FA 105: PAINTING 1



FA 101A BEGINNING DRAWING

Instructor: Bart Exposito

Fall 2008

Monday & Wednesday 2:00 – 4:50 pm, Watt Hall 118

COURSE OBJECTIVES: To explore the medium of drawing through process, production, critiques/discussion, and information (readings, slides, and various presentations) relating to drawing practice. The goal of this course is to gain an understanding of the fundamentals of the practical and the theoretical tenets of drawing, establishing a foundation for the individual’s own drawing practice.

COURSE STRUCTURE: The emphasis of this course will be on production! There will be exercises geared towards learning the aspects of drawing production including: contour, value/tone studies, perspective, composition and a variety of drawing techniques. There will be graded assignments/ projects elaborating on these exercises. Critiques and discussion will play a large role in the class, furthering one’s ability to think and talk about the work they produce, and how the act of drawing has contributed to each student’s knowledge.

RESPONSIBILITIES/ GRADING:

Students are required to come to class prepared. Students must have materials to work with each class. Each student is expected to show up on time and stay for the duration of the class.

GRADES: Students will be graded according to their performances in and out of class. Timely completion of assignments, quality and resolution of work, your desire to improve your work through experimentation and education, participation in critiques and discussion all factor into student’s grades. Here’s the breakdown:

Participation: 10%

Assignments/ Exercises: 50%

Mid- Term and Final Portfolio: 40%

ATTENDANCE: Attendance is extremely important! Two or more absences will result in the lowering of your grade, and you may be asked to drop the class. Tardiness and early departures will also affect your grade. Should absences or tardiness occur (in the case of emergency or illness) and you wish to have them excused, please discuss them with me.

SKETCHBOOK: Each student will be required to keep a sketchbook to be checked at the mid-term, and end of semester. Your sketchbook can be used as a journal, a space to experiment with materials, jot down ideas, collage, and use for the planning of drawings. Your sketchbook should be treated as a project/ art piece in and of itself. Be creative with it!

PORTFOLIO: Your portfolio should consist of all exercises/ assignments (including work completed outside of class), and is due for review at the mid-term and end of semester.

CLEAN-UP: It is everybody’s responsibility to keep a clean work environment. Work must be stored at home or in the lockers. No materials can be left in the classroom. No exceptions.

Statement for Students with Disabilities

Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me (or to TA) as early in the semester as possible. DSP is located in STU 301 and is open 8:30 a.m.–5:00 p.m., Monday through Friday. The phone number for DSP is (213) 740-0776.

Statement on Academic Integrity

USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. All students are expected to understand and abide by these principles. Scampus, the Student Guidebook, contains the Student Conduct Code in Section 11.00, while the recommended sanctions are located in Appendix A: HYPERLINK "" . Students will be referred to the Office of Student Judicial Affairs and Community Standards for further review, should there be any suspicion of academic dishonesty. The Review process can be found at: HYPERLINK "" .

Roski admissions information ◄ (Not required for MFA or PAS graduate courses)

For information and an application to become a Fine Arts minor, please visit HYPERLINK "" \o "" Please contact Antonio Bartolome at HYPERLINK "mailto:anbartol@usc.edu" \o "mailto:anbartol@usc.edu" anbartol@usc.edu or 213-740-7567 with any questions about a minor in the Fine Arts. To become a Fine Arts major, please visit HYPERLINK "" \o "" Please contact Penelope Jones at HYPERLINK "mailto:Penelope@usc.edu" \o "mailto:Penelope@usc.edu" Penelope@usc.edu or 213-740-9153 with any questions about majoring in FA. Applications are due October 1st and March 1st every year.”

FA 101A: BEGINNING DRAWING

Instructor: Bart Exposito

Monday & Wednesday 2:00 – 4:50 pm.

COURSE OUTLINE:

Week 1: (Aug. 25th & 27th) INTRODUCTION

Review of course objectives and requirements. Review of materials.

“WHO AM I?”(ouch!) Using a mirror, do a portrait of yourself in pencil.

Contour Drawing (blind and modified): Make contour line drawings of hand and complex objects such as a leaf, shoe, pine cone, or crumpled piece of paper.

Bring newsprint pad, pencils, and a mirror.

Week 2: (Sept. 1st &3rd)

No Class Monday, Labor Day Holiday

Continue contour drawings.

Discuss composition.

Week 3: (Sept. 8th & 10th) “THE IN-BETWEEN”

Contour drawings of negative space using plants, chairs, etc.

Discuss different ways of shading and mark-making.

Week 4: (Sept. 15th& 17th)

Continue with negative space drawings.

Make a drawing of a corner in the classroom using linear perspective to suggest volume and depth.

Week 5: (Sept. 22nd & 24th) “BIRDWATCHER”

Understanding the gray scale.

Still life and egg drawings using value and tone to suggest volume.

Make a drawing of a bird from a photo or reproduction in pencil using contour, value, and composition.

Week 6: (Sept. 29th & Oct. 1st) “HEROES”

Make a drawing based on a black and white reproduction of another artist’s work as a means of understanding value.

Week 7: (Oct. 6th & 8th) “INSIDE”

Compose drawings of an interior using perspective and foreshortening to imply volume and depth.

Week 8: (Oct.13th & 15th) “OUTSIDE”

Compose drawings of an exterior space using perspective.

Week 9: (Oct. 20th & 22nd) “THE FIGURE”

Mid-term portfolio and sketchbook are due for review!

Introduction to the gesture. We will begin working from the model using short, timed poses.

Week: 10 (Oct. 27th & 29th) “THE FIGURE” (continued)

Continue working from the model using short and extended poses.

Week 11: (Nov. 3rd & 5th) “ABSTRACTION”

Discussion: properties/ history of abstraction.

Begin making abstractions on stained paper.

