Art 120 Drawing I 9-09 Instructor: Linda Thomas
Bellevue College Room C256
Fall Quarter 2009
Course information at: http://mybc.net My Office C250B (top of spiral staircase) meetings by appointment and during class. The best way to reach me: lindthomas @ aol. com SUBJECT LINE: Drawing. I send important course information by e-mail; Please add this address to your contact list.
ART KIT for Drawing I. A custom art kit has been specially assembled for this class by the BCC art store staff. The art store is in the C Building hallway between the student lounge and the cafeteria.
Additional COSTS: art supplies, photocopies, museum fees, etc. There is not a required text
Course Description: You will draw primarily from observation. Instruction and exploration will focus on foundation level techniques, wet and dry media, and graphic concepts to develop drawing skills and visual thinking. In-class exercises are designed sequentially to improve your ability to see, expand visual literacy and encourage creative expression. An important goal is to learn the established visual language and combine it with “your own voice” for more effective communication. Examples from art history will be used to illustrate topics.
Educational Outcomes for Art 120 Drawing: Student’s increased development of the following abilities:
to see & accurately translate formal components of a subject, with correct scale, proportion & contour
to translate visual images with contour line only
to observe and translate light and shadow on a subject by using a wide range of values
to create the illusion of advanced space in a drawing via atmospheric perspective
to observe and translate an applicable interior space with one point perspective
to analyze and verbally articulate drawing objectives in a formal critique/review process
I appreciate questions. Please ask questions during class--demonstration or work time, and via e-mail. It is sometimes difficult to address questions as I’m setting up before class. Assignments and sketchbook are completed out of class; try to get comfortable with media and technique and ask questions before the weekend.
Absolute beginners have the same chance to improve and do well in this class as the more experienced student. I aim to alleviate performance anxiety (AKA: fear of white paper and charcoal-a-phobia). Normal inhibitions about drawing can be overcome. I support sincere attempts and I emphasize process, persistence and hard work. I hope to inspire imagination, invention and experimentation.
Everyone has to practice a lot to master skills and techniques. Drawing is fun, but can also be frustrating. You will gain confidence in your drawing abilities as your skills develop through practice. Drawing takes a lot of time and patience. Some individuals may have “natural facility” or more drawing experience; however talent is nothing without work. Be patient with yourself. All in class drawings and homework may be done repeatedly to improve quality, demonstrate mastery of the skill and improve the grade.
· Always have all art materials easily available for use during class (see lockers)
· PUT YOUR NAME ON your art supplies and learn how to take care of them; they are costly
· Remember to take your materials and personal belongings at the end of class.
· Carry sketchbook habitually and draw from observation every chance you get
· Check e-mail regularly and use the internet to access information artlex.com, chalkboard.com
· Hand in homework on time and present it for critique to earn full credit
· Keep the syllabus handy and refer regularly to it for lesson summary, deadlines, requirements, etc.
· Develop some tolerance for ambiguity
LOCKERS: are shared with two classmates. Write names/class on the label on the front of the locker. You or your locker-mates must provide a lock. Be sure to remove your materials by the last class.
OPTIONS FOR STUDENTS WITH DISABILITIES Students with disabilities who have accommodation needs
required to meet with the Director of the
Arrive on time with art supplies and ideas.
Charcoal is messy. Wear old clothes/apron.
CLEAN UP—Take full responsibility for yourself, clean and replace/return everything you use.
Your participation in class critiques will add to the effectiveness of this course.
Maintain academic honesty; plagiarism is intellectual theft.
Maintain appropriate behavior in class--treat everyone with respect. (listen to instruction/ student comments)
Please program-off cell phones, pagers, etc. unless emergency or on-call. No text-messaging during class
There will be a 10 - 15 minute break half way through class.
