Spring 2019 Syllabus

PARSONS The New School for Design

First Year Drawing/Imaging: Places and Things

Semester: Spring 2019

Course Code: PUFY 1030

CRN# 2433 / Section: C03

Class Time/Day of Week: 3:50pm-9:30pm Wednesday

Location: 66 5th Ave #709

Office Hours: by Appointment

Instructor: Sonya Sklaroff

Contact Information: sklarofs@newschool.edu

 

Course Description:

This course is an introduction to the way that meaning is constructed and communicated through visual images. Students use a variety of tools, skills, methods and media, to explore the creative process: to translate observations, analyze relationships, communicate visually, organize form, and foster the exploratory process of developing ideas.

Of primary importance is the understanding of how we respond to the visual world and how we use our unique and personal perceptual, physical and analytical abilities to bring two-dimensional works into being. Students explore visual organization and composition, and develop sensitivity to both representational and abstract form. Projects emphasize perceptual engagement through drawing, photography, digital image creation, and the integration of different forms of media. A sketchbook is used as an integral tool to explore the relationships between these different kinds of investigations.

Discussion, critique and written responses offer opportunities for students to communicate ideas about their projects and those of their classmates and to understand their work in historical and cultural context. The tools and methods in Drawing/Imaging form an introductory platform that Parsons students will build upon in their upper level disciplinary courses.

Class Description: Places & Things

This section focuses on objects, space, locations and the unique place as a site of investigation and may include personal, private, public, and historical space. Using context as a means to illuminate content, we will identify and address individual design skills and drawing methods in both traditional and digital media, to accumulate the design vocabulary and practical skills necessary for any chosen major.

Learning Outcomes:

By the successful completion of this course, students will be able, at an introductory level, to:

1. Demonstrate perceptual and visual awareness through drawing from observation (figures, objects and environments)
2. Demonstrate the application of elements of art and principles of design related to two-dimensional form and their implications on content
3. Demonstrate an engagement with visual and perceptual literacy related to aesthetic phenomena, such as principles of gestalt and color theory
4. Demonstrate an understanding that perception is conditioned by an understanding of context as well as culture as a dynamic system in which meaning is constructed
5. Demonstrate the appropriate and exploratory application of analog and digital tools, media and processes to convey observations and ideas. Tools include raster and vector software applications, wet and dry media and various substrates
6. Demonstrate comprehension of skills and techniques across media with a synthesis of the two; as well as an understanding of the value of craftsmanship and its impact on form and meaning
7. Demonstrate reflection on creative skills learned, choices made, and connections fostered, through the ongoing documentation and archiving of assignments in an online learning portfolio. Students will use the portfolio and a sketchbook to demonstrate an engagement with the idea of making as a form of thinking

5. Course Outline

 

	week	date	Activity	Homework due
Perception and Representation	Week 1	Jan 23	Intro/Class Requirements/Syllabus Review. Figure Drawing (1/6) In Class Demonstration: The Gesture. Materials: 18×24 newsprint pad, charcoal, tracing paper Discuss assignment Project #1 and begin in class. Breaking in the Sketchbook	Homework: Continue working on Project #1
	Week 2	Jan 30	Figure Drawing (2/6) Continue study of the gesture, In Class Demonstration: Blind Contour Drawing. blind contour drawing, left hand drawings. Line quality in figure drawings. The sustained gesture and basic anatomy of the figure. Materials: 18×24 newsprint pad, charcoal, erasers, pencils, tracing paper Review Fundamentals for Project #2 part A – 2D Repetition design grid (abstracted form in space). Photoshop basics and Terminology.	Project #1 Due – An Object Repurposed. Group in class Critique   Homework: Work on Project 2 part A   Sketchbook assignment: 5 drawings of your hands using the blind contour method.
	Week 3	Feb 6	Musician Playing Classical Guitar (3/6) In class Demonstration of Chiaroscuro Materials: Black charcoal and white pastel chalk, 18×24 brown paper pad, tracing paper 18×24	Sketchbook assignment: gesture drawings of pedestrians.
	Week 4	Feb 13	Drawing a live master ballet class – Meet at Peridance Capezio Center (126 East 13th street) 3:45pm. Materials: sketchbook, pens, pencils	Sketchbook assignment: figure in space
Analysis of Structure and Representation	Week 5	Feb 20	in Class Demonstration: Drawing the moving figure. (4/6) Musician playing classical violin. Drawings focusing on movement and musicality in color Materials: Color Pastel set, 18×24 brown paper pad, 18×24 tracing paper   Introduction to color theory terminology   Review of Project 2 part B: Grid in Color	Project #2 part A Due – 2D Repetition design grid based on Figure/Space Drawings (abstracted form of the figure in Space)   Homework: Research historical artists for presentation. Bring in Artist information for Review   Sketchbook assignment: draw your bedroom using the 2/3 point perspective method   CHECK IN SKETCHBOOK #1
	Week 6	Feb 27	Review of color terminology. Dancer in Flamenco costume (5/6) Materials: 18×24 brown paper pad, color pastel set, tracing paper   Review Requirements for Project #3 Architectural Spaces: Past vs. Present – Photoshop Demo and Review of Photoshop Terminology	Project 2 Part B Due Start to work on Project #3   Sketchbook assignment – chiaroscuro drawing of three objects in dramatic light
	Week 7	March 6	Frick collection visit followed by Grand Central Architecture Class. combine drawing the figure with perspective. Demonstration: Figure and Ground Integration of Gesture and architectural drawing. Materials: sketchbooks, pens, pencils, erasers	Continue to work on Project #3   Sketchbook assignment: Perspective and Space. interior/exterior drawing (window or doorway).
	Week 8	Mar 13	Midterm Reviews   In Class Drawing Demonstration: Ink Wash drawing Technique. (6/6) Painting as a Form of Drawing. Shape and Mass, Contrast and black and white relationships.   Materials: 18×24 white paper, 1 jar waterproof India ink, 1 paper or plastic cup, #10 long handled round paintbrush   Review requirements of Project #4: Architectural Color Study Digital Project based on Grand Central Visit. Illustrator Basics Demo and Review of Terminology	Project #3 Due –Formal Critique.   CHECK IN SKETCHBOOKS #2
	Week 9	(Mar 20 No class Spring Break)   Mar 27	In Class Demonstration: Color studies using dry media on tinted paper   Materials: 18×24 brown paper pads, tracing paper, color pastel sets	Historical Artist Assignment due Written assignment. The artist you choose will be inspiration for your final Project #6 sketchbook assignment: Texture and form. (crumpled paper drawing assignment). Tromp L’oeil. work on Project 4.
Context and Representation	Week 10	April 3	In Class Demonstration: Color studies using wet media Continue study of Color Vocabulary. Review terminology.   Materials: 18×24 white paper pads, set of color gouache, cup for water, #10 long handled round watercolor paintbrush	Sketchbook assignment – portrait using guidelines of anatomy of the head   Project #4 Due – Architectural Color Study Digital Project based on Grand Central visit
	Week 11	April 10	T: Illustrator – Image Text Relationships. Guest Artist Lecture: Steve Chanks, the celebrated artist and illustrator whose work has been included in Maxim, Revolver, Guitar World, and Royal Flush Magazine. He works in Illustrator, Photoshop, as well as free hand drawing and uses imagery and text to create arresting and amazing images of pop culture and pulp daydream. His lecture will include his work, inspiration, and his process.   Discuss and Begin Project #5   Mixed Media/Collage in class assignment and collage demo.   Materials: magazines, used books, tissue paper, newspaper, pens, pencils, charcoal, one piece of 18×24 cardboard (back of newsprint pad ok), matte medium, laptop	choose images and text for Illustrator assignment Project #5. Bring in images. They can be digital photos of sketchbook drawings, drawings from architecture, images from sketchbooks, in-class studies.   Sketchbook assignment: (still life drawings) Objects of your choice. Place objects on the ground and do a drawing looking at the objects straight down with dramatic shadows
	Week 12	April 17	Portraiture. Structure and anatomy of the head. Classical portraiture. Proportions of the face. Frontal, Three Quarter, Profile. Materials: 18×24 newsprint pad, charcoal, erasers, pencils, tracing paper   Still life In Class Demonstration of Thumb Nail sketches to obtain dynamic composition, Point of View – POV Materials: 18×24 white paper pad, charcoal, tracing paper	Bring in Illustrator Text Images for Critique. Project #5 Due
	Week 13	April 24	Religious Iconography: Study of Religious influences in historical and contemporary art Architecture: contrast of modern vs. classic Materials: sketchbooks and dry drawing materials	Work on Final Projects   CHECK IN SKETCHBOOKS #3
	Week 14	May 1	Contemporary artists in art history lecture.   The Highline. Demonstration: Review of one-point perspective and two-point perspective. Horizon line and Vanishing Point. Materials: Sketchbook, pencils, pens, erasers, rulers	Work on Final Projects
	Week 15	May 8	Final Critiques and Presentations Final Project #6 due	Project 6 Due – Self Portrait in Historical and Social Context. 3 Part Visual and Written assignment.

