Portions of the following syllabus were mandated by the school.
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New Hampshire Institute of Art
FND 103A FOUNDATION 2D DESIGN
Spring 2007
Amherst Building
Monday and Wednesday, 9 to 11:50am
Instructor: Jim Rohal
Instructor: Jim Rohal
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Goals: This course is an introduction to thinking in a visual language. You might find it helpful to equate this learning experience with the study of a new language, with its own vocabulary, grammar, and idioms. This is the common language of all visual artists.
Goals: This course is an introduction to thinking in a visual language. You might find it helpful to equate this learning experience with the study of a new language, with its own vocabulary, grammar, and idioms. This is the common language of all visual artists.
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Objectives: This course focuses on the elements of two-dimensional image-making: line, shape, value, texture, color, and the principles by which they are organized: unity, variety, balance, harmony, rhythm, and emphasis. This course develops interpretive and compositional skills, and encourages creative problem-solving for communication and expression in two-dimensional images.
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Objectives: This course focuses on the elements of two-dimensional image-making: line, shape, value, texture, color, and the principles by which they are organized: unity, variety, balance, harmony, rhythm, and emphasis. This course develops interpretive and compositional skills, and encourages creative problem-solving for communication and expression in two-dimensional images.
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Mechanics: For clarity this course uses easily accessible, and relatively economic, black and white materials: Bristol board, various forms of ink media, black and white acrylic paint, photocopying, and collage processes.
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Required Text: Mary Stewart’s Launching the Imagination, 2nd Edition
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Student Responsibilities: Students are to complete projects and homework on time, participate in class discussions, and maintain a visual journal as specified in class. In general, the purpose of this class is the acquisition of a visual language, and students should take responsibility for their own learning. This is to say that the student should not only ask themselves whether they are doing the assigned work. The student should ask whether they are learning.
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Attendance Policy: Good attendance is essential to keep up with the class. Lectures, group critiques, and analysis of individual design solutions play an invaluable role in one’s understanding of design principles, generating ideas and strengthening basic verbal and visual skills.
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Students who miss more than 3 out of 29 class sessions are subject to automatic failure, as specified on page 21 of the student handbook.
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It is important to attend class on time and to be ready to work at the beginning of class. If you miss a class, it is your responsibility to have the appropriate materials for the next day. Students who come to class without the required materials will be considered absent. Students should expect their absences, and excessive tardiness, to be reflected on their grade.
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Homework: Students are responsible for handing all homework and project assignments in on time, regardless of whether class is missed. Failure to show up for class with an assignment that is due for critique is an especially egregious transgression. Late work will be penalized one grade for each class period that it is late. Missed critiques may be subject to further reduction.
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Readings: There will be regular readings assigned from Stewart’s Launching the Imagination, 2nd edition. Students should do the readings with a pad of paper to write down questions they have about the text. If the answers to these questions are still unclear when the reading is complete the student should rewrite the remaining questions clearly on a fresh sheet of paper and submit this sheet at the beginning of the next class.
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We may not always talk directly about the readings in the class for which they are due. Keep up with the readings regardless. It will become very clear if you fall behind with this material.
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Grades: A grade will be given for each assignment. The final grade will reflect the student’s progress by balancing project grades, the journal, and class participation. Roughly, assignments will make up 70% of the grade, the visual journal 15%, and class participation 15%, although these percentages may change due to absences and so forth.
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Remember that by taking this class for credit you have asked to be graded.
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Your teacher does not require you to be graded. Your school does not require you to be graded. After high school, your society does not require you to be graded. You have asked to be graded in order to receive credit from a degree-granting institution. We could avoid the problems of grading artistic endeavor, and focus entirely on learning to make art, if you were willing to take this class on a not-for-credit basis. Of course you have good reasons for wanting credit for your work, but in order to get it, you’ve got to do the work.
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I understand that life can be complicated. As your instructor, I’d like to know anything about you that will help me to teach you more effectively. Still, you have to understand that your grade is not a moral judgment. It reflects only whether you have accomplished the requirements of this course. Some of the best people I’ve ever met failed out of school, and deserved to. If you anticipate that you will be unable to fulfil the requirements of this course for personal reasons then you should change your status before the end of the registrar’s Add/Drop period.
