Art (ART)
Courses
ART 124 Design 2D (3 Hours)
Prerequisites or corequisites: CDTP 145
This is an introductory study of the principles of visual perception, two-dimensional space organization and the visual elements of line, shape, texture and space. Concepts, materials and processes necessary to an understanding of two-dimensional form are explored using traditional and digital tools and techniques. Working knowledge of Adobe Illustrator is required. 6 hrs. integrated lecture/studio/wk.
ART 127 Design 3D (3 Hours)
Prerequisites: ART 124
This is a study of the function of three-dimensional organization in the development of visual ideas. Concepts, materials and processes necessary to an understanding of the three-dimensional relationships of space, form, form evolution and the dynamics of structure are explored. 6 hrs. integrated lecture/studio/wk.
ART 129 Design Color (3 Hours)
Prerequisites or corequisites: CDTP 135
This is a study of the nature of color, its physical properties and visual qualities. Basic theories, phenomena and their applications will be explored using pigment, colored paper and digital color systems. Working knowledge of Adobe Photoshop is required. 6 hrs. integrated lecture/studio/wk.
ART 130 Drawing I (3 Hours)
This is an introductory course with an emphasis on the development of fundamental drawing skills, increased power of observation and an awareness of the personally expressive and compositional aspects of drawing. 6 hrs. integrated lecture/studio/wk.
ART 131 Drawing II (3 Hours)
Prerequisites: ART 130
This course involves intermediate problems in drawing with emphasis on individual expression based on historical as well as contemporary concerns and approaches in art. Students will work from models, still-life, and conceptual presentations. A variety of media will be explored. 6 hrs. integrated lecture/studio/wk.
ART 135 Painting I (3 Hours)
This course is an introduction to the basic elements of painting. Students will learn basic painting skills, color properties, color mixing, color relationships, applications and proper use of tools and equipment. 6 hrs. integrated lecture/studio/wk.
ART 136 Painting II (3 Hours)
Prerequisites: ART 135
This course involves intermediate problems in painting with emphasis on individual expression based on historical as well as contemporary concerns and approaches in art. 6 hrs. integrated lecture/studio/wk.
ART 138 Digital Imaging for Artists I (3 Hours)
This course is an introduction to the use of the computer as a medium for making fine art. The course will emphasize developing the student's skill in making expressive visual statements using computer technology. 6 hrs. integrated lecture/studio/wk.
ART 142 Ceramics I (3 Hours)
This course is designed to build a conceptual and manual foundation for future ceramics education. Students will study the properties of clay, its preparation, hand and wheel techniques, surface design, firing methods, fundamental ceramic terms, principles of design, introductory ceramic history and orientation to safe practices for the ceramic artist. Emphasis will be on developing skills appropriate to the beginning student for the purpose of creative and technical expression. 6 hrs. integrated lecture/studio/wk.
ART 143 Ceramics II (3 Hours)
Prerequisites: ART 142
This course covers more advanced methods and studio practices in creative ceramic wheel expression and glaze formation. Emphasis is on development of a sense of thrown form and creative decoration or optional creative non-wheel ceramic form development. The course focuses on advanced ceramic form production, aesthetic issues, investigative study and practice. Clay, glaze and firing techniques are investigated in depth. The student acquires a repertoire of studio skills, a deeper awareness of ceramic history and articulated criteria of judgment. Individual interpretation and conceptual development are expected. The study of aesthetics of ceramic form is undertaken. 6 hrs. integrated lecture/studio/wk.
ART 145 Sculpture I (3 Hours)
Students will explore and study natural and synthetic sculptural forms as they create work using traditional or contemporary media and techniques. Assignments require work in limestone, clay, wax, bronze, aluminum and steel, and involve carving, modeling and building up. 6 hrs. integrated lecture/studio/wk.
ART 146 Sculpture II (3 Hours)
Prerequisites: ART 145
This continuation of ART 145 will focus on advanced methods and techniques with emphasis on materials, forms and the student's selection of an individual direction with individual material choices. 6 hrs. integrated lecture/studio/wk.
ART 148 Metal and Silversmithing I (3 Hours)
This course is a basic introduction to the terms, tools and techniques involved in creating jewelry and other wearables as they relate to the human figure. Casting, fabrication and construction will be explored. 6 hrs. integrated lecture/studio/wk.
ART 149 Metal and Silversmithing II (3 Hours)
Prerequisites: ART 148
Students will study advanced casting and construction techniques. Projects should show a higher degree of design and function. 6 hrs. integrated lecture/studio/wk.
ART 172 Watercolor Painting (3 Hours)
This course is an introduction to transparent water media with emphasis on learning fundamental painting skills, the visual elements, composition, visual perception and an awareness of personal expression. 6 hrs. integrated lecture/studio/wk.
ART 231 Life Drawing I (3 Hours)
Prerequisites: ART 130
This course is an introduction to the basic elements of drawing for students wanting a concentration in drawing the human figure. Students will acquire basic competence in developing drawings involving the human form. 6 hrs. integrated lecture/studio/wk.
ART 232 Life Drawing II (3 Hours)
Prerequisites: ART 231
This course is an intermediate investigation of drawing from the human form. This class is for students wanting to concentrate on figure drawing beyond Life Drawing I. 6 hrs. integrated lecture/studio/wk.
ART 235 Studio Workshop I (3 Hours)
Prerequisites: ART 131 or ART 136
This course involves advanced problems in painting (or drawing) with emphasis on individual expression based on historical as well as contemporary concerns and approaches in art. 6 hrs. integrated lecture/studio/wk.
ART 236 Studio Workshop II (3 Hours)
Prerequisites: ART 235
This course involves advanced problems in painting (or drawing), above and beyond those experienced in Workshop I, with emphasis on individual expression. 6 hrs. integrated lecture/studio/wk.
ART 238 Digital Imaging for Artists II (3 Hours)
Prerequisites: ART 138
This course is a continued study of skills learned in Digital Imaging for Artists. Students will concentrate on creating personal imagery using digital media. 6 hrs. integrated lecture studio/wk.
ART 244 Ceramics Workshop I (3 Hours)
Prerequisites: ART 143 and department approval
Students will have the opportunity to pursue advanced individual research under the direction of the instructor. Emphasis is on creative expression and development of technical skills as well as the further pursuit of technical studies that have relevance for emerging personal specializations. Students will conduct a personal program of study on one aesthetic issue that emerges as personally significant and present the outcomes in an appropriate and acceptable manner at the close of the semester. Students should initiate and pursue studies in directions that inform and further their individual professional and creative growth, which leads to invention, innovation and refinement of their personal semester work, as agreed upon with the instructor. This course enables further pursuit of technical studies that have relevance for these emerging personal specializations. Skill refinement, three-dimensional imagination, with increased creative expression and creative product generation are anticipated. 6 hrs. integrated lecture/studio/wk.
ART 291 Independent Study (1-7 Hour)
Prerequisites: 2.0 GPA minimum and department approval
Independent study is a directed, structured learning experience offered as an extension of the regular curriculum. It is intended to allow individual students to broaden their comprehension of the principles of and competencies associated with the discipline or program. Its purpose is to supplement existing courses with individualized, in-depth learning experiences. Such learning experiences may be undertaken independent of the traditional classroom setting, but will be appropriately directed and supervised by regular instructional staff. Total contact hours vary based on the learning experience.
ART 124
- Title: Design 2D*
- Number: ART 124
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites or corequisites: CDTP 145
Description:
This is an introductory study of the principles of visual perception, two-dimensional space organization and the visual elements of line, shape, texture and space. Concepts, materials and processes necessary to an understanding of two-dimensional form are explored using traditional and digital tools and techniques. Working knowledge of Adobe Illustrator is required. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Define the visual elements of line, shape, texture and space and demonstrate an understanding of the visual relationships that exist between them in class exercises/projects.
- Define the underlying principles of visual perception and form organization that provide the compositional foundation of all 2-dimensional images and demonstrate an understanding of them in class exercises/projects.
- Express and communicate abstract ideas using the design elements and principles using traditional, electronic and digital media.
- Explore, develop and demonstrate skills with a variety of traditional, electronic and digital tools, equipment, materials and techniques that are utilized by the visual designer.
- Demonstrate mastery of the specialized vocabulary relating to the course content by discussing class work in these terms.
- Demonstrate a level of problem solving skills that allow for the identification and generation of alternative solutions as well as the selection of an appropriate course of completion.
- Recognize and demonstrate productive attitudes and work habits in the studio/lab.
Content Outline and Competencies:
I. The Visual Elements of Art and Design A. Demonstrate an understanding of, and visual sensitivity to, the following elements of art and design by identifying, defining and using them in class exercises/projects. 1. Line a. Historic development as an element of art and design b. As symbolic communication of both objects and abstract concepts c. Physical characteristics of line: length, measure, type, color, value and texture d. Linear directions: straight, angular, curved e. Natural and man-made lines: functional and imaginative 2. Shape a. Kinds of shapes: representational and non-representational, natural and man-made, 2-dimensional and as illusions of 3-dimensional forms, organic and geometric b. The process of abstraction c. Closure d. The meaning of shapes as signs and symbols e. The emotive qualities of shapes both active and static f. The compositional importance of the placement, balance, texture, color and value of shapes 3. Texture a. Kinds of texture: actual, simulated or imitative, man-made or natural, invented and expressive b. The distinction between texture and pattern c. Principle factors in our perception of textures: variations in reflection and absorption of light, differences in value and color, and the degree of opacity, translucency or transparency d. Uses of texture in two-dimensional design: to describe objects, to stimulate tactile response, as surface enrichment, as clarification of spatial cues and to control the relative dominance of pattern. 4. Space a. Spatial cues: relative position in visual field, textural density, relative size of elements in visual field b. Linear perspective c. Perspective of parallax: binocular and motion d. Perspectives that are independent of the position or motion of the observer including: aerial perspective (changes in color intensity, value and detail,) perspective of blur, continuity of outline (overlapping,) and transitions between light and shade. II. The Principles of Visual Perception and Organization A. Demonstrate an understanding of, and visual sensitivity to, the following principles of visual organization by identifying, defining and using each of them in class exercises/projects. 1. Pictorial formats a. Picture plane b. Picture frame c. Pictorial area 2. Visual grouping a. Proximity of visual grouping b. Similarity of elements c. Common movement d. Visual continuity of elements e. Closure 3. Visual separation a. Contrast b. Figure-ground 4. Perceptual integration a. Principles of good figures b. Principles of perceptual constancy c. Optical illusions d. Perception of movement 5. Balance a. Types of balance: physical versus ocular, symmetry versus asymmetry b. Factors contributing to the relative weight of elements: size, shape, texture, color, value and position 6. Rhythm a. Rhythmic patterns: simple or repetitive, alternative, progressive and flowing 7. Pattern a. Uses of pattern: as underlying pictorial structure, beat or accent, figure-ground relationships, transitional patterns and motif 8. Movement a. Indicators of movement: directional use of art elements, tracing the path of a volume or shape, blurred contours, combining multiple points of view, multiple images within one image, sequence and transition within a series of images shape 9. Contrast and emphasis a. Methods of attaining contrast and emphasis: through line quality and variation, shape and textural variation, contrast of size, color and value and changes in directional movement of elements III. Tools, Materials and Techniques A. Demonstrate skills in the use and applications of the following by identifying, and using each of them in class exercises and projects. 1. Traditional tools a. Artograph b. Compass c. T-square and triangle d. French curves and templates e. Ruling pen or Rapidograph pens f. Cutting tools g. Erasers 2. Electronic and digital tools a. Photocopier b. Computer c. Laser printer d. Scanner 3. Materials a. Papers and boards b. Ink and gouache c. Adhesives and thinners d. Protective sprays 4. Techniques a. Overlays b. Refinement c. Scaling d. Transferring e. Computer software techniques
Method of Evaluation and Competencies:
Projects and tests 60 - 85% of grade Studio performance 15 - 40% of grade Total 100% Grades for projects will be based on project objectives and competencies evaluated in class critiques, evaluation forms and individual conferences. Studio performance grade is based on the student's attendance record, degree of productivity, ability to work independently and level of participation in class critiques. Grade Scale: 4.0 = A 3.75 = A- 3.25 = B+ 3.0 = B 2.75 = B- 2.25 = C+ 2.0 = C 1.75 = C- 1.25 = D+ 1.0 = D below 1.0 = F Semester Grade: total grade averaged to A, B, C, D, or F.
