Site last updated: May 6, 2005

ART 212 DRAWING IV

MIXED MEDIA

SYLLABUS and STUDY GUIDE

Professor Dennis Navrat

Spring 2005

SYLLABUS

Course: ART 212 DRAWING 4: MIXED MEDIA

Class Meetings: TUESDAYS & THURSDAYS 09:30AM – 12:15PM, CFA 208

Offered:                          Spring 2005
Course Number:             -U015; 3CR
Prerequisite:              ART 211 Drawing III - Figurative

Instructor:            Dennis Navrat, Professor of Art
Office:             CFA 208A
Telephone:            605-677-5732
Email:             dnavrat@usd.edu

Internet: http://www.usd.edu/~dnavrat

OFFICE HOURS: MW 1:15-2:00 PM; Or by appointment - Phone, leave message, or email: dnavrat@usd.edu

COURSE DESCRIPTION

The course involves advanced exploration of composition through the use of multi-media.

MULTI-MEDIA DEFINITION

Mixed media is an open-ended term that includes an infinite variety of materials, processes, and techniques used in combination in a work of art. Any traditional drawing tools, materials, and substances (graphite, colored pencil, conté crayon, pastel, oil crayon, ink, etc.) may be incorporated in a mixed media artwork by traditional, nontraditional, or unconventional means involving 2D and 3D media. Visual media that could incorporate mixed media processes include ceramics, computer-generated imagery, photography, painting, papermaking, printmaking, and sculpture. Common mixed media processes include collage, construction, assemblage, embedment, shaping, and Xerography.

Combining media in one work, of course, is not a guarantee of success; the challenge is to make one image in which multiple materials and processes work in harmony.

PURPOSE

By tradition, the basis for understanding all visual art media has been drawing involving accurate perception, creative conceptualization, and informed practice. The primary concern of advanced students is to expand their ability to experience and to state their world in visual terms. The purpose of the course is to build upon the student’s understanding and ability with an expansive concept and approach to various media, processes, tools, materials and techniques.

This course promotes student understanding of the obstacles and options that confront them when combining drawing with other media. It provides understanding of visual communication by combining the factors underlying attentive vision (how-to-see) with the concerns of composing with mixed media, and by providing practice in the processes of mixed media drawing (how-to-do). It will help develop the student’s ability to translate the visual experience both objectively and subjectively.

SCOPE

The course explores the nature of perception, drawing, and imagination by way of demonstration, historical/contemporary example, mixed media practice, analysis, discussion, and evaluation.

GOALS AND OBJECTIVES

An eye for drawing is developed over time through experience with art processes and products. A study of drawing is a personal exploration in which attainable goals are the development of critical observation, awareness of visual drama, sensitivity to bold and subtle effects, critical analysis, and the meaningful expression and articulation of good ideas. Specific goals are a foundation in visual problem solving, the syntax of drawing language, and grounding in studio techniques requiring fine hand and eye coordination.

Course goals are:

1. To practice various aspects of visual perception relating to drawing from natural, manufactured, and imaginary objects.

2. To explore the elements and principles of composition as they apply to mixed media drawing involving multiple layering of processes.

3. To foster an appreciation of both dynamic and subtle aspects of mixed media drawing.

4. To encourage sensitive inquiry into what drawing refers to, the nature of mixed media drawing, how mixed media is created, and how to personally and effectively communicate using various media.

5. To enhance the student’s ability to objectively analyze both her/his drawings and the artworks of others, by developing awareness of reasons, methods, and standards for critical evaluation.

6. To develop a vocabulary of terminology relevant to understanding mixed media drawing, the nature of art, and the process of critical evaluation leading to valid visual criticism.

Course objectives:

1. To develop understanding and skill in mixed media drawing.

2. To develop skill in visual and verbal analysis of mixed media artworks.

3. To create quality artworks for a group exhibition scheduled April 28-May 9, 2005 at Sletvold Hall, W. H. Over Museum, Vermillion, SD.

TEXT

NO TEXT IS REQUIRED. Outside reading and Internet research is required.

It is strongly recommended that the student check out a variety of books from I.D. Weeks Library for continual reference to information and access to illustrative examples of material presented throughout the course.

