COMPOSITION

Composition is the arrangement of elements within the rectangle. At its most basic, the rectangle must be considered in a vertical format (a statement) or a horizontal format (a story.) We can begin by thinking of the square/ rectangle as having certain inherent energy zones- the center and four corners. Deciding how these are activated is the function of composition. It is created to move the viewer in and around the image, create interesting balance and harmony. When beginning to layout a compositional idea, it is important to consider the big shapes that make up the internal skeleton of the drawing (both positive and negative space.) Some ideas to consider:

Distribution- filled vs. un-filled

Balance- interesting tension of differences not 50/ 50 equality

Diagonals- lines of of movement, fast

Verticals or Horizontals- lines of stasis, slow

It is useful to re- look at something familiar to help us make sense of Composition. Below is a world map. Considering it as Positive and Negative Space (land and water, respectively) allows us to see the integral nature of the two. It also lets us consider the tectonics of shape and how they inter relate.

Below we will see examples of how artists use composition.

The Raft Of Medusa- Gericault. The composition has strong diagonals, pointers, and geometric shapes (specifically multiple triangles.) On the right, the grouping of figures form a triangle shape mirrored by the rigging and sail of the left. On the apex of the right triangle we find the focus or destination of the composition (further emphasized with the figure having the high value contrast.) Beyond the architectural layout, notice the organization of lights and darks, how these move you through the composition.

The Assumption of the Blessed Virgin- Titian. This composition reinforces the concept of the painting, The Virgin Mary's ascension to Heaven. To assist the story, Titian used a specific red to sequence the viewers gaze. Follow the red on robes of the men at the bottom, as it appears again higher in the Virgin's robe, as it reappears in the robes of God above.

The Rape of the Daughter of Leucippus by Peter Paule Rubens. In this example we can see the strong vertical lines (parallels) in the arms and horses legs. We see diagonals running through the hands, body, horse's feet in both directions. Finally there is the arc of movement or swing lines, follow the arc as it traces from the figure's head (angel) at left as it comes around to the head of the lower women at right. All the heads of the figures rest along this arc.

Another classic example of Rubens using diagonals, pointers, and light dark orchestration. All the diagonal spears point to the focal area (lion's bite) it is almost a wheel hub with spooks. Notice how certain edges of form rest on compositional diagonals.

A classic example of a zig zag progression through the artwork in this case a print byHiroshage.

A Degas pastel in which the clear use of diagonals to leads us around the drawing through one dancer to another.

Here we see Degas using repetition of shape. Each dancer makes a circle-ish (maybe a hexagon) shape with their arms, legs, skirts and even the negative space between two dancers.

Degas was heavily influenced by prints from the the far East, and in this example displays a unique use of balance. The composition is heavily loaded on the left side with and equally interesting weight of emptiness on the right. He further enhances the composition with diagonals and scale of shape (horse and rider.)

Jose Clemente Orozco's study for his Prometheus mural. Here we can see the skeleton of the drawing and more importantly how he organizes his composition. His goal is to make sure the eye visits all portions of the design and aligns certain elements to direct those movements. He sets this up first by laying out diagonals connecting different edges of his work surface. At its basic he draws a line between opposite corners and through the half way points of both vertical and horizontal edges (this is sometimes referred to as the British Flag layout). He goes much further and subdivides. Eventually he begins his drawing and uses these lines as guidelines as to where to place elements, rest limbs, etc. Below is the finished mural.

Here is an example of a Diego Rivera mural in which we can see symmetry worked into the composition. Each side reflects basic positioning and shapes of the other creating a parallel.

A silhouette by Kara Walker again showing the symmetrical approach.

LINE

The Moving Dot..... The basest form in drawing is the line. Line quality- the variety of weight and thickness of the mark-

-Pressure

-Speed

-Motion/ Direction

-Accumulations/ Interconnections

Line can be used to symbolize:

-Outer Edges

-Plane meets Plane

-Color meets Color

-Tone meets Tone

-Explain Shape

-Contour

-Guidelines

In the example by Alberto Giacometti, a searching

line is evident. Giacometti creates guidelines to locate his subject in space, each time refining or re-drawing lines (accumulation). There is also an apparent speed to his mark making, similar to the quick movements of an eye tracing a subject, as he create relationships.

In the next example, a Self -Portrait by Leonardo DaVinci, line is used very deliberately to create shape and movement in the beard. Notice how these darker lines curve back and forth up to the area of interest- the feartures (eyes). Also note where he allows to line to disappear indicating space and planes receding.