Caveats:
- Working knowledge of Adobe Illustrator is required.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 127
- Title: Design 3D*
- Number: ART 127
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 124
Description:
This is a study of the function of three-dimensional organization in the development of visual ideas. Concepts, materials and processes necessary to an understanding of the three-dimensional relationships of space, form, form evolution and the dynamics of structure are explored. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Demonstrate an understanding of the fundamental concepts that are taught in this course, and that are inherent in all three-dimensional structures, by effectively applying them in course projects.
- Demonstrate skill in the use of a variety of tools and materials commonly used in the solution of three-dimensional design problems.
- Demonstrate an understanding and skill in the application, of basic structural principles by designing and constructing a variety of visually effective and structurally sound three-dimensional forms.
- Demonstrate an ability to plan and visually describe projected three-dimensional pieces through preliminary drawings.
- Describe the relationship between the specific structural qualities of a form, the physical properties of the materials used in its construction and the effectiveness of its intended function.
- Effectively organize time and materials, work well independently and meet class deadline.
Content Outline and Competencies:
I. The Conceptual Foundations of Three-Dimensional Design A. List the three primary directions and basic views and discuss their significance in the planning of 3-dimensional structures. 1. Three primary directions a. Vertical b. Horizontal c. Transverse 2. Three basic views a. Plane view b. Front view c. Side view B. List the four categories of three-dimensional design elements, discuss their meaning and demonstrate their application in class projects. 1. Conceptual elements a. Point b. Line c. Plane d. Volume 2. Visual elements a. Shape b. Size c. Color d. Texture 3. Relational elements a. Balance/gravity b. Movement c. Proportion/scale d. Transition/direction e. Unity f. Position/opposition g. Distribution/space h. Variation 4. Constructional elements a. Vertex b. Edge c. Face C. Identify and discuss different modes of both natural and man-made structural/spatial organization and demonstrate their application in class projects. 1. Cellular 2. Cylindrical/core structure 3. Planar systems 4. Trusses and space frames 5. Rigid frame 6. Slab 7. Shell 8. Cable 9. Membrane/inflated D. Define and discuss the physical laws affecting structure. 1. Weight (load) 2. Balance (equilibrium/stability) 3. Gravity 4. Tension (lengthen) 5. Compression (shorten) 6. Torsion (shear) E. Discuss the relationship between the form and the function of 3-dimensional structures in each of the following categories: 1. Scale and human dimensions 2. Light modulation 3. Multiples 4. Applications in dimensional and environmental graphics II. Materials: Types and Properties A. Demonstrate skill in the use of the following types of materials: 1. Papers and boards 2. Foams 3. Paper pulp 4. Rigid and flexible linear materials B. List materials that possess the following properties: 1. Elastic 2. Rigid 3. Brittle 4. Fluid III. Structural Forms and Qualities A. Define and discuss relief structures and demonstrate an understanding of their unique characteristics by applying them in the design and construction of class projects. 1. Bas relief or frontal view 2. Modular forms used in their construction a. Platonic solids b. Archimedean solids 3. Structural supports B. Define and discuss the qualities unique to full-round structures and apply them in class projects. 1. Multiple points of view 2. Modular forms a. Serial planes b. Wall structures c. Prisms and cylinders d. Geometric solids e. Linear structures IV. Attitudes and Work Habits A. Identify and develop positive attitudes toward tasks and colleagues appropriate to the professional designer and to the workplace including giving and accepting criticism and praise. B. Identify and develop productive work habits appropriate to the professional designer and the workplace including: the ability to follow verbal and written instructions, to demonstrate organizational skills, attention to detail, adherence to schedules and deadlines, the timely completion of tasks and the maintenance of good attendance and punctuality. C. Identify and develop individual or collaborative/teamwork skills including solving problems independently by working alone or in groups, building consensus and responding to supervision.
Method of Evaluation and Competencies:
Projects and tests 75 - 85% of grade Studio performance 15 - 25% of grade Total 100% Grades for projects will be based on project objectives and competencies evaluated in class critiques, evaluation forms and individual conferences. Studio performance grade is based on the student's attendance record, degree of productivity, ability to work independently and level of participation in class critiques. Grade Scale: 4.0 = A 3.75 = A- 3.25 = B+ 3.0 = B 2.75 = B- 2.25 = C+ 2.0 = C 1.75 = C- 1.25 = D+ 1.0 = D below 1.0 = F Semester Grade: total grade averaged to A, B, C, D, or F.
Caveats:
NoneStudent Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 129
- Title: Design Color*
- Number: ART 129
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites or corequisites: CDTP 135
Description:
This is a study of the nature of color, its physical properties and visual qualities. Basic theories, phenomena and their applications will be explored using pigment, colored paper and digital color systems. Working knowledge of Adobe Photoshop is required. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Define and explain the physical nature of color and light including: a) Sources of color, b) Major color, c) theories, d) Color perception and phenomena, d) Basic color qualities and terminology.
- Demonstrate proficiency with a specialized vocabulary that relates to the study of color.
- Utilize traditional and digital color systems and examine the visual characteristics of color mixes and the comparison of color palettes and ranges.
- Demonstrate through his/her work traditional and contemporary color theories relating to the objective and subject uses of color.
- Manipulate and control color effects and understand how they affect the creation and perception of figures and forms.
- Produce harmonious compositions.
- Demonstrate a level of problem-solving skills that promote the identification and generation of alternative solutions to color design problems and assist in the selection of an appropriate course of completion.
- Demonstrate knowledge and proficiency with the tools, materials and techniques necessary to the study of color in this course.
- Recognize and demonstrate productive attitudes and work habits in the studio/lab.
Content Outline and Competencies:
I. Sources of Light and Color A. Define and explain the physical nature of color including light/color sources. 1. The light spectrum a. Sun 2. Invisible light/energy a. Electric lights b. Fluorescent lamps c. Phosphorescence d. Luminescence B. Describe the similarities and differences of the following four variations in illumination: 1. Artificial light/daylight 2. Brightness 3. Lightness 4. Shadow C. Define, compare and contrast light behavior and its resultant effect on color and perception. 1. Absorption/reflection of light from surfaces 2. Transmission of light by a. Refraction (prism) b. Dispersion (scattering) c. Diffraction (point source) d. Interference (iridescence) D. Describe the physical mechanism for color perceptions. 1. Eyesight/color blindness/color warning II. Major Color Theories, Mixtures and Systems of Organization A. Define and describe the importance of three methods of logical color arrangement: 1. Color wheel 2. Color system 3. Color diagrams B. Define, compare and contrast additive, subtractive and partitive color theories. C. Describe and explain the visual effects of color mixtures in prints, pigment and dyes. 1. Transparent 2. Non-transparent D. Compare and contrast color theory utilized in photography, printing and television. E. Identify, contrast, compare and utilize the four following digital color pallets: 1. HSV 2. RGB 3. CMYK 4. PANTONE III. Basic Color Qualities A. Define and explain the color quality hue relating to color organization, describe its use and explore in color exercises/projects. 1. Definition 2. The pigment spectrum 3. The 12-color circle a. Primary triad b. Secondary triad c. Tertiary hues B. Define and explain the color quality value relating to color organization, describe its use and explore in color exercises/projects. 1. Definition 2. “Normal” spectrum color values 3. Used to define objects in three-dimensional space 4. Light/pigment value variations 5. As a compositional element a. Contrast and emphasis b. Balance c. Movement d. Structure C. Define and describe the color quality of intensity relating to color organization, describe its use and explore in color exercises/projects. 1. Definition 2. Spectrum intensity, saturation or chroma 3. Altering hue intensity a. Addition of black (shades) b. Addition of white (tints) c. Addition of achromatic neutral (grays) d. Addition of complement or other hue IV. Color Perception and Phenomena A. Explain color perception and the phenomena of color illusion. B. Explain constancy theory. C. Describe and utilize various color illusions in color exercises/projects 1. After-images 2. Vibrating boundaries 3. The rule of simultaneous contrast 4. The Purkinje phenomenon 5. Synesthesia 6. Spreading effect D. Explain and use simultaneous contrast with “see through quality” in color exercises/projects. 1. Transparency 2. Translucency V. Objective and Subjective Uses of Color to Demonstrate Color Principles and Effects A. Explain and utilize in color exercises/projects to describe objects using local color. B. Explain and utilize in color exercises/projects as a compositional element. 1. Plastic color a. Warm colors b. Cool colors 2. Color balance (contrast of extension) 3. Contrast and emphasis C. Explain and utilize in color exercises/projects to symbolize ideas. D. Explain and utilize in color exercises/projects to create moods and express emotions. 1. Psychological responses to color 2. Emotive responses VI. Color Relationships and Effects in Compositions A. Identify, describe and use in color mixing exercises/projects traditional color schemes. 1. Harmonious relationships: Monochromatic 2. Harmonious relationships: Analogous B. Identify, describe and use in color mising exercises/projects traditional schemes 1. Contrasting relationships: Primary triad 2. Contrasting relationships: Secondary triad 3. Contrasting relationships: Complementary colors VII. Attitudes and Work Habits A. Identify and develop positive attitudes toward tasks and colleagues, appropriate to a professional designer and the workplace including giving and accepting criticism and praise. B. Identify and develop productive work habits appropriate to the professional designer and the workplace including: the ability to follow verbal and written instructions, good organizational skills, attention to detail, adherence to schedules and deadlines, completion of tasks and maintaining good attendance and punctuality. C. Identify and develop individual or collaborative/teamwork skills including: solving problems independently by working alone or in groups, building consensus and responding to supervision.
Method of Evaluation and Competencies:
Projects and tests: 60 - 85% of grade Studio performance: 15 - 40% of grade Total: 100% Grades for projects will be based on project objectives and competencies evaluated in class critiques, evaluation forms and individual conferences. Studio performance grade is based on the student's attendance record, degree of productivity, ability to work independently and level of participation in class critiques. Grade Scale: 4.0 = A 3.75 = A- 3.25 = B+ 3.0 = B 2.75 = B- 2.25 = C+ 2.0 = C 1.75 = C- 1.25 = D+ 1.0 = D Below 1.0 = F Semester Grade: total grade averaged to A, B, C, D, or F.
Caveats:
- Working knowledge of Adobe Illustrator is required.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 130
- Title: Drawing I
- Number: ART 130
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Description:
This is an introductory course with an emphasis on the development of fundamental drawing skills, increased power of observation and an awareness of the personally expressive and compositional aspects of drawing. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Recognize and demonstrate safe studio procedures.
- Identify and use basic drawing tools in both wet and dry media.
- Distinguish and use value, texture, line, shape and gesture as discrete approaches to drawing.
- Differentiate between successful and unsuccessful composition.
- Combine value, texture, line, shape and gesture in more developed drawings.
- Differentiate among representational, abstract, and conceptual approaches to art.
- Combine approaches and techniques of basic drawing.
- Make aesthetic decisions autonomously.
- Critique artwork objectively, individually and in groups.
