ART
210 – Drawing II – 3 Semester Hours
Spring
2016
TR
9:30-10:45 AM, Dickey Fine Arts 130
Bethel
University
Instructor: Jason Cole
Office
Hours:
DFAB 113 - MWF:
10-11am; MW: 2-3PM; TR: 8-9am, 11am-12pm.
Course
Prerequisites/Co Requisites:
ART 111, 115
Course
Description:
Drawing II
continues and expands upon the information and skills acquired in Introduction
to Drawing with an emphasis on value as the chief conveyer of form. There will be a greater stress on composition
as a way of heightening aesthetic interest and conveying information and
meaning.
Course Goals:
The student
will:
1) Demonstrate a
variety of drawing techniques using basic drawing materials.
2) Demonstrate the
basic “structure” concept of drawing.
3) Demonstrate the
ways in which value can define form in a drawing.
4) Learn to “draw
what you see” by using the eyes and hands.
5) Learn to use
many different types of drawing media.
6) Demonstrate
traditional areas of subject matter (still life, landscape, portraiture).
Relationship of this Course to Content Area
Knowledge and Skills:
This course is
not used to address TN Matrix knowledge and skills.
Course Objectives:
The student
will:
a) Develop
problem-solving skills.
b) Learn to use
the elements and principles of design to create a work of art.
c) Observe,
research, and learn from the work of other artists.
d) Develop skills
of observation, personal expression, and abstract thinking.
e) Develop and
enhance his/her proficiency in the vocabulary of the artist.
f) Actively engage
in constructive critique.
Units of Study:
Unit 1 Erasure
from Charcoal Ground (Subtractive Techniques)
Unit 2 Building
Value (Additive Techniques)
Conté on White
Paper
Conté on Toned
Paper
Conté on Black
Paper
Unit 3 Mark-Making
Hatching
Markmaking with
Ink
Markmaking with
Conté
Unit 4 Other
Techniques
Ink Wash
Collage/Drawing
Final Project
Required Reading/Viewing:
Various
handouts, online videos, and online tutorials which will be given throughout
the course.
Methods Of Instruction:
Lecture,
discussion, in-class work, outside assignments, online blog, 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.
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 p.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 assignments
that have been submitted PROPERLY and graded may be re-worked and resubmitted
for the possibility of a better grade.
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
o
Sketchbook (at least 9”x12”)
o
Drawing board (Masonite or
other inexpensive board, large enough to accommodate 18”x24” paper)
o
Masking tape
o Charcoal
pencils
o Black,
white, sienna conte
o Compressed
charcoal
o Black
India ink - permanent
o Watercolor
brushes (flat & round assortment)
o Kneaded
eraser
o Hard
eraser
o Chamois
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 Heavyweight
white drawing paper (18”x24")
o 2-ply
Bristol (18”x24" or larger)
o Multimedia
o Strathmore
o
Canson
Artists to Consider
Alberto
Giacometti
Richard
Diebenkorn
Janet
Fish
Gwen
John
Paul
Cezanne
Vincent
Van Gogh
Martin
Puryear
William
Beckmann
Jean
Auguste Dominque Ingres
Kathe
Kollwitz
Rembrandt
Van Rijn
Georges
Seurat
Egon
Schiele
Susan
Rothenberg
Henry
O. Tanner
Paula
Modersohn-Becker
Horst
Janssen
Romare
Bearden
Mary
Cassatt
Jacques
Villon
Jennifer
Bartlett
Jack
Beal
Maurice
Sendak
Franz
Kline
Pablo
Picasso
Wayne
Thiebaud
Henri
de Toulouse-Lautrec
Henri
Matisse
Sylvia
Plimack-Mangold
Katsushika
Hokusai
Kent
Bellows
Catherine
Murphy
Jenny
Saville
Utagawa
Hiroshige
Giorgio
Morandi
Winsor
McCay
George
Harriman
Bill
Waterson
Winslow
Homer
William
Hopper
Albrecht Durer
Giambattista Piranesi
Claes Oldenburg
Paul Cadmus
Honore Daumier
Theodore Gericault
Charles Francois Daubigny
Franciso Goya
Raphael
Sidney Goodman
Peter Paul Rubens
Lovis
Corinth
Class
Schedule
Week 1
1-12
Introduction
o Review syllabus
o Review
materials list
o Review
sketchbook expectations
Outside Assignment:
o
Create
a pocket inside the back cover of your sketchbook (staple or tape a piece of
cardboard)
o
Place
syllabus in pocket
1-14
Composition: Positive-Negative or
Figure-Ground relationships
o
Erasure
from charcoal ground
o
Materials
·
Compressed
charcoal, white conté, kneaded and hard erasers, spray fixative, chamois, 2
sheets of white drawing paper (18”x24”)
Outside
Assignment:
o
Positive-Negative
Shapes: Plants
o
Materials
·
Compressed
charcoal, white conté, chamois, hard eraser, white gesso, flat brush, white
drawing paper (18”x24”).
