COMPOSITION

Composition is the arrangement of elements within the rectangle. At its most basic, the rectangle must be considered in a vertical format (a statement) or a horizontal format (a story.) We can begin by thinking of the square/ rectangle as having certain inherent energy zones- the center and four corners. Deciding how these are activated is the function of composition. It is created to move the viewer in and around the image, create interesting balance and harmony. When beginning to layout a compositional idea, it is important to consider the big shapes that make up the internal skeleton of the drawing (both positive and negative space.) Some ideas to consider:

Distribution- filled vs. un-filled

Balance- interesting tension of differences not 50/ 50 equality

Diagonals- lines of of movement, fast

Verticals or Horizontals- lines of stasis, slow

It is useful to re- look at something familiar to help us make sense of Composition. Below is a world map. Considering it as Positive and Negative Space (land and water, respectively) allows us to see the integral nature of the two. It also lets us consider the tectonics of shape and how they inter relate.

Below we will see examples of how artists use composition.

The Raft Of Medusa- Gericault. The composition has strong diagonals, pointers, and geometric shapes (specifically multiple triangles.) On the right, the grouping of figures form a triangle shape mirrored by the rigging and sail of the left. On the apex of the right triangle we find the focus or destination of the composition (further emphasized with the figure having the high value contrast.) Beyond the architectural layout, notice the organization of lights and darks, how these move you through the composition.

The Assumption of the Blessed Virgin- Titian. This composition reinforces the concept of the painting, The Virgin Mary's ascension to Heaven. To assist the story, Titian used a specific red to sequence the viewers gaze. Follow the red on robes of the men at the bottom, as it appears again higher in the Virgin's robe, as it reappears in the robes of God above.

The Rape of the Daughter of Leucippus by Peter Paule Rubens. In this example we can see the strong vertical lines (parallels) in the arms and horses legs. We see diagonals running through the hands, body, horse's feet in both directions. Finally there is the arc of movement or swing lines, follow the arc as it traces from the figure's head (angel) at left as it comes around to the head of the lower women at right. All the heads of the figures rest along this arc.

Another classic example of Rubens using diagonals, pointers, and light dark orchestration. All the diagonal spears point to the focal area (lion's bite) it is almost a wheel hub with spooks. Notice how certain edges of form rest on compositional diagonals.

A classic example of a zig zag progression through the artwork in this case a print byHiroshage.

A Degas pastel in which the clear use of diagonals to leads us around the drawing through one dancer to another.

Here we see Degas using repetition of shape. Each dancer makes a circle-ish (maybe a hexagon) shape with their arms, legs, skirts and even the negative space between two dancers.

Degas was heavily influenced by prints from the the far East, and in this example displays a unique use of balance. The composition is heavily loaded on the left side with and equally interesting weight of emptiness on the right. He further enhances the composition with diagonals and scale of shape (horse and rider.)

Jose Clemente Orozco's study for his Prometheus mural. Here we can see the skeleton of the drawing and more importantly how he organizes his composition. His goal is to make sure the eye visits all portions of the design and aligns certain elements to direct those movements. He sets this up first by laying out diagonals connecting different edges of his work surface. At its basic he draws a line between opposite corners and through the half way points of both vertical and horizontal edges (this is sometimes referred to as the British Flag layout). He goes much further and subdivides. Eventually he begins his drawing and uses these lines as guidelines as to where to place elements, rest limbs, etc. Below is the finished mural.

Here is an example of a Diego Rivera mural in which we can see symmetry worked into the composition. Each side reflects basic positioning and shapes of the other creating a parallel.

A silhouette by Kara Walker again showing the symmetrical approach.

SHAPE and CONSTRUCTION

In order to begin drawing more complex subjects, it is necessary to 'break down' the multiple shapes within form. It is this unique combination of multiple 2- Dimensional shapes that begin to approach an understanding of 3- Dimensional form. Think the relation ship of a square (1 shape) to a cube (combination of a square and several rhombi.) This applies to to all objects whether it is a toy car or a figure. A good way to think about this is as drawing the 'skeleton' of an object- what shapes create the planes? what forms interlock for complexity? what are the major basic forms I see within its structure? It is important to move away from solely focusing on an outline or perimeter line (which stresses flatness) and start building outward with shapes (which implies volume.)