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials and supplies. B. Practice safe studio procedures. C. Identify and develop productive work habits, including completing projects, maintaining the studio environment and responding to supervision. II. Drawing Tools A. Use dry media in drawing. 1. Draw with charcoal. 2. Sketch with graphite. 3. Use Conte crayon. 4. Utilize pastels. 5. Explore and use other experimental dry mediums. B. Use wet media. 1. Draw with india ink. 2. Use acrylics and/or watercolor. 3. Explore and use other experimental wet mediums. III. Basic Techniques A. Practice and use value (light and dark contrast) in realistic and abstract manner. B. Develop repetitive marks and patterns to achieve texture. C. Develop a patient, slow contour line to describe representational form and to increase visual awareness. 1. Practice and use blind contour. 2. Practice and utilize varying line, weight, contour. 3. Practice and use cross-contour. 4. Practice and utilize cross hatching. IV. The Elements of Composition A. Produce representational marks to structure the picture plane. B. Produce non-objective marks to structure the picture plane. C. Use non-objective shapes to structure the picture plane. D. Produce a value scale and assign values to shapes within the picture plane to achieve visual balance. E. Draw the negative shapes of a representational form in order to recognize its visual importance within a composition. V. Drawings of a More Complex Nature A. Compose drawings of mixed complexity. B. Construct drawings exhibiting a more individual and personal approach. VI. Representational, Abstract, and Conceptual Approaches to Drawing A. Use the strategies involved in representational drawing. B. Use the strategies involved in abstract drawing. C. Use the strategies involved in conceptual drawing. VII. Drawings Combining Techniques A. Complete a drawing in stages with several techniques. B. Construct a drawing converting combined techniques into a more complex layering process. VIII. Autonomous Decision-Making A. Acquire and demonstrate confidence through practice and critique of one’s own artwork. B. Develop and demonstrate self-assurance through the discussion and criticism of other student’s artwork. C. Build and demonstrate comprehension of the decision-making process through study of professional artists’ means of image development. IX. Critiquing Artwork Objectively A. Define and discuss the importance of objective art criticism. B. Explain the significance of individual critiques. C. Judiciously accept criticism from fellow art students. D. Clarify the meaning and purpose of group critiques. E. Perform individual and group critiques without bias.
Method of Evaluation and Competencies:
Final portfolio: Production of a group of drawings satisfying the requirements of a series of assignments to develop specific skills and competencies and to stimulate the student’s creative capacities for personal expression and self-understanding. Out-of-class assignments: Production of a series of out-of-class projects to supplement the in-class assignments which demonstrates the student’s integration of the course content. Research project: A written research project to supplement the course objectives. Class participation and attendance: Active participation and attendance is a mandatory requirement for this class. Grades: The final portfolio is, by far, the major means of evaluation in the course, representing 60-80% of the grade. The other listed student activities account for the remaining 20-40% of the grade.
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- Students should realize nude models may be used in this course and decide if they are comfortable with this aspect of the class.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 131
- Title: Drawing II*
- Number: ART 131
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 130
Description:
This course involves intermediate problems in drawing with emphasis on individual expression based on historical as well as contemporary concerns and approaches in art. Students will work from models, still-life, and conceptual presentations. A variety of media will be explored. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Recognize and demonstrate safe studio procedures.
- Produce drawings using a variety of mediums singly and mixed.
- Compose drawings demonstrating the interaction of abstract and representational form.
- Use and combine various elements of drawing to achieve visual congruity.
- Develop structured compositions from a variety of sources.
- Demonstrate picture plane relationship to format modification.
- Create compositions exploring traditional and contemporary concepts through drawing.
- Recognize on a more advanced level the importance for autonomous decision making
- Demonstrate a more mature ability to critique artwork than demonstrated in Drawing I.
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials and supplies utilized in Drawing II. B. Practice safe studio procedures. C. Identify and develop productive work habits, including completing projects, maintaining the studio environment, and responding to supervision. II. Drawing Mediums A. Intermediate exploration in using dry media in drawing. 1. Draw with charcoal. 2. Sketch with graphite. 3. Use Conte crayon. 4. Utilize pastels. 5. Explore and use other experimental dry mediums. B. Intermediate exploration in using wet media. 1. Sketch with markers. 2. Draw with india ink. 3. Utilize collage. 4. Explore other experimental wet mediums. III. Interaction of Abstract and Representational Form A. Generate drawings demonstrating perception of formal pattern organization. B. Create drawings applying basic form simplification. C. Produce drawings incorporating stylization for artistic organization or expression. IV. Visual Congruity A. Produce compositions recognizing and organizing visual differences. B. Create drawings developing a plan or approach to organization. C. Construct compositions integrating basic elements of drawing. D. Devise compositions employing the principles of organization such as balance, economy, dominance, volume, movement, proportion and space. V. Compositions from a Variety Of Sources A. Create a drawing from a perceptual source. B. Devise a composition engaging the imagination. C. Originate a drawing from a remembered event. D. Develop a composition that employs chance. VI. Format and Picture Plane Modifications A. Construct a drawing employing a shaped format. B. Compose a drawing demonstrating a harmonious relationship between the picture plane and format. VII. Traditional and Contemporary Concepts A. Construct a drawing exploring and using primary forms. B. Compose a drawing exploring and using optical illusions. C. Develop a drawing exploring and using movement with kinetic forms. D. Originate a drawing exploring and using materials to produce a collage. E. Construct a drawing exploring and using language for conceptual notions for drawing. IX. Autonomous Decision-Making A. Acquire and demonstrate confidence, at a more sophisticated level than exhibited in Drawing I, through practice and critique of one’s own artwork. B. Develop and demonstrate more self-assurance than demonstrated in Drawing I through the discussion and criticism of other students’ artwork. C. Build and demonstrate comprehension of the decision-making process through study of professional artists’ means of image development. X. Critiquing Artwork Objectively A. Define and discuss in depth the importance of art criticism. B. Review and explain the significance of individual critiques. C. Judiciously accept criticism from fellow art students. D. Review and clarify the meaning and purpose of group critiques. E. Perform individual and group critiques without bias.
Method of Evaluation and Competencies:
Final portfolio: Production of a group of drawings satisfying the requirements of a series of assignments to develop specific skills and competencies and to stimulate the student’s creative capacities for personal expression and self-understanding. Out-of-class assignments: Production of a series of out-of-class projects to supplement the in-class assignments which demonstrates the student’s integration of the course content. Research project: A written research project to supplement the course objectives. Class participation and attendance: Active participation and attendance is a mandatory requirement for this class. Grades: The final portfolio is, by far, the major means of evaluation in the course, representing 60-80% of the grade. The other listed student activities account for the remaining 20-40% of the grade.
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- Students should realize nude models may be used in this course and decide if they are comfortable with this aspect of the class.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 135
- Title: Painting I
- Number: ART 135
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Description:
This course is an introduction to the basic elements of painting. Students will learn basic painting skills, color properties, color mixing, color relationships, applications and proper use of tools and equipment. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Recognize and demonstrate safe studio procedures.
- Prepare painting surfaces.
- Demonstrate two basic approaches to painting.
- Practice value perception from observation.
- Execute projects using appropriate color properties and harmonies.
- Mix colors from observation.
- Construct compositions illustrating an awareness of shape relationships.
- Manipulate paint to create real, simulated and invented textures.
- Create paintings employing the elements of composition and design.
- Develop paintings employing various pictorial space concepts.
- Make aesthetic decisions autonomously.
- Critique artwork objectively, individually and in groups.
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials, and supplies. B. Practice safe studio procedures. C. Identify and develop productive work habits, including completing projects, maintaining the studio environment, and responding to supervision. II. Surface Preparation A. Assemble stretcher B. Stretch canvas C. Gesso canvas D. Prepare paper as a painting surface E. Explore and utilize other non-traditional painting surfaces III. Paintings Utilizing Two Basic Approaches to Painting A. Generate a painting using the direct (alla prima) method of painting. B. Create a painting using the indirect (imprimatura) method of painting. IV. Perception of Value Based on Observation A. Produce a ten step achromatic value scale. B. Create a painting from observation utilizing the achromatic scale. V. Color Properties and Harmonies A. Execute a project using all three color properties of hue, value, and intensity. B. Construct a project or projects utilizing color harmonies. 1. Use complementary colors 2. Use split complementary colors 3. Use triadic colors 4. Use analogous colors VI. Color Mixing A. Create projects demonstrating proper color mixing. B. Compose paintings from observation illustrating relevant color perception and color relationships. VII. Shape Relationships A. Devise compositions utilizing effective negative and positive shape relationships. B. Illustrate objective and non-objective forms. C. Employ geometric and biomorphic forms. VIII. The Importance of Texture A. Apply collage for real texture. B. Manipulate paint to simulate texture. C. Manipulate paint through experimentation for invented texture. IX. The Elements of Composition and Design A. Create paintings using harmony and variety. B. Construct compositions employing balance, economy, dominance, volume, movement and proportion. C. Produce compositions to accomplish form unity. X. Space Concepts A. Create a composition defining deep space. B. Produce a work showing shallow space. C. Generate a painting depicting flat space. D. Compose a painting showing ambiguous space. XI. Autonomous Decision Making A. Acquire and demonstrate confidence through practice and critique of one’s own artwork. B. Develop and demonstrate self-assurance through the discussion and criticism of other students’ artwork. C. Build and demonstrate comprehension of the decision-making process through study of professional artists’ means of image development. XII. Critiquing Artwork Objectively A. Define and discuss the importance of objective art criticism. B. Explain the significance of individual critiques. C. Judiciously accept criticism from fellow art students. D. Clarify the meaning and purpose of group critiques. E. Perform individual and group critiques without bias.
Method of Evaluation and Competencies:
Final portfolio: Production of a group of paintings satisfying the requirements of a series of assignments to develop specific skills and competencies and to stimulate the student’s creative capacities for personal expression and self-understanding. Out-of-class assignments: Production of a series of out-of-class projects to supplement the in-class assignments which demonstrates the student’s integration of the course content. Research project: A written research project to supplement the course objectives. Class participation and attendance: Active participation and attendance is a mandatory requirement for this class. Grades: The final portfolio is, by far, the major means of evaluation in the course, representing 60-80% of the grade. The other listed student activities account for the remaining 20-40% of the grade.
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- Students should realize nude models may be used in this course and decide if they are comfortable with this aspect of the class.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 136
- Title: Painting II*
- Number: ART 136
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 135
Description:
This course involves intermediate problems in painting with emphasis on individual expression based on historical as well as contemporary concerns and approaches in art. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Recognize and demonstrate safe studio procedures.
- Use various surface supports and take advantage of their particular characteristics.
- Demonstrate a variety of technical paint applications.
- Develop paintings showing a variety of space and color relationships.
- Produce work employing various compositional strategies.
- Generate paintings showing an awareness of aesthetic coherence.
- Identify historical and contemporary styles relevant to the course.
- Make aesthetic decisions autonomously.
- Critique artwork objectively, individually and in groups.
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials, and supplies. B. Practice safe studio procedures. C. Identify and develop productive work habits, including completing projects, maintaining the studio environment and responding to supervision. II. Various Surface Supports A. Use canvas and/or other fabric materials as a painting support. B. Utilize wood and/or other related surfaces as a support. C. Explore and use glass and/or Plexiglas as a painting ground. D. Explore and utilize a variety of metals as supports for painting. III. Differing Paint Applications A. Generate a painting or paintings employing traditional mark-making. B. Produce a painting or paintings employing non-traditional mark-making. IV. Various Space and Color Relationships A. Explore and use color relationships that advance in space. B. Explore and utilize color relationships that recede in space. C. Explore and use color relationships that have neutral and/or static associations. D. Explore utilize a combination of these color relationships. V. Compositional Strategies A. Create a work utilizing a closed, open, or radical format relationship. B. Compose a painting using symmetrical balance. C. Produce a painting using asymmetrical balance. D. Create a painting utilizing effective figure/ground relationship. E. Execute a painting which differentiates picture plane location. VI. Aesthetic Coherence A. Generate a work which has been developed from an artistic experience in terms of form. B. Produce a painting employing psychological considerations. C. Execute a composition incorporating intellectual and symbolic content. D. Create a painting utilizing the interrelationship of basic visual elements into a harmonious unity. VII. Historical and Contemporary Styles Relevant to the Painting Projects A. Identify and discuss Impressionism, Expressionism, Cubism, Dada, Abstract Expressionism, Pop Art, Minimalism, Neo-Realism, New Image, Neo-Expressionism, Neo-Abstraction and Desconstructionism. B. Compare and contrast Modernism and Post-Modernism. VIII. Autonomous Decision Making A. Acquire and demonstrate confidence, at a more advanced level than Painting I, through practice and critique of one’s own artwork. B. Develop and demonstrate more self-assurance than demonstrated in Painting I through the discussion and criticism of other students’ artwork. C. Build comprehension of the decision-making process through study of professional artist’s means of image development. IX. Critiquing Artwork Objectively A. Define and discuss in depth the importance of art criticism. B. Review and explain the significance of individual critiques. C. Judiciously accept criticism from fellow art students. D. Review and clarify the meaning and purpose of group critiques. E. Perform individual and group critiques without bias.
