COURSE DESCRIPTION:
This
course will introduce students to the structural elements and organizational
principles surrounding three-dimensional design and space. The course is designed around a series
of projects that emphasize critical thinking, concept development, and material
manipulation in a studio experience.
Emphasis will be placed on the relationships between form, space,
materials and process. By
introducing a variety of ideas, techniques and materials students will learn
the complexity of the creative process and learn to better articulate their
personal aesthetic.
Problem-solving studio assignments, access to exhibitions, visiting
artists, and outside reading and writing assignments will foster the
development of the student’s ability to critically and objectively analyze
their work and work of others.
COURSE OBJECTIVES:
A. To continue to
cultivate an understanding of the expressive content and communicative
qualities of the three-dimensional art-making process.
B. To develop effective
manipulation of visual components and structures relative to materials, process
and the intent of the overall visual expression
C. To introduce historical and contemporary art
references and critical theory in order to develop critical thinking skills for
the analysis and development of images by self and by others
D. To develop technical
skills appropriate to the particular concepts and media
E. To develop ability
and confidence in individual decision-making processes through heightened
perceptual awareness and visual scrutiny
REFERENCES:
Required: Launching
the Imagination: A Comprehensive Guide to Basic Design, 3rd Edition, by
Mary Stewart, McGraw Hill Publishers
COURSE EXPECTATIONS AND
REQUIREMENTS:
·
Students will be
expected to work on studio problems in class and out of class. The work being
submitted should reveal creative solutions to the problems assigned. Just
turning in the assignment does not guarantee a passing grade.
·
*Students will be
expected to explore options.
·
Students will be
expected to reveal accomplishment and growth in the use of practical skills and
techniques in completion of studio problems.
·
Pride in craftsmanship
and personal investigation is essential.
·
Students will be
expected to develop standards and criteria for
objective
evaluation of his or her own work as well as the work of others.
BE RESPONSIBLE:
You are expected to bring all necessary materials for each
day’s assignment. You are expected
to be in class on time, stay the full time, and make the most of the class time
for completing your work. If you
miss a class it is your responsibility to find out what you missed and be
prepared for the following class. Get to know your neighbors (phone #’s); use
each other! Call your
friends! If you need my assistance
catching up on materials missed, you must meet with me outside of class. I will not spend class time re-covering
material.
*Art-making can be very time consuming; therefore, students
are expected to spend a minimum of 6 hours a week working on assignments
outside of class. You are expected
sign in on the clipboard in the woodshop to record time spent working outside
of class for woodshop projects.
The amount of time committed to working outside of class
directly affects the quality of your work.
**No talking, or texting, on cell phones during class! You may put your phones on vibrate and
check to see who’s calling.
ATTENDENCE:
Attendance is mandatory. Not only is this common courtesy, but missing a class, being
late, unprepared, etc. affects your performance and my ability to conduct class
and help others at the most effective level. Only 2 absences will be excused. Any additional absences above 2 will lower your final grade
by HALF of one letter grade for each additional absence. More than 6 absences will result in a
failing grade.
You may work off a 3rd absence by: write a 2-page analysis/
reaction to a 3-D art related show/visiting artist lecture. This is an academic and research based
essay so it should be written as such with adequate importance placed upon
content, structure, spelling and grammar.
This paper will be accepted no later than two weeks before the final
class day. (November 20, for FA2013)
**Religious Observance Policy (S.L. 2010-211) You must
notify me at least one week prior to the absence for the absence to be excused.
STUDIO MAINTENANCE:
You are expected to clean up after yourself during and at
the end of each class, or work session. Please respect the work of others. The mess you leave on the tabletop
surface will affect the next person who works in your space. I will give specific instructions on
how to clean up after each medium.
Some of the techniques necessary for this course are, or can be, dangerous. It is very important to keep the studio
environment as clean as possible to lessen the potential for accidents. Cleanliness and safety will play
a very crucial role in this course, so you will constantly be looking out for
yourself, and others.