Below are some student examples that show a good understanding of the interior form of the subject.

LINE

The Moving Dot..... The basest form in drawing is the line. Line quality- the variety of weight and thickness of the mark-

-Pressure

-Speed

-Motion/ Direction

-Accumulations/ Interconnections

Line can be used to symbolize:

-Outer Edges

-Plane meets Plane

-Color meets Color

-Tone meets Tone

-Explain Shape

-Contour

-Guidelines

In the example by Alberto Giacometti, a searching

line is evident. Giacometti creates guidelines to locate his subject in space, each time refining or re-drawing lines (accumulation). There is also an apparent speed to his mark making, similar to the quick movements of an eye tracing a subject, as he create relationships.

In the next example, a Self -Portrait by Leonardo DaVinci, line is used very deliberately to create shape and movement in the beard. Notice how these darker lines curve back and forth up to the area of interest- the feartures (eyes). Also note where he allows to line to disappear indicating space and planes receding.

In the leaf example of Ellsworth Kelly, line is used in its bearest form to show the outer edges of an object. Kelly, using a delicate minimal approach, uses a slightly darker line to indicate the front edge of the leaf and a lighter one for the further. Also notice the specificity of the line as it describes the contour shape of the leaf.

In the Van Gogh landscape example, the artists large vocabulary of mark is apparent. Van Gogh used a variety of mark for the all different aspects of his composition, some short, some long, some dark etc. Take note of the foreground field, here he employs cross- contour, undulating marks indicating the surface topography of the field.

In the torso example of Antonio Lopez Garcia, we can see how the artist used line to organize the portions, symetry, and contour. Notice how the line is heavier along the trunk yet dissapates as it moves to the legs and shoulders. It is this variation of line that allows a form to be made on a 2-D surface.

Here in the Student example, Cross- Contour is clearly conveyed in the Shell drawing. The lines seek to describe to surface bumps and depressions of the shell, through directional adjustments and thickness of line.

Student Example

SYLLABUS

Foundation Program, Department of Core Studies

Parsons The New School for Design

Spring Semester 2013

Drawing Studio 1 – 2862- PUFN 1040- A1

Thursday 3:50- 9:30pm, 2 W. 13^th St, RM 704

Term Jan. 31- May 16 2013

Kenneth Millington

millingk@newschool.edu

“Parsons focuses on creating engaged citizens and outstanding artists, designers, scholars and business leaders through a design-based professional and liberal education. Parsons students learn to rise to the challenges of living, working and creative decision making in a world where human experience is increasingly designed. The school embraces curricular innovation, pioneering uses of technology, collaborative methods and global perspectives on the future of design.”

Mission Statement, Parsons the New School for Design

Course Description This is a perceptual and analytic drawing course. The goal is to develop coordination of eye, hand, and mind, and the use of drawing as a tool for thinking critically and creatively through the process of art and design. Drawing is taught as a means for figuring out solutions to problems, and communicating ideas visually and clearly. The fall semester concentrates on the use of Line, Value, and their applications in an way. Homework for this class should not exceed one hour per week.

What is the future of drawing relative to design and art education? The New Drawing Studio course has been developed in response to the reevaluation of the role of drawing to contemporary design and art students. Drawing Studio relates drawing practice to three cognitive processes involved in critical and creative though: PERCEPTION, ANALYSIS and IMAGINATION/IDEATION. Traditional and non-traditional drawing skills are taught throughout the semester, according to their relevance in support with each of these areas of focus, breaking, in this way, an otherwise linear sequence. Drawing is conceived as a tool and process, which facilitates access to thought and imagination.

Learning Outcomes

1. Development of students’ perception of visual components and their interrelation in both the physical and the pictorial realm

2. Incorporation of research with a critical and creative mind.

3. Achievement of clarity and strength of representation by cultivating the coordination of the eye, mind and the hand.

4. Freshness of vision in student work.

5. Use of drawing as a way to move an idea from one medium to another, from two to three dimensions and back again, or from concept to realization.

6. Conceptualization of form and space and how this pertains to the depiction in two dimensions, in three dimensions, and in time.

7. Being articulate about their work, in both written and verbal forms.

8. Creativity in the utilization of traditional (such as graphite) and non-traditional (such as digital applications) tools and media.

