PARSONS The New School for Design
First Year Drawing/Imaging: People
Semester: Fall 2017
Course Code: PUFY 1030
CRN# 7966 / Section: B17
Class Time/Day of Week: 3:50pm-6:30pm Monday & Wednesday
Location: 2 west 13th room Room 701
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 understanding 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: People:
This course investigates PEOPLE and THE BODY through explorations of both the SELF and OTHER. Students are encouraged to research historical and contemporary notions of identity through both self-defined and pre-prescribed societal labels, through media depictions, culture specific references, class, power structures and gender roles, aiming to both challenge and understand the roots of stereotypes, clichés and the status quos. Individual explorations, cross- cultural exchange and collaboration are key in encouraging empathy, understanding and creating meaning through a visual representation structured in abstracted, representational and conceptual forms. How do our bodies define us? What is a relational body? Can it be a neutral symbol? When is it a loaded message? These and more questions will be addressed by this section, which looks to explore the singular and the collective through the lenses of communities, tribes, nations, and cultures. Students will work in a variety of media, utilizing both analogue and digital methods addressing design fundamentals and various drawing systems.
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
(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. 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.
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
Materials: In Class figure drawings (newsprint and charcoal), Photoshop (laptop computers)
Project #3 – The Figure in Motion (Drawing and Photoshop)
The existence of motion is intricately linked to the passing of time. A still image is a frozen moment in time, but if an artist wishes to convey the passage of time, that often means incorporating a sense of motion.
Using the quick studies created in the live ballet class and in-class gesture drawings and blind contour drawings, photograph and import your strongest drawings into Photoshop and use layers to create and manipulate the figure in motion. At least 10 drawings of the figure should be used.
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 (6), Basic Manipulations, scaling/rotating/cut copy paste, Layers: creating duplicating hiding showing. Manipulation of photography, Layer styles, layer masks.
Drawing Skill Sets: Gesture, Blind Contour, Line Quality, Basic structure and anatomy of the figure
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: Ballet class sketches (sketchbook, pens and pencils), In-class gesture drawings (charcoal and newsprint), 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 #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 the Highline 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)
Project #5 The Figure in Architectural Space (Digital Photos and Photoshop)
People and their environment are interdependent. The understanding of each draws meaning from the other. The intellectual, emotional, and aesthetic interpretations of an image are informed by extrinsic knowledge of people and places as much as the intrinsic aspects such as color, shape, or orientation.
Using Photoshop, create a mixed media collage using digital photos of the city and your surroundings, as well as figures. Focus on urban development, the city as an abstract resource, the figure in architectural space, the study of composition and positive and negative space. Also incorporate some of your on site cityscape sketches from the highline and figure drawings in the collage.
Skill Sets: Input/Output tool, Selection tool, Feathering, Layering of Masks, Blending Mode, Color Manipulation, Opacity
References/Artists: Edward Hopper, John Sloan and the Ashcan School, San Francisco Bay Area painters, Faith Ringgold.
Drawing and Observational Skill Sets: Organic vs. Manmade, Composition and Space
Materials: Digital Photos, Photoshop (Laptop computers), charcoal and pencil drawings
(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 #6 – 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 figure and space and objects 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?
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 #7 — Metamorphoses (Drawing)
Two separate images have two separate meanings. As the forms of one image changes, step by step, to the other, so too the meaning must follow. Does the meaning change at the same rate? Do the intermediary images have independent meaning? If altering an image must necessarily alter its meaning, an artist must carefully weigh the consequences of formal changes.
Choose two objects that are historically or socially significant in nature. One should be from life, one can be from a photograph. Represent one object on one side of the paper and one on the other side. Choose three steps in between to represent them transitioning from one object into another.
Drawing Skill Set: Recording three dimensional object into two dimensional space, Working from a photograph as visual source material, the relationship between visual and historical elements. Drawing in color and black and white.
Materials: White paper, charcoal, pencil, erasers, colored pastel sets
Project #8 Cubism project (Drawing in Color)
Representing the three dimensions of space (and one of time) within a two-dimensional image is challenging. The Renaissance created a standard that most artists shared for hundreds of years, a standard that was viewed as an improvement upon the many representations from the past. At the start of the 20th century, that standard was questioned. Is there a “best” way to represent the 3D world in a 2D image?
Thinking about 3 dimensional space and recording it on a 2 dimensional plane, choose a view of an architectural space and record it in a 360 degree viewpoint simultaneously.
References/Artists to Consider: Georges Braque, Pablo Picasso, Paul Cezanne, Juan Gris, Sonia Delaunay, Olive Ayhens, Alexander Calder
Materials: 18×24 brown paper, colored pastel set
MoMA visit on November 29th will include observations, lecture, and sketches of the cubist movement to inspire this project.
Project #9 – 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.
Accompanying the Visual portion of the final project will be a one page text about the piece (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 pasel 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. 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.
Near the end of November, there will be a sketchbook competition and exhibition.
Learning Portfolio:
For each of our nine 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.
You do not need to purchase duplicates
DO NOT substitute substandard materials and tools
Purchase materials as needed per project.
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
Laptop
Digital Storage For Backup Of Files
External Hard Drive — Suggested: LaCie 500GB Rugged Triple Interface, Google Drive Folder
Adobe Cloud installed
GHz quad-core processor
64-bit operating system: Mac OS X 10.7 or Microsoft Windows 7 Professional
8GBRAM
500 GB hard drive or flash storage
Graphics: GPU card with 1 GB of VRAM
Ethernet, wireless, and Bluetooth connectivity
Integrated HD webcam
Media card reader
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.
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.
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.
Latenesses 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
10% Preparedness/Process Work/Digital Storage
10% Learning Portfolio Engagement
Projects: 50%
10% In Class Projects
15% Longterm Projects
10% Final Project
15% Sketchbook
100% TOTAL
Grading Standards:
A [4.0; 96–100%] — Work of exceptional quality, which often goes beyond the stated goals of the course
A- [3.7; 91 –95%] — Work of very high quality
B+ [3.3; 86–90%] — Work of high quality that indicates substantially higher than average abilities
B [3.0; 81–85%] — Very good work that satisfies the goals of the course
B- [2.7; 76–80%] — Good work
C+ [2.3; 71–75%] — Above-average work
C [2.0; 66–70%] — 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; 61–65%] — Passing work but below good academic standing
D [1.0; 46–60%] — Below-average work that indicates a student does not fully understand the assignments; Probation level though passing for credit
F [0.0; 0–45%] — Failure, no credit
Grade of W
The grade of W will be assigned by the Registrar’s Office 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’s transcript.
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.
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.
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:
Coming to class without the required materials / completed project
Sleeping in class
Being asked to leave class because of disruptive behavior.
Doing work for other courses during class.
Using your mobile device for anything: including talking, texting, emailing or browsing
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, 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: People
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.