 

(Part 1) Perception and Representation


Visualizing three-dimensional reality into a two dimensional form
During the first part of the semester students explore the elements and principles of art and design in the context of visual perception and representation. Focusing on the cognitive process as it pertains to image making, students consider awareness, perception, reasoning, and judgment. The concept of visualizing three-dimensional reality into a two dimensional form is discussed, demonstrated and practiced.

Project #1 – Repurposing an Object (Sketchbook assignment) – Black and White

Shape and form draw meaning from their context.   An artist can reframe the meaning of a form through recontextualizing the viewer’s perspective. By understanding how to set context, an artist is better able to communicate new insights and ideas.

Choose an object that interests you (interesting shape, form, composition, social implication, historical value) and incorporate it into another unexpected and surprising form.

Reference Artists: Rene Magritte, Pablo Picasso, Salvador Dali, Christoph Niemann, Andy Warhol, Marcel Duchamp.

Materials: Sketchbook, pens, pencil, marker

Project #2 – 2-D Design Repetition Project Grid (Photoshop and Drawing)

Orientation is as important an aspect of an image as shape or color. The directional focus an artist selects affects the relationship of forms within the image and also informs the viewer’s perspective. Within the image, there is no prescribed choice of “up” as opposed to “down.”

This is a study of abstracting the human figure in space. Based on your figure drawings, find one section of a drawing that you find compositionally intriguing. Create a simple black and white representation of this drawing (the black and white must be equally balanced) using pen and marker in a square format. Then take this square drawing and import it into photoshop and create a grid repeating the image so that you can play with the forms next to one another.

Part A will be the grid in black and white.

Part B will be the same grid design but changed to color so that color theory principles can be applied to the project.

Skill Sets: Photoshop– Grids, Guidelines, Snapping to Grids, Duplicating, Fill and Adjustment Layers, Opacity, Manipulations for Photoshop, Blend Modes

Drawing and Observational Skill Sets: Abstraction vs. Representation, black and white relationships, organized chaos, Void and Mass, Visual Relationships, The Grid, color theory terminology and concepts.

Materials: In Class figure drawings (newsprint and charcoal), Photoshop (laptop computers)

(Part 2) Analysis of Structure and Representation
Conventions of Imaging


In this section, students’ build upon their perceptual skills and understanding of gestalt theory, engaging the mind in the process of understanding structure and representation. Students utilize different analytical methods to explore conventions of representation and imaging including the use of drawing systems and geometry, cultural conventions of spatial representation, color perception, framing of images and point of view.

Project #3 – Architectural Spaces: Past vs Present

Home can convey many connotations. It can be nostalgic or bring up many memories of childhood. It can be a place of permanency or it can be an area that one finds comfort and solace.

Use a photo of your childhood home (an interior, exterior, backyard, entryway, your bedroom). It can be an old photo or a new one. Please note: the photo needs to be at least 500×300 pixels. Then use your sketchbook drawing homework assignment of your perspective interior drawing study and combine the two images to emphasize and compare your past and your present home situations.

