Catalog Description: This course investigates the role of color in the organization of the two-dimensional surface, as well as its practical use in our visual environment. Various aspects of color usage, such as physical and optical mixture, spatial and transparency illusions, and color relativity are explored then applied to projects concerned with practical design issues.
Major Topics of Study: Color and its indigenous properties. Color for design, color for artistic expression, and color for rendering. Student Learning Outcomes: Will be able to match color swatches with paint. Hue, Value, Saturation/Neutralization, Temperature, Color wheel, Relativity, Transparency, Spatial misconceptions, Optic Vibration, Objective and Subjective expression
Required Textbook: None Attendance policy: 8 or more absences will result in automatic failure of the course.
Objective:
This course is designed to introduce students to the properties and methods of mixing color as well as concepts and techniques in digital media. We will address the various ways color has been used throughout art history, while demonstrating the methods of matching color as they relate to the figure, still life and other subject material. Learning to see color and interpret the correct value, chroma and intensity will be a large part of class exercises. It is my experience that the more time spent practicing mixing color the more knowledge one may attain. Students will gain the most through these exercises where they will practice color mixing in various applications. Students will learn how to execute and identify traditional color theory using various digital imaging and painting applications. At the end of the course the student should be able to choose a technique and or style introduced in class and then create a well crafted final project, digital exploration will culminate with the creation of a digital portfolio of the semester’s works.
Supplies:
1-Bristol board pad 11x14 smooth (can be shared) 1- Roll of artist tape 4- Sheets of 20x30 Illustration board white Crescent 300 cold press Rubber cement (optional) Water container (glass or plastic) X-acto blades and Knife Thumb drive Paper towels (optional) Mixing palette (rectangular glass) Palette knife (optional) Glass Scrapper (optional) Clear Plastic Ruler Graphite or charcoal pencils Kneaded and white plastic Erasers Sketchbook for thumbnails
Acrylic Paint Liquitex Brand
Ivory Black 50ml Titanium White 50ml Cadmium yellow medium 50ml Raw sienna 50ml
Cadmium orange light 50ml Cadmium red medium 50ml Quinadocidrone crimson 50ml Dioxazine purple 50ml Cobalt or cerulean blue 50ml Permanent green 50ml The aim is to have bright colors in each chroma
Brushes (watercolor brushes NO BRISTLE) Flats soft hair or synthetic 2,4,8 (small medium and large)
Rounds soft hair or synthetic 2,4,6,10
Saturday, August 14, 2010
Printmaking:Relief syllabus and materials
Catalog Description:
This course introduces traditional relief printmaking techniques such as wood engraving, wood cut, color reduction and multiple plate relief printing. Other printmaking processes like intaglio and monotype will also be studied during the course. Emphasis is placed on learning techniques and then expanded to subject matter and content. The traditional approach of making multiple originals is required for each course project. Lectures, critiques and demonstrations will supplement studio work. Course Prerequisite[s]: None Studio Laboratory Fee: $35
Major Topics of Study: Linoleum block, wood cut, intaglio, serigraphy and monotype printmaking techniques. Relief techniques for: Single color print, color reduction prints and multiple block printing.
Student Learning Outcomes: The student will:
a. Create multiple edition of identical originals
b. Create works which reflect a knowledge of historical printmaking processes through application of historical methods
c. Create works which demonstrate good craftsmanship through properly inking and wiping plates, proper use of tools, proper registration as demonstrated by instructor
d. Use art terminology in class discussions and critique
e. Verbalize and discuss aesthetic and technical concepts during critiques such as application and effectiveness of basic elements of design (composition, line quality, texture, shape, space, value, color) , visual interest, and emotive qualities
f. Investigate the relationship of technique and process in relation to making print editions
Required Textbook: Woodcut Artist’s Handbook by George A Walker
Supplies:
3- 8”x10” Linoleum sheets Cachet Recycled Sketchbook 3 ring binder (for Handouts and Assignment sheets) Woodcut tools (optional) Plexiglass sheet 4”x8” up to 10”x 16” Speedball Linocut tool set
2’x2’ birch ply wood ½” thick Pencils, pens and drawing tools as needed
Assignment and Demonstration Schedule:
Week 1-3 Syllabus, Introduction, One color Relief
Week 4-6 Color Reduction
Week 6-8 Multi block print
Week 9-11 Intaglio Stages Print
Week 12-14 Serigraphy or Monoprint
Week 15 Multiple Print Series Portfolio
This course introduces traditional relief printmaking techniques such as wood engraving, wood cut, color reduction and multiple plate relief printing. Other printmaking processes like intaglio and monotype will also be studied during the course. Emphasis is placed on learning techniques and then expanded to subject matter and content. The traditional approach of making multiple originals is required for each course project. Lectures, critiques and demonstrations will supplement studio work. Course Prerequisite[s]: None Studio Laboratory Fee: $35
Major Topics of Study: Linoleum block, wood cut, intaglio, serigraphy and monotype printmaking techniques. Relief techniques for: Single color print, color reduction prints and multiple block printing.
