Sarah Stead’s Teaching Philosophy · 3....
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TEACHING PHILOSOPHY 1. Characteristics of an Art Teacher A teacher is a guide and a mentor – one who takes the time to help students find and improve their artistic abilities, and encourages those who don’t believe they’re artists to see their true abilities and successes. A teacher shares her knowledge, and communicates it effectively and simply, in a way that students can better relate to and understand. She provides a framework or foundation for students to build and expand upon and promotes and applies specific methods to achieve goals for student learning, despite varying learning styles and backgrounds. She is available, inviting, and provides constructive criticism. While a teacher requires many characteristics, these are just a sampling of those that I have observed in the classrooms of my most admirable professors, and which I have applied in my own art classroom. 2. Teaching Methods and Learning Styles The way a teacher constructs a class and its environment is crucial to its success. To be a successful learner, a student must have freedom to make creative decisions, appreciate the course, understand the relevance and real world application of the knowledge, and enjoy and respect the teacher and the classroom atmosphere. The class must also compensate for diversity in artistic background and learning styles. I believe that a combination of teaching methods is necessary in the art classroom to accommodate for different learning styles. Lectures supplemented by a PowerPoint presentation as well as demonstrations for working with new media will help both visual and auditory learners, while the exercises and projects will assist the visual and kinesthetic learners, as they apply the concepts of each lesson to a visual art piece. 3. Freedom While the students must initially understand the goals they’re working towards, they must have the freedom to make choices within the guidelines and be able to apply their ideas and interests to the piece, creating an intrinsic motivation to make art. This is most effective when a student feels stifled by the requirements of a project. Helping them understand that they can make decisions within the framework, and pitch ideas to the professor is essential to success, and is similar to that of a realworld art commission. The individual modification of projects is also essential to compensating for diversity in the students’ background and varying levels of advancement. By encouraging the students to simplify or increase the complexity of the project based on their level, a teacher can ensure that students will still learn the lesson, but within achievable means. For example, a student who has never taken an art class before may choose to render value on simpler threedimensional structures, while a more advanced student may choose to depict folds of fabric. The key is to encourage students to perform to the best of their abilities, even if they choose the more difficult approach. Additionally, although I provide a framework of objectives and requirements for the assignment, the students are encouraged to present an alternative solution if they can successfully state why they choose to do so. It is important to offer flexibility within assignment constraints as long as the objectives are still achieved. This gives the students a box to work within initially and encourages them to be creative as the project grows. 4. Student Needs Compassion towards the students’ needs and their background is also extremely important. First and foremost, students must understand why they’re taking the course. There may be different reasons for each student, but
Transcript of Sarah Stead’s Teaching Philosophy · 3....
TEACHING PHILOSOPHY 1. Characteristics of an Art Teacher
A teacher is a guide and a mentor – one who takes the time to help students find and improve their artistic abilities, and encourages those who don’t believe they’re artists to see their true abilities and successes.
A teacher shares her knowledge, and communicates it effectively and simply, in a way that students can better relate to and understand. She provides a framework or foundation for students to build and expand upon and
promotes and applies specific methods to achieve goals for student learning, despite varying learning styles and backgrounds. She is available, inviting, and provides constructive criticism. While a teacher requires many
characteristics, these are just a sampling of those that I have observed in the classrooms of my most admirable professors, and which I have applied in my own art classroom.
2. Teaching Methods and Learning Styles
The way a teacher constructs a class and its environment is crucial to its success. To be a successful learner, a student must have freedom to make creative decisions, appreciate the course, understand the relevance and real-‐
world application of the knowledge, and enjoy and respect the teacher and the classroom atmosphere. The class must also compensate for diversity in artistic background and learning styles.
I believe that a combination of teaching methods is necessary in the art classroom to accommodate for different
learning styles. Lectures supplemented by a PowerPoint presentation as well as demonstrations for working with new media will help both visual and auditory learners, while the exercises and projects will assist the visual and
kinesthetic learners, as they apply the concepts of each lesson to a visual art piece.
3. Freedom While the students must initially understand the goals they’re working towards, they must have the freedom to
make choices within the guidelines and be able to apply their ideas and interests to the piece, creating an intrinsic motivation to make art. This is most effective when a student feels stifled by the requirements of a project.
Helping them understand that they can make decisions within the framework, and pitch ideas to the professor is essential to success, and is similar to that of a real-‐world art commission.
The individual modification of projects is also essential to compensating for diversity in the students’ background
and varying levels of advancement. By encouraging the students to simplify or increase the complexity of the project based on their level, a teacher can ensure that students will still learn the lesson, but within achievable
means. For example, a student who has never taken an art class before may choose to render value on simpler three-‐dimensional structures, while a more advanced student may choose to depict folds of fabric. The key is to
encourage students to perform to the best of their abilities, even if they choose the more difficult approach.
Additionally, although I provide a framework of objectives and requirements for the assignment, the students are encouraged to present an alternative solution if they can successfully state why they choose to do so. It is
important to offer flexibility within assignment constraints as long as the objectives are still achieved. This gives the students a box to work within initially and encourages them to be creative as the project grows.
