Approaches to Abstraction Syllabus - Yvonne Singer
FACULTY OF FINE ARTS
DEPARTMENT OF VISUAL ARTS AND ART HISTORY
Drawing / Winter 2013
FA/VISA 2082. 03 Approaches to Abstract Image Making
Monday 1:30-5:30pm; Rm 284 Goldfarb Centre for Fine Arts
Course Director: Yvonne Singer
Tutorial Leaders: Colleen Wolstenholme, Troy Ouellette,
Course Description:
This studio course introduces and builds on concepts of abstract image making. The creative process, relational thinking and play are emphasized encouraging Imaginative solutions to project assignments. Conceptual, non-traditional and abstract approaches are explored along with formal concerns such as composition, mark-making and material application. The course is organized around four required projects, class assignments and critiques augmented by slide presentations. Discussion is an important part of the class dynamic as is developing the skills of observation and articulation. Attendance is mandatory since the evaluation of process is a critical component of the final grade.
Grading: 4 projects @ 20% each = 80% Sketchbooks 20%
Criteria for Grading
· Critical thinking through doing: application of conceptual and technical ideas
· Drawing skills: development of composition, mark-making, material application
· Creativity: personal interpretation, inventiveness and ambition
· Work habits: process, persistence, prepared attendance, finished assignments
· Exploration: visual investigations
· Participation and attendance: discussion during critiques and slide presentations
York University Grading Scale The grading scheme for the course conforms to the 9-point grading system used in undergraduate programs at York. Assignments will bear a letter grade. For a full description of York grading go to: http://calendars.registrar.yorku.ca/pdfs/ug2004cal/calug04 5acadinfo.pdf:
Grade Grade-Point Per Cent Range Description
A+ 9 90-100% Exceptional
A 8 80-89% Excellent
B+ 7 75-79% Very good
B 6 70-74% Good
C+ 5 65-69% Competent
C 4 60-64% Fairly competent
D+ 3 55-59% Passing
D 2 50-54% Barely passing
E 1 40-49% Marginally failing
F 0 0-39% Failing
Lateness Penalty: Assignments received later than the due date will be penalized one-half letter grade (1 grade point) per day that the assignment is late. Exceptions to the lateness penalty for valid reasons such as illness will be given consideration only if documentation such as a doctor’s letter is provided.
Final Submission Date for Course Work: The Portfolio of class work, inclusing all process sketches, Sketchbooks and Home Assignments are to be submitted the last day of class (see syllabus). The absolute Last Date to submit Winter Term Work is April 8, 2013 and a Lateness Penalty will apply. No Portfolios / Sketchbook / Home Assignments will be accepted after April 19, 2013. 0 / Fail will be the recorded grade for any un-submitted course work.
Mid-Term Review provides feedback on strengths and areas for improvement; February 11, 2013
Last day to drop Course without receiving a grade: February 15, 2013.
Required Basic Materials List:
Papers: For your Home and In-class Assignments you will need a minimum of eight large, good quality assorted drawing papers such as, Stonehenge, BFK or Somerset. Translucent Mylar, vellum or glassine . Other quality drawing papers may also be acceptable. Consult with your studio instructor.
SUGGESTED ART SUPPLY STORES: York bookstore
Aboveground: www.abovegroundartsupplies.com
74 McCaul Street 416-591-1601
Daniel’s Art Supplies:
430 Spadina Ave. 416 597-1919
DeSerres (Loomis &Toles): www.deserres.ca
various Locations 416 422-2443
Gwartzman’s: www.gwartzmans.com
448 Spadina Ave. 416 922-5429
Michaels Arts and Crafts Store: www.michaels.com
various locations
Midoco Art & Office Supplies: www.midoco.ca
555 Bloor St. West 416 588-9253
Picasso Art and Craft Supplies
7388 Yonge Street 905 731-2112
Tern: www.ternart.com
874 Queen St. West 416 537-7338
Toose Art Supplies: tooseartsupplies.blogspot.com
229 College St. 416 348-0793
The Paper Place: www.thepaperplace.ca
887 Queen St. West 416 703-0089
Woolfitts Art Enterprises: www.woolfitts.com
1153 Queen St. West
416 536-78784, 2013
Some thoughts about abstraction
Everything starts from a dot. ”
(Wassily Kandinsky)
The more abstract is form, the more clear and direct its appeal. (Wassily Kandinsky)
My line is childlike but not childish. It is very difficult to fake.. to get that quality you need to project yourself into the child's line. It has to be felt. ( Cy Twombly)
Unless you're involved with thinking about what you're doing, you end up doing the same thing over and over, and that becomes tedious and, in the end, defeating. (Sol LeWitt)
Every drawing is, in fact, a combination of what the drawing is of, and both how and why the drawing is made. Margaret Davidson, Contemporary Drawing; Key Concepts and Techniques
There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot. John Cage
Syllabus (subject to change) do exercise using chance
To every class you are expected to bring ALL your drawing supplies, sketchbook, newsprint and 5-10 sheets of good paper in your portfolio. Please come prepared.
