencil sharpener and metal ruler
· Bienfang 360 marker paper pad at least 19” x 24” (You can sometimes buy these in a pad of 50 and then tape
· sheets together to build larger surfaces).
· Masking Tape, glue stick, scissors, scotch tape
· White Eraser(s)
· Small toolbox or case with rudimentary tools: hammer, pliers, string and wire.
Please see the "Links" section for a list of supply stores both on-line and within the GTA. I have also notified Woolfitt's art supply to have the Bienfang pads on hand - they also offer student discounts so make sure you have your student ID with you.
Schedule of Topics, Demonstrations, In-Class Assignments and Homework
Week 1
Student and Instructor Introductions
Introduction to the course syllabus –main assignment, time constraints, schedule and grading rubric
Class website –www.drawing123.weebly.com - Locker assignments and combinations
Demonstrate making a portfolio using bull-clips and foamcore.
Move to Rm. 338 for Presentation – Perception: Drawing on Psychology
Homework Expectations/Assignments due for next class: Watch William Kentridge Video on PBS Art 21: http://video.pbs.org/video/1619754531
Record 4 ideas for their first major project in your sketchbooks. Reflect on the Kentridge video in your sketchbooks.
Week 2
Expressive Drawing to Music 5%
In-class assignment: Demonstration of materials and mark-making with musical accompaniment
Homework Expectations/Assignments due for next class: Pick a favourite mark-making technique and explore a subject (eg. table, cup, a tree) maybe the subject of the song (sound composition) is related to the thing they are drawing. By using mark-making, appropriate to the observation and musical composition, record what music/sound was used on the back of the sheet. (This is a finished drawing and should be done on a large sheet of paper). 5% of mark.
What to bring for next class: Students will bring in 3 personal objects (eg. shoe, wood box, ball of string) Please caution them about bringing anything too valuable.
Week 3
Topic: Sensing the Object/Subject
Warm-up draw each other without looking at the page - use shading if you want. Do this 3 times without switching the subject. This is a sketchbook exercise and should take about 10 minutes.
In-class assignment: 5% of mark. The Body and Line – As Kiki Smith remarks “In drawing you take physical energy out of your body and put it on the page.” The drawing implement becomes an extension of the body. In this exercise the student will devise a drawing apparatus that works with the body.
Expectations/assignments due for next class – sketchbook – do some exercises using extended arm techniques by taping your pencil to a long stick and try to draw an object by using an extension. In this case you should use a still-life.
Week 4
Class Critique - Drawing on Psychology
Expectations/assignments due for next class: Practice and experiment in your sketchbook. You should use this time to think about the second project on Speculative Drawing Using Information. Collect images that have used information in their design.
For Reading Week: Come up with at least 4 ideas you want to use for the next project and watch Systems Video from Art 21 http://www.pbs.org/art21/watch-now/episode-systems
and Agnes Martin Video on Youtube http://www.youtube.com/watch?v=A_FelzxIp4E
and at http://www.youtube.com/watch?v=yQCB9Txo3Mg&feature=relmfu
Week 5
Topic: Project #2 Proportion – Speculative Drawing Using Information
This will cover perspective, systems drawing, information and data as drawing and conceptual art practice. It should take the first two hours of class to go through the presentation material and answer questions.
Demo on perspective – 1,2,3 and multiple point perspective.
In-class assignment Information Plotting and Proportion
Reflect on what you saw in the presentation and try to do a drawing based on a systems that you have encountered in their daily lives this includes schedules, outlines, important dates and calendars.
What to bring for next class: - bring in 3 metal food cans with or without labels. Also come with non-drawing materials. These are things you find in your house: mustard, food colouring, butter, spices mixed with water, dirt or anything else that will make a mark other than a writing implement.
Week 6
Topic: Perspective, the Eraser, the Smudge the Stain and Lost and Found Lines
Demo of the eraser and non-drawing materials.
In-Class Assignment: In this exercise the student will cover small areas in their sketchbooks with graphite and proceed to use the eraser by depicting the food cans you have brought in. These will be 10 little sketches to familiarize you with these techniques. You will also set up the metal cans, which may be stacked or put in a more random fashion on their desktop for one final drawing.
