Interior Design 160
T, TH 12:30 – 3:20
Instructor Michael Culpepper
Phone 425 . 564 . 4124
Office hours T, TH 3:30 – 5:00 or by appointment
INDES 160 COURSE DESCRIPTION
This course introduces graphic tools, techniques, and conventions used for effective visual communication in design. Students apply theory as they develop skills in architectural drafting, lettering, and basic rendering and perspective drawing skills. This will be done through readings, lectures, and studio work. Drawings will be assessed for comprehension, layout, neatness, and the overall quality. Students will evaluate and subjectively critique design methods.
Prerequisite: ART 110 and 120.
Students after successfully completing Graphic Communication I will be able to:
1. Describe the reasons for learning visual communication skills and conventions, and their application to interior design and related professions.
2. Describe the necessary characteristics and relevant conventions for the use of lines and line weights in drawings.
3. Describe the salient characteristics of orthographic, paraline, and perspective drawings, and identify appropriate applications for each drawing type
4. Describe the purpose and characteristics of rendering interior materials and textures by applying basic monochromatic rendering techniques as a way of conveying depth of space and visual interest.
5. Incorporate orthographic, paraline, linear perspective, and freehand perspective drawings into an on-going process of developing three-dimensional visualization skills to aid in the understanding two-dimensional representations of objects and spaces (e.g., by using a three-dimensional drawing to assist in visualizing an object otherwise described with two-dimensional orthographic drawings)
After successful completion of Graphic Communication I, student work will:
1. Demonstrate the ability to produce drafted lines (e.g., graphite on vellum) with appropriate thickness, opacity, and precision.
2. Demonstrate an understanding of a clear concise and correct graphic communication (e.g. draw an accurate dimension plan).
3. Demonstrate a legible and consistent style of conventional architectural lettering to convey written information.
4. Demonstrate the ability to design and draft a title block.
5. Demonstrate the ability to prepare accurate and descriptive orthographic, paraline, and perspective drawings that convey desired information, integrating conceptual knowledge of conventions for line drawing, drafting, and rendering with mastery of manual drafting.
FIDER ACCREDITATION NOTICE
As a part of the ongoing accreditation process and development of the program, the Bellevue Community College Interior Design Department reserves the right to collect and keep student work. Effective fall quarter 2003, faculty will retain selected student work in all courses within the Interior Design curriculum in order to prepare for our next FIDER site visit. It should be considered a great honor to have your work held to represent our program. Student work will
include all process work, notebooks relevant to projects, and all finished projects from the beginning of the quarter through final projects. Students may make arrangements with instructors to have selected work photographed for their records. Projects will be returned upon completion of the FIDER site visitation.
Thursday Edition of The New York Times
Construction Drawings and Details for Interiors:
Basic Skills. Kilmer, W. Otie and Kilmer, Rosemary (2003.) John Wiley & Sons, Inc.,
Graphic Standards – Ramsey & Sleeper; Time-saver Standards for Interior Design and Space Planning – DeChiara, Panero & Zelnick; Human Dimension & Interior Space – Panero & Zelnick; Perspective for Interior Designers – Pile; Architectural Graphics, Ching, Francis
Additional reading may be placed on reserve in library at the instructor’s discretion.
REQUIRED FOR EVERY CLASS SESSION:
Drafting tools, tracing paper, class notebook, required textbooks, work in-progress, and other project information (clippings, notes, concept photos/images). Come prepared to work. Unless noted otherwise, your work will be reviewed in group critique every day. Assigned work must be ready for review at the beginning of every period.
LEARNING APPROACH, COURSE EXPECTATIONS, AND GRADING
1. Class Structure
Each class period will begin with pinning up the project due that day for review.
Demonstration of new techniques or introducing new information about the project will occupy the next 50-60 minutes.
For the remainder of the period, the instructor will conduct desk crits.
DAILY PROJECT WORK: Daily project work will be assessed during a group pin-up review and each project will receive a grade that will include your participation in the group review. Written evaluations of daily work will not be given. It is the student’s responsibility to make note of advice and criticism generated by review of their work, as well as the work of other students being reviewed. This is the forum where you learn to evaluate your own work by comparing it to other examples – learning from others’ mistakes and successes. Note: Your daily grade is partly based on participation in critiques. In other words, you must be involved in the critique process, and not just when your work is being discussed. Students are expected to offer feedback of others’ work.