January 7, 2013: Lines, lines, lines
Review course outline. Discussion: what does abstract mean?
In Class: Blind drawing; using a large piece of paper, close your eyes and move your pen or pencil continuously for 5-7 minutes or until your instructor says ‘stop’.
Homework: research definition of ‘line’ Using a variety of drawing tools and mediums, like chalk, pastel, charcoal, explore lines in your sketchbook
January 14, 2013: Lecture presentation on lines; lines as direction, rhythm, gesture, texture, thickness.
Intoduction to Project 1: One thousand Lines
In class project: Devise a set of rules for a line drawing, like Sol Lewitt.
Do a drawing following your own rules. Exchange rules with a classmate and do a drawing following their rules.
Homework: 1. Bring a variety of strings and tape with different textures and thicknesses to class. Including wool. Continue your line investigations in your sketchbook. 2. Make a list of words to describe line 3. Begin working on your project 1.
January 21, 2013
In class: In your groups, select a space in the classroom and create an environment using your string. Then, draw what you have made. Notice the characteristics of the lines made by the different kinds of string as well as the negative spaces .
Using this drawing as the basis for developing another drawing considering line, space, texture. Use good paper.
Homework: Continue working on your project 1: 1000 Lines
January 28, 2013; Critique of A Thousand Lines
Homework: Bring several natural objects to class; a branch, flower, leaves, fruit, vegetable etc and some stencils.
February 4, 2013: introduction to Abstraction in Nature
In class: Using your objects, draw from observation. Notice the lines, shapes, textures of your object. Now, develop a drawing focusing on certain characteristics of your object and interpret them in your drawing. Use a variety of drawing tools, including ink and gouache. Use the stencil to create layers. Consider making your own stencil.
Homework: research and develop more ideas and drawings for project 2.
February 11, 2013 mid term review; individual interviews.
In class: work on project 2
February 16-22, 2013 Reading Week
February 25, 2013 : Critique of project 2, Abstraction in Nature
Homework: Bring several personal photographs ink, brushes to next class.
March 4, 2013
In class: Select and Draw sections of the photographs. Then use the section drawing to make another drawing, considering composition, tone, line, shape, pattern, texture
Homework: Work in your sketchbooks on more photo collage drawings. Continue work on project 3, Pattern and Texture
March 11, 2013: Critique of project 3, Pattern and Texture
Homework: Bring ink and brush to class
March 18, 2013
In class: Using several sheets of good paper, play with wet and dry ink and brush, and explore the possibilities of ink; dripping, brushing, pouring, printing etc
Choose one or two of these experiments and continue to develop a final drawing.
March 25, 2013
In class: Work on final project and any other projects that need to be completed. This class is an opportunity to ensure that all your in class and homework projects are completed and that all your assignments are in your portfolio.
April 1, 2013: Critique of final projects
April 8, 2013: Last class; Individual interviews; Hand in portfolios including sketchbooks.
Project 1: One Thousand Lines
Using one thousand lines make a large drawing based on related themes such as: order/chaos, utopia/dystopia, light/dark and sublime/ridiculous. There are no limits on size. However, students should use traditional instruments such as pencil, crayon, chalk or pen and ink in completing their work. Critique for this project is in class January 28, 2013.