4. Student Needs
Compassion towards the students’ needs and their background is also extremely important. First and foremost, students must understand why they’re taking the course. There may be different reasons for each student, but
this must be addressed. Not every student is excited to learn new things unless they can see its purpose. For example, in fine art foundation courses, digital media or photography students who are typically working on the
computer, do not always understand why they are required to take an art foundation course that focuses on working with traditional media. By explaining to them the specific way they will benefit from the lessons, they can
begin to appreciate what is being taught, as well as your commitment to help them.
5. Application of knowledge I believe the teacher also must provide real-‐world applications or contemporary metaphors for what they’re
teaching. Presently, many students are more familiar with working in software than they are with traditional media. If I can bridge the gap between what they already know and what I am trying to teach them, they may
understand the new concept more clearly. Relating to a student’s prior knowledge is important! For example, when discussing hue, saturation, and brightness in color theory, some students may recognize the correlation to
the HSL adjustment layer in Photoshop, and recall how adjusting those may affect an image.
Additionally, by offering the opportunity for students to digitally duplicate a piece for extra credit, it provides the computer-‐oriented students an opportunity to show what they know best, as well as being able to directly
compare the creation of both pieces side by side. Drawing in pen and ink may help them to better understand the nuances of the pen tool in Illustrator, and will encourage interdisciplinary learning. It also encourages building
skills towards an alternative industry-‐oriented career.
Giving students a taste of a real-‐world problem to address in their art is also critical. Whether it be raising awareness or commenting on a world issue, or simply being given the task to create a commercial-‐oriented design,
the students are given the opportunity to communicate a message in their art. For example, one project I required was the design of a movie poster, book cover, or album cover. By allowing the students to create a commercial
piece, they could understand an application of their creativity to a real-‐world career outside of the competitive fine art world. Activities like this open the door for students to think about their career options at an early stage.
6. Classroom Atmosphere
The classroom atmosphere is most important in ensuring the students are comfortable, relaxed, and inspired. Music is one way to create an optimistic mood and creative atmosphere. Seating students in groups of two or four
promotes an interactive learning environment and a community atmosphere. By doing this, students are continuously improving their work through suggestions by peers and the professor before its submission date.
Students will typically feel more satisfied with their art if they have received feedback during the entire creation process.
The ability of the students to work together greatly improves their creativity and work ethic. Giving them the
majority of class time to work on assignments provides the optimal collaborative environment, as well as the most time to get the teacher’s feedback while in the classroom. While the pace of the course may vary over time, giving
students milestones to complete at various times in the semester provides flexibility within the project’s timeframe.
7. Assessment
Assessment of student needs and learning in my classroom is accomplished in a few ways. Through anonymous feedback during the semester, students do not fear any reprisal and are able to express aspects of the course that
they dislike or that are still difficult for them to understand. By doing this, the course can be improved to better suit the needs of the students in the individual class. Student learning is also assessed through a portfolio, and
most effectively can be seen in the student’s improvement over the course of the semester. Providing the opportunity to improve projects after initial completion also promotes experimentation. Students are given
intrinsic motivation to improve the projects, as well as the opportunity to improve their grades. Additionally, the group critique after each major assignment allows for assessment by peers and the instructor simultaneously.
8. Summary
A teacher must motivate, encourage, and translate information adjusting for different learning styles and student backgrounds. By applying information to student motivators and real-‐world experiences, the students will not only
understand the information better, but they will be further prepared for higher education courses and careers in art. Even if the students don’t want to become artists, art can enrich any student’s life and provide a different
perspective of the world through creativity. I am passionate about continuously improving these methods of teaching to be committed to their education and to watch students grow.
TEACHING NARRATIVE 1. Teaching Background
a. What am I prepared to teach? i. Background in photography, graphic design, fine art
ii. Experience teaching 2-‐D Design Fundamentals b. What were my past responsibilities?