CLASS PRESENTATIONS: Two presentations to the entire class, a “mid-term” presentation occurring in the seventh week and a final presentation. Students will receive written evaluations along with a letter grade for both presentations.
SKETCHBOOK: Sketching and lettering practice is required. See Handout for details.
Students may request a summary of their grades at any time. Grading will be done on a 12-point scale: A+=12, A=11, A-=10, B+=9, B=8, B-=7, etc.
A = Excellent, Remarkable, Exceeds Potential; B = Very Good, High Quality, Promising
C = Passable, Developing Skills, Meets Minimum Expectations; D = Insufficient, Lacking, Poor
The average grades in each category will be weighted using the following scale to calculate the final grade for the course:
Daily project work and participation 10%
Midterm Presentation 1 20%
Midterm Presentation 2 20%
Final Project 40%
3. Attendance and Participation
Consistent tardiness, missing classes, or failure to regularly prepare adequately for daily critiques will be reflected in daily grades. More than four (4) absences may result in a failing grade. (SEE Arts and Humanities Division Student Procedures and Expectations.)
4. Reading Assignments:
Students are expected to use the textbooks as reference material, both by following suggested reading assignments and by consulting the appropriate sections of these – and other relevant – books. In addition, it’s strongly recommended that you bring Interior Design Illustrated and any other source materials to class every day.
5. Drawing Assignments
Drawing assignments are designed to develop a basic knowledge and competency in graphic communications, and will be created and reviewed in a variety of media. Early, conceptual development work primarily consists of drawings on tracing paper (flimsy), photocopies, and occasional blueline prints. Final Presentation will also incorporate pencil drafting on vellum. The skill to create clear and concise drawings based on standard graphic conventions will be developed during the course of the assignments.
Since daily critiques are intended to generate improvements leading to revisions, expect markups on your work. The instructor will draw on your drawings – typically the felt-tip sketches on flimsy – to demonstrate proper graphic conventions or design refinements. It’s not final until it’s final. Design is a process. The process is iterative – cyclical. It begins by creating images, presenting them for review, and testing the effectiveness of the ideas presented. Feedback leads to developing new images, which are presented again, tested for fitness, and re-imagined. Just as ideas are presented and tested in the design process, the images themselves are tested in this course to determine their effectiveness. Feedback will lead to revisions and re-presenting.
Students are expected to keep a complete, organized file of any class handouts and assignments, as well as notes from lectures, demonstrations, and critiques.
This is a professional program that demands a professional attitude. This means that:
1. Your attendance is mandatory. Excused absences are very rare.
2. You must be on time for class. This shows respect for yourself and fellow classmates.
3. Work is to be turned in on time. No late work will be accepted.
4. Your participation in class is required. This is the only way to get the most out of a studio class.
5. If you don’t understand an assignment, it is your responsibility to let the instructor know this.
6. Use my office hours. This is a great time to talk more about projects, questions, etc.
7. It is important that you are team player. The work environment will demand the same.
8. Work must be professional. It must be well thought out and appear neat and professional. Good craft is paramount.
9. You must attend field trips and represent yourself and BCC in a professional manner.
10. You will learn to criticize yourself and classmates in a spirit of constructive criticism.
11. Always be ready to work and able to work in studio. This means you must always have your materials and projects with you.
YOU: If you require accommodation based on a documented disability,
emergency medical information to share, or need special arrangements in case of
emergency evacuation, please make an appointment with me as soon as possible.
If you would like to inquire about becoming a DSS student you may call 564-2498
or go in person to the DSS (Disability Support Services) reception are in the
Refer to the handout Student Procedures and Expectations, Arts and Humanities Division for additional information, including requirements for special needs. With regard to Academic Honesty, note that for studio courses ALL WORK MUST by performed by the individual. Consequently, any studio work that is submitted for a grade that has not been seen by the instructor prior to submittal may be refused as being of questionable origin.