ART 124A Drawing I Spring 2018
ART 124A Drawing I Spring 2018
Instructor: Laurel LongEmail:
Office hours: Monday, Wednesday 5-6:30pmOffice: ACD506
Catalog Description
Introduction to basic drawing experiences. Graphic representation of objects stressed through a variety of techniques and media. Emphasis on form, structure, values, line, and systems of perspective and space. Available for General Education Subject Explorations: Arts and Humanities or Section C.2, Humanities for non-art major.
Course Description
This course is a college level introductory course to drawing. It is designed for both art and non-art majors. No previous drawing experience is necessary. We will explore basic drawing techniques using a variety of media. Observational drawing will be done from various set ups utilizing a number of differing approaches. These include contour, gesture, construction (using geometric solids), modeling, perspective and spatial cues. The art historical context of drawing will also be explored.
* Basic Skills: Developing a foundation of art knowledge, theories, skills, craftsmanship and technologies, where ideas and concepts are communicated in writing, speaking and art making.
* Art Knowledge: Broadening knowledge of ancient through contemporary art and to develop an understanding of art within theoretical, cultural, and historical contexts.
* Critical Thinking: Analyzing, interpreting, and questioning traditional methodologies and pre-conceived notions of art and art making through the process of generating and solving problems.
* Interdisciplinary Connections: Exploring and engaging in interdisciplinary forms of art making.
* Global Perspectives: Promoting an appreciation and tolerance of diverse perspectives dealing with art and culture
* Collaboration: Encouraging both individual and collaborative art experiences among students, faculty, and community.
* Professional Preparation: Developing career paths for various art professions and an understanding of the demands and expectations of those areas.
Student Learning Outcomes
• To develop fundamental drawing skills through and investigation of specific tools, techniques and concepts.
• To develop an understanding of volume through the use of value, light and shadow.
• To have an understanding of line quality and its expressive value.
• To develop the use of lines as a descriptive tool.
• To learn the fundamentals of one and two-point linear perspective techniques.
• To become aware of the role of drawing in history.
• To develop problem solving skills and creative solutions.
• To develop observational skills and employ them in your artwork. This includes realistic as well as imaginary visualizations.
• To participate in art critiques where students analyze, discuss and write about artworks utilizing the course vocabulary list.
• To complete research assignments resulting in written reports.
General Education Student Learning Outcomes
• Explain and reflect critically upon the human search for meaning, values, discourse and expression in one or more eras/stylistic periods or cultures;
• Analyze, interpret, and reflect critically upon ideas of value, meaning, discourse and expression from a variety of perspectives from the arts and/or humanities;
• Produce work/works of art that communicate to a diverse audience through a demonstrated understanding and fluency of expressive forms;
• Demonstrate ability to engage and reflect upon their intellectual and creative development within the arts and humanities;
• Use appropriate critical vocabulary to describe and analyze works of artistic expression, literature, philosophy, or religion and a comprehension of the historical context within which a body of work was created or a tradition emerged;
• Describe and explain the historical and/or cultural context within which a body of work was created or a tradition emerged.
Assessment and Evaluation
Grading is in accordance with university policy: A, A-, B+, B, B-, C+, C, C-, D+, D, D-, and F
A= outstanding, B= good, C= average, D= unsatisfactory, F= failure
A = 95 – 100, A- = 90 – 94, B+ = 87 – 89, B = 83 – 86, B- = 80 – 82, C = 73 – 76, C+ = 77 – 79 C- = 70 – 72,
D+ = 67 – 69, D = 63 – 66, D- = 60 – 62, F = 0 –
Final Grading is based on project grades, attendance, preparedness and use of class time.
Assignment Grading: Assignments are graded on the basis of demonstrated knowledge of course content, ambitious solutions to problems, execution and degree of completeness.
Late Assignments Late assignments and assignments that are not worked on during class time will be graded down.
If you are unable to attend the class when the assignment is due, then you must submit the assignment in advance.
Attendance Policy
Attendance is required. The following will be applied in determining the final grade in the course.
• Three absences are allowed without penalty.
•Absences over the allowed three absences will significantly lower the final course grade.
• A doctor’s note will not excuse absences beyond the three allowed. If illness results in excessive absences, a medical withdrawal from the course is recommended.
• Attendance is taken every class.
• Two late arrivals and/or early departures of more than 10 minutes will be counted as one absence.
• You may ask at any time for your attendance and grade information.