Midterm Review
Expectations/assignments due for next class: Finish up the eraser drawing for homework you may also add one colour at this stage. Work on your second assignment. Bring in some data that you collect or can refer to next class in the form of statistics, graphs, pie charts and/or collected information that relates to specific times, places or circumstances. A key person to look at is Hanne Darboven. The Wikipedia entry is actually quite good and you will find it here. http://en.wikipedia.org/wiki/Hanne_Darboven
Week 7
Topic: Informational Drawing, Specific Data Drawing 5%
In-Class Assignment
In this assignment the student will create a specific study of everyday life using the data they have collected. This means that they have to think serially or they can pick apart and differentiate various types of data and combine them in an interesting way.
Expectations/assignments due for next class: Work on Project #2 for the discussion and presentation next week. Don’t forget the short research write-up.
Week 8 Critique of Project #2 Proportion – Speculative Drawing Using Information
Expectations/assignments due for next class: Have 5 idea sketches in your sketchbook ready by next week for your final project. Bring in linear elements and fasteners: wire, string, sticks, bull clips, safety pins, paper clips and anything else you can think of where you can experiment with drawing in space.
Week 9
Topic: Fastening Three Dimensional Elements Demonstration
In this demonstration the instructor will be able to show how to bind together different materials.
In-class assignment: Using sections of the class room pick out similar elements (light fixtures, window, bricks, lockers, pencils on tables) build up a drawing using similar elements that you see around you.
Expectations/assignments due for next class: work on final project ideas and small preliminary sketches
Week 10
Topic: Drawing Templates 5%
In this work you will use rulers, spiral-graphs, French curves and objects with edges to create a drawing, which will mostly be linear. An example is to use a coat hanger to draw around the page to create an abstract image. Think of using thousands of lines moving the object slightly to create movement. Think also of an all over drawing – something that fills the entire page.
Work on project #3 in the time remaining.
Expectations and assignments due for next class: Watch Max Ernst on Frottage and A New Kind of Natural History http://www.youtube.com/watch?v=5Jm5jHMETfM&feature=related
The students should have 5 sketches in their sketchbooks that utilize frottage by next class. Work on project #2 and finish this for the discussion in the next class.
Week 11
Topic: Frottage
In this exercise the student should also start to think about how visual textural information is transferred. Frottage is a way of extracting information about a surface by simply rubbing you pencil over a surface. You will do 10 Frottage Drawings in total.
After this exercise keep working on your final assignment for next class
Week 12
Class Critique Project #3 Structure and Abstraction
This is the last Date for any assignments and for the collection of your work.
Final Discussion
All students are expected to familiarize themselves with the following information, available on the Senate Committee on Curriculum & Academic Standards webpage (see Reports, Initiatives, Documents)
IMPORTANT COURSE INFORMATION FOR STUDENTS
All students are expected to familiarize themselves with the following information:
http://www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm
• York’s Academic Honesty Policy and Procedures/Academic Integrity Website
• Ethics Review Process for research involving human participants
• Course requirement accommodation for students with disabilities, including physical, medical, systemic, learning and psychiatric disabilities
• Student Conduct Standards
• Religious Observance Accommodation
Academic Honesty and Integrity
York students are required to maintain high standards of academic integrity and are subject to the Senate Policy on Academic Honesty (http://www.yorku.ca/secretariat/legislation/senate/acadhone.htm).
There is also an academic integrity website with complete information about academic honesty. Students are expected to review the materials on the Academic Integrity website (http://www.yorku.ca/academicintegrity/students.htm).
Access/Disability
York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials.
It is the student's responsibility to register with disability services as early as possible to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to schedule a time early in the term to meet with each professor to discuss your accommodation needs. Failure to make these arrangements may jeopardize your opportunity to receive academic accommodations.