Please review Student Procedures and Expectations, Arts & Humanities Division on the BCC web site
STUDY GROUPS:. You will be asked to participate in a sketchbook/drawing group
ATTENDANCE: Because this is a studio class 100% attendance is required. Studio/class time is designated for practice of specific drawing skills, lectures and demonstration. Art is traditionally taught in a studio where an instructor can help you achieve the stated objectives. Learning and skill acquisition occur through class participation. If you work on other assignments, don’t participate, or leave early you may be considered absent for the day. Absence from class and arrive-late/leave-early incidents will directly affect your effort grade and your final grade. If you have an ill-timed, obligatory, “planned” absence, please inform me ASAP and reiterate the dates and specifics of your absence in writing via e-mail. Arrange to complete assignments and compensate for missed classes. Please ask instructor for missed handouts.
LATE to Class: I give instructions/demonstrations/handouts at the beginning of class. If you must be late consistently you should select another time. If you are late or absent you are responsible for all missed information, changes and assignments. Please get that information from a classmate, the syllabus, or a book.
REQUIREMENTS FOR CREDIT :
1. ATTENDANCE AND PARTICIPATION (in-class, group work and critiques) see Studio Class Guidelines.
2. GRADED IN-CLASS work and PORTFOLIOS of in-class work (a stack of drawings collected/evaluated at mid-term and/or end). DO NOT include homework in the portfolio. Separate each drawing from drawing pad. Portfolios will not be accepted beyond one week after portfolio due date.
3. WEEKLY HOMEWORK: Complete 10 weekly homework assignments on 18”x 24” white drawing paper (unless instructed otherwise). Weekly assignments must be presented for critique. Label all homework with your name and HW # on back—in pencil. Please NO CHARCOAL ON BACK of drawings.
4. SKETCHBOOK: Draw only from observation. Avoid clichés. Develop a habit of consistent practice (20 minutes a day). Skip the first page. Draw only on one side of the page. Please number the back of each drawing. You may include date, place, time spent, subject, skills practiced, ideas generated. Aim for a total of 40 or more sketches Your grade is based on quantity, effort, quality. Participation in a sketchbook Group will earn additional points.
5. MUSEUM VISIT: You may record the visit in your sketchbook. (You will tear it out and turn it in separately). Attach your ticket/receipt, museum name, exhibition title, date. Important: write your comments about the art viewing experience. Include sketches of several preferred works of art with artist, title, medium and date. Grade will be averaged in with drawing assignments.
6. FINAL PROJECT: see weekly schedule
7. KEEP ALL work until the final grade has been posted.
BC Art 120 Drawing I, Room C256 Instructor: Linda Thomas
Introductions. Information re: materials and the course, photos, questions, slides
Line. Gesture Drawing: mass, line, scribbled and sustained. Texture: tactile and visual.
Collaborate: Mark making, frottage, line, texture—imaginary landscape
Materials: charcoal, newsprint, drawing paper, drawing board.
Homework #1 A. On 18” x 24” white paper. Sustained gesture drawing (10 min) of a plant, animal, or person. Use the whole page with marks touching 4 edges of the paper.
B. Bring in sketchbook: Skip first page. Draw on only one side of the paper.
Experiment with each of your drawing tools. Try gesture drawings and textures.
C. Bring in 4 small containers for water
(If HW # 1 is on time, complete and includes in-class modifications it earns an automatic “A” 3-8-4.0)
Week 2 Texture. Line and Shape. Shape (rectilinear, curvilinear) (Continue Gesture)
Continuous line. Blind contour. Contour (LSD). Positive/negative shape.
Materials: Sharpie pen, glue stick, scissors
Contour Line and Positive/Negative space. Shape. Materials: sumi brush & ink.
Homework # 2 Texture Drawing. Draw a landscape from observation featuring a variety of textures.
Criteria: Use of whole page (2” margin) and extreme variety of visual textures from repetition of line/marks.
Texture = 1. visual = pattern on the surface created by repetition of marks and frottage
2. tactile/ physical = actual raised dimension on the surface
3. illusion of texture = the representation of the look of skin, feathers, fabric, glass, etc.
Line = solid /broken, scratchy, straight/curvy, fast/slow, thick/thin
Week 3 (Continue Line) Measuring tools and perceptual grid
Shape and Proportion. Relationship of parts to the whole. Accuracy through measurement. Basic Linear Perspective. Diminishing size, overlapping, placement.
