Studio Arts 1: Core (FO101)
Studio Arts 1: Core introduces fundamentals of art and design appropriate to all majors at the Art Academy (Creative Writing; Design; Illustration; Painting and Drawing; Photography; Print Media; and Sculpture) through a sequence of interrelated assignments and visual thinking exercises involving 2D and 3D design and some drawing. Students develop their ability to manipulate and organize ideas to communicate, solve problems, and express themselves through concepts, materials, techniques, tools, and vocabulary, a visual language common to all areas of study. Important technical components include safe use of hand and power tools in the woodshop. Stress on self-discipline, risk-taking, and craftsmanship help develop the student’s positive self-image in relation to the visual arts.
Studio Arts 2: Creative Processes (FO102)
Studio Arts 2: Creative Processes introduces students to visual thinking strategies and methods that assist in creating works of art and design. The focus is on managing visual problems in order to develop a personal creative process. Methods such as the Five-Minute Think, idea sketching, identifying blocks and aids to creativity, brainstorming, lateral thinking, and the Seven Stage Creative Process help students to approach any problem regardless of subject matter, concept, or medium with greater confidence.
Studio Arts 3: Color (FO103)
Color perception is relevant to all Studio Art majors, and it has broader implications in visual culture. This course examines both theoretical and practical applications of color through investigations using a variety of media, including but not limited to, paint media, photography, sculpture, and digital imaging. Projects include research from art historical and contemporary visual practice and will support students' understanding of the use of color in their work and their sensitivity to the use of color. This course is a prerequisite for all Second-Year studio courses.
Analytical Drawing (FO121)
This course is an introductory drawing experience for all BFA students. It takes the student through a variety of challenges in observational drawing using line and value. It includes the study of geometric simplification, one and two-point measured, freehand perspective, and developing an illusion of light.
Observational Drawing (FO122)
Focus is on observational, descriptive, and formal aspects of objective drawing. The course focuses on the human skeleton, muscles and figure. While the course continues the development of perceptual awareness and of objective and analytical drawing abilities, it gives the student a full semester to study the human figure in terms of basic proportions and anatomy. Working with the figure in an environment, students gain knowledge of interior structure to create integrated and unified form. Other course content includes foreshortening, freehand perspective, selecting spatial indicators, light, shadow, surface qualities and composition, using both wet and dry media.
Digital Drawing (FO123)
This course involves drawing with digital tablets, drawing in Illustrator, scanning hand drawings to finish digitally, Google Sketch-up, and other drawing-based software may be introduced. Content includes a range of subjects from landscape, portrait/figures, animals, perspective interiors and objects. Observation, analysis and drawing from imagination are also explored.
Writing as Drawing (And the Other Way Around) (FO124)
What is the perceived weight of a given paragraph? How do concepts of density, speed, and color, as they’re established in a visual line, differ when they’re considered in the context of a sentence? How might the “prosody” of a line in poetry be represented and considered as a drawn line? How does our understanding of narrative change when it’s represented by the time-based medium of writing as opposed to the more spatially concentrated medium of drawing? We’ll ask questions like these (and many others) as we cajole writing and drawing into all kinds of juxtapositional relationships. We’ll draw AND write as we ask these questions. Through readings, films/videos, drawings, exercises, projects and (lots of) discussion, we’ll consider points of difference, similarity, and intersection when concepts and vocabularies specific to one medium are rendered across both visual and textual media. Text will become texture. The page will become a visual field. Writing will become drawing (and the other way around). Prerequisites: None