All course materials are launched to a blog at the address of:
SP2017SA302CAZ.blogspot.com
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| But it's fun Mom, drawing on the wall! |
course description
Graphic Forms takes on an experimental approach to the question,
what is drawing?
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| Tom Freidman |
As a high level, visual problem-solving course, our approaches will be experimental in both traditional and contemporary definitions and techniques of drawing.
We will investigate connections between drawing and other visual art disciplines, different media and modes of drawing practice. Drawing, in short, is a way to think and act visually. Drawing is pursued and pondered in all its aspects: conceptual, perceptual, process and narrative.
This is a course that sheds light on a variety of methods to drawing, including historical and contemporary approaches that artists have investigated in the practice of drawing to enlarge our own understanding of the medium.
When we consider to draw as a verb - drew, drawn and drawing — we realize that the concept truly has a wide ranging scope in definition that also presents a way to think actively and respond visually.
to pull; i.e. to “draw” a weapon
to pull out to its fullest extent; make tense; stretch i.e. to “draw” a rope taut
to pull out to its fullest extent; make tense; stretch i.e. to “draw” a rope taut
to pull across paper; i.e. to “draw” lines, figures, pictures, diagrams
to move or approach; i.e. to “draw” near
to attract, charm, entice; i.e. to attract or “draw” audiences
to take into the mouth or lungs; to inhale; i.e. to “draw” a breath
to bring forth; elicit; bring on; provoke i.e. to “draw” enemy fire
to bring, take, or pull out, as from a receptacle or source; to “draw” water from a well
to get or receive; i.e. to “draw” a salary
to get or receive; i.e. to “draw” a salary
to drain a pond; i.e. to “draw” a pond
to mark, or lay out; to trace; i.e. to "draw" perpendicular lines
to frame or formulate; i.e. to "draw" a distinction
to derive or use; i.e. to "draw" inspiration from Da Vinci
to deduce, or infer; to "draw" a conclusion
As an advanced drawing course, SA302 will rigorously challenge students to think in new ways to traditional drawing approaches, including definitions that often limits the media, its dimensions and the content of drawing as a whole.
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| Richard Long |
Students will expand their understanding of drawing beyond observational and perceptual frameworks to incorporate chance, collaboration, and time through experimental techniques and approaches.
A large emphasis in the course will be directed towards documentation and presentation of individual projects.
Due to the transitory nature of many of these projects, good documentation, either through photography, video, or by some other means, is critical.
Furthermore, consideration must be given to the presentation methodology for the documentation.
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| Richard Long a work from Conemara . IRELAND |
Course Objectives
1 Students will experiment with a number of notions of what drawing is and what it can be.
2 Students will engage in experimental problem solving and new approaches to drawing.
3 Students will be introduced to a wide variety of innovative approaches in drawing.
4 Students will engage and display advanced understanding of the elements and principles of design
5 Students will develop new knowledge in a variety of drawing mediums, collage, and transfer techniques on a variety of traditional and innovative substrates.
6 Students will use creative and experimental drawing skills and mark-making as a medium of expression and communication.
7 Students will engage in an expanded definition of drawing, to include expressive mark making, non-traditional materials, methods of collaboration, performance, material experimentation and manipulation of scale.
8 Students will enhance their technical skill within drawing.
9 Students will demonstrate critical thinking on drawing as an art form through art work critique, presentation and exhibition.
10 The course offers the opportunity to expand and sharpen the student’s personal visual vocabulary.
11 Students will be introduced to a variety of artists who have expanded the boundaries of what drawing of what a drawing can be.
12 Students will engage in research of historical drawing practices and will present their research topics in multi media class presentations.
13 Students will be responsible for helping to define the problems as well as generating unique solutions to them.
14 Students will begin to develop the idea “process” of drawing, and how it relates to content in the work.
15 Students will be involved in both traditional and innovative drawing approaches.
16 Students will have the opportunity to curate a body of work with their peers in a professional manner in a professional art gallery.
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| Andy Goldsworthy |
Working Methods
SA 302 is a studio course that requires rigorous in-class work and homework, a sketchbook, field trips, group and individual critiques, readings, research and presentations.
Studio sessions (twice per week, 3 hours each) include lecture, group brainstorming and organization, discussion, studio work time, peer review, and group critique. Students are expected to work a minimum of 5 + hours each week outside of class on homework and to complete studio and research projects.