Additional information is available at www.yorku.ca/disabilityservices or from disability service providers:
• Office for Persons with Disabilities: N108 Ross, 416-736-5140, www.yorku.ca/opd
• Learning and Psychiatric Disabilities Programs - Counseling & Development Centre: 130 BSB, 416-736-5297, www.yorku.ca/cdc
• Atkinson students - Atkinson Counseling & Supervision Centre: 114 Atkinson, 416-736- 5225, www.yorku.ca/atkcsc
• Glendon students - Glendon Counseling & Career Centre: Glendon Hall 111, 416-487- 6709, www.glendon.yorku.ca/counselling
Ethics Review Process
York students are subject to the York University Policy for the Ethics Review Process for Research Involving Human Participants. In particular, students proposing to undertake research involving human participants (e.g., interviewing the director of a company or government agency, having students complete a questionnaire, etc.) are required to submit an Application for Ethical Approval of Research Involving Human Participants at least one month before you plan to begin the research. If you are in doubt as to whether this requirement applies to you, contact your Course Director immediately
Religious Observance Accommodation
York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus for an in-class test or examination pose such a conflict for you, contact the Course Director within the first three weeks of class. Similarly, should an assignment to be completed in a lab, practicum placement, workshop, etc., scheduled later in the term pose such a conflict, contact the Course director immediately. Please note that to arrange an alternative date or time for an examination scheduled in the formal examination periods (December and April/May), students must complete an Examination Accommodation Form, which can be obtained from Student Client Services, Student Services Centre or online athttp://www.registrar.yorku.ca/pdf/exam_accommodation.pdf
Student Conduct
Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship. Moreover, it is the responsibility of the instructor to maintain an appropriate academic atmosphere in the classroom, and the responsibility of the student to cooperate in that endeavor. Further, the instructor is the best person to decide, in the first instance, whether such an atmosphere is present in the class. A statement of the policy and procedures involving disruptive and/or harassing behavior by students in academic situations is available on the York website http://www.yorku.ca/secretariat/legislation/senate/harass.htm
York University’s Code of Student Conduct is available online at: http://www.yorku.ca/scdr/CodeOfConduct.html
Please note that this information is subject to periodic update. For the most current information, please go to the CCAS webpage (see Reports, Initiatives, Documents): http://www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm.
Department of Visual Arts
Course: FA/VISA2081.3 Drawing Perception, Proportion, Structure
Course Webpage: www.drawing123.weebly.com
Term: Fall Term 2012
Prerequisite / Co-requisite: none
Course Instructor
Troy Ouellette
Office 328, 3rd floor, Goldfarb Centre for Fine Arts
Course consultation hours: by appointment
[email protected]
Section A
Course Time and Location - Monday, 1:30pm-5:30pm Room 284
Goldfarb Centre for Fine Art
Tutorial Group list: time, dates and location (note: all presentations will take place in Rm. 338 and all course consultation hours with instructors are by appointment)
Section B Time: Tuesday 1:30PM-5:30PM
Rm. 284
Instructor: Laura Moore
[email protected]
Section C
Time: Wednesday, 8:30PM-12:30PM
Rm. 284
Instructor: Colleen Wolstenholme
[email protected]
Section D
Time: Wednesday, 1:30PM-5:30PM
Rm. 284
Instructor: Laura Moore
[email protected]
Section E
Time: Friday, 8:30PM-12:30PM
Rm. 284
Instructor: Laura Moore
[email protected]
Section F
Time: Friday, 1:30PM-5:30PM
Rm. 284
Instructor: Laura Moore
[email protected]
Expanded Course Description
This studio course introduces the student to a wide range of artists, techniques and concepts associated with contemporary drawing. Some techniques and projects will involve perceptual studies looking at different types of sensory input to inform mark-making. Gesture, eye/hand synchronicity, explorations of tone, space and colour and, in the final project, drawing installation will also be covered. Students will also have the opportunity to write about each major theme to better articulate their line of inquiry and research in the final discussions.
Organization of the Course
The number of students in this course range from 20-25. Each of the three main “project sections” is augmented by presentations, which will introduce the main themes. These presentations are both historical and contemporary to give the student the ability to see how drawing has progressed through the centuries. All three major projects will conclude with a discussion regarding the use and integration of research concepts, materials and process. There will be hands-on demonstrations to show technique and there will be individual instruction provided when needed. The student must purchase materials, keep a sketchbook for in-class exercises and projects and construct a portfolio.
Course Learning Objectives
The purpose of this course is to introduce the student to the versatility and importance of drawing today. Students will see a wide range of drawing applications and gain an understanding of the possibilities by using drawing to convey a variety of subjects including: still-life, portraiture, figuration, abstraction as well as utilize information such as statistics for speculative ideas, projections or imaginative conjecture. All of these topics feed into contemporary drawing.
The specific learning objectives of the course will enable the student to:
· Conceptualize the subject/object/situation and articulate this using drawing.
· Explore and expand on the use of drawing materials and techniques including charcoal, graphite, conté and mixed media.