9. Use of drawing in all fields of art and design problem solving.

10. Successful and confident communication of ideas visually

Course Outline

Perception

Weeks I-5

“Learning to draw is really a matter of learning to see correctly, and that means a good deal more than merely looking with the eye. The sort of seeing I mean is an observation that utilizes as many of the five senses as can reach through the eye at one time.” Kimon Nicolaides, The Natural Way to Draw

“The meaning of an image is changed according to what one sees immediately beside it or what comes after it.” - John Berger

“When we open our eyes each morning, it is upon a world we have spent lifetime learning to see.” - Oliver Sacks

“We can see only what we know how to look for.” - Ulric Neisser “TO SEE IS...TO THINK.” - Salvador Dalí

The drawing experience is conceived, at this point, as a cognitive process of critical assessment of the subject matter as well as the representation through the use drawing. The concept of visualizing three-dimensional reality into a two dimensional organization is discussed, demonstrated and practiced. Students begin exploring the elements and principles of design and composition in two dimensions, in the context of the perceptual experience and representation.

WEEK 1 Thursday 1/31

Part 1:

Materials: Charcoal (compressed, vine), Newsprint Pad (18”X24”), Drawing Pad (18 X 24) white eraser, kneaded eraser, pencil, sketchbook Introduction to course, syllabus, and review materials.

Drawing from Still

·       Life Line Chart, Blind Contour, Contour, Cross- Contour Line weight Perimeter Volume

Part 2:

Materials: Charcoal (compressed, vine), Newsprint Pad (18”X24”), white eraser, kneaded eraser, pencil, sketchbook

Drawing from Still Life focusing on the composite shapes of objects.

·       Shape, Scale, Proportion Guidelines

Part 3:

Composition

Tape Project- Students will tape out the composition lines of a projected Old Master Painting.

Students will make nine compositions from a large Still Life arrangement.

·       Picture Plane, Line, Shape

HW- One 18 X 24" Drawing of an object, a line draw as a continuous contour. (Place the drawing tool down on the paper and it must maintain continuous contact until the drawing is completed. DO NOT PICK IT UP OFF THE PAPER!!!!) Think about Line Quality- weight, thickness, etc.

WEEK 2 Thursday 2/7 

Part 1:

Materials: Charcoals, Newsprint, Drawing Paper, White & kneaded eraser, pencil, sketchbook, Drafting tape.

Negative and Positive Space Drawing- Looking at a chair arrangement with a solid color backdrop, students will draw the negative shapes (colored) around the chair leaving the silhouette of a chair.

·       Shape, Positive and negative Space, Composition

Still Life of Chairs- Students will scribble over whole paper and then proceed to scribble/draw out chairs. Students will then attempt same approach with eraser lines to show positive space.

·       Void and Mass, Space and Volume, Empty and Full, Black and White, Shape

Part2:

Materials: Charcoal (compressed, vine), Newsprint Pad (18”X24”), Drawing Pad (18”X24”), white eraser, Chamois Cloth, kneaded eraser, pencil, sketchbook Value Graduations

Students will make value drawing of an all white still life.

·       Value, Shape, Composition

·        

HW- Students will make a reductive drawing using the eraser on paper toned with vine charcoal. Students will choose and object and place it in direct light to enhance shadows.

(11 X 14)

WEEK 3 Thursday 2/14 (Possible Reschedule to Sunday)

Materials: Drawing Paper (18 X 24 in), white eraser, kneaded eraser, PENCIL, sketchbook. Dinosaur Skeleton Drawings- The American Museum of Natural History Students will make on- site drawings of the skeletons.

·       Line Variation, Positive and Negative Space, Composition, Placement of Forms in Space pictorially using line, Capturing the action of the subject

HW- Students will finish Dinosaur Drawings

WEEK 4 Thursday 2/21 (MODEL)  

Materials: Charcoal (compressed, vine), Newsprint Pad (18”X24”), white eraser, Chamois Cloth, kneaded eraser, pencil, sketchbook

Introduction to Figure Drawing, Short and Long pose. 3 Major Masses.

·       Value, Line, Depth, Positive and Negative Space, Figure Ground, Capturing the Action of the Subject, Proportion

HW- Cast Drawing- The Metropolitan Museum of Art Students will make full drawings of the figure sculptures at the MET (18 X 24in). This is to be completed the following homework.