Resource Texts
The Drawing Book, edited by Tania Kovats
The Drawing Projects: An Exploration of the Language of Drawing, by Mick Masien and Jack Southern
Contemporary Drawing: Key Concepts and Techniques, by Margaret Davidson
and others ...
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| Tom Friedman - Target |
Supplies
You must come prepared for each class. I will tell you what supplies you will need the class before. I will give you a basic list of materials.
You will be on the hunt for many materials.
Go to Materials & Supplies page on this blog
Class Hours & Studio Time
The effort that each student invests in this class – in our campus and our studios – will be reflected in their work.
The grade a student earns will also reflect this time and effort.
I will hold you accountable to the potential I see in you and your work.
Make a commitment to this class and you will be rewarded with exciting growth in your artistic practice.
This commitment requires cooperation, hard work, dedication, creativity, motivation, and perhaps most critically - being open to input and new ideas and a willingness to receive mentorship.
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| Janine Antoni Loving Care |
Snapshot of the course
In addition to the major projects, there will be many shorter, in-class assignments that explore mark making, texture, expression, and potential for a variety of materials, both traditional and non-traditional.
A number of collaborative projects and exercises are intended to open the mind and train the hand and eye to explore drawing in a much broader sense.
Beyond the art store: Create a series of drawings using your own drawing medium and substrate made out of found/re- purposed materials.
10 major projects including:
Experiment #1 : An article about drawing & drawing on an article
Drawings generated by reading Sol LeWitt's Sentences on Conceptual Art & The Tate article about Richard Long's drawings. Make use of the article as your conceptual and physical materialExperiment #2 : Drawn Systems
Drawing as process, making use of the unit to the sum of the parts - informed by the found text of Huckleberry Finn, 1884 by Mark Twain as substrate
Experiment #3 : Drawing from Another; the human figure
Drawings that make use of observational sighting from the nude human model
Experiment #4 : Media Spills & Fallen Paintings : drawing as installation
Use drawing to create/transform/reinterpret existing space
Experiment #5 : Round Robin & Beyond the Exquisite corpse : Collaborative Works
Collaborative drawings engaging the entire class moving around the room and working on 3 canvas drawings - a collection of interpretations
Experiment #6 : Body as Measurement
Drawings that make use of one's physicality as a way of perceiving and framing the world
Experiment #7 : Obsessive Drawing & Performance Art
Either using your own body, or creating a device that makes repetitive marks, construct a narrative, ritual, or action. The final drawing will be an artifact, a residue of the performance. The 'object' drawing will define area, time, energy, dimension, scale and object
Experiment #8 : Mapping Time & Space
Drawings that construct a narrative that maps areas over a period of time
Experiment #9 : Micro Macro Relationships & mixed media collages
Unique drawings that amplify their relationships to each other and are found in nature, in math and in the sciences, etc. Mixed media collages that are informed by Dadaist principles of chance and randomness, and the power of 'Fortune'
Experiment #10 : Poetic Marks & Repetitive Actions Final project
Conceive of drawing as leaving traces on the world, either in human-built environments, or natural environments. This concept could result in an object, documentation of the action in photos or video, a performance, or a combination of these
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| Christo Running Fence |
10 two week projects = 80% of final grade
Sketchbook = 10% of final grade
Research Multi Media Presentations (2) = 10% of final grade
Sketchbook = 10% of final grade
Research Multi Media Presentations (2) = 10% of final grade
Attendance, Participation, Professionalism: A strong showing in this category can increase your final grade by a half grade, i.e. c+ becomes b-, b becomes b+!
>> However, a weak showing in this area can severely reduce your grade. <<
Performance + Development
A student cannot rest on previous skills alone!
The student must show a willingness to explore and to take (and initiate) risks!
Students should set high standards for their own work. > Always. <
Students are required to participate in class with engaged enthusiasm, complete all assignments on time, and to continually practice and study the course concepts revealed. Students will be assessed on constructive participation in studio practice, class discussions and activities, written assignments and presentations.
Although process is an essential component of the studio, a legible, refined and thoughtfully crafted representation is the expected outcome of all assignments.
Informed speculation and experimentation are encouraged.
It is important that the student be prepared in the studio and initiate discussion regarding their projects.
The student should be able to explain the conceptual ideas underlying their work, the accurate formal principles being employed as well as being able to question and incorporate suggestions offered in critique.
