A&D 113 Spring 2007

BASIC DRAWING Purdue University Dept. of Visual & Performing Arts

INSTRUCTOR: ____________________ Office _________ Hours_____________________________

E-Mail ____________________ Phone # _______________

COURSE DESCRIPTION: This course will introduce and incorporate a variety of methods and media used in constructing a basic understanding of drawing. As a class we will develop and examine the core elements of line, gesture, shape, plane, volume, value, texture, form, composition and illusionistic space.

COURSE OBJECTIVES:	To develop and strengthen your observational and perceptual skills
	To challenge those skills by providing opportunities to explore a variety of media and concepts.
	To sharpen your abilities to communicate visually and verbally when making and analyzing art.

READING: Readings are assigned as well as some simple drawing exercises from the text. Type or print neatly your informed response for each series of questions of the chapter as assigned. Keep a binder for all writings. Reading the chapters will answer many of your questions on material covered in demonstrations and lectures and will confirm what you are experiencing in class sessions. Discussions, critiques and independent drawing and homework assignments will deepen this understanding.

PORTFOLIOS: Presentation is important. Folded, dog-eared, torn, smeared, fingerprinted, etc. work that is presented to your instructor will result in a lower grade. Keep your drawings clipped to your pad if they have been removed or to a sturdy cardboard backing to keep drawings neat. Date and sign all work neatly in a bottom corner on the back of the drawing IN PENCIL ONLY. Do not sign work on the front of the drawing.

GRADING AND EVALUATION: Work done in class will be collected, graded and returned on a regular basis. Each student will be required to submit a midterm and final portfolio for grading. In addition, you are expected to maintain a sketchbook, which will be evaluated. Students will often be directed to make improvements to submitted work, even after a grade has been assigned, and should present final versions for portfolio reviews. Each student must be present and actively participate in critiques. Instructor will give you a clear breakdown of graded work: (for example, approx. 40% including midterm portfolio review, approx. 40% for final portfolio review, approx. 20% written and specific homework assignments combined, participation in critiques and sketchbook activities). A minimum of 5 points will be lost for every class day your assignment is late.

Your performance will be evaluated based on:	Quality/craftsmanship of work included in your portfolio
A=90%-100% Excellent understanding of concepts, consistent and very creative individual application of these concepts in visual problem solving, excellent use of materials, excellent work habits, participation in class discussions and critiques, work is consistently above-average	Prompt completion of all assignments
B=80%-90% Good understanding of the concepts introduced, creative and individual application of these concepts in visual problem solving, good use of materials, good work habits, participation in class discussions and critiques, work occasionally stands out as above-average	Comprehension and mastery of course content
C=70%-79% Average understanding of the concepts introduced, average application of these concepts in visual problem solving, some understanding of materials, average work habits/questionable growth, limited participation in class discussions and critiques, missing assignments/does not meet specific assignment requirements	Level of achievement at the end of the semester Risk and experimentation
D=60%-69% Below-average understanding or lacking understanding, creativity low, poor application of concepts in visual problem solving, poor use of materials and tools, poor quality of work, missing portions of course assignments/failure to follow directions, disengaged	Participation in discussion and critiques
F=Failure 59% and below Significantly below-average, little or no demonstration of understanding, little creativity, extremely poor attention to materials and tools, no class participation, level of engagement is consistently poor	Originality and artistic direction
	Written assignments
	Attendance

CAMERA PHONE POLICY: DO NOT use camera phones when drawing from life. Personal time in the drawing studios must be spent recording what you see, and must capture your perceptual and expressive goals as required by the drawing assignments. Failure to comply with this policy will result in a failing grade for the assignment.

ATTENDANCE: See attached foundation attendance policy

ATTITUDE: Showing up for class and drawing does not insure a passing grade for the course. You must come prepared with required materials for every class, be open to new ideas and growth, and be self-motivated. Interest in a variety of materials and methods, a willingness to explore visual concepts, and thoughtful participation in critiques will be expected of all students. Personal cassette and CD players are not permitted for use in class. Extraneous noise and talking should be kept to a minimum so concentration level on your drawing is optimal. If you have missed a class assignment, it is your responsibility to make up this work for inclusion in your mid-tern and end-of-term portfolios.

You may view examples of student work: http://www.sla.purdue.edu/courses/ad/studio

A&D 113-114 Coordinator: Grace Benedict O’Brien

obrieng@purdue.edu

Office:PA#3169 Office Phone#:494-9121 Home:765-429-4054

In the event that you have unresolved questions, or wish to discuss course content, attendance policy, grading and evaluation of your performance, you are encouraged to contact Grace throughout the semester.