Project 2 - Abstraction in Nature
Beginning with examples of flora and fauna, crystals, microscopic images of crystals or other natural structure, complete a series of three drawings on good paper that explore aspects of their form and function. Students should consider all kinds of natural growth forms. This could include patterns of animal markings like zebras, giraffes snakes, hair etc.
Project 3 - Patterns and Textures
Collect fabric, papers with patterns and textures, like wrapping paper, wallpaper, carboard. Cut and paste these elements onto a large sheet of paper at least 24”x 36”. Then select an area to draw, using pastels, conte, charcoal, gouache.
Project 4 – Independent
For your final project, develop an abstract series of drawings with 2-3 in the series. Record your process in your sketchbook including the source of your ideas, your research and notes on the development of your drawing process, concepts, observations and conclusions. Use good paper and at least one in the series should be approx 36” x 48”. You may use any medium for drawing.
Sketchbook:
You will be assigned exercises in your sketchbook and in addition the sketchbook is to be constantly in use as a place for your to experiment and explore ideas. It is a work in progress. By the end of the term it will have gained a personal character and demonstrate your individual explorations and personality because using the sketchbook will have become a practice. In your sketchbook you are free to include all kinds of visual and verbal ideas without the pressure of making them relate to each other. Experiment and follow your curiosity.
Goals and Criteria
1.Personal: discovery, imagination, preferences, eccentricities
2. Use BOTH SIDES of the pages / double spreads
3. Various: sketches, doodles, experiments, notes, journaling, collage, pictures, materials, colour, found things, cut, constructed, taped and glued stuff, diagrams, slide notes, thumbnails, you name it then do it and include it
Here are some suggestions for sketchbook activities;
1. experiment with form and variations
2. note quick visual and verbal ideas
3. experiment with different techniques, tools, mediums
4. experiment with different compositions; place objects and shapes in different juxtapositions
5. record objects through sustained observations
6. make preparatory drawings for projects
7. use your sketchbook as a diary or journal, recording your interests and activities
8. make comments on artwork; yours and others
9. attach clippings that interest you
10. draw from memory; draw your feelings
11. make diagrams, thumbnails, doodles
12 .include found things, cut, constructed, taped and glued stuff
Bibliography and Recommended Text:
Betti, Claudia, Drawing, A Contemporary Approach, Harcourt Brace Jovanovich, 3rd ed, 1992
Butler, Cornelia, Afterimage: Drawing Through Process, The MIT Press, Cambridge Massachusettes and London England, 1999.
Dantzic, Cynthia Maris, Drawing Dimensions, A Comprehensive Introduction, Prentice Hall, NJ, 1999
Davidson, Margaret, Contemporary Drawing; Key Concepts and Techniques, Watson-Guptill Publications, New York, 2011
Dexter, Emma, Vitamin D New Perspectives in Drawing, Phaidon Press, 2005
Downs, Marshall, Sawdon, Selby, Tormey, ed. , drawing now, Between the Lines of Contemporary Art, I.B. Tauris, London and New York, 2009
Drury, Fritz, Stryker, Joanne, ed, Drawing:Structure and Vision, Pearson, Prentice Hall, NJ, 2009
Edwards, Betty, Drawing on the Right side of the Brain, J.P. Tarcher Inc, Los Angeles, 1979
Drawing on the Artist Within, Innovation, Invention, Imagination, Simon & Schuster, NY, 1986
Enstice Wayne, Peters, Melanie, Drawing: Space, Form & Expression , Prentice Hall, NJ, 1995
Garner, Steve, editor, Writing on Drawing; Essays on Drawing Practice and Research, Intellect Books, University of Chicago Press, Chicago, IIlinois, 2008
Grosenick, U. & Riemschneider, B. ed., Art Now Volume 1, Taschen, 2002
Grosenick, Uta. ed., Art Now Volume 2, Taschen 2005
Hoptman, Laura, Drawing Now: Eight Propositions, The Museum of Modern Art, NY, 2002
Maslen, Mick, Southern, Jack, Drawing Projects:an exploration of the language of drawing, Black Dog Publishing, London, UK, 2011
Mendelowitz, Daniel, A Guide to Drawing, Holt, Rinehart and Winston, 1988, 4th Ed.