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| Vic Muniz, Jackson Pollock Action Painting After Nemuth, chocolate |
Intellectual understanding and exploration of the readings and projects, ability to initiate research, and individual drive throughout each project are significant factors in grading a student’s level of participation.
Hard work and improvement are recognized.
Therefore, in addition to completing exquisitely crafted projects, engaged work and participation will positively impact a student’s grade.
Lack of preparation, disengagement from his/her work, avoidance of critiques, lack of participation in discussion, incomplete and not prepared work will result in a lower grade.
Should a student be performing below an adequate level, the student will be notified as soon as it is evident and a meeting will be scheduled to address deficiencies.
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| Tom Friedman Star Burst |
Students need to learn how to cultivate self motivation!
The overall quality of student work is directly reflective on one’s involvement with the class and outside studio practice. Strong participation will naturally impact student development and therefore, grade positively.
Attendance, Performance + Professionalism
Students are to attend class every day and be prepared with materials, assignments, readings and papers always! Tardiness and absences will greatly hinder student progress in this course. Students who miss class, in an extreme case, are responsible for notifying faculty prior to class start time or soon after.
Students who are absent from a class are expected to be prepared with ALL assignments and readings due at the next class meeting.
All assignments are to be completed in a thoughtful and timely manner.
A strong showing in this category can increase your final grade by a half grade, i.e. C+ becomes B-, B becomes B+, etc.
Successful advancement in class performance is recognized.
Equally so, exhibiting a weak performance in this area can reduce your grade.
Missing 3 or more classes will likely result in failure of the course.
If you miss a class, it is your responsibility to contact the professor or a classmate about missed material so you can be prepared for the next class.
Each requirement is assigned a maximum point value, as indicated in the chart below.
Late work will receive a one (1) point grade reduction for each day that it is late. Once a late assignment’s maximum point value is deducted, the student will receive a zero (0) for the assignment.
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| Richard Venturi I AM a Monument! |
Research Papers & Multi Media Presentation (2)
Thinking, creating and writing go hand in hand in all studio practice.
Writing is another way of investigating one’s expressive voice and translating visual research into textual language.
Research of outside (historical and contemporary) artists and designers is an expectation of all art and design students beyond what is discussed in class.
Students of SA302 will engage in two research papers of artists / designers that make use of a creative approach to drawing.
#1 In the first paper, the student will introduce an artist or designer’s work who makes use of drawing in an experimental way. Introduce three creative projects by this artist/designer, a give a descriptive analysis of each. Due by Week 7
#2 In the second paper, the student will write a comparative paper of the work of an artist or designer that parallels one of our own projects in concept and/or methodology. Introduce three creative projects by this artist / designer and compare it to your own solutions to the project. Due in Week 12
Research Methods & Organization
Research both artists/designers and develop a written formal paper on both.
Each paper should be a minimum of five pages, excluding images.
• Student papers need to include a short biography on the selected artist/designer (maximum of 3 paragraphs each).
• The bulk of the paper should develop a well analyzed deconstruction of three creative works.
• Each analytical deconstruction needs to thoroughly discuss how the formal elements are employed. Does the choice of media add any additional information (i.e. a drawing of the Mona Lisa in chocolate and diamonds is interpretively very different than the original painting of the subject). Additionally, the paper needs to thoroughly speak about the expression of the work as a whole. Is symbolism being employed by the creator? How?
• The finished papers should be a minimum of 5, double spaced pages, excluding images.
• MLA or APA style, double spaced, maximum 12 pt. legible font
• A formal Works Cited Bibliography needs to accompany the paper
• A printed copy of thumbnails, figures or image plates needs to appear at the end of the research paper including the works of art you are deconstructing, noting complete details; title, date, dimensions, media, collection of each and URL source.
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| Janine Antoni Butterfly Kisses |
In addition to the research paper, each student will give an eight-minute presentation of their research papers, one prior to week eight, and the last, prior to week thirteen.
Students must use at minimum three credible bibliographic sources (No Wikipedia, please!) and cited using APA or MLA format. As of April 2016, note new APA format! Go to > PurdueOwl.com for more information. Essays will be graded using a standard rubric.
The rubric will assess the 1. clarity of the content, 2. essay organization, 3. the paper’s research support & development, writing style, and 4. mechanics/grammar (technical control).