Missed Class Policy
Lectures and demonstrations cannot be repeated. Contact another student in the class for missed information.
Name______phone/email______
Professional Attitude and Practice
Academic dishonesty is a serious offense for which a student may be expelled, suspended or awarded a failing grade to an assignment or the entire course. Academic dishonesty includes cheating, fabrication, facilitating academic dishonesty and plagiarism. A student found to be committing academic dishonesty would be reported to the Office of the Vice President for Student Affairs. The student code of conduct can be found on page 586 of the University Catalog or on the CSUN website: http://www.csun.edu/studentaffairs/pdfs/standards_student_conduct.pdf.
Student Conduct Code
Students are expected to "act at all times with integrity and with respect toward all members of the campus community. The University assumes that all students will conduct themselves as mature, responsible, and law-abiding citizens who will comply with University policies and regulations." See the current University catalog.
Classroom rules
• Cell phones must be turned off or put on vibrate. Phone talking or texting in class is not allowed.
• No headphones allowed.
• Laptop use is not permitted unless to follow or review the course lectures.
Required Supplies
• Michael’s has many varieties of drawings sets that alone or combined will provide your supplies. Be sure to use the 40-50% off coupons available online and on the Michael’s app.
• 18” x 24” -24 page Strathmore 400 series drawing pad, 80lb
• Masonite drawing board 23x26” with clips and rubber band to support the paper pads
• Individual pens or set (005, 01, 03, 05, 08 Sakura Pigma Micron)
• 1 Fine point ballpoint pen
• Graphite pencils HB, 2B, 4B, 6B, 8B or similar set – Faber Castell (German made green ones) recommended
• 1 mechanical pencil.5mm
• 1 assorted pack compressed charcoal sticks 2B, 4B, 6B, black
• 3 charcoal pencils, hard, medium and soft, black
• 1 pack vine charcoal soft
• 1 X-acto blade #1 with #11 blades
• Bristle paint brush1/4”
• Blending Stumps: assorted size pack
• 1 Sandpaper block
• 1 18” ruler
• 1 18” T-square
• 1 9” plastic triangle
• 1 steel pencil sharpener
• Old white sock
• Kleenex
• 1 White eraser
• 1 Kneaded eraser
• Storage or tackle box to put supplies in
ASSIGNMENTS
Assignments include practice drawings and final drawings. These are outlined on the calendar. Final drawings are:
- Analytical Drawing of a still life in pencil. Focus is on observation, accuracy of shapes, proportions, angles, perspective and placement using comparative measuring and sighting techniques. A viewfinder is also used for accuracy and composition.
- Value Drawing of a still life in choice of charcoal or pencil. Application of everything learned from analytical drawing. Focus is on composition, value pattern, accuracy, convincing three dimensional forms, light logic and application of shadow theory.
- Pen and Ink Drawing of creative collage. Focus is on composition, line types and techniques and the use of line to create convincing three-dimensional forms and textures.
- Linear Perspective Drawings of observed architecture and from imagination. Focus is on correct one and two point perspective applied to observational drawing and inventive drawing.
Art 124A Calendar (Dates are subject to change)
______
Mon, Jan 22• Review syllabus, supply list
• PowerPoint: Materials
• For Wednesday: 18 x 24” Strathmore 400 series vellum pad, HB, 2B, 4B, 6B, 8B pencils, ruler, kneaded eraser and white eraser, kleenex
Wed, Jan 24Analytical Drawing
- Overview: approaches to drawing accurately:
• PowerPoint: Analytical drawing
• Drawing Basics
-Holding pencil, positioning drawing pad
- Drawing from shoulder, elbow, wrist, fingers
- Always draw light to dark, always vary weight of lines
- Lift up at the end of a stroke/line
- Gestural drawing, speed, fluid motion, light to dark, drawing through forms lightly building to more definition - Overlap lines- use pencil like a paintbrush, draw in overlapping strokes going light to gradually dark, thin to thick
- ellipses: eye level, minor and major axes, symmetry
• Practice: drawing ellipses: light gesture in pencil then define in strokes light to dark, thick to thin
• Sighting Techniques
- Comparative Measuring:
- vertical and horizontal axes
- vertical and horizontal alignments
- sighting angles
• Practice drawing of two round objects using sighting and measuring techniques-pencil
• How to Make a Viewfinder
• For Monday -make a viewfinder and bring to class, bring paper pad, pencils, ruler
Mon, Jan 29• Perspective
- drawing box using comparative sighting:
- Basic terms- eye level, vanishing points, convergence, one point, two point
• Practice drawing of one and two point boxes- pencil
• Practice: make a small drawing of box using comparative measuring. Then continue drawing-follow lines to vanishing points, establish vanishing points and eye level.
