SFAI Drawing 1 & 2

Course Description, Outcomes, Expectations, and Definition of Drawing

Definition of Drawing
Drawing refers both to the act of marking lines on a surface and to the product of such manual work; manipulating line, form, value, and texture, with an emphasis on line and value rather than just color. The language of drawing has been used to record, outline, and document, images that the draughtsman has observed, imagined, recalled, from memory or copied…

DRAWING 1 + 2 is a studio where artist/students will work to excel and succeed in Drawing, where the artist/student makes a commitment to a regular course of procedure.

DRAWING 2 +3. After January 26th and January 31st individual presentations, Ongoing individual series of works by student/artist in class will be monitored and discussed one on one, Throughout the semester.

Works done from model during class will be evaluated + discussed from class-to-class, one-on-one, critique to critique.

NOTE: During the course of the semester, at each session (or whenever possible) a model and an installation of objects will be used as a primary point of working.

Expectations

1. Attendance:
   A routine schedule is expected of each artist/student (three unexcused absences is an automatic dismissal.
   The artist/students in this class are expected to be ready to work exactly on time on Tuesdays and Thursdays. Being in class is vital. There is an endless amount to learn from your instructor, the TAs, and one another, but you must be present in order to take advantage of these resources.
2. Completion of All Class and Homework  Assignments
   Homework assignments will be pinned to the wall along with work done during class on assigned days.
3. At the Completion of Each Project, there will be a review of the work shown, this work will then be stored in a portfolio. Each artist will be responsible for maintenance of a flat portfolio (with paper separating each work.)
4. Critique Participation
   It is imperative that everyone in the class participates actively in the critique process that but also approaches that responsibility with respect and accountability. Please be aware of the power of critique to affect other people profoundly, for both good and bad. Be honest, but aware of the implications of your words.

Critiques

1. A neutral space where objectified ideas get responded to in terms of Creative thought and Critical Thinking.
2. For an artist, there can be no growth without critical thinking.
3. This space allows artists/students an opportunity to describe and explain their work and its process of development.
4. Critiques give an opportunity to hear where individual artists/students are coming from, and for those artists/students to clarify their direction.
5. Artists/students are encouraged to give feedback and to ask questions which could help them in their development.
6. In Critique Sessions, beginning artists/students should be encouraged to think and develop strategies to reach their goals.
7. In this neutral space, artists/students are able to see a continuum of where they began, and to see where they are now.
8. Critiques provide a space from where BFA students can speak and write about their work in order to compete and enter competitions or develop artist statements to enter higher levels of education and/or exhibitions.
9. All Higher Education students need to be aware of all levels in the diversity of creativity and be able to comment and respond. Participation is a part of growth.
10. At the beginning of each individual artist critique, each member of the class will be given 5″x7″ index cards. They shall write critical paragraphs of the drawings exhibited. Positive and negative with reinforcing.  (ie. where are you coming from?) These cards will then be signed and given to the student/artist whose work was just critiqued.

Outcomes

To gain the confidence that grows from high expectations and results from individual work and work ethic through formal class critiques. (i.e.) These situations advance and nourish individuals to contemplate dialogue, exchange and negotiate grounded opinion, rationale and contemplative reflection toward work as well as selected subjects. Accompanying each class critique, each student is given index cards to write down their criticism, which is then given to each critiqued student.

During the course of the semester, all artist/students in class will have explored all visual possibilities (individually) as a means to further and support their quests toward artistic maturity. Through the discipline of drawing and thoughtful contemplation of individual growth makers have continually adapted and redefined the nature of the format and the support of this.

…Since the 1960s, however, new approaches to the study of drawings have been advanced, which means focus, for instance, on the role of drawings and their function within the creative process. The Trend towards abstraction and non-representational art, combined with the influence of Freud’s theories of the subconscious, demanded a new approach to the creative process and new attitudes about its product. In addition, the tendency of the 20th-century artists to use popular culture as a source has spurred interest in a variety of non-traditional artistic media. In the same period the artistic use of mixed media has served to sever the boundaries between the traditional media.

Leave a Comment so far
Leave a comment