SYLLABUS

Foundation Program, School of Design Strategies

Parsons The New School for Design

Spring Semester 2013

Drawing Studio 2: Perception -3315

PUFN 1050 Section Z

2 W 13^th St, Room 803

Monday 3:50pm -9:30pm, Jan. 23- May 14

Kenneth Millington

millingk@newschool.edu       

 

Drawing and Perception

Course Description

"The perception of size, shape, position, orientation, distance and color, are the universal characteristics of the processes underlying all perception. Somehow, these complex processes acting in concert and beyond our awareness together create our perceptual experiences so that we have perceptual learning, which may be the prototype for all learning. Understanding what these processes are is no easy assignment. It is the end to which those of us working in perception strive. Perceiving is perhaps the single activity, which serves as the basis for all psychological life. Without it there would be no psychic life. Perception is the basis for all our learning. It is the starting point of all our knowledge or the world as well as for the pleasure and the pain we find in it" .

Cognitive Psychologist Dr. Arien Mack in her course manual' Visual Perception and Cognition'

Perception is a cognitive process of the human mind, by which sensorial stimuli from the environment are received through the senses, and then assessed and interpreted by the brain. The 5 human senses are touch, hear, taste, smell and vision. Vision, is the main sense involved in the study and practice of perceptual drawing, but not necessarily the only one. Through time, the mind accumulates enormous amounts of pre-perceptions in the form of symbols, memories, thoughts, images, ideas, sounds, smells, and all kinds of sensorial forms, which can affect and distort the way that we perceive reality through the sense of vision. Drawing and Perception addresses the need of the mind to break and refuse these pre-perceptions and meanings, and address the visual components through abstract thinking; in terms of elements and principles of art and design.

The main goal of Drawing and Perception studio is to develop an understanding between objectivity and subjectivity in perception. This course explores the possibilities of the study and practice of perceptual drawing (theories, techniques, and skills), as a tool to develop and facilitate the critical and creative thinking process involved in visual perception in all practices of art and design. The concept of visualizing three-dimensional reality into a two dimensional organization is discussed, demonstrated and practiced. Students continue exploring the elements and principles of design and composition in two dimensions including color, in the context of abstract visual thinking, in observed reality and in representation.

 Methodologies

The course will meet once a week for six hours, fifteen weeks per semester. The instructor will teach by lecture, research, group discussions, group critics, demonstrations, practice in class (mostly), and individual critics.

Lectures, research, discussions will be lead and facilitated by the instructor, but student participation is required. The main themes of discussion will be perception and representation in different forms; visual, written, verbal, historical, theoretical, experiential, subjective, objective, cultural, mental.

Students will utilize the thinking methods of 2D abstract conceptualization of the visual elements of art and design and their organizing principles in reality, in representation, and in visual perception.

The human figure is the central 3D subject of study and application. Any other subject of study will be, for the most, considered in the presence and function of the human figure, whether its presence is explicit or implicit.

Learning Objectives of the Course

The main objective of this course is the application of critical thinking to the processes, and products of the perceptual drawing practice. The quality of reasoning about art and design, about its features, the processes that produce the art, its history, its role in society, its importance, its purpose, its meaning, must be assessed in the same way that disciplined thinkers assess the quality of reasoning about numbers, plants, relationships, architecture, or anything whatsoever. In order to asses students' work in these regards, it is necessary to adhere to specific intellectual standards, which deserve to be addressed as learning objectives of the course:

1.    To develop criticality in perception and representation in pictorial, written and verbal forms.

2.     To develop abstract vision of reality: an awareness of the abstract elements of art and design and the principles that organize their interrelation in the physical world, in pictorial representation, and in visual perception.

3      To develop clarity in drawing: the ability to communicate specific meanings to others clearly.

4      To develop accuracy in drawing: the ability to communicate things as they actually are .

5      To develop precision in drawing: an understanding of the importance of detail and specific information.

6      To develop relevance in drawing: the ability to recognize what is important and what is

superfluous.

7.    To develop breadth in drawing: the ability to recognize the existence of multiple  

       perspectives on a single problem.