· Arrive at creative and compositional ideas through research and use drawing to solve problems and widen visual vocabulary so the student may speak articulately and critically about their work and the work of others.
· Use line in a variety of expressive ways including contour, gesture, expressive or lyrical line, and lost and found edges and use value/tone in a variety of expressive and emotive ways including chiaroscuro, shading, tone, light source indications, shadow, and surface texture, using additive and reductive techniques.
· Develop compositions that address balance, point of view, positive and negative space, proportion, picture plane usage, as well as provide visual interest and/or dynamism. Learn about 1,2,3 and multiple point perspective.
· Develop an understanding of the role of drawing in the contemporary art world in relation to other historical works and use traditional and experimental, non-objective approaches for content-based drawings, which include using information as a starting point for drawing.
Main Project Descriptions
All three projects, listed below, will require an accompanying paragraph taped to the back after the final evaluation, describing what you did and what the drawing is about. Do not cut and paste information use your own words to describe what it is that you have done and reflect on the process. This will be factored into your mark. You can see a more detailed description of these projects on the course website.
Project #1 Perception – Drawing on Psychology
This project deals with topics you are concerned about or subjects you find interesting including but not limited to: identity, social concerns, environmentalism and politics. Each student will produce a large-scale drawing that will depict some of these concerns through literal representation and realism. This section is about perceptive skills – indeed copying what you see in front of you. This could take the form of drawing on a theme. As an example the student may take the profile of a person they relate too and use this to create a visual essay on a particular person using photographs and/or life drawing.
Project #2 Proportion – Speculative Drawing Using Information
The real power of drawing exists in its immediacy - its ability to capture ideas on the fly. In this section the student will create a drawing over an extended time and could take the form of a mind map, flow-chat, scribbles and doodles. Think of this a plan for something to be built or perhaps it's a philosophy of life articulated through drawn fragments. It could also take the shape of data that you collect in your sketchbook to finally execute near the end of the project deadline. Drawing, in this instance, may be linked with performance and possibly a two-person collaboration. (This will be left up to the discretion of each instructor.) I will also accept computer-aided compositions but only if they are combined with manual methods. We will cover many areas having to do with proportion in this section including measurement and perspective.
Project #3 Structure and Abstraction
What will be explored in this project is the 20th Century history of abstraction, which was a complete paradigm shift in the academies even though it came from non-academic roots. In this work I would like you to come up with a drawing in three dimensions – in other words you will have to be able to walk around or through the work. You could utilize string, drawing on pavement with chalk, cut paper. There are many variations and permutations this could take and it will become clearer as the term progresses.
Please see the online project descriptions to obtain a list of artists and keywords.
Recommended Course Text / Readings*
- Sarah Simblet, Sketchbook for the Artist. DK Publishing. New York. 2005
- Catherine de Zegher and Cornelia Butler. Eds. On Line: Drawing Through the Twentieth Century. 2012
- Manuel Lima. Visual Complexity: Mapping Patterns of Information. Princeton Architectural Press. 2011
Evaluation
The final grade for the course** will be based on the following items weighted as indicated:
Project #1 15%
Project #2 15%
Project #3 15%
Sketchbook 15%
In-Class Assignments (Portfolio) 30%
Tutorial and Presentation Participation 10%
The last day to drop this course without receiving academic penalty is Nov. 9th, 2012
Grading, Assignment Submission, Lateness Penalties and Missed Tests
Grading: The grading scheme for the course conforms to the 9-point grading system used in undergraduate programs at York (e.g., A+ = 9, A = 8, B+ - 7, C+ = 5, etc.). Assignments will bear either a letter grade designation or a corresponding number grade (e.g. A+ = 90 to 100, A = 80 to 90, B+ = 75 to 79, etc.)
Method of Instruction Evaluation/Grading Rubric
Each student will be evaluated on their ability to explore and apply the visual and thematic concepts of the course through class work, sketchbooks and home assignments. Participation, which develops the ability to 'perceive' and to 'articulate' ideas and work habits is an essential part of the assessment. As a student I want you to ask yourself the following questions regarding your work…
- Do the drawings in the specific assignments encompass the concept?
- How did I develop my critical thinking as it relates to conceptual exploration, course themes and ideas?