In the leaf example of Ellsworth Kelly, line is used in its bearest form to show the outer edges of an object. Kelly, using a delicate minimal approach, uses a slightly darker line to indicate the front edge of the leaf and a lighter one for the further. Also notice the specificity of the line as it describes the contour shape of the leaf.

In the Van Gogh landscape example, the artists large vocabulary of mark is apparent. Van Gogh used a variety of mark for the all different aspects of his composition, some short, some long, some dark etc. Take note of the foreground field, here he employs cross- contour, undulating marks indicating the surface topography of the field.

In the torso example of Antonio Lopez Garcia, we can see how the artist used line to organize the portions, symetry, and contour. Notice how the line is heavier along the trunk yet dissapates as it moves to the legs and shoulders. It is this variation of line that allows a form to be made on a 2-D surface.

Here in the Student example, Cross- Contour is clearly conveyed in the Shell drawing. The lines seek to describe to surface bumps and depressions of the shell, through directional adjustments and thickness of line.

Student Example

Collection

As part of a strong artistic practice, collection or gathering, are an integral part. This allows the artist to record, archive, draw inspiration from and document their particular experience. No two artists approach this process the same way thereby giving insight in the patterns of interest, range of investigation and emotional connections of each artist.

For our purposes, I am asking you to choose one specific place that you can visit repeatedly and "collect" something everyday from there. This 'work a day' can take virtually any form, can change material, theme, process, etc. It could take the form of sketches on sight or from memory, written elements, collage, photos, rubbings, self portraits in the space....etc.

Included in these weekly works,  I am asking you to make 3 scanograms a week from your place. This therefore must be a found object or something made- tangible. Scanning will allow us to make it two- dimensional as well as provide another photo option.

Below are some examples:

Syllabus

First Year Drawing Imaging

Course Description

This course is an introduction to the way that meaning is constructed and communicated through visual images. Students use a variety of tools, skills, methods and media, to explore the creative process: to translate observations, analyze relationships, communicate visually, organize form, and foster the exploratory process of developing ideas.

Of primary importance is understanding how we respond to the visual world and how we use our unique and personal perceptual, physical and analytical abilities to bring two-dimensional works into being. Students explore visual organization and composition, and develop sensitivity to both representational and abstract form. Projects emphasize perceptual engagement through drawing, photography, digital image creation, and the integration of different forms of media. A sketchbook is used as an integral tool to explore the relationships between these different kinds of investigations.

Discussion, critique and written responses offer opportunities for students to communicate ideas about their projects and those of their classmates and to understand their work in historical and cultural context. The tools and methods in Drawing/Imaging form an introductory platform that Parsons students will build upon in their upper level disciplinary courses.

Class Description: Places

This course will explore drawing and imaging through engagement with place. Places focuses on sight and may include private, public, historical space, etc. in relationship to function and context. Students will make work that experiences, documents, imagines, and alters place.  The concept of place is contextualized as landscape, architecture, and abstract pictorial space.  Historical depictions of place will be contrasted with contemporary spaces, creating a conversation about the personal and cultural meaning of place.    

Learning Outcomes

By the successful completion of this course, students will be able, at an introductory level, to:

1. Demonstrate perceptual and visual awareness through drawing from observation (figures, objects and environments)

2. Demonstrate the application of elements of art and principles of design related to two-dimensional form and their implications on content

3. Demonstrate an engagement with visual and perceptual literacy related to aesthetic phenomena, such as principles of gestalt and color theory

4. Demonstrate an understanding that perception is conditioned by an understanding of context as well as culture as a dynamic system in which meaning is constructed

5. Demonstrate the appropriate and exploratory application of analog and digital tools, media and processes to convey observations and ideas. Tools include raster and vector software applications, wet and dry media and various substrates

6. Demonstrate comprehension of skills and techniques across media with a synthesis of the two; as well as an understanding of the value of craftsmanship and its impact on form and meaning

7. Demonstrate reflection on creative skills learned, choices made, and connections fostered, through the ongoing documentation and archiving of assignments in an online learning portfolio. Students will use the portfolio and a sketchbook to demonstrate an engagement with the idea of making as a form of thinking

