Department of Art/CSUN Beginning Two-Dimensional Design ... 140 Syllabus_Schneider_Sp'15.pdf · Department of Art/CSUN Beginning Two-Dimensional Design/Art 140/Spring 2015 GENERAL

Department of Art/CSUNBeginning Two-Dimensional Design/Art 140/Spring 2015

DUE DATE SCHEDULE (A S O F 1 -2 0 -15 . S U BJ E C T T O R E V I S I O N )

JANUARY

20 Welcome

27 Crit+project time

FEBRUARY



17 Ex #3


MARCH

03 Ex #5




31 Caesar Chavez Day (no class)

APRIL

07 Spring break


21 Ex #8 & Gallery Report Due


MAY


NOTE: Each new exercise is typically intro-

duced by a discussion on the exercise and a

discussion on the relevant ideas and topics the

exercise will touch on.

22 Project time

29 Ex #1

05 Ex #2


19 Project time

26 Ex #4

05 Project time

12 Ex #6

19 Project time

26 Ex #7


09 Spring break

16 Project time


30 Project time

07 Final Assignment due: Ex 9


INSTRUCTOR: HOWARD SCHNEIDER

CATA L O G D E S C R I P T I O N

Introduction to the elements and principles of two-dimensional design which are common to the visual arts. Foundation course stressing visual perception and an effective knowledge of the graphic means of expression and communication.

C O U R S E D E S C R I P T I O N D E TA I L :

The elements of art and the principles of design amount to the language of the visual arts.

These two entities are indeed the building blocks and coordinating tools upon which the

visual arts exist. This course stresses visual perception and the creatiion of art as a means

of expression and communication. Materials and production, analysis and discussion of

imagery and composition, incorporate artistic perception, creative expression, historical

and cultural context, aesthetic valuing and connections, relationships and applications.

T H E G OA L S O F T H E A RT D E PA RT M E N T are establishing and developing for students

an inclusive and balanced program in visual art, which encompass four areas of study: Art

Education, Art History, Studio Art, and Visual Communications.

A RT D E PA RT M E N T P RO G R A M G OA L S A D D R E S S E D I N T H I S C O U R S E :

> 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, culture, teaching and learning.> 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.

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G E N E R A L C O U R S E AC T I V I T I E S

> Art production in a variety of media, visual problem solving and works inspired by

various artists and artwork.

> Readings or activities as assigned, including periodic evaluative exercises, such as

quizzes, pop exercises, essays and discussion questions.

> Analysis and understanding of the art you and others produce in order to gain a

stronger sense for the relevance and feasibility of the elements, principles and concepts

involved in making art.

C O U R S E AC T I V I T Y D E TA I L

> The main body of student art creation will involve image-building using paper and

glue, drawing activities utilizing pencil and pen, painting activities involving water

color and developing color scheme models.

> Art Projects will work with Elements and Principles of Design, multiple subjects for

themed and integrated art such as contemporary socio-cultural issues, language arts,

various art movements and artists in art history.

> Written analysis of a selected exhibition or museum show.

> Writing and quizzes will include several of the following: compare/contrast, artwork

or exhibition analysis, reflection, lesson planning, standards, summaries of readings;

individual and group exercises in class.

> Final assignment as a heavily weighted, culminating activity.

S T U D E N T L E A R N I N G O U T C O M E S : > To discover and apply various two-dimensional art media and techniques. > To enable you to utilize and control the Elements and Principles of two-dimensional design. > Students will acquire conceptual knowledge of art, accurately define and utilize the formal vocabulary of the visual arts (Elements and Principles of design) to analyze works of art.> Explore and utilize methods for visual problem-solving, acquire and demonstrate concep-tual knowledge of a diversity of 2-D forms, purposes, media, and functions of art as they respond to, analyze, interpret and critique their own and others’ artworks.> Students will acquire and demonstrate conceptual knowledge of 2-D art in cultural con-text, including the visual nature of contemporary culture, fine art and design, world arts, the history and diversity of art in societies past and present.> Students will be introduced to connections and relationships between visual and other arts, and those between visual art and other discipline areas.

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S U P P O RT S E RV I C E S F O R S T U D E N T S

> How to do Library and Internet Research: http://library.csun.edu/Guides/ResearchStrate-

gies/GettingStarted. How to use the library catalog, ways of conducting Internet and other

research, and how to recognize valid internet sources.

> Citation Style Guides for Writing: http://library.csun.edu/Guides/ResearchStrategies/Cita-

tionStyleGuides. Provides guidelines and samples for referencing and citing sources.

> Learning Resource Center: http://www.csun.edu/lrc/, 818.677.2033. The mission of the LRC

is toenable students to improve their academic performance through a variety of learning pro-

grams including workshops, one-on-one and group tutoring, Supplemental Instruction classes

and interactive subject area computer programs and videos. Students who use LRC learning

programs will develop and strengthen their critical thinking skills, study strategies, writing

skills and performance in subject matter courses.