Method of Evaluation and Competencies:
Final portfolio: Production of a group of paintings satisfying the requirements of a series of assignments to develop specific skills and competencies and to stimulate the student’s creative capacities for personal expression and self-understanding. Out-of-class assignments: Production of a series of out-of-class projects to supplement the in-class assignments which demonstrates the student’s integration of the course content. Research project: A written research project to supplement the course objectives. Class participation and attendance: Active participation and attendance is a mandatory requirement for this class. Grades: The final portfolio is, by far, the major means of evaluation in the course, representing 60-80% of the grade. The other listed student activities account for the remaining 20-40% of the grade.
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- Students should realize nude models may be used in this course and decide if they are comfortable with this aspect of the class.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 138
- Title: Digital Imaging for Artists I
- Number: ART 138
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Description:
This course is an introduction to the use of the computer as a medium for making fine art. The course will emphasize developing the student's skill in making expressive visual statements using computer technology. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Recognize and demonstrate safe lab procedures.
- Define and demonstrate the use of basic computer hardware.
- Describe and demonstrate the use of the operating system.
- Explain and demonstrate the use of specific imaging software.
- Define and demonstrate the way color is manipulated on the computer.
- Use a variety of input devices and explain the differences between them.
- Use a variety of output devices and explain the differences between them.
- Create an edition of digital prints and explain the role of multiples in reference to art making.
- Explain and discuss the difference in the archival quality of the various media utilized in digital imaging.
- Develop digital images employing various compositional strategies.
- Generate digital images showing an awareness of aesthetic coherence.
- Produce digital images involving a variety of space and color relationships.
- Make aesthetic decisions autonomously.
- Critique artwork objectively, individually and in groups.
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials, and supplies. B. Practice safe studio procedures. C. Identify and develop productive work habits, including completing projects, maintaining the studio environment, and responding to supervision. II. Operating Basic Hardware A. Define and use the CPU. B. Explain the function of the monitor. C. Define and demonstrate the use of the keyboard and mouse. D. Describe and demonstrate the use of peripheral devices. III. Using the Operating System A. Open and utilize menu options, i.e., Apple menu, File, Edit, View, Special, Help. B. Open the hard disk folder, view content list, and close it (without modification!). C. Employ find file. D. Create a new folder on the desktop. 1. Name or rename the folder. 2. Open the folder, resize the window, close the window. 3. Drag to a new position, then to the trash, empty the trash. E. Perform a forced restart. F. Shut down the computer. IV. Using Specific Imaging Software (Adobe Photoshop) A. Open the software. B. Open a new file. C. Open an existing file. D. Define and discuss the various menu and submenu items. E. Organize palettes and palette options. F. Utilize online help. G. Explore the various software tools. 1. Use the selection tools. 2. Utilize the paint tools. 3. Manipulate the special tools. 4. Use the screen tools. H. Explain and utilize masks and mask options. I. Define and use the navigator, info, and options functions. J. Describe and utilize the color, swatches, and brush functions. K. Explain and use the history and actions functions. L. Define and work with layers and layer options. M. Describe and use a variety of filters and filter options. V. Manipulating Color on the Computer A. Define and use grayscale mode. B. Explain and utilize duotone mode. C. Identify and use indexed color mode. D. Define and utilize RGB mode. E. Explain and use CMYK mode. VI. Using a Variety of Input Devices A. Digitize an image or object(s) using a flatbed scanner. B. Digitize a transparency using a slide scanner. C. Take a picture of an image utilizing a digital camera. D. Capture an image from the Web. VII. Using a Variety of Output Devices A. Illustrate the function and purpose of images output to the monitor. B. Define and demonstrate the differences output to various printers. 1. Print and explain the properties of an image produced from an inkjet printer. 2. Print and define the properties of an image produced from a laser printer. 3. Print and explain the properties of an image produced from a dye-sublimation printer. 4. Print and define the properties of an image produced from a thermal-wax printer. 5. Output and explain the properties and reasons for creating an image from a film recorder. VIII. The Archival Qualities of Various Inks and Papers or Supports A. Identify and discuss fugitive inks. B. Classify and explain fugitive papers or supports. C. Identify and discuss permanent inks. D. Classify and explain permanent papers or supports. IX. The Basic Visual Elements and the Elements of Composition A. Create images utilizing the software employing the basic visual elements including line, shape, texture, value, and color. B. Using the software, develop images with clear figure/ground relationships. C. Using the software, structure images that have a strong sense of harmony and contrast. D. Create compositions using the software that demonstrate balance, economy, dominance, volume, movements, proportion, and space. E. Using the software, devise compositions that accomplish a strong sense of form unity. X. Autonomous Decision Making A. Acquire and demonstrate confidence through practice and critique of one’s own artwork. B. Develop and demonstrate self-assurance through the discussion and criticism of other students’ artwork. C. Build and demonstrate comprehension of the decision-making process through study of professional artists’ means of image development. XI. Critiquing Artwork Objectively A. Define and discuss the importance of objective art criticism. B. Explain the significance of individual critiques. C. Judiciously accept criticism from fellow art students. D. Clarify the meaning and purpose of group critiques. E. Perform individual and group critiques without bias.
Method of Evaluation and Competencies:
Final Portfolio: Production of a group of digital prints and images on disk satisfying the requirements of a series of assignments to develop specific skills and competencies and to stimulate the student’s creative capacities for personal expression and self-understanding. Written Tests: Stressing factual knowledge of hardware, software, and related vocabulary to the production of digital imaging. Out-of-Class Assignments: Production of a series of out-of-class projects to supplement the in-class assignments which demonstrates the student’s integration of the course content. Research Project: A written research project to supplement the course objectives. Class Participation and Attendance: Active participation and attendance is a mandatory requirement for this class. Grades: The final portfolio is, by far, the major means of evaluation in the course, representing 60-80% of the grade. The other listed student activities account for the remaining 20-40% of the grade.
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- Students should realize nude models may be used in this course and decide if they are comfortable with this aspect of the class.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 142
- Title: Ceramics I
- Number: ART 142
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Description:
This course is designed to build a conceptual and manual foundation for future ceramics education. Students will study the properties of clay, its preparation, hand and wheel techniques, surface design, firing methods, fundamental ceramic terms, principles of design, introductory ceramic history and orientation to safe practices for the ceramic artist. Emphasis will be on developing skills appropriate to the beginning student for the purpose of creative and technical expression. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Distinguish and define the origins, properties and types of various clay bodies, including earthenware and stoneware.
- Demonstrate a proficiency appropriate to the beginning student of the techniques of clay preparation and handling.
- Demonstrate a proficiency in the fundamental techniques used in hand-built ceramics such as pinch, coil and slab construct appropriate to the beginning student.
- Demonstrate a proficiency appropriate to the beginning student of the basic techniques of wheel-thrown ceramics such as centering, opening, pulling up, shaping and trimming, to include a proficiency in basic forms, i.e., cylinder and bowl.
- Demonstrate a proficiency in the use of various methods to enhance ceramic wares through surface design such as texture and embellishment appropriate to the beginning student.
- Define the different means and methods used in firing ceramic wares, to include bisque and glaze firings.
- Demonstrate an ability to use the fundamental vocabulary of ceramic artists that describes ceramic form, function, anatomy, techniques and processes.
- Demonstrate an ability to use the principles of design to create, develop and describe ceramic forms appropriate to the beginning student.
- Distinguish and describe historical ceramic wares and firing methods by culture and/or region, i.e., early uses, Mediterranean, Orient, Africa, America and Europe appropriate to the beginning student.
- Demonstrate the ability to exercise safe practices for the ceramic artist, such as identifying hazardous materials, protective measures and disposal of those materials.
Content Outline and Competencies:
I. Distinguishing and Defining the Origins, Properties and Various Types of Clay Bodies, Including Earthenware and Stoneware A. Trace the origin of clay, including: 1. Primary 2. Residual 3. Sedimentary B. Describe and use the properties of clay in projects, including: 1. Plasticity 2. Tooth 3. Hardness 4. Porosity C. Identify and use appropriate clay bodies in individual projects, including: 1. Earthenware 2. Stoneware 3. Porcelain II. Preparation and Handling of Clay A. Prepare clay using appropriate techniques for both wheel and non-wheel methods of manipulation, including: 1. Wedging 2. Storage 3. Reclaiming B. Handle clay using appropriate techniques for both wheel and non-wheel methods, including: 1. Wet clay/plastic 2. Leather-hard 3. Bone-dry 4. Bisque-fired 5. Glazes III. Hand-Built Ceramics A. Use the pinch technique to produce ceramic ware, including: 1. Pinching open form 2. Pinching onto form B. Use the coil construction technique to produce ceramic ware, including: 1. Hand-rolled 2. Extruded C. Use slab construction techniques to produce ceramic ware, including: 1. Hand-rolled 2. Machine-rolled 3. Methods of joining D. Apply molds to slab construction to produce ceramic ware, including: 1. Drape-slump and hump 2. Press molds IV. Wheel Techniques for Producing Ceramic Ware, Including Cylinders, Jars, and Bowls A. Prepare clay for the throwing process. 1. Use the kneading process of clay preparation 2. Use the wedging process of clay preparation B. Center clay C. Open clay D. Spiral pull-up practice E. Shape or form clay F. Trim clay V. Surface Design Techniques A. Identify the appropriate surface techniques for each stage of the clay: 1. Techniques for the plastic stage, including: a. Slip marbling, feathering and trailing b. Embossing 2. Techniques for the leather hard stage, including: a. Sgraffito b. Slip applications 3. Techniques for bone dry stage, including: a. Terra sigillata b. Incising 4. Techniques for bisque fired stage, including: a. Stains and Oxides b. Glazes 5. Specific glaze application techniques a. Describe the purpose of glazes, including function and decorative aspects b. Describe the characteristics of the various types of glazes, including glossy, matte, crackle, transparent and opaque. c. Outline the application methods, including spray, dip and pour. d. Explain temperature ranges and the impact on glazes, including low and high fire ranges. B. Apply appropriate surface techniques, listed above, to enhance a variety of individual ceramic ware projects in the studio. VI. Firing Ceramic Ware A. Define and use a variety of glazes, including: 1. Low fire glazes 2. High fire glazes B. Describe and demonstrate various types of firing fuels and methods, including: 1. Electric 2. Gas VII. General Principles of Design A. Define form and its elements, including: 1. Contrast 2. Gesture, including rhythm and movement 3. Unity B. Define surface quality and describe its elements, including: 1. Texture 2. Decoration C. Apply appropriate design principles to enhance a variety of individual ceramic projects in the studio. VIII. Ceramic Form and Design A. Describe the various elements of form in ceramic ware, including formal and informal analysis. B. Define and describe the anatomy of form as its relates to vessels and non-vessels, including: 1. The vessel lip, neck, shoulder, belly and foot 2. The sculptural elements of organic/geometric, mass/void and surface 3. The role of profile and volume in vessel forms IX. Historical Ceramics A. Describe and identify historical ceramic ware and their firing methods by culture and/or regions, including: 1. Early uses/prehistory 2. Mediterranean a. Egypt b. Asia c. Greece 3. Orient a. China b. Korea c. Japan d. Persia 4. Africa 5. Americas a. Mesoamerican b. Isthmus c. South d. North 6. Europe B. Describe and identify historical ceramic ware and their firing methods for contemporary America, including: 1. United States a. Early pottery b. 1920 through 1940 c. Contemporary, 1950 to present C. Describe specific cultural and technological influences for each era and locale. X. Safe Studio Practices A. Identify hazardous materials and processes common to the ceramics studio. B. Safely handle hazardous materials, including their disposal, and apply safe processes in the ceramic studio setting. C. Describe and follow protective measures for: a. Inhalation b. Direct contact/absorption c. Ingestion XI. Attitudes and Work Habits A. Identify and develop positive attitudes toward tasks and fellow students appropriate for the studio, including giving and accepting criticism and praise. B. Identify and develop productive work habits, including attending to detail, completing tasks, maintaining the work setting and recording data. C. Identify and develop collaborative/teamwork skills, including solving problems in groups, building consensus and responding to supervision.