Please Note
All written assignments are to be typed or computer printed and proofed for technical accuracy unless otherwise specified. Students will lose credit for errors in spelling and grammar. Failure to follow prescribed assignment requirements will also result in a grade deduction. All papers are double spaced, with 1” margins on all edges, using maximum of 12 pt. legible font. Word count per textual page should average 450 words.
2 Formal Papers + Multi media presentations - 5% each x 2 = 10%
Course Requirements +
Methods of Assessment Grading Rubric
Studio Art assignment descriptors:
>> All major studio assignments will consider the following areas of assessment:
Understanding the assignment thoroughly. Incorporating knowledge from slides and presentations that introduced assignment 20 points
Mastery of tools, applications and various techniques 20 points
Development of evolutionary outcomes; willingness in taking risks,
and thoughtful follow through 20 points
Expressive qualities of drawing / application /
overall performance of drawing 20 points
TOTAL 80 points
Additional course assignments include:
Quality Sketchbook Note taking & Entries 10 points
2 Formal Papers + Multi media presentation - 5% each x 2 = 10% 10 points
TOTAL 100 points
Attendance and Thoughtful Participation:
• Students are required to attend classes regularly.
• This course meets 6 hours / per week. It is expected that each hour in class equals one hour outside of class in homework. Total work in and out of class = 168 hours / semester
• Students are required to prepare for each class by completing all assignments, studio work and readings and to bring all equipment and tools necessary.
• Students are required to participate in all class critiques and discussions through listening to others and contributing thoughts.
• Full attendance is required. However, situations may arise that prevent students from attending every class. Each student is given one excused absence that can be used at no penalty.
• If a student must be absent, s/he is required to contact the instructor in advance (or as soon as possible) to discuss the absence.
• 2 points will be deducted from the student’s participation grade for each absence beyond the two (2) excused absences given to him/her. Students will also be required to make up the work for all missed classes.
• Mastery of the course objectives requires full and active participation of each student. Class participation should be informed by class assignments, research, presentations, media and readings, as well as personal and professional experiences. Content in this course involves building valuable drawing, research and writing skills, communication, and interpersonal skills, which will best be developed through respectful discussion and active engagement.
Quality participation is characterized by:
• On time attendance at each class meeting.
• Active, enthusiastic participation in class discussions and with the studio work at hand.
• Student exhibits on-going effort and takes risks in studio practice.
• Preparation and understanding of assignments in studio, research and presentations. Student continues to ask thoughtful questions
• Responding to others’ comments in a responsible and constructive manner. Making a conscious effort of critique suggestions
• Contributing regularly and mindfully of others
• Leadership and active participation independently and in small group activities
A student’s work performance in class is based on the instructor’s observation and record of the student’s personal performance in the following areas:
• Attitude, demeanor – courteous, respectful, teachable, considerate of other students’ needs for concentration.
• Attendance, punctuality, and handing in work on time.
• Participation in class projects, in critiques and discussions, within collaborative projects.
• Conduct – Helping to create an atmosphere conducive to creativity and keeping the workspace neat.
Grading Numerical Equivalents + GPA (grade point average)
Grade Cumulative points
A 95-100
A- 90-94
B+ 87-89
B 84-86
B- 80-83
C+ 77-79
C 74-76
C- 70-73
D + 68-69
D 65-67
F 64 and below
Grading + Methods of Assessment
Final grades are based on the following criteria: you will receive a C for adequately completing all requirements, B for above average performance of all requirements, or A for superior performance of all requirements.
Standards of Grading
The typical "A" student will consistently follow all of the steps in the creative process, resulting in work that is beyond the students’ previous technical, conceptual and expressive capabilities. Attend all classes and complete all assignments on time; follow all instructions, demonstrate above average skills and creativity in completing assignments, turn in consistently good work equally important, the A student will conduct research, integrate information from other classes and experiences, follow through on ideas, not opt for an easy way out, will hand in work on time and in a well presented manner, will participate fully in class, ask questions and do extra work when needed in the pursuit of knowledge and greater ability. The work produced is exemplary and sets a benchmark for other students; actively participating in class discussions and critiques with a sustained high level of curiosity. In short, the A student will be a responsible and active learner throughout, while completing stellar work.
The “B” student will attend all classes and complete all assignments on time; follow all instructions, demonstrate above average skills and creativity in completing assignments, turn in consistently above average, good work though some further development of knowledge and skills is possible; frequently contribute to discussions and critiques and complete good work overall.