- How doe the formal drawing skills: composition, mark-making, material application, process and execution come into play and emphasize the ideas?
- How surprising is the idea in terms of creativity: personal interpretation and inventiveness?
- Did I use my class-time wisely including work habits: persistence, ambition?
- Have I been constantly exploring drawing by the consistent use of my sketchbook? Are my assignments completed by the due dates? (deductions will be applied for lateness)
- Did I participate by using a focused approach to all class activities?
Criteria for Grading
- Critical thinking through doing: application of conceptual and technical ideas
- Virtuosity: development of composition, mark-making, material application
- Creativity: personal interpretation, inventiveness and ambition
- Work habits: process, persistence, prepared attendance, finished assignments
- Exploration: visual investigations, uniqueness and difference
- Participation and attendance: discussion during critiques and media presentations
York University Faculty of Fine Arts Grading System
Grade Grade-Point Per Cent Range Description
A+ 9 90-100% Exceptional
A 8 80-89% Excellent
B+ 7 75-79% Very Good
B 6 70-74% Good
C+ 5 65-69% Competent
C 4 60-64% Fairly Competent
D+ 3 55-59% Passing
D 2 50-54% Marginally Passing
E 1 40-49% Marginally Passing
F 0 0-39% Failing
For a full description of York grading system see the York University Undergraduate Calendar at
http://www.registrar.yorku.ca/calendars/2012-2013/academic/grades/.
Students may take a limited number of courses for degree credit on an ungraded (pass/fail) basis. For full information on this option see Alternative Grading Option in the Faculty of Fine Arts section of the Undergraduate Calendar - http://www.registrar.yorku.ca/calendars/2012-2013/faculty_rules/FA/grading.htm.
Assignment Submission: Proper academic performance depends on students doing their work not only well, but on time. Accordingly, assignments for this course must be received on the due date specified for the assignment. Major Assignments are to be presented in the drawing room before the critique/discussion.
Lateness Penalty: Assignments received later than the due date will be penalized one-half letter grade (1 grade point) everyday the assignment is late. Exceptions to the lateness penalty for valid reasons such as illness, compassionate grounds, etc., may be entertained by the Course Instructor but will require supporting documentation (e.g., a doctor’s letter).
ADDITIONAL INFORMATION
Material Requirements: The student is required to purchase at a bare minimum the following materials:
· Hard-bound sketch book no larger than 9 x 7: rectangular format and one large pad of newsprint for rough sketches
· Foamcore portfolio with bulldog clips as demonstrated in class - readymade cardboard portfolios are also acceptable
· Assortment of brushes; large/medium, small sponges, rags
· Black ink and watercolor kit
· 4H, 2H, HB, 2B, 4B Graphite Drawing Pencils
· Conte, black and brown
· Pencil sharpener and metal ruler
· Bienfang 360 marker paper pad at least 19” x 24” (You can sometimes buy these in a pad of 50 and then tape
· sheets together to build larger surfaces).
· Masking Tape, glue stick, scissors, scotch tape
· White Eraser(s)
· Small toolbox or case with rudimentary tools: hammer, pliers, string and wire.
Please see the "Links" section for a list of supply stores both on-line and within the GTA. I have also notified Woolfitt's art supply to have the Bienfang pads on hand - they also offer student discounts so make sure you have your student ID with you.
Schedule of Topics, Demonstrations, In-Class Assignments and Homework
Week 1
Student and Instructor Introductions
Introduction to the course syllabus –main assignment, time constraints, schedule and grading rubric
Class website –www.drawing123.weebly.com - Locker assignments and combinations
Demonstrate making a portfolio using bull-clips and foamcore.
Move to Rm. 338 for Presentation – Perception: Drawing on Psychology
Homework Expectations/Assignments due for next class: Watch William Kentridge Video on PBS Art 21: http://video.pbs.org/video/1619754531
Record 4 ideas for their first major project in your sketchbooks. Reflect on the Kentridge video in your sketchbooks.
Week 2
Expressive Drawing to Music 5%
In-class assignment: Demonstration of materials and mark-making with musical accompaniment
Homework Expectations/Assignments due for next class: Pick a favourite mark-making technique and explore a subject (eg. table, cup, a tree) maybe the subject of the song (sound composition) is related to the thing they are drawing. By using mark-making, appropriate to the observation and musical composition, record what music/sound was used on the back of the sheet. (This is a finished drawing and should be done on a large sheet of paper). 5% of mark.
