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!

SUGGESTED SUPPLIES:

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.

Jerry’s Artarama, http://www.jerrysartarama.com

Utrecht, http://www.utrechtart.com

Amazon, http://www.amazon.com

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!

VOCABULARY:
Volume	Compression/Expansion
Mass	Activated space
Negative space	Positive space
Static forms	Value
Dynamic forms	Transparent
Kintetic forms	Refracted
Ortho graphic projection	Reflective
Line quality	Translucent
Orientation
Direction
Continuity
Implied lines
Sight line
Plane
Primary contours
Secondary contours