8.    To develop the use of Logic in drawing: an understanding of the fact that the whole needs to

       make sense together, the Gestalt notion that the whole is always supposed to be larger than

       the sum of the parts.

9.    Significance derives from the fact that in addressing a problem, we should focus on the most

       important problem to consider.

10.   Process Use of drawing as a transmitting vehicle to move an idea from one medium to

        another, from two to three dimensions and back again, or from concept to Realization.

11.  Conceptualization of form and space and how this pertains to the depiction in two

       dimensions, in three dimensions, and in time.

12.  Creativity in the utilization of traditional (such as graphite) and non-traditional (such as

       digital applications) tools and media.

13.  Use of drawing in all fields and levels of art and design problem solving.

14.  Successfully communicate ideas visually.

Crits, both group and individual, will be held on a regular basis throughout the semester.

 Course Outline

Each unit will include an objective and subjective focus:

Unit 1- Perception and Meaning

Unit 2- Perception and Critical Thinking

Unit 3- Perception and Empathy

I.  PERCEPTION AND MEANING

In thinking critically, the mind takes command of the meanings it creates. Only when we have conceptualized a thing, can we reason through it. Because nature does not provide us with innate ideas, we must create concepts, individually or socially. Once conceptualized, a thing is integrated by the mind into a network of ideas (because no concept can stand alone) and as such, becomes the vehicle for many possible inferences. The quality of our inferences has a direct effect over the quality of our perceptions.

Themes of Discussion, Research, and Critics

•               Conventions of figure representation provide interesting models for the study and understanding of the behavior of light, color, and form, their interrelation in reality, in representation and in perception. Examples of conventions range from the classical western European art examples, to photography, fashion, Hollywood, animation, advertisement, Marvel comics, etc.

•               Human anatomy studies provide a source of valuable information to help develop a strong concept of the human form. The study of anatomy is a serious and deep exercise that requires a lot of time to teach and learn properly. However, it is possible to make a connection between the effect of some basic ideas about anatomy and the conceptualization of the human form as a whole, its representation and its perception

•               Ergonomics and anthropomorphic design, provide information regarding the ways that products in the living environment are designed to relate with the human beings in terms of function, form, scale, and proportion, emphasizing in the real purpose and the meaning of these products

•               Theories and systems of color provide rational ideas about color behavior, harmonies or combinations, local color, and atmospheric phenomena in color in the visual experience and in representation. Colors are classified by their hue, their intensity, the value, temperature and by other systems of meanings, which are attributed to them as a result of science and/or culture.

•               The use of photography can provide an effective tool for analyzing two-­dimensional shapes and reconstruct the three- dimensional organization of the object/s represented. A meaningful use of this medium can be extremely useful for art and design.

Surface texture, level of opacity, transparency, and reflection, are material qualities that deserve study, since they affect the way we perceive whatever forms they belong to, and the meanings.

Week 1 Monday 1/28

Materials: Caran d’ache Crayon (oil wax), Heavy Brown Paper, Masking Tape

Pencils, sketchbook

Introduction to course, syllabus, and materials

Lecture- Color Basics examples of Color in Still Life Genre, Light and Vantage Point

Still Life with Color. Complementary Pairs, Color and Light.

HOMEWORK: Students will make several small color drawings of hands and feet, focusing on flesh colors and values.

Week 2 Monday 2/4 (Model second half)

Materials: Caran d’ache Crayon, Heavy Paper, Masking Tape, White China Marker

Lecture on Structure of Facial Features

Students will make large- scale drawings of the facial features from the model considering light, form and color.

Lecture- Depiction and function of light in Art History, Renaissance versus Baroque Light.

Students will make a long drawing of the model.

HOMEWORK: Students will take several blurry photographs of friend’s faces and make a limited palette drawing of each. These photos must be placed upside down and drawn in this respect. (3- 8” X6”)

Week 3 Monday 2/11(MODEL)

Materials: Caran d’ache Crayon, Pencils, Sketchbook, Clip Light, Small Mirror, Masonite Board

Lecture- Analysis of Color/Light in portraiture

Self- Portrait Project- Students will make a large- scale self- portrait drawing from observation. Students, thinking of the subjective affect of light and color will choose a particular light to illuminate the self- portrait thereby adding meaning to the image.