Week 12: (Nov. 10th & 12th) “ABSTRACTION” (continued)

Continue making abstractions with a variety of approaches (TBA).

Week 13: (Nov. 17th & 19th) FINAL PROJECT: “WHO AM I NOW? /TOTALLY WIRED” An exploration of subject matter and self-constructed imagery.

Final project will consist of three collages: 1 deconstructed magazine, 1 poster 11” x 17”, and 1 fully realized drawing at least 18” x 24”.

Collage, deconstruct, then draw.

Design poster describing, announcing, and promoting your project.

Work on drawings based on self-constructed imagery.

Week 14: (Nov. 24th& 26th) FINAL PROJECT (continued)

Continue working on drawings and poster.

Week 15: (Dec. 1st & 3rd) FINAL PROJECT DUE

Final Portfolio due for review

FINAL CRITIQUE

The syllabus is subject to change. I will let you know of any changes.

Handouts will be given to elaborate on exercises and assignments. It is up to you to get that information should you be absent when it is distributed.

I can be reached at: bexposit@usc.edu

FA 101A DRAWING Fall 2008

Instructor: Bart Exposito

MATERIALS:

Paper:

Sketchbook, approximately 9” x 12”

Newsprint Pad, 19” x 24”

Drawing Pad, 19” x 24”, white bond paper, 80 – 100LB

4 sheets of colored paper. (optional)

Drawing Media:

Graphite Pencils: 2H, HB, 2B, 4B, 6B any brand such as, Faber Castell, Staedtler, Berol…

2 graphite sticks

1 pack of Vine Charcoal

6 – 10 sticks of Compressed Charcoal

1 pack of white, red (sanguine), and black Conte Crayons

Charcoal Pencils, 2B, 4B, 6B

Colored Pencils, assortment of Prismacolor Pencils (primary, secondary, and earthtones)

Soft Pastels (assortment of at least 12 colors)

Ink (black)

Brushes: at least two round and flat, #4 and #8.

Pens: Ball Point Pen (Bic, multicolored, etc.), Black Pens

1 Felt Tip Marker

Miscellaneous:

1 mirror, at least 4” x 4”

18” x 24” Masonite Drawing Board with clamps and rubber band

1–2 Magic Rub Erasers

At least 2 Kneaded Erasers

1 pack of blending sticks

Ruler, at least 18”

1 roll Masking Tape

1 box clear plastic tacs

1 Glue Stick

1 pair of scissors

1 Exacto Knife with blades

1 small pencil sharpener

1 can of spray fixative

1 Portfolio at least 18” x 24” drawing board should be able to fit into it

Tool Box/ Container, to be used for transportation and storage of materials

ART SUPPLY STORES:

Roark Graphic Supplies

The Art Store, 7301 Beverly Blvd. 2 blocks east of LaBrea. (213) 933-9284, 44 S. Raymond Ave., Pasadena, or 11660 Santa Monica Blvd., W. LA

Swain’s, 537 N. Glendale Ave., Glendale

Pearl Art & Craft Supplies, 1250 S. La Cienega Blvd.

Utrecht Art supply Center, 11677 Santa Monica Blvd. Santa Monica

USC Bookstore

THE SKETCHBOOK

Keeping a sketchbook is a good way of keeping track of ideas and getting in the habit of drawing on a regular basis. Sketchbooks are like visual diaries and can be used in many ways. It can be used as a portable drawing surface, a place to experiment with materials, elaborate on skills taught in class, collage, tell stories, etc. Having a place to sketch will help familiarize you with drawing and help you to establish a consistent drawing habit. Your sketchbook can always be something to refer to when making art.

Here are some suggestions to help you along:

Make Your Own Sketchbook: A creative approach to a sketchbook can inspire you to use it more frequently and add to the overall quality of it. While there are many different ways to construct your own sketchbook, here is a link that has a basic approach to making your own. arts.ufl.edu/art/rt_room/sketchbk/make_a_sketchbook.html

You could also decorate a store bought sketchbook, personalizing it in a way that seems interesting to you.

The Portable Sketchbook: Always carry your sketchbook with you. You never know when you might come across something of interest to you. If you go on a field trip or vacation, take your sketchbook and keep a record of your experiences. Draw and write about those experiences.

Theme: You could choose a theme for your sketchbook. For example, you could choose to focus on the figure, the still life, landscapes, or scenes from around your neighborhood. You could break the sketch book up into chapters with different themes. Anyone of these approaches could provide a nice framework for your sketchbook.

The Figure: You could do portraits of family, friends, people in day to day activites, or reproduce figure drawings from masters. You could also do entire pages of noses, lips, ears, eyes, etc.

The Still-Life: Set up different still lifes and draw from them. Create themes for your still lifes that tell a story, talk about a history, or have some sort of personal interest to you. It could relate to fashion, music, politics, domestic life, etc. Approach the still life in various ways. You could collage photos into your sketches, or experiment with lighting and backdrops for your still life.

The Landscape: Choose a site or sites that have some interest to you. It could be the nieghborhood where you live or grew up. It could be a place that visually attracts you, such as downtown, a graffitied wall, or a place in nature. You could also draw from photos or magazine reproductions as a way to engage topics of interest to you.

Mark-making: Experiment with various ways of mark-making. Try out different materials. Think of how emotions might result in certain types of marks. For example, make angry or aggressive marks, smooth flowing marks, and consider how different types of lines and shapes could evoke a mood or feeling Experiment with different textures. Scribble, squiggle, and doodle.

The Narrative: Any of these themes could be elaborated on through story-telling. Talk about the scenes and subjects within your drawings. Write about a place or space that embodies some experience you’ve had there. Tell a story about your relationships and experiences with the people you’re drawing. You could also use your sketches to illustrate a story.

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