RECOMMENDED READING

ARTSPEAK, by Robert Atkins. Abbeville Press, NY. 1997

ARTSPOKE, by Robert Atkins. Abbeville Press, NY. 1993

REFERENCES

Drawing: A Contemporary Approach, by Claudia Betti and Teel Sale. Holt, Rinehart, Winston, NY. 1986

The Art of Responsive Drawing, by Nathan Goldstein. Prentice-Hall. 1999 ISBN o-13-597931-5

Drawing on the Right Side of the Brain, by Betty Edwards. Houghton Mifflin. 1990 ISBN 0-87477-088-2

A Drawing Handbook, by Nathan Goldstein. Prentice-Hall, NJ. 1986

A Guide to Drawing, by Mendelowitz and Wakeham. Holt, Rinehart and Winston, NY. 1988

The Art of Drawing, by Bernard Chaet. Holt, Rinehart and Winston, NJ. 1978

The Art of Drawing: An Instructional Guide, by Philip Rawson. Prentice-Hall, NJ. 1984

The Challenge of Drawing: An Introduction, by Alexander Russo. Prentice-Hall, NJ. 1987

Drawing: Space, Form, Expression by Wayne Enstice and Melody Peters. Prentice-Hall, NJ. 1987

Drawing: A Studio Guide, by Lu Bro. W.W.Norton, NY. 1978

The Natural Way to Draw, by Kimon Nicolaides. Houghton Mifflin, Boston. 1941-present

Keys to Drawing, by Bert Dodson. North Light Books, Cincinnati. 1985

Vision and the Art of Drawing, by Howard S. Hoffman. Prentice-Hall, NJ. 1989

Serious Drawing: A Basic Manual, by Casey FitzSimmons. Prentice-Hall, NJ. 1989

A Foundation for Expressive Drawing, by E.J. Tomasch, Burgess Publishing Co., Mpls. 1969

Grammar of Drawing for Artists and Designers, by Colin Hayes. Reinhold, NY 1969

The Language of Drawing, by Edward Hill. Spectrum Books, NJ 1966

PORTFOLIOS

Each student is required to create and maintain a portfolio of each and all assignments throughout the semester. Any work in the portfolio may be re-worked or improved following a critique. This portfolio is the basis for the midterm grade and the final course grade, and will be submitted to the instructor for grading on specified dates.

MEASURES OF ACHIEVEMENT

At various intervals throughout the course, one or more mixed media drawings will be evaluated and graded by several criteria, including Technical Quality (craft, execution, presentation) and Aesthetic Quality (creativity, imagination, expression, historical and contemporary awareness, critical judgment). Criteria ratings on a range from “A” to “F” will be judged and designated for each of the two criteria for each mixed media drawing or series of works assigned. These quality judgments (grades) for each assignment and test will be numerically averaged at the end of the term to determine the final grade for the course for each student.

Work which misses a deadline may be unacceptable or otherwise downgraded.

Attendance, effort, and a positive learning attitude are expected of above-average students. The instructor judges a positive learning attitude based upon observations of the student's participation in discussions and critiques over a period of time.

Summary of Criteria for Final Course Grading

1. Quality of work and Depth of Understanding
Fine drawing is not only a faithful ability to reproduce on paper what you experience with your eyes, or the exact copying of forms you see through the processes of drawing, or drawing from imagination, but also how much you understand of the quality of expression witnessed through the analysis of products of drawing.

Craft, craftsmanship, or quality of execution of a mixed media drawing is relative to each assignment. Sensitivity and control are observable qualities in any artwork. Improvement of skill with various media and sincere care in the production and presentation of each artwork is expected of each student. A quality product implies a considerable investment of time to create.

2. Progressive improvement and growth throughout the semester.
The instructor is an artist who knows what it takes to create good mixed media artwork, who has strong feelings for the creative process and for students who try hard and deserve credit for their efforts; therefore, experiential differences among and between students will be considered in determining the final grade. Each student brings to class a different level of experience and understanding. Credit is apportioned for the growth each student demonstrates at the end of the semester beyond the level of ability observed at the beginning of the semester.

3. Responsible attitude and willingness to work.
Demonstration of an eagerness to learn and to practice skill building is observable in each class meeting. Students are expected to possess a positive learning attitude and a willingness to be challenged.

4. Participation in class discussions, critiques, and extra credit for attendance at art department activities, such as gallery exhibition opening receptions.
A willingness to overcome shyness and inertia, and to risk being right when speaking is essential to learning. A willingness to share thoughts and feelings with others is a major, positive factor in vital group experience. Students are expected to participate in all course activities.

5. Record of attendance and tardiness.
Incomplete learning occurs when classes are missed, therefore attendance is required. An instructor is blameless when you miss class and miss the points of instruction during any class session. I am very willing to clarify the points of instruction during and after class, but I cannot repeat entire classes or individually instruct any student beyond the classroom for excessive amounts of time.

6. Willingness to accept and use constructive criticism.
When artworks by all members of the class are displayed and discussed, a variety of observations and suggestions should be expected. The qualities of the artwork are first observed and noted, then other possibilities are envisioned and suggested. Be tolerant of the statements of others and open-minded to suggestions coming from the instructor or any class member. Try the good suggestions next time you work.