HOMEWORK: Continue working on self -portrait

           ***********************  2/18 NO CLASS  ***************************

Week 4  Monday  2/25

Materials:  Caran d’ache Crayon, Masonite, Sketchbook, Clip Light, small mirror

Continuation of Self- Portrait Project

HOMEWORK: Completion of self –portrait.

II. Perception and Critical Thinking

Study and practice in drawing is directed to develop curiosity for the cognitive process of perception in or outside of the realm of the drawing experience, and unfold associations between this and drawing practice through active critical analysis.

"Learning to draw is really a matter of learning to see correctly, and that means a good deal more than merely looking with the eye. The sort of seeing I mean is an observation that utilizes as many of the five senses as can reach through the eye at one time." Kimon Nicolaides, The Natural Way to Draw

 Themes of Discussion, Research, and Critics

•               Abstract elements and principles of art and design including color, provide the tools to assess reality, pictorial representation, and visual perception.

•               Differences and similarities between pictorial space and real space and their interdependence, provides the idea of the mechanics of visual communication through drawing.

•               Mental preconceptions that interfere with objective assessment of reality, prevent objective perception of reality.

•               Atmospheric perspective and light affect the perception and representation of color, providing a cue for the perception and representation of space.

•               Color palettes in French impressionism are developed from the observation of color and light in nature.

•               Sensorial stimuli other than visual, interferes with visual perception.

Critical discussion of non-pictorial representations of reality (newspapers, magazines, internet, TV news and shows, film, politics, economics, religion, science, music, popular culture, design culture, etc.) and analysis of their level of objectivity and subjectivity.

Week 5 Monday 3/4 (2 Models)

Materials: Pencils, Charcoals, Charcoal pencils, white conte (optional) erasers, 18 X 24” Bristol

Lecture on historical depiction of space in art.

-Scale, Shape Deformation, Sequencing

Drawing from two models. Models will be posed in specific spatial relationship. Students will draw both models and objects as they relate spatially focusing on scale, sequencing and focus. In addition, students will incorporate the models into a projected photograph of a place.

HOMEWORK: Students will complete drawing and will respond to the unique spatial qualities in two examples and post comment to Class blog.

WEEK 6 Monday 3/11 (MODEL)

Materials: Vine Charcoal, Charcoal Pencil, Pencils, Pen, Sketchbook, ERASERS, 18 x 24” Bristol

Lecture- Sequencing Movement, Stroboscopic Photography, Animated Drawing, examples                     of Duchamp, Blu, Kentridge, iMovie,

Students will draw the multiple frames of the model performing a simple movement (at different speeds) using various materials.

HOMEWORK: Students will choose an object to animate and bring in the requisite reference material, photos, YouTube video, etc.

WEEK 7 Monday 3/18

Materials: Vine Charcoal, Charcoal Pencil, Sketchbook, ERASERS, 18 X 24” Bristol, Camera, Tripod (optional)

Students will draw the multiple frames of a simple movement of their chosen object. Students will photograph each drawing frame.

HOMEWORK: Students will bring in the camera and cord or drawing images on a flash drive to animate next class.

    ************************* NO CLASS  SPRING BREAK 3/25- 3/31 *************************

WEEK 8 Monday 4/1

Materials: Flash drive or Camera+ Cord, Pencil H or above, Watercolors, Brushes, Water Container, Watercolor Paper (22 X 30”- 90 lb. Cold Press), Paper Support, Water tape (Teacher will supply)

Lecture- iMovie program, frames per second, saving work.

Students will work in computer lab importing their drawing photos and animating them in             iMovie.

Lecture on watercolor materials and basics.

Second half of class students will return to studio to paint a still life using watercolor

HOMEWORK: Students will stretch watercolor paper for next class and bring in food objects for a still life.

WEEK 9 Monday 4/8

Materials: Pencil H or above, Watercolors, Brushes, Water Container, Watercolor Paper (22 X 30”- 90 lb. Cold Press), Paper Support, Water tape (Teacher will supply)

          Lecture - Atmospheric Perspective, Color Temperature, Clarity vs. Blur, Cropping, examples from art history.