Paterson, Robert, Abstract Concepts of Drawing, Thomson Seyffer Graphics, 1981
Simmons, Seymour III, Winer, Marc, Drawing, The Creative Process, Prentice Hall, 1977
Wood, D, The Craft of Drawing, Materials and Techniques, Harcourt College Publishers, 1988
http://www.massmoca.org/lewitt/walldrawing
The library has many excellent resources. Use the Scott library to research artists referenced in the course and to access the many excellent films about artists that are available in the Sound and Moving Image library at York. FYI:The PBS Art 21 series is a very comprehensive film series about contemporary artists.
4
All students are expected to familiarize themselves with the following information, available on the Senate Committee on Curriculum & Academic Standards webpage (see Reports, Initiatives, Documents)
http://www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm
• York’s Academic Honesty Policy and Procedures/Academic Integrity Website
• Ethics Review Process for research involving human participants
• Course requirement accommodation for students with disabilities, including physical, medical, systemic, learning and psychiatric disabilities
• Student Conduct Standards
• Religious Observance Accommodation
Academic Honesty and Integrity
York students are required to maintain high standards of academic integrity and are subject to the Senate Policy on Academic Honesty (http://www.yorku.ca/secretariat/legislation/senate/acadhone.htm).
There is also an academic integrity website with complete information about academic honesty. Students are expected to review the materials on the Academic Integrity website (http://www.yorku.ca/academicintegrity/students.htm).
Access/Disability
York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials.
It is the student's responsibility to register with disability services as early as possible to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to schedule a time early in the term to meet with each professor to discuss your accommodation needs. Failure to make these arrangements may jeopardize your opportunity to receive academic accommodations.
Additional information is available at www.yorku.ca/disabilityservices or from disability service providers:
• Office for Persons with Disabilities: N108 Ross, 416-736-5140, www.yorku.ca/opd
• Learning and Psychiatric Disabilities Programs - Counseling & Development Centre: 130 BSB, 416-736-5297, www.yorku.ca/cdc
• Atkinson students - Atkinson Counseling & Supervision Centre: 114 Atkinson, 416-736- 5225, www.yorku.ca/atkcsc
• Glendon students - Glendon Counseling & Career Centre: Glendon Hall 111, 416-487- 6709, www.glendon.yorku.ca/counselling
Religious Observance Accommodation
York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus for an in-class test or examination pose such a conflict for you, contact the Course Director within the first three weeks of class. Similarly, should an assignment to be completed in a lab, practicum placement, workshop, etc., scheduled later in the term pose such a conflict, contact the Course director immediately. Please note that to arrange an alternative date or time for an examination scheduled in the formal examination periods (December and April/May), students must complete an Examination Accommodation Form, which can be obtained from Student Client Services, Student Services Centre or online at http://www.registrar.yorku.ca/pdf/exam_accommodation.pdf
Student Conduct
Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship. Moreover, it is the responsibility of the instructor to maintain an appropriate academic atmosphere in the classroom, and the responsibility of the student to cooperate in that endeavor. Further, the instructor is the best person to decide, in the first instance, whether such an atmosphere is present in the class. A statement of the policy and procedures involving disruptive and/or harassing behavior by students in academic situations is available on the York website http://www.yorku.ca/secretariat/legislation/senate/harass.htm
York University’s Code of Student Conduct is available online at: http://www.yorku.ca/scdr/CodeOfConduct.html
Please note that this information is subject to periodic update. For the most current information, please go to the CCAS webpage (see Reports, Initiatives, Documents): http://www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm.
DEPARTMENT OF VISUAL ARTS AND ART HISTORY
Drawing / Winter 2013
FA/VISA 2082. 03 Approaches to Abstract Image Making
Monday 1:30-5:30pm; Rm 284 Goldfarb Centre for Fine Arts
Course Director: Yvonne Singer
Tutorial Leaders: Colleen Wolstenholme, Troy Ouellette,
Course Description:
This studio course introduces and builds on concepts of abstract image making. The creative process, relational thinking and play are emphasized encouraging Imaginative solutions to project assignments. Conceptual, non-traditional and abstract approaches are explored along with formal concerns such as composition, mark-making and material application. The course is organized around four required projects, class assignments and critiques augmented by slide presentations. Discussion is an important part of the class dynamic as is developing the skills of observation and articulation. Attendance is mandatory since the evaluation of process is a critical component of the final grade.