Week 2
1-19
Erasure Out of Charcoal Ground: Planes
o
Still
Life—Planes
o
Materials
·
Compressed
charcoal, black conté, chamois, hard eraser, white drawing paper (18”x24”)
1-21
Erasure Out of
Charcoal Ground: Planes
o
Still
Life—Planes
o
Materials
·
Compressed
charcoal, black conté, chamois, hard eraser, white drawing paper (18”x24”)
Outside
Assignment
o
Stairwell
·
Use
same technique as in class
·
Look
for a strong composition
·
Pay
attention to light source
o
Materials
·
Compressed
charcoal, black conté, chamois, hard eraser, white drawing paper (18”x24”)
Week 3
1-26
Erasure Out of Charcoal Ground w
Sienna Conté
o
Still
Life
o
Work
to edge of page, push value and contrast
o
Materials
·
Charcoal,
black, white, and sienna conté, chamois, hard eraser, white drawing paper (18”x24”)
1-28
Erasure Out of Charcoal Ground w
Sienna Conté
o
Still
Life
o
Work
to edge of page, push value and contrast
o
Materials
·
Charcoal,
black, white, and sienna conté, chamois, hard eraser, white drawing paper (18”x24”)
Outside
Assignment:
o
Interior
of a Room
o
Use
same technique as in class
o
Look
for a strong composition
o
Pay
attention to light source
o
Line
only
o
Materials
·
Vine
charcoal, black, white, and sienna conté, chamois, hard eraser, white drawing paper
(18”x24”)
Week 4
2-2
Building Value with Conte
o
Large
Still Life
·
Lay
in composition in broad planes using side of conté
·
Build
values with overlapping planes and erasure
o
Work
from general to specific (unfinished-to-finished, loose-to-tight)
o
Materials
·
Black
conté, hard eraser, chamois, white drawing paper (18”x24”)
2-4
Building Value with Conte
o
Large
Still Life
·
Lay
in composition in broad planes using side of conté
·
Build
values with overlapping planes and erasure
o
Work
from general to specific (unfinished-to-finished, loose-to-tight)
o
Materials
·
Black
conté, hard eraser, chamois, white drawing paper (18”x24”)
Outside
Assignment:
o
Portrait
from Life
o
Working
from a live sitter (NOT A PHOTOGRAPH), draw a portrait employing the same
techniques used in class.
o
Pay
attention to planes
o
Give
yourself a strong light source
o
Materials
·
Black
conté, hard eraser, chamois, white drawing paper (18”x24”)
Week 5
2-9
Conte on Toned Paper
o
Work
from still life
o
Materials
·
Black
and white conté, grey charcoal paper (18”x24”)
2-11
Conte on Toned Paper
o
Work
from still life
o
Materials
·
Black
and white conté, grey charcoal paper (18”x24”)
Outside
Assignment:
o
Tree
o
Working
from nature, do a drawing of the trunk and branches of a tree
o
Pay
attention to light source
o
Work
in early morning or evening when the sun is low (avoid noon or early afternoon)
o
Materials
·
Black
and white conté, grey charcoal paper (18”x24”)
Week 6
2-16
White Conte on Black Paper
o
Still
Life
o
Materials
·
White
conté, white charcoal pencil, black drawing paper (18”x24”)
2-18
White Conte on Black Paper
o
Still
Life
o
Materials
·
White
conté, white charcoal pencil, black drawing paper (18”x24”)
Outside
Assignment:
o
Night
Drawing
o
Drawing
must be done at night with artificial light (for example, a landscape under a
streetlamp)
o
Materials
·
White
conté, white charcoal pencil, black drawing paper (18”x24”)
Week 7
2-23
Hatching
o
Single-directional
gestural marking
o
Work
from still life
o
Materials
·
Black
conté, white drawing paper (18”x24”)
2-25
Hatching
o
Single-directional
gestural marking
o
Work
from still life
o
Materials
·
Black
conté, white drawing paper (18”x24”)
Outside
Assignment:
o
Self
Portrait
o
Work
from a mirror
o
Set
up a strong light source
o
Materials
o
Black
conté, white drawing paper (18”x24”)
Week 8 MID-TERM
3-2
Markmaking
o
Work
from still life
o
Materials
·
H-grade
pencil, sharpened stick and ink, Bristol or poster board (18”x24” minimal)
3-3
MID-TERM
