Alumni Hall, 3rd fl. Main Studio
Credit hours: 3
Semester dates: August 23 – December 15
Hall, Room 31
MWF 10:50-12:00 and TR 3:40-5:00
Campus mail box:
Office phone &
voice mail: 816-584-6457
The mission of Park University, an entrepreneurial institution of learning, is
to provide access to academic excellence, which will prepare learners to think
critically, communicate effectively and engage in lifelong learning while
serving a global community.
Basic principles of two-dimensional design which under lie all art and design
are systematically explored in a series of studio assignments in a variety of
media, which can include computer-generated images. Basic color theory will
occupy one-third of the semester. 1:5:3
The purpose of this
course is to teach visual thinking;
that is, to make informed decisions as well as intuitive leaps in making art.
Within the limitations of any design problem—whether a class assignment or a
major corporate ad campaign—there are an infinite number of solutions. An
important goal of this course is to learn to generate many visual ideas---the
first idea is seldom the most creative. Another goal is to develop the skills
to present those ideas eloquently, in visual terms: “inspiration and
perspiration”! And finally, the student will learn to critique art, that is, to
make judgments about how and why a particular visual work succeeds or fails.
I believe that it is through intensive studio practice that students learn to
generate visual ideas, to express them skillfully and to critically evaluate
their results. The ideal environment for that studio practice is an energetic,
competitive visual milieu that is intellectually as well as physically
demanding. Art and design are labor intensive and cumulative. I engage each
student in an ongoing discussion about their ideas and their work. Through each
project, and through successive semesters, I try to provide the stimulus and
support that will help build each individual student’s skill, confidence and
Course Objectives: At the conclusion of this course the successful student will be able
Use the elements of art and
principles of design in exploring and working with design problems.
Demonstrate, in an increasingly
challenging series of black and white and color two-dimensional projects, an
ability to solve design problems and to generate multiple visual ideas.
Apply the principles of color
theory and use the specialized vocabulary of color (optical mixes, simultaneous
contrast, etc.) in specified projects.
Practice good craftsmanship and
presentation skills, which effectively communicate visual ideas. (Neatness
counts in design.)
Discuss and critique art work,
ones own and ones classmates’ using the professional language of art and design
in order to discover the ways in which individual works can be improved. (They
can all be improved.)
There is no textbook for this course.
A variety of handouts will be
provided as well as reference materials that will be available in the studio.
Academic Honesty: “Academic Honesty is required of all members of a learning community.
Hence, Park will not tolerate cheating or plagiarism on tests, examinations,
papers or other course assignments. Students who engage in such dishonesty
may be given failing grades or expelled from Park.”
Plagiarism—the appropriation or imitation of the language or ideas of another
person and presenting them as one’s original work—sometimes occurs through
carelessness or ignorance. Students who are uncertain about proper
documentation of sources should consult their instructors.”
The above is Park’s official policy. Fortunately honesty
in the studio is seldom an issue. Of course, you must not turn in any work
which you did not do.
Attendance Policy: Instructors are required to keep attendance records and report
The instructor may excuse
absences for cogent reasons, but missed work must be made up within the term of
enrollment. Work missed through unexcused absences must also be made up within
the term of enrollment, but unexcused absences may carry further penalties.
In the event of two consecutive weeks of unexcused absences in a term of
enrollment, the student will be administratively withdrawn, resulting in a grade
of “F”. An Incomplete will not be issued to a student who has unexcused or
excessive absences recorded for a course. Students receiving Military Tuition
Assistance (TA) or Veterans Administration (VA) educational benefits must not
exceed three unexcused absences in the term of enrollment. Excessive absences
will be reported to the appropriate agency and may result in a monetary penalty
to the student. Reports of F grade (attendance or academic) resulting from
excessive absence for students receiving financial assistance from agencies not
mentioned above will be reported to the appropriate agency.
The above is Park’s official attendance policy.
My attendance policy is as follows:
Forty-one 1 hour and 50 minute studio sessions are scheduled this semester. Of
these you may have up to four (4) cuts without penalty, that is 10% of the
classes. A fifth cut will directly impact your grade. You will be held
responsible for material covered in your absence. The exchange between students
is an important part of any art class. When you, or your work, are absent from
critique, you are letting your classmates down.
