{"id":102,"date":"2019-05-18T18:30:19","date_gmt":"2019-05-18T18:30:19","guid":{"rendered":"http:\/\/marystewart.info\/work\/?page_id=102"},"modified":"2019-06-02T21:49:34","modified_gmt":"2019-06-02T21:49:34","slug":"2d-foundations","status":"publish","type":"page","link":"http:\/\/marystewart.info\/work\/2d-foundations\/","title":{"rendered":"2D Foundations"},"content":{"rendered":"
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SAMPLE 2D DESIGN FOUNDATIONS SYLLABUS<\/h1>\n<\/div>
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\u2028Description\u2028<\/strong>
\nExperience in conceptualizing, creating, and critiquing two-dimensional compositions using the elements and principles of design. This is a studio course, including hands-on work, critiques, demonstrations, and presentations\u2028\u2028.<\/p>\n

Objectives<\/strong>
\nUpon successful completion of this course, you will be able to:<\/p>\n

    \n
  • \u00a0Effectively manipulate the elements and principles of two-dimensional design to create non-objective, abstract, and representational compositions;<\/li>\n
  • Use a wide variety of idea generation strategies confidently;<\/li>\n
  • Demonstrate an understanding of correlation between concept and composition;<\/li>\n
  • Speak and write critically about personal and peer artworks and propose alternatives;<\/li>\n
  • Research an idea and develop an ambitious Capstone solution.<\/li>\n<\/ul>\n

    \u2028Assessment Criteria\u2028<\/b><\/p>\n

      \n
    • Skill acquisition and application. Is the composition deliberate, well-crafted, and effective? (40%)<\/li>\n
    • Idea Development. How effectively have you used thumbnail sketches and other idea generation strategies? How wide a range of possibilities did you explore? (40%)<\/li>\n
    • Learning Process. Do you come to class prepared? Do you take risks? How substantial and consistent are your contributions to class discussions? (20%)<\/li>\n<\/ul>\n

      \u2028Assessment\u2028<\/strong>
      \nGrades are based on three major factors.<\/p>\n

        \n
      • Is the work conceptually inventive? Did you really grapple with the ideas presented in each assignment?<\/li>\n
      • Is the composition visually compelling? Is every square inch fully engaged? Have colors been chosen well? Is the image unified? Energized? Well crafted?<\/li>\n
      • What was the nature of your learning process? Did you use class time effectively and come prepared? Did you take risks? How many solutions did you invent for each problem? How substantial were your contributions to crits?<\/li>\n<\/ul>\n

        \u2028Attendance\u00a0<\/strong>
        \nAttendance is required. It is impossible to fully \u201cmake up\u201d a missed demonstration or critique. Arriving late also derails learning. Students that miss more than 8 hours of class for any reason generally earn a C or below. More than two unexcused absences will result in a C or below. More than 3 unexcused absences will result in a D or below.
        \nNote<\/strong>: One project will be accepted one day late without penalty. One additional late project will be accepted with a one letter-grade penalty for each day it is late.<\/p>\n

        Basic Supplies<\/strong>
        \nAlways bring 9×12″ sketchbook, pencil, ruler, exacto knife, scotch tape, and scissors
        \n4 non-toxic markers: black, gray, blue
        \nMars white eraser and Uhu glue stick
        \nfine point felt pen, black
        \nexacto knife and 25 extra blades (#11 size)
        \n1 22×30″ sheet Black Arches paper
        \n4 Prismacolor pencils: 2 metallic, 2 non-metallic
        \n2 19×25″ sheets black construction paper
        \n24″ cork backed stainless steel ruler
        \n1\/2×60″ artists\u2019 tape
        \n12×18″ or larger self-healing cutting surface<\/p>\n

        Required Textbook\u2028<\/strong>
        \nLaunching the Imagination: A Comprehensive Guide to Basic Design.<\/em><\/p>\n

        Section 1: Basic Elements<\/strong>
        \nWeek 1: Line
        \nAssignments: Line Inventory; 4 Lines\/4 Times; Line Dynamics.
        \nWritten assignment: Biographical Statement.
        \nReading: LTI, Introduction; C 1<\/p>\n

        Week 2 & 3: Shape<\/strong>
        \nAssignments: Shape Inventory; Black and White
        \nReading: LTI, C 4<\/p>\n

        Weeks 3, 4, & 5:Texture<\/strong>
        \nAssignment: Texture Inventory; Visual Alchemy
        \nReading, LTI, C 5, 6<\/p>\n

        REVIEW #1 INDIVIDUAL APPOINTMENTS<\/p>\n

        Section 2: Basic Principles<\/strong>
        \nWeek 6: Abstraction and Organization
        \nAssignment: Architectural Abstraction: balance, emphasis, scale, proportion, and density
        \nWritten assignment: Turn Up the Heat critique.
        \nReading: LTI, C 3<\/p>\n

        Week 7, 8: Simplicity and Complexity<\/strong>
        \nAssignments: Labyrinth Collage #1 and #2, exploring movement and illusion of space
        \nWritten assignment: Alternatives Critique
        \nReading: LTI, C 11<\/p>\n

        Weeks 9, 10,11: Multiplicity<\/strong>
        \nAssignment: Labyrinth book: Continuity, contrast, framing
        \nReading: LTI, C 12, 13
        \nWritten Assignment: Visual Vocabulary test
        \nREVIEW #2 INDIVIDUAL APPOINTMENTS<\/p>\n

        Section 3: Concepts and Communication<\/strong>
        \nReading: LTI, C 7
        \nWeeks 12-15: Capstone Project
        \nReading: LTI, C 7, Written and drawn assignment: Visual Vocabulary<\/p>\n

        The Bottom Line<\/strong>
        \nClasses within the Art Department are unique within the University system in that you are actively encouraged to discuss and critique the work of your peers and to cite areas where it excels, and where it needs improvement. To achieve this, we all work together to build an environment of trust, honesty, and strong listening skills. This course has a heavy workload.\u00a0If your schedule is heavy, drop the course now. This class will require at least 7 hours of work outside of class per week.<\/p>\n<\/div>

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