Grading: 4 projects @ 20% each = 80% Sketchbooks 20%
Criteria for Grading
· Critical thinking through doing: application of conceptual and technical ideas
· Drawing skills: development of composition, mark-making, material application
· Creativity: personal interpretation, inventiveness and ambition
· Work habits: process, persistence, prepared attendance, finished assignments
· Exploration: visual investigations
· Participation and attendance: discussion during critiques and slide presentations
York University Grading Scale The grading scheme for the course conforms to the 9-point grading system used in undergraduate programs at York. Assignments will bear a letter grade. For a full description of York grading go to: http://calendars.registrar.yorku.ca/pdfs/ug2004cal/calug04 5acadinfo.pdf:
Grade Grade-Point Per Cent Range Description
A+ 9 90-100% Exceptional
A 8 80-89% Excellent
B+ 7 75-79% Very good
B 6 70-74% Good
C+ 5 65-69% Competent
C 4 60-64% Fairly competent
D+ 3 55-59% Passing
D 2 50-54% Barely passing
E 1 40-49% Marginally failing
F 0 0-39% Failing
Lateness Penalty: Assignments received later than the due date will be penalized one-half letter grade (1 grade point) per day that the assignment is late. Exceptions to the lateness penalty for valid reasons such as illness will be given consideration only if documentation such as a doctor’s letter is provided.
Final Submission Date for Course Work: The Portfolio of class work, inclusing all process sketches, Sketchbooks and Home Assignments are to be submitted the last day of class (see syllabus). The absolute Last Date to submit Winter Term Work is April 8, 2013 and a Lateness Penalty will apply. No Portfolios / Sketchbook / Home Assignments will be accepted after April 19, 2013. 0 / Fail will be the recorded grade for any un-submitted course work.
Mid-Term Review provides feedback on strengths and areas for improvement; February 11, 2013
Last day to drop Course without receiving a grade: February 15, 2013.
Required Basic Materials List:
- Hard Bound Sketch Book no larger than 9 x 7: either rectangular or square format
- Foam Core Portfolio with Bull Dog Clips, Velcro or Ribbon as Demonstrated
- Or readymade cardboard portfolios
- Chinese brushes; large/medium, small sponges, rags
- Paint: earth tones (ochre, umber, sienna) in acrylic
- ink and watercolor
- HB, 2B, 4B Graphite Drawing Pencils, colour pencils
- Conté crayons: earth tones (brown, sepia) and white
- Wood charcoal
- Charcoal pencils, an assortment
- Graphite sticks
- Conte, black and brown
- Oil pastels, chalk
- Masking Tape, glue stick, scissors
- Pencil Sharpener, ruler
- A NEW Grey Kneaded Eraser and Plastic Eraser(s)
- 15-20 sheets of good paper; Stonehenge, BFK, Somerset
- Large Pad of newsprint
Papers: For your Home and In-class Assignments you will need a minimum of eight large, good quality assorted drawing papers such as, Stonehenge, BFK or Somerset. Translucent Mylar, vellum or glassine . Other quality drawing papers may also be acceptable. Consult with your studio instructor.