What to bring for next class: Students will bring in 3 personal objects (eg. shoe, wood box, ball of string) Please caution them about bringing anything too valuable.
Week 3
Topic: Sensing the Object/Subject
Warm-up draw each other without looking at the page - use shading if you want. Do this 3 times without switching the subject. This is a sketchbook exercise and should take about 10 minutes.
In-class assignment: 5% of mark. The Body and Line – As Kiki Smith remarks “In drawing you take physical energy out of your body and put it on the page.” The drawing implement becomes an extension of the body. In this exercise the student will devise a drawing apparatus that works with the body.
Expectations/assignments due for next class – sketchbook – do some exercises using extended arm techniques by taping your pencil to a long stick and try to draw an object by using an extension. In this case you should use a still-life.
Week 4
Class Critique - Drawing on Psychology
Expectations/assignments due for next class: Practice and experiment in your sketchbook. You should use this time to think about the second project on Speculative Drawing Using Information. Collect images that have used information in their design.
For Reading Week: Come up with at least 4 ideas you want to use for the next project and watch Systems Video from Art 21 http://www.pbs.org/art21/watch-now/episode-systems
and Agnes Martin Video on Youtube http://www.youtube.com/watch?v=A_FelzxIp4E
and at http://www.youtube.com/watch?v=yQCB9Txo3Mg&feature=relmfu
Week 5
Topic: Project #2 Proportion – Speculative Drawing Using Information
This will cover perspective, systems drawing, information and data as drawing and conceptual art practice. It should take the first two hours of class to go through the presentation material and answer questions.
Demo on perspective – 1,2,3 and multiple point perspective.
In-class assignment Information Plotting and Proportion
Reflect on what you saw in the presentation and try to do a drawing based on a systems that you have encountered in their daily lives this includes schedules, outlines, important dates and calendars.
What to bring for next class: - bring in 3 metal food cans with or without labels. Also come with non-drawing materials. These are things you find in your house: mustard, food colouring, butter, spices mixed with water, dirt or anything else that will make a mark other than a writing implement.
Week 6
Topic: Perspective, the Eraser, the Smudge the Stain and Lost and Found Lines
Demo of the eraser and non-drawing materials.
In-Class Assignment: In this exercise the student will cover small areas in their sketchbooks with graphite and proceed to use the eraser by depicting the food cans you have brought in. These will be 10 little sketches to familiarize you with these techniques. You will also set up the metal cans, which may be stacked or put in a more random fashion on their desktop for one final drawing.
Midterm Review
Expectations/assignments due for next class: Finish up the eraser drawing for homework you may also add one colour at this stage. Work on your second assignment. Bring in some data that you collect or can refer to next class in the form of statistics, graphs, pie charts and/or collected information that relates to specific times, places or circumstances. A key person to look at is Hanne Darboven. The Wikipedia entry is actually quite good and you will find it here. http://en.wikipedia.org/wiki/Hanne_Darboven
Week 7
Topic: Informational Drawing, Specific Data Drawing 5%
In-Class Assignment
In this assignment the student will create a specific study of everyday life using the data they have collected. This means that they have to think serially or they can pick apart and differentiate various types of data and combine them in an interesting way.
Expectations/assignments due for next class: Work on Project #2 for the discussion and presentation next week. Don’t forget the short research write-up.
Week 8 Critique of Project #2 Proportion – Speculative Drawing Using Information
Expectations/assignments due for next class: Have 5 idea sketches in your sketchbook ready by next week for your final project. Bring in linear elements and fasteners: wire, string, sticks, bull clips, safety pins, paper clips and anything else you can think of where you can experiment with drawing in space.
Week 9
Topic: Fastening Three Dimensional Elements Demonstration
In this demonstration the instructor will be able to show how to bind together different materials.
In-class assignment: Using sections of the class room pick out similar elements (light fixtures, window, bricks, lockers, pencils on tables) build up a drawing using similar elements that you see around you.
Expectations/assignments due for next class: work on final project ideas and small preliminary sketches
Week 10
Topic: Drawing Templates 5%
In this work you will use rulers, spiral-graphs, French curves and objects with edges to create a drawing, which will mostly be linear. An example is to use a coat hanger to draw around the page to create an abstract image. Think of using thousands of lines moving the object slightly to create movement. Think also of an all over drawing – something that fills the entire page.
