SYLLABUS - 2-D ART / Fall 2020 – Spring 2021

Course:          2-D ART / Fall 2020 – Spring 2021
Instructor:     Yasmine Samimy – email: ysamimynw@gmail.com
2 Sections:    R01 010431001/Section. 1: Mon/Wed, Section 2: Tues/Thurs 1:10 – 3:45pm
Location:       Room 5208
CLASS BLOG:  nwsa-2dart.blogspot.com

Course Overview and Objective:
This Studio course is an introductory exploration of the fundamental elements and principles of two-dimensional art taught through a series of lectures, projects, and critiques. The course focuses on developing the ability to skillfully manipulate and combine core elements of design – line, shape, value, form, texture, color and space will be explored in relation to principles of 2D-art: what we do with these elements. We will investigate the use of communicative tools such as composition, color, hierarchy, scale, rhythm, figure/ground, balance, unity. Skills are developed in exploring various art-making techniques using various mediums. 

Concepts developed in this course form the basic building blocks/the foundations of visual arts. You will develop a working process that leads to a comprehensive body of work through assigned projects breaking each concept down individually. This will develop your awareness and vocabulary of 2-D Art concepts that allow you to engage in critical analysis in future works. You will understand the importance of having a strong foundation when developing your compositional skills important for further study and understanding in the following years. 

There will be a total of 18-20 final pieces presented for end of semester juries. Each project will be followed by an in-class critique. All projects will be displayed for final juries. Sketchbooks are an integral part of critiques. 

 Understand Elements of Art: The visual components of color, form, line, shape, space, texture value
Line(defined by point moving in space/plane. Could have illusion of two- or three-dimension, descriptive, implied or abstract),Value(darks to light as well as middle tones of gray scale and color scales), Shape (positive & Negative, figure/ground relationship, framing/framal reference), Form(as 3-dimensional, volumetric, includes height, depth, width), Texture (refers to the way things look as if they might feel/implied or the way they feel/tactile),Color(properties of color: hue/chroma intensity/saturation, value, color wheel, emotion of color) 

Application of Principles of Art: What the artist uses to organize elements within a work of art.
(Both elements and principles work together in art-making)
Balance (symmetrical, asymmetrical, Equilibrium or stability) – Movement(guide the viewer’s eye throughout the work of art. The flow of overall composition) – Contrast(could apply to color interactions, differences between elements) – Proportion relative size of one part of a whole/scale & dominancerelative to composition. Relative to body – Unity/Harmony/Variety – Emphasis/focal area/hierarchy (could also be contrasting elements), Rhythm/repetition/sets tempo of piece

The Course is a guided investigation of basic concepts and techniques of visual organizationin two-dimension format starting with black and white and moving into color. ALL projects will be based on developing compositional problem solving, your process and refining your abstract thinking. You will develop an awareness of the formal elements of composition, a working knowledge of the principles and develop visual sensitivity when creating your composition and learning use of color.  Students will learn to verbalize and express their creative process and critical thinking.

COURSE GOALS:
Upon completion of this course, students will demonstrate basic understanding of the following:
- The importance of technical skills, neatness, good craftsmanship, presentation skills.
- Art as the product of a dynamic process, not as simply a static object.
- Abstract & critical thinking. Become familiar with using art-specific vocabulary in critiques.
- No use of shadows and gradients in this course. Most projects will be used with solid (flat) colors.
- Learn to resolve work through brainstorming, thumbnails, developing ideas/studies in sketchbook.
- Importance of experimentation and risk taking in the “Creative Process” to find solutions to final work.
- Creative process and self-evaluation as well as peer work (Art does not exist in a vacuum).
- Conscious seeing and visual acuteness. Become aware of your environment. Learn to see.
- Be an active participant in the studio, learning the importance of communicating your ideas.
- Understanding of how to create values scales and apply value to compositions.
- Creating composition through collaging techniques and mixed media.
- Importance of color wheel and the relationships of colors and different color combinations.
- Becoming resourceful with different methods of research and using school resources. 