Photoshop Skill Sets: Intro to Photoshop Application, Basic Tools What interface looks like and how to bring in Images, Input/Output, RGB/CMYK, Image Size, how many DPI to print, selection tools, Basic Manipulations, scaling/rotating/cut copy paste, Layers: creating duplicating hiding showing. Manipulation of photography, Layer styles, layer masks, snapping to the grid.

Drawing Skill Sets: Gesture, Blind Contour, Line Quality, Composition, perspective and space.

References/Artists to consider: Joan Miro, Edgar Degas, stop-motion photography of Eteinne-Jules Marey, Marc Chagall, Chinese Calligraphy, Julie Mehretu, Lascaux cave paintings, Eadweard Muybridge, Duchamp’s “Nude Descending a Staircase, NO.2”, Umberto Boccioni’s “Unique Forms of Continuity in Space”.

Materials: On site sketches (charcoal, pen, pencil), Photoshop (laptop computers)

Project #4 – Architectural Color study (Drawing and Illustrator)

The geometry of negative space balances that of positive space. Colors also balance one another, affecting the viewer’s perception of neighboring colors. By linking these two critical aspects of an image, the artist visualizes the intrinsic interconnectedness of shape and color.

Import your favorite sketch done at Grand Central Station concentrating on one and two point perspective into Illustrator. Represent all aspects of positive and negative spaces in color forms focusing on your study of hue, intensity, temperature, saturation, light and shadow.

Illustrator Skill Sets: Interface, Preferences, Page set up, Art Board, Menus, Grid/Rulers, Navigation, Zoom, Input/Output, Paths – pen tool/Shape tool/pencil tool, Bezier handles, Adding and Deleting anchor points

Drawing and Observational Skill Sets: One point and two point perspective, architectural form and space, color theory vocabulary (hue, value, intensity, saturation, light value), simplifying shape, value reduction, positive and negative space, vanishing point, horizon line

References and Artists: Piet Mondrian, Wassily Kandinsky, Richard Diebenkorn, Fairfield Porter, Jacob Lawrence.

Materials: sketchbook drawings of the highline (sketchbook, pens, pencils), Illustrator (laptop computers)

(Part 3) Context and Representation
Meaning and Culture


Students further explore representation and meaning in relationship to context and cultural influences, responding thoughtfully and creatively through the application and transformation of the tools of drawing and imaging. Contextual examples for students to explore may include: Personal / Interpersonal, Cultural, Historical, Philosophical, Religious, Political, Social,etc.

Project #5 – Image and Text (Drawing, Digital Images, and Illustrator)

Letters and words are shapes, integrations of positive and negative space often depicted in simple black and white.   But they convey meaning far beyond their aesthetic nature because of their association with language and, therefore, thought. The viewer does not see the shape of the text alone, but automatically interprets the denotation. Can this complement an image or does it detract?

Combine photos of drawings and images of architecture, objects and space with words to create a meaningful dialogue. Things to consider: what do words convey? Do you have to speak the same language to create meaning? How do words convey different ideas from images? The words may convey an important life moment, an announcement, or a particular event.

Skill Sets: Text Tool, Path Tools for Art, Merging, Brush Tool, Making of Brushes, pattern making and creating swatches.

References/Artists: Shepard Fairey, Mira Schor, Chuck Connelly, Jasper Johns, Jenny Holzer, Mariah Fee, Glenn Ligon, Ancient Egyptian painting and hieroglyphs.

Materials: digital photos, photos of your favorite in-class drawings or sketchbook assignments, Illustrator (laptop computers)

Project #6 – Historical and Social Self Portrait (Combination of Drawing and Digital – Medium of your choice)

An artist’s choices in representing the self convey the ideas the artist wishes to communicate. Important figures in the history of art have made different aesthetic decisions in their self-representation. How do these choices arise from, reflect, and influence the meaning of the work? How do the techniques we have studied this semester fit into these decisions? What are the consequences of the artist’s choices?

The Final project will be a culmination of aspects of the topics covered in the semester. The student will choose a figure in art history that he/she feels important in his/her culture and/or background and use this person as a starting point to share. Aspects to think about communicating: self-portrait in historical context, figure and ground, special relationship to culture, identity, the self. Drawing in wet or dry medium and using digital aspects are encouraged, as well as color and black and white materials. Students will have the freedom to express themselves using a variety of materials of their choice, choosing from both digital and analog materials. The visual portion of the final project will compile 3 images:

1. A drawing (your choice of materials) done from life (a mirror) of yourself. This drawing will NOT utilize any photographic references.
2. An image done of yourself in photoshop or illustrator. This image can utilize a photographic reference, but should not rely only on the photo.
3. An image utilizing any material of your choice. Materials to consider: collage/mixed media, digital/analog, text/image, drawings done both on site and in class. Experimenting with different mediums is encouraged.

Accompanying the Visual portion of the final project will be a one page text about the three pieces (why the student chose the particular historical artistic figure and what concepts the student chose to cover within the assignment). The text should include a one paragraph biography of the historical artist, one paragraph on the materials and techniques that the student used for the project, and a paragraph about how the student relates to the artist and why this artist holds meaning to the student.

References/Artists to consider: Kara Walker, Louise Bourgeois, Alice Neel, Chuck Connelly, Van Gogh, Kiki Smith, Faith Ringgold, Frida Kahlo, Lucien Freud, Eric Fischl, Marina Abramovic, William Kentridge, Jeff Britton, Lynette Yiadom-Boakye, Nina Chanel Abney, Maya Freelon Asante, Shahzia Sikander, Kehinde Wiley, Islamic miniature painting in illuminated manuscripts.

Materials of your choice: Bristol board, pens, pencils, charcoal, newspaper and magazines, digital photos, laptop computers, gouache, colored pastel sets, brown paper, india ink.