> Academic Advisement: http://www.csun.edu/eop/. The college-based academic advisement

centers are available to assist students in selecting courses and programs of study and in choos-

ing or declaring a major or minor. Visit the website to locate the advising center for your major,

or for undeclared majors.

> University Counseling Services: http://www.csun.edu/counseling/, 818.677.2366. UCS pro-

vides resources and information to assist students in dealing with a variety of large and small

psychological obstacles that may interfere with academic progress and/or relationship satisfac-

tion. Services include individual, group and crisis counseling.

> Center on Disabilities: http://www.csun.edu/cod/index.php, 818.677.2578. The Center on

Disabilities serves students with a wide range of visible and hidden disabilities, in a confiden-

tial environment. Students are encouraged to meet with the professional staff and explore the

services available to support their academic, career and personal goals. Discover accommoda-

tions and strategies for help with disabilities in an academic setting.

Students who need accommodations with testing, course content and activities may wish to review the Center on Disabilities website for detailed information on how to register and access resources for assistance. Please see instructor as early as possible in the semester regarding special

needs and accommodations.

> The Career Center: http://www.csun.edu/career/, 818.677.2878. Need some help in deciding

on a career? Or do you know your career and need to meet employers? Perhaps your resume

needs some sprucing up? The Career Center offers a variety of services for students, from those

new to the University to those about to graduate into the world of work

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I N S T RU C T O R' S M O D I F I C AT I O N S :

Your instructor retains the right to make any sort of modification to any composition at any time for the sake of each student's success in this course. If any student is not open to this methodol-ogy, it is strongly advised that the student inquire into the availability of another two-dimensional design course. Design is about exploration, structure, logic and control. It is not about making precious artwork. Do not get attached to any composition. It may or may not change.

T H E I N S T R U C T O R R E S E R V E S T H E R I G H T to remove any student from the classroom if the instructor believes the student is interfering with the classroom's ability or any individual student's ability to concentrate or if the instructor believes the student has not come prepared to work or fol-low instructions. In addition, the student could be marked absent for that session and that absence will count against their final grade.

G R A D I N G / L AT E WO R K / R E V I S E D WO R K

1) 25% of your grade will be based on your class exercises. – Late work receives no credit or grade and will be considered missing. – Revised exercises can be resubmitted up until Tuesday April 28.2) 25% of your grade will be based on the final assignment-Contrasting Systems.3) 25% of your final grade will be based on a Gallery Report:4) 25% of your grade will be based on a final exam.

***Final exam date: 5/14 Thursday 8:00-10:00 AM***

Assignment grades are affected by six factors:> Have you participated in classroom discussion? Were you willing and able to discuss when called on?> Is the composition visually compelling? > What was the nature of your learning process? In other words, did you use class time effectively and come well prepared? How frequent were your contributions to critiques?> Was all the assignments effectively completed?> Did you demonstrate careful attention to execution, technique and completion of projects?

Objectives as stated by professor for each assignment and project will be the primary criteria

for evaluation, including four general achievement ranges:

> F to D+ Does not meet criteria;

> C- to C+ Meets criteria;

> B- to B+ Above average to good;

> A- to A Very good to outstanding.

Ask the instructor to see exercise examples of where the highest possible grade has been

achieved. As assignments do change over the course of time, similar assignments may be used

as reference instead.

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G A L L E R y R E P O R T :

Twenty-five percent of your final grade will be based on a Gallery Report: At least 5 full pages of text, 12 point, double spaced covering your analysis of an artwork from one of the following galleries or museums: > Los Angeles County Museum of Art (LACMA) on Wilshire Blvd> Hammer Museum near UCLA> Museum of Comtempory Art, downtown Los Angeles> Norton Simon Museum, Pasadena or > Bergamot Station, Santa Monica

You will be using info from chapters 1, 2 and 3 and 8 as your references. Select one work and analyze it against each chapter's discussion, citing between 7 and 9 key references as per chapters 1, 2 and 3; then citing which mode of meaning from chapter 8 your selected work represents and how. Don't just make an empty claim and leave it to the reader figure it out.

Also include an image of that work in your report as an additional page. Always ask permission when wishing to photograph exhibited art.

Proof of attendance either by ticket stub or gallery business card must accompany your paper in order to receive credit.

Helpful tip: read the chapters first before making your gallery visit. Due Tuesday 4/21.

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S T U D E N T WO R K R E T R I E VA L :

All student artwork must be retrieved prior to the start of next semester. Artwork that has not been

retrieved by that time may be disposed of or retained by the instructor at their discretion. The Art

Department nor its instructors will be held accountable for storage of student work left behind.

S A F E T Y I N T H E C L A S S R O O M

Please remember that X-acto knives are extremely sharp and therefore require your utmost attention in their handling. Always be aware of who is around you and their proximity when handling a knife. Never use a knife when you are tired! Always be mindful of where the blade is going when you cut. Always stay in control. You will be instructed in the proper use of this tool and I will always be avail-able to assist you at any time. Although rare, accidents do happen from time to time. Be advised to carry along with you a small first aid kit that includes antiseptic swabs and bandages.