7. Willingness to challenge one’s concepts, abilities, or complacency.
“To grow is to change - to change is to risk what is - a willingness to let go of the status quo.” What you do well you should treasure, what you can do better you should try to improve eagerly. When you are aware of your own prejudices and overcome them you will not only become more successful but also much happier.

8. Performance on testing.
The course may include objective testing relating to mixed media drawing and art terminology.

GRADING SCALE

A = 94-100%: Consistently outstanding, superior, excellent work. Significant growth in skill development and demonstrated ability in understanding and effectively assimilating presented concepts. A final course grade of "A" requires successful completion of all course requirements and assignments.

B = 80-93%: Consistently good, above and better than average work. Demonstrated improvement and growth in skill development and concept assimilation. A final course grade of "B" requires successful completion of all course requirements and assignments.

C = 70-70%: Consistently adequate growth with average progress in skill development and concept assimilation. Meets minimum levels of acceptance in all grading criteria.

D = 60-69%: Below average, less than adequate improvement. Meets minimum levels of acceptance in some but not all grading criteria.

F = 0-59%: Unsatisfactory, unacceptable, insufficient improvement. Does not meet minimum levels of acceptance in any grading criteria.

ATTENDANCE POLICY

Incomplete understanding occurs when classes are not attended, therefore attendance is required for the entire three hours of each class session. One absence will be counted whenever a student accumulates three late arrivals/early departures. Attendance is recorded at the beginning of each class meeting (but instructors use their eyes all the time). A student with three unexcused absences will be penalized a letter grade at the end of the semester. Six or more absences and passing the course may be in jeopardy. Absences must be for serious reasons. Lack of preparation for class is not a valid excuse. Excessive absences or tardiness may result in being dropped from the course by the instructor (see following section).

Your presence and participation at each scheduled critique is very important. Absence from these critiques will be as detrimental to your final grade as missing a written mid-term or final examination in another course.

INSTRUCTOR INITIATED DROPS

(Refer to the USD Student Handbook)

SAFETY AND HAZARDS INSTRUCTION

At the beginning of the course, safety and hazards instruction will begin, and continue throughout the course, as appropriate. Common precautions such as avoiding inhalation of dust from drawing media and fixative sprays, and avoiding punctures and cuts while using sharp, pointed, or cutting tools will be emphasized. Each class session is fundamentally non-hazardous, and the use of non-toxic materials will be emphasized. A campus telephone is located outside the art office, CFA 179. The campus emergency telephone number is 911. Observe the location of the first aid kit in the classroom.

TEACHING PHILOSOPHY

In any of my courses, I employ interactive, participatory, teaching/learning techniques dating back to Socrates - learning through instruction, thinking, planning, questioning and doing. I promote a learning environment in which students are rewarded for thinking and doing (passivity is not rewarded).

I urge students to share their perceptions of the information and issues presented. I believe students must actively participate in the learning process in order to more fully experience and comprehend their own thought processes.

Thus, I encourage students to exercise a natural tendency to teach others. By encouraging (requiring) student participation, I believe both teacher and student learns even more about possibilities relating to the subject/assignment, and, in effect, masters that subject through repetition. (I repeatedly stress important information, not because I'm kind to the least motivated class member, but because surveys show that only about 10% of an audience is listening attentively at any moment). This process is logical and valid when exploring subjective, imaginative concepts and issues that constitute the study of art.

The learning environment is directed toward critical thinking relating to problem-solving. Some rote learning is required of the student in order to apply skills required for problem-solving. Written testing predominantly relates to art terminology (course glossary), and rote learning is necessary to master definitions leading to knowledge of the discipline.

By requiring students to study the good works of others, to conduct personal research, to critically analyze issues and concepts, to think for themselves, to create possibilities for themselves, and to critically evaluate their own results and the results of others - I actively guide students to meaningful realizations, skills, and abilities that may be successfully utilized in the future.

MATERIALS FEE / COST OF SUPPLIES

The materials fee for this course is $22.40. The fee is to be paid on the dates designated for payment of USD tuition and fees by the Business Office for semester enrollments. This fee must be paid at that time.

The fee covers specific, high quality, rag content drawing papers provided to students periodically throughout the semester. The fee must be paid in order to receive a grade for the course.

Additionally, each student is responsible for purchasing paper and course materials outlined on the supply list. The approximate cost of these items may range from $50 - $150, depending upon what you need for your projects. For individual monetary savings, the class may also order quality rag paper in quantity at an approximate cost to each student of $15. In addition to these costs, if a drawing model is hired for one or more class sessions, students will share the cost equally (whether present or absent from the modeling session), and money will be collected to cover the modeling fees.