            Students will paint from a still life of there own objects attempting to show vast distance and monumental scale.

HOMEWORK: Students will stretch watercolor paper for next class

III. Perception and Empathy

" A human being is part of the whole, called by us 'Universe'; a part limited in time and space. He experiences himself, his thoughts and feelings as something separated from the rest--a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and affection for a few persons nearest us. Our task must be to free ourselves from this prison by widening our circle of compassion to embrace all living creatures and the whole nature in its beauty. Nobody is able to achieve this completely but striving for such achievement is, in itself, a part of the liberation and a foundation for inner security. ",

Albert Einstein

Empathy is about understanding others and their feelings. For many of us, caring and sharing with others gives meaning to our lives. Empathic methods also have value in sensitizing artists and designers to issues of individuals, groups, and cultures outside their own.

WEEK 10 Monday 4/15 (Model)

Materials: Pencil H or above, Watercolors, Brushes, Water Container, Watercolor Paper (22 X 30”- 90 lb. Cold Press), Paper Support, Water tape (Teacher will supply)

          Lecture- Figure in Watercolor painting examples include David Levine, John Singer Sargent, Irwin             Greenberg, Andrew Wyeth

            Students will make several paintings from the figure ranging from limited palette to full             color.

HOMEWORK: Students will make a full color watercolor painting of a friend.

WEEK 11 Monday 4/22 (Model)

Materials: Pencil H or above, Watercolors, Brushes, Water Container, Watercolor Paper (22 X 30”- 90 lb. Cold Press), Paper Support, Water tape (Teacher will supply)

Lecture- Color Psychology and the figure.

Students will paint from the model considering color relationships as an exploration in mood, interior psychology and self- expression.

Homework: Students will paint a figure considering color, vantage point, scale and composition.           

WEEK 12 Monday 4/29

Materials: Pencil H or above, Watercolors, Brushes, Water Container, Watercolor Paper (22 X 30”- 90 lb. Cold Press), Paper Support, Water tape (Teacher will supply)

         Lecture- Landscape painting

            Working on site students will make several landscape sketches.

Homework: Students will make a landscape painting altering the color to create a different mood. Students will also chose a film still to print out and work from for the next project.

WEEK 13 Monday 5/6

Materials: Choice of Caran d’ache Crayon OR Watercolor supplies, pencils, sketchbook, reference photos and sketches

Lecture- Point of View, Subversion, Alternate History

“Cinematic Redux”

Drawing of a Cinematic Moment.

From a chosen film, students will select a decisive climatic moment to freeze frame and draw. Within this context student will chose a viewpoint of one of the characters and recreate the scene expressing this. Students are encouraged to choose the viewpoint other than what the director chose. Special attention will be paid to cropping, composition, color, lighting, figure gesture, etc.

Partial time allotted for planning.

HOMEWORK: Students will continue the drawing.

WEEK 14 Monday 5/13

         Completion of “Cinematic Redux”

HOMEWORK: Students will complete the drawing and organize work for Final Review.

WEEK 15 Monday, 5/20

         FINAL REVIEW

Materials:

Students will need to have the following materials for this semester.

Compressed charcoal (left over from last semester is enough)

Vine Charcoal (left over from last semester is enough)

Newsprint (1-18" x 24" pad- from last semester)

Bristol Pad (18 X 24” pad- from last semester)

White Eraser

Kneaded Eraser

Pencils (H to 9B – a range)

Dry color medium - Caran d’ache Crayon (Neocolor 1- Wax Oil)- Purchase on Day 1 from NY Art             Central

Spray fixative

Watercolor Paint 5 ml tubes (recommended brand- Winsor Newton)

            Ultramarine Blue

            Cerulean Blue

Alizarin Crimson

Cadmium Red Light

Lemon Yellow

Raw Umber

Optional: A Purple (Mineral Oxide), A Green (Viridian), A Dark Brown (Van Dyke or Sepia)

3- Mix Natural/Synthetic Bristle Watercolor Brushes: No. 2 round Detail (brush), No. 8 Round, I inch Flat and any additional brushes you chose (recommended Brand- Sceptre Gold)

Watercolor Palette (Recommended Brand- John Pike Palette)

Water container

Students are required to purchase a few different drawing papers and surfaces.