Sketchbook:

The sketchbook is a place to develop a way of working. Think about the intended appearance. The Sketchbook is an excellent place to formulate any questions you have regarding your progress or problems you are encountering with coursework. Do not hesitate to ask the instructor for help. The Sketchbook is a repository for written and visual ideas that brings together the information from all studio courses. It is a place to develop ideas, gather written and visual research, collect observations, record inspiration, collate class notes and vocabulary terms, and identify the commonalities and differences among the First year courses.

The Sketchbook is an in-class tool as well as a daily companion. It is a working method that should help you discover a personal process and enhance the development of your visual language. The Sketchbook should be a collection of information that expands your education beyond what you learn in class to include what you learn and observe in your daily life. The Sketchbook is fundamental to the development of critical and visual thinking and is (or photocopies of its pages) should be integral to presentations for critique. The Sketchbook should include but not be limited to the following:

1. visual and written materials: daily inspiration, thoughts, ideas, notes, handouts, etc.
2. personal observations: both written notes and drawn sketches
3. idea sketches: rough sketches to brainstorm and formulate ideas for class work
4. preparatory sketches for projects: drawing practice to support the development of finished compositions
5. studio course assignments, handouts, objectives, etc.: resources and materials to refer to in support of course work
6. research notes and reference images
7. notes from class lectures
8. ongoing glossary of terms (terminology): to identify and discover the commonalities and differences in each of the visual disciplines

The Sketchbook will be used during class and during home assignments. It will be reviewed during your individual mid-term evaluation meetings with your instructor. There may be also occasions that the class will review work in the Sketchbook.

Learning Portfolio:

For each of our six class projects you will be required to upload a minimum of three stages of the projects process and development as well as source material and references.

The Learning Portfolio is a tool that will create connections between all years of study. It is meant to be a place of reflection across all courses. While the portfolio is being introduced through the Integrative Studio and Seminar it is important to manifest learning in this class. Use the Learning Portfolio to act as a place for considering the path taken to get to a final idea and image. Document process and enter posts that tell the story of a project and the steps that led up to its completion. This is a place to exhibit the process that paves the way for final work. Near the end of the Spring semester students have the opportunity to submit their portfolio to the Learning Portfolio Competition.

You will get a thorough introduction to the Learning Portfolio in your Integrative Studio and Seminar class. But as a reminder: to launch your portfolio, review the Getting Started Videos created by IT. Please also visit the Getting Started page on the Learning Portfolio Help Site for comprehensive tutorials.

Make sure to use the MANDATORY Parsons Learning Portfolio Template – and do not change the template as this is a shared component of the Parsons experience. Also please add a Learning Portfolio link to your Canvas Bio. This allows fellow students and faculty to access your portfolio.

Material and Supply List:

Many items below are found in your first year materials kit. The list includes materials that must be brought to the first day of class as well as information about the suggested/recommended hard drive, camera, laptop and software.

1. You do not need to purchase duplicates
2. DO NOT substitute substandard materials and tools
3. Purchase materials as needed per project.
4. Specific/unique materials will be required as we move on to more open projects towards the end of the semester.

Please note that there are materials costs associated with this studio course and you should expect to purchase up to $50.00 in supplies. The expected cost does not include printer points that you receive as a student, nor does it include the materials from the materials kit that is purchased as you enter the first year. You can find a list of the materials kit items on the First Year advising page:

http://www.newschool.edu/parsons/academic-advising-first-year-students/

DIGITAL:

 

Digital Camera – reasonable quality / image resolution capabilities

Minimum 1GB Memory Card

Batteries/Charger

Cord for transfer to Computer

Portable hard drive – Minimum 100GB with fire wire port

USB flash drive – Minimum 8 GB

 

Required Materials

Pencils, Pens and Erasers

Prismacolor Kneaded Rubber Erasers 13⁄4″ × 11⁄4″ × 1⁄4″

Staedtler Mars Plastic Eraser

Helix Hand-Held Pencil Sharpener Sharpener with 2 holes

General’s Kimberly Drawing Pencils Black 6B

General’s Kimberly Drawing Pencils Black 2B

General’s Kimberly Drawing Pencils Black HB

General’s Kimberly Drawing Pencils Black F

General’s Kimberly Drawing Pencils Black 2H

General’s Kimberly Drawing Pencils Black 4H

Winsor & Newton Vine Charcoal Packs Medium, package of 12 sticks

General’s compressed charcoal 4 sticks

Sharpie Ultra-Fine Point Marker Black, 0.3mm

Sharpie Fine Point Marker Black, 0.5mm

Super Sharpie Marker Black

Sharpie Chisel Tip Marker Black

 

Paper and Pads

Canson 180 Degree Hardbound Sketchbooks 80 sheets, 65lb, 8.3″ × 11.7″

Strathmore 400 Series Bristol Board Pads 15 sheets, 11″ × 14″, 2-ply vellum

Strathmore 300 Series Drawing pad 25 sheets, 18″ × 24″

Strathmore 300 Series Newsprint Pads Off white, 120 sheets, 18″ × 24″, rough

Speedball Tracing Paper In Rolls White, 8lb, 18″ × 20yd

Assorted Supplies

Alumicutter Ruler Black, 18″

Blick Acrylic Edge T-Square 24″

Blick Triangles 30°/60°, 10″

Alvin Cutting Mats Green/Black, 12″ × 18″

Fiskars Recycled Scissors 8″ straight

Olfa Snap-Off Blade Utility Knife

Olfa SNAPit ’N’ TRAPit Pro Heavy-Duty Snap-Off Blades 18mm, package of 5

Elmer’s Glue Sticks 0.21oz glue stick

Bone Folder

Blick Large Spring Bow Compass

 

Laptop 
Digital Storage For Backup Of Files 


External Hard Drive — Suggested: LaCie 1TB or 2TB Rugged Mini Portable Hard Drive

 

Extra Materials For Sonya Sklaroff’s class. These items will be waiting for you to be purchased at Blick on 13th street. Ask a Manager for the Sklaroff Drawing/Imaging Supply Kit. These items are not included in the students supply kit and will cost less than $50.