Work on project #3 in the time remaining.
Expectations and assignments due for next class: Watch Max Ernst on Frottage and A New Kind of Natural History http://www.youtube.com/watch?v=5Jm5jHMETfM&feature=related
The students should have 5 sketches in their sketchbooks that utilize frottage by next class. Work on project #2 and finish this for the discussion in the next class.
Week 11
Topic: Frottage
In this exercise the student should also start to think about how visual textural information is transferred. Frottage is a way of extracting information about a surface by simply rubbing you pencil over a surface. You will do 10 Frottage Drawings in total.
After this exercise keep working on your final assignment for next class
Week 12
Class Critique Project #3 Structure and Abstraction
This is the last Date for any assignments and for the collection of your work.
Final Discussion
All students are expected to familiarize themselves with the following information, available on the Senate Committee on Curriculum & Academic Standards webpage (see Reports, Initiatives, Documents)
IMPORTANT COURSE INFORMATION FOR STUDENTS
All students are expected to familiarize themselves with the following information:
http://www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm
• York’s Academic Honesty Policy and Procedures/Academic Integrity Website
• Ethics Review Process for research involving human participants
• Course requirement accommodation for students with disabilities, including physical, medical, systemic, learning and psychiatric disabilities
• Student Conduct Standards
• Religious Observance Accommodation
Academic Honesty and Integrity
York students are required to maintain high standards of academic integrity and are subject to the Senate Policy on Academic Honesty (http://www.yorku.ca/secretariat/legislation/senate/acadhone.htm).
There is also an academic integrity website with complete information about academic honesty. Students are expected to review the materials on the Academic Integrity website (http://www.yorku.ca/academicintegrity/students.htm).
Access/Disability
York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials.
It is the student's responsibility to register with disability services as early as possible to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to schedule a time early in the term to meet with each professor to discuss your accommodation needs. Failure to make these arrangements may jeopardize your opportunity to receive academic accommodations.
Additional information is available at www.yorku.ca/disabilityservices or from disability service providers:
• Office for Persons with Disabilities: N108 Ross, 416-736-5140, www.yorku.ca/opd
• Learning and Psychiatric Disabilities Programs - Counseling & Development Centre: 130 BSB, 416-736-5297, www.yorku.ca/cdc
• Atkinson students - Atkinson Counseling & Supervision Centre: 114 Atkinson, 416-736- 5225, www.yorku.ca/atkcsc
• Glendon students - Glendon Counseling & Career Centre: Glendon Hall 111, 416-487- 6709, www.glendon.yorku.ca/counselling
Ethics Review Process
York students are subject to the York University Policy for the Ethics Review Process for Research Involving Human Participants. In particular, students proposing to undertake research involving human participants (e.g., interviewing the director of a company or government agency, having students complete a questionnaire, etc.) are required to submit an Application for Ethical Approval of Research Involving Human Participants at least one month before you plan to begin the research. If you are in doubt as to whether this requirement applies to you, contact your Course Director immediately
Religious Observance Accommodation
York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus for an in-class test or examination pose such a conflict for you, contact the Course Director within the first three weeks of class. Similarly, should an assignment to be completed in a lab, practicum placement, workshop, etc., scheduled later in the term pose such a conflict, contact the Course director immediately. Please note that to arrange an alternative date or time for an examination scheduled in the formal examination periods (December and April/May), students must complete an Examination Accommodation Form, which can be obtained from Student Client Services, Student Services Centre or online athttp://www.registrar.yorku.ca/pdf/exam_accommodation.pdf
Student Conduct
Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship. Moreover, it is the responsibility of the instructor to maintain an appropriate academic atmosphere in the classroom, and the responsibility of the student to cooperate in that endeavor. Further, the instructor is the best person to decide, in the first instance, whether such an atmosphere is present in the class. A statement of the policy and procedures involving disruptive and/or harassing behavior by students in academic situations is available on the York website http://www.yorku.ca/secretariat/legislation/senate/harass.htm
York University’s Code of Student Conduct is available online at: http://www.yorku.ca/scdr/CodeOfConduct.html
Please note that this information is subject to periodic update. For the most current information, please go to the CCAS webpage (see Reports, Initiatives, Documents): http://www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm.
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