WEEK 5 Thursday 2/28 (MODEL)

Part 1:

Materials: Charcoal (compressed, vine), Newsprint Pad (18”X24”), Drawing pad (18 x24) white eraser, kneaded eraser, pencil, sketchbook Gesture Drawing- Dynamic Figure with Cord Students will make short drawings of the model focusing on capturing the pose with gesture or contour.

·       Line, Scribbling, Capturing the Action of the Subject, Shape

Part 2:

Drawing of the Figure

Students will draw Facial Features from Observation. Students will look for angles, construction, and guidelines.

·       Line Weight, Placement of ‘forms in space’ pictorially using line, Attention to the use of the page, Composition, Scale Proportion, Shape

HW- Complete the Cast Drawing from the MET

ANALYSIS AND CONVENTION           

Weeks 6 - 10

“All pictorial form begins with the point that sets itself in motion...the point moves...and the line comes into being – the first dimension. If the line shifts to

form a plane, we obtain a two dimensional element. In the movement from plane to spaces, the clash of planes gives rise to a (three-dimensional) body...a summary of the kinetic energies which move the point into a line, the line into a plane, and the plane into a spatial dimension.” Paul Klee The Thinking Eye

In the previous section of the course, students learned to conceive three-dimensional reality into a two dimensional pictorial space, resulting in drawings that should be mostly about interconnected shapes and their relationships within the picture plane. In this section, drawing is about engaging the mind in the process of figuring out three- dimensional form and spatial relationships, and the possible ways to represent them. Students will build upon their perceptual skills, and develop and add an analytical thinking layer to further develop the illusion of space and volume in the drawing

WEEK 6 Thursday 3/7 

Materials: Drawing Paper, white eraser, kneaded eraser, pencil, sketchbook, ruler, Protractor Perspective Drawing Conventions  and Value Scale

Part 1: Drawing an object using a Value Scale

Part 2: Introduction to 1,2 and 3 point perspective (viewer based)

·       Construction of planes and volumes in relation to horizon line and vanishing points, construction of ellipses, Interfacing the knowledge and experience of visual perception and the elements and principles perspective drawing convention

 Drawing of an Interior with arrangement of boxes.

WEEK 7 Thursday 3/14

Materials: Drawing Paper, white eraser, kneaded eraser, pencil, Ebony Pencil, sketchbook Perspective Exterior Students will go to a pre- selected (TBA) and make gesture and a long drawing of the space.

·       Construction of planes and volumes in relation to horizon line and vanishing points, construction of ellipses, Sustained drawing of a complex Interior/ Exterior, Interfacing the knowledge and experience of visual perception and the elements and principles perspective drawing convention

HW- Student will image capture a scene from a chosen movie, print at good resolution and size to create a drawing next class.

WEEK 8 Thursday 3/21

Materials: Drawing Paper, white eraser, kneaded eraser, pencil, Ebony Pencil, sketchbook.

Students will bring in research images and inspirations for a cinematic architectural space study. Using these references students will create a floor plan and a perspective drawing of the architectural space chosen from the movie scene.

·       Construction of planes and volumes in relation to horizon line and vanishing points, construction of ellipses, Sustained drawing of a complex Interior/ Exterior, Interfacing the knowledge and experience of visual perception and the elements and principles perspective drawing convention, Line Weight, Placement of ‘forms in Space’ pictorially using line

HW- Students will finish the Cinematic Space drawing.

**********SPRING BREAK- 3/25- 3/31- NO CLASS*************

WEEK 9 Thursday 4/4 (MALE MODEL second half)

Part 1:

Materials: Charcoal (compressed, vine, conte, Charcoal Pencil), Newsprint Pad (18”X24”), Drawing Paper (18 X 24in.), Chamois Cloth, white eraser, kneaded eraser, pencil, sketchbook, Sanguine and white conte, Toned Paper,

Introduction to Anatomy

Students will draw from Skeleton

·       Cage and Pelvis -Introduction to Anatomy: Foundations of the human structure -Description the major masses of the figure: head, rib cage, and pelvis, Conventions of the Human Figure, in art history, and in design; Value, Line

Part 2:

“X-Ray Drawing”

Students will draw Split Anatomical Torso drawing half Skin/ half Musculature.