i. Graduate Assistant in photography 1. Assisted instructor of record during critique sessions of intermediate
photography 2. Prepared photo history slideshows for Advanced photography lectures
3. Monitored and assisted students with technical difficulties in weekly undergraduate photo lab sessions
ii. Graduate Assistant in Web Art 1. Assisted the professor in instructing a graduate-‐level course about the
creation of a professional online portfolio 2. Tutored students outside of class in Dreamweaver and Flash web software
3. Introduced students to web terminology and preparing and uploading content to the web
iii. Graduate Teaching Associate in 2-‐D Design Fundamentals 1. Instructor of Record for four courses in 2-‐D Design Fundamentals, more
than 100 students total 2. Face-‐to-‐face instruction in midsize classroom
3. Completed online and in-‐person GTA instructional training courses 4. Prepared curriculum, syllabus, timeline, course content, projects and
exercises 5. Led the classroom through lectures, critique, and studio
6. Assisted and directed students in the completion of their assignments 7. Created goals and assessment rubric for each assignment
8. Created and managed Excel grade book, graded art and uploaded final grades online
9. Held office hours or scheduled appointments with individual students outside of class
2. Teaching goals
a. Although student learning outcomes vary for each course or medium taught, or even as far as for each individual assignment within the course, there are some fundamental concepts
that should be included in each art-‐related course: i. Basic Skills:
1. Understanding of vocabulary, aesthetics, and fundamental principles of visual organization to combine the elements of art in 2-‐D and 3-‐D works,
composition and color theory ii. Communication of ideas
1. Visually: concept to completion 2. Orally: presenting visual work to the class
3. Written: artist statement discussing concept and process iii. Program-‐specific knowledge
1. Theory 2. History
3. Practice (mastery of tools and media) iv. Critical thinking and Research skills:
1. Investigation, analysis, interpretation of theory, history, and form 2. Question traditional concepts
3. Problem solving in the creation of art to achieve a set of objectives or requirements in a project
4. Critique your own work and the work of others for improvement v. Execution
1. Planning/designing artworks from concept to execution 2. Appropriately demonstrate understanding of objectives and criteria
3. Impart high levels of craftsmanship an presentation 4. Express point of view, personal interpretation of the subject, emphasize
style and personality in the work vi. Work Habits
1. Time management 2. Timeliness
3. Professionalism 4. Show effort, improvement and growth over time
vii. Interdisciplinary Connections 1. Expanding and bridging disciplines through the creation of art
viii. Collaboration 1. Exchange of ideas with others
2. Team building, decision making, real world experience ix. Professional development:
1. Understand real world application of concepts 2. Knowledge of potential business endeavors and careers/exhibition etc
x. Respect 1. Be respectful of other’s culture and diversity in the classroom
3. Instructional methodologies
a. Multimedia instruction and lecture (learning the foundations) b. Demonstration (to understand application of tools, for visual learners)
c. Classroom response systems (active learning) d. Problem solving and brainstorming (composition and concept)
e. Student presentation and critiques (talking about art, active learning) f. Portfolio (practice professionally presenting and refining work)
g. Student participation (Interactive learning) h. Journal (document preparation/references, practice writing about art)
ART 2201C: 2-‐D Design Fundamentals, Section 2
Art Department
COURSE SYLLABUS
Instructor: Sarah Stead Term: Spring 2010 Office: VAB 205 Class Meeting Days: MW
Phone: 407-‐823-‐2676 (main art department line) Class Meeting Hours: 8 – 10:50am E-‐Mail: [email protected] Class Location: VAB Rm. 222
Office Hours: By appointment only Course Credits: 3
I. Welcome
Welcome to 2-‐D Design Fundamentals! I look forward to working with you. Please contact me immediately if you are experiencing any problems throughout the semester.
II. University Course Catalog Description
Materials, processes, form. Emphasis on two-‐dimensional design problems, including problems in black and white, and basic color theory.
III. Course Overview
This course will cover the basic concepts of two-‐dimensional design, focusing on the form and organization of the five elements of design: [line, shape, value, color, and texture]. Simultaneously, students will use a variety of media
and techniques in their work to organize space through implementing the nine principles of design: [balance, contrast, dominance, harmony, proportion, repetition, scale, unity, and variety]. This course will focus on increasing
skills in perception, analysis, critical thinking, and art vocabulary as applied to the basic fundamentals of design. Through lecture, in-‐class activities, homework assignments, and critiques, students will effectively learn to interpret,
execute, and discuss two-‐dimensional works of art.
IV. Course Objectives
• To develop a visual understanding of the basic elements of design • To master organization of space through implementation of the design principles.
• To show proficiency in the artist’s basic tools and materials. • To learn the vocabulary of two-‐dimensional design in order to comprehend, analyze, discuss, critique, and
write about artwork. • To create aesthetically resolved artwork through methods of problem solving, such as brainstorming,
conceptual development, and the collection and organization of source material. This is expected to take place both inside and outside of class.
• To perceive and respond to his or her own artwork, as well as the art of others. • To present work in a professional manner.
• Maintain a journal and document the semester’s work. • Demonstrate time management skills and professionalism when working with deadlines.
V. Course Prerequisites
Priority is given to students whose major requires this course.
VI. Required Texts and Materials
There are no texts required for this course.
