I Manual Intro to Fine Art and Design II Intro to Digital Design and Production
About the course
An Introduction to Visuals For Programmers in Two Parts seeks to provide a comprehensive understanding of theory, practice, skills and fluency in the visual communications realm for the purpose of connecting visionaries across disciplines so that new methods of problem types and approaches may inform scientific discovery and innovation in the arts.
Each Part consists of six lessons Each lesson is four hours in duration. There are weekly assignments, leading to a final gallery exhibit.
Why you should participate: If you come to every class and complete every assignment you will have a portfolio worthy of undergraduate or graduate fine art or design school admissions and an intimidating foundation in visual communication.
You are receiving 450K worth of fine art and design education investment distilled into a comprehensive 12 week course.
You will become fluent in the language used by artists and designers in every day communications and you will understand project approaches from their perspective – you will be able to interface and lead a group project that integrates both the fine arts and the hard sciences.
Why I want to teach: I look forward to seeing your response to the concepts and projects presented. I would like to learn from all of you through studying your individual processes. I am always looking to network and anticipate some really cool ideas and collaborations stemming from this course.
About the Instructor Emily Dunne Architecture and Design Portfolio
Administrative Intro to Fine Art and Design Introduction, Backgrounds, Experiences Syllabus, Information Sharing Start Manual Foundation
SUNDAY NOV 6st 4:00pm – 8:00pm Class 1: Sketching and the Still Life PPT 1 Myth Semester Assignment Sketching Warm‐up Still Life Sketching Still Life Pin‐Up Review Assignment 1: Object Sketches, 20 On 8.5 X 11 paper, pen, pencil
SUNDAY NOV 13th 2:00pm – 6:00pm Class 2: Museum Trip and Research Meet at National Gallery of Art Hand in Assignment 1 for Internal Review Sketch 20 paintings/sculptures in NGA Assignment 2: Artist Research (Prepare 3 paragraphs on artist, type of work and contribution to society Answer the so what question, fill in info for 1 Slide from template and email to Emily) Receive written feedback for Assignment 1
SUNDAY NOV 20th 4:00pm ‐8:00pm Class 3: Figure Drawing and Self Expression Present Assignment 2 Artist Research PPT Anatomy Study PPT Sketching Warm‐Up Figure Drawing Figure Drawing Pin‐up Review Assignment 3 : Self Portrait On 8.5 X 11 paper, pen, pencil
SUNDAY DEC 4th 4:00pm – 8:00 pm Class 4: Sketch Model, Material Manipulation Hand in Assignment 3 for Internal Review Modeling PPT In class clay‐knife, paper‐glue modeling Assignment 4: Model a Musical Instrument First clay then paper, smaller than 8.5 X 11 Receive written feedback for Assignment 3
SATURDAY DEC 10th 4:00pm – 8:00pm Class 5: Fundamentals of 2D Musical Instrument Podium Review Aspects of 2D PPT Outlines Gray Scales 2” X 2” Square Folding In‐Class Assignment Assignment 5: Positive Negative Study Create 6 studies from instrument model On 8.5 X 11 paper, black and white, outlines
SUNDAY DEC 11th 4:00pm – 8:00pm Class 6: Color, Space and Style Hand in Assignment 5 for Internal Review Color Fundamentals PPT In‐class color studies: Hue: Intensity, Value, Saturation Transparency, Vibrations Homework: Tessellation with Two Hues Based on Instrument Figure Ground And Description of Color Relationships Receive Written Instructor Review Sheet Use two weeks to redo, enhance or make up any work for final exhibit and scan and photograph all work for instructor.
My thoughts on materials and supplies:
Teachers have a way of making you buy a ton of supplies that you never use or need. Art supplies are so expensive. My intent is to provide you with a minimal supply list so that we aren’t breaking the bank. I would advise you to look around for these items and be creative before you go purchasing them.
I don’t care what type of paper, pens, pencils or markers you bring to the table. If you would like advice based on what I personally use then I will be happy to point you in a specific supply direction. Shoot me an email.
I am recommending 8.5 X 11 because it is a decent size sheet of paper for lugging around and very easy to scan – and you will be scanning everything. I personally never carry a sketchbook – I find them constraining and annoying, and the perforations on the edge of the paper defy conceptual layout.
I advise you always work from one rectilinear sheet of paper. I keep all of my work on loose sheets of paper in the folder portion of a 3 ring binder. I keep instructor handouts in the binder portion. I draw on the paper with the support of the binder and organize my drawings in a portfolio (a manila folder) later.
The most important supplies you bring with you to this course are an open mind and patience.
Materials you supply: Sharpies (thin, medium, thick) Pens (3 varying line weights) Pencils (4 h 4 b, I hb) Markers (bic mark‐it 36, AWESOME performance for value) Charcoal (4 sticks) White pastels (2 sticks) Kneaded Eraser (1) White pen eraser (1) 8.5 X 11 paper any kind, lots of it, computer paper works. 12” Trace roll or 8.5 X 11 sheets Ruler 12” Pen knife Extra Blades Elmer’s glue 1 block of clay
Materials I will supply: Acrylic paint and canvas Colorform paper Relevant software access Large scale 24” X 36” printing Tape measure