CRITIQUES
Critiques are an integral part of all classes. You are expected to be an active participant in discussion, and to take ownership of your work and development as an artist. The function of critiques is not only to receive feedback on your work, but to build essential skills of presentation and communication. 

Projects must be ready for peer review BEFORE critique begins.All work must be neatly pinned to the wall, and well-spaced. Critique begins with a recap of the criteria for the project. Each student will present their work and briefly discuss their intent. The class is expected to provide constructive feedback, and to offer suggestions for improvement. 

Keep all your work carefully stored at home. As we come back to the classroom environment,each project will be collected after group critique, and will be stored in the classroom. You will have access to re-work your projects before your final juries, which take place at the end of each semester.KEEP ALL your work. It is important to show progress and evolution. You will work through each project diligently for your final presentations. 

CLASSROOM AND ONLINE CLASS RULES & RESPONSIBILITIES

–     Must be present on ZOOM Facetime during class. Attendance will be taken each class

–     Present assignments on time, and neatly (late work will result in a lower grade each day its late)

–     Must submit and upload all projects by deadline onto your section via google classroom

–     All communication will be done through Remind and feedback given through google classroom

–     Critiques and presentations will be done through ZOOM on ScreenShare

RULES AND GUIDELINES IN THE CLASSROOM ENVIRONMENT

–     Cell phones and other electronic devices are limited to PRODUCTIVE uses (listening to music while painting, or researching artists and assignments). NO checking email, social networking, texting, watching movies/shows etc… NON-PRODUCTIVE use will result in disciplinary action. Failure to comply will result in class-wide no phone policy.

–     (When in class) Students are responsible for cleaning the work area and returning supplies to the closet (brushes, containers, cutout paper…) before leaving class.

–     CLEAN UP WILL START AT exactly 3:30 PM. Class will be dismissed only when all materials are cleaned and put away in proper place.

–     Maintain classroom equipment and property (Clean brushes well, dry them, put them away.

–     Do not throw out brushes, clean the sink, do not paint walls, put garbage in trash containers.

-RESPECT your work and each other’s work
- Be prepared for class and respect project deadlines.
- Utilizing in-class time towards the completion of directed exercises assigned projects.
- Participate in critiques, discussions and following deadlines schedules on all projects.
- Critiques are opportunities to comment, analyze, and evaluate work in a constructive way with the class.
- Come to class prepared with your art supplies. Do not be wasteful or lose your art supplies. 
- Keep talk volume down while brainstorming on conceptual ideas and creating layouts while in class.
- Must have written note if you need to leave early or have any appointments whatsoever.
- You may listen to your own music with headphones when working. 
- No music or earbuds while lecturing and no playing on computers, texting, snapchat, etc. during class.

 Maintain a sketchbook
You are required to maintain a sketchbook that contains all of your research, experimenting, sketches, ideas, studies, exhibition reviews, collages, and inspirations. This is your brain on paper!  Your visual Journal. Your sketchbook will be presented during juries and should be completed.The sketchbook will also serve as a class notebook, and must be brought to all class meetings. Every project should be represented in your sketchbook and requires (at a minimum): an inspiration page (including notes, research and art-historical/cultural references) and a minimum of three thumbnail sketches (small sketches) and three variations of each.
Sketchbooks will be reviewed in juries and will count as 1/3 of your final grades.

Assignment 3: TWO Watercolor Series. Due Thursday, April 23,2020

Project Description

Create two compositions in watercolor and fine mechanical ink pen (optional) This project will work as a thematic series. Please follow all the elements and principles of art regarding your composition (rules apply to everything you do) and be creative on concept, subjects, positioning, asymetrical, use all sides, framing, cropping in, aware of value, contrast, perspective, heirachy, Figure/ground etc… all that we reviewed from the year. make the piece interesting using your creative skills. Your series can be interpretive, conceptual, you can also create abstractions from your subjects. there are many elements and ideas to be inspired by. compositions must be strong and still lives and whatever subject your working with needs to be placed into context so it looks aesthetically appealing to the eye. think of your themes. Don't take the easy way. challenge yourself and  create a beautiful complex resolved polished work of art. RESEARCH on the internet as well!