The typical “C” student will have less than perfect attendance; complete all assignments with average skills, attitude and creativity demonstrating limited commitment to the learning process, average use of materials, and ideas that need further development. Occasionally contribute to class discussions and critiques. The “C” student performs average work.
The “D” student has poor attendance; seldom meet deadlines, have an unconcerned attitude; work below average; contribute very little to class discussions and critiques.
The “F” student continues to display poor attendance; seldom meet deadlines; turn in poor work; has a poor attitude, and/or impervious to the learning process. This type of student will fail the course.
Studio Policy
The atmosphere throughout this course is to create a community of active learners.
We need to realize that world experience produces difference in all people.
Our differences often make communication and understanding difficult to comprehend, or even agree with, when considering the ideas of others.
We need to create a safe space where individuals can interject their ideas even if they may not be reflective of others.
Our space needs to be one where people are encouraged to take risks, and not worry if they don’t have the ‘right’ answer, and have the space to take a wild guess by connecting earlier information together.
Each of us need to remain active participants in the world of learning.
Our course together asks you to cultivate a relationship of mutual respect between each other and the work at large, your faculty, Master Students and outside guests. This respect, and is hoped, may extend outside the walls of this community into the world in general. The key is to listen and be considerate of all people.
Confidentiality
Self-expression and honest reflection will take place through our discussions, studio and written work. It is expected that each student will recognize that s/he will be privy to personal information about others in the class and must protect their privacy of the others by exercising strict confidentiality outside of class. When discussing class content outside of class it is recommended that all identifying descriptors be removed from statements so that the statements cannot be attributed directly to the individual who had made the statement. Respect for others is mandatory and non-negotiable. Please note that failure to adhere to confidentiality is a serious offense carrying severe penalties.
Academic Honesty
Cazenovia College is committed to academic honesty. The Committee on Academic honesty reviews all reported cases of alleged plagiarism, cheating on examinations, undocumented copying of art, and similar forms of academic dishonesty. At the beginning of each full academic term, all new students receive a comprehensive orientation to the College's expectations regarding academic honesty. It is expected that each student in this course will carry out all the assignments appropriately and that all work submitted by the student will be her or his own. Academic dishonesty in any form (e.g., cheating in exams, using another's plan or project, fabricating a study, plagiarism, etc.) is a serious offense with severe penalties. At the very least, the student will receive an F on the particular assignment or exam in question. Cazenovia College’s policy for students who abuse the academic honesty policy are as follows: First offense the student is given a warning. Depending on the circumstances, the student may fail the course. Second offense is reported to the Dean of Faculty and depending on the circumstances, the student may fail the course. Third offense, depending on the circumstances, the student may be dismissed from the college. A description of plagiarism and other forms of academic dishonesty are to be found in the on-line Student Handbook @ www.cazenovia.edu
The Center for Teaching & Learning (CTL)
A description from the Cazenovia College catalogue states:
“Students are expected to succeed within a challenging intellectual environment.”
It is not unusual for students to need assistance in maximizing their educational growth in a variety of areas during their four years at the college. The Center for Teaching & Learning assists students in these efforts and making appointments with their faculty when trouble arises. Make an appointment well in advance (1.5 weeks minimum) at the Center to assist you in the writing process. The Center should be used throughout your career at the college to help you in the refinement and organization of your writing examples. 315.655.7296. I am here to help you with your on going work as well. See my office hours posted or make an appointment with me two days in advance of a meeting.
Special Educational Needs
Any student who requires special accommodations for classroom work, independent assignments, and/or examinations should notify the Office of Special Services at 315-655-7170. The Office of Special Services will grant students accommodations in accordance with their identified individualized educational plans. Students with accommodations are responsible for informing their instructors of their needs and giving them the accommodations report provided by the Office of Special Services.
Cell Phone Policy
Use of cell phones and/or text messaging during class is strictly prohibited. Students are also prohibited from cell phone usage during field trips and speaker presentations. Please place your phones on vibrate. Cell phone usage in class or while on field trips or speaker presentations will negatively impact a student’s final grade.
Statement of Understanding
I, __________________________________, have received and read the course syllabus for SA302.01. I acknowledge that as a student enrolled in this course, I am responsible for adhering to the policies, procedures and course requirements outlined in the syllabus. I understand that it is my responsibility to contact the course instructor if I require further clarification regarding any aspect outlined in this syllabus.
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Student Signature + Print
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