One set of Pelikan Gouache 12 colors $11

One set of 12 Blick soft pastel colors $4.95

One pad of 18×24 Borden & Riley brown paper $20

One jar of Higgins black waterproof India ink $3.39

One #10 acrylic brush long handle round $5

2 sticks of white chalk pastels $6

 

Bibliography, Resources and Readings:

TEXTS:

Robert Henri, The Art Spirit

Betty Edwards, Drawing on the Right Side of the Brain

John Berger, Ways of Seeing

Joseph Albers, Interaction of Color

Kimon Nicolaides, The Natural Way to Draw

David Hornung, Color: A Workshop for Artists and Designers

 

LIBRARIES:

 

New York Public Library

The Morgan Library

NYU library

Columbia University

 

NYC MUSEUMS:

 

American Museum of Natural History

Asia Society and Museum

Brooklyn Art Museum

Cooper-Hewitt Design Museum

The Drawing Center

The Frick Collection

Guggenheim Museum

International Center of Photography

The Jewish Museum

El Museo del Barrio

Museum of Modern Art

Metropolitan Museum of Art

Museum of the American Indian

Museum of the City of New York

The New Museum of Contemporary Art

PS1 Contemporary Art Center

Rubin Museum

The Studio Museum of Harlem

Queens Museum of Art

The Whitney Museum of American Art

The Japan Society

The Museum for African Art

The Bronx Museum

Museum of Contemporary Arts & Design

The American Folk Art Museum

The Museum of the City of NY

 

Purchase art supplies at:

 

Blick, 21 East 13th Street

*Ask for your student discount with student ID

The Making Center

 

The Making Center is a constellation of shops, labs, and open workspaces that are situated across the to help support woodworking, metalworking, ceramics and pottery work, photography and film, textiles, Printmaking, 3D printing, manual and CNC machining, and more.

 

A staff of technicians and student workers provide expertise and maintain the different shops and labs. Safety is a primary concern, so each area has policies for access, training, and etiquette that students and faculty should be familiar with. Many areas require specific orientations or trainings before access is granted.

 

Equipment Checkout for Students

Students and faculty have access to equipment that may be checked out on the 9th floor of 55 West 13th Street. Items available include DSLR kits, audio recorders, lighting kits, wireless mics, etc.

Access is available to all degree- or credit-seeking students, based on current term enrollment.
This site has a visual inventory of equipment and checkout guidelines for both students and faculty:

http://www.newschool.edu/information-technology/equipment-center/

 

• Students may use the online checkout system, or take their chances and try for a walk in checkout.
  • Walk-in checkouts of available field equipment can be made daily on a first-come, first-served basis.
  • Walk-in checkouts may be made for up to 48 hours. Only one walk-in checkout can be processed at a time.
  • Reservation checkouts will take priority over walk-ins.
  • 24 hours notice is required to create, modify or cancel a reservation. This is so the Equipment Center staff has time to properly prepare orders.
  • Reservation time is up to four days for all reservable equipment.https://reservation.newschool.edu/webcheckout/manual.pdf
• Please note that equipment must be returned on time.
  • The fines for late returns are $20/hour or $100/day fee. Your reservation access will be restricted until all outstanding fines are resolved. Please allow two business days for processing of fine payments.
  • Not showing for your reservation results in $40 fee per incident.
    Your reservation access will be restricted until all outstanding fines are resolved. Please allow two business days for processing of fine payments.

Laptop Reservation for Students
Students can check out a laptop from the Innovation Center at 6 E. 16th St., rm 606. They can not be taken out for more than four hours and must be returned the same day to avoid paying a hefty fee. For more information, please see: http://www.newschool.edu/information-technology/technology-labs/laptop-reservations/

 

Printing Facilities

There are a number of locations across the New School campus that you and your students can output digital files. The Information technology page on printing facilities, policies and tips can be found here. Here is a list of New School print locations as of Spring 2016.

Printer Format	Available Locations
Standard Color Printers	●      55 West 13th St. floors 3,4, and 8. ●      6 East 16th St., 6th floor ●      63 5th Ave. 4th floor, 5th floor and Basement room UL106
Pro Color Printers	●      6 East 16th St, rm. D707 ●      25 East 13th St, 2nd and 3rd floors ●      63 Fifth Ave., U432 and Basement room UL106
Plotters	●      55 West 13th Street 8th floors ●      6 East 16th St, rm. D707 ●      25 East 13th St, 2nd and 3rd floors ●      UCPC, 63 Fifth Ave., rm. U432
Large Format Photographic Plotter	●      UCPC, 63 Fifth Ave., rm. U432
Photographic Printers	●      6 E 16th St, rm. D605 and D703
Black and White Printers	●      6 East 16th St 7th & 11th flrs ●      25 East 13th St 2nd & 3rd flrs ●      66 Fifth Ave., basement rm. N005 and rm. N003 ●      55 West 13th St 8th, and 9th floors ●      63 Fifth Ave., U432, U6 LIB, and Basement room UL106

 

Online Learning: lynda.com   https://sites.google.com/a/newschool.edu/cueresources/resources/online-learning

The New School Libraries have purchased a site wide license that is available to all faculty and students at the New School.

An online learning platform with video tutorials in a number of disciplines: 3D, video, business, photography, web design, graphic design, and more.

 

To access content, first create a personal profile at:

http://wwwlyndacom.libproxy.newschool.edu/IPProgram/IPLogin.aspx?view=create

 

Adobe Tutoring for Students

The University Learning Center provides Adobe tutoring. They are located at 66 W. 12th St., 6th floor. Students can schedule appointments through their Starfish accounts. They can also try walking in.

All sessions last 30 minutes and students should bring their laptops. Additional information can be found here: http://www.newschool.edu/information-technology/blog.aspx?id=17179873148&blogid=6947

 

Computer Assistance for Students and Faculty

The IT Center is located downstairs from the Welcome Center at 72 5th Ave.