·       Objects and the figure, are inscribed into simple geometric forms or “blocks”.Actual form is achieved by a subtractive “carving” of the block, or additive construction in the case of complex objects and action poses of the figure. Introduction to Anatomy: Foundations of the human structure, Description the major masses of the figure: head, rib cage, and pelvis, Conventions of the Human Figure, in art history, and in design

HW- Students will complete “X-Ray Drawing” from resource materials provided.

WEEK 10 Thursday 4/11 (MODEL)

Part 1:

Materials: Charcoal (compressed, vine), Drawing Paper, white eraser, kneaded eraser, pencil, Graphite Powder, Chamois Cloth, sketchbook,

Students will draw from skull and model head.

·       Objects and the figure, are inscribed into simple geometric forms or “blocks”, Actual form is achieved by a subtractive “carving” of the block, or additive construction in the case of complex objects and action poses of the figure. Introduction to Anatomy: Foundations of the human structure

·       Description the major masses of the figure: head, rib cage, and pelvis, Conventions of the Human Figure, in art history, and in design

Part 2:

Continuation

·       Objects and the figure, are inscribed into simple geometric forms or “blocks”, Actual form is achieved by a subtractive “carving” of the block, or additive construction in the case of complex objects and action poses of the figure. Introduction to Anatomy: Foundations of the human structure

·       Description the major masses of the figure: head, rib cage, and pelvis, Conventions of the Human Figure, in art history, and in design

HW- Students will print out chosen Old Master painting to copy and make value studies. 

IMAGINATION           

Week 11-15

“To imagine is to form a mental image of something not present to the senses. Imagination therefore refers to the power of reproducing images stored in memory under the suggestion of associated images – reproductive imagination – or of recombining former experiences in the creation of new images directed at specific goal or aiding in the solution of problems – creative imagination. We use our creative imagination in design to visualize possibilities, make plans for the future, and speculate on the consequences of our actions. We draw in order to capture and make visible these conceptions that do not yet exist except in the mind’s eye.”

From a page with fragments of drawing studies by Leonardo da Vinci

So far students have developed the skills, sensibilities and competencies that allow them to objectively view, analyze, and represent three-dimensional reality through the practice of drawing. Now they are equipped to apply this knowledge into the realm of the imagination. In this open-ended exercise students will work with the instructor and propose their own individual project program and work plan. This is the first opportunity to apply their knowledge of drawing practice and conventions, in a more creative manner.

WEEK 11 Thursday 4/18

Materials: Charcoal (compressed, vine, conte), Paper (4 X 5 ft), white eraser, Chamois Cloth, kneaded eraser.

Self- Portrait in an Old Master painting. Appropriation and Pyschology.

HW- Students will continue drawing.

WEEK 12 Thursday 4/25

Materials: Charcoal (compressed, vine, conte), Paper (4 X 5 ft), white eraser, Chamois Cloth, kneaded eraser.

Self- Portrait in an Old Master painting- continued

HW- Students will finish drawing.

WEEK 13 Thursday 5/2 (Model)

Materials: Charcoal (compressed, vine, conte), Newsprint Pad (18”X24”), Drawing pad (18 X 24) white eraser, Chamois Cloth, kneaded eraser, pencil, sketchbook, and materials needed for individual drawing.

Ideation Drawing of students own Concept from Sketchbook

HW- Continue Drawing

WEEK 14 Thursday 5/9

Materials: Charcoal (compressed, vine, conte), Drawing pad (18 X 24) white eraser, Chamois Cloth, kneaded eraser, pencil, and any materials specific to individual drawing.

Students will complete their Ideation drawing.

HW- Student will complete drawing.

WEEK 15 Thursday 5/16

-FINAL REVIEW-

I. SKETCHBOOK: The sketchbook is a repository for written and visual ideas that rings together the information from all the Foundation 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 commonalties and differences among the Foundation 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:

etc. refer

Visual and written materials: daily inspiration, thoughts, ideas, notes, handouts,

Personal observations: both written notes and drawn sketches Studio course assignments, handouts, objectives, etc.: resources and materials to

to in support of course work Idea sketches: rough sketches to brainstorm and formulate ideas for class work Research notes and reference images Notes from class lectures ongoing glossary of terms (terminology): to identify and discover the

commonalties and            differences in each of the visual disciplines Preparatory sketches for projects: drawing practice to support the development

of            finished compositions Doodles.. the drawings you do for your own pleasure, relaxation, meditation.

