Thursday, March 11, 2010

emulation project

When we return from spring break, you will be presenting your Influences & Sources paper to the class (Tuesday, March 30).

The next project (after working with the figure in class next week, March 16 and 18), will be a project in which you emulate one of the artists from your Influences & Sources paper.

Uta Barth Emulation by SkeenaalleyGirl on flickr

Emulation Project
Choose one artist to emulate from your Influences & Sources paper.
Emulate means to "match or surpass (a person or achievement), typically by imitation."

What I'd like you to do for this project is to get into the mind of the artist. Research him/her as much as you can--through reading, looking at videos, reading reviews of their work, looking at as much of their work as you can find. Imagine becoming that artist.

Create a drawing in which you almost embody that artist. Pretend to be them and to be making their choices. Work with a similar subject matter, theme, medium, scale, etc. Do not copy a pre-existing work, but make a new work as your chosen artist might make it.

We will work on this project in class April 6 and April 8. You will be expected to work on it outside of class between March 30 and April 6. Mid Program Review is April 1 so there will be no Art & Design classes that day. Critique will be April 15 (Advising Day is April 13, so no classes that day, either!).

Feel free to make an appointment with me during those times when we are not meeting due to the MPR and Advising if you'd like me to give you feedback on your drawing.

After this, there will be two more projects due during the semester, plus our end-of-the-year show in Gallery 209. Stay tuned for details!

myers-briggs type analysis

If you have not already done so, you need to create a blog post that reflects upon our work in class this past Tuesday (9 March 2010), taking the Myers-Briggs personality test/type indicator. Do this by next Tuesday (16 March 2010).

Write a minimum of two paragraphs that address the following questions. If you've already blogged about the experience, add to your post or create a new one in which you answer any of these questions you may not have addressed.

  1. Name and describe your type.
  2. Read your type's description and write what you find especially true to yourself within that description and what you find only partially, or not at all, descriptive of you.
  3. How do the strengths of your type influence the work you do as an artist/designer, especially as related to Drawing III this semester? What weaknesses of your type do you need to remain aware of in order to overcome them when needed?
  4. How may your type affect the choices you make in regard to subject matter?
  5. What are the strengths and weaknesses of your type in a group setting such as critique? What does your type have to offer the class in a critique setting? What weaknesses need to be addressed in order for you to be a successful participant in critique? (Remember, participation during critiques makes up a part of your grade. If you are not participating to your fullest potential, this will be reflected in your grade. If you need to participate through writing and commenting on blogs, you need to take the initiative to do so.)

influences and sources

one of my artistic influences: Kathe Kollwitz (1867-1945), Woman with her Dead Child (1903)

Influences & Sources:
Research and write a paper that explores, discovers, and finds connections between the artists and ideas that drive your work as an artist/designer. This is primarily a discovery paper that uses source material to aid in that process. Sources should be noted.

This paper should be 8 - 10 pages, double-spaced. You will present the paper during class on March 30. Plan to present for 4 minutes with 1 minute for questions and answers. The presentation should include visual sources, especially for artistic influences, but visuals will be helpful for the other influences and sources as well.

Before writing, read the chapter titled "Writing" in Deborah Hayne's Art Lessons.

Write about each of the following influences and sources:

I. Artistic Influences & Sources
Out of many artists you have studied or seen, which ones truly resonate with you and your aesthetic sensibilities? What about them and their work do you find compelling? What does their work offer you; how does your work differ?

II. Influences & Sources from outside the art world
These influences and sources should include other areas of study and thought that give insight into what you make and who you are as an artist? What do you care about beyond your art-making practice? What fascinates you? What have others written that connect with your work? Examples include science, music, literature, popular culture, film, etc.

III. Personal Influences & Sources
This does not mean "personal" as in private, but rather "personal" as defined as "of, affecting, or belonging to a particular person rather than to anyone else." What in your experience as a unique person has affected or might affect your work as an artist/designer? Examples may include or be similar to (or vary broadly from) such topics as childhood experiences/stories, family interactions, siblings, place you've lived, institutions you were/are a part of, places you've traveled, etc.

As an example, see my paper here.
My paper is missing its sources; I apologize. I link to it here not to give you a blue print for what your paper should be, but to give you an idea of the quality of writing I'm expecting. This paper should be thoughtful and thorough. It should aim to make connections between each of the three areas of influence. It will serve as a reference for the rest of the semester as you make more work and we engage in more critique sessions.