-Masonite for bigger projects

Watercolor paper Cold Press (2- 3 sheets, 22 x 30”- Cold Press 90 lb.)

Drawing Board for the large drawings and watercolor paper- Masonite or Foam Core.

Clip Light

Small Mirror

Camera

FlashDrive

 Bibliography

·              Art and Visual Perception by Rudolf Arnhiem

•               Design Drawing by Frank Ching

•               The Science of Drawing by Martin Kemp

•               Perspective As Symbolic Form by Erwin Panofski

•               Perspective Drawing Handbook 2 by Joseph D' Amelio

•               Cognition and the Visual Arts by Robert L. Solso

•               The Treatise on Perspective edited by Lyle Massey

•               Sacred Geometry by Robert Lawlor

•               Toward a Psychology of Art by Rudolf Arnheim

•               The Image And The Eye by E.H. Gombrich

•               The Nude; A Study in Ideal Form by Kenneth Clark

•               Sacred Geometry; Philosophy and practice by Robert Lawlor

•               On Painting by Leon Battista Alberti

•               On Painting by Leonardo da Vinci

•               The Natural Way to Draw by Nicolaides

•               Techniques of The Observer: On Vision and Modernirv in the 19th Centurv by

Jonathan Crary

•               Afterimage: Drawing Through Process by Cornelia Butler

•               The Drawing Book Tania Kovats

•               Entropy and Art by Rudolf Arnheim

•               A Primer Of Visual Literacy by Donis A Dondis

Student Responsibilities

1. Treat class time as a precious opportunity.

2. Abide by the Attendance and Integrity Policies

3. Arrive to class on time, with all materials, ready to work steadily

throughout the session.

4. Be prepared with all your required materials for every class.

5. Complete all assignments on time. No exceptions (this includes Class Blog requirements)

6. Cite all research, text, and image sources.

7. Participate in all class discussions and critiques.

8. Confront difficulties in your work in the spirit of learning, creative exploration and

personal growth.

9. Ask for help from your instructors when needed.

10. Avail yourself of all available support services including, advising, tutorials, and

workshops

11. Disabilities: If you have any learning differences, physical disabilities, or chronic

health issues please register your history in the office of

Students Disabilities Services. Your Academic Advisor can refer

you.

12. Respect your fellow students at all times.

13. Disruptive behavior is not tolerated.

14. You are responsible for cleaning up after yourself at the end of each class.

15. No headphone, beepers or cellular phones are allowed in class.

16. You may not have cell phones or cameras out at anytime that there is a

model in the room. No exceptions. You will be asked to leave if you violate

this rule.

17. NO SMOKING ANYWHERE IN THE BUILDING.

Attendance Policy

From Parsons Student Handbook 2006-07

Parsons’ attendance policy was developed to encourage students’ success in all aspects of

their academic programs. Parsons promotes high levels of attendance because full

participation is essential to the successful completion of course work, and enhances the

quality of the educational experience for all, particularly in courses where group work is

integral.

Students, therefore, are expected to attend classes regularly and promptly and in

compliance with the standards stated in course syllabi.

Faculty members may fail any student who is absent for a significant portion of class

time. A significant portion of class time is defined as three absences for classes that meet

once per week and four absences for classes that meet two or more times per week.

Lateness or early departure from class may also translate into one full absence.

Students who must miss a class session should notify his or her instructor and arrange to

make up any missed work as soon as possible. Students who anticipate a potentially

lengthy absence must immediately inform the program Chair or Director and must

explain the extenuating circumstances in writing.

Students must receive advance approval for the absence in order to ensure successful

completion of the course. A Leave of Absence or Withdrawal from Program will be

recommended if the absence would compromise the student’s ability to meet course

requirements and standards.

Absences

Absences from class will impact your grade (see Grading). Students must return to class

promptly after breaks. Undo tardiness following a given break will result in an absence.

Leaving the class before it is over will be considered an absence.

Classes meeting 1 time per week: 3 absences are grounds for failure.

Tardiness

Two (2) tardies will be counted as one absence.

Class begins on the hour sharp. The door to the classroom will be closed at that time.