The sketchbook will be used during class. It will be reviewed by your studio instructors. There may be also occasions that the class will review work in the sketchbook.

FINAL REVIEW.

Students should be responsible for presenting all aspects of the project including working drawings from sketchbooks and other sources. This should be a critique in which students are asked to verbally express, in art and design terminology, their understanding of the projects and its goals to the entire class. Student’s feedback and critical commentary on the part of classmates should also take place. Teachers should facilitate not dominate the critique.

Course Requirements This course helps students think visually and translate thought into drawing. The drawing process is taught as a method of gathering and documenting information, as a means of figuring out ideas, and as a way of capturing perception, movement, and space.

The studio develops qualities of hand, eye, and mind coordination that enable students to conceptualize and to gain necessary skills to make ideas visible.

The first semester introduces the grammar and syntax of drawing, and establishes an approach, method and process. An exploration of both traditional and non-traditional drawing materials is a vital component of every project. This should include charcoal and graphite, and some digital applications. The first semester should also be an exploration of composition describing observed space, drawing from observation, incorporating both the figure and still life forms.

Students are required to maintain a Sketchbook. This is a document in support of their thinking process. It should include working sketches of ideas, studies as research and reference material, written ideas (personalized and researched), and project objectives and deadlines.

The critique is a significant component of this course. Critiques of each project will focus upon developing students’ critical and analytical abilities through discussion of the

objective issues and related terminology of each project. Final project critiques should include a formal presentation by each student. Reference should be made to the working process of a given concept, clearly differentiating between rough idea sketches and a finished drawing resolution.

Students should make use of the various resources available at the University, such as Gimbel and Fogelman Libraries, and New School Online University (NSOU) on the web, including the portal, Luna image bank among others.

Field Trips should be used as a means for research related to their work in the studio. In most instances, it must be an extension of the work in class, and not in addition to.

Resources and Readings Websites

Parsons’ Gimbel Library – picture collection(www.newschool.edu/library/gimbel/pcix) Metropolitan Museum of Art (www.metmuseum.org), Mid-Manhattan Picture Collection (www.nypl.org/branch/central_units/mm/pc/pic)

Libraries Gimbel

Fogelman

Museums Free entrance to MOMA, Pay-What-You-Wish entry to the Met and the Museum of Natural History

Bibliography:

Design Drawing by Frank Ching

The Science of Drawing by Martin Kemp

Perspective As Symbolic Form by Erwin Panofski

Perspective Drawing Handbook 2 by Joseph D’Amelio

Perspective Drawing Handbook (Dover Art Instruction) (Paperback)by Joseph D'Amelio Cognition and the Visual Arts by Robert L. Solso

The Treatise on Perspective edited by Lyle Massey Sacred Geometry by Robert Lawlor Toward a Psychology of Art by Rudolf Arnheim

The Image And The Eye by E.H. Gombrich

The Nude; A Study in Ideal Form by Kenneth Clark

Sacred Geometry; Philosophy and practice by Robert Lawlor

The Natural Way to Draw by Nicolaides

Techniques of The Observer; On Vision and Modernity in the 19th Century by Jonathan Crary

Afterimage: Drawing Through Process by Cornelia Butler

The Drawing Book Tania Kovats

Drawing , Bernard Chaet

Constructive Anatomy, George Bridgeman

Materials and Supplies Full Materials list is from Parsons kit. Additional supplies include:

Chamios Cloth

Vine Charcoal
Compressed Charcoal Black (Char kole brand by Alphacolor) and White Conte

Assorted drawing pencils (4H- 9B roughly)
Drawing paper of a higher quality (18 X 24”) could be a drawing pad or a Bristol Pad.

One Tone Sheet of drawing paper (18 X 24”)

Fixative 
Bull Dog Clips (2)

Drawing board (23 X 26in.)

$5 for class purchase of several rolls of Utretch Drawing paper.

Metrocard with 6 fares Museum entrance fees where applicable.