C L A S S B E H AV I O R

Unnecessary conversation, distractions of any sort are considered disruptive behavior. Class time is devoted to work and exploration. Interruptions to your ability to focus, as well as rude, distracting, or otherwise inappropriate behavior toward anyone in the class will be dealt with immediately and will have a negative affect upon final grades.

P L AG I A R I S M

Plagiarized work will not be accepted nor will revisions be allowed, and the matter referred to the Office of Academic Affairs. This includes visual material as well as written! See separate provided by instructor for referencing and other information. Plagiarism can lead to expulsion, suspension and probation. To view the University's policy and statement, go to http://www.csun.edu/science/help/help_docs/plagiarism.html

O F F I C E H O U R S & C O N TAC T I N F O R M AT I O N :

The time slot of 2:15 to 3:15 PM Tuesdays and Thursdays has been set aside for meetings with students

in AC408 or AC409. Meeting times can typically be reserved in half-hour slots by requesting a time

at least one class session ahead of the desired meeting date. My email address is howard.schneider@

csun.edu. My office number is 818.677.6458. (EMAIL MESSAGES ARE VERY PREFERRED OVER

VOICE MAIL. YOU’LL HEAR FROM ME FAR FASTER.) B

P L E A S E N O T E

1) The number of projects, types of activities and discussions, and pacing of the class overall are each subject to change as per the determination of the instructor. Such adjustments may occur at any time and will be discussed in class prior to their implementation. 2) This semester, the instructor may on any given day assign a POP QUIZ or POP ASSIGNMENT. These may include: Assigned or lectured material or problem solving project. Instructor will assign limited amount of time for each student to execute the POP QUIZ.

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AT T E N DA N C E is mandatory. Course information is not repeated, if you miss class it is your responsibility to get relevant information from another student. I often adjust the schedule depend-ing on class needs, so if you miss class it is in your best interest to call your partner to confirm the following weeks activities. Penalties are as follows:

If you are absent more than 3 classes, your final grade will be lowered by one whole grade point. If you are tardy 2 times, it will count as one absence. If you leave early, it will count as a tardy. Also, if you miss a crit, a discussion, or a presentation, it will also count as an absence. If you do not have your own materials for the day's activities, you will be marked absent.

Bottom line, if your course performance would normally have merited an "A", but you missed three classes and were late two more, you should expect a final grade of "B". Incompletes will only be given only when an extreme, verifiable emergency occurs.

I take attendance at the beginning of class. If you come in late it is your job to inform me that you are present otherwise you will be considered absent. If you are coming from the opposite end of campus (music lawn, Sierra Hall) please let me know.

This is important, so read it carefully: You get two absences. If a family or work emergency occurs, that will count as an absence. If you are sick, that counts as an absence. If your car breaks down and you miss class, that counts as one absence. If you decide the beach is more important than class, that counts as one absence. There is no such thing as an excused absence, no matter how you wish to see it, you have missed course material. If you have used up your two absences, and you get sick and miss a third day, your final letter grade for the course gets dropped by one whole grade point, and so on for each additional absence.

If you are late more than 30 minutes, you will be marked absent.

Email contact that you will not be in class, while helpful, does not necessarily constitute a viable excuse.

The university gives authorization to lower grades or fail students for poor attendance and tardiness

at the instructor’s discretion.

T H E F O L L OW I N G A R E E X A M P L E S O F ( B U T N O T L I M I T E D T O) N O N -V I A B L E E XC U S E S :

1. Not finding a parking space. 2. Employment obligations. 3. Other classes. 4. Dog ate my home-

work. 5. Someone is getting married. 6. Planned a vacation to Hawaii (or elsewhere). 7. Weather:

it’s too hot, too cold, or it rained. If your work or personal life unexpectedly backs up on you, it’s

understandable but neither is a viable excuse under any circumstances.

V I A B L E E XC U S E examples:

(1) Receipt from clinic visit with a note from doctor with signature and date. (2) Receipt for car

service w/date and time. However, lack of attendance means lack of exposure to the class. No activi-

ties can replace that absence of exposure, period. Partial withdrawl is strongly recommended for

extended medical absences or extended personal emergency absences. (Continued)


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AT T E N DA N C E (Continued)

PA RT I C I PAT I O N

Participation in the form of reading, writing, individual, large and small-group activities is im-

portant to getting the most out of this course. Discussion and questions generated by students

is important to learning for everyone, provided the issues are relevant to the activities and top-

ics of the course. The CSUN Code of Conduct is available to view here: http://catalog.csun.edu/

policies_/student-conduct-code/.