You will focus on your exploration with the watercolor medium to produce a pair of (2) either on 9x12 sheet of watercolor/bristol paper of if you don't have proper paper, paint in your sketchbook.


The watercolor paintings should addressing the Idea of abstractions or idea of scenic place and atmosphere in Florida. it can take different directions. Either totally interperative abstracted or more realism using the following starting points:

• Tropical flora, plant life, nature, details of flowers.
• Landscape/Seascape (details, underwater sea life and corals, above water scenic)
• Botanical/Biological - tropical fruits, native flowers, detail of palm leaves or other 
• Architecture  i.e. could be historic spanish style. look up viscaya or venetian pool
• Look up Viscaya or venetian pool or historical landmarkds that interest you.
• It can be totally abstract like artists Paul Klee and Sonia Delauney. look up work

both paintings canwork together to communicate your idea regarding place. This can be literal, or conceptual. use the idea of cropping of the page, balance the subject, create interesting positive negative spaces, movement, cohesive thematic series. 

Examples of literal places include: your garden or gardens, everglades, viscaya, south beach, south beach architecture, fairchild tropical gardens,  still life, observation of nature, historical landmarks, fruits, flowers, vegetation, native trees plants, beach, aquatic life underwater sea nature, exotic birds, fish, etc…. remember to really think of your composition and be thoughtful on how you are using the page area. resolve your painting in a professional way. clean, refined, well executed.

Examples of conceptual places include: the idea of nature, all the beautiful life we have around us. zoom in on it, beauty is in the details and unexpected discoveries so open your eyes and really explore! you can definitely google for different ideas or examples since we can't go out and stuck so really explore your imagination.

If you don't have watercolors you can use diluted acrylic paints, markers, colored pencils or whatever else you have available in your home. you can outline with fine point pen to enhance areas. be creative.

Reaearch Examples

Look up and research artists on google. should be helpful for inspiration and ideas. Use one of these artist and inspire your works from them. this should be helpful for color palette selection and Ideas.
Start with: 
Georgia O'keeffe
Sonia Delauney
Paul Klee
Henri Matisse
Raoul Dufy
Andre Derain
Hilma Klint
Marc Chagall
Wasily Kandinsky
Pierre Bonnard
Elizabeth Peyton
Francesco Clemente
Nigel Peake
William Turner watercolor studies 

Audubon society

You will be evaluated on the following:

• 20 pts- Homework/creative process (studies, ideas)
• 30 pts- Quality of Compositions (Design Elements, focal points, eye movement)
• 30 pts- Quality of Painting/Rendering (Craftsmanship, technique)
• 20 pts- Concept/theme (communication of your idea)

Here are some student samples just to see. but your work will be full pages edge to edge on watercolor paper or your sketchbook. if you don't have watercolors use color pencils or brush markers or water medium you have. you can also water down acrylics to get a watercolor fluidness. 

MIXED MEDIA ASSEMBLAGE/COLLAGE PROJECT – DUE DATE- 5/1 + 5/2, 2019

Purpose
Create two mixed-media abstracted portraits or still life on Bristol board or other surface. Think about communicating the essence of your subject's persona and style. think of concept and how you will approach the project. This is not about traditional portraiture or just creating a typical still life, it's an interpretation as well, it's your original, unique vision, but it gives you the freedom to find creative solutions to challenge traditional perceptions. Think abstract, deconstruction, mixed media, collaging, material, overlapping, LAYERING and weaving in your elements in creating a strong compositional solution. use your creative mind and create an affective integrated, cohesive series of TWO works of art that challenge the norm. Intergrate! don't treat your materials as seperates. they all must work together. INTEGRATION, NOT SEPARATION.

Two interpretive pieces either alternative portraiture or still life. Through the process, you will begin to explore additive technique in two-dimensional art. In particular, you will experiment with integrating collaging with traditional painting and drawing techniques. MUST BE VISUALLY PLEASING (good aesthetics please). Think and analyze your process, method of execution and explore creative solutions. Be experimental.