* For the following list of supplies, you may choose to buy materials as needed, rather than the entire list at once,
however, this is not an excuse for you to be unprepared for class. List of materials required for each phase will be listed on the individual assignment sheets provided in class the day before we begin the assignment. *
List of Supplies
Tackle box or carrier for supplies (from Wal-‐Mart, art store boxes can be expensive!) 1” 3-‐ring Binder and sheet protectors (at least 25 to start) Sketchbook (9x12” or 11x14,” you may use one you already have) Artist or drafting tape (1” wide) Graphite pencils set (or individual recommend 2H, HB, 2B, 4B, 6B) Ink pens (black Micron set, or 4 Micron weights: .08, .05, .03/.02, .01/.005; or Faber Castell 4-‐pack) Pencil sharpener White Staedler eraser Tracing paper (11x14” pad, Canson recommended) Ruler (18” or 24” recommended) Bristol board (smooth, 11x14” pad, you may split with one other person) 3M Spray adhesive (small can) Rubber cement Rubber cement pick-‐up Sharpie marker (fine point) Compass/protractor Scissors Cutting mat Exacto knife and extra blades Rives BFK (1 – 20x30” sheet) Acrylic Brushes: size 1 and 3 round; 4 flat; small or medium filbert or bright; assorted detail Palette knife (can be plastic) Water container for paintbrushes (glass or plastic jar you have at home) Palette (can be a disposable plate, or palette paper) Acrylic fluid matte medium (smallest container to start) *Acrylic paint color, brand, and size specifications will be provided at a later time* Other misc. materials for texture as needed
Point and shoot camera will be necessary for some assignments (please see me if you do not have one) The following will be provided: Black illustration board for mounting (1 – 32x40” sheet) Bristol board for shape (smooth, 1 – 22x30” sheet ) Graph paper sheets (8.5x11” sheets) Smooth black paper for shape (Canson 80-‐100 lb. weight) Drawing paper sheet for value (80lb. Strathmore)
Places to buy materials: (*student discount) * Art Systems of Florida, 1740 SR 436, Winter Park, 407.679.4700 * Sam Flax Art and Design Store, 1501 E. Colonial Dr., Orlando, 407.898.9785 Michael’s, 4628 E Colonial Dr., 501 N Orlando Ave., 1766 Sand Lake Rd., 375 E Altamonte Dr. Jo-‐Ann Fabrics, Waterford Lakes, 3562 E Colonial Dr, 924 W SR 436 The Spot, UCF Breezeway (India ink, pencils, rulers, compass, erasers, exacto, paper, spray adhesive)
VII. Basis for Final Grade Class Projects and % Weights:
30% Participation and preparedness • Preparedness
• Homework • Classroom work ethic and critique participation
70% Projects: • Phase I: Line (10%)
• Phase II: Shape (10%) • Phase III: Value (10%)
• Phase IV: Texture (10%) • Phase V: Color (10%)
• Phase VI: Final (10%) • Final Journal (10%)
Grading Scale: Each of the above sections will be calculated as a percentage from the points you receive out of the points possible, then multiplied by the given weight. Extra credit and attendance/lates will then be factored into your grade. The final percentage will be applied to the standard percentage grading scale below: A (94-‐100) A-‐ (90-‐93)
B+ (87-‐89) B (84-‐86)
B-‐ (80-‐83) C+ (77-‐79)
C (74-‐76) C-‐ (70-‐73)
D+ (67-‐69) D (64-‐66)
D-‐ (60-‐63) F (0-‐59)
PARTICIPATION
Preparedness: Students are expected to have all materials specified for each project and be ready to work at the beginning of each class period. You are required to have materials every day of class, except Phase Critique days.
Homework: Homework is checked at the beginning of class on the day it is due. Late homework is not accepted. Homework may include: workbook, sketches, preparation for assignments, assignment milestones, etc.
Critique: Group critiques will follow the completion of each assignment, when you will submit your journal and assignment. Critique is the preferred method by which art students develop vocabulary specific to the art world in
order to discuss ideas, perceptions, and constructs of 2-‐D design evident in your work. Everyone will have a chance to ask questions and provide insights concerning the work presented. Feedback from critiques provides the student
with valuable information, which increases learning potential and aids in improving artwork. Although you turn in your assignment at the end of the critique, projects may be worked on further for resubmission. Take notes on
suggestions you receive, so they will be fresh in your mind when I return them.
PROJECTS General Assessment Rubric Example (subject to change per project):
15 Journal completion and quality 10 Effort
10 Followed instructions 10 Concept (development and expression of ideas artistically)
10 Composition (organization of elements and principles) 10 Craftsmanship and presentation 10 Technique/use of media
25 Project-‐specific (based on assignment objectives)
Journal: You must keep a semester-‐long journal in a 1” binder. It must contain your syllabus, assignment sheets, homework, sketches, artist statements, and lecture notes. Your journal is due at the midterm and final due dates,
and during each phase. Necessary items in the workbook for each phase will be discussed during that phase.
Resubmission: Projects may be improved and resubmitted for an improvement in grade at any time up until the
midterm or final due dates. Projects completed before the midterm may only be resubmitted until the midterm due date, and all projects after must be resubmitted by the final critique. In order to be accepted for resubmission, you
MUST include your original project grade sheet, along with a short description of what you changed, and why the things you changed improved your work within the guidelines of the project.
VIII. Attendance and Work Policies
Attendance Policy: 3 absences are permitted. Each absence beyond 3 will lower your final grade by one letter. For example, if you have an A, and you have a sum of 4 absences, including lates, you will receive a B. If you have a sum of 5 absences, you will receive a C and so on. In the event of a medical emergency, absences are permitted with a doctor’s note. Otherwise, calling and/or e-‐mailing me regarding tardiness and absence is polite and accepted, but does not excuse you from your classroom obligations.
3 tardies are equivalent to 1 absence. The following are counted as 1 tardy: 1. You are considered late if you are absent when roll is taken, but still come to class 2. Leaving early from class
Missed critique: By missing a critique, your grade will automatically be a zero for that phase assignment, unless you have a valid excuse. You must come to the critique even if your work is not completed! You can still turn it in late upon its completion, following the late work grading policy, but it is better than a 0! If you are having trouble with the assignment, other students and I are able to give you advice and direction to complete it. The work must be at least 50% completed to submit on this day, otherwise it must be considered late.