**Non-compliance with “participation”: in addition to the likelihood that assignments may be

poorly done, negative participation examples include the following: chatting with classmates,

sleeping, reading outside materials, browsing the web, texting or other non-class related activi-

ties and behaviors–such activities and behaviors can result in an additional 10% of final grade

lost. See below regarding policy for disruption of group activities. Note: Disruption of instruc-

tion to the group will be identified by instructor and will not be tolerated; individuals may

be asked to step out during class for conversation about behavior issues, or in extreme cases,

asked to leave class for the day. Further action may result in consultation with the Art Dept.

administration and/or the Dean of Student Affairs for assistance with disciplinary policies and

procedures.

C L A S S RO OM E N V I RO N M E N T:

> Respect the individual rights, uniqueness, diversity and opinions of all class members as well

as those of the instructor; if you don’t already have it, cultivate politeness when addressing

others.

> Listen with an open mind to the ideas and opinions of others. Remember that listening to

many different points of view, no matter how different or controversial, by contrast allows you

to understand your own views better

> Actively listen, join in, and participate in classroom activities and discussions.

> Take ownership of your thoughts, comments and actions.

> Help maintain this classroom as a safe place to learn, explore and grow.

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P RO F E S S I O N A L AT T I T U D E A N D P R AC T I C E

Developing a professional attitude and practice for teaching is important; part of that develop-

ment is respect for yourself as a student and your personal learning, as well as respect for the

instruction and learning of other students in the classes in which you agree to be a member. Ide-

ally, a classroom is a community where members meet and participate for their own and others’

benefit. The more you put into it, the more you will get out of it, and the more investment you

will have in what happens in the classroom. Accountability is also an important aspect: for at-

tendance, assignments, and communication with both teacher and fellow students. As a student

in this class, think about what kind of role model you would like to be for your students, and act

accordingly. The following is a detailed list of the standards for professional practice as a stu-

dent, future or current teacher, self-employed professional, and/or employee for any company:

> Coming to class prepared.

> Being on time and not leaving class early.

> Maintaining a cheerful, professional, constructive attitude.

> Substantively contributing positively to group and class dynamics.

> Participating enthusiastically in whole class activities, small group activities, and collegial

presentations.

> Offers relevant, insightful, and constructive comments during class, but does not dominate

discussions.

**Non-professional behavior includes the examples provided above for attendance, participa-

tion, and the opposite of the items in the standards list. Up to 10% additional final grade points

can be lost if behavior and attitude is not deemed professional, and action with Dept. of Art

administration, and/or Office of Student Affairs may be taken, if student is unresponsive to

requests for change.

All Cell Phones Must Be Off or Silent During Class! No text messaging, no internet brows-

ing unless class-related and requested or approved by professor, no video-gaming, working on

homework or projects for other classes. If you have an emergency and need to access your mes-

sages or place a call during class, please inform instructor in advance.

O T H E R E L E C T RO N I C D E V I C E S : a laptop or tablet is okay to use in class, for purposes of tak-

ing notes, referencing researched images, or other project related work. A smartphone may be

used for information and image searches with approval from instructor.


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T E X T B O O K : Launching the Imagination: A Guide to Two-Dimensional Design 4th or 5th edition: print (buy or rent) or e-book version (rent only)C O N T A C T I N F O R M A T I O N

Email: [email protected]

BA S I C S U P P L I E S :

Always bring your syllabus your materials for the day's activities!> Resealable cutting surface 12"x18"> 9"x12" Canson Mixed Media pad, 98 lb.> 9"x12" Tracing pad, or a few single sheets of tracing paper > X-acto #11 knife and extra blades > Scissors> 18" cork-backed or non-skid stainless steel ruler > Forty degree or 30/60 degree beleved triangle> Kneaded eraser> Compass > HB or 2B pencil or mechanical pencil with HB or 2B leads; optional: Blackwing pencil> Talens Angora Watercolor Pan Set - 24 colors (Continental Art Supply on Reseda Blvd.)> 1/8" round and 1/4" round paint brushes for water-based media> #10 or 12 Sumi brush (inexpensive is good)> Black ink or paint> Palette or dish for mixing paint or 2 oz mixing cups w/lids (take-out salsa cups)> Water jar or cup (20 oz minimum)> Rag or towel > Scotch Brand Restickable glue stick (1 or 2) (Avoid Elmer's brand)> Regular glue stick (1)> Rubber cement (small jar)> Three sheets of 20"x30" white foam board (3/16" thickness is the standard) > 2 sheets of Canson black paper; 1 sheet each of Canson Dark Gray (Canson 345), Felt Gray (Canson 429), & Pearl (Canson 343). > One sheet each of 3 triadic colors, minimum size 12" square.> Magazines with large color images. Large editorial; architectural; espn; and contemporary urban design magazines are the best. (Avoid magazines with tight, condensed layouts and intensly detailed images as they will earn you an "F".) > A small first aid kit consisting of band aids and antiseptic towelettes.