SUGGESTED ART SUPPLY STORES: York bookstore
Aboveground: www.abovegroundartsupplies.com
74 McCaul Street 416-591-1601
Daniel’s Art Supplies:
430 Spadina Ave. 416 597-1919
DeSerres (Loomis &Toles): www.deserres.ca
various Locations 416 422-2443
Gwartzman’s: www.gwartzmans.com
448 Spadina Ave. 416 922-5429
Michaels Arts and Crafts Store: www.michaels.com
various locations
Midoco Art & Office Supplies: www.midoco.ca
555 Bloor St. West 416 588-9253
Picasso Art and Craft Supplies
7388 Yonge Street 905 731-2112
Tern: www.ternart.com
874 Queen St. West 416 537-7338
Toose Art Supplies: tooseartsupplies.blogspot.com
229 College St. 416 348-0793
The Paper Place: www.thepaperplace.ca
887 Queen St. West 416 703-0089
Woolfitts Art Enterprises: www.woolfitts.com
1153 Queen St. West
416 536-78784, 2013
Some thoughts about abstraction
Everything starts from a dot. ”
(Wassily Kandinsky)
The more abstract is form, the more clear and direct its appeal. (Wassily Kandinsky)
My line is childlike but not childish. It is very difficult to fake.. to get that quality you need to project yourself into the child's line. It has to be felt. ( Cy Twombly)
Unless you're involved with thinking about what you're doing, you end up doing the same thing over and over, and that becomes tedious and, in the end, defeating. (Sol LeWitt)
Every drawing is, in fact, a combination of what the drawing is of, and both how and why the drawing is made. Margaret Davidson, Contemporary Drawing; Key Concepts and Techniques
There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot. John Cage
Syllabus (subject to change) do exercise using chance
To every class you are expected to bring ALL your drawing supplies, sketchbook, newsprint and 5-10 sheets of good paper in your portfolio. Please come prepared.
January 7, 2013: Lines, lines, lines
Review course outline. Discussion: what does abstract mean?
In Class: Blind drawing; using a large piece of paper, close your eyes and move your pen or pencil continuously for 5-7 minutes or until your instructor says ‘stop’.
Homework: research definition of ‘line’ Using a variety of drawing tools and mediums, like chalk, pastel, charcoal, explore lines in your sketchbook
January 14, 2013: Lecture presentation on lines; lines as direction, rhythm, gesture, texture, thickness.
Intoduction to Project 1: One thousand Lines
In class project: Devise a set of rules for a line drawing, like Sol Lewitt.
Do a drawing following your own rules. Exchange rules with a classmate and do a drawing following their rules.
Homework: 1. Bring a variety of strings and tape with different textures and thicknesses to class. Including wool. Continue your line investigations in your sketchbook. 2. Make a list of words to describe line 3. Begin working on your project 1.
January 21, 2013
In class: In your groups, select a space in the classroom and create an environment using your string. Then, draw what you have made. Notice the characteristics of the lines made by the different kinds of string as well as the negative spaces .
Using this drawing as the basis for developing another drawing considering line, space, texture. Use good paper.
Homework: Continue working on your project 1: 1000 Lines
January 28, 2013; Critique of A Thousand Lines
Homework: Bring several natural objects to class; a branch, flower, leaves, fruit, vegetable etc and some stencils.
February 4, 2013: introduction to Abstraction in Nature
In class: Using your objects, draw from observation. Notice the lines, shapes, textures of your object. Now, develop a drawing focusing on certain characteristics of your object and interpret them in your drawing. Use a variety of drawing tools, including ink and gouache. Use the stencil to create layers. Consider making your own stencil.
Homework: research and develop more ideas and drawings for project 2.
February 11, 2013 mid term review; individual interviews.
In class: work on project 2
February 16-22, 2013 Reading Week
February 25, 2013 : Critique of project 2, Abstraction in Nature
Homework: Bring several personal photographs ink, brushes to next class.
March 4, 2013
In class: Select and Draw sections of the photographs. Then use the section drawing to make another drawing, considering composition, tone, line, shape, pattern, texture
Homework: Work in your sketchbooks on more photo collage drawings. Continue work on project 3, Pattern and Texture
March 11, 2013: Critique of project 3, Pattern and Texture
Homework: Bring ink and brush to class
March 18, 2013
In class: Using several sheets of good paper, play with wet and dry ink and brush, and explore the possibilities of ink; dripping, brushing, pouring, printing etc
Choose one or two of these experiments and continue to develop a final drawing.
March 25, 2013
In class: Work on final project and any other projects that need to be completed. This class is an opportunity to ensure that all your in class and homework projects are completed and that all your assignments are in your portfolio.
April 1, 2013: Critique of final projects
April 8, 2013: Last class; Individual interviews; Hand in portfolios including sketchbooks.
Project 1: One Thousand Lines
Using one thousand lines make a large drawing based on related themes such as: order/chaos, utopia/dystopia, light/dark and sublime/ridiculous. There are no limits on size. However, students should use traditional instruments such as pencil, crayon, chalk or pen and ink in completing their work. Critique for this project is in class January 28, 2013.