Attention will be given to the design principles we covered first semester. Namely: (framing, Scale, Hierarchy (points of interest/focal areas/emphasis), asymmetry, cropping techniques,  Textural look or feel, F/G relationship, balance, composition, value, contrast and color theory/relationships), color palette, asymmetry. All that we have studied thus far is crucial in creating a cohesive unified solution. How will everything tie in together to create a balanced composition. 

This project is treated as an abstraction and interpretive. Not to be literal. All elements must work together to create a cohesive (unified), resolved, and finished work. Really think about your approach as in theme, style, be selective with materials and how to work them into your composition. Integrate the materials thinking of overlapping, layering, creating transparency in your finished piece. That can be done with different methods of layering mediums. You really need to analyze your piece and be visually aware of your AESTHETICS.

Due Dates (Critiques)

Mon/Wed Class: Wednesday, May 16th. 

Tues/Thurs Class: Tuesday, May 15th. 

Rubric
You will be assessed on your application of the design principles mentioned above, your creative solution, integration of materials, craftsmanship, composition, execution, sketches, and your creativity. 

Note: All projects turned in after the due-date will be reduced by one letter grade. 

Materials

• Two Sheets of Bristol board or  other surfaces 9" x 12" 
• Paint, markers, colored pencils, charcoal, watercolors, etc.
• Fabric scraps, tissue paper, magazine cutouts, string, yarn, newspaper, etc.
• Appropriate adhesive (white glue, rubber cement, gel medium, sewing kit)

Process

Step 1

In your sketchbook, create 3 different contours (silhouettes) or whatever subject matter you choose that you will use as a reference for your collage. Themes can be a deconstructed portraiture, figurative, still life, abstract environment. BUT ALL ELEMENTS OF MEDIUMS AND MATERIALS MUST BE INTEGRATEAD, WEAVED INTO EACHOTHER, OVERLAPPING, INTERSECTING. MAKE IT A UNIFIED COMPOSITION. NOT COMPARMENTALISED. ELEMENTS MUST BE INTERGRATED NOT SEPERATED. MUST ALL WORK AS A WHOLE! THE SOME OF ALL PARTS. TOGETHER. FLOW, UNITY, COHESIVE. MUST WORK AS A PAIR.

PLEASE STUDY THE LINKS AND ARTIST LISTED. GIVES YOU IDEAS AND RESEARCH MATERIALS. POINTS OF REFERENCE. PLEASE!!!!

Begin by mapping out a theme/concept, think about materials, color palette, MAIN MATERIALS, your layout for both pieces, their relationships. what will crossover be? what is the common ground of your visuals, etc... Pay close attention to details, such as facial features or objects for still life. framing is important! and their relative size and position to one another. Be sure to map all these elements out correctly. Use cropping, scale and position on paper to create a dynamic composition.

Draw a silhouette of the head, then include neck and shoulders, add hair, include ears... Think about what you could add/remove to make it unique (pencil behind ear, sunglasses in hair, specific earring, etc). of course this also applies to a still life and all of its accents. whats the environment? look at Braque and Picasso JOSEPH CORNELL ASSEMBLAGES/collages. 

Process to consider when creating your mixed media composition. Think abstract. Think creative. deconstruct. think of creating focal areas and how your eye travels through the piece. WHAT ARE THE FOCAL AREAS? MAIN SUBJECT, SECONDARY TERTIARY FOCAL AREAS. Must have emphasis. things can't have equal importance on your canvas. there will always be a main subject. can't have everything same size, same value, same anyting. have to keep it DYNAMIC!

Step 2

Focus on other areas of your body as an option- hands, feet, legs, and entire figure. Repeat the steps above, to create 5 more contours from these observational drawings. 

Step 3

Tape the composition to a wall, take a step back, and examine all contours area of composition and theme. Examine the positive/negative space, and composition, of each contour. What is successful. SQUINT.

Now, look at the compositions alongside each other. Pay attention to the different ways the compositions interact with each other. How do they inform (relate and influence) each other? What combinations of compositions are particularly successful? WHAT IS THE FOCAL AREAS? MAIN SUBJECT, SECONDARY TERTIARY FOCAL AREAS. 