Spatial relationships. Locate objects in space; foreground, middle ground, background.
Homework # 3: Contour Drawing of a room in your house. Observe carefully and use a controlled (LSD)
slow moving) line. Deliberately vary the line to include thick/ thin, dark /light and
horizontals/verticals/diagonals. Criteria: Contour line only, effort, quality, use whole page.
Week 4 Value. Light and Shade. Cross contour. Cross hatch. Gray scale.
Materials: gray paper and white soft pastel stick. Framing.
Value. Chiaroscuro. Shape into volume. 3-D Illusion. Modeling,
Homework # 4 Proportion and Perceptual Grid Two drawings. Half sheet each 12” x 16” (vertical orientation)*.
1st Drawing: Set up 9 -13 bottles arranged into depth on a flat surface (36” deep or more). Use the perceptual grid process to locate the bottles in space. The drawn bottles will emerge concurrently with a visible web of vertical & horizontal search lines. Use basic linear perspective: overlapping, placement on the page, and diminishing size. The image should touch three sides of the paper and may be cropped. Medium: 6B pencil for 1st Drawing.
2nd Drawing: On a window or light table, trace the outlines of bottles onto the 2nd half sheet. Develop the drawing further to make a pleasing image. Medium: Your choice of B & W medium for 2nd Drawing.
Week 5 DUE: Museum visit. Please remove the pages from your sketch book, Include your name. Atmospheric Perspective Spatial illusion.
Clear/obscure, detail/plain, dark/light, saturated/neutral.
Materials: sumi brush & ink. Leave margin of 1 ½ “ - 2” on paper. Problem: Interior/exterior.
Homework # 5 The Mysterious Wrapped Object. Use a white or light colored fabric to cover an intriguing object. Aim a strong light at the object. Obscure the object just enough to attract the viewer’s curiosity. Use only value (no lines) to describe how light determines the illusion of 3-D volume. Drawing tools: charcoal on white paper or white pastel on black paper and eraser.
Criteria: Use of subtle modeling from light to dark to create volume and a broad range of values, absence of line, and use of entire page.
BC Art 120 Drawing I, Room C256 Instructor: Linda Thomas
Week 6 DUE 1ST PORTFOLIO of in-class work.
Linear Perspective. One point perspective. Hallway drawing.
Materials: Pencil, ruler, eraser
Homework # 6 Use Atmospheric perspective to create the illusion of depth in a landscape. You may include a childhood backyard memory. When using Sumi ink leave a 1 ½ margin on the paper.
Criteria: Use of atmospheric perspective/consider whole page.
Week 7 Linear Perspective 2-point Video: Masters of Illusion.
Homework # 7 TBA
Include: A. 1 point perspective, B. basic linear devises: size, overlap, placement and C. illusion of volume to create the illusion of depth on a drawing.
Week 8 DUE: Sketch books.
Homework # 8 2 Point Perspective Psychological Space. Do a tonal drawing of an interior or exterior of a building in two-point perspective. Suggest strong feelings or sentiments by the use of visual devices (value, light, contrast, space, etc.) Do not include human figures. Avoid ruler lines.
Criteria: Clear demonstration of two-point perspective, drawing quality and effort.
Looking Ahead--Final Project: Produce Two drawings related to one another in some way. Define your own drawing challenge based on two class lessons. Submit brief proposal by e-mail. Criteria: Quality and effort in relation to the degree of challenge. Final Project Handout.
Week 9 High Contrast for Expression. (skeleton) Formatting.
Materials: sumi brush & ink. or charcoal /choice . 2 sheets of white paper taped together.
Simplify; eliminate detail. line, rhythm etc. take precedence over description.
Materials: black electrical tape, scissors
Homework # 9 High Contrast Drawing. Use high contrast (black & white) to create drama and expression. First manipulate representational images to develop abstracted solid black shapes that express fears or another strong emotion. Materials: sumi ink, charcoal, conte.
Criteria: Use of high contrast for expression.