Project 2 - Abstraction in Nature
Beginning with examples of flora and fauna, crystals, microscopic images of crystals or other natural structure, complete a series of three drawings on good paper that explore aspects of their form and function. Students should consider all kinds of natural growth forms. This could include patterns of animal markings like zebras, giraffes snakes, hair etc.
Project 3 - Patterns and Textures
Collect fabric, papers with patterns and textures, like wrapping paper, wallpaper, carboard. Cut and paste these elements onto a large sheet of paper at least 24”x 36”. Then select an area to draw, using pastels, conte, charcoal, gouache.
Project 4 – Independent
For your final project, develop an abstract series of drawings with 2-3 in the series. Record your process in your sketchbook including the source of your ideas, your research and notes on the development of your drawing process, concepts, observations and conclusions. Use good paper and at least one in the series should be approx 36” x 48”. You may use any medium for drawing.
Sketchbook:
You will be assigned exercises in your sketchbook and in addition the sketchbook is to be constantly in use as a place for your to experiment and explore ideas. It is a work in progress. By the end of the term it will have gained a personal character and demonstrate your individual explorations and personality because using the sketchbook will have become a practice. In your sketchbook you are free to include all kinds of visual and verbal ideas without the pressure of making them relate to each other. Experiment and follow your curiosity.
Goals and Criteria
1.Personal: discovery, imagination, preferences, eccentricities
2. Use BOTH SIDES of the pages / double spreads
3. Various: sketches, doodles, experiments, notes, journaling, collage, pictures, materials, colour, found things, cut, constructed, taped and glued stuff, diagrams, slide notes, thumbnails, you name it then do it and include it
Here are some suggestions for sketchbook activities;
1. experiment with form and variations
2. note quick visual and verbal ideas
3. experiment with different techniques, tools, mediums
4. experiment with different compositions; place objects and shapes in different juxtapositions
5. record objects through sustained observations
6. make preparatory drawings for projects
7. use your sketchbook as a diary or journal, recording your interests and activities
8. make comments on artwork; yours and others
9. attach clippings that interest you
10. draw from memory; draw your feelings
11. make diagrams, thumbnails, doodles
12 .include found things, cut, constructed, taped and glued stuff
Bibliography and Recommended Text:
Betti, Claudia, Drawing, A Contemporary Approach, Harcourt Brace Jovanovich, 3rd ed, 1992
Butler, Cornelia, Afterimage: Drawing Through Process, The MIT Press, Cambridge Massachusettes and London England, 1999.
Dantzic, Cynthia Maris, Drawing Dimensions, A Comprehensive Introduction, Prentice Hall, NJ, 1999
Davidson, Margaret, Contemporary Drawing; Key Concepts and Techniques, Watson-Guptill Publications, New York, 2011
Dexter, Emma, Vitamin D New Perspectives in Drawing, Phaidon Press, 2005
Downs, Marshall, Sawdon, Selby, Tormey, ed. , drawing now, Between the Lines of Contemporary Art, I.B. Tauris, London and New York, 2009
Drury, Fritz, Stryker, Joanne, ed, Drawing:Structure and Vision, Pearson, Prentice Hall, NJ, 2009
Edwards, Betty, Drawing on the Right side of the Brain, J.P. Tarcher Inc, Los Angeles, 1979
Drawing on the Artist Within, Innovation, Invention, Imagination, Simon & Schuster, NY, 1986
Enstice Wayne, Peters, Melanie, Drawing: Space, Form & Expression , Prentice Hall, NJ, 1995
Garner, Steve, editor, Writing on Drawing; Essays on Drawing Practice and Research, Intellect Books, University of Chicago Press, Chicago, IIlinois, 2008
Grosenick, U. & Riemschneider, B. ed., Art Now Volume 1, Taschen, 2002
Grosenick, Uta. ed., Art Now Volume 2, Taschen 2005
Hoptman, Laura, Drawing Now: Eight Propositions, The Museum of Modern Art, NY, 2002
Maslen, Mick, Southern, Jack, Drawing Projects:an exploration of the language of drawing, Black Dog Publishing, London, UK, 2011
Mendelowitz, Daniel, A Guide to Drawing, Holt, Rinehart and Winston, 1988, 4th Ed.