• PowerPoint: Composition: Design Elements and Principles
- Using a viewfinder
- Positive and negative shapes
• Practice: drawing of 3-4 objects. Define shapes and lightly shade the negative space. -pencil or charcoal
• For Wednesday – bring viewfinder, paper pad, pencils, ruler
Wed, Jan 31• Analytical Drawing: 18x24” analytical/structural drawing of moderately complex still life in pencil
- composition thumbnail study
Mon, Feb 5Work on analytical drawing
Wed, Feb 7Work on analytical drawing
Mon, Feb 12Work on analytical drawing
Wed, Feb 14Work on analytical drawing
• For Monday: viewfinder, F, HB, 2B, 4B, 6B, 8B pencils, charcoal pencils-soft, medium hard, vine charcoal, 18x24” Strathmore 400 series vellum pad, rag, ruler, kneaded eraser and white eraser, Kleenex, ruler
Mon, Feb 19• Final analytical drawing due
Value
• PowerPoint: Shadow theory, basic forms, value range and contrast, use of value to define space, form, texture, edges created from value changes versus contour lines
- Technique: pencil, charcoal, vine charcoal
• Practice: Draw gradations in pencil and charcoal, Draw two spheres, one in charcoal and one in pencil
•Start Final Value Drawing: 18x24” value drawing of complex still life in pencil or charcoal that must have convincing three dimensional forms, full value range, contrast, effective composition-no outlines
- composition thumbnail study for value drawing
• Value Drawing- still life in pencil or charcoal
Wed, Feb 21 Work on value drawing
Mon, Feb 26Work on value drawing
Wed, Feb 28Work on value drawing
Mon, Mar 5Work on value drawing
• For Wednesday: bring viewfinder, pencils, marker pens, 18x24” Strathmore 400 series vellum pad, chamois, ruler, kneaded eraser and white eraser, Kleenex, ruler
Bring in three moderately complex, objects with organic shapes (tied ribbon, rope, fabric, flower, branch with leaves, pair of beat up old shoes, artichoke, vegetable with leaves)
Wed, Mar 7• Value drawing due
Line
• PowerPoint: Types of line, use of line to define value, space, shape, form and texture
• Drawings:
- Overlapping Blind Contour Drawings- 6B pencil
- Varied Contour/Implied Line Drawing- 6B pencil
- Varied Contour Drawing with tone- 6B pencil
- Cross Contour Drawing- 6B pencil
Mon, Mar 12• Pen and Ink Drawing- Line Organization
• Practice: draw gradations and sphere in pen. Line organization: hatching, crosshatching, contour hatching, stippling, random hatching.
• Presentation: surrealism and collage: Internet research: collage and collage artists: collage artists, collage illustration, collage art, collage surrealism, Stenberg Brothers, Hannah Hoch, Kurt Schwitters, Raoul Hausmann, Man Ray, Eileen Agar, Joseph Cornell, Nancy Spero, John Stezaker, Frida Kahlo, Magritte, Dali, Max Ernst, De Chirico, Remedios Varos, Dorothea Tanning, student examples
- Choose one to draw in pen and ink:
1. Surreal collage. Make an 11 x14” paper or digital collage using online imagery, magazine photos and/or your own photography. Photos must be clear and have good contrast. Do not make your collage too complicated. It can be based on a theme: circus, flying, other worlds, paradise, home, dream or a subject that is important to you like animal testing, the environment, free speech etc.
2. Image with border. Choose a subject (animal, machinery, anatomy, human, plant etc.).Design a border that complements the subject conceptually and aesthetically.
Your drawing must have:
-convincing textures
-three-dimensional rendering- the subject must look dimensional
-clarity- the subject and all aspects of the subject must be clear to the viewer
-value gradations that clearly define 3D volume of forms and surfaces
-a full range of values from light to dark and contrast
- an interesting border, 1 inch minimum
• For Wednesday: Bring in photo prints in various sizes (give yourself options) to create an 11x14” collage, tape, glue, scissors, 18x24” paper pad, students who do not have prints to work with will be marked absent
Wed, Mar 14 • Complete a 11x14”collage for the assignment.
