Syllabus

All coursework materials are uploaded to our class blog at the following URL and uploaded to CANVAS LMS.

fa2020cazsa132.blogspot.com

Go to it on your computers and bookmark it for your ease in linking to it daily. Keep yourself updated with all course updates and new materials on a regular basis.

FA 2020 Professor Jen Pepper

Course schedule

Remote OH MW 12:15 > 2:00 PM JCA #210 and by appointment at jpepper@cazenovia.edu > via ZOOM > MSTeams

Course Objectives

This course undertakes a study of three-dimensional form to develop a student’s ability to visualize, design and construct in physical space. 

Students work with space, objects, materials and scale through projects that address the body as a site and source for design. 

Students also undertake projects that investigate the relationship of the human body and its relationship to the built and natural environment. 

Through the work students encounter, it is anticipated that they will understand the idea that visual form and the context or environment in which they function are inextricably linked. 

Students acquire a basic skill set of fabrication techniques, casting, found materials, soft and hard materials, including an introduction to a fully equipped wood shop. Assignments utilize time-honored techniques and materials as well as investigate new materials. 

Beyond material engagement, this course includes proposal writing, sketchbook planning and conceptual development, ongoing research and writing as well as professional multi-media presentations.  Students work both independently as well as in collaborative groups. 

Researched proposals will demonstrate how the structure of the forms they create relates to the student’s individual area of study, while experimentation in 3D materials processes is valuable to all programs of study in the Division of Art & Design.     

As a foundational course, one intentional goal of our program is for the beginning student to develop experience in understanding of design principles relative to three-dimensional forms, become proficient in a structure’s interpretation, while developing the responsibility as image-makers.  

It is anticipated that students will explore and become aware of visual systems of different cultures and time periods, acquire the intellectual tools to have the ability to ask critical questions, while heightening the student’s personal experience in the production of sculptural constructions and various design applications. 

Adopted from NASAD Standards (National Association of Schools of Art and Design), at the completion of this course, students should possess:

a. A developed visual sensitivity in 3D design and an introductory knowledge of materials and methods.

b. The technical skills, perceptual development, understanding of principles of visual organization sufficient to visually communicate ideas in one or more media.

c. Have the ability to make workable connections between concept and materials. 

d. Be introduced and have some familiarity to numerous artists/designers, major works of study from the historical past as well as from contemporary times, including Western and Non-Western cultures.

e. Students should understand the nature of contemporary thinking in 3D art and design, and have gained at the very least, rudimentary discernment of these qualities in various objects.

Upon completion of this course, students should possess:

f. Technical skills, perceptual development, and understanding of design and other principles of visual organization sufficient to achieve basic visual communication using one or more media associated with design.

g. Basic ability to demonstrate how relationships among design principles and the material qualities of objects are incorporated into the production of design work, and how they contribute in terms of use and interpretation.

h. Functional knowledge of how the design of communication, products, environments, systems, and services both reflects and shapes various aspects of the context in which they are produced.

i. Understanding of the various levels at which design problems can be formulated and addressed, and the ability to discern observable or potential consequences of specific design action in large, complex systems.

j. Ability to identify differences among audiences/users for design, and an understanding of how audience/user values and behaviors are reflected in the design of communications, products, environments, and services.

k. Understanding of design process, including abilities to consider probable or potential future conditions, think divergently in the generation of multiple solutions, and use design principles and elements of the design process to converge on ideas and results that are effective in realizing project purposes.

l. Awareness of the critical perspectives in the evaluation of design, including the history of ideas about the role of design in culture and of ideas informing design practice over time.

m. For students emphasizing design scholarship, the ability to use overview knowledge of design practice, history, theory, criticism, and technology and the tools and techniques of research, scholarship, and communication in the production of scholarly analytical work about design.

Learning Objectives                   
Students will gain visual literacy using the formal elements basic to the visual language:  Line, shape, weight, volume, mass, void, space, rhythm, repetition, variation, texture, color, value, light, surface, structure, edge, corner, tension, and anatomy of form.

Concepts to be covered, but not limited to:                                                                                 Develop visual literacy with a working knowledge and practice of the visual language.  
   

Understand and put into practice the fundamental visual principles in thoughtful articulate concepts and expressions.                                                                                                               Develop critical analysis skills.     

Understand positive and negative spatial concerns – the solid and the void.          
           

Produce serial formal studies and modular units that make up a system, relating the parts to a whole, and relationships created to other autonomous systems.   

Construct metaphoric, narrative, and analogous articulations that create bridges between the visual representation and the broader world.    

Investigate the specificities of forms in contextualized space.                                           Investigate various processes: building, casting, subtractive and additive techniques, transforming found objects, site specific installation, ephemeral gestures and shifting perspectives through photographic means.   