The hightlighted materials are available at Continental Art Supply (7041 Reseda Blvd.) as a kit. Pretty good discount and pretty convenient: KIT NAME: "CSUN 140 SCHNEIDER KIT F 2015" / KIT NUMBER: HS140F2015

KIT PRICE: $50.00 + SALES TAX

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Exercise #1: Line as Pattern | Implied Line & Shape Start 1/22. Due end of class 1/29.

You will draw 4 studies exploring the use of line. Have all the following materials with you: Ruler Tracing pad, 9"x 12" Compass and pencil Fine point black pen or marker Using tracing paper and a fine point pen, create 3 studies involving patterns of straight lines within a 6-inch diameter circle. These three studies will be made using straight lines only. Minimum number of lines per study: 16.

> The first study will be made with very thin lines drawn in the same thickness.

> The second study will be made with thick lines all the same thickness.

> The third drawing will use both thin and thick lines. Carefully used, overlapping can produce both depth and differences in tone.

> Make a fourth 6-inch circle and create a pattern of thick-to-thin caligrahpic types of lines.

The goals are to use line to create pattern, densities, imply a circle and create movement. Procedure: On tracing paper use your pencil and compass to draw a 6-inch diameter circle. Then flip the sheet over. Do your drawing on the reverse side of the sheet. When you're done with you drawing, flip the sheet over and erase your compass lines. We do not have to see an actual outline of the circle to see that you have made a circle. The edge of the circle will be implied by how your patterns of lines begin and end. It's perfectly okay, in fact it's preferrable to let the ends of your drawn lines define the circle's edge. It's perfectly okay to have gaps on the outside edge. That will allow negative space to flow into your design. Erase the drawn pencil circle from the backside from all of your designs.

Learning outcomes: To use line to create pattern, tone, depth, movement and to imply a shape. To gain familiarity with organic as well as geometric line qualities. To become more aware of the impact of negative space.

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Exercise #2: Six Squares Start 1/29. Due start of class 2/5.

Have all the following materials with you: 10"x15" white foam board Black Canson paper X-Acto knife Resealable cutting surface Scissors (optional) Scotch Repositionable Glue Stick Ruler, triangle, pencil

For the first time, you will begin work with notions of unity and other design principles: grouping, direction, positive and negative space, continuity (aka alignment), repetition and variation.

Step 1: Using ruler, triangle, and pencil measure and cut 16 perfect squares from a sheet of black Canson paper, each square varying in size but no larger than 8" The smallest square can be very small as long as they are perceived as being square from a short distance. No more than two overlapping shapes. 16 must be cut in order to receive a grade.

Step 2: From your collection of 16, select and arrange six black squares on a 10"x15" white foam board with a removable glue stick. The goal is to create a composition that achieves a dominant sense of direction or movement; unity by alignment, positive and negative space; repetition; variation and continuity or alignment.

Learning outcomes:To develop a stronger sense for positive and negative shape, repetition and variation; to develop an appreciation and awareness of visual continuity and direction.

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Exercise #3: Six New Shapes Start 2/5. Due start of class 2/12.

Have all the following materials with you: > 10"x15" white foam board > Black Canson paper > 1 sheet each of: Canson Dark Gray (Canson 345), Felt Gray (Canson 429), & Pearl (Canson 343) > X-Acto knife > Resealable cutting surface > Pencil, ruler, triangle > Compass or Friskars circle cutter > Scotch Repositionable Glue Stick Step 1: Create a large variety of assembled shapes (at least 20) that are the result of combining squares and rectangles. Each assembled shape will be composed entirely in a gray or all in black. At least one or more of these assembled shapes will be squarish and the rest will be rectangular in nature. Prefer simple over complex and chaotic.

Step 2: Select and arrange six assembled shapes from the pile of assembled shapes you've created; ar-range them on 10x15" foam core.

Unite your shapes through visual continuity. Goals: visual continuity, dominant direction, subordi-nate direction, negative shapes, repetition and variation. Be sure to utilize all four Canson sheets of black and three values of gray paper. No sketches. Just assemble and arrange! One study.

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Exercise #4: Introduction of the Triangle and the Circle (Two studies) Start 2/12. Due start of class 2/26.

Bring all the following materials with you: > 10"x15" white foam board > One sheet each of 3 triadic colors, minimum size: 12" square. > X-Acto knife > Resealable cutting surface > Scissors (optional) > Scotch Repositionable glue stick and any regular glue stick > Compass > Ruler, triangle, pencil

Triangles are very dynamic shapes. They imply movement and provide transition. They are the most dynamic of all the basic shapes (circle, square, triangle). When triangles combine with other shapes, movement is typically the result. Static arrangements surrender to the will of diagonal force. There is nothing static about the sparkle of a cut diamond or in the myriad reflections of a quartz crystal. Go online and examine the sparkle of quartz crystals. Take note of the role that white plays in their glisten-ing design.