Week 10 DUE: IN-CLASS WORK (2ND PORTFOLIO)
Portrait/figure. Video: Jim Dine: A Portrait on the Walls (?)
Self-portrait. Use light and shade (tone) to render volume in the face
Materials: Bring a small mirror.
Finals week DUE: Final Critique. Final Project Due.
Surrealism.Exquisite Corpse. Composition: Scale.
Exaggerated scale. B & W Collage. Dream imagery, chance, and absurd juxtapositions
Work from week 11 and other work as directed.
GRADES: If you work hard you will do well. Most students who attend every class session and complete all requirements on time can achieve a level of drawing that earns a B final grade.
“A” grade requires outstanding drawings, outstanding skills and demonstrated mastery of the objectives.
Class work and all other requirements will be evaluated and grades based on the following:
Effort: apparent in amount of work, practice, time commitment and engagement in daily activities
Quality of work—care taken (thinking, effort, exploration and use of techniques)
Completion of requirements
Individual progress (improvement and quality of investigation)
All drawing work may be done repeatedly to improve the quality or demonstrate skill mastery.
Re-submit original HW and the re-do (labeled as “re-do”) together. Extra credit may be offered
for additional museum visits, art lectures, field trips, etc.
Letter Grade Equivalencies
Number Grade Equivalencies
3.8 - 4.0
3.4 - 3.7
3.1 - 3.3
2.8 - 3.0
2.4 - 2.7
2.1 - 2.3
1.8 - 2.0
1.4 - 1.7
1.2 - 1.3
0.8 - 1.0
0.5 - 0.7
0.0 - 0.4
40% In-class work
15% Effort, attendance, participation,
25% Assignments (Drawing Homework and Museum visit)
15% Sketchbook (and Sketchbook Group)
5% Final project
LATE Work. I ACCEPT LATE WORK. Late work will be lowered in grade by .5 and will take longer to grade and return. Late work can affect your effort grade. Homework not presented (hung) for critiques will be considered late and lowered in grade by .5 All late work must be in one week before the last class.
MISSING Work. Missing work receives an “F” or 0 points. Don’t expect an “A” grade if you have missing work or habitually late work.
“I” Grade or Incomplete. If an extended illness or specific emergency warrants an Incomplete grade, please notify your instructor before the final exam. 70% of course work must be completed for an Incomplete “I” grade.
Syllabus is subject to change at any time. ÓLinda Thomas 2006
BC Art 120 Drawing I Room C256 Instructor: Linda Thomas
Drawing Materials (ART KIT available for Drawing I in the BCC Art Supply Store).
When shopping off campus ask about the student discount w/ID
(first three items necessary for 2nd class) BCC Bookstore Art Store
1.Drawing board 23" x 26" masonite with clips in “C” Bldg. near cafeteria
2.Newsprint 18” x 24” (100 sheets) Artist & Craftsman Supply
3.Char-kole brand compressed charcoal
sketch book spiral bound approx. 6 x 9” or 9x12” (50 sheets) Dakota Art Supply 206-523-4830
x 24” white drawing paper pad (50 sheets)
60# or med. weight
or vine charcoal (soft) Daniel Smith,
Kneaded eraser (small) Daniel
Black fine-tip Sharpie or flair pen 206-223-9599
drawing pencil (6B very soft) University Bookstore, 990 102nd NE Bellevue Chinese round Sumi brush 425-462-4500
1 sheet gray paper approx. 18” x 24” 206-634-3400
1 sheet black paper approx. 18 x 24”
white soft/dry pastel stick
1 plastic slide mount or cardboard “L” view finder 206-382-9696
5 recycled plastic containers (yogurt size) for water
RECOMMENDED SUPPLIES/very useful
X-acto knife or scissors
clear plastic C-thru ruler 12” with protractor markings
container for supplies (shoe box, tool box, art bin, etc.)
portfolio (inexpensive paper or cardboard version
brown paper grocery sacks (large) or kraft paper
wet wipes for quick hand clean-up (charcoal mess)
disposable gloves (vinyl)
toothbrush for spreading glue and/or cleaning brushes