Explore the characteristics of different materials such as: paper, fiber, wood, plaster, concrete stone, simple metals, found objects and the landscape. 

Engage and improve intellectual performance by advancing towards informed responses to artistic working ideas, practices, skills, processes and outcomes.       

Gain a deeper understanding to the world of visual ideas as well as one’s own process and production within it.

Visual Fundamental Elements of Design to be developed                                                    The universal elements of visual language are the basis for all 2D, 3D and 4D works. 

They are the basic design elements of the visual language, the A, B + Cs if you will, that all visual creators utilize to design, develop and execute.   

Students will research, design and construct a number of three-dimensional design projects using a variety of applications and materials. 

Studio activity and projects will explore structure, material integrity and characteristics, as well as their historical and cultural significance. 

This course provides situations and anticipated outcomes to help students produce work that is well considered and thoughtfully made, students will present sketches and/or models of their ideas for each of their projects. 

Fundamental Principals of Design  

Point    Line   Shape    Volume + Mass    Plane    Texture    Color + Light   Value    Space  Time     Rhythm + pattern Visual Speed + weight

Visual Fundamental Elements of Design to be developed                                                      As part of the design process, students will develop a sketchbook of their ideas and on-going research, both visually and textually. Students are expected to create work that is thorough, exhaustive, and well crafted.     

                                   

As a way to frame their work within specific art disciplines, both historic and contemporary, students will research and present influential works by pertinent artists, architects, designers and/or collaborative teams. For two of the projects, students will produce multi-media PowerPoint presentations (PPT) based on this found research.

Working Methods

Frequent slide presentations, readings, research, writing, demonstrations, class discussion and critique will introduce a variety of interpretations on how visual thinkers have perceived and used visual concepts and elements in their own interpretations. Classes will involve students in traditional and innovative approaches to three-dimensional studio practices.

The “Sketchbook” and the documentation of Creative Processes & on-going research 

a. Research is an expectation of all students.  

b. All sketchbooks are evidence of an investment in exploration and continued learning. 

c. Sketchbooks are a key tool in idea generation.  

d. They are a way to think in two dimensions and store ideas for future use as well as a way to work through ideas before investing large amounts of time in a finished work. 
e. Sketchbooks, in their various forms; book form, electronic files, BLOG, etc., are mandatory for all studio art courses, the work contained within may vary by each faculty member teaching the course.  

Continual additions to a DIGITAL Sketchbooks in PDF form will illustrate your own research practices of the wide world of 3D design and the following:

• fundamental principles and elements of design
• research of historical precedent and contemporary approaches concerning visual representation
• class and critique notes
• concept thumbnail sketches towards further refinement
• weekly concepts covered including: material engagement, sketching and construction

You will submit your SKETCHBOOK three different times during the term, as indicated on the course calendar. Please follow it!

Sketchbooks are a way to collect your research

Get use to taking thorough bibliographical source material of ARTIST/DESIGNER, TITLE/PRODUCT, YEAR, DIMENSIONS, MEDIA (if available). Please note where you gleaned the example from.

Make a number of notes on these research pages.
Make sure you answer these two specific questions:
1. Why does the work stand out for you?
2. How does it relate to the assignment at hand?
* Include a photograph, with full details, and bibliographic course material

You should be collecting 3 per week.  
By the end of the term you will have, at minimum, 40 research entries. 

Expectations:  Progress + Development

Creativity requires an open mind, a curious nature, dedication to one’s work, and a commitment to developing as a creative thinker. 

Each student needs to approach their projects with the dedication necessary to fulfill each of their assignments. SA132 involves personal expression and self-examination; thoughtfulness and respect for one’s self, others and the creative practice. 

The atmosphere in the studio should be one of mutual respect, courteous with colleagues, faculty, guests and with the work at hand. 

We are cultivating a relationship between you and your work, you and your critic, you and your colleagues.  Students’ work ethic will show in each project. Issues will emerge during the course that will prompt a general discussion required by all students. 

Each student contributes to the studio setting to establish a dynamic and creative studio setting, each student is required to submit assignments on time and completed to the best of their ability. 

Students are expected to create work that is thorough, exhaustive, and well crafted.

• It is expected that each student put 1 hour of time toward their homework equal to each hour spent in class.  6 hours in = 6 hours out (a campus wide policy)
• A student cannot rest on previous skills alone – you must show a willingness to explore and to take risks! 
• Understand and apply design concepts, techniques and vocabulary.
• Sustain a conscious, serious effort throughout. Cultivate self-motivation!
• Make use of class time effectively and continue to develop variations even if he or she believes they have “completed” an assignment.
• Participate in all class discussions and critiques.
• Encourage further discussion with professor should the student not be understanding a concept, technique or drawing application.
• Complete all assignments on time.
• Purchase all materials on the supply list without exception.
• Arrive on time, be prepared and stay for the duration of the class.