Friday, January 29, 2010

ordinary/extraordinary (first assignment, spring 2010)

Drawing III

For Thursday, January 28:
1) Have drawing supplies (for first assignment: Ordinary/Extraordinary) and books
2) Email me with your name, your blog’s title and url. Use “Drawing III” as subject line, depending upon which section you are in.
3) Bring source material first drawing assignment: Ordinary/Extraordinary.

For Tuesday, February 2:
1) Read Preface and Chapters 1 - 3 of Art Lessons
2) Post an introductory blog post: who are you? Why are you taking Drawing III? What is your concentration? How do you envision Drawing III helping you on your path to become a professional artist/designer? (Minimum two paragraphs and two images).
3) Post a summary of your reading from Art Lessons on your blog (minimum 2 paragraphs). What did you find interesting in this reading? What did you agree or disagree with? Who and what did you learn about or hear of for the first time? Relate something from the reading to an experience you have had. Feel free to add image/s.

First Drawing Assignment:


It is a common goal of artists to represent (literally re-present) the ordinary in such a way that they and their viewers find new beauty, interest, or knowledge in something that is usually overlooked. The ability to do this provides artists with never-ending subject matter and a skill for finding importance in what others dismiss.

The assignment is to take an everyday path (a route that is routine), to see the usual in a new way, to discover what was there all along.
1) Begin by taking 100 digital photos of things/spaces/environments that you pass by frequently. These photos can be taken at one point along the route, or at several points. We are not necessarily after a “timeline” in the final drawing.
2) Shoot with the elements/principles of design in mind (look for interesting compositions) but with some randomness built-in (for example, shoot 7 – 8 images looking through the viewfinder, than 2 – 3 not looking). Think of ways you can use your camera to help you see the usual in an unusual way: focus/depth-of-field/shutter speed/lighting.
3) Bring these images to class on Tuesday, printed out as black and white prints on regular paper—at least 4” x 6” for each photo. Print out the most interesting 10 – 15 images.
4) Bring scissors, tape, glue stick, glue, or acrylic medium, charcoal (vine and compressed), eraser/s, drawing paper (your choice, but good quality such as Stonehenge), newsprint or cheap drawing paper.
5) Good drawing paper should be at least 30” x 40”.
6) You will also need a drawing board large enough to accommodate the large paper. Fleet Farm will cut masonite for you.
7) Also bring laptop with digital files to class, along with camera.

Your assignment is to use the source images you took to create a drawing that re-presents the subject you photographed. Show it to us in a new way—this can be done through abstraction, through high detail, through particular ways of using value, through mark-making, through layering, through cropping/composition, etc.

Ultimately, the drawing should be rich with mark-making, help us see a subject in a new light, and its form and content should feel as if they are working together (your visual choices match the concept of the drawing).

We will work on this drawing in-class
Thursday, Jan. 28
Tues., Feb. 2
Thurs, Feb. 4

Outside of class time spent on this should be 9 – 12 hours.

DUE: Tuesday, Feb 9/CRITIQUE

Syllabus, Spring 2010

Drawing III • Spring 2010
Applied Arts 303

ART 301-002
Tuesday/Thursday • 2:30 – 5:30 pm

Final Exam:
Friday, May 14, 4:00 - 5:50 pm

Amy Fichter
Associate Professor
Applied Arts 306B

Office hours:
Fridays, 11:00 am – 1:00 pm
& by appointment­­­­­
ext. 5335

Students must have completed Drawing I (ART 100) and Drawing II (ART 200) before participating in Drawing III (ART 300).

Course Description
In this course we will examine the nature of the drawing process and the nature of mark-making, and the language used by artists and viewers to decode or read drawings.

Over the course of the semester you will be asked to examine the process of making drawings rather than focusing on the final form.

At the same time, you are to take more responsibility for decision making in your work. In this class you will respond to project guidelines and think about your drawing as an extension of ideas. Students should use knowledge gained and apply it to the works that follow.

Each student will be required to make 6 major works. Each student is also required to work AT LEAST 3 (and up to 6) ­hours per week outside of class time.

Course Objectives
Through participation in Drawing III, you will:

• Advance and refine your drawing skills

• Explore a variety of drawing materials and scale

·  Build your knowledge base of artists who use drawing as a primary medium

·  Create a body of work based on your conceptual and visual concerns

·  Participate in the class exhibit in Gallery 209

• Communicate effectively about your drawing process through group and individual critiques and via blogging

Evaluations & Expectations
I expect you:

  • Be in class. Class time will be reserved for critiques (group/individual) and for drawing. Any research for drawing needs to be done outside of class. Being absent or not working on drawings during class will count against your final grade.
  • Finish all assigned drawings and projects.
  • Create a final body of work based on your conceptual and visual concerns.
  • Participate in the end-of-semester class exhibition (including installation and take-down).
  • Blog assignments/weekly reflections.