Catching up: Lectures, demos, and presentations will not be repeated. It is your responsibility to ask another student for the missed information. You may contact me only to clarify information, to receive handouts, or to ask a question about what your classmates provided you.
Late Work Policy: Late work will be deducted by one letter grade each class day until it is submitted (for example, a project due Monday, that is submitted Wednesday, cannot get higher than a B on the assignment).
Extra Credit Policy: The following options, if executed well, will add up to 5 points to a project grade. Additional extra credit opportunities may be offered throughout the semester. You may do each of the following once:
1. Digitize a phase assignment a. Recreate one of your phase assignments digitally with Photoshop, Illustrator, Maya, Flash, etc. b. Do NOT just scan a project in and enhance it in Photoshop, you must recreate it from scratch. You
may scan the image in to act as a guide to work over, however. c. Submit digitally and in print form
2. Using a medium of your choice, represent the 5 elements of art
a. Choose a medium: photography, printmaking, graphic design, web art, watercolor painting b. Create 5 – 4x6” images, each one representing one of the five elements of art: line, shape, value,
texture, color. You may either create a design from your imagination or use a reference image to replicate in each element.
c. Submit professionally in print form (and digitally if appropriate for the medium chosen), labeling the element it represents
3. Write an opinion paper on an art exhibit
a. One page: typed double spaced, write about an exhibit at the UCF art gallery, Orlando Museum of Art, etc.
b. Discuss the exhibit overall briefly and focus on particular pieces you are drawn to and why, using vocabulary and concepts learned from this class (elements, principles, etc.)
IX. Technology and Media
E-‐mail: Please be sure to provide me with an e-‐mail account you will be checking regularly. Updates not provided in class will be sent via e-‐mail. As mentioned above, I cannot catch students up via e-‐mail, and cannot guarantee I will be able to reply to e-‐mails in a timely manner. It is best to speak with me during or after class, when possible. Links to important information, if posted online, will be provided via e-‐mail, as well.
X. Classroom Etiquette
Talking: Talking with peers about your work is highly encouraged, as long as it is not a hindrance to your progress.
Phones and iPods: Mobile phones, iPods, and other electronic devices must be silenced during all classroom lectures. You may use iPods during work sessions with headphones at a reasonable volume, but you are not permitted to use mobile phones for talking or texting during class.
Issues: Please wait until after class, or schedule an appointment with me to discuss your grades or class grievances.
Breaks: 15-‐minute breaks will be held halfway through class.
Clean-‐up: Clean-‐up should occur at least five minutes before the end of each class period.
XI. Additional Needs Disability Access: Students with disabilities who need accommodations in this course must contact the professor at the beginning of the semester, and must be registered with Student Disability Services, Student Resource Center Room 132, phone (407) 823-‐2371, TTY/TDD only phone (407) 823-‐2116, before requesting accommodations from the professor.
XII. Important Dates to Remember
Last Day to Add/Drop Classes: January 15/January 14
Martin Luther King, Jr. Day (NO CLASS): January 18 Withdrawal and Grade Forgiveness Deadline: March 5
Spring Break (NO CLASS): March 8 – 13 Classes end: April 26
Final Examination: April 28, 8 – 11am Final Work Available: May 3, 8am – 4:30pm
Grades available on myUCF: May 8
An estimated critique date will be provided at the beginning of each assignment phase.
**Any part of this syllabus may be modified at the discretion of the instructor. Changes will be discussed in class
and/or via email.**
Assignment Sheet: Phase I Line 2-‐D Design Fundamentals Sarah Stead, Spring 2010
OBJECTIVE:
Learn the different types of line Learn the characteristics and directional forces of line, and their effects on mood Recreate an image using only line, without outlines Represent the image’s three-‐dimensional quality (through varied direction, curved and straight lines) Represent value change (through varied weight of media, varied width of line)
Materials needed:
Graphite pencil set Ink pen set Sketchbook Drafting tape Pencil sharpener
Eraser Ruler Bristol board 10x12” Tracing paper 11x14”
TOOL TIPS
B represents softer graphite and creates a darker shade H is harder and is better for lightly sketching your image on the Bristol Graphite may smudge in transport, and it’s best to keep covered with tracing paper Smooth Bristol is designed for both wet and dry media
PREPARATION
1. Find 2-‐3 black and white reference photographs with a good range of value (at least 7 values ranging from black to white). Make sure it is large enough to work from since you will be enlarging one of them. Geometric images can be simpler, but organic forms can work, also.
2. Choose an image. Decide whether to execute in graphite or pen.
3. Crop image to improve composition when appropriate, and to aspect ratio. 4. Choose a method of transfer. 5. Complete a basic contour sketch of the composition, do not apply value. 6. Laying a sheet of tracing paper over the image, experiment with your medium and direction and curve of
line, but do not spend too much time on this. NO crosshatching!
EXECUTION
1. Prepare a 10x12” piece of Bristol. 2. Transfer the image lightly onto the surface. Press lightly so as to not create indentations on the paper. 3. Begin applying value, start lighter since you can’t always erase! 4. Make sure you use the methods discussed to apply value shift through line, paying attention to the
direction and curve of line used in your sketch. 5. Although the contour is sketched on your paper, do not follow that line!