COURSE OUTLINE

	Week	Date	Activity	Due	Materials
Perception and Representation	Week 1	M- 8/26	Intro. Basic still life line drawing with charcoal. Intro to Collections Project and object scanning. HW- Begin Collection Project.  Find a location to make work a day drawings for an on- going project. Make 3 ‘drawings’ and 3 digital scans.		Charcoal, Erasers, Bristol, Blending tool
		W- 8/28	Positive & Negative Space Drawing HW- “Urban Fragment”- Students will make onsite line drawings and take photos of architectural details.		Charcoal, Erasers, Bristol, Blending tool
		No Class M – 9/2 & W- 9/4
	Week 2	M- 9/9	Gestalt Compositional Studies HW- Use geometric shapes to express a Gestalt Principle.		Black and White paper
		W- 9/11	Illustrator Introduction and Shape Compositions. HW- Create 3 compositions, one for each Place theme- Endless, Claustrophobia, Structure.		Illustrator- Interface, Preferences, Page Setup, Art-Boards, Menus, Paths, Shape Tools, Anchor Points, Selection Tools, Arrange Tools, Copy and Group Tools
	Week 3	M-9/16	Illustrator- Pen Tool, work from line Drawings or Photos of architectural detail HW- Continue project		Illustrator- Anchor Points, Pen Tool, Direct Select
		W- 9/18	Figure Ground Studies with Architecture Details HW- Stable, Reversible and Ambiguous Figure Ground Studies		Collage
	Week 4	M- 9/23	Figure Ground Compositions of architectural detail done in Illustrator. HW- Complete Project and print out/ mount.		Illustrator- Pathfinder, Shape Builder, Live Paint
		W- 9/25	Critique of Collections Project. Demo- Figure Ground Compositions in Complimentary Colors and Warm/ Cool Color. HW- Complete Color versions.		Illustrator- Live Color
Analysis of Structure and Representation	Week 5	M- 9/30	Introduction to figure drawing. Gesture and short pose. HW- Figure Drawing in Illustrator		Charcoal, Erasers, Bristol, Newsprint, Blending tool
		W- 10/2	Figure Drawing- Sight size measuring, long pose, basic color. HW- Figure Drawing from statues at MET, in Petrie court		Charcoal, Erasers, Large Paper, Blending tool, Color Media
	Week 6	M- 10/7	Figure Drawing- Anatomy, Skeleton HW- Layer interior and exterior figure drawings in Photoshop		White and Black or Sanguine Conte, Erasers, Toned Paper, Blending tool
		W- 10/9	Figure Drawing- Figure in Perspective space HW- Chose an art historical or world cultural portrayal of a landscape space and make several pencil studies in that style.		Graphite, Erasers, Bristol, Ruler
	Week 7	M- 10/14	Begin “Figure in Landscape” Drawing		Charcoal, Erasers, Large Paper, Blending tool
		W-10/16	Continue “Figure in Landscape” Drawing		Charcoal, Erasers, Large Paper, Blending tool
	Week 8	M- 10/21	Begin drawing stylized background of “Figure in Landscape”.		Charcoal, Erasers, Large Paper, Blending tool
		W- 10/23	Continue drawing stylized background of “Figure in Landscape”		Charcoal, Erasers, Large Paper, Blending tool
	Week 9	M- 10/28	Intro to Perspective, one- point, two- point perspective. Pencil drawing of interior with boxes.  Draw perspective boxes in Illustrator. HW- Identify a location for a proposed site- specific pubic artwork. And draw sketches for public artwork.		Graphite, Erasers, Bristol, Ruler, Protractor Illustrator- Pen Tool, Convert Anchor Points, Rotation, Scale, Transform Each, Perspective Grid, Grids
		W- 10/30	Make a linear perspective drawing of your location.		Graphite, Erasers, Bristol, Ruler, Protractor,
	Week 10	M- 11/4	Make a Plan, Elevation, and Orthographic drawing of your proposed monument.		Graphite, Erasers, Bristol, Ruler, Protractor,
		W-11/6	Transfer Plan to Illustrator		Illustrator- Pen Tool, Convert Anchor Points, Rotation, Scale, Transform Each, Perspective Grid, Grids
	Week 11	M- 11/11	Using both Photoshop and Illustrator, create a presentation board for the “Unrealized Monument”.		Illustrator- Type Tools Photoshop- Manipulations, Cropping, Scaling, Selections, Layers, Transform Tools
Context and Representation		W- 11/13	Photoshop collage studies HW- Choose an image of an ancient place and take a photo of a contemporary place.		Photoshop- Manipulations, Cropping, Scaling, Selections, Layers, Transform Tools
	Week 12	M- 11/18	Photoshop manipulation of two references of place creating a singular image.		Photoshop- Manipulations, Cropping, Scaling, Selections, Layers, Transform Tools, Adjustment Layers, Opacity
		W- 11/20	Charcoal value cloth study as landscape.		Charcoal, Erasers, Bristol, Newsprint, Blending tool
	Week 13	M- 11/25	Grid print out and drawing paper. Enlarge.		Charcoal, Erasers, Large Paper, Blending tool, Ruler
		NO CLASS W- 11/27
	Week 14	M- 12/2	Begin Value mapping and development of  “Worlds Collide”.		Charcoal, Erasers, Large Paper, Blending tool
		W- 12/4	Continue large scale drawing of “Worlds Collide”.		Charcoal, Erasers, Large Paper, Blending tool
	Week 15	M- 12/9	Complete large scale drawing of “Worlds Collide”.		Charcoal, Erasers, Large Paper, Blending tool
		W- 12/11	Final Review
		M- 12/16	Final Review