SKETCHBOOKS DUE
Markmaking
o
Work
from still life
·
H-grade
pencil, sharpened stick and ink, Bristol or poster board (18”x24” minimal)
Outside
Assignment:
o
BRING PORTRAIT PHOTOS TO CLASS
·
Portrait
photo of an anonymous person
·
Look
for strong light source, dramatic value range
*SPRING BREAK
March 7-11*
Week 9
3-15
Markmaking
o
Interior
setup or exterior
o
Materials
·
Black
conté, charcoal pencils, hard eraser, chamois, fawn paper (18”x24”)
3-17
Markmaking
o
Interior
setup or exterior
o
Materials
·
Black
& white conté, charcoal pencils, hard eraser, chamois, fawn paper (18”x24”)
Outside
Assignment:
o
Portrait
from a photograph
o
Approach
this drawing as you did the in-class assignment
o
“Read”
photograph for “value information”
o
Materials
·
Black
& white conté, charcoal pencils, hard eraser, chamois, fawn paper (18”x24”)
Week 10
3-22
Markmaking
o
Interior
setup or exterior
o
Use
of line for edge, varied marking, and value
o
Materials
·
Black
& white conté, charcoal pencils, hard eraser, chamois, fawn paper (18”x24”)
3-24
Markmaking
o
Interior
setup or exterior
o
Use
of line for edge, varied marking, and value
o
Materials
·
Black
& white conté, charcoal pencils, hard eraser, chamois, fawn paper (18”x24”)
Outside
Assignment:
o
Self-portrait
o
Work
from a mirror with a strong, directional light source
o
Approach
this drawing as you did the in-class assignment
o
Materials
·
Black
& white conté, charcoal pencils, hard eraser, chamois, fawn paper (18”x24”)
*GOOD FRIDAY –
MARCH 25*
Week 11
3-29
Ink Wash
o
Wet
on dry paper
o
Limit
to three values
o
Materials
·
Black
India ink, variety of flat and round brushes, H-grade pencil, Bristol or poster
board (18”x24” minimum)
3-31
Ink Wash
o
Wet
on dry paper
o
Limit
to three values
·
Black
India ink, variety of flat and round brushes, H-grade pencil, Bristol or poster
board (18”x24” minimum)
Week 12
4-5
Ink Wash
o
Wet
in wet
o
Draw
in pencil, wet page, lay in washes
o
Materials
·
Brush
and ink, pencil, Bristol or poster board (18”x24” minimum)
4-7
Ink Wash
o
Wet
in wet
o
Draw
in pencil, wet page, lay in washes
o
Materials
o
Brush
and ink, pencil, Bristol or poster board (18”x24” minimum)
Outside Assignment:
o
Exterior
of a building
o
Work
wet on dry, wet on wet, or a combination of the two
o
Materials
·
Black
India ink, variety of flat and round brushes, H-grade pencil, Bristol or poster
board (18”x24” minimum)
Week 13
4-12
Drawing/Collage
o
Working
from life, create a drawing which combines collage and other media
o
Interior
or exterior
o
Materials
·
Various
papers (grey scale values only), fawn paper (18”x24”), black and white conté,
compressed charcoal, charcoal pencil, scissors, acrylic medium or glue.
4-14
Drawing/Collage
o
Working
from life, create a drawing which combines collage and other media
o
Interior
or exterior
o
Materials
·
Various
papers (grey scale values only), fawn paper (18”x24”), black and white conté,
compressed charcoal, charcoal pencil, scissors, acrylic medium or glue.
Outside
Assignment:
o
Self
Portrait
o
Create
an image of yourself using the same techniques and materials as in class.
o
Work
from a mirror
o
Materials
·
Various
papers (grey scale values only), fawn paper (18”x24”), black and white conté,
compressed charcoal, charcoal pencil, scissors, acrylic medium or glue.
Week 14
4-19
Something Completely Different
o
Materials
TBA
4-21
FINAL
DAY TO SUBMIT RE-WORKED DRAWINGS FOR GRADING
Something Completely Different
o
Materials
TBA
Week 15
4-26
Something Completely Different
o
Materials
TBA
4-28
Something Completely Different
o
Materials
TBA
FINALS WEEK
Monday, May 2
FINAL PORTFOLIO AND SKETCHBOOK DUE @ 3:30 PM —
PICKUP @ 6:00 PM
Month
And Year Of Syllabus Revision:
January 2016
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