FINALIZATION:
Line Assignment o You do not have to mount the first assignment o Prepare the image professionally, clean up graphite, erase whites that may have smudged o Cover with a piece of tracing paper cut to size
Journal o Label your journal with the following information:
o Name o 2-‐D Design Fundamentals o Section ___
o Include assignment sheet, lecture notes, all thumbnail sketches and homework assignments (cut to fit in sheet protectors)
ASSESSMENT
10 Journal completion and quality
10 Effort 10 Followed instructions
10 Concept (development and expression of ideas artistically) 10 Composition (organization of elements and principles)
10 Craftsmanship and presentation 10 Technique/use of media
10 Use of line to create a range of value 10 Use of line to create dimension
10 Representation of the image without outlines CRITIQUE DATE: __________________
Assignment Sheet, Phase II: Shape 2-‐D Design Fundamentals, Spring 2010 Sarah Stead
OBJECTIVES:
1. Use contrast to depict an object in black and white from multiple angles 2. Use problem solving to arrange the shapes and compositions for unity and balance 3. Consider a focal point that may carry over into multiple squares 4. Be sure to fill the space of each square effectively, balancing positive and negative space 5. Understand and balance positive and negative space within the entire composition 6. Understand how the principles of gestalt influence our perception of form 7. Consider how areas of black and white merge to form the larger design and create movement
Materials needed:
Pencils Sharpie marker (fine point) Tracing paper Bristol board (provided) Smooth black paper (provided) Compass
Rubber cement and rubber cement pickup Exacto knife and blades Tape/stapler Cutting mat Ziploc bags or envelopes Object: one organic or one manmade
PREPARATION
1. Choose an organic or manmade object; one that is portable, and that you can bring to class!
EXECUTION 1. Cut the black paper into twelve 6” squares. 2. In your sketchbook, create 12 – 6” drawings (2 on each page), breaking down the object into high-‐
contrast, flat shapes, each one from a different view or angle (use cropping and consider composition to effectively fill the space, balancing positive and negative space). Balance depiction of close detail and full image. Your final image may be more abstract or more obvious depending on how you illustrate it.
3. Cut out the squares and consider how to arrange them on the final piece. 4. Transfer your drawings to the black squares then use the knife to cut out the areas of your drawing that
were white (negative spaces). Save these pieces because they can be used later in the project.
5. These squares will now be arranged on the Bristol board in a grid of 4 columns and 3 rows. The squares can be turned, flipped, and changed from positive to negative (remember the pieces we didn’t throw away). You may use artist tape to hold pieces together, but consider a folder or Ziploc bags to contain your cutouts while you go back and forth from class.
6. As the 6”x 6” square get set next to each other, the positive and negative areas will merge together and start to create larger positive and negative shapes which will become a single 18”x 24” abstract image.
FINALIZATION:
Shape Assignment o Final piece does not need to be mounted, however the final image should have a border of 2”
remaining on the Bristol all the way around, with 2.25” on the bottom Journal
o Assignment sheet o Lecture notes o Activities/homework o Reference images (if used) o Sketches
ASSESSMENT
10 Journal completion and quality 10 Effort
10 Followed instructions 10 Concept (development and expression of ideas artistically)
10 Craftsmanship and presentation (glue cleaned up) 10 Technique/use of media (clean and smooth cuts are important, representation of details)
10 Contrast and depiction of objects as black and white 10 Balance of positive and negative space within squares and the entire composition
20 Composition (effective use of space, balance of weight in the design, movement, merging of forms) CRITIQUE DATE: __________________
Assignment Sheet: Phase III Value 2-‐D Design Fundamentals, Spring 2010 Sarah Stead
OBJECTIVES
1. Create 3 – 7x7” drawings, accurately depicting one-‐, two-‐, and three-‐point perspective 2. Use different ways of representing value to create form without outlines 3. Use both graphite and pen independently to depict value 4. Use balance and methods of creating depth in the composition
Materials needed:
Graphite pencils, pens Eraser
Tracing paper Drawing paper (provided)
Ruler, scissors/exacto Spray adhesive
PREPARATION
1. Photograph references: multiple of one-‐, two-‐, and three-‐point perspective, and print. 2. Choose one of each type of perspective, and crop to fit a 1:1 ratio. 3. Begin sketching each on a sheet of sketch paper to size, to accurately portray the perspective.
You may choose to draw directly on the paper, but beware of permanent marks with the graphite, particularly if you are doing pen and ink.
4. Remember when you are working on a close-‐up perspective drawing, your vanishing points will need to be extended beyond the 7x7” square. You may need to extend your sketchbook paper to do this accurately.
5. Determine three ways to show value (hatching, cross hatching, stippling, scumbling, shading). You are required to do one shaded in graphite, and one other must be done in pen, but the rest is up to you.
6. Create three 7-‐value scales 1x7”
EXECUTION
1. Draw 7x7” boxes lightly on your paper and transfer your images. 2. Create a value range from pure white to pure black with a range of midtones, using three
different value methods 3. Have a consistent light source within each individual frame.