Method of Evaluation and Competencies:
Examinations 20-40% of grade Projects/Assignments 60-80% of grade 100% Attendance: 21 or more unexcused studio/lecture hours will result in receiving a grade of failure in the course; 10 to 20 unexcused studio/lecture hours will result in the reduction of the final grade. Attitude and Work Habits: Although attendance is essential, productive attitudes and work habits affect morale, efficiency, accuracy and safety in the studio and will be a factor in determining grades. In addition, collaboration and teamwork will be expected and evaluated. Participation: Students will be assessed on their degree of participation in the following collaborative activities: Critiques, Demonstrations, Class discussions, Studio maintenance, Safe practices General Competencies: Students will be evaluated through testing or studio behavior in the following areas: Fundamental ceramic vocabulary, Ceramic history, Ceramic materials, Techniques/processes Studio Project Skills: Students will be evaluated in the following skills: Clay preparation, Building techniques (pinching, coiling, slab, wheel), Decoration techniques Studio Project Problem Solving: Students will be evaluated on the following components of the problem solving process: Ability to analyze the problem’s requirements, Development of a range of possible solutions, Exploration of possible solutions in a two- to three-dimensional medium, Implementation leading to a final result, Evaluation of the result.
Caveats:
- It is the student’s responsibility to notify the instructor of any disability, which will require special accommodation in this course.
- Although care will be taken with individual student work, the process of drying, firing and glazing may sometimes result in loss of that work.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 143
- Title: Ceramics II*
- Number: ART 143
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 142
Description:
This course covers more advanced methods and studio practices in creative ceramic wheel expression and glaze formation. Emphasis is on development of a sense of thrown form and creative decoration or optional creative non-wheel ceramic form development. The course focuses on advanced ceramic form production, aesthetic issues, investigative study and practice. Clay, glaze and firing techniques are investigated in depth. The student acquires a repertoire of studio skills, a deeper awareness of ceramic history and articulated criteria of judgment. Individual interpretation and conceptual development are expected. The study of aesthetics of ceramic form is undertaken. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Create and express original ideas, functional and nonfunctional, in clay appropriate to a second level ceramics course.
- Produce a number of creative, original, well designed and executed ceramic forms beyond that of the specific course assignments.
- Initiate practice with the creation of larger volumetric studies with forms.
- Initiate practice with the creation of additional height with forms.
- Obtain sophisticated form development including closure of forms with lids, combinations of different forms into an unity, and variations of a specific form.
- Exhibit conceptual expression, including the communication of ideals or ideas with form.
- Exhibit a historical awareness of the ceramic discipline by producing ceramic ware which reflects and responds to the historical firing methods and styles found in ceramic history.
- Create specific decorative techniques designed for specific forms.
- Initiate glaze research.
- Initiate an individual critique criterion of judgment of ceramic art.
- 1Begin to utilize in one’s own ceramic ware good, sound formal qualities, including: shape, proportion, size, weight, contour, curve, and decorative design.
- Develop an increasing awareness within one’s own work of the notions including: metaphor, concept, vessel-sculptural issues, etc.
- Begin to use additional tool utilization in one’s own working processes including: wooden ribs, rubber ribs, throwing sticks, templates, etc.
- Demonstrate the making of a wide range of ceramic form including: jars, spheres, bottles, plates, lidded vessels, teapots, etc.
- Demonstrate more sophisticated throwing techniques including: throwing “off the hump” and duplicate forms in terms of scale and sense of form.
Content Outline and Competencies:
I. Development of Individual Form and Decoration A. Perform wheel throwing appropriate to advanced ceramic level application, including: 1. Emphasis on scale in terms of height a. Practice with spiral pulling of taller forms b. Join multiple thrown forms to obtain height 2. Emphasis on scale in terms of volume a. Practice with larger masses of centered clay b. Increase width of thrown form 3. Create a wide based range of thrown forms, including: a. Bowls b. Jars c. Plates d. Vases B. Identify and use appropriate decorative techniques. II. Aesthetic and Creative Research A. Demonstrate and apply appropriate design principles to enhance a variety of individual ceramic projects in the studio. B. Obtain sophisticated form development including closure of forms with lids, combinations of different forms into an unity, and variations of a specific form. C. Research variations of a theme and evolution of an idea. III. Individual Interpretation and Conceptual Development A. Demonstrate the development of a series of ceramic ware which employ specific conceptual form and color unification. B. Initiate the manufacture of a specific ware which reflects an individual style or concept. IV. Critique Criterion Development A. Develop an individual critique criterion which describes ceramic ware in general. 1. Participate in group critique sessions. 2. Participate in individual critique sessions. B. Develop an individual critique criterion which reflects a self-critiquing of the student’s own ceramic ware. V. General Studio Work A. Demonstrate an individual approach to specific advanced ceramic technologies, including: 1. Technological process involved with kiln firing, including: a. Low fire b. High fire 2. Firing schedules, including: a. Bisque fire b. Glaze fire 3. Types of firings, including: a. Electric b. Gas B. Demonstrate an individual approach to specific advanced decorative techniques, including: 1. Slips 2. Oxides 3. Stains 4. Terra sigillata VI. Individual Development of Ceramic Ware A. Create individual ware for the specific assignments. B. Create individual ware for the open work assignment. VII. Safe Studio Practices A. Identify hazardous materials and processes common to the ceramics studio. B. Safely handle hazardous materials, including their disposal, and apply safe processes in the ceramic studio setting. C. Describe and follow protective measures for: 1. Inhalation 2. Direct contact/absorption 3. Ingestion VIII. Attitudes and Work Habits A. Identify and develop positive attitudes toward tasks and fellow students appropriate for the studio, including giving and accepting criticism and praise. B. Identify and develop productive work habits, including attending to detail, completing tasks, maintaining the work setting and recording data. C. Identify and develop collaborative/teamwork skills, including solving problems in groups, building consensus and responding to supervision.
Method of Evaluation and Competencies:
Evaluation of student mastery of course competencies will be accomplished using the following methods: Examinations 20-40% of grade Projects/Assignments 60-80% of grade 100% Attendance: 21 or more unexcused studio/lecture hours will result in receiving a grade of failure in the course; 10 to 20 unexcused studio/lecture hours will result in the reduction of the final grade. Attitude and Work Habits: Although attendance is essential, productive attitudes and work habits affect morale, efficiency, accuracy and safety in the studio and will be a factor in determining grades. In addition, collaboration and teamwork will be expected and evaluated. Participation: Students will be assessed on their degree of participation in the following collaborative activities: Critiques, Demonstrations, Class discussions, Studio maintenance, Safe practices General Competencies: Students will be evaluated through testing or studio behavior in the following areas: Advanced ceramic vocabulary, Ceramic history and its relationship to their individual work, Ceramic materials, Advanced techniques/processes Studio Project Skills: Students will be evaluated in the following skills: Clay preparation, Building techniques (pinching, coiling, slab, wheel), Decoration techniques Studio Project Problem Solving: Students will be evaluated on the following components of the problem solving process: Ability to analyze the problem’s requirements, Development of a range of possible solutions, Exploration of possible solutions in a two- to three-dimensional medium, Implementation leading to a final result, Evaluation of the result Student grades will also be based on at least the following: 1. Overall semester assessment of student work based on technique, design, and creativity of ceramic form, and process of development and growth. 2. Semester progress and growth evidenced from starting point of semester through the end of the semester of form development as represented by the assignments. 3. Creation of ceramic work that indicates a process of growth, an evidence of consistency, a quality and concern for both thought and action, originality and uniqueness, and a development of aesthetic values and analytical skills conducive to sound works of art. 4. Specific assignment evaluations, as well as additional studio work and research. 5. Specific assignment evaluations, in addition to extra work created beyond that of the assigned work.
Caveats:
- It is the student’s responsibility to notify the instructor of any disability, which will require special accommodation in this course.
- Although care will be taken with individual student work, the process of drying, firing and glazing may sometimes result in loss of that work.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 145
- Title: Sculpture I
- Number: ART 145
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Description:
Students will explore and study natural and synthetic sculptural forms as they create work using traditional or contemporary media and techniques. Assignments require work in limestone, clay, wax, bronze, aluminum and steel, and involve carving, modeling and building up. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Demonstrate a proficiency appropriate to the beginning student of achieving volumetric form through a construction of planes.
- Demonstrate a proficiency appropriate to the beginning student of the technique of utilizing the substitution process using wax and bronze casting approaches, or another material choice.
- Demonstrate a proficiency appropriate to the beginning student of achieving volumetric form through line.
- Demonstrate the ability to exercise safe practices for the sculpture artist, such as identifying hazardous materials, protective measures and disposal of those materials.
Students will become involved with the creative process as well as the product. Emphasis is placed upon the individual's creating a unique body of work through the use of a variety of either traditional or contemporary media and technique. The essential purpose is to develop creative and aesthetic awareness through direct exploration and planning, through experimenting with art media and process, and developing art forms, leading to preparation for individual expression and thereby developing confidence, self-direction and critical thinking. The experience of becoming involved in a meaningful way with both a wide range of materials (such as sandstone, clay, wax, bronze and steel) as well as a wide range of manipulation (such as carving, modeling, and building up) and engaging in a thoughtful, creative experience during which one realizes creative insight and growth are the overall aims and goals of the course.
Content Outline and Competencies:
I. Carving Method of Manipulation A. Use the carving method of manipulation (direct carving with subtraction methods) to produce sculpture forms, including: 1. Sandstone 2. Limestone 3. Plaster carving II. Modeling Method of Manipulation A. Use the modeling method of manipulation to produce sculpture forms, including: 1. Modeling with focus on clay construction 2. Wax for later bronze casting III. Addition (Building Up) Method of Manipulation A. Use the addition (building up) process to produce sculpture forms, including: 1. Welded steel 2. Other welded metals and materials IV. Substitution Method of Manipulation A. Use the substitution process to produce sculpture forms, including: 1. Cast bronze 2. Cast aluminum V. Safe Studio Practices A. Identify hazardous materials and processes common to the sculpture studio. B. Safely handle hazardous materials, including their disposal, and apply safe processes in the sculpture studio setting. C. Describe and follow protective measures for: 1. Inhalation 2. Direct contact/absorption 3. Ingestion VI. Attitudes and Work Habits A. Identify and develop positive attitudes toward tasks and fellow students appropriate for the studio, including giving and accepting criticism and praise. B. Identify and develop productive work habits, including attending to detail, completing tasks, maintaining the work setting and recording data. C. Identify and develop collaborative/teamwork skills, including solving problems in groups, building consensus and responding to supervision.
Method of Evaluation and Competencies:
Attendance: Excessive unexcused absences from studio/lecture hours will result in the reduction of the final grade or receiving a grade of failure in the course. Attitude and Work Habits: Although attendance is essential, productive attitudes and work habits affect morale, efficiency, accuracy and safety in the studio and will be a factor in determining grades. In addition, collaboration and teamwork will be expected and evaluated. Participation: Students will be assessed on their degree of participation in the following collaborative activities: Critiques, Demonstrations, Class discussions, Studio maintenance, Safe practices General Competencies: Students will be evaluated through testing or studio behavior in the following areas: Fundamental sculpture vocabulary, Sculpture history, Sculpture materials, Techniques/processes Studio Project Skills: Students will be evaluated in the following skills: Equipment utilization; Carving, modeling, and welding techniques; Presentation of forms (bases, surface closure, etc.) Studio Project Problem Solving: Students will be evaluated on the following components of the problem solving process: Ability to analyze the problem’s requirements, Development of a range of possible solutions, Exploration of possible solutions in a two- to three-dimensional medium, Implementation leading to a final result, Evaluation of the result. Grading: Assigned major projects and various minor projects: 60-80% Quizzes and tests: 20-40% Student grades should be based at least on the following: 1. The process and product of the basic assigned methods of manipulation: a. Sandstone, limestone or plaster carving b. Modeling in clay or wax c. Cast bronze or aluminum d. Collage or welded steel form 2. Class participation in critiques and general discussion. 3. Development of individual criteria of aesthetics of form. Additionally, student grades should be based on at least the following: 1. Studio performance and demonstration of knowledge on tests or in group critiques will be evaluated. Studio progress will be evaluated in the regular class critiques as well as individual conferences. Both product as well as process will be evaluated. 2. The experiences a student has in the art studio should assist that student in establishing an interior critical dialogue in relation to the work...failure to do so leads to imprisonment in the moment of execution. 3. Students should not be lacking in critical perspective. Through critiques and written comments each will be expected to articulate clearly their ideas on both their creative product as well as their creative process. 4. Evaluation focuses on the student’s involvement with creative expression as well as technical insight. Emphasis is placed on both meaning and structure of their aesthetic growth and development of self-identity and their attitude of creative confidence.