Student Learning Outcomes: The student will:
a. Create multiple edition of identical originals
b. Create works which reflect a knowledge of historical printmaking processes through application of historical methods
c. Create works which demonstrate good craftsmanship through properly inking and wiping plates, proper use of tools, proper registration as demonstrated by instructor
d. Use art terminology in class discussions and critique
e. Verbalize and discuss aesthetic and technical concepts during critiques such as application and effectiveness of basic elements of design (composition, line quality, texture, shape, space, value, color) , visual interest, and emotive qualities
f. Investigate the relationship of technique and process in relation to making print editions
Required Textbook: Woodcut Artist’s Handbook by George A Walker
Supplies:
3- 8”x10” Linoleum sheets Cachet Recycled Sketchbook 3 ring binder (for Handouts and Assignment sheets) Woodcut tools (optional) Plexiglass sheet 4”x8” up to 10”x 16” Speedball Linocut tool set
2’x2’ birch ply wood ½” thick Pencils, pens and drawing tools as needed
Assignment and Demonstration Schedule:
Week 1-3 Syllabus, Introduction, One color Relief
Week 4-6 Color Reduction
Week 6-8 Multi block print
Week 9-11 Intaglio Stages Print
Week 12-14 Serigraphy or Monoprint
Week 15 Multiple Print Series Portfolio
2D Design syllabus and materials
Catalog Description: This course explores the basic principles of two-dimensional design: unity, variety, contrast, movement, rhythm, visual emphasis and subordination. Studio projects approach these principles through the study and practice of space relationships, proportion, scale, value relationships, pattern, texture and color. Slide lectures are given periodically in association with various studio projects.
Course Prerequisites: NONE Class Period: 3 Practicum Period: 6 Credit Hours: 3
Major Topics of Study: Composition & the formal elements of designing in a two-dimensional format.
Student Learning Outcomes: Students will demonstrate the ability to arrange compositions by properly employing the use of the following concepts:
• Gestalt Grouping Principles • Repetition with and without Anomaly
• Rhythm and movement • Symmetry
• Asymmetry • Cropping
• Illusion of space • Textural augmentation
• Spatial relationships Required Textbook: Discretion of the Instructor
Units of Study
Course syllabus, Critical Process and Problem Solving Process
Value scale Color wheel, discussion and lecture
Intensity and saturation Color temperature
Figure – ground relationships Symmetry v. Asymmetry
Proportion and scale Similarity and movement. Mid-term
Shape and pattern Symbol Design
Space introduction 1 point perspective
2 point perspective 3 point perspective/ atmospheric perspective
Line quality Visual texture
Narrative and content
Supplies
1-Bristol board pad 11x14 smooth vellum 1- Roll of artist tape
4- Sheets of 20x30 Illustration board white smooth finish Rubber cement (optional)
Water container X-acto blades Paper towels
Mixing palette (glass) Palette knife (optional) Ruler clear plastic
Graphite or charcoal pencils Kneaded and white plastic Erasers
Acrylic Paint
Ivory Black 50ml Titanium White 50ml Cadmium yellow medium 50ml Raw sienna 50ml
Cadmium orange light 50ml Cadmium red medium 50ml Quindocidrone crimson 50ml
Dioxazine purple 50ml cobalt or cerulean blue 50ml Permanent green 50ml Neutral gray #6 50ml The aim is to have bright colors in each chroma
2GB Thumb Drive Three Ring Binder (handouts) Cachet Recycled Sketchbook
Brushes (watercolor brushes no bristle)
Flats soft hair or synthetic 2,4,8 (small medium and large) Rounds soft hair or synthetic 2,4,6,10
Three different Colored Markers
Course Prerequisites: NONE Class Period: 3 Practicum Period: 6 Credit Hours: 3
Major Topics of Study: Composition & the formal elements of designing in a two-dimensional format.
Student Learning Outcomes: Students will demonstrate the ability to arrange compositions by properly employing the use of the following concepts:
• Gestalt Grouping Principles • Repetition with and without Anomaly
• Rhythm and movement • Symmetry
• Asymmetry • Cropping
• Illusion of space • Textural augmentation
• Spatial relationships Required Textbook: Discretion of the Instructor
Units of Study
Course syllabus, Critical Process and Problem Solving Process
Value scale Color wheel, discussion and lecture
Intensity and saturation Color temperature
Figure – ground relationships Symmetry v. Asymmetry
Proportion and scale Similarity and movement. Mid-term
Shape and pattern Symbol Design
Space introduction 1 point perspective
2 point perspective 3 point perspective/ atmospheric perspective
Line quality Visual texture
Narrative and content
Supplies
1-Bristol board pad 11x14 smooth vellum 1- Roll of artist tape
4- Sheets of 20x30 Illustration board white smooth finish Rubber cement (optional)
Water container X-acto blades Paper towels
Mixing palette (glass) Palette knife (optional) Ruler clear plastic
Graphite or charcoal pencils Kneaded and white plastic Erasers
Acrylic Paint
Ivory Black 50ml Titanium White 50ml Cadmium yellow medium 50ml Raw sienna 50ml
Cadmium orange light 50ml Cadmium red medium 50ml Quindocidrone crimson 50ml
Dioxazine purple 50ml cobalt or cerulean blue 50ml Permanent green 50ml Neutral gray #6 50ml The aim is to have bright colors in each chroma
2GB Thumb Drive Three Ring Binder (handouts) Cachet Recycled Sketchbook
Brushes (watercolor brushes no bristle)
Flats soft hair or synthetic 2,4,8 (small medium and large) Rounds soft hair or synthetic 2,4,6,10
Three different Colored Markers
Friday, August 13, 2010
Fall 2010
Welcome back!!! For students, please follow the projects and exercises during the semester here. These posts should have images, demonstrations and a spot for your comments and/or questions. Please look shortly and find your materials lists for your course posted under your course title. I am looking forward to seeing your great work this semester!Jed
Wednesday, August 4, 2010
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