art140 | fall 2016 |
2D Design |
instructor: omid | iomid.com/art140 |
email: omid@csun.edu | cell: 323.206.6643 |
office hours: by appointment only |
room sg224 / ac600 |
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COURSE DESCRIPTION:
This class introduces students to design elements and principles that are essential to the creation of effective compositions. Knowledge of the design elements and principles correlates with all art disciplines including animation, art history, ceramics, drawing, fashin, graphic design, illustration, painting, photography, printmaking, video and sculpture.
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PREREQUISITES:
None.
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TEXTS
Required:
Launching the Imagination [Paperback]
By Mary Stewart; McGraw-Hill Humanities/Social Sciences/Languages
978-0073379302
Recommended:
Introduction to 2-D Design: Understanding Form and Function [Paperback]
By John Bowers; Wiley
Moving the Eye Through 2-D Design: A Visual Primer [Paperback]
By Buy Shaver; Intellect Ltd
Principles of Two-Dimensional Design [Paperback]
By Wucius Wong; Wiley
Design Basics [Paperback]
By David A. Lauer, Stephen Pentak; Cengage Learning
Design Through Discovery: An Introduction to Art and Design [Paperback]
By Marjorie Elliott Bevlin; Harcourt Brace College Publishers
Prebles’ Artforms: An Introduction to the Visual Arts [Paperback]
By Patrick Frank; Pearson
Basic Design: The Dynamics of Visual Form
By Maurice de Sausmarez; A&C Black
Art and Visual Perception: A Psychology of the Creative Eye [Paperback]
By Rudolf Arnheim; University of California Press
Universal Principles of Design, Revised and Updated: 125 Ways to Enhance Usability, Influence Perception,
Increase Appeal, Make Better Design Decisions, and Teach through Design
By William Lidwell, Kritina Holden, Jill Butler; Rockport Publishers
Universal Methods of Design: 100 Ways to Research Complex Problems,
Develop Innovative Ideas, and Design Effective Solutions
by Bruce Hanington, Bella Martin; Rockport Publishers
Suggested:
Visual Thinking [Paperback]
By Rudolf Arnheim; University of California Press
Basics Design 08: Design Thinking [Paperback]
By Gavin Ambrose, Paul Harris; Fairchild Books AVA
Change by Design: How Design Thinking Transforms Organizations and Inspires Innovation
By Tim Brown; HarperBusiness
Emotional Design: Why We Love (or Hate) Everyday Things
By Don Norman; Basic Books
The Elements of Color: A Treatise on the Color System of Johannes Itten Based on His Book the Art of Color
By by Johannes Itten (Author), Faber Birren (Editor), Ernst Van Hagen (Translator); Van Nostrand Reinhold Company
Interaction of Color
By Josef Albers; Yale University Press
The Power of the Center: A Study of Composition in the Visual Arts [Paperback]
By Rudolf Arnheim; University of California Press
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COURSE STUDENT LEARNING OUTCOMES:
• Demonstrate and apply knowledge of design elements and principles in relation to two-dimensional composition, utilizing various two-dimensional art media and techniques. The elements are: line, shape/form, color, value, texture and space. The principles of design are: unity/variety, emphasis, scale/proportion, balance, visual weight and rhythm.
• Knowledge of design vocabulary and terms.
• Acquire the ability to analyze, discuss and write about works of art in a critical manner, using design vocabulary.
• Development of problem-solving skills, processes and strategies; including brainstorming, conceptual development, collection and organization of source material.
• Acquire and apply knowledge of color theory and color usage.
• Acquire knowledge of art historical movements and artwork in relation to course content.
• Communicate ideas and concepts through artistic development and art making
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MATERIALS OF INSTRUCTION:
Many of the supplies can also be purchased at Michael’s. Register online or download Michael’s app to receive 20-50% off weekly coupons. Do not buy new supplies if you already have supplies from other classes. If you are not sure about supplies please ask me!
PENCILS
• 7mm mechanical pencil and H leads
• #2 Pencils, small sharpener, white pencil (PrismaColor)
ERASERS
• Staedtler Mars-plastic, pink pearl, art gum
DRAWING
• Waterproof black India ink (Winsor Newton, Sumi or Bombay not Higgins)
• Sharpie markers- ultra-fine, fine, chisel, Black Niji Sylist pen
PAPER
• Strathmore 400 series Bristol Pad, vellum finish – 11” X 14”
• 9 x 12” sketchpad
• 11 x 14” Calque Canson Tracing paper
• 2 White, 4 black, 2 gray Canson Mi Tientes papers
• Assorted colored papers—not construction paper—(Canson Mi Tientes Assorted Color Pack or sheets, or Strathmore 300 series colored art paper pad recommended)
GLUE
• Glue sticks or rubber cement and rubber cement pick-up
PAINT
• Acrylic. System 3 Daler Rowney.