Information regarding hours and submitting request forms can be found here: http://www.newschool.edu/information-technology/help/

 

 

DESIGN ELEMENTS AND PRINCIPLES & DRAWING TERMINOLOGY to be discussed in class:

Line — Characterized by its linear existence and by its directional thrust, either expressed or implied

Shape (point, plane) — Characterized by the quality of silhouette, for example, curvilinear, rectilinear, angular, or amorphous

Mass — Characterized by extent of area, amount of size, space or volume

Texture — Characterized by tactile quality of surface, its roughness or smoothness, either actual or apparent

Value — Characterized by the degree of light reflectance, the degree of lightness or darkness

Hue — Characterized by its distinctive place in the spectrum

Saturation — Characterized by degree of pigment strength, or purity, the degree of dullness or intensity

The following principles are means to the end goal: Unity.


Limitation — Restriction of the range of diversity of elements and variables

Contrast/Balance — The play of opposing forces

Dominance — The resolution of conflict

Rhythm — Continuity and the ease of passage within a portion of or throughout the entirety of a presentation

Chiaroscuro — An Italian word designating the relative contrast of dark and light in a drawing, painting or print. Artists use chiaroscuro to create spatial depth and volumetric forms through slight gradations in the intensity of light and shadow.

Contour lines — The lines that define the edge between two shapes, whether negative or positive.

Form — A three-dimensional object or, in an artwork, the representation of a three-dimensional object, defined by contour, height, depth, and width.

Negative space — The empty space that surrounds and defines a form or shape in an artwork.

Positive space — The space that a form or shape occupies in an artwork.

Shading — A way of showing gradual changes in lightness or darkness in a drawing or painting. Shading helps make a picture look more three-dimensional. Techniques include blending, stippling, hatching, and cross-hatching.

Grading and Evaluation:

Grades and Comments will be recorded on CANVAS

Mid Semester Evaluations: Mid-semester evaluations are issued to help students improve performance and make progress. Although a grade may not be given, comments will indicate your standing on an average – below or above scale. It is imperative that you understand your evaluation and act on any suggestions or recommendations your instructor makes.

• Students’ ability to meet the course’s learning outcomes will be evaluated based on the following criteria:
• evidence of the ability to solve problems, both creative and technical;
• evidence of the understanding of the project assignments and course material;
• the correct use of materials and formats specified;
• quality of work as evidenced in in-class exercises, final projects, sketchbook exploration and the learning portfolio;
• participation in class and online;
• improvement in technical, creative, and problem solving abilities;
• attendance in class and the timely completion of projects.
• All projects are due at the beginning of class.
• Any project or assignment not turned in will receive a grade of “F”.
• Late work will be graded down one grade for every late class.

 

If you are absent and an assignment is due, it is your responsibility to get the assignment to me on time. If that is not possible, you will need to e-mail me to make other arrangements.

Your grade is determined by: Problem solving, both creative and technical, sketches/ research, design resolution, and participation in critique discussions will be considered in the final grade for each assignment.

End of term grades will be based on the average of the project grades, attendance record, homework and daybook, student’s participation, progress, growth and effort throughout the semester.

In order to receive a grade for this course, you must complete and hand in all the assigned projects, including a final project and all digital files, actively participate in classroom discussions and critiques and maintain a Sketchbook.

Consideration will be given to how much a student’s work has developed and how well that development demonstrates an understanding of the concepts of the course.

Lateness and absences will have a downward effect on your grade (and a sufficient amount will result in failure, as outlined earlier). Also, turning in an assignment late will lower your grade for that specific assignment.

ACADEMIC WARNING: Students who do not complete and submit assignments on time and to a satisfactory standard will BE AT RISK OF FAILING this class. It is a student’s responsibility to obtain missed assignment sheets from other classmates and to make-up the work in time for the next class. 


Final Grade Calculation:

Class Participation 50%

10% Attendance

10% Improvement/Participation

10% Quality/Presentation/In Class Assignments

10% Preparedness/Process Work/Digital Storage

10% Learning Portfolio Engagement

Projects: 50%

20% Long term Projects

10% Final Project

20% Sketchbook

100% TOTAL

Grade of Incomplete

The grade of I, or temporary incomplete, may be granted to a student under unusual and extenuating circumstances, such as when the student’s academic life is interrupted by a medical or personal emergency. This mark is not given automatically but only upon the student’s request and at the discretion of the instructor. A Request for Incomplete form must be completed and signed by student and instructor. The time allowed for completion of the work and removal of the “I” mark will be set by the instructor with the following limitations:

Undergraduate students:
Work must be completed no later than the seventh week of the following fall semester for spring or summer term incompletes and no later than the seventh week of the following spring semester for fall term incompletes. Grades of “I” not revised in the prescribed time will be recorded as a final grade of “WF” by the Office of the Registrar.

Grading Standards

 

Undergraduate

A student’s final grades and GPA are calculated using a 4.0 scale. Please note that while both are listed here, the 4.0 scale does not align mathematically with the numeric scale based on percentages of 100 points.

 

A  [4.0; 95 – 100%]

Work of exceptional quality, which often goes beyond the stated goals of the course

 

A- [3.7; 90 – <95%]

Work of very high quality

 

B+ [3.3; 87 – <90%]

Work of high quality that indicates higher than average abilities

 

B  [3.0; 83 – <87%]

Very good work that satisfies the goals of the course

 

B- [2.7; 80 – <83%]

Good work

 

C+ [2.3; 77 – <80%]

Above-average work

 

C  [2.0; 73 – <77%]

Average work that indicates an understanding of the course material; passable

Satisfactory completion of a course is considered to be a grade of C or higher.

 

C- [1.7; 70 – <73%]

Passing work but below good academic standing

 

D  [1.0; 60 – <70%]

Below-average work that indicates a student does not fully understand the assignments;

Probation level though passing for credit

 

F  [0.0; 0 – <60%]

Failure, no credit

 

Grade of W

The grade of W may be issued by the Office of the Registrar to a student who officially withdraws from a course within the applicable deadline. There is no academic penalty, but the grade will appear on the student transcript. A grade of W may also be issued by an instructor to a graduate student (except at Parsons and Mannes) who has not completed course requirements nor arranged for an Incomplete.