*End of Semester Studio Clean up: As part of this class, there will be a mandatory clean up
for the Wood Shop and Room 205.
This will take place on the 1st Monday and Tuesday after Reading
Day. To accommodate for exams, you
can come in any time between 8am and 4pm on those days and spend 1 hour
cleaning up the studio. You must
sign in and out with Adam or Travis to get credit for this. Remember this is mandatory and is a
part of your participation grade.
SAFETY:
As mentioned above, some of the materials and techniques we
will be covering in this course are dangerous. I will be covering the potential risks involved as the need
arises. You are expected to wear
the necessary protection and take the necessary precautions to avoid injury
and/or health hazards. Every
student MUST USE safety glasses, a dust-mask, and hearing protection (which
will be issued to you).
Please refer to additional policies that apply to the art
dept. concerning safety on the “Student Health and Safety Information” sheet
(posted to asulearn).
GRADES:
Artwork is very difficult to grade due to its subjective nature. The standards that I follow when
considering a grade are:
A= A clear
understanding of concepts, great craftsmanship, and a drive to exceed required
work in order to reach an original, personal solution.
B= Strong effort but
lacks either originality or genuine insight, OR vice-versa: (originality and genuine insight but
lacks in effort and understanding of
concepts and techniques.
C= Average, fulfills
the required expectations, but does not exceed. Lacks effort, and/or creativity.
D= Insufficient
effort, little understanding of concepts.
F= Complete lack of
effort, no understanding of concepts.
GRADING: 10 pt.
scale for both projects and final grade
A+ 97-100 B+ 87-89 C+ 77-79 D+ 67-69
A 94-96 B
84-86 C 74-76 D 64-66
A- 90-93 B-
80-83 C- 70-73 D- 60-63
GRADE BREAKDOWN:
75% of your grade will be based on your participation in
class your final execution, your attendance and the final clean up.
25% of your grade will be based on your documented research,
any quizzes, written assignments and responses to any visiting artist lectures
Projects will be graded by the
following criteria:
Projects may be resubmitted up to three weeks after initial
grading for regarding and a possible improvement in grade (with the exception
of the final class project because of limited time for grading and facility
availability)
Critiques:
Critiques will take place during which time we, as a class,
will discuss each other's art works and the issues that accompany them.
Students are expected to complete projects on time and to participate fully in
group discussions. Attendance for critiques is especially important! Even if your work is not completed, you
should come and participate. These critiques are especially important and are
part of the learning, evaluation, and critical analysis process. You will
receive feedback from me as well as your peers at critique and this feedback is
very important in judging the strengths and weaknesses of your artwork. They are the equivalent of an oral
exam. On “crit” days, students are
expected to be present with a completed project ready to be shown. Failure to
do so (without advance communication with me) will result in an automatic lower
grade for the project. For special circumstances, please discuss them with me
at least a week before the crit.
Discussions will proceed as an intellectual inquiry into each other’s
work and ideas. Everyone’s opinion
is welcome whether supportive or critical, but remember disrespect will not be
allowed. We all have different experiences that will help enrich the discussion
and each other’s work. You should be open to constructive criticism.
Research:
Each student will be required
to be actively involved in individual research with each project. This may
include drawings, readings, models/maquettes, written work and contemporary and
historical research to further their ideas and help give context to the work
produced. Research will count for 20% of your final grade.
Critical Analysis:
For each assignment given you are expected to write a
critical analysis (approx. 1-2 pages) in which you will evaluate and discuss
the formal and conceptual components of your completed project using the
appropriate design vocabulary.
This written assignment will be due at the same time as the
project. You will submit this
through a link in ASULearn under each respective project. Look at the document “Research Materials”
for more information about the critical analysis.