Anyone walking in after the door has closed (class has started) will be marked late. 5

minutes is considered tardy. Over 20 minutes is considered as an absence.

The following may be counted as tardy:

• Coming to class without the required materials

• Sleeping in class

• Being asked to leave class because of disruptive behavior.

• Doing other course work in class.

Grading:

Students will be graded on Projects and Class Participation, Homework and Critique Participation.

Projects and Class Participation -80%,

Homework (Reference collection and exercises)-15%,

Critique Participation- 5%

Grade Descriptions:

From Parsons Student Handbook & Core Studies Departmental Guidelines

A 4.0 Work of exceptional quality.

95-100%

These are projects that go above and beyond the expectations and requirements

described in the assignment. They demonstrate substantial effort and achievement in

the areas of critical thinking, technique and presentation.

A- 3.7 Work of very high quality.

90-94%

B+ 3.3 Work of high quality, higher than average abilities.

86-89%

B 3.0 Very good work that satisfies goals of course.

83-85%

The “B” student offers a clear and convincing structure to a visual endeavor that is more

complex and unique than a project at the average level. The creator’s point of view and

point of the project are merged successfully and organized fairly consistently throughout

the project. Although minor structural problems may be present in the assignment, they

do not hinder the overall outcome.

B- 2.7 Good work.

80-82%

C+ 2.3 Above Average work, Average understanding of course material.

76-79%

C 2.0 Average work; passable.

73 -75%

The student demonstrates an engagement with the assignment. The project will show

that the creator can identify and work with key ideas and examples found in reference

material. Typical of a “C” project is that the original problem or assignment once

approached does not develop further. Projects may also have organizational, technical

weaknesses.

C- 1.7 Passing work but below good academic standing.

70-72%

D 1.0 Below average work; does not fully understand the concepts of the course

60-70%

Although this is passable work, the project only answers the minimum requirements of

the assignment. The projects shows very little

effort, is incomplete, late or incorrect in its approach. The outcome shows

a lack of full understanding and commitment on the part of the creator.

F 0 Failure, no credit.

0-59%

Academic Integrity Statement

Academic honesty, the duty of every member of an academic community to claim

authorship of his or her own work and only for that work and to recognize the

contributions of others accurately and completely, is fundamental to the integrity of

intellectual debate and creative and academic pursuits. All members of the University

community are expected to conduct themselves in accord with the standards of

academic honesty. Students are responsible for knowing and making use of proper

procedures for writing papers, presenting and performing their work, taking

examinations, and doing research.

Instructors are equally responsible for informing students of their policies with respect to

the limits within which students may collaborate with or seek help from others on

specific assignments. Instructors are expected to educate students about the legal and

ethical restrictions placed upon creative work and about the consequences of

dishonesty in the professional world. At Parsons, all students are required to sign an

Academic Integrity Statement declaring that they understand and agree to comply with

this policy.

(From the University Policies Governing Student Conduct) “Academic honesty includes

accurate use of quotations, as well as appropriate and explicit citation of sources in

instances of paraphrasing and describing ideas, or reporting on research findings or any

aspect of the work of others (including that of instructors and other students). The

standards of academic honesty and citation of sources apply to all forms of academic

work (examinations, essay theses, dissertations, computer work, art and design work,

oral presentations and other projects).

The standards also include responsibility for meeting the requirements of particular

courses of study.

The New School recognizes that the different nature of work across the divisions of the

University may entail different procedures for citing sources and referring to the work of

others. Particular academic procedures, however, are based in universal principles

valid in all divisions of the New School and institutions of higher education in general.”

Please refer to the Parsons Student Handbook for the entire policy statement.

Evaluation

1. Course Expectations

In order to receive a grade for this course, you must complete all the assigned

projects, including a final project, actively participate in classroom discussions

and critiques and maintain a sketchbook. Consideration will be given to

how much a student's work has developed and how well that development

demonstrates an understanding of the concepts of the course.

2. Mid-semester Evaluations

Mid-semester evaluations are issued to help students improve performance and

make progress. Although a grade may not be given, the comments will indicate your

standing on an average - below or above scale. It is imperative that you understand

your evaluation and act on any suggestions or recommendations your instructor

makes.