It’s important that you are in class—the class happens because all of you are here working together.
Let me know via e-mail if you can’t make it to class.
Rely on your classmates to show you drawings and notes you may have missed.
After 3 absences, your grade may be lowered.
After 7 absences, you may fail the class.

Grading Policy
• Your grade will be based primarily on your final e-portfolio in which you showcase your learning over the semester and best examples from the class. This e-portfolio will include all relevant drawings (ideation as well as final pieces) and blog reflections. This portfolio will consist of a blog summary with a link to a flickr or photobucket account that includes a larger set of images from the semester.

• A mid-term e-portfolio will be graded to give you an idea of your standing in the class at that point, but may be overridden by the quality of your final portfolio. In other words, the two grades will not be “averaged” for your final grade.

• Your grade will also be affected by such “subjective” qualities as these:
1. Are you present?
2. In mind as well as body?
3. Open to suggestions?
4. Helpful in class discussions?
5. Awake during lecture time?

It is part of my job—my responsibility—to give you a grade that lets you and other art “authorities” (other professors, employers, grad schools, gallery owners, etc.) know how your final portfolio and overall attitude during class measure up to given standards.

One useful way to think about grades is to consider them guides as to how other art professionals (besides me) would view your portfolio. How would a design firm see your work? A graduate school acceptance committee? Other professors in the Art & Design department? Gallery owners?

If I imagine I am an employer of designers, an A would mean you could start right away, a B would mean you might get hired if you get some more experience and refine your portfolio, a C would mean you are not ready for the job.

Likewise, if you are considering graduate school, an A would mean your work is of the quality that would get you accepted into a grad program, a B would indicate that you might get accepted if you worked on your portfolio some more, a C would mean you are not ready to apply for graduate studies (in Drawing/Life Drawing, anyway).

Save and document all your drawings from the semester.

Materials will vary by individual. The following materials represent possible choices for drawing surfaces/substrates and drawing media.

Each student will need some kind of digital camera for gathering source images.

Traditional and Non-traditional Drawing Surfaces & Substrates
Drawing papers (sheets or rolls)
Watercolor papers
Printmaking papers
Commercially tinted papers
Illustration boards
Prepared paper surfaces (gesso, blackboard spray, etc.)
Photographs and photocopies
Frosted mylar and acetate sheets
Canvas and other fabrics
Glass and Plexiglas
Acrylic medium sheets (handmade)
Raw and prepared wood
Wall surfaces and found surfaces

Traditional and Non-traditional Drawing Media
Graphite pencils
Graphite sticks
Graphite powder
Charcoal pencils
Carbon pencils
Vine charcoal
Compressed charcoal
Powdered charcoal
Conte crayon
Colored pencil
Colored pencil sticks
Chalk pastels
Chalk pastel pencils
Oil pastels
Ink wash
Ink pens
China markers
Litho pencils
Litho crayons
Acrylics/acrylic washes
Mixed Media
Oil paint washes
Coffee and tea washes
Dirt, mud, and clay
Smoke and/or soot
Photocopy toner
Body fluids

Additional Materials for Drawing and Related Processes
Erasers—Pink Pearl, kneaded, plastic, and tube erasers
Steel wool
Odorless solvents
Mineral spirits
Colorless blender
Metal sppon
Bone folder
Burnishing tools
Cotton fabric
Cotton balls
Drafting/masking tape
Scissors/x-acto knife
Gloves/safety glasses
Digital inkjet glossy photo paper
Acrylic gloss medium

Art Lessons: Meditations on the Creative Life by Deborah J. Haynes
Available at Instructional Resource Services

Art Education Artifacts
The course objectives of this course meet:
• Wisconsin Standard 1: The teacher understands the central concepts, tools of inquiry, and structures of the discipline(s) he or she teaches.
• UW Stout School of Education Domain 1a: Demonstrating knowledge of content and pedagogy.
• Wisconsin Standard 9: The teacher is a reflective practitioner.
Portfolio Artifact: best work as determined by student and professor
• Art education students will be required to reflect in writing on this artifact.
• Art education students will be required to upload papers and digital images of their studio works into their e-portfolios.