Binder/Sketchbook:
Please purchase a binder/Sketchbook for this course (2” 3
ring binder). You will be using
this binder to organize materials for this course. (handouts, preliminary
sketches/planning/research, notes from the text, general sketching and homework
assignments.) This binder will
also be essential for keeping organized and reviewing for quizzes. I will often
ask you to sketch out your ideas as an initial plan for each of the
assignments. You will need to keep
these drawings either in your binder or sketchbook and bring it to all classes
because I will often refer to it when discussing and planning individual
projects. I strongly encourage all
art students to keep a sketchbook, whether or not it is a requirement or not
for all their classes. The
binder/Sketchbook will be graded at the end of the semester with all the
research it contains for each individual project. The binder is part of your
final grade.
Documentation:
Each student should be prepared to document all his or her
work on the day of install/Critique.
This includes photographs and video as needed. We will have discussions
and demonstrations on documentation purposes and processes. You will NOT be required to provide
documentation for grading for this class, although it can improve your research
grade by providing it with your research materials at the end of the
semester. You WILL be required to
provide documentation of your work for various reasons for this department and
your career, so it is extremely important to learn this process because all
artists will utilize it.
Lecture / Field Trip:
To broaden ones understanding
and exposure to contemporary art each student is required to attend two out of three visiting artist
lectures. Notes pertaining to the Lecture/discussion/demo are not required for
credit but will help with the understanding of artistic contemporary issues as
well as enhance your own studio practice.
Attendance will be taken by signing in for each lecture.
Reading:
Required Text: Launching the Imagination: A Comprehensive
Guide to Basic Design, 3rd Edition,
by Mary Stewart, McGraw Hill Publishers
The assigned reading will
coincide with each project. Short
exams/quizzes will accompany each reading assignment and will cumulatively
count for 5% of your final grade.
** Appalachian State University is committed to making
reasonable accommodations for individuals with documented qualifying
disabilities in accordance with the Americans with Disabilities Act of 1990,
and Section 504 of the Rehabilitation Act of 1973. Those seeking accommodations
based on a substantially limiting disability must contact and register with The
Office of Disability Services (ODS) at http://www.ods.appstate.edu/ or
828-262-3056. Once registration is complete, individuals will meet with ODS
staff to discuss eligibility and appropriate accommodations.
** As a community of learners at Appalachian State
University, we must create an atmosphere of honesty, fairness, and
responsibility, without which we cannot earn the trust and respect of each
other. Furthermore, we recognize that academic dishonesty detracts from the
value of an Appalachian degree. Therefore, we shall not tolerate lying,
cheating, or stealing in any form and will oppose any instance of academic
dishonesty. This course will
follow the provisions of the Academic Integrity Code, which can be found on the
Office of Student Conduct Web Site: www.studentconduct.appstate.edu.
There is no additional fee for this class, therefore you are
responsible for purchasing your own materials.
SUPPLIES:
It is impossible to make a list of everything you will need
for this course. Each project will
require your individual choice of materials and tools (some more than
others). This is a list of
supplies that you are sure to need (if not for this class, for viability as a
creative human being! And remember you don’t always need to spend a fortune,
yet cheaper isn’t always better.
You typically get what you pay for. Make informed decisions about the sustainability of every
tool and material you purchase and how it affects your practice and
budget. Feel free to inquire with
your instructor with any questions you have).
Required supplies:
Sketchbook (bigger than 6” x 4”, I prefer 8.5” x 11”)
Safety glasses
(will be given to you)
Dust mask (will
be given to you)
Ear protection
(will be given to you)
Scissors
1 roll of ¾ - 1 in. masking tape.
18”or 24” metal ruler
Tape Measure
Medium pt. sharpie marker
White glue, Elmers or Sobo
Hot Glue gun and glue sticks (we have several glue guns left
from previous semesters, make sure your glue stick sizes match the size your
gun requires)
Sand Paper (different grits 60-220)
Utility knife and package of blades
Some sort of tool/tackle box for carrying/containing
supplies. (make sure it will fit
in your locker!)
Rags/old t-shirts/face cloths/dish towel
A protective cutting matt (table protector for using utility
knives)
Plaster of Paris (at least 12-15 lbs.) wait until the need arises!