•For Monday: Make two copies of your collage at 100% or 11 x 14”. Bring pens, pencils, ruler, tape.
Mon, Mar 19Spring Break
Wed, Mar 21Spring Break
Mon, Mar 26•Start Pen and Ink Drawing of collage. -Transfer image to paper and draw in pen. Work on final line drawing
Wed, Mar 28Work on pen and ink drawing
Mon, April 2Work on pen and ink drawing
Wed, April 4Work on pen and ink drawing
Mon, April 9Work on pen and ink drawing
• For Wednesday: bring viewfinder, pencils, 18x24” Strathmore 400 series vellum pad, ruler, triangle, t-square, kneaded eraser and white eraser
Wed, April 11• Pen and ink drawing due
Linear Perspective Drawing
• PowerPoint: vocabulary, one point, two point, three point perspective, foreshortening methods
• Practice drawings:
-One point drawing: boxes, foreshortening methods
• One Point Drawing: draw our building walkway in one point perspective, apply foreshortening method
Mon, April 16Work on one point drawing
Wed, April 18Work on one point drawing
Mon, April 23Work on one point drawing
Wed, April 30• Two Point Drawing: invented environment or abstraction
• Practice drawings:
-Two point drawing: boxes, foreshortening methods
Mon, May 2Work on final two point drawing
Wed, May 4Work on final two point drawing
Mon, May 7Work on final two point drawing
Wed, May 9• Final perspective drawings due
Mon, May 14 8-10am, Return of projects
VOCABULARY LIST
Design Elements:
- Line
Line – The pathway of a moving point usually made by depositing material on a contrasting surface.
Gesture – the essence of a subject captured in the quickest and most economical way. Usually consists of quick and extended gesture.
Axis – The imaginary centerline of a volume; the centerline is assumed to run in a volume’s longest dimension is called the long axis, the centerline running at a right angle to the long axis is called the short axis
Hatching Lines – A series of short, parallel strokes used to build up tone.
Crosshatching Lines – Consecutive sets of strokes is added over the first hatching lines at different angles to build even darker tones.
Implied Line – The condition of an absent line, but implied edge, that describes the presence of an important contour needed to complete a form. Used to depict a strong light falling on a smooth, unbroken surface, overlapping forms of the same or similar value or the turning away of a form.
Cross-Contour – Lines drawn across the surface of a form to depict the surface topography of that form.
Calligraphic Line – Literally, beautiful writing. The beauty of line becomes a major aesthetic aim.
Rectilinear – Lines relating to the quality or state of being straight or an object or form characterized by straight lines (square, cube etc.)
Curvilinear – Lines relating to the quality or state of being curved or an object or form characterized by curved lines (circle, sphere, etc.)
II. Shape and Volume
Geometric – Shapes and volumes such as circles, spheres, squares, cubes, cylinders, triangles and cones seldom seen in nature as perfect forms, serve as forms that underlie natural forms or form the basis for actual human-made objects
Organic (or Biomorphic) – Shapes and surface structure of forms in nature.
Volume (Form) – Any three dimensional form, regardless of identity, structure or size.
Mass – The effect and degree of bulk, density and weight of three dimensional volume in space or effect of a two dimensional shape consisting of value, texture or color on the picture plane.
Shape – The quality of a space (2D) or object (3D) in whole or part dependant on its outline.
Positive Shapes (Space) – In drawing serves as the subject of the drawing. In the figure ground relationship it is usually the figure and opposite defined by negative shapes (space).
Negative Shapes (Space) – In drawing serves as the shapes or spaces around the subject or positive shapes (spaces). Must be equally considered as visually important as the positive shapes.
III. Space
Plastic (3-Dimensional) – In drawing to treat the surface of the picture plane so as to create the illusion of depth, either shallow or deep, using representational or non-representational subject matter (as a window).
Decorative (2-Dimensional) – In drawing to treat the drawing surface in such a way as to affirm its two dimensional nature (as an object).
Perspective – A system (one, two and three point) by which the dimensions and spatial relationships of forms are represented on a flat surface to create an accurate depiction of form and space in the picture plane.
Trompe L’oeil – Literally “fool the eye”, subject is drawn so that the eye is deceived into perceiving the forms and spaces are real.
Aerial Perspective – The use of blurred or softened contours and dimmed or dulled colors (tending towards the blue) to suggest space by imitating the visual effect of atmosphere intervening between the observer and objects at a distance.