Create two gem-inspired 10"x15" compositions by combining shapes from three tangrams (6", 9"and 12"square). (See Tangram diagram on next page.) All of the shapes from all three tangrams (7 shapes per tangram times 3 = 21) must be used and used only once. No leftovers or cloned shapes. How you divide the 21 shapes between both studies is up to you. One study could have 10 shapes and other 11; one could have 6 shapes and the other 15, for example. Each composition must have at least one bleed side. Each study must include the negative space as part of the composition. Include a portion of a circle three times into each study as a linking or transition device that connects one shape to another or links the composition to the edge of the working area.

Please be aware, you are not creating an image of a gem or a diamond, etc. You are, however, creating an abstract composition that's inspired by the geometry and glisten of a gem. And lastly, no sketches. The following Learning Outcomes are your goals:

Expanded development of compositional sensibilities regarding design principles: transition, align-ment or continuity, unity, focal point, depth, direction, positive/negative space, and the development of both an abstract theme and a narrative juxtaposition.

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Exercise #5: Studies in Rhythm Start on 2/24. Due start of class 3/3.

View the slide show on Rhythm by visiting our Dropbox. Next, take 24 digital photos of rhythm. Bring them with you to next Tuesday's class on your digital device along with your three best examples, printed out on 8.5"x11". To earn a grade you must show me at least 24 images plus 3 prints by the end of class on 3/3.

Materials: Digital camera. Learning outcomes: Developing a sense for rhythm at an immediate and fundamental level. Exercise #6: From Realism to Abstraction Start on 3/3. Due start of class 3/12.

Select the best of your three rhythmical photos. Crop the photo to a square format and enlarge or reduce to 6". Next, take tracing paper and a B, 2B or HB pencil. Trace your photo as a series of flat shapes and lines with no shading but in a variety of flat grays. Next, create a mildly abstract tracing where everything starts to look like an arrangement of simple geometric shapes that still look some-what related to the origianl image. In other words, simplify and reduce. Finally, draw a highly ab-stracted version that looks like pure, simple geometric shapes and lines, all flat areas of various grays. Three drawings on tracing paper in total, each 6" square.

Learning outcomes: Developing a sense for abstraction and in varying degrees; also an appreciation for controlling balance and figure/ground relationships.

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V A L U E , C O L O R A N D P A T T E R N

Exercise #7: Color Wheels and Value Scale (3 items) Start 3/12. Due start of class 3/26.

Have all the following materials with you: Talens Angora Watercolor Pan Set - 24 colors 1/8" round and 1/4" round paint brushes for water-based media Palette or dish for mixing paint or 2 oz mixing cups w/lids Water jar or cup (20 oz minimum), 9"x12" mixed media pad Rag or towel Compass with pencil Ruler Rubber cement Regular glue stick X-Acto knife Pencil and tracing pad

Construct and paint the following studies:

1) Pure Hue Color Wheel: Using the paints right out of the kit, paint a 12-step, 6" pure hue color wheel (Y/ YO/ O/ RO/ R/ RV/ V/ BV/ B/ BG/ G/ YG) in your mixed media pad. Craft will be an impor-tant consideration.

2) Tinted Color Wheel: Colors get tinted when white is added to a hue. Create a 12-step, 6" tinted color wheel in your sketchbook. Craft will be an important consideration.

3) Eleven step value scale, ranging evenly from white (paper) to black and nine evenly paced gray steps. Eleven 1" squares next to one another on one sheet of mied media paper. Learning outcomes: Developing a sense for pure hue color foundation, tinting and value progression.

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V A L U E , C O L O R A N D P A T T E R N

Exercise #8: Color Schemes (4 items) Start 3/26. Due start of class 4/21.

Have all the following materials with you: Talens Angora Watercolor Pan Set - 24 colors 1/8" round and 1/4" round paint brushes for water-based media Palette or dish for mixing paint or 2 oz mixing cups w/lids Water jar or cup (20 oz minimum), 9"x12" mixed media pad Rag or towel Compass with pencil Ruler Rubber cement Regular glue stick X-Acto knife Pencil and tracing pad

Check with the instructor and select one of your three 6" square drawings from the previous From Realism to Abstraction exercise. Prepare that drawing as a transfer by generously placing graphite on the backside. Transfer your drawing onto four sheets of mixed media paper. Keep the transfer line light enough to be easily seen but not too dark.

Paint the lines and the shapes in each transfer with one of the following color schemes. Add volume to your studies by the use of a value or tone gradation and/or intensity in any of your shapes. You must have at least 11 different colorations in each painting through line, texture, pattern and/or shape. Create one each of the following color schemes: > Warm to cool analagous > Complementary > Split complementary > Monochromatic Learning outcomes: Developing a sense for color foundation, color scheme types including color harmony, tinting, shading, chiaroscuro and developing a neutralized range.

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F I N A L A S S I G N M E N T

Exercise #9: Contrasting Systems 25% of your final grade. Starting 4/16. Due end of class 5/7.

Create one compositions based on five contrasting systems. How you express these systems is at the heart of this assignment. Work with any of the modes of creating meaning that are described in chap-ter 8 to help in developing a theme. At the conclusion of your composition, describe how that mode for creating meaning was used either on the back of your studies or as an attached paper.