Styrofoam (This is great for making models)
Water-based clay, or oil-based clay (Also great for models)
Wire / String (There is specific wire to get for the wire
project)
Straight pins (Sewing)
Needle nose pliers with wire cutters (usually a combo)
Screwdrivers (Phillips and Straight, different sizes if you
want)
Hammer
Clay tools (this semester we will not be working with clay,
but you may want to use clay for models/ maquettes?)
A padlock for a locker may be desired
Additional supplies will be necessary for individual
projects. I will list these
additional materials in the handouts for each specific assignment. Any additional materials that you may
want to buy will not hurt anything.
Don’t go overboard, you can always make additional trips to the store!
Suggested SUPPLIERS:
Wood/Hardware
Lowe’s Home Improvement
Watauga Building Supply
New River Building Supply
Art Mart: Boone Heights Shopping Center 264-3135
Cheap Joe’s Art Stuff: Boone Industrial Park 262-0793
Purveyor’s of Art:
Foscoe (800) 861-DRAW
Wal-Mart or K-Mart.
Things to keep in Mind:
This course is not an “easy A”, but it should be exciting
and fun. The projects assigned
will require a lot of commitment.
If you do not like to get dirty, work hard, and explore creativity then you
should definitely reconsider taking this course. As an instructor, I feed off your energy. Please bring a good attitude to
class. I promise I will go out of
my way to match your enthusiasm and hard work.
First Fridays:
The first Friday of every month, Downtown Boone provides a gallery
crawl. The Turchin Center is open
to the public and provides hors’ de oeuvres, drink, and merriment. The Nth Gallery (not far from Boone
Drug; spooky stairway) is run by art dept. alumni and hosts many student
exhibitions. The Collective (next
door to Black Cat) is an assortment of young contemporary artists/students. The Jones House (beside the Mast
General Store), and various other commercial gallery and artisan retail spaces
are open.
Student Art League:
The Student Art League (SAL) is an organization designed to bridge the
proverbial “gap” between the area “disciplines” within the ASU Dept. of
Art. Our organization provides a
network for students to share art-related ideas and experiences in a
multi-disciplinary atmosphere.
Members will be engaged in building up a community (beyond the classroom
walls) to not only strengthen their individual creative talents, but to also
share and promote the visual arts while targeting a larger audience; ASU (at
large), Boone, Watauga County, and North Carolina.
Visiting Artists Schedules are usually posted on the
university calendar on the ASU website. www.oca.appstate.edu/
Keep a check on the bulletin boards around the art dept. for
upcoming exhibitions and performances.
In college you are surrounded by cultural opportunities- music, dance,
theater, visual exhibitions, guest lectures/programs. Try to experience as much as you can, because you probably
won’t have such easy access, and wide variety of opportunities once you’re out
of here!
Calendar (subject to change)
Important dates to remember:
State Holiday: Mon, September 1,
University Break: Thurs, October
16, - Fri, October 17,
Last day to withdraw: Thurs,
October 23,
University Break: Wed, November 26
– Fri, November 28
Last day of classes: Fri, December
5
Reading Day: Sat, December 6,
Exam Week: Mon, December 8 - Fri, December 12
Week 1: Introductions,
Syllabus, Get supplies
Intro project One: Line
Look at
images. Discuss tools and materials.
Homework assignment #1. Read
Chapter Nine pages 187-192, , discussion, work in studio,
Week 2: Discuss project one, mini assignments/
observational drawings, look at images, demonstrations, work in studio, working
critique, individual meetings, assign readings, Read Chapter Nine pages
193-200, Quiz
Week 3: Work week,
demonstrations, vide AG, mini assignments
Week 4: Critique
Project One: Line,
Introduction to Project two: Junctions, Balance and Color, Lecture
with images and samples. Woodshop safety demonstration, Woodshop, Read Chapter
Nine pages 210 -215, Quiz
Week 5: Read Chapter 10, pages 218-224,Mini project,
discuss readings, vocab quiz, discuss visiting artist, Wood joinery
demonstration, Wood finishes, Introduction to Value, Color and pattern,
Painting demonstrations, Finishing demonstrations
Week 6: Read Chapter
10, pages 225-230,Work week, Slide
show, demonstrations,
video
Week 7: Read Chapter 10, pages 231-237, Quiz,
Critique Project two: Junctions, Balance and Color, Introduction to Project Three: Planes defining volume
Week 8: Read Chapter 11, pages 240 -245, Demonstration
with cardboard, hot glue, paper tape etc, Working crit
Model work.