Step 4

Based on the observations in Step 3, choose one (or more) compositions to use as a starting point. Find ways to make the composition stronger, by overlapping, intersecting, combining, cutting, cropping, sewing stitching, glueing, etc.  Continue to refine the composition by rearranging, adding, and deleting elements.

Step 5

Explore with different materials (paint, collage, markers, fabric, metal, etc), continuing to refine the composition. Use color, texture, and value to tie everything together. 

NOTE: THIS IS NOT A 3-D PROJECT; KEEP THE WORK 2-D.It can have lots of texture,  alittle relief 1/8" and some depth, but the base board must be able to physically support all the materials you have incorporated. 

Research the words: Assemblage, Mixed-Media, Collage. below are other references.

Art-Historical Examples

Romare Bearden

James Rosenquist
Joseph Cornell

Collage Mixed-Media

Dada/Dadism
Kurt Schwitters

Hanna Höch

Kazimir Malevich
Georges Braque 

Pablo Picasso

Robert Rauschenberg
Andy Warhol

Arturo Herrera

John Stezaker
MoMa Link on Collage

Students Samples

 





 

SYLLABUS - 2-D ART / Fall 2018 – Spring 2019

Course:           2-D ART / Fall 2018 – Spring 2019

Instructor:       Yasmine Samimy – email: ysamimy@bellsouth.net

Sections:         R01 010431001  - Mon/Wed & Tues/Thurs - 1:10pm – 3:45pm

Location:         Room 5208

CLASS BLOG: nwsa-2dart.blogspot.com

Course Overview and Objective:

This Studio course is an introductory exploration of the fundamental principles of two-dimensional art taught through a series of weekly lectures, projects, and critiques. The course focuses on developing the ability to skillfully manipulate and combine core elements of design – line, shape, value, form, texture, color and space will be explored in relation to principles of 2D-art: what we do with these elements .We will investigate the use of communicative tools such as composition, color, hierarchy, scale, rhythm, figure/ground, balance, unity. Skills are developed in exploring various art-making techniques using various mediums.

Concepts developed form the basic building blocks to the fundamentals of visual art/communication. You will develop a working process that lead to a comprehensive body of work through assigned projects breaking each concept down individually. This will develop your awareness and vocabulary of 2-D Art concepts that allow you to engage in critical analysis in future works. You will understand the importance of having a strong foundation when developing your compositional skills important for further study and understanding in the following years.

There will be a total of 18-20 final pieces presented for end of semester juries. Each project will be followed by an in class critique. All projects will be displayed for final juries. Sketchbooks are an integral part of critiques. They will be a part of your final grades

Understanding the Elements of 2D Art in composition

Line (defined by point moving in space/plane. Could have illusion of two- of three-dimension, descriptive, implied or abstract, perception), Value (darks to light), Shape as Space (positive & Negative, figure/ground relationship, framing/framal reference), Form (as 3-dimensional, volumetric, includes height, depth, width), Texture (implied or tactile), Color (hue, chroma, value, color wheel, emotion of color)

Application of Principles of 2D Art in composition

(Both elements and principles work together in art-making)

Balance (symmetrical, asymmetrical, overall composition. Equilibrium, stability) – Movement (guide the viewer’s eye throughout the work of art. The flow of overall composition) – Contrast (could apply to color interactions, differences between elements) – Proportion relative size of one part of a whole/scale & dominance relative to composition. Relative to body  – Unity/Harmony/Variety – Emphasis/focal area/hierarchy (could also be contrasting elements), Rhythm/repetition/sets tempo of piece

  

The Course is a guided investigation of basic concepts and techniques of visual organization in two-dimension format starting with black and white and moving into color. ALL projects will be based on developing compositional problem solving, your process and refining your abstract thinking. You will develop an awareness of the formal elements of composition, a working knowledge of the fundamental principles and sensitivity towards the interrelationship between form, content and use of color.  Students will learn to verbalize and express their creative process and critical thinking.

COURSE GOALS:

Upon completion of this course, students will demonstrate basic understanding of the following:

- The importance of technical skills, neatness, good craftsmanship, presentation skills.