FINALIZATION:
Value Assignment
• Mount the works on black illustration board: o Border of 1.25” on the top and sides, and 1.5” on the bottom o With 1” in between each square
• Cover each square with a flap of tracing paper Journal
• Assignment sheet, Lecture notes, Activities (value scales), Reference images, Sketches
ASSESSMENT:
10 Journal completion and quality
10 Effort 10 Followed instructions
10 Concept (development and expression of ideas) 10 Craftsmanship and presentation
10 Technique/use of media 10 Range of value
10 Composition 20 Proper use of perspective and depth illusions
CRITIQUE DATE: _________________
Assignment Sheet, Phase IV: Texture 2-‐D Design Fundamentals, Spring 2010 Sarah Stead
REQUIREMENTS
1. Execute the assignment on 11x14” Bristol board. 2. Explore and develop four different types of texture: simulated, abstract, invented and actual. Your final
image must represent each of these types. 3. Although the different areas of texture are working independently, develop a way to unify them within
the composition. 4. The only color allowed in this assignment is from the actual texture. 5. You will base your design on a reference image. You may choose to reference the texture that is already
within the image, or you may apply other textures to the forms. You may only have more than 4 textures if it does not clutter your image, and as long as you have already represented the four types of texture. Additional areas of the image not representing the four types of texture may be dealt with through a simple value rendering in one of the approved media, depending on what works best for your image.
6. ACTUAL TEXTURE: Collage materials must be relatively flat. You may use items such as an old jean pocket, sand or simulated such as tinfoil. You can combine materials that have different textures. Make sure you use the correct glue to hold your work together: rubber cement will work for paper items, but you may need a glue gun for heavier items.
7. SIMULATED TEXTURE: Must be done in graphite! Use what you have explored with line, shape, and value to create simulated texture.
8. ABSTRACTED TEXTURE: Focus on essential elements of the texture to arrive at your abstraction.
9. INVENTED TEXTURE: This will be an invented texture of your own, and should focus on tactile sensibility, but may involve a type of patterning.
OBJECTIVES
1. Develop an understanding of the four different types of texture, and represent each in your composition 2. Use problem solving to determine how you will utilize your reference images 3. Ensure your textures are unified in some way, to create unity in the piece 4. Use collage elements tastefully.
Materials needed:
Graphite pencils and eraser Pen and ink Other materials as needed (actual texture) Bristol Board 11x14”
Tracing paper Rubber cement or glue gun Ruler Spray adhesive
PREPARATION
1. FIND 3 reference photos. Busy or complex images may not work well for this assignment unless you simplify them. See samples for examples of images that work well. Do not worry about initially finding an image with 4 different textures. You may apply a texture that would realistically appear on the subject, or one that would not.
2. PLAN out which textures would be best represented as each type: actual, simulated, abstracted, and invented on your tracing paper. Consider how the textures may be unified.
EXECUTION
1. SKETCH your image lightly on your Bristol board. 2. APPLY texture renderings. Think about the best order to apply your textures, remember that graphite
may smudge, and the actual texture may hinder the application of other materials around it.
FINALIZATION:
Texture Assignment • Follow standard mounting procedures, 1.25” on top and sides, 1.5” on bottom
Journal
• Assignment sheet, Lecture notes, Activities, Reference images, Sketches
ASSESSMENT
10 Journal completion and quality 10 Effort
10 Followed instructions 10 Concept (development and expression of ideas from reference image)
10 Craftsmanship and presentation 10 Technique/use of media
20 Representation of the four types of texture 10 Composition, unifying textures
10 Use of collage elements
CRITIQUE DATE: _________________
Assignment Sheet, Phase V: Color 2-‐D Design Fundamentals, Spring 2010 Sarah Stead
REQUIREMENTS
1. Create an informal color wheel representing primary, secondary, and intermediate colors 2. Create color scales for 4 different color relationships: monochromatic, complementary,
analogous, and polychromatic 3. Use those color relationships to depict an image split into four segments
OBJECTIVES:
1. Use creative problem solving to choose an image that would work well for this assignment and could be effectively cropped into a 1:2 aspect ratio.
2. Develop a basic understanding of color theory, mixing, and application of paint 3. Use problem solving to devise a set of 4 color relationships along the guidelines of the
assignment that work well together, and carefully decide their placement on your final piece.
Materials needed:
Graphite pencils, Eraser Tracing paper Ruler Spray adhesive Artist’s tape Palette (disposable plate or paper palette) Jar or container for water
5 Acrylic paints (black, white, hansa yellow medium or light, crimson red, pthalo blue) Matte medium (smallest container) Acrylic brush (thin detail no. 2 round) Saran wrap for saving paint Provided: Palette knife, Rives BFK (20x30” sheet), 1 general brush 5/8
PREPARATION
1. COAT the BFK with two layers of matte medium, applied thin and smoothly, letting it dry in between each coat.
2. CUT your BFK down into a 7x7” square, an 8x16” rectangle, 4 – 1x7” strips, and a 14x16” rectangle (for the next assignment)
3. CHOOSE 3 potential black and white images for this assignment. Although this assignment is based on color, the color of the original image is not important! Find an interesting image with at least seven values from dark to light. Keep in mind the final image will most likely need to be cropped to fit the proper aspect ratio of 1:2.