Week 9: Work week, demonstrations, video, mini
assignments, Read Chapter 11, pages 246 -259
Week 10: Working crit, Workday
Week 11: Critique Project Four: Junctions, Balance
and Color,
Introduction to Project Three: Planes
defining volume,
demonstrations,
video, mini assignments
Week 12: Work week,
demonstrations, video, mini assignments, Readings
Week 13: Work week
Week 14: Thanksgiving
break
Week 15: Final Crit Project four, Final clean up,
Binders turned in, Binders returned on exam day
PROJECT
1
LINE: CONTOUR DRAWING IN SPACE
MATERIALS/TOOLS: Stovepipe wire, needle-nose pliers,
soldering iron, solder, flux
PROCEDURE: Choose a three-dimensional object from a
functional context, e.g. microscope, electric mixer, boot. Contour drawings on paper will precede
the physical description of the object in wire and space. The surface of a three-dimensional
object becomes a network of lines that captures and translates the edges,
volume, proportion, and scale of the object. The joints may be wrapped or soldered. The translation of the object addresses
its visible characteristics because this is a problem based on
observation.
ADDED TWIST: (OPTIONAL) Collaborate with another student in
class to produce a composition. Create a unifying relationship between the two
chosen objects.
CONSIDERATIONS:
Try to identify edges and cross contour lines that describe the essence
of the form. Structural solutions
should also be visual solutions.
The linear translation of the original object should capture its
structure and convey a personal visual sensibility that is a response to the
function or nature of the object.
Look beyond the obvious lines in the source such as seams. Variations in line density and line
shape are important aesthetic concerns.
TECHNICAL HINTS: Major changes in the form should be made at
the beginning. If you choose to
work with several lengths of wire, try 4-6 strands of wire approximately 5 feet
long. Tape may be used to hold
joints together temporarily. Tight
bends may require scoring wire with a file or you can use two pairs of pliers. Crimp wire joints with pliers to secure
them. Wire is difficult to keep
straight because of flexibility. Try
to exploit this characteristic in your work. Symmetrical objects require more careful execution because
of the inherent repetition within the form. Twisting wire can make a stiff,
straight line easily. First fold a
length of wire in half. Secondly,
place the folded end in the chuck of a drill. Tighten the chuck.
Then have someone hold the two ends of the wire with two pliers. The drill can be used at a slow
revolution to twist the wire together.
Use caution with this technique.
STEP ONE: locate five
objects that could be translated into wire
STEP TWO: Do three contour drawings per objects, for a
total of 15 contour drawings.
These drawings should be from multiple views. These drawings should have no value/shading. You should use
cross contour lines to represent plane and multiple line weights to emphasize
where planes intersect/seams.
STEP THREE: Choose one of the five objects to build in wire
STEP FOUR:
Execute. Choose cross contour patterns that describe the form. Use
multiple line weight. Be
consistent!
STEP FIVE: Record findings/research in your binder. Find
research material IE: artists, doodles etc. Research! Research! Research!
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VOCABULARY:
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Volume
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Compression/Expansion
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Mass
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Activated space
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Negative space
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Positive space
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Static forms
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Value
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Dynamic forms
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Transparent
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Kintetic forms
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Refracted
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Ortho graphic projection
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Reflective
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Line quality
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Translucent
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Orientation
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Direction
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Continuity
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Implied lines
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Sight line
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Plane
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Primary contours
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Secondary contours
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