Caveats:
- It is the student’s responsibility to notify the instructor of any disability that will require special accommodation in this course.
- Anything left in studio after noon on the last day of class will be discarded.
- Anyone who may be pregnant or plans to become pregnant during the semester should not enroll in this course.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 146
- Title: Sculpture II*
- Number: ART 146
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 145
Description:
This continuation of ART 145 will focus on advanced methods and techniques with emphasis on materials, forms and the student's selection of an individual direction with individual material choices. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Demonstrate a proficiency appropriate to the intermediate student of the technique of achieving volumetric form through a construction of planes.
- Demonstrate a proficiency appropriate to the intermediate student of utilizing the substitution process using wax and bronze casting approaches, or another material choice.
- Demonstrate a proficiency appropriate to the intermediate student of achieving volumetric form through line.
- Demonstrate the ability to exercise safe practices for the sculpture artist, such as identifying hazardous materials, protective measures and disposal of those materials.
Students will become involved with the creative process as well as the product. Emphasis is placed upon the individual's creating a unique body of work through the use of a variety of either traditional or contemporary media and technique. The essential purpose is to develop creative and aesthetic awareness through direct exploration and planning, through experimenting with art media and process, and developing art forms, leading to preparation for individual expression and thereby developing confidence, self-direction and critical thinking. The experience of becoming involved in a meaningful way with both a wide range of materials (such as sandstone, clay, wax, bronze and steel) as well as a wide range of manipulation (such as carving, modeling, and building up) and engaging in a thoughtful, creative experience during which one realizes creative insight and growth are the overall aims and goals of the course.
Content Outline and Competencies:
I. Totality Through Volume Achieved as a Construction of Planes A. Use volume achieved as a construction of planes utilizing welded steel, or another material choice to create a sculptural form and supporting research including: 1. Define planes on a written test. 2. Utilize all phases of oxygen-acetylene processes by displaying knowledge of this in written form as well as actual usage with instructor supervision. 3. Utilize all phases of arc welding processes by displaying knowledge of this in written form as well as actual usage of the equipment with instructor supervision. 4. Complete a three-foot or larger welded steel sculpture form. 5. Achieve a unity of totality through steel planes in their steel form. 6. Observe more complicated forms and how to both see and feel the planes that compose it and define it. 7. Begin to make conceptual statements through their art forms. 8. Discuss in critique the importance and significance of executing the steel form as to student’s success in making judgments, developing confidence from these judgments, and arriving at independent thinking and action. II. Substitution Process Utilizing Wax and Bronze Casting Approach, or Another Material Choice A. Use substitution process involving wax and bronze or Styrofoam and aluminum to create a sculptural form and supporting research including: 1. Discuss the four kinds of molds and their potentials as relating to the bronze casting experience. 2. Model a wax form. 3. Demonstrate the spruing systems utilized in the bronze casting process including both gating and venting systems. 4. Assist in investing procedures and become familiar with the ceramic shell investment process. 5. Assist in the bronze pouring process. 6. Research the various finishing techniques for bronze casts, including patinas, wire brushing, chasing, etc. III. Totality Through Volume Achieved by Lines A. Use totality through volume achieved by lines to create a sculptural form and supporting research including: 1. Define in written form, space, volume, positive space, negative space, form and linear form as these apply to assigned sculpture. 2. Become aware of positive and negative form by achieving these in sculptural forms. 3. Create a sculpture which embodies an open, linear form with parts being utilized in a spatial tension. 4. Determine what material or materials will best achieve one’s idea. 5. Discuss in critique the importance of executing a sculptural form which is displaying a totality achieved through volume utilizing lines with emphasis upon negative and positive space. IV. Safe Studio Practices A. Identify hazardous materials and processes common to the sculpture studio. B. Safely handle hazardous materials, including their disposal, and apply safe processes in the sculpture studio setting. C. Describe and follow protective measures for: a. Inhalation b. Direct contact/absorption c. Ingestion V. Attitudes and Work Habits A. Identify and develop positive attitudes toward tasks and fellow students appropriate for the studio, including giving and accepting criticism and praise. B. Identify and develop productive work habits, including attending to detail, completing tasks, maintaining the work setting and recording data. C. Identify and develop collaborative/teamwork skills, including solving problems in groups, building consensus and responding to supervision.
Method of Evaluation and Competencies:
Examinations 20-40% of grade Projects/Assignments 60-80% of grade 100% Attendance: Excessive unexcused studio/lecture hours will result in the reduction of the final grade or receiving a grade of failure in the course. Attitude and Work Habits: Although attendance is essential, productive attitudes and work habits affect morale, efficiency, accuracy and safety in the studio and will be a factor in determining grades. In addition, collaboration and teamwork will be expected and evaluated. Participation: Students will be assessed on their degree of participation in the following collaborative activities: Critiques, Demonstrations, Class discussions, Studio maintenance, Safe practices General Competencies: Students will be evaluated through testing or studio behavior in the following areas: Advanced sculpture vocabulary, Sculpture history, Sculpture materials Techniques/processes Studio Project Skills: Students will be evaluated in the following skills: Equipment utilization; Carving, modeling, and welding techniques; Presentation of forms (bases, surface closure, etc.) Studio Project Problem Solving: Students will be evaluated on the following components of the problem solving process: Ability to analyze the problem’s requirements, Development of a range of possible solutions, Exploration of possible solutions in a two- to three-dimensional medium, Implementation leading to a final result, Evaluation of the result Student grades should be based at least on the following: 1. A proficiency appropriate to the beginning student of the technique of achieving totality through volume achieved as a construction of planes. 2. A proficiency appropriate to the beginning student of the technique of utilizing the substitution process using wax and bronze casting approaches, or another material choice. 3. A proficiency appropriate to the beginning student of the technique of achieving totality through volume achieved by lines. 4. Class participation in critiques and general discussion. 5. Development of individual criteria of aesthetics of form. Additionally, student grades should be based on at least the following: 1. Studio performance and demonstration of knowledge on tests or in group critiques will be evaluated. Studio progress will be evaluated in the regular class critiques as well as individual conferences. Both product as well as process will be evaluated. 2. The experiences a student has in the art studio should assist that student in establishing an interior critical dialogue in relation to the work...failure to do so leads to imprisonment in the moment of execution. 3. Students should not be lacking in critical perspective and through critiques and written comments each will be expected to articulate clearly their ideas on both their creative product as well as their creative process. 4. Evaluation focuses on the student’s involvement with creative expression as well as technical insight. Emphasis is placed on both meaning and structure of their aesthetic growth and development of self-identity and attitude of creative confidence.
Caveats:
- It is the student’s responsibility to notify the instructor of any disability that will require special accommodation in this course.
- Anything left in studio after noon on the last day of class will be discarded.
- Anyone who may be pregnant or plans to become pregnant during the semester should not enroll in this course.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 148
- Title: Metal and Silversmithing I
- Number: ART 148
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Description:
This course is a basic introduction to the terms, tools and techniques involved in creating jewelry and other wearables as they relate to the human figure. Casting, fabrication and construction will be explored. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Distinguish and define the elements of design as they relate to jewelry and metalsmithing forms.
- Demonstrate a proficiency appropriate to the beginning student of the techniques and processes of jewelry/silversmithing and express self visually with metal.
- Demonstrate an ability to use the fundamental vocabulary of metalsmithing artists of the common terms used in jewelry/silversmithing.
- Demonstrate a proficiency in the use of aesthetic awareness expressed in individual jewelry/silversmithing ware.
- Demonstrate the proper and safe utilization of jewelry/silversmithing tools, equipment and processes.
- Define and identify the various types and forms of non-ferrous metals.
- Distinguish and describe historical and contemporary jewelers and their ware.
- Demonstrate a proficiency in the fundamental techniques used in jewelry/silversmithing methods of manipulation including casting, fabrication, and construction.
- Demonstrate the ability to exercise safe practices for the jewelry/silversmithing artist, such as identifying hazardous materials, protective measures and disposal of those materials.
Content Outline and Competencies:
I. Designing Projects A. Define and describe the elements of design. B. Define and describe the principles of organization. C. Utilize simple planning. II. Understanding Materials and Processes A. Use wire as a basis for a jewelry form. B. Use sheet construction with flat metals as a basis for a jewelry form. C. Use the techniques and processes for lost wax and cuttlefish bone casting as a basis for a jewelry form. III. Steps in Metal Construction A. Use the studio equipment and tools safely. B. Exhibit a proficiency with sawing. C. Exhibit a proficiency with filing. D. Exhibit a proficiency with piercing. E. Exhibit a proficiency with bending. F. Exhibit a proficiency with annealing. G. Exhibit a proficiency with soldering. H. Exhibit a proficiency with buffing and polishing. I. Define and use the appropriate technical terms. IV. Safe Studio Practices A. Identify hazardous materials and processes common to the jewelry/silversmithing studio. B. Safely handle hazardous materials, including their disposal, and apply safe processes in the jewelry/silversmithing studio setting. V. Attitudes and Work Habits A. Identify and develop positive attitudes toward tasks and fellow students appropriate for the studio, including giving and accepting criticism and praise. B. Identify and develop productive work habits, including attending to detail, completing tasks, maintaining the work setting and recording data. C. Identify and develop collaborative/teamwork skills, including solving problems in groups, building consensus and responding to supervision.
Method of Evaluation and Competencies:
Examinations 20-40% of grade Projects/Assignments 60-80% of grade 100% Attendance: Excessive unexcused studio/lecture hours will result in the reduction of the final grade or receiving a grade of failure in the course. Attitude and Work Habits: Although attendance is essential, productive attitudes and work habits affect morale, efficiency, accuracy and safety in the studio and will be a factor in determining grades. In addition, collaboration and teamwork will be expected and evaluated. Participation: Students will be assessed on their degree of participation in the following collaborative activities: class participation, studio maintenance, safe practices, and design sketchbook/journal. General Competencies: Students will be evaluated through testing or studio behavior in the following areas: fundamental jewelry/silversmithing vocabulary, jewelry/silversmithing materials, and jewelry/silversmithing techniques/processes. Studio Project Skills: Students will be evaluated in the following skills: casting, fabrication, and construction. Studio Project Problem Solving: Students will be evaluated on the following components of the problem solving process: ability to analyze the problem’s requirements, development of a range of possible solutions, exploration of possible solutions in a two to three dimensional medium, implementation leading to a final result, and evaluation of the result.
Caveats:
- It is the student’s responsibility to notify the instructor of any disability that will require special accommodation in this course.
- Students are expected to purchase any basic tools necessary to complete the course requirements.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 149
- Title: Metal and Silversmithing II*
- Number: ART 149
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 148
Description:
Students will study advanced casting and construction techniques. Projects should show a higher degree of design and function. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Distinguish and define the elements of design as they relate to advanced jewelry and metalsmithing forms.
- Demonstrate a proficiency appropriate to the advanced student of the techniques and processes of jewelry/silversmithing and express self visually with metal in a higher degree of design and function.
- Demonstrate an ability to use the vocabulary of metalsmithing artists of the advanced terms used in jewelry/silversmithing.
- Demonstrate a proficiency in the use of aesthetic awareness expressed in individual jewelry/silversmithing ware.