By the end of the second week, (Sept. 3) please
turn in a list of specific class sessions you anticipate needing to cut, signed
by your coach. With that information it may be possible to make plans to
compensate you for the missed time. Providing this information is mandatory.
It is your responsibility to provide it.
Late Submission of
Assignments: Late work will be down-graded.
Student assessment is rooted in the
of work produced
quantity and craftsmanship) as demonstrated by:
Attendance and participation.
Individual design projects.
Formal mid-term and final
portfolio evaluations/critiques (one-on-one) that review individual progress,
Contribution to class critiques
Each assigned project will be critiqued and graded as a group on the assigned
date. Thus you will be able to see and discuss everyone’s work.
Most weekly assignments/projects will be due at 9:00 on Mondays. This means
that your work should be completed, clearly signed and pinned to the bulletin
board so that the critique can begin promptly. Don’t make your classmates wait.
are group discussions about the current
assignment. They are a standard part of all professional art education. They
are meant to help you see, within the context of everyone’s work, where you
succeeded and how you can improve further. One of the really interesting things
about design is the unlimited number of possible solutions to any given visual
problem and the degree to which any design can be improved and refined. Your
visual and verbal participation is expected. The only way to become fluent in
the professional language of design is to begin expressing yourself verbally as
well as visually.
Critiques at Mid-term and Finals
will be cumulative (combining all your preceding projects) and will be
individual and private. Each of you will sign up for a specific time slots At
these two critiques you will be re-submitting the preceding 7 or 8 projects for
a cumulative grade. This means that
after the initial due date and group critique, you may rework the assignment
for a better grade.
8th week of the semester: MWF, Oct. 11, 13 & 15
Final Critiques (tentative):
Mon. Dec. 13: 10:15-12:15 and
Wed. Dec. 15:
8:00-10:00 and 10:15-12:15
This is as communal studio and this semester Alumni Hall has the highest number
of students enrolled in its history. Therefore the need to respect each other’s
space, work and equipment will be greater than ever. Do not leave palettes,
coffee cups or brushes soaking in the sink. Scrape paint into the trash—not
into the sink.
You will have an assigned drawing table that you will not
have to share.
However, do not leave
your artwork or tools out where they can be vulnerable to theft or accidents.
Label all your sketch
books, tool boxes, rulers, etc. They all look alike.
Studio Storage: You
may claim a flat file drawer to share with another 2-D student. Small lockers
are available in the
sink room and cabinet/drawer lockers are also available. These must also be
shared with another student. Please label your storage clearly with your name
and “Fall 04”.
Studio Access: You
have 24 hour, 7 days per week access to this studio space. You are even welcome
to work during other class times. After add/drop your name will be placed on
the security list for this building. To get in after the building is locked
call security (6444). Please be prepared to show your Park University I.D. and
to cooperate with Park security staff at all times.
Safety: Although I do not anticipate their
use in this class, all solvents must be kept in the bright yellow fire proof
cabinet. Never pour solvents down the drain. Used solvents are to be
disposed of in the special red storage can inside the yellow cabinet.
Information about the safety of art supplies can be found in the large
notebook just outside my office and in the reference book with it. Again, I
do not anticipate their use in this course, but using any power tool requires
training, goggles AND a buddy!
The principle hazard in a
2-D design class is the danger of cutting oneself with an X-acto knife.
ALWAYS USE A STEEL RULER WHEN WORKING WITH AN X-ACTO KNIFE! In the event of
an accident use the studio phone to call security (6444) for assistance.
Park University is committed to meeting the needs of all students that meet the
criteria for special assistance. These guidelines are designed to supply
directions to students concerning the information necessary to accomplish this
goal. It is Park University’s policy to comply fully with federal and state
law, including Section 504 of the Rehabilitation Act of 1973 and the American
with Disabilities Act of 1990, regarding students with disabilities and, to the
extent of any inconsistency between these guidelines and federal and/or state
law, the provisions of the law will apply. Additional information concerning
Park University’s policies and procedures related to disability can be found on
the Park University web page:
The semester will be divided into two general areas. The first part will be
devoted to the exploration of the elements of art and the principles of design.