A&D 113 TEXT & MATERIAL LIST

Textbook: A Guide to Drawing 7^th Edition by Mendelowitz, Faber and Wakeman ($88.75)

Supply List: (approximate cost of supplies $75) (cost increases with extra paper and special materials as assigned by your instructor

18 x 24@ Newsprint Paper pad (all paper pads will need to be replenished if you run out)

18 x24 White Drawing Paper 50 sheet pad 80lb weight preferred (70lb okay, not 60lb Sketch)

Spiral Sketchbook (5.5x8.5 or 6x8 or 9x6 or 8x10: not over 12x16) (60lb or 80lb paper)

Woodless graphite pencil, 6B

Variety of drafting/drawing pencils – hard (2H- HB) medium (2B-4B) soft ((6B-9B)

Graphite stick 6B (soft)

China Marker

White Staedtler Mars Eraser

Large Kneaded Eraser

White retractable Eraser

Ebony pencil

Black Water Soluble Ink or India Ink (one color ink later assigned by instructor- not in kit)

Bamboo point brush or #11 Camel hair brush

Pen Holder and 2 nibs or Bamboo drawing tool (for thick and thin line)

Blending Stick & Chamois (or very soft cloth)

Sandpaper pad

Soft and Medium charcoal pencils

One black conte, one sanguine and one white conte crayon (or white pastel stick or white charcoal pencil)

Vine charcoal B package of thin and package of thick (soft and hard)

Package of mixed hardness of compressed charcoal

Package (2-3) of square compressed very soft black charcoal (A Charkole@ )

Workable spray fixative

Clips (at least 2) and metal ruler (15" or 18") (from 105 kit from fall semester?)

Portfolio B paper, vinyl, leather, homemade

NOTE: Spray fix drawings using the spray booths. Some people are sensitive to fumes from spray fixative, as it can be particularly dangerous to breathe for asthmatics and those in the early stages of pregnancy. Do not over fix your drawings or the surrounding atmosphere. You should be aware of charcoal dust also. Humidity keeps it down, but it can cause problems for people who are sensitive. Please help keep everyone and the environment, healthy. Please clean up your space before you leave the classroom.

Assigned Readings: A Guide to Drawing 7^th edition A&D 113 Spring 2007

Keep a folder with lined paper (or type your notes) so these notes can be handed in. These readings will most often coincide with your classroom projects, and should be read as soon as they are assigned so you are prepared for classroom discussions and activities. Answer the questions and complete the exercises. Submit your notes from the assigned readings by the next class meeting. Check the glossary of terms in the back of the text for help.

January 8/9	Reading #1 Due Jan 10/11
	pp.1-14 The Nature of Drawing: Why is the act of drawing and the act of seeing important? Find the definition for rendering. If drawing is a way to communicate visual language, what essentially goes into the process of drawing? List 3 types of drawing. Describe the range of development within these 3 categories and how they may flow together. What is all-important to being able to draw?
	pp.15-33 Initial Experiences: Practice contributes to increased technical competence, control, and eventual mastery. Describe how planning can help drawings succeed. Describe some advantages of using charcoal. What is additive drawing? What is subtractive drawing? Describe ways that five artists drawing the human head have used pencil.

Jan 10/11	Reading #2 Due Jan 16/17
	pp.38/56 Learning to See: Learning to draw demands a dependence on visual cues. When looking at leaves, for example, what changes when viewed from different angles? (pp.38, 39) How can your pencil aid you to establish vertical and horizontal alignments? How can you use your pencil as a measuring device to establish relative proportion? Define negative and positive space.

Jan 15	Official University Holiday
Jan 16/17	Reading #3 Due Jan 18/19
	pp.73-95 Line and its Expression: Describe how line can be a highly descriptive force. Define these terms; contour lines, blind contour, varied line, lost and found edges, searching line, cross contour, modeled line, hatching, cross- hatching, contour hatching, scribbled line, calligraphic line, and gesture. Summarize experiencing different line qualities (pp.93-95)
	pp.57-72 Copying, Sketching, and the Power of Influences Copying is a legitimate activity as a means of learning to see how other artists see. From the internet, print a drawing (not a painting) of each of these 5 artists: Rembrandt, Degas, Ingres, Delacroix, Daumier and Giocometti. At the bottom of each page, write at least 5 descriptive words or phrases. .How many sketchbooks were discovered after Picasso’s death? A camera cannot replace what?