- Demonstrate the proper and safe utilization of advanced jewelry/silversmithing tools, equipment and processes.
- Distinguish and describe historical and contemporary jewelers and their ware.
- Demonstrate a proficiency in the advanced techniques used in jewelry/silversmithing methods of manipulation including casting, fabrication, and construction.
- Demonstrate the ability to exercise safe practices for the jewelry/silversmithing artist, such as identifying hazardous materials, protective measures and disposal of those materials.
- Demonstrate knowledge in purchasing supplies and equipment.
- Demonstrate a proficiency in the design and manufacture of an original piece utilizing sterling silver which is not jewelry.
Content Outline and Competencies:
I. Designing Projects A. Define and describe the elements of design. B. Define and describe the principles of organization. C. Utilize more advanced design planning. II. Fabrication A. Choose from the following advanced techniques to create jewelry works of art, including: 1. Chainmaking 2. Chasing/Repousse 3. Marriage of metals 4. Raising 5. Photoetching 6. Reticulation 7. Stone setting III. Sterling Silver Project Other Than Jewelry IV. Casting A. Utilize the lost wax process in creating a cast jewelry project, including: 1. Centrifugal cast process 2. Vacuum cast process B. Utilize the cuttlebone process in creating a cast jewelry project. C. Utilize the Tiffa stone process in creating a cast jewelry project. D. Utilize the charcoal block process in creating a cast jewelry project. V. Safe Studio Practices A. Identify hazardous materials and processes common to the jewelry/silversmithing studio. B. Safely handle hazardous materials, including their disposal, and apply safe processes in the jewelry/silversmithing studio setting. VI. Attitudes and Work Habits A. Identify and develop positive attitudes toward tasks and fellow students appropriate for the studio, including giving and accepting criticism and praise. B. Identify and develop productive work habits, including attending to detail, completing tasks, maintaining the work setting and recording data. C. Identify and develop collaborative/teamwork skills, including solving problems in groups, building consensus and responding to supervision.
Method of Evaluation and Competencies:
Examinations 20-40% of grade Projects/Assignments 60-80% of grade 100% Attendance: Excessive unexcused studio/lecture hours will result in the reduction of the final grade or receiving a grade of failure in the course. Attitude and Work Habits: Although attendance is essential, productive attitudes and work habits affect morale, efficiency, accuracy and safety in the studio and will be a factor in determining grades. In addition, collaboration and teamwork will be expected and evaluated. Participation: Students will be assessed on their degree of participation in the following collaborative activities: studio maintenance, safe practices, and design sketchbook. General Competencies: Students will be evaluated through testing or studio behavior in the following areas: fundamental jewelry/silversmithing vocabulary, jewelry/silversmithing materials, and jewelry/silversmithing techniques/processes. Studio Project Skills: Students will be evaluated in the following skills: casting, fabrication, and construction. Studio Project Problem Solving: Students will be evaluated on the following components of the problem solving process: ability to analyze the problem’s requirements, development of a range of possible solutions, exploration of possible solutions in a two to three dimensional medium, implementation leading to a final result, and evaluation of the result.
Caveats:
- It is the student’s responsibility to notify the instructor of any disability which will require special accommodation in this course.
- Students are expected to purchase any basic tools necessary to complete the course requirements.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 172
- Title: Watercolor Painting
- Number: ART 172
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Description:
This course is an introduction to transparent water media with emphasis on learning fundamental painting skills, the visual elements, composition, visual perception and an awareness of personal expression. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Recognize and demonstrate practice safe studio practices
- Prepare water media surfaces
- Demonstrate a variety of approaches to water based media
- Practice value perception from observation
- Execute projects using appropriate color properties and harmonies
- Mix colors from observation
- Construct compositions illustrating an awareness of shape relationships
- Manipulate paint to create real, simulated, and invented texture
- Employ the elements of composition and design in paintings
- Develop watercolors employing various pictorial space concepts
- Make aesthetic decisions autonomously
- Critique artwork objectively, individually and in groups
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials, and supplies B. Practice safe studio procedures C. Identify and develop productive work habits, including completing projects, maintaining the studio environment, and responding to supervision II. Surface Preparation A. Prepare paper for use as a watercolor surface B. Explore other non-traditional water media surfaces III. Basic Approaches to Watercolor Painting A. Generate a painting using wet brush method B. Create a composition using the wet into wet technique C. Produce a painting using the dry brush approach D. Develop a water media work using additives (i.e., salt) E. Generate a composition combining techniques IV. Perception of Value Based on Observation A. Produce a ten step achromatic value scale using water media B. Create a painting from observation utilizing the achromatic scale V. Color Properties and Harmonies A. Execute a project using all three color properties of hue, value, and intensity B. Construct a project or projects utilizing color harmonies 1. Use complementary colors 2. Use split complementary colors 3. Use triadic colors 4. Use analogous colors VI. Color Mixing A. Create a project demonstrating proper color mixing B. Compose a painting from observation illustrating effective color perception and color relationships VII. Shape Relationships A. Devise compositions utilizing effective negative and positive shape relationships B. Illustrate objective and non-objective forms C. Employ geometric and biomorphic forms VIII. The Importance of Texture A. Apply collage for real texture B. Manipulate water media to simulate texture C. Manipulate water media through experimentation for invented texture IX. The Elements of Composition and Design A. Create paintings using harmony and variety B. Construct compositions employing balance, economy, dominance, volume, movement, and proportion C. Produce compositions to accomplish form unity X. Space Concepts A. Create a composition defining deep space B. Produce a work showing shallow space C. Generate a painting depicting flat space D. Compose a painting showing ambiguous space XI. Autonomous Decision-Making A. Acquire confidence through practice and critique of one’s own artwork B. Develop and demonstrate assurance through the discussion and criticism of other student’s artwork C. Build and demonstrate comprehension of the decision-making process through study of professional artists’ means of image development XII. Critiquing Artwork Objectively A. Define and discuss the importance of objective art criticism B. Explain the significance of individual critiques C. Judiciously accept criticism from fellow art students D. Clarify the meaning and purpose of group critiques E. Perform individual and group critiques
Method of Evaluation and Competencies:
Final portfolio: production of a group of water based media paintings satisfying the requirements of a series of assignments to develop specific skills and competencies and to stimulate the student’s creative capacities for personal expression and self-understanding Out-of-class assignments: production of a series of out-of-class projects to supplement the in-class assignments which demonstrates the student’s integration of the course content Research project: a written research project to supplement the course objectives Class participation and attendance: active participation and attendance is a mandatory requirement for this class Grades: The final portfolio is, by far, the major means of evaluation in the course, representing 60-80% of the grade. The other listed student activities account for the remaining 20-40% of the grade.
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- Students should realize nude models may be used in this course and decide if they are comfortable with this aspect of the class.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 231
- Title: Life Drawing I*
- Number: ART 231
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 130
Description:
This course is an introduction to the basic elements of drawing for students wanting a concentration in drawing the human figure. Students will acquire basic competence in developing drawings involving the human form. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Recognize and demonstrate safe studio procedures
- Produce drawings of the human figure using a variety of mediums
- Compose drawings of the human figure utilizing the basic art elements of line, shape, value, texture, and color
- Create sketches and drawings of the human figure employing the elements of composition and design
- Produce gesture drawings of the human figure
- Generate drawings stressing the general planes and masses of the model
- Construct a drawing of the human skeleton in proportion
- Compose drawings of the muscles of the human figure
- Compose drawings of the human figure in a variety of environments
- Recognize the importance for autonomous decision-making
- Demonstrate a basic ability to critique artwork objectively
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials, and supplies B. Practice safe studio procedures C. Identify and develop productive work habits, including completing projects, maintaining the studio environment, and responding to supervision II. Drawing Mediums A. Use dry media in drawing the figure 1. Draw with charcoal 2. Sketch with graphite 3. Use conte’ crayon 4. Utilize pastels 5. Explore other experimental dry mediums B. Use wet media in portraying the figure 1. Draw with india ink 2. Use acrylics and/or watercolors 3. Explore and utilize other experimental wet mediums III. The Basic Art Elements A. Generate figure drawings using line B. Create drawings of the model utilizing shape C. Draw the human form using value D. Sketch the figure using texture E. Produce drawings containing color to draw the model IV. The Human Figure and the Elements of Composition and Design A. Produce compositions utilizing effective figure/ground relationships B. Create drawings using harmony and variety involving the figure C. Construct compositions of the model or models employing balance, economy, dominance, volume, movement, proportion, and space D. Devise compositions involving the figure to accomplish form Unity V. Gesture Sketches A. Discuss the attributes of gesture sketches B. Explain the dynamics of gesture sketches C. Originate limited-time gesture sketches VI. Drawings Using Planes and Masses A. Create drawings diagramming the general planes of the figure B. Construct drawings illustrating the simple masses of the human figure VII. Human Anatomy A. Construct drawings of the human skeleton B. Draw the human form illustrating knowledge of the major muscle forms VIII. Life Drawings in a Variety of Environments A. Create drawings of the figure in an interior environment B. Produce drawings of the model in an exterior environment C. Generate compositions of the figure in imaginary or abstract Environments IX. Autonomous Decision-Making A. Acquire and demonstrate confidence through practice and critique of one’s own artwork B. Develop and demonstrate self-assurance through the discussion and criticism of other student’s artwork C. Build and demonstrate comprehension of the decision-making process through study of professional artists’ means of image development X. Critiquing Artwork Objectively A. Define and discuss the importance of objective art criticism B. Explain the significance of individual critiques C. Judiciously accept criticism from fellow art students D. Clarify the meaning and purpose of group critiques E. Perform individual and group critiques without bias
Method of Evaluation and Competencies:
Final portfolio: Production of a group of drawings satisfying the requirements of a series of assignments to develop specific skills and competencies and to stimulate the student’s creative capacities for personal expression and self-understanding Out-of-class assignments: Production of a series of out-of-class projects to supplement the in-class assignments which demonstrates the student’s integration of the course content Research project: A written research project to supplement the course objectives Class participation and attendance: Active participation and attendance is a mandatory requirement for this class Grades: The final portfolio is, by far, the major means of evaluation in the course, representing 60-80% of the grade. The other listed student
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- Students should realize nude models may be used in this course and decide if they are comfortable with this aspect of the class.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 232
- Title: Life Drawing II*
- Number: ART 232
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 231
Description:
This course is an intermediate investigation of drawing from the human form. This class is for students wanting to concentrate on figure drawing beyond Life Drawing I. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Recognize and demonstrate safe studio procedures
- Produce drawings of the human figure using a wider array of mediums than demonstrated in Life Drawing I
- Construct drawings of the human figure utilizing the art, design, and compositional elements with more acuity than in Life Drawing I
- Develop sketches and drawings emphasizing strong expressive elements of the human figure
- Identify historically some of the basic differences in the way the figure has been depicted from the traditional to the contemporary
- Make aesthetic decisions autonomously
- Critique artwork objectively, individually and in groups
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials, and supplies B. Practice safe studio procedures C. Identify and develop productive work habits, including completing projects, maintaining the studio environment, and responding to supervision II. Drawing Mediums A. Intermediate exploration in using dry media to draw the figure 1. Draw with charcoal 2. Sketch with graphite 3. Use conte’ crayon 4. Utilize pastels 5. Explore other experimental dry mediums B. Intermediate exploration in using wet media to portray the figure 1. Sketch with markers 2. Draw with india ink 3. Use acrylics 4. Explore other experimental wet mediums III. Art, Design, and Compositional Elements A. Generate figure drawings using line, shape, value, texture, and color with more acuity than Life Drawing I B. Create drawings of the model utilizing effective figure/ground relationships with more competency than in Life Drawing I C. Produce sketches and drawings with better harmony and contrast than demonstrated in Life Drawing I D. Construct compositions integrating balance, economy, dominance, volume, movement, proportion, and space with more acumen than in Life Drawing I E. Devise compositions involving the figure to accomplish a strong sense of form unity IV. Expressive Elements Incorporating the Human Form A. Discuss the compositional elements that create expressive communication B. Discuss the expressive elements of the human figure in relation to subject matter and content C. Explain the integration of composition and subject matter D. Produce drawings which demonstrate expressive elements V. The basic differences in the way the figure has been depicted from the traditional to the contemporary A. List and explain some of the traditional depictions of the figure in art B. List and explain some of the contemporary depictions of the figure in art C. Generate drawings that illustrate the differences in traditional and contemporary approaches of drawing the human figure VI. Autonomous decision-making A. Acquire and demonstrate confidence through practice and critique of one’s own artwork B. Develop and demonstrate self-assurance through the discussion and criticism of other student’s artwork C. Build and demonstrate comprehension of the decision-making process through study of professional artists’ means of image development VII. Critiquing Artwork Objectively A. Define and discuss in depth the importance of art criticism B. Explain the significance of individual critiques C. Judiciously accept criticism from fellow art students D. Clarify the meaning and purpose of group critiques E. Perform individual and group critiques without bias
Method of Evaluation and Competencies:
Final portfolio: Production of a group of drawings satisfying the requirements of a series of assignments to develop specific skills and competencies and to stimulate the student’s creative capacities for personal expression and self-understanding Out-of-class assignments: Production of a series of out-of-class projects to supplement the in-class assignments which demonstrates the student’s integration of the course content Research project: A written research project to supplement the course objectives Class participation and attendance: Active participation and attendance is a mandatory requirement for this class Grades: The final portfolio is, by far, the major means of evaluation in the course, representing 60-80% of the grade. The other listed student activities account for the remaining 20-40% of the grade.