Problems relating to figure-ground, qualities of line, value gradation, pattern,
grid systems, planar distortion and the illusions of space, volume and motion
will be investigated in black and white media. The second part of the semester
will be devoted to color theory.
Typical Week’s Schedule:
Monday 9:00: Critique of past week’s
presentation of next
assignment. In-class studio work begins.
Wednesday Work sessions. In-class studio
work continues. One-to-one instruction.
& Fridays: Occasional brief quizzes,
slide lectures, videos, guests, etc.
Work Outside of Class:
As with all studio art classes in the United States one meets double-time,
nearly six hours per week. In addition you should plan to spend at least three
more hours working outside of class each week. I urge you to schedule that
extra time into your weekly schedule.
How much time you will find it necessary to work on
projects outside of class will vary depending on how effectively and
aggressively you use your in-class “lab” time.
Mid-term portfolio 45
Final portfolio 45
– 90 = A
– 80 = B
– 70 = C
– 60 = D
Below 60 = F
ask them! In class or out, in person, or via E-mail or voice mail, whatever..
They are the best way to learn. Remember---I cannot read your mind! You must
let me know if you are having special difficulties or if there is someway I can
help you. It is what they pay me for.
Pencils (HB & 2H)
Erasers (“Pink Pearl” &
Paper glue (“Yes” or “UHU”)
X-acto knife and #11
Steel ruler (18 inches)
White poster board (cheap)
or 2 ply Bristol (heavy, smooth white paper)
Good quality, pointed
water color brush
India ink, black,
Technical pen or
equivalent to use with permanent black ink
(There are a variety of products on the market ranging from an expensive set of
“Rapidographs” to disposable pens like “Itoya”
Palette (small china
saucer or plastic tray)
Water jar (empty pint jar)
Portfolio (something in
which to safely transport your work. Two pieces of corrugated
with duct tape will make a very serviceable one.)
Other useful items:
Triangles, templates, French curves, T-squares. (The department has a few of
these but not
enough to supply everyone.)
Design and Color Theory
ASSIGNMENT #1: The Spot Project:
Using a consistent “unit form” to activate a visual field.
Monday, August 23
August 25 and 27 (W & F)
critique: Monday, August 30, 9:00 AM
Format: Minimum 8 ½ x 11 white paper but may be
Motif: The motif
or “unit form” or “spot” must be geometric such as a small square, triangle,
rectangle, parallelogram or circle about ¾ on an inch in diameter.
Medium/Technique: You may choose from
Multiples of your motif can be
cut from black construction paper and organized into a collage with paper glue
on a contrasting white surface.
You may find or make a template
that will enable you to accurately draw multiples of your motif and then “color”
each one in with ink or a marker.
You may purchase some kind of
commercial sticker to use as your repeating spot/motif/unit form.
repetition (one of the principles of design) of your spot, experiment
with activating the space of the format by arranging the
spots in a
variety of ways. Spots may touch. Spots may overlap. Spots may “bleed” (be
cut off by the edge of the format). You may use as many spots as you wish.
using a grid to help you organize and control the space of the format.
However, the grid must not be visible in the final presentations.
Amount: Produce three
(3) different examples for critique. You may only use one type of unit form
within a single composition; but you may use a different motif in each of the
Criteria & strategies: Remember the
“spot” (or motif or element or shape or unit form)
MUST be uniform.
Beware of symmetrical compositions. These are by their nature static.
Asymmetry is much more dynamic and active—and you are trying to “activate” the
Your goal in this project is not to draw a recognizable picture, nor to
produce a pattern; instead, try to manipulate and distort the S P A C E
of the white paper. A blank white surface can be empty, flat or infinite.
A soon as you place any mark on it you begin to suggest a spacial illusion.
Consider these Principles of Design as worthy of exploration:
Proximity (degrees of closeness
between the spots),
Continuation (the way ones eye is
led within the composition), and
Rhythm (as in music).