MIXED MEDIA DRAWING SUPPLY LIST

Students must determine what they will need to purchase for the course based upon personal preferences for work in mixed media. Many of the following supplies may be necessary for this course. Recommended supplies are:

Any supplies for drawing, collage, and painting (watercolor and acrylic supplies recommended)

Sketch Pad or Design Book - 14" x 17" is recommended, but no smaller than 10" x 14"

100% Rag Content Drawing Paper, variety of colors and surfaces, usually size 22” x 30”

Kimberly Compressed Graphite sticks, one each: #982 (2B), #984 (4B), #986 (6B)

Graphite pencil, Faber Castelli - Ebony #6325

Charcoal Pencils, one each: HB, 4B or 6B

Conté Crayons, one each: Sanguine Natural, sepia, black

Pastel Stick: Rembrandt, white

Vine Charcoal, several sticks

Compressed Charcoal, 4B, 6B

Pentalic Woodless Pencils: HB, 2B, 4B, 6B

Blending stump (tortillon): Grumbacher #3

Chamois Skin – square, (about 5"x 8")

Kneaded Eraser

Pink Pearl Eraser, Eberhard-Faber

Artgum Eraser

Plastic Eraser, Kohinoor PT-20

Black India Ink, Higgin’s Waterproof, 1 fl. oz bottle

Pens: ballpoint, felttip (fine point), quill

Pen Holder, Hunt Speedball #9451, or similar

Pen Point, Hunt #512 Bowl Pointed, etc.

Bamboo Brush, #5, or similar

Twigs, ordinary, thin, pointed, about 3-5" long, an assortment found on the ground

Water containers (plastic margarine cups, or similar)

Adhesive Stick, UHU, for layouts

White Glue, Elmer's, or similar waterproof permanent adhesive

Spray Fixative, can

Compass (cheap type in range from $1.50-$5)

Pencil Pointer, pencil sharpener (hand-held, cheap type in range from $1- $3.00)

Steel Straightedge, 18" long or more

X-Acto Knife

Utility knife (with extendable, break-off blades), or similar cutter

Bulldog Clips, 1 pair, 2-1/2" wide

Illustration board, Mat board, white, gray, black, or neutral colors, 4 ply, approximately 32" x 40"

Foamcore board, white, 4 ply (same size as mat board, or 30" x 40")

Anything else you want for creation of your artwork

STUDIO SAFETY and HAZARDS INSTRUCTION

Safe Practices in the Studio

The Art Doctor Sezzz...if you can’t afford to cut it, gash it, smash it, lose it – “Be Careful in Here!”

Safety and hazards instruction is intended to alert you to potential dangers, health problems, and preventive actions, not to make you fearful - so be alert and cautious, but not afraid.

What dangers are lurking about us? They are called STRESSORS, and they involve energy that can be biological or physical (chemical, kinetic, thermal, electrical, and radiation). Excessive physical energy is always dangerous - so avoid injuries such as burns, bruises, breaks, cuts, shocks, and repetitive motions. Biological and chemical toxins can affect you by (1) skin contact, (2) breathing, and (3) through the mouth and the digestive system.

Who is really truly susceptible to toxins? Who are the high risk groups? (1) infants and children,

(2) pregnant women, (3) smokers, druggies, and heavy drinkers, (4) allergy and asthma sufferers, and the elderly with existing health problems. If you are in one of these groups and you are working with art materials for many hours a day, your health risks can be compounded if you breathe polluted air (usually found in big cities, not in Vermillion). Some adverse health effects may not appear for decades.

What hazards exist for student artists in this drawing course? Very few. Beyond avoiding cuts with knives and the paper cutter, punctures from sharp objects, and paper cuts, the materials we use are relatively non-toxic. There is little short-term risk from toxins in this course. Avoid inhaling dusts (graphite, pastels, charcoals). Avoid inhaling vapors, fumes, and mists (spray fixative, adhesives).

What preventive measures can I take?

In an emergency, dial 911 on the campus telephone located outside the art office, CFA 179.

Observe the location of the first-aid kit in each art studio/classroom.

Work in a well-ventilated, well-lighted, non-slip area, and keep it uncluttered and clean.

Don’t work when you’re sick, exhausted, or not alert to dangers.

Don’t eat, smoke, or drink when you are working with art materials.

Wear a protective mask if you are working with dusts or vapors.

Wear rubber gloves if you are handling oils, solvents, toxic chemicals or acids.

Wear goggles if you are working with power tools, or things that fly off chips.

Always substitute less toxic materials if the results are successful.

Be aware of the toxicity of each material you use - see the Safety Data Sheet, read about it.

Always listen to your mother. Don’t spread your cold or flu. Avoid too much sun. Don’t get too excited about the latest fads. Be alert to repression and censorship. Avoid negative people. Enjoy everything in moderation. Be positive about your talents and the future. Seek beauty, grace, and elegance.