- Being prepared for class and working in a timely fashion. Respect Deadlines.

- Utilizing in-class time towards the completion of directed exercises assigned projects

- An understanding of elements, principles, theories and language used in 2-dimensional arts and its application.

- Abstract & critical thinking. Become familiar with using art-specific vocabulary and terminology in critiques.

- There will be no use of shadows and gradients in this course. Most projects will be used with solid (flat) colors.

- Learn to resolve your work through brainstorming, thumbnails, doing studies in sketchbook before final pieces

- Importance of experimentation and taking risks in the “Creative Process” to come up with solutions.

- Creative process and self-evaluation as well as peer work (Art does not exist in a vacuum).

- Conscious seeing and visual acuteness. Be aware of your environment in and out of class. Learn to see.

- Be an active participant in the studio and learning the importance of communicating your ideas.

- An understanding of how creating values scales and applying to compositions.      

- Creating composition through collaging techniques and mixed media.

- Importance of color wheel and the relationships of colors and theory of different color combinations.

- Learn to evaluate and recognize the success of a composition and analyze where improvements are needed.

- Taking class notes when needed for specific project instructions

- Becoming resourceful with different methods of research and using school resources

  (i.e., the library, the gallery, museums, looking up individual artist’s works).

Classroom RULES & RESPONSIBILITIES

–      Consistent, prompt attendance (Role will be taken during each class)

–      Cell phones and other electronic devices are limited to PRODUCTIVE uses (listening to music while painting, or researching artists and assignments). NO checking email, social networking, texting, etc… NON-PRODUCTIVE use will result in disciplinary action. Failure to comply will result in class-wide no phone policy.

–      Students are responsible for cleaning the work area and returning supplies to the closet (brushes, containers, cutout paper…) before leaving class.

–      CLEAN UP WILL START AT exactly 3:30 PM. Class will be dismissed only when all materials are cleaned and put away in proper place.

–      Maintain classroom equipment and property (Clean brushes well, dry them, put them away.

–      Do not throw out brushes, clean the sink, do not paint walls, put garbage in trash containers, etc…)

–      Present assignments on time, and neatly (late work will result in a lower grade)

- RESPECT your work and each other’s work

- Participate in critiques, discussions and follow deadlines on all projects. Critiques are opportunities to

  comment, analyze, and evaluate work in a supportive and constructive way with the class.

- Come to class prepared with your art supplies. Do not be wasteful or lose your art supplies.

- Keep talk volume down while brainstorming on conceptual ideas and creating layouts while in class

- Must have written note if you need to leave early or have any appointments whatsoever

- You may listen to your own music with headphones when working.

- No music or earbuds while lecturing and no playing on computers, texting, snapchat, etc. during class

Maintain a sketchbook

Each of you are required to maintain a sketchbook that contains all of your research, sketches, ideas, studies, exhibition reviews, collages, and inspirations. Your sketchbook will be presented during juries and should be completed. The sketchbook will also serve as a class notebook, and must be brought to all class meetings. Every project should be represented in your sketchbook and requires (at a minimum): an inspiration page (including notes, research and art-historical/cultural references) and a minimum of three thumbnail sketches (small sketches) and three variations of each.

Always work in your sketchbook. Do thumbnails/sketches/studies for every project in it. Sketchbooks will be reviewed in juries! They will be 1/3 of your final grades.

Critiques are an integral part of all classes. All students are brought together for regular/informal or final critiques—generally when they have major assignments due. Each student must show his/her work and briefly discuss his or her intent. The class is then expected to provide positive feedback and offer suggestions for improvement. 

all students participate. The pro­cess begins with a recap of the criteria for the project and a reminder to address the criteria as part of their discussion. I will interject when I feel that there is something that has not been addressed or have an idea about a possible solution or suggestion for a next piece.

The vocabulary of art is introduced through the foundation classes. Additionally, there is ongo­ing dialogue with students on an individual basis during class time.

Each project will be collected and kept in folders in class and will be reviewed, refined and returned to you to be presented for final juries at the end of each semester. ALL your work is important so work through each project diligently for your presentations.