Attendance Course Policy

Attendance and punctuality are absolutely mandatory and are significant components of your commitment to your work.    

It is impossible to learn if you are not here!  

Students are to attend class every day and be prepared with materials, assignments, readings and papers always! 

We have a lot of material to cover this semester; missing one class will impact on your ability to do well in this course. Absences will adversely affect your final grade. 

Students are granted 2 excused absences without question. This includes our scheduled SA132 classes on FRIDAY afternoons.  By doing so, we will end the semester earlier in NOVEMBER! I suggest you save these for a most necessary of circumstances.  Beyond these two, 2% will be docked for each absence from your final grade for the course.  

  

Tardiness and absences will greatly hinder student progress in this course. Students who miss class, in an extreme case, are responsible for notifying faculty prior to class start time.  

If a student knows they will be absent, make arrangements with the instructor as soon as you are able to find out what you will/or will have missed. 

Students who are absent from a class are expected to be prepared with ALL assignments and readings due at the next class meeting.   

All assignments are to be completed in a thoughtful and timely manner. This responsibility is yours.

Evaluation + Grading

Students should set high standards for their own work.  Although process is an essential component of the studio, a legible, refined and thoughtfully crafted representation is the expected outcome of all assignments. 

• Informed speculation and experimentation is encouraged.  
• Students need to be prepared in studio to initiate discussion regarding their projects.  
• Explain the conceptual ideas underlying their work, the accurate formal principles being activated
• Question and incorporate suggestions offered in critique 
• Comprehend readings and projects
• Initiate further research 

Individual drive throughout each project are significant factors in grading a student’s level of participation.  

Hard work and improvement are recognized.  

Therefore, in addition to completing exquisitely crafted projects, engaged work and participation will positively impact a student’s grade.  

Lack of preparation, disengagement from his/her work, avoidance of critiques, lack of participation in discussion, incomplete and not prepared work will result in a lower grade.  

Should a student be performing below an adequate level, the student will be notified as soon as it is evident and a meeting will be scheduled to address deficiencies. 

Methods of Evaluation

I.  Ongoing participation in class and with studio projects = 60% of final grade

The overall quality of student work is directly reflective on one’s involvement with the class and outside studio practice.  Strong participation will naturally impact student development and therefore, grade positively.

  

These are both the minor projects that emphasize development of fundamental design principles, methods explorations and media advancement, and the final major project at the semester’s conclusion. 

Reworking of a project after the initial critique will be allowed at the discretion of the instructor.  

Student work is graded on imagination, originality, concept, process, understanding and implementation of design principles, craftsmanship and a successful solution to the problem given.  

The safe way is not the best way in visual production, taking risks and experimentation are vital to keeping one’s work fresh and exciting. Incomplete projects will receive an F.

There are 6 major assignments, totaling 60% of the final grade

II.  The DIGITAL Sketchbook, continual additions to WORD.doc, handed in in PDF form = 20% 

Evidence of on-going and engaged activity.

Sketchbook entries will also include concept, schematic, weekly entries as assigned by the professor.

Sketchbooks will be checked three times throughout the semester >> check calendar dates. It is your responsibility to keep up with your entries!

III.  Multi media presentations and research paper(s) = 20% of final grade (2 presentations & 2 papers)

Research is an expectation of all students. 

Students will be assigned a specific research topic that will be compiled electronically and delivered to the class.  

One presentation will be occur around midterm.

The second presentation, in week 13 and 14.

Formal research papers will accompany both presentations and will illustrate depth full and thorough research practices and information on the selected subject (far beyond what is delivered in the presentation).

Total 100%

This includes all written work, sketchbook concept drawings and maquettes, earlier versions of finished pieces as well as the finished product.  

Your work is graded on imagination, originality, concept, process, understanding and implementation of design principles, craftsmanship and a successful solution to the assignment given.

Within this grade will be on your participation, effort, willingness to share your expertise and opinion with peers, follow through and exploration of idea 

development.  

The safe way is not the best way in the development of new forms, taking risks and experimentation is vital in keeping your work fresh and exciting.

Each student must present his or her ideas for each project to the class in the form of sketches and/or models. Professional practices include attendance, participating in critiques and using the studio responsibly. 