Ultramarine Blue, Cadmium Red Hue, Process Yellow, Titanium White,
Black
BRUSHES
• Real Value Brush Set 9144 (# on back of package)
OTHER
• Itoya Portfolio 11 X 14
• Self healing cutting mat 18 X 24
• X-acto knife #11 blade with extra blades
• Sharp scissors
• C-Thru Ruler 18 inch (not centimeters)
• 18” metal ruler with cork or foam back
• 10” plastic triangle, 45-45 degrees
• Disposable Paper Palette 9 x 12” (no hole)
• Magic tape, drafting tape, white artist’s tape
• Paper towels or cotton rags
• Metal palette knife (not plastic)-Artist Loft, Trowel #102 or similar
• Inexpensive Fabric portfolio with handles 20 x 26 (Blick Student, Alvin Student or Artist Loft)
• Clear plastic box to hold supplies
• Compass
• Circle template
When you are going to shop at art supply stores take your student ID as most stores give student discount!
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Learning Activities and Assignments
Quizzes, tests, or papers related to assignments and/or discussion topics may be given at any time.
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Lectures/Discussions :
There will be a variety of design lectures revolving around the specific needs of students and projects such as:
Technical
• Paint application methods
• Cutting
• Drawing
• Presentation techniques
Design
• General Introduction to Art and Design
• Elements of Art and Design
• Principles of Art and Design
• Psychological Aspects of Design Elements & Principles
• Gestalt Theory
• Function vs. Form
• Color Application Methods
• Psychological Aspects of Color
• Methods of Attracting Attention in Design
• Materials, Methods and Tools Techniques
• Mounting and Presentation Techniques
• Concept Development
• Design Process—Concept through Execution
• Establishing a Solid Work Ethic
• The Importance of Details
• Including Launching the Imagination readings
• Basic Elements 4; Point 4–5
• Line 6–13
• Developing Critical Thinking 137
• Shape 14–21
• Form, Subject, Content 138
• Texture 22–28
• Stop, Look, Listen, Learn 138
• Value 28–33
• Objective and Subjective Critiques 139
• Critique Strategies 139
• The Element of Color 38; Color Physics 39–42
• Defining Color 42–47
• Harmony and Disharmony 48–53
• Composing with Color 53–56
• Emotion and Expression 57–61
• Principles of Two-Dimensional Design 65; Unity and Variety 65–73
• Develop a Long-Term Project 144–146
• Turn Up the Heat: Pushing Your Project’s Potential 146–149
• Balance 74–80
• Taking Responsibility 149
• Proportion and Scale 81–84
• Emphasis 84–87
• Illusion of Space, Illusion of Motion 89; Creating the Illusion of Space 90–95
• Spatial Dynamics 96
• The Illusion of Motion 97–102
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Projects and Assignments:
• Assignment #1: LINE & TEXTURE
• Assignment #2: SHAPE
• Assignment #3: VALUE
• Assignment #4: COLOR WHEEL
• Assignment #5: COLOR VALUE
• Assignment #6: UNITY/VARIETY & RHYTHM/REPETITION (4 seasons)
• Assignment #7: PERSPECTIVE, ILLUSION OF SPACE
• Assignment #8: COLLAGE
• Assignment #9: MALEVICH
• Assignment #10: DESIGN AS A VISUAL LANGUAGE (Trait Box)
• In-Class project #1: LINE
• In-Class project #2: Sci-Fi Shapes
• In-Class project #3: Shade & Value
• In-Class project #4: Perspective
• Presentation
• Term Paper
• Attendance
These projects and assignments are intended to help students establish the ability to create and develop visual form in response to communication problems, including an understanding of principles of visual organization and composition, information hierarchy, symbolic representation, aesthetics, and the construction of meaningful images.
Projects and their order may change anytime to fit the overall needs of the class.
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Assessment and Evaluation:
The course grading criteria is based on students’ demonstration of the following:
• Development of concepts that are thoughtful, original and creative
• Careful attention to execution, technique and completion of projects
• Effective visual and verbal presentation skills
• Active and verbal participation in class activities and critiques
• Attendance with necessary materials and assignment preparation
• Personal challenge and effort in project development
• Deadline compliance
• Maintaining currency with reading assignments
• Participation in class discussions
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Grade Breakdown:
Projects will be graded on personal challenge, self-motivation, and attitude in exploration in the development of self-generated graphic design imagery.