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The assignments in this class will be given a letter grade. These grades will be tabulated for the midterm and final grades using the four-point system (An A is 4 points, an A- is 3.67, a B+ is 3.33, a B is 3, a B- is 2.67, a C+ is 2.33, a C is 2, a D+ is 1.67, a D is 1, a D- is .67, and an F is 0.) I use this system because it provides more stability in grading over the course of a semester. For an elaboration of the school’s larger grading criteria please refer to page 19 of the Student Handbook.
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Meetings: Please contact me at jen25@unh.edu to ask questions or set up an appointment to meet in person. Appointments will usually be made for the time immediately before or after the class. Please be aware that I will not be around the school on days when I am not teaching.
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Email Message List: I will be making an email list to provide you with occasional information about the class. I will also circulate a list so you can coordinate with each other on projects and so forth. If you prefer to keep your email address private then please let me know immediately.
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FOUNDATION 2D DESIGN, tentative Course Schedule, Spring 2007
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FOUNDATION 2D DESIGN, tentative Course Schedule, Spring 2007
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Jan 8th, Introduction to the Course
Jan 10th, Composition
Jan 15th, MARTIN LUTHER KING, JR. DAY, INSTITUTE CLOSED
Jan 17th, Shape Variation
Jan 22nd, Begin Storyboard Project
Jan 24th, Storyboard Work Session
Jan 29th, Storyboard Project Critique, Hatching
Jan 31st, Value-Based Composition (Hatching)
Feb 5th, Value-Based Composition (Hatching)
Feb 7th, Line Variation
Feb 12th, Pattern, Module-Based Patterns
Feb 14th, Module Work Session
Feb 19th, Pattern Project Introduced
Feb 21st, Pattern Project Work Session
Feb 26th, Pattern Project Critique, Collage
Feb 28th, Collage of Found Material
March 5th, Critique of Collages, Introduction to Compositional Analysis Project
March 7th, Analysis Work Session
WEEK OF MARCH 12 IS SPRING BREAK, NO CLASSES
March 19th, Analysis Work Session
March 21st, Analysis Presentations, Introduction to Texture in Composition
March 26th, Texture in Composition
March 28th, Critique of Texture in Composition assignment, Introduction to Value and Form
April 2nd and 4th, Value and Form assignment work session
April 9th, Critique of Value and Form Assignment, Final Project Assigned
April 11th, 16th and 18th, Final Project Work Sessions
April 23rd and 25th, Final Project Critiques
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Materials List (please refer to Health and Safety Statement in this packet):
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Materials List (please refer to Health and Safety Statement in this packet):
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Journal Sketchbook 9"x12"
11"x14" Bristol Board Pad, smooth surface
Kneaded Eraser
Micron Pigma Mechanical Pens, #05 and #08 pts.
Sharpie Black Felt Tip Markers: Fine and Medium
Quill Pen, 1 Wide Nib, 1 Thin Nib
Black India Ink
12" Ruler
Exacto Knife and Blades, or Scissors capable of making a fine paper cut
Rubber Cement
18" x 24" Portfolio (Cardboard, Foamcore, or Paper OK)
Soft Round Brushes, #3 or #6
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Always be prepared to take notes in class, especially concerning homework.
Always be prepared to take notes in class, especially concerning homework.
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Further purchases may be necessary later in the semester. The cost of these materials will be kept as low as possible. Black and White Acrylic Paint will be helpful. Copy privileges are provided.
Further purchases may be necessary later in the semester. The cost of these materials will be kept as low as possible. Black and White Acrylic Paint will be helpful. Copy privileges are provided.
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Health and Safety Statement:
Health and Safety Statement:
The use of artist’s materials is potentially hazardous. This specific course avoids the use of paints and pastels that contain mercury, chromium, and other harmful chemicals, but wash your hands after using all art materials to avoid ingesting or absorbing anything hazardous through your skin, mouth, and eyes. Artists often wear disposable gloves when working with art materials. For reasons of safety all food is banned from the classroom and all drinks must be in closed containers. If you are pregnant or plan to be pregnant use particular caution.
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It is your obligation as an artist to understand the issues and to practice safe studio procedures when working with art materials.
It is your obligation as an artist to understand the issues and to practice safe studio procedures when working with art materials.