UNDERGRADUATE GRADING POLICY 

A= Outstanding performance    B= Good performance    

C= Adequate performance        D = less than adequate performance                               F = seriously deficient

Grades calculated in grade point average (GPAs) as follows:

A = 4.0 A- = 3.67 B+ = 3.33

B = 3.00          B- = 2.67 C+ = 2.33

C =2.00 C- = 1.67 D+ = 1.33 
                       D = 1.00 F    = 0.00

Standards for Grading

A: The typical "A" student will consistently follow all of the steps in the creative process, resulting in work that is beyond the students’ previous technical, conceptual and expressive capabilities.  Equally important, the A student will conduct research, integrate information from other classes and experiences, follow through on ideas, not opt for an easy way out, will hand in work on time and in a well presented manner, will participate fully in class, ask questions and do extra work when needed in the pursuit of knowledge and greater ability.  The work produced is exemplary and sets a benchmark for other students; actively participating in class discussions and critiques with a sustained high level of curiosity. In short, the A student will be a responsible and active learner throughout.

The typical B student: Attend all classes and complete all assignments on time; follow all instructions, demonstrate above average skills and creativity in completing assignments, turn in consistently good work though some further development of knowledge and skills is possible; frequently contribute to discussions and critiques.

C: Have less than perfect attendance; complete all assignments with average skills, attitude and creativity demonstrating limited commitment to the learning process, average use of materials, and ideas that need further development. Occasionally contributes to class discussions and critiques.

D: Have poor attendance; seldom meet deadlines, have an unconcerned attitude, has less than adequate performance; contribute very little to class discussions and critiques.

F: Have poor attendance; seldom meet deadlines; turn in poor work; have a bad attitude, and/or impervious to the learning process.

Studio Policy

Each student must pass a safe equipment use test in which s/he demonstrates safe use of individual tools. 

Records of successful tests will be kept and only after passing the tests will students be allowed to use the power tools and, even then, only during supervised studio hours when the instructor, studio manager or a work-study monitor is present. 

Once you have passed the safe use test for a particular tool, your name will be added to a list indicating who may use the tools. 

The studio is a communal space. And a SAFE space!

All students must obey the posted studio policy. 

You may use the tools as long as you use them safely and return them to the tool check out office in good and clean condition. 

Please make sure you wipe down the ENTIRE tool before using and again after using each!  This is a habit we MUST embrace whole heartedly throughout the COVID19 pandemic.  If sanitizing and cloth wipes are out, please inform me IMMEDIATELY!

Please report broken or damaged tools. 

The studio must also be cleaned up and organized after each class. 

You are specifically responsible for sweeping and cleaning tabletops in the areas where you worked that day. You are also responsible for wiping down all table tops, stools, any area that you may have come in contact with. 

Spend your time wisely, working as much as possible in class.  

Use this time to your best advantage!  

Cell phones are not to be used in class.  Please turn them to vibrate upon entering the classroom. 

Special Educational Needs

Any student who requires special accommodations for classroom work, independent assignments, and/or examinations should notify the Office of Special Services (ext. 7308) and should speak with the instructor. Accommodations will be made in accordance with the student’s individualized educational plan.

Academic Honesty Policy

Cazenovia College is devoted to academic honesty.  

The committee on Academic Honesty reviews reported cases of alleged plagiarism, cheating on examinations, undocumented copying of art and similar forms of academic dishonesty.  

At the beginning of each full academic term all students receive a comprehensive orientation on the colleges’ expectation regarding academic honesty. 

Any student who turns in plagiarized work will fail the course and be possibly dismissed from the college.  

A description of plagiarism and other forms of academic dishonesty are to be found in the on-line Student Handbook @ www.cazenovia.edu

Disclaimer : The instructor reserves the right to change or modify any provision of this course outline including but not limited to the right to change the time, order, and content of the course schedule. Each student will be made fully aware of such changes, should they occur.

Identified by the National Association of college level educators FOUNDATION STUDIES is a coordinated set of courses for students who are seeking degrees in an art or design discipline. These courses focus on basic conceptual problem solving, craft, critical-thinking and research skills that will aid student success in their chosen discipline.

Adapted from FATE > Foundations in Art: Theory & Education  www.foundations-art.org and adopted from NASAD Standards (National Association of Schools of Art and Design) 

Materials List

This is a general list of materials needed; other materials may be requested during the semester, or students may need materials specific to his/her project.

Sanitizing fluid to keep in your tool box and with you at ALL times

Suitable and safe FACE MASK to be worn throughout campus

Plastic face shield is optional

Plastic gloves are highly recommended but are indeed optional

Tool Box for materials     
8" x 10" or larger Sketchbook > a thumb drive to keep all digital files for SA132 on                             

Sharpie marker (medium & fine)

Drawing pencils                                             

Glue gun & glue sticks

Erasers                                                          

Scissors                                                          

Safety glasses                                      

Xacto knife                                                    

Pair of work gloves                

Matte knife (with extra blades)                        

Pencil sharpener                                           

Metal ruler                                                     

Needle nose pliers     

Duct tape   

Ball of string                                                     

Small pair metal snips

Start collecting now > corrugated cardboard and interesting found materials

Sketch book / journal to keep all notes in