CLASS MEETING SCHEDULE

1. JAN. 11: Course Intro, Syllabus, Assignments 1,2,3	17. MARCH 15: Critique, Assignment 10
2. JAN. 13: In-Class Work, Assignment 1	18. MARCH 17: In-Class Work, Assignment 11
3. JAN. 18: Critique, Assignment 1	19. MARCH 22: Critique, Assignment 11
4. JAN. 20: In-class work, Assignment 4	20. MARCH 24: In-class work, Assignment 12
5. JAN. 25: Critique, Assignment 4	21. MARCH 29: Critique, Assignment 12
6. JAN. 27: In-class work, Assignment 5	22. MARCH 31: Open Studio, Assignment 13
7. FEB. 1: Critique, Assignment 5	23. APRIL 5: Open Studio, Assignment 13
8. FEB. 3: In-class work, Assignment 6	24. APRIL 7: Open Studio, Assignment 13
9. FEB. 8: Critique, Assignment 6	25. APRIL 12: Open Studio, Assignment 13
10. FEB. 10: In-class work, Assignment 7	26. APRIL 14: Open Studio, Assignment 13
11. FEB. 15: Critique, Assignment 7	27. APRIL 19: Open Studio, Assignment 13
12. FEB. 17: In-class work, Assignment 8	28. APRIL 21: Matting day for exhibition works
13. FEB. 22: Critique, Assignment 8	29. APRIL 26: Critique, Assignment 13
14. FEB. 24: In-class work, Assignment 9
15. MARCH 1: Critique, Assignment 9	30. APRIL 28: FINAL CLASS. Portfolio due for grading. Class Meeting and Exhibit Installation. PUBLIC EXHIBITION
16. MARCH 3: MID TERM PORTFOLIO GRADING	April 29: 7-9PM: Opening reception at W. H. Over May 9: Pick up works at W. H. Over Museum

TENTATIVE SCHEDULE OF CLASS CONTENT and ACTIVITY

Course project concepts, goals and objectives, and required materials will be introduced at the end of each class session and discussed at the beginning of the next session. You are required to be prepared for each class session by having the necessary materials at the beginning of each class.
             This Schedule represents an outline of the tentative class topics. It may vary for reasons unforeseen at this time.
              Each class session will begin promptly at 9:30AM. If you are late you must bring donuts or cookies for everyone. When you arrive late, expect a joyous welcome from us all.
            If you have difficulty arriving at class on time for a valid reason, please let me know. But remember, better late than never.

January 11 Class 1: INTRODUCTION to the course syllabus, course concepts, expectations and requirements, policies, portfolios, deadlines, research, tests, course procedures. Discussion about mixed media drawing and materials. Arrangement, by the group, for the purchase of materials for the group

2. Determine mixed media, assemble materials

3. Create thumbnails, diagrams, layouts of compositional structure

4. Create effective, unified artwork

Assignment 1/Drawing 1: Create a small, mixed media work of your choice – subject matter, size, materials of your choice – for the next class meeting and critique; Work at least six hours with mixed media and drawing to develop layering of processes and your image. THEME: Expression Through Value and Color;

SUGGESTED MIXED MEDIA: Sepia and Black with collage elements

Assignment 2: Review design and composition fundamentals on my website: www.usd.edu/~dnavrat Refer to DesignSTRUCTURE and the syllabus for Design I Art Fundamentals, and other sources of review. At the next class meeting, be prepared to report on your design strengths relating to the Elements and Principles of Design.

Assignment 3: Outside research on your choice of processes and artists allied with: COLLAGE, PHOTOMONTAGE, CONSTRUCTION, or ASSEMBLAGE, or…? Written report (5 pages plus bibliography) due at mid-term.

January 13 Class 2: In-class work on Assignment 1

January 18 Class 3: CRITIQUE OF ASSIGNMENT 1

Each student will relate information concerning their mixed media work.

Review compositional strengths of each student.

Assignment 4/ Drawing 2: Combine GESTURE DRAWING - mass-gesture, scribbled-line gesture, blind-contour, sustained gesture – with a mixed media process of your choice; Work at least six hours with mixed media to develop layering of processes and your image.

Suggested Mixed Media: Conté and water, vegetable oil, or Turpenoid with neutral color collage

Do a Web searches on: "Gesture Drawing" and "Chinese Drawing"
ARTISTS TO RESEARCH: Raphael, Titian, Caravaggio, Giovanni Guercino, Leonardo, da Vinci, Edouard Manet, Vincent Van Gogh, Henri de Toulouse Lautrec, Willem de Kooning, Jackson Pollock, Hans Hartung, cave painters, petroglyph painters, Chu Ta, Hokusai, Henri Matisse, Raoul Dufy, Jacque Lipchitz, Arshile Gorky, Oskar Kokoschka, Emil Nolde, Paul Klee, Joan Miro, Richard Diebenkorn, Rico Lebrun, Max Beckmann, Gaston Lachaise, Andre Masson, Gustav Klimt, Kenny Scharf, etc., etc., etc.