Paterson, Robert, Abstract Concepts of Drawing, Thomson Seyffer Graphics, 1981
Simmons, Seymour III, Winer, Marc, Drawing, The Creative Process, Prentice Hall, 1977
Wood, D, The Craft of Drawing, Materials and Techniques, Harcourt College Publishers, 1988
http://www.massmoca.org/lewitt/walldrawing
The library has many excellent resources. Use the Scott library to research artists referenced in the course and to access the many excellent films about artists that are available in the Sound and Moving Image library at York. FYI:The PBS Art 21 series is a very comprehensive film series about contemporary artists.
4
All students are expected to familiarize themselves with the following information, available on the Senate Committee on Curriculum & Academic Standards webpage (see Reports, Initiatives, Documents)
http://www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm
• York’s Academic Honesty Policy and Procedures/Academic Integrity Website
• Ethics Review Process for research involving human participants
• Course requirement accommodation for students with disabilities, including physical, medical, systemic, learning and psychiatric disabilities
• Student Conduct Standards
• Religious Observance Accommodation
Academic Honesty and Integrity
York students are required to maintain high standards of academic integrity and are subject to the Senate Policy on Academic Honesty (http://www.yorku.ca/secretariat/legislation/senate/acadhone.htm).
There is also an academic integrity website with complete information about academic honesty. Students are expected to review the materials on the Academic Integrity website (http://www.yorku.ca/academicintegrity/students.htm).
Access/Disability
York provides services for students with disabilities (including physical, medical, learning and psychiatric disabilities) needing accommodation related to teaching and evaluation methods/materials.
It is the student's responsibility to register with disability services as early as possible to ensure that appropriate academic accommodation can be provided with advance notice. You are encouraged to schedule a time early in the term to meet with each professor to discuss your accommodation needs. Failure to make these arrangements may jeopardize your opportunity to receive academic accommodations.
Additional information is available at www.yorku.ca/disabilityservices or from disability service providers:
• Office for Persons with Disabilities: N108 Ross, 416-736-5140, www.yorku.ca/opd
• Learning and Psychiatric Disabilities Programs - Counseling & Development Centre: 130 BSB, 416-736-5297, www.yorku.ca/cdc
• Atkinson students - Atkinson Counseling & Supervision Centre: 114 Atkinson, 416-736- 5225, www.yorku.ca/atkcsc
• Glendon students - Glendon Counseling & Career Centre: Glendon Hall 111, 416-487- 6709, www.glendon.yorku.ca/counselling
Religious Observance Accommodation
York University is committed to respecting the religious beliefs and practices of all members of the community, and making accommodations for observances of special significance to adherents. Should any of the dates specified in this syllabus for an in-class test or examination pose such a conflict for you, contact the Course Director within the first three weeks of class. Similarly, should an assignment to be completed in a lab, practicum placement, workshop, etc., scheduled later in the term pose such a conflict, contact the Course director immediately. Please note that to arrange an alternative date or time for an examination scheduled in the formal examination periods (December and April/May), students must complete an Examination Accommodation Form, which can be obtained from Student Client Services, Student Services Centre or online at http://www.registrar.yorku.ca/pdf/exam_accommodation.pdf
Student Conduct
Students and instructors are expected to maintain a professional relationship characterized by courtesy and mutual respect and to refrain from actions disruptive to such a relationship. Moreover, it is the responsibility of the instructor to maintain an appropriate academic atmosphere in the classroom, and the responsibility of the student to cooperate in that endeavor. Further, the instructor is the best person to decide, in the first instance, whether such an atmosphere is present in the class. A statement of the policy and procedures involving disruptive and/or harassing behavior by students in academic situations is available on the York website http://www.yorku.ca/secretariat/legislation/senate/harass.htm
York University’s Code of Student Conduct is available online at: http://www.yorku.ca/scdr/CodeOfConduct.html
Please note that this information is subject to periodic update. For the most current information, please go to the CCAS webpage (see Reports, Initiatives, Documents): http://www.yorku.ca/secretariat/senate_cte_main_pages/ccas.htm.