The individual stages (thumbnail, rough, comp) of a project that is worth 10 points are graded on the following point system:
10=Flawless 9= Excellent 8= Good 7= Average 6= Weak
A total of 100 points are possible for the course. Final course grades are issued based on a straight percentage:
100 points = A. Points will be allocated as follows:
Activity Points % of Grade
Class Project #1 10 1.5%
Class Project #2 10 1.5%
Class Project #3 10 1.5%
Class Project #4 10 1.5%
Assignment #1 32 6.4%
Assignment #2 32 6.4%
Assignment #3 32 6.4%
Assignment #4 32 6.4%
Assignment #5 32 6.4%
Assignment #6 60 10%
Assignment #7 40 8%
Assignment #8 40 8%
Assignment #9 40 8%
Assignment #10 60 10%
Quiz1 20 4%
Quiz2 (mid-term) 50 6%
Final 50 9%
Presentation 40 7%
Research Paper 40 7%
Sketchbook 20 2%
Attendant 40 3%
TOTAL 700 120%
Assignments: Format
1” minimum margins—Do not draw or paint up to the trim edges of the illustration board or bristol.
Final Portfolio
All of your assignments will be put into your 11 x 14” Itoya Portfolio on right pages only. Your portfolio will also include a front page (beautifully designed by you) with your name, the course name, date and a quote about art or design that inspires you.
Final Grade
Final Grading is based on: Final portfolio, project grades, research paper, presentation, effort and attendance (see below). Each project, the final portfolio, midterm/final exams and the research paper have their individual weight and value:
FINAL GRADE CRITERIA
A 93-100% 558-600 pts.
A- 90-92% 540-557 pts.
B+ 87-89% 522-539 pts.
B 83-86% 498-521 pts.
B- 80-82% 480-497 pts.
C+ 77-79% 462-479 pts.
C 73-76% 438-461 pts.
C- 70-72% 420-437 pts.
D+ 67-69% 402-419 pts.
D 60-66% 360-401 pts.
F 59%- 359 pts. and below
A Clearly stands out as excellent performance and, exhibits mastery of learning outcomes
B Grasps subject matter at a level considered to be good to very good, and exhibits partial mastery of learning outcomes
C Demonstrates a satisfactory comprehension of the subject matter, and exhibits sufficient understanding and skills to progress in continued sequential learning
D Quality and quantity of work is below average, exhibits only partial understanding and understanding and skills are not acceptable to progress in the graphic design
F Quality and quantity of work is below average and not sufficient to progress
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Class Policies and Guidlines:
General Protocol
1) In order to gain the full benefit of this course, attendance is mandatory.
2) Also, in order to gain the full benefit of this course, students must devote at least 5 hours per week outside of class to their course work.
3) Throughout the course,might there will be various visual presentations, demonstrations, discussions and handouts which are not presently indicated in the syllabus.
4) Students are responsible for all information missed due to absence or tardy. Demonstrations and information will not be repeated.
5) Cell phones must be turned off or put on vibrate. Phone talking or texting in class is not allowed.
6) No headphones. No exceptions.
7) No laptop use during lectures. Using your laptop to work on anything outside of this course during class time is not permitted. Violations will affect your final grade.
8) Students must bring supplies and be prepared to work in class.
9) On occasion, your instructor will contact you through email. It is imperative that you either access your university email account or have it forwarded to your regularly used email account.
10) Students wishing to bring visitors to class must first make arrangements with the Art Office.
11) Projects may be resubmitted within 2 weeks of original deadline for a new grade.
15) Delivering both outstanding work and more than what is expected is encouraged.
Attendance and Participation
• Roll will be taken in the first 15 minutes of the beginning of class
• Arrving to the class between 2:15 - 2:30 is considered a tardy
• Missing more than 30 minutes of class is considered an absence
• 3 tardies is equal to one absence
• 2 absences will lower a student’s grade by one full point (ex: B- to C-)
• 4 absences: Student will not pass the course
• A doctor’s note will not excuse absences more than once
A medical withdrawal from the course is recommended for illnesses extending beyond 2 class sessions.
Late Work
Deadlines: All completed assignments will be delivered on the due date promptly at the beginning of class.
Late work will not be accepted. An absence is not an excuse for a late project.
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Students with Learning Disablities:
If you have a learning disability or feel that you may have a learning disability, it is suggested that you contact the Center on Disabilities (codss@csun.edu; 818-677-2684). You may be encouraged to register in order to be eligible for accommodations.
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Code of Student Conduct:
Information may be viewed online at: http://www.csun.edu/a&r/soc/studentconduct.html
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Last but not least:
This class is a two-way course. The purpose of this class is not solely for learning technical skills, but to develop our vision to look at things differently. The art and design world has endless excitement to discuss. So, make yourself comfortable by bringing your point of view to this class while we respect each other and make a professional connection through this course. We all learn from each other.
-Omid
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