EXECUTION
PART ONE
1. On a 7x7” piece of BFK 2. Label your outer ring with the colors you’ll include there:
a. Three primaries (red, yellow, blue) b. Three secondaries (orange, green, violet) c. Intermediate (YG, BG, VB, RV, RO, OY) d. Ordered finally: R, RV, V, VB, B, BG, G, GY, Y, YO, O, OR
3. Create a neutral gray for the center by mixing equal parts of a color and its complement
PART TWO: 1. The image you choose must have an aspect ratio of 1:2, CROP FIRST 2. Enlarge the image to 8x16” 3. Break the image into 4 sections either: 4x8” rectangles or divide the image into four unique
segments and sketch. 4. Transfer your sketch 5. Applying a neutral colored wash to the surface of the BFK ensures white does not show through
when you paint. 6. Paint each section a different color scheme: monochromatic, analogous, complementary,
polychromatic.
TIPS FOR MATERIALS
Wash brushes immediately after use (paint will dry quickly rendering the brush useless) Don’t pour paint down the sink Clean brushes with soap and water at the end of each session until no color comes out Spray paint with water occasionally to keep moisturized Preserve mixed paint in a container with a spritz of water and saran wrap Use palette knife and palette to mix your paints; do NOT use your brush to mix paint Do NOT mix on the surface of your painting When mixing colors, a small amount of paint will go a long way (for tints, mix a small amount of color to white, for shades, mix a small amount of black to the color) When mixing, start with less paint, and add more as needed Extend the amount of your paint by adding an equal amount of matte medium
FINALIZATION:
Color Assignment Mount the four paintings with standard mounting procedure
Place the individual 4x8” painting rectangles .125” apart, unless you choose the alternate method of splitting the canvas Journal Assignment sheet, Lecture notes, Reference images, Sketches, color wheel, value scales Mount value scales to an 8.5x11” sheet of Bristol and place in a sheet protector
ASSESSMENT
10 Journal completion and quality
10 Effort 10 Followed instructions
10 Concept (development and expression of ideas from reference image) 10 Craftsmanship and presentation
10 Technique/use of media 10 Successful completion of color wheel and value scales
10 Composition (cropping choices, and chosen order of color schemes) 20 Understanding and representation of color schemes and mixing pigments
PART ONE DUE: _________________ CRITIQUE DATE: _________________
Assignment Sheet, Phase VI: Final 2-‐D Design Fundamentals, Spring 2010 Sarah Stead
REQUIREMENTS
1. Design an 11x14” movie poster, book cover, or a 12x12” album cover. You MUST NOT replicate an existing design. (If you are up for a challenge, you may create a design for an imaginary movie, book, or album.)
2. Acquire an understanding of what makes the overall design of a movie poster, a book cover, or an album cover successful.
3. As your final project, this is your opportunity to demonstrate everything you’ve learned this semester, and these concepts will be crucial in my evaluation of your project. Keep the following aspects of each lesson in mind when executing your piece:
a. Line – directional forces b. Shape – positive/negative space, foreground/background c. Value – range of light to dark, consistency, objects stand out from one another and the
background, form and 3-‐dimensionality d. Texture – use at least one instance of simulated, invented, or abstract e. Color – harmonious color, unified, since you are allowed to use any colors, make sure the colors
work well together f. Principles – repetition, rhythm, movement, balance, unity/variety, contrast g. Composition – rule of thirds, scale, proportion h. Depth/Space – foreground and background i. Typography – replicate a font or create a hand-‐drawn title
4. While acrylic must be your primary medium, you may use other materials to supplement (such as using pen and ink or paint pens for small text and details).
5. In terms of text, you must include the title. Other information may be included at your discretion.
OBJECTIVE
1. Through a cohesive design, you will demonstrate your knowledge and understanding of all elements and principles of design that were used this semester.
2. Apply your research concerning what makes other designs of their kind successful. 3. Demonstrate further mastery of the acrylic medium.
4. Through the artist statement, you will demonstrate your ability to apply the vocabulary you learned in this course to discuss your final project, as well as your classmate’s final projects at the final critique.
Materials needed:
Graphite pencils / Eraser Tracing paper / Sketchbook Ruler / Artist’s tape / Spray adhesive
Palette / Jar or container for water Rives BFK / matte medium Acrylics / brushes / palette knife
PREPARATION
1. Cut your BFK down to 11x14 or 12x12 and prepare with matte medium. 2. Research and find examples of pre-‐existing posters and covers and decide what makes those successful. 3. Choose a movie, book, or album. It is important to choose something you like and are very familiar with.
Re-‐watch the movie, listen to the album, re-‐read sections of the book. 4. Find reference images of characters/band members, scenes, objects, and typography representative of
your subject, and decide which of the above you want to be your emphasis. You may also take screenshots of a movie to use as reference, if appropriate.
5. Create multiple thumbnail sketches in your sketchbook, arranging the elements in your composition, paying attention to scale. Think about potential color use.
FINALIZATION:
Mount the assignment: 1.25” border on top and sides, 1.5” on bottom