January 20 Class 4: Work in class on Assignment 4.

January 25 Class 5: CRITIQUE OF ASSIGNMENT 4 (Drawing 2)

Assignment 5/ Drawing 3: COMBINE CONTOUR DRAWING WITH MIXED MEDIA PROCESSES OF YOUR CHOICE.

OBJECTIVE: Create transparent space by object outline over background

Suggested Mixed Media: Black ink brush drawing with collage or photocopy elements.
Work at least six hours with mixed media to develop layering of processes and your image.

Do a Web search on "contour drawing"
ARTISTS TO RESEARCH: Gaston Lachaise, Pablo Picasso, Yves Tanguy, Arshile Gorky, Andre Masson, etc.

January 27 Class 6: Work in class on Assignment 5

February 1 Class 7: CRITIQUE OF ASSIGNMENT 5 (Drawing 3)

Assignment 6/ Drawing 4: COMBINE REPETITIVE CROSS-CONTOUR
DRAWING WITH MIXED MEDIA PROCESSES OF YOUR CHOICE

Theme: Imaginary Landscape of Figurative Elements

Suggested Mixed Media: Pastel on contoured levels of illustration board. Work at
least six hours with mixed media to develop layering of processes and your image.

February 3 Class 8: Work in class on Assignment 6

February 8 Class 9: CRITIQUE OF ASSIGNMENT 6 (Drawing 4)

Assignment 7/ Drawing 5: COMBINE STRUCTURAL LINE DRAWING WITH
MIXED MEDIA PROCESSES OF YOUR CHOICE

Experiencing a shift from drawing the expressive action to drawing the factual state of the subject and its immediate environment

Theme: Rendering 3-D FORM ILLUSION in a negative space within a collage, photomontage, photocopied space, or pattern

Suggested Mixed Media: Graphite, color pencil, or charcoal, with elements of collage;
Work at least six hours with mixed media to develop layering of processes and your image.

February 10 Class 10: Work in class on Assignment 7

February 15 Class 11: CRITIQUE OF ASSIGNMENT 7 (Drawing 5)

Assignment 8/ Drawing 6: SHAPES IN SPACE: COMBINE LINEAR PERSPECTIVE
or FORESHORTENING, using GEOMETRIC SHAPE or ORGANIC SHAPE, WITH
MIXED MEDIA PROCESSES OF YOUR CHOICE

Objective: Creating Volume and Space

Suggested Mixed Media: Graphite, color pencil, pastel or charcoal with elements of collage, photomontage, and/or pattern;
Work at least six hours with mixed media to develop layering of processes and your image.

February 17 Class 12: Work in class on Assignment 8

February 22 Class 13: CRITIQUE OF ASSIGNMENT 8 (Drawing 6)

Assignment 9/ Drawing 7: THE ELEMENTS OF LIGHT, TEXTURE & VALUE: FORMS IN SPACE. COMBINE INTERIOR PERSPECTIVE DRAWING with MIXED MEDIA
PROCESSES OF YOUR CHOICE

Theme: Interior perspective drawing of surreal form, with value contrast, in which light
and dark and texture are important

Suggested Mixed Media: Drawing media with watercolor and pattern collage;
Work at least six hours with mixed media to develop layering of processes and your image.

February 24 Class 14: Work in class on Assignment 9

March 1 Class 15: CRITIQUE OF ASSIGNMENT 9 (Drawing 7)

Assignment 10/ Drawing 8: POSITIVE AND NEGATIVE SPACE - Developing dynamic spatial relationships. COMBINE DRAWING AND SHAPE TO CREATE AMBIGUOUS SPACE and/or ASYMMETRICAL PATTERN COMPOSED OF TESSELATIONS.

Objective: VALUE SYSTEMS: 2-value, 3-value, and 4-value systems

Suggested Mixed Media: Wet and Dry, Watercolor or acrylic and pastel, on multiple panel structure;
Work at least six hours with mixed media to develop layering of processes and your image.

March 3 Class 16: MID-TERM PORTFOLIO GRADING: Individual Portfolio Review begins

Mid-term student surveys

RESEARCH PAPER DUE FOR GRADING

Portfolio Drawing Qualities to be discussed: A SENSE OF ORDER -Technical: accuracy - line (gesture, contour), shape, value, form/volume, light/shadow, space, perspective and foreshortening, texture, composition, object/background. A SENSE OF BEAUTY - Aesthetic: sensitivity, clarity, emphasis, gestalt, expression, transitions, creativity, imagination

MIDTERM GRADING CHECKLIST

TEXTURE & VALUE - Actual, Implied, Invented; COMBINE REFINED STRUCTURAL DRAWING WITH MIXED MEDIA PROCESSES OF YOUR CHOICE TO EMPHASIZE
TEXTURE, VALUE, and VOLUME

Suggested mixed media: Color pencil, brush and ink, with collage elements and drawing with food;
Work at least six hours with mixed media to develop layering of processes and your image.