 

Grade of Z

The grade of Z is issued by an instructor to a student who has not attended or not completed all required work in a course but did not officially withdraw before the withdrawal deadline. It differs from an “F,” which would indicate that the student technically completed requirements but that the level of work did not qualify for a passing grade.

 

Grades of Incomplete

The grade of I, or temporary incomplete, may be granted to a student under unusual and extenuating circumstances, such as when the student’s academic life is interrupted by a medical or personal emergency. This mark is not given automatically but only upon the student’s request and at the discretion of the instructor. A Request for Incomplete form must be completed and signed by student and instructor. The time allowed for completion of the work and removal of the “I” mark will be set by the instructor with the following limitations:

 

Undergraduate students: Work must be completed no later than the seventh week of the following fall semester for spring or summer term incompletes and no later than the seventh week of the following spring semester for fall term incompletes. Grades of “I” not revised in the prescribed time will be recorded as a final grade of “F” by the Registrar’s Office.

 

About Attendance and Grading:

Your final grade will be calculated based on class participation (40% total) and projects (60% total). The following grade calculation demonstrates the need for your consistent attendance, and equally as important, your active engagement in each step of the learning process. Weekly attendance and participation will allow you to successfully complete course projects and to contribute to our learning community.

Attendance Policy:

Faculty members may fail any student who is absent for a significant portion of class time. A significant portion of class time is defined as three absences for classes that meet once per week and four absences for classes that meet two or more times per week. During intensive summer sessions a significant portion of class time is defined as two absences. Lateness or early departure from class may also translate into one full absence.

Class attendance is mandatory. There is no substitute for working and participating in class. The attendance policy applies to everyone. There are no exceptions. If a student fails a class due to attendance, he/she is no longer permitted to attend the class. Absences will impact your grade (see Grading). Students must return to class promptly after breaks. Undo tardiness following a given break will result in an absence. Leaving the class before it is over will be considered an absence.

Parsons’ attendance policy was developed to encourage students’ success in all aspects of their academic programs. Parsons promotes high levels of attendance because full participation is essential to the successful completion of course work, and enhances the quality of the educational experience for all. Students, therefore, are expected to attend classes regularly and promptly and in compliance with the standards stated in course syllabi. Faculty will make attendance standards clear, in writing, at the beginning of the semester. Students may be asked to withdraw from a course if their habitual absenteeism or tardiness has a negative impact on the class environment.

Students who must miss a class session should notify his or her instructor and arrange to make up any missed work as soon as possible. Students who anticipate a potentially lengthy absence must immediately inform the program Chair or Director and must explain the extenuating circumstances in writing. Students must receive advance approval for the absence in order to ensure successful completion of the course. A Leave of Absence or Withdrawal from Program will be recommended if the absence would compromise the student’s ability to meet course requirements and standards.

You will have a lot of in class time to work on assignments. Please take advantage of it!

Students are responsible for knowing the attendance policy and for keeping track of their individual attendance records.

THE FOLLOWING CAN ALSO BE COUNTED AS AN ABSENCE:

1. Coming to class without the required materials / completed project
2. Sleeping in class
3. Being asked to leave class because of disruptive behavior.
4. Doing work for other courses during class.
5. Using your mobile device for anything: including talking, texting, emailing or browsing
6. Using the web during class for non-class related purposes

Tardiness or leaving early – Two (2) tardies will be counted as one absence.

Class begins on the hour sharp. The door to the classroom will be closed at that time. Anyone walking in more than 5 minutes after the class has begun will be marked late. Over 20 minutes will be considered an absence.

All students are personally responsible for seeking information missed due to tardiness or absences. It is highly suggested that you trade contact numbers / emails with your classmates to make it easier to attain missed information and/or assignments.

Attendance and lateness are assessed as of the first day of classes. Students who register after a class has begun are responsible for any missed assignments and coursework. Students who must miss a class session should notify the instructor and arrange to make up any missed work as soon as possible. A student who anticipates an extended absence should immediately inform the faculty and his or her program advisor. Advance approval for an extended absence is required to ensure successful completion of the course. Withdrawal from the course may be recommended if the proposed absence would compromise a student’s ability to meet course objectives.

Attendance Guidelines:

Parsons’ attendance guidelines were developed to encourage students’ success in all aspects of their academic programs. Full participation is essential to the successful completion of coursework and enhances the quality of the educational experience for all, particularly in courses where group work is integral; thus, Parsons promotes high levels of attendance. Students are expected to attend classes regularly and promptly and in compliance with the standards stated in the course syllabus.

While attendance is just one aspect of active participation, absence from a significant portion of class time may prevent the successful attainment of course objectives. A significant portion of class time is generally defined as the equivalent of three weeks, or 20%, of class time. Lateness or early departure from class may be recorded by the instructor as one full absence. Students may be asked to withdraw from a course if habitual absenteeism or tardiness has a negative impact on the class environment.

Members of the faculty are expected to provide syllabi in which course objectives and assessment criteria are described, in writing, at the beginning of the term. The syllabus should also articulate how attendance is assessed with respect to active participation.

At Parsons, attendance and lateness are assessed as of the first day of classes. Students who register after a class has begun are responsible for any missed assignments and coursework. Students who must miss a class session should notify the instructor and arrange to make up any missed work as soon as possible. A student who anticipates an extended absence should immediately inform the faculty and his or her program advisor. Advance approval for an extended absence is required to ensure successful completion of the course. Withdrawal from the course may be recommended if the proposed absence would compromise a student’s ability to meet course objectives.

Finally, faculty are asked to notify the student’s advisor for any student who misses two consecutive class sessions without explanation or who otherwise miss a significant portion of class time. Following two absences, students may be asked to speak with their advisor to review any impediments to their successful performance in class and, if so, to provide confirmation to the faculty member that such a conversation took place.