Assessable Tasks

1. Written Assignments  – Students will respond to selected readings and exhibitions.

2. Formal Challenges –Students will explore the relationship of format, subject matter and content in problem-solving exercises. 

3. Independent formal assignments  – Students will be expected to chose individual subjects, observe and produce formal aspects of design.

4. Independent conceptual assignments –Students will be expected to idea generate, manipulate and finalize project through the iterative process.

5. Homework  – Students will have weekly homework to expand on lesson concepts and collect reference sources.

6. Sketchbook- Students will keep a sketchbook for exploring ideas, experimenting with material, recording experiences, and collecting.

7. Group Critiques- Students will engage in constructive critiques, observing and talking about each other’s work, hearing and using constructive criticism.

Grading and Evaluation

Students’ ability to meet the course’s learning outcomes will be evaluated based on the following criteria:

● evidence of the ability to solve problems, both creative and technical;

● evidence of the understanding of the project assignments and course material;

● the correct use of materials and formats specified;

● quality of work as evidenced in in-class exercises, final projects, sketchbook exploration and the learning portfolio;

● participation in class and online;

● improvement in technical, creative, and problem solving abilities;

● attendance in class and the timely completion of projects.

Final Grade Calculation

15% Participation /Attendance

10% Work in Progress reviews

15% In class exercises sketches, digital studies, group projects, etc

50% Final Projects finished drawings, digital layouts, photography, etc

10% Sketchbook - Process Folio

100% TOTAL

MATERIALS

In addition to the First Year Kit-

Compressed Charcoal- Alphacolor Char kole

Charcoal Pencil

Blending stump or Tortillion

Chamois Cloth

Sumi Black Ink- 2 oz.

Brown Ink- 2oz.

Sumi Brush

6 piece Pastel set (Can by individually at New York Central)

3- sheets grey tone pastel paper

Grading Standards

A  [4.0; 96–100%]

Work of exceptional quality, which often goes beyond the stated goals of the course

A- [3.7; 91 –95%]

Work of very high quality

B+ [3.3; 86–90%]

Work of high quality that indicates substantially higher than average abilities

B  [3.0; 81–85%]

Very good work that satisfies the goals of the course

B- [2.7; 76–80%]

Good work

C+ [2.3; 71–75%]

Above-average work

C  [2.0; 66–70%]

Average work that indicates an understanding of the course material; passable

Satisfactory completion of a course is considered to be a grade of C or higher.

C- [1.7; 61–65%]

Passing work but below good academic standing

D  [1.0; 46–60%]

Below-average work that indicates a student does not fully understand the assignments;

Probation level though passing for credit

F  [0.0; 0–45%]

Failure, no credit

Grade of W

The grade of W may be issued by the Office of the Registrar to a student who officially withdraws from a course within the applicable deadline. There is no academic penalty, but the grade will appear on the student transcript. A grade of W may also be issued by an instructor to a graduate student (except at Parsons and Mannes) who has not completed course requirements nor arranged for an Incomplete.

Grade of WF

The grade of WF is issued by an instructor to a student (all undergraduates and all graduate students) who has not attended or not completed all required work in a course but did not officially withdraw before the withdrawal deadline. It differs from an “F,” which would indicate that the student technically completed requirements but that the level of work did not qualify for a passing grade. The WF is equivalent to an F in calculating the grade point average (zero grade points), and no credit is awarded.