Each composition will be 10"x15" foamboard. Each composition will demonstate your sense for unity and rhythm and explores the possibilities of combining two contrasting systems of visual ele-ments. The five contrasting systems you'll be working with are:

Texture vs. shape or lineOne type (or limited range) of hue vs. monochrome or grayscaleGrid vs. intuitiveness (how much grid, how much intuitiveness is up to you)Flatness vs. depthAbstraction vs. representation(Or you can use the following as your fifth contrasting system: Organic vs. geometric)

You can even combine them (something red and flat vs. something gray and volumetric, etc). You must have a focal point, repetition, variation, strong positive/negative space development, a dominant and subordinate direction or movement, unity within and among your systems–and rhythm.

By now you may be asking yourself: What exactly is a system again? ............................................................................................................................................................................

SYSTEM: A SET OF CONNECTED THINGS OR PARTS FORMING A WHOLE. A system can be a pattern or a texture; an arrangement of similar colors, a grouping of similar lines or shapes. A visual system can be a bunch of things that have something visually in common with each other, such as a similar texture, pattern, shape or a color. A system can be as simple as a very large letter; the NBC peacock logo; your"Six Squares in Search of a Composition" design. A system can also be complex as seen in architect Frank Gehry's swirling Walt Disney Concert Hall, a Jackson Pollack painting, or a Ferrari. ...........................................................................................................................................................

In this assignment, each visual system must have its own kind of unity and activate the negative space in rhythmical way. All of the Coordinating Principles are available for use.

(Continued on next page)

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F I N A L A S S I G N M E N T : C R E A T I N G M E A N I N G , R H y T H M A N D U N I T y

Exercise #9: Contrast of Two Systems

Discuss with your instructor the contrasting systems you'd like to explore. You may try collage as well as painting or drawing your content. You may use any leftover materials from previous assignments.

For a few good resources in regards to viewing successful contrasting systems, visit: www.pinterest.com/hschneid2/contrastbalance/ www.pinterest.com/hschneid2/repetitionvariationrhythm/ www.pinterest.com/thisisdesign101/unity-by-grid/www.pinterest.com/thisisdesign101/art-140-examples/

Learning outcomes: Use and integration of all coordinating principles as applied to multiple contrasting visual systems. This is considered the culminating project of our class and accounts for 25% of your final grade.

Due Tuesday 5/7 (final day of class) by the end of class.

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Design is the logical selection and arrangement of visual elements for order with interest.

The Elements of Design:

dot

line

shape

volume

space

texture

value

color

The Coordinating Principles of Design:

proportion

continuity

positive-negative

repetition

variation

direction

dominance-subordinance

transition

active-passive

depth

unity

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Design is the logical selection and arrangement of elements for order with interest.

> This class is about logical thinking when selecting whatever elements you need and ar-ranging them or putting them together for some sort of order and some level of interest.

> It is about problem-solving: Either the problems your instructors give you or the ones you give yourself.

> This course involves visual principles. We solve basic design problems with visual principles.

> Design is a decision-making process.

> Design is not subjective. It is not about whim, emotion or trend. It is about visual relationships. > This course is very basic. The assignments are presented in a logical progression.

> Design is comprised of (1) Elements and (2) Coordinating Principles.

> The Elements are one thing, but how do they coordinate one another?

> Elements include: line, shape, volume, space, texture, value, and color.

> Principles include: proportion, continuity, positive-negative space, repetition, varia-tion, direction, dominance-subordinance, transition, focal point, depth, and unity.

> No element should ever be placed in a composition without considering its relation-ship to other elements.

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Design Elements

> Dot. The first and simplest element in design is the dot. At it's most finite, it lacks di-mension. It's the very beginning of all visual data.

> Line. A dot in motion. Straight, curved, angular, precise, agitated, smooth, thick, thin, active or passive, colored, textured, patterned or any combination of these qualities. It is the dominance of length over width. When the differences between length and width diminish, line becomes shape.

> Shape. A flat enclosed area. Can be reasized as a solid, or by outline; can be transpar-ent, textured, etc. as long as it's flat. When it becomes 3-dimensional, we call it form. • Circle is passive – no activity or direction. • Square is a more active shape – vertical and horizontal. Corners are active points. • Triangle is the most active shape. It is angular and dynamic. in 3 directions. • All other shapes appear based on combining these 3 parent shapes.

> Volume. The 3-dimensional illusion of a shape. It can be described by shadow, by line, by surface irregularities, by density, or by perspective. It generally has light and dark qualities that convey the illusion of depth. Volume can be made by the combin-ing of shapes and can also be created by the modulation of color. It's three most basic forms are: sphere, pyramid and the cube.

> Space. Can be two-dimensional or three-dimensional. It can also be delineated by planes: foreground, middle ground, background, upper, lower. Space can be indicated or suggested by overlap, by size relationships, perspective and active/ passive relationships.