Jan 22/23	Reading #4 Due Jan 24/25
	pp.96-114 Value: Define value. In your notebooks, list 5 ways values enrich drawing. In your sketchbooks, copy the value scale twice on page 97 in pencil and in ink washes(Fig.6-1) Eliminate the bold line divisions between the values but be sure the values are clearly stepping or are differentiated. How must color be analyzed in terms of value? Define local value, form, light and shadow. Name the elements of the system of chiaroscuro. Value not only defines objects, it also places and separates forms in space. In your sketchbook activities, try to see form and space as defined by light and shadow. Block in appropriate tonal values without depending on preliminary contour lines. This will help you to learn to simplify and rely on shapes of tonal value on even very complicated objects. In your own words, describe high key, middle key, low key and full range value drawings.

Jan 29/30	Reading #5 Due Jan 31/Feb1
	pp. 114-121 Color and Value: Name and define the three dimensions of color. Name 3 color schemes. What is simultaneous contrast? How do you create optical color? In your sketchbook, create 2 simple drawing that shows an analogous and a complementary color scheme.

Feb 5/6	Reading #6 Due Feb 7/8
	pp. 138-160 Composition: Define composition. Name the principles of design. What is the final desired effect of composition? Why are thumbnail sketches useful? Describe open composition, and closed composition. Why do you think balance is so important? Repetition of similar visual elements B lines, shapes, patterns, textures, and movements B contributes to a sense of unity. To avoid the obvious and monotony, describe as many ways as you can how variety provides contrast. What is the difference between a closed form and open form? How can changing your point of view enhance your approach to drawing?

Feb 12/13	Reading #7 Due Feb 14/15
	pp.301-318 Illustration and Drawing: Define illustration. What is a technical distinction between illustration and fine art? Summarize page 313. List the types of illustration (pp.314-323). What is most important when preparing a portfolio if you are seeking employment as an illustrator? With today’s changing technology, what are some new ways to present your portfolio?

Feb 19/20	Reading #8 Due Feb 21/22
	pp. 229-244 Still Life: List all of the advantages of still life. What can draw and hold the attention of an audience to a still life? Describe how learning to see complex forms schematically is helpful to understanding and representing 3-dimensional form. Describe the beginner= s efforts towards the study and representation of surfaces that shine, show transparency and /or translucency.pp.208-228 Wet Media:

Feb 26/27	Reading #9 Due Feb 28/March 1
	pp.291-309 The Portrait: Choose 2 of the portraits from the chapter and summarize the artist’s approach. Critique exercise will be done in class after gesture portraits are completed: Exchange a drawing with another student and write a critical review of each other= s drawings. Discuss media handling, effects of lighting and the resulting visual impact. See Portrait Critique Handout from Instructor.

Mar 5/6	Reading #10 Due March 7/8
	pp.184-207 Dry Media: Make a list of the many papers that can be found at one of the local bookstores and art suppliers. Charcoal can be applied to many different kinds of drawing and printmaking papers – name the brands on page 190. Which papers will work well with solvents? (page 191). Make a list of the supplies from your 113 kit used in class up to this point in time. Summarize the variety of chalks, pastels and conte available to artists

March 12-16	Spring Break

Mar 19/20	Reading #11 Due March 21/22
	pp.208-228 Wet Media: List pens. List methods. List water-based media.

Mar 26/27	Reading #12 Due March 28/29
	pp.122-137 Texture and Expression: How is the textural character of drawing determined? Define actual, simulated and uniform texture. Compare and contrast Fig.7-14 Thoephil Groell’s Rivers End and Fig.7-1 Jack Beal’s Study for "Wisconsin Still Life". Describe how Giorgio Morandi and Josef Albers use texture. (pp. 135-136)

April 2/3	Reading #13 Due April 4/5
	pp.326-346 Expressive Drawing: What distinguishes one drawing from another? If drawings are not highly charged emotional statements, how can they be expressive? Why is it so important for students to be continually receptive to new ways of seeing and new ways of drawing?
	Written Assignment

April 9/10	Reading #14 Due April 11/12
	pp.161-183 Perspective and Forms in Space: Define linear perspective. Define empirical perspective. Who determines the eye level in a drawing? What does the placement of the horizon line determine? Blocks or cubes placed square to the picture plane are drawn in one-point perspective; blocks set at an angle necessitate the use of two-point perspective. Drawing a cube in 2-pt perspective requires 2 vanishing points. Copy Figures 9-8, 9-9, 9-10 and 9-14 progressively on small sheets of tracing paper and tape into sketchbooks. Figure 9-15 will be provided on the worksheet by your instructor: locate the VPs for ALL the planes of the box.

April 16/17	Reading #15 Due April 18/19
	pp. 245-262 Landscape, Atmosphere, and Space: Describe aerial and atmospheric perspective. What are optical grays? Sketchbook: Draw 2 pages of tree studies using a variety of wet and dry media.
	pp.347-368 Mixed Media and its Expression: Looking over the experience you have gained so far this semester, select one or two of your drawings and visualize the work in another media or mixed media. What would be your objectives?