Grades of Incomplete

The grade of I, or temporary incomplete, may be granted to a student under unusual and extenuating circumstances, such as when the student’s academic life is interrupted by a medical or personal emergency. This mark is not given automatically but only upon the student’s request and at the discretion of the instructor. A Request for Incomplete form must be completed and signed by student and instructor. The time allowed for completion of the work and removal of the “I” mark will be set by the instructor with the following limitations: [You should include one the following standards, depending on the level of your course].

Undergraduate students: Work must be completed no later than the seventh week of the following fall semester for spring or summer term incompletes and no later than the seventh week of the following spring semester for fall term incompletes. Grades of “I” not revised in the prescribed time will be recorded as a final grade of “WF” by the Office of the Registrar.

Divisional, Program and Class Policies
 [You should include the following headings with the recommended text. In addition, you should include any other policies you may have.]

● Responsibility

Students are responsible for all assignments, even if they are absent.  Late assignments, failure to complete the assignments for class discussion and/or critique, and lack of preparedness for in-class discussions, presentations and/or critiques will jeopardize your successful completion of this course.

● Participation

Class participation is an essential part of class and includes: keeping up with reading, assignments, projects, contributing meaningfully to class discussions, active participation in group work, and coming to class regularly and on time.

● Attendance

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. During intensive summer sessions a significant portion of class time is defined as two absences. Lateness or early departure from class may also translate into one full absence.

● Blackboard or Canvas

Use of Blackboard may be an important resource for this class. Students should check it for announcements before coming to class each week.

● Delays

In rare instances, I may be delayed arriving to class.  If I have not arrived by the time class is scheduled to start, you must wait a minimum of thirty minutes for my arrival.  In the event that I will miss class entirely, a sign will be posted at the classroom indicating your assignment for the next class meeting.

● Academic Integrity

This is the university’s Statement on Academic Integrity: “Plagiarism and cheating of any kind in the course of academic work will not be tolerated.  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).  These standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essays, theses, computer work, art and design work, oral presentations, and other projects).”

It is the responsibility of students to learn the procedures specific to their discipline for correctly and appropriately differentiating their own work from that of others.  Compromising your academic integrity may lead to serious consequences, including (but not limited to) one or more of the following: failure of the assignment, failure of the course, academic warning, disciplinary probation, suspension from the university, or dismissal from the university.

Every student at Parsons signs an Academic Integrity Statement as a part of the registration process.  Thus, you are held responsible for being familiar with, understanding, adhering to and upholding the spirit and standards of academic integrity as set forth by the Parsons Student Handbook.

Guidelines for Written Assignments

Plagiarism is the use of another person's words or ideas in any academic work using books, journals, internet postings, or other student papers without proper acknowledgment. For further information on proper acknowledgment and plagiarism, including expectations for paraphrasing source material and proper forms of citation in research and writing, students should consult the Chicago Manual of Style (cf. Turabian, 6^th edition). The University Writing Center                     also provides useful on-line resources to help students understand and avoid plagiarism. See http://www.newschool.edu/admin/writingcenter/.

Students must receive prior permission from instructors to submit the same or substantially overlapping material for two different assignments.  Submission of the same work for two assignments without the prior permission of instructors is plagiarism.

Guidelines for Studio Assignments

Work from other visual sources may be imitated or incorporated into studio work if the fact of imitation or incorporation and the identity of the original source are properly acknowledged. There must be no intent to deceive; the work must make clear that it emulates or comments on the source as a source. Referencing a style or concept in otherwise original work does not constitute plagiarism. The originality of studio work that presents itself as “in the manner of” or as playing with “variations on” a particular source should be evaluated by the individual faculty member in the context of a critique.

Incorporating ready-made materials into studio work as in a collage, synthesized photograph or paste-up is not plagiarism in the educational context. In the commercial world, however, such appropriation is prohibited by copyright laws and may result in legal consequences.

● Student Disability Services

In keeping with the University’s policy of providing equal access for students with disabilities, any student with a disability who needs academic accommodations is welcome to meet with me privately.  All conversations will be kept confidential.  Students requesting any accommodations will also need to meet with Jason Luchs in the office of Student Disability Services, who will conduct an intake, and if appropriate, provide an academic accommodation notification letter to you to bring to me.  At that point I will review the letter with you and discuss these accommodations in relation to this course.  Mr. Luchs’ office is located in 80 Fifth Avenue, Room 323 (3^rd floor). His direct line is (212) 229-5626 x3135.  You may also access more information through the University’s web site at http://www.newschool.edu/studentservices/disability/.