> Texture. The visual quality of the surface of any shape, form or line. Can be smooth, rough, or anything in between. Visual or physical. Can be created in an endless variety of ways. Texture is visual spice.

> Value. Dark and light qualities of a line, shape or form. It is the element in color that expresses dark to light.

> Color. The most complex of all the elements. Factors: hue, intensity (saturation, brightness), value, temperature, proportion.

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Coordinating Principles

Proportion> Proportion is the most important of all the coordinating principles.> All of the coordinating principles and the design elements are affected by proportion.> Here’s the skinny: Proportion is all about the amounts used...of anything!.> The amounts used of one or several elements (line, shape, color, etc.) in combination with other elements is always controlled by proportional considerations.> Balance is adjusting your proportions to achieve equilibrium. (See page 16.)> Contrast is the most dynamic expression of difference. (See page 16.)

Continuity> Sometimes called alignment.> One method of organizing design elements for visual flow.> Physical Continuity: touching of elements will lead the eye through a composition.> Visual Continuity: the eye flows across an open area and connects two or more elements. Especially found when the contours of various objects share the same axis. Positive/Negative Space> The space around an object in a composition is as important as the object itself. There are only proportional differences in their importance. > Negative space has shape. > The negative space around a positive object can be more interesting or more active than the object itself. > Also referred to as Form and Space> Confused with – but very similar to – Figure/Ground relationships.

Repetition> Creates a pattern of similarity that make the eye comfortable as it moves through the composition.> Repetition can affect any of the design elements. Color, value, line, shape, etc.

Variation> Basically, a shift in similarity: •• ••••• ••••••••••••• •• •••• > Adds visual dynamics.> Keeps things interesting.> Repetition and Variation work hand-in-hand like garlic and ginger, salt and pepper, etc.

Direction (or Movement) > The underlying dynamic in a visual flow> Major modes of direction: horizontal, vertical, diagonal, triangular, spiral, radiating, concentric, dilational...just for starters!> Many shapes have direction: triangles, ovals, rectangles.> All lines have direction or imply movement.

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Coordinating Principles (continued)

Transition> A step in-between.> Transparency is a dynamic example of transition.> Elements that bleed are a transition from (or to) the edge of a working area.> Medium is the transition between large and small.> Gray is the transition between dark and light.> Connects two or more elements in a natural fashion.

Dominance-Subordinance> Proportion of importance.> Creates the relative level of interest and emphasis among all design elements and coordinating principles. > Establishes a visual hierarchy: what will the viewer see 1st, 2nd, etc.> Many great designs have one clearly dominant direction or movement. > Many confusing designs have too many dominant directions or movements.> Great designs not only have one dominant direction, they also have at least one subordinate direction.

Active-Passive / Focal Point> Establishes primary and secondary areas of interest.> The most active element in a composition will usually be the Focal Point.> Multiple focal points can cause confusion. Depth / Advancing-Receding> Illusionary creation of three-dimensional space.> Can be created by overlap, placement, value, color (warm colors advance, cool colors recede), active-passive (active things advance, passive things re-cede), bright vs. neutral (bright things advance, neutral or dull things recede).

Unity > Similarity, oneness, togetherness, or cohesion.> Diminishes chaos.> Grouping, overlapping, containment, repetition, proximity, continuity, closure, pattern, grids, are some basic ways of creating unity.

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Other terms we’ll be using in class

> Contrast. The most extreme forms of variation and of proportion. By comparison only. Rough vs. smooth. Large vs. small. Angular vs. curved. Elements can have both similarity and contrast: two 1" circles – one red, one green.

> Balance. A state of equaled proportion or equilibrium. Symmetrical, asymmetri-cal, approximately symmetrical.

> Pattern. A subset of repetition. Pattern can be expressed by repeating lines, shapes, images, textures – any visual item.

> Accent. A distinctive but subordinate pattern, motif, color, flavor, or the like: The salad dressing had an accent of garlic. A subordinate focal point.

> Contour. The defining edge of a shape or surface. Can be expressed through line, shape or form.

> Working area. Overall compositional boundary. Also, compositional stage.

> Tension. Can be your friend or your enemy. Calls a lot of attention to itself. Too much tension can become an unintended focal point. Just the right amount of ten-sion can act like a visual “glue”, holding things together while providing an interest-ing rhythm.

> Rhythm. The result of combining repetition and variation. A flat fabric swatch of black polka dots has repetition and pattern but no rhythm. Fold the swatch of polka dots upon itself, rhythm begins to appear. The variable pattern of holes in

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S T U D E N T AG R E E M E N T

I have read the attached syllabus and fully agree that the maximum achievable grade in this Art 140 course can only be earned through abiding by its expectations and requirements.

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student's name

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student's signature

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date

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Documents

Department of Art/CSUN Beginning Two-Dimensional Design ... 140 Syllabus_Schneider_Sp'15.pdf · Department of Art/CSUN Beginning Two-Dimensional Design/Art 140/Spring 2015 GENERAL