Student Responsibilities 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. Be prepared with all your required materials for every class. Complete all assignments on time. No exceptions. Cite all research, text, and image sources. Participate in all class discussions and critiques. Confront difficulties in your work in the spirit of learning, creative exploration and personal growth. Ask for help from your instructors when needed. Avail yourself 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 Tom McDonald in the office of Students Disabilities Services. Your Academic Advisor can refer you. Respect your fellow students at all times. Disruptive behavior is not tolerated. You are responsible for cleaning up after yourself at the end of each class. No radios, players, I-pods, beepers or cellular phones are allowed in class. NO SMOKING ANYWHERE IN THE BUILDING.

Attendance Policy

from Parsons Student Handbook 2006-07

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, particularly in courses where group work is integral. Students, therefore, are expected to attend classes regularly and promptly and in compliance with the standards stated in course syllabi.

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.

Lateness or early departure from class may also translate into one full absence. 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.

Absences

Absences from class 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.

Classes meeting 1 time per week: 3 absences are grounds for failure. 2 Tardies equal one absence.

Tardiness 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 after the door has closed (class has started) will be marked late. 5 minutes is considered tardy. Over 20 minutes is considered as an absence.

The following may also be counted as tardy: Coming to class without the required materials

Sleeping in class Being asked to leave class because of disruptive behavior. Doing other course work in class.

Grading: Students will be graded on Projects and Class Participation, Homework and Critique Participation.

Projects and Class Participation- 80% Homework (Reference Collection, Exercises)-15% Critique Participation- 5%

Grade Descriptions: from Parsons Student Handbook & Core Studies Departmental Guidelines A            4.0            Work of exceptional quality. 95-100% These are projects that go above and beyond the expectations and requirements described in the assignment. They demonstrate substantial effort and achievement in the areas of critical thinking, technique and presentation.

A- 3.7 90-94%

B+ 3.3 86-89%

B 3.0 83-85%

Work of very high quality. Work of high quality, higher than average abilities. Very good work that satisfies goals of course.

The “B” student offers a clear and convincing structure to a visual endeavor that is more complex and unique than a project at the average level. The creator’s point of view and point of the project are merged successfully and organized fairly consistently throughout the project. Although minor structural problems may be present in the assignment, they do not hinder the overall outcome.

B-            2.7 80-82%

C+            2.3 76-79%

Good work. Above Average work, Average understanding of course material.

C            2.0 73 -75% The student demonstrates an engagement with the assignment. The project will show that the creator can identify and work with key ideas and examples found in reference material. Typical of a “C” project is that the original problem or assignment once approached does not develop further. Projects may also have organizational, technical weaknesses.

C-            1.7            Passing work but below good academic standing. 70-72%

D            1.0            Below average work; does not fully understand the concepts of the course 60-70%

Although this is passable work, the project only answers the minimum requirements of

Average work; passable.

the assignment. The projects shows very little effort, is incomplete, late or incorrect in its approach. The outcome shows a lack of full understanding and commitment on the part of the creator.

F            0            Failure, no credit. 0-59%

Academic Integrity Statement Academic honesty, the duty of every member of an academic community to claim authorship of his or her own work and only for that work and to recognize the contributions of others accurately and completely, is fundamental to the integrity of intellectual debate and creative and academic pursuits. All members of the University community are expected to conduct themselves in accord with the standards of academic honesty. Students are responsible for knowing and making use of proper procedures for writing papers, presenting and performing their work, taking examinations, and doing research.

Instructors are equally responsible for informing students of their policies with respect to the limits within which students may collaborate with or seek help from others on specific assignments. Instructors are expected to educate students about the legal and ethical restrictions placed upon creative work and about the consequences of dishonesty in the professional world. At Parsons, all students are required to sign an Academic Integrity Statement declaring that they understand and agree to comply with this policy.

(From the University Policies Governing Student Conduct) “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). The standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essay theses, dissertations, computer work, art and design work, oral presentations and other projects).

The standards also include responsibility for meeting the requirements of particular courses of study.

The New School recognizes that the different nature of work across the divisions of the University may entail different procedures for citing sources and referring to the work of others. Particular academic procedures, however, are based in universal principles valid in all divisions of the New School and institutions of higher education in general.”

Please refer to the Parsons Student Handbook for the entire policy statement.

Evaluation

 1. Course Expectations In order to receive a grade for this course, you must complete all the assigned projects, including a final project, 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.

2.  Mid-semester Evaluations Mid-semester evaluations are issued to help students improve performance and make progress. Although a grade may not be given, the 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.