Objective: Combining drawing with ceramics, photography, papermaking, painting, printmaking, graphic design, sculpture, or found objects, but not quite traditional;
Work at least six hours with mixed media to develop layering of processes and your image.

Five Sequential Drawings - Work at least six hours on each of the five drawings, combining
mixed media with drawing to develop layering of processes and your image.

April 21 Class 28: Matting day for exhibition works: mat (and frame?) best four artworks

April 26 Class 29: CRITIQUE OF ASSIGNMENT 13 (Drawings 11, 12, 13, 14, 15) Portfolio
Selections, matting works, preparing an exhibit, exhibition label making

April 28: Class Meeting - bring works by 9:30AM; Exhibit installation at W. H. Over Museum;

PORTFOLIOS DUE FOR GRADING - turn in your portfolio to Professor Navrat's office, CFA 208

NAME OF STUDENT: Date:

Attach this form to the typewritten research paper

RESEARCH FORMAT

DUE DATE: MARCH 3, 2005

ASSIGNMENT: A five page typewritten research report, directly relating to the subject of MIXED MEDIA DRAWING, is required of each student.

Students may choose any relationship of drawing to “multi-media/mixed media” artwork for this report. Relate your research to your personal interest in an art discipline or medium of expression. For inspiration, refer to Artspeak and Artspoke for contemporary and historical trends. Start with an internet search in I.D. Weeks Library using PROQUEST software. Also do a Google search using the SCHOLAR search engine ( http://scholar.google.com/ ) . For a general search try “multimedia” or “mixed media” or “drawing” or “mixed media drawing.” Gather information and then personalize the topic to relate to your own interests, discoveries, and preferred medium of expression.

1. The body of the paper is to be divided into two sections:

A. An explanatory and descriptive summary of your research topic. Why did you choose this type of "Mixed Media" for research?

B. A personal evaluation that explains how the research directly relates to your study and practice in this course in mixed media drawing and its relationship to your chosen art study emphasis area.

This evaluation should include any insights into the course not realized from the instruction in the course, and should attempt to provide a critical review of your decisions regarding your art study in relation to your past and present influences, and your future planning for your graduating exhibition.

2. Include a Bibliography that lists the title, author, publisher, and ISBN number of each research reference, and the URL of any Internet reference material.

ELEMENTS OF ART - irreducible rudiments basic to the process of making art, including

Point (Pixel) - (a unit or individual detail which anticipates movement);

Line - a solid row of points creating visual movement;

Shape - a two-dimensional, flat object bounded by an actual or implied line;

Value - the degree of lightness or darkness of color; its tone relative to a gray scale rated one (black-the absence of light) through ten (white-light itself, the lightest value);

Texture- the visual or tactile surface characteristics and appearance of something;

Color - a phenomenon of light (as red, brown, pink, gray) or visual perception that enables one to differentiate otherwise identical objects; the aspect of objects and light sources that may be described in terms of hue, value (or lightness), and saturation for objects, and hue, brightness, and saturation for light sources.

PRINCIPLES OF DESIGN - fundamental ingredients necessary to the process of making and of analyzing art, including:

HARMONY - the result of causing each emphatic feature of an artwork to show visual connections with other features which causes them to be seen as integrated members of the whole; harmony involves RHYTHM and REPETITION

Rhythm - a continuance, a flow, or feeling of movement achieved by repetition of regulated visual units; the use of measured accents

Repetition - the use of the same visual element a number of times in the same composition. Repetition may accomplish a dominance of one visual idea, a feeling of harmonious relationship, an obvious planned pattern, or a rhythmic movement

VARIETY -the quality or state of having differing parts creating visual interest; variety involves CONTRAST and ELABORATION

Contrast - extreme differences; a juxtaposition of dissimilar elements (as color, tone, or emotion) in a work of art

Elaboration - interesting fullness of detail, complexity, intricacy

BALANCE - a sensing of equilibrium in a work or art

MOVEMENT - the quality (as in a painting or sculpture) of representing or suggesting motion

PROPORTION - a sensing of harmonious relation of parts to each other or the whole

DOMINANCE/EMPHASIS - giving unique visual weight to one or more areas in a composition

ECONOMY - the efficient and concise use of the elements of art

SPACE - in 2D art, illusions of intervals of depth throughout the picture plane

Visual Forces / Visual Devices:

Tension - a sensing of parts in a composition threatening change

Proximity - closeness of elements in a composition which tend to form a subdivision, or group

Continuity - a unifying alignment of elements to create visual movement in a composition

Closure - the tendency of the viewer to complete a suggested shape or form

The Universal Goals of Designing and of Art-Making:

UNITY - (ORDER, ONENESS, GESTALT) a sensing that all the parts of a composition are working together and are necessary; cohesiveness; overall oneness; a basic aim of the process of making art

Gestalt - a sensing in a work of art that the whole is greater than the sum of its parts; instantaneous recognition of significance; a sensing that the art work has meaning beyond its appearance

BEAUTY - a combination of qualities that cause delight or pleasure

ASPECTS OF FORM:

THE ELEMENTS OF ART	PRINCIPLES OF DESIGN
Point (Pixel)	Harmony (Repetition and Rhythm)
Line	in balance with
Shape	Variety (Contrast and Elaboration)
Value	Balance
Texture	Movement
Color	Proportion
	Dominance / Emphasis
	Space (includes Mass, Volume)
	Economy

VISUAL FORCES / VISUAL DEVICES

Tension Proximity

Continuity Closure

SPATIAL DIMENSIONS OF ART: Shape / Form Volume / Mass

Height / Elevation Width / Breadth Length / Depth Thickness / Girth Plan Plane Section Time / Interval / Duration

TECHNIQUES TO CREATE SPATIAL ILLUSION: atmospheric perspective; linear perspective; geometric perspective; converging parallels; diminishing size relationships (recessional space); fractional representation; position within the picture plane; overlapping of shapes and/or forms; sharp and diminishing detail; value contrasts; use of the elements of light (highlight, light tone, mid tone, base tone, reflected light, cast shadow); transparency; interpenetration of shapes and/or forms

ORDER, UNITY, BEAUTY. The aims, goals or objectives of composition, of form organization, of design, and the purposes for the creation of art and design through processes of personal expression.

GLOSSARY - The Nature of Art – definitions of important terminology

For starters, please refer to the comprehensive Glossary of Art Terminology included in my Study Guide for ART 121 Art Fundamentals, located on my website: www.usd.edu/~dnavrat

"QUIZ" - FIRST DAY STUDENT INFO

NAME

1. What is your background in art? List the art courses you have taken at the college level:

2. Explain your interest in majoring in visual art (why are you interested, who influenced you most?):

3. List the art media in which you are most interested at this time?

4. What is your strongest talent or ability in visual art?

5. Name the artists who are currently influencing your work:

6. Are you right-handed, left-handed, or ambidextrous?

7. How often do you use a computer: (circle one) Daily Several Times a Week

Once a week or less frequently

8. What are your plans after graduation from college?

MID-TERM STUDENT SURVEY

Mark each statement as True or False:

This semester I am enrolled in courses other than Drawing IV.

The amount of work and time required for Drawing IV is about the same in comparison with my other courses.

This course requires more work and time than my other courses this semester.

I have enrolled in or completed other art courses at the college level.

The amount of work and time required for Drawing IV is about the same in comparison with other art courses I have taken.

This course requires more work and time than other art courses I have taken.

The course emphasis is balanced between quality and quantity.

The course emphasizes quality over quantity.

The instructor challenges my way of thinking about drawing and art.

The instructor helps me think more creatively about mixed media drawing.

Emphasis on the creative process is nearly balanced by emphasis on the creative product.

Emphasis on the creative product is greater than emphasis on the creative process.

Lab time is important to me during class meetings.

The course is fulfilling my expectations of an advanced study in drawing.

I am learning more about mixed media drawing than I had expected to learn.

Drawing is (or will be) important to me in a future job or profession.

I am satisfied with the quality of my work at this time.

I feel my work will be improving during the rest of the year.

COMMENTS OR SUGGESTIONS FOR IMPROVING THE COURSE:

Please give the instructor feedback regarding your opinion of this course in relation to other courses you are taking from other instructors.

This form uses a visual analog scale. For each question, please make a single vertical mark on the scale somewhere between the two extremes of poor and excellent. The questionnaire is evaluated by measuring the position of your marks on the scale and averaging the results.

The last question is open-ended. Please make any comments you wish about the course and the instructor. Thanks for your help in evaluation of the course.

Assignment	Completed?	Grade	Comment
1. Drawing 1: Choice, small expression
3. Research Paper: Mixed Media
4. Drawing 2: Gesture
5. Drawing 3: Contour Drawing
6. Drawing 4: Cross-Contour
7. Drawing 5: Structural
8. Drawing 6: Shapes in Space, Perspective
9. Drawing 7: Light, Texture, Value, Forms in Space, perspective,

2 Matted Works