Religious Absences and Equivalent Opportunity:

Pursuant to Section 224-a of the New York State Education Laws, any student who is absent from school because of his or her religious beliefs will be given an equivalent opportunity to register for classes or make up any examination, study, or work requirements which he or she may have missed because of such absence on any particular day or days. The student must inform the instructor at the beginning of the course of any anticipated absences due to religious observance.

Divisional, Department, Program and Class Policies:

Student Responsibilities:

E-mail Account: Students are required to check e-mail at least every two days.

Treat class time as a precious opportunity.

Abide by the Attendance and Integrity Policies.

Arrive to class on time, with all materials, ready to work steadily throughout the session.

Complete all assignments on time. No exceptions.

Cite all research, text, and image sources.

Class Critiques: You are REQUIRED to attend and participate. Critiques are a large part of the work of the course

and affect your participation grade. You will learn the most from other people’s opinions, successes and challenges. Be respectful of your fellow classmates. During critiques offer honest responses and accept other people’s responses, even if you disagree.

Bring your laptop / sketchbook to every class as well as well as digital media

Confront difficulties in your work in the spirit of learning, creative exploration and personal growth.

Ask for help from your instructors when needed.

Take advantage of all available support services including, advising, tutorials and workshops.

Disabilities: If you have any learning differences, physical disabilities, or chronic health issues, please register your history with the office of Student Disability Services. Your Academic Advisor can refer you. 13. Respect your fellow students at all times. Disruptive behavior is not tolerated.
14. No radios, players, or cellular phones are allowed in class.
15. No emailing/web surfing or texting or instant messaging unless it is for class.
16. NO SMOKING ANYWHERE IN THE BUILDING.
17. Food/Drink must be kept to a minimum and be sure to clean up after yourself.
18. Finally, please remember, this classroom is used by other classes. CLEAN UP after yourself.

Attitude:

A positive attitude is expected and appreciated. Your grades are a reflection of your efforts.

Participation:

You are expected and encouraged to participate in class discussions. Please respect everyone’s opinions and comments. Class participation is an essential part of class and includes: keeping up with reading, assignments, projects, contributing meaningfully to class discussions, active participation in group work, and coming to class regularly and on time.

Responsibility:

Students are responsible for all assignments, even if they are absent. Late assignments, failure to complete the assignments for class discussion and/or critique, and lack of preparedness for in-class discussions, presentations and/or critiques will jeopardize your successful completion of this course.

Safety and Cleanliness:

Please practice caution when using any materials containing hazardous or toxic substances. Each student will be responsible for certain assigned tasks throughout the semester. Please be respectful of others and keep your work area clean when you leave. Take proper care of equipment. Put all tools away in the proper place!

Canvas:

Use of Canvas may be an important resource for this class. Students should check it for announcements before coming to class each week.

Delays:

In rare instances, I may be delayed arriving to class. If I have not arrived by the time class is scheduled to start, you must wait a minimum of thirty minutes for my arrival. In the event that I will miss class entirely, a sign will be posted at the classroom indicating your assignment for the next class meeting.

Academic Integrity:

This is the university’s Statement on Academic Integrity: “Plagiarism and cheating of any kind in the course of academic work will not be tolerated. Academic honesty includes accurate use of quotations, as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas, or reporting on research findings or any aspect of the work of others (including that of instructors and other students). These standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essays, theses, computer work, art and design work, oral presentations, and other projects).”
It is the responsibility of students to learn the procedures specific to their discipline for correctly and appropriately differentiating their own work from that of others. Compromising your academic integrity may lead to serious consequences, including (but not limited to) one or more of the following: failure of the assignment, failure of the course, academic warning, disciplinary probation, suspension from the university, or dismissal from the university. Every student at Parsons signs an Academic Integrity Statement as a part of the registration process. Thus, you are held responsible for being familiar with, understanding, adhering to and upholding the spirit and standards of academic integrity as set forth by the Parsons Student Handbook.

Guidelines for Written Assignments:

Plagiarism is the use of another person’s words or ideas in any academic work using books, journals, internet postings, or other student papers without proper acknowledgment. For further information on proper acknowledgment and plagiarism, including expectations for paraphrasing source material and proper forms of citation in research and writing, students should consult the Chicago Manual of Style (cf. Turabian, 6th edition). The University Writing Center also provides useful on-line resources to help students understand and avoid plagiarism. See http://www.newschool.edu/university-learning-center/.
Students must receive prior permission from instructors to submit the same or substantially overlapping material for two different assignments. Submission of the same work for two assignments without the prior permission of instructors is plagiarism.

Guidelines for Studio Assignments:

Work from other visual sources may be imitated or incorporated into studio work if the fact of imitation or incorporation and the identity of the original source are properly acknowledged. There must be no intent to deceive; the work must make clear that it emulates or comments on the source as a source. Referencing a style or concept in otherwise original work does not constitute plagiarism. The originality of studio work that presents itself as “in the manner of” or as playing with “variations on” a particular source should be evaluated by the individual faculty member in the context of a critique.

Incorporating ready-made materials into studio work as in a collage, synthesized photograph or paste-up is not plagiarism in the educational context. In the commercial world, however, such appropriation is prohibited by copyright laws and may result in legal consequences.

Student Disability Services:

In keeping with the University’s policy of providing equal access for students with disabilities, any student with a disability who needs academic accommodations is welcome to meet with me privately. All conversations will be kept confidential. Students requesting any accommodations will also need to meet with Jason Luchs in the office of Student Disability Services, who will conduct an intake, and if appropriate, provide an academic accommodation notification letter to you to bring to me. At that point I will review the letter with you and discuss these accommodations in relation to this course. Mr. Luchs’ office is located in 80 Fifth Avenue, Room 323 (3rd floor). His direct line is (212) 229-5626 x3135. You may also access more information through the University’s web site at

http://www.newschool.edu/student-disability-services/

Course Structure of Drawing/Imaging: Places and Things 
There is a three-part structure to this class over the course of a fifteen-week semester. PLEASE NOTE: ANYTHING IN THE ABOVE OUTLINE AND THE OVERALL SYLLABUS IS SUBJECT TO CHANGE. You will be notified via the blog, in class and by email.