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- Students should realize nude models will be used extensively in this course and decide if they are comfortable with this aspect of the class.
- If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Special Services. Special Services will recommend any appropriate accommodations to your instructor and his/her director. The instructor and director will identify for you which accommodations will be arranged.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 235
- Title: Studio Workshop I*
- Number: ART 235
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 131 or ART 136
Description:
This course involves advanced problems in painting (or drawing) with emphasis on individual expression based on historical as well as contemporary concerns and approaches in art. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Recognize and demonstrate safe studio procedures.
- Use a variety of surface supports beyond those undertaken in Painting II, Drawing II, or Watercolor.
- Demonstrate a variety of advanced technical paint or drawing applications extending the explorations attempted in Painting II, Drawing II, or Watercolor.
- Develop compositions showing further exploration of a variety of space and color relationships.
- Produce work employing a variety of advanced compositional strategies.
- Generate works showing a greater awareness of aesthetic coherence than demonstrated in Painting II, Drawing II, or Watercolor.
- Identify historical and contemporary styles relevant to the coursework.
- Make aesthetic decisions autonomously.
- Critique artwork objectively, individually and in groups.
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials, and supplies at an advanced level. B. Practice safe studio procedures. C. Identify and develop productive work habits, including completing projects, maintaining the studio environment, and responding to supervision. II. Surface Supports A. Use traditional supports, depending on the course of study, emphasizing advanced techniques in the specific medium undertaken. B. Use nontraditional supports, depending on the course of study, emphasizing advanced techniques in the specific medium undertaken. III. Advanced Techniques Involving Paint Or Drawing Applications A. Generate paintings or drawings exploring advanced techniques employing traditional mark making. B. Generate paintings or drawings exploring advanced techniques employing nontraditional mark making. IV. Space And Color Relationships Beyond Those Undertaken In The Prerequisite Course A. Generate compositions that use color relationships that advance in space. B. Create compositions that use color relationships that recede in space. C. Generate works that use color relationships that have neutral and/or static associations. D. Produce compositions that use a combination of these color relationships. V. Advanced Compositional Strategies A. Create a work utilizing advanced strategies for a closed, open, or radical format relationship. B. Using a complex subject, compose a painting or drawing using symmetrical balance. C. Utilizing a complicated theme, produce a painting or drawing using complex asymmetrical balance. D. Employing an advanced compositional approach, execute a painting utilizing an intricate and effective figure/ground relationship. VI. Cohesive Aesthetic Harmony A. Generate a complex work which has been developed from an artistic experience in terms of form exhibiting an advanced sensibility. B. Produce a painting employing enigmatic psychological considerations. C. Execute a composition incorporating more difficult intellectual and symbolic content than those attempted in the prerequisite course. VII. Historical And Contemporary Styles Relevant To The Painting Projects A. Identify and discuss in depth one or more of these historical styles: Impressionism, Expressionism, Cubism, Dada, Abstract Expressionism, Pop Art, Minimalism, Neo Realism, New Image, Neo Expressionism, Neo Abstraction, and Deconstructionism. B. Compare and contrast, in depth, Modernism and Post Modernism. VIII. Autonomous Decision Making A. Acquire and demonstrate confidence, at a more advanced level than the prerequisite course, through practice and critique of one’s own artwork. B. Develop and demonstrate self assurance through the discussion and criticism of other student’s artwork. C. Build and demonstrate comprehension of the decision making process through study of professional artists’ means of image development. IX. Critiquing Artwork Objectively A. Define and discuss in depth the importance of art criticism. B. Review and explain the significance of individual critiques. C. Judiciously accept criticism from fellow art students. D. Review and clarify the meaning and purpose of group critiques. E. Perform individual and group critiques without bias.
Method of Evaluation and Competencies:
Final portfolio: Production of a group of paintings or drawings satisfying the requirements of a series of assignments to develop specific skills and competencies and to stimulate the student’s creative capacities for personal expression and self-understanding. Out-of-class assignments: Production of a series of out-of-class projects to supplement the in-class assignments which demonstrates the student’s integration of the course content. Research project: A written research project to supplement the course objectives. Class participation and attendance: Active participation and attendance is a mandatory requirement for this class Grades: The final portfolio is, by far, the major means of evaluation in the course, representing 60-80% of the grade. The other listed student activities account for the remaining 20-40% of the grade.
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- Students should realize nude models may be used in this course and decide if they are comfortable with this aspect of the class.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 236
- Title: Studio Workshop II*
- Number: ART 236
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 235
Description:
This course involves advanced problems in painting (or drawing), above and beyond those experienced in Workshop I, with emphasis on individual expression. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Recognize and demonstrate safe studio procedures
- Use a variety of surface supports beyond those undertaken in Studio Workshop I.
- Demonstrate a variety of advanced technical paint or drawing applications extending the explorations attempted in Workshop I.
- Develop compositions showing further exploration of a variety of space and color relationships than those considered in Workshop I.
- Produce work employing compositional strategies of a more personal nature than those attempted in Workshop I.
- Identify historical and contemporary styles relevant to the coursework.
- Recognize on a more advanced level than Workshop I the importance for autonomous decision-making.
- Demonstrate a more mature ability to critique artwork than demonstrated in Workshop I.
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials, and supplies at an advanced level B. Practice safe studio procedures C. Identify and develop productive work habits, including completing projects, maintaining the studio environment, and responding to supervision II. Surface Supports A. Use a traditional or non-traditional support, depending on the course of study, emphasizing a more individual technique over and above that attempted in Workshop I B. Use a traditional or non-traditional support never tried before emphasizing advanced techniques over and above those attempted in Workshop I III. Advanced Techniques Involving Paint or Drawing Applications A. Generate paintings or drawings exploring advanced techniques in an attempt to develop a more individual imagery B. Generate paintings or drawings exploring advanced techniques not attempted in previous courses IV. Space and Color Relationships A. Generate compositions that use color relationships that are inspired by more individual considerations B. Create compositions that use color relationships not considered in previous courses V. Compositional strategies that are of a more personal nature A. Create a work utilizing a compositional strategy that is inspired by a personal narrative B. Compose a painting or drawing using a complex composition and generated from a personal interest C. Utilizing a complicated theme, produce a painting or drawing employing personal symbols or language VI. Historical and contemporary styles relevant to the painting Projects A. Identify and discuss in depth (one or more not researched in Workshop I) one or more of these historical styles: Impressionism, Expressionism, Cubism, Dada, Abstract Expressionism, Pop Art, Minimalism, Neo-Realism, New Image, Neo-Expressionism, Neo-Abstraction, and Deconstructionism B. Compare and contrast in more depth than Workshop I the concepts of Modernism and Post-Modernism VII. Autonomous Decision-Making A. Acquire and demonstrate confidence, at a more advanced level than the prerequisite course, through practice and critique of one’s own artwork B. Develop and demonstrate self-assurance through the discussion and criticism of other student’s artwork C. Build and demonstrate comprehension of the decision-making process through study of professional artists’ means of image development VIII. Critiquing Artwork Objectively A. Define and discuss in depth the importance of art criticism B. Review and explain the significance of individual critiques C. Judiciously accept criticism from fellow art students D. Review and clarify the meaning and purpose of group critiques E. Perform individual and group critiques without bias
Method of Evaluation and Competencies:
Final portfolio: Production of a group of paintings or drawings satisfying the requirements of a series of assignments to develop specific skills and competencies and to stimulate the student’s creative capacities for personal expression and self-understanding. Out-of-class assignments: Production of a series of out-of-class projects to supplement the in-class assignments which demonstrates the student’s integration of the course content. Research project: A written research project to supplement the course objectives. Class participation and attendance: Active participation and attendance is a mandatory requirement for this class. Grades: The final portfolio is, by far, the major means of evaluation in the course, representing 60-80% of the grade. The other listed student activities account for the remaining 20-40% of the grade.
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- Students should realize nude models may be used in this course and decide if they are comfortable with this aspect of the class.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 238
- Title: Digital Imaging for Artists II*
- Number: ART 238
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 138
Description:
This course is a continued study of skills learned in Digital Imaging for Artists. Students will concentrate on creating personal imagery using digital media. 6 hrs. integrated lecture studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Review and demonstrate safe lab procedures.
- Assess and determine an effective and efficient digital workflow.
- Create digital images that demonstrate an understanding of the synthesis between effective expressive content, composition, and technical approach.
- Define and demonstrate a further understanding of technical skills in digital imaging beyond those covered in Digital Imaging for Artists.
- Define and demonstrate an advanced ability to use Tools in Adobe Photoshop.
- Define and demonstrate an advanced ability to use the items included in the Panels in Adobe Photoshop.
- Define and demonstrate an advanced ability to use the actions included in the Menus in Adobe Photoshop.
- Define and create an image using High Dynamic Range (HDR).
- Create complex 3D objects.
- Display the ability to explore a variety of surfaces to print on.
- Exhibit the capacity to explore both two and three-dimensional alternatives for presenting digital images.
- Demonstrate the capability to present works of exhibition quality.
- Generate digital images showing an awareness of aesthetic coherence.
- Make aesthetic decisions autonomously.
- Critique artwork objectively, individually and in groups with acumen.
Content Outline and Competencies:
I. Studio Procedures A. Explain and demonstrate proper use of equipment, materials, and supplies. B. Practice safe studio procedures. C. Identify and develop productive work habits, including completing projects, maintaining the studio environment, and responding to supervision. II. Digital Workflow for the Fine Artist A. Define and research projects. B. Employ Photoshop to develop the image. C. Save and back up images on a regular basis. D. Assess the results as a rough draft and edit. E. Consider the possibility of using other mediums/materials to enhance the image. F. Print the image. G. Create a final presentation. III. Synthesis: Expression, Composition, and Technical Approach A. Research purpose of expression in a work of art. B. Review the principles of effective composition. C. Develop stronger understanding of how technique contributes or distracts from a work of art. IV. Developing Advanced Technical Skills A. Display advanced skills in using digital tools. 1. Move 2. Marquee a. Rectangular b. Elliptical 3. Lasso a. Polygonal b. Magnetic 4. Magic wand and Quick selection 5. Crop 6. Eye dropper a. Color sampler b. Ruler c. Note d. Count 7. Patch a. Healing brush b. Spot healing brush c. Red eye 8. Brush a. Pencil b. Color replace 9. Stamp a. Clone b. Pattern 10. Brush a. History b. Art history 11. Eraser a. Background b. Magic 12. Paint bucket and gradient 13. Blur a. Sharpen b. Smudge 14. Dodge a. Burn b. Sponge 15. Pen a. Freeform b. Add point c. Delete point d. Convert point 16. Type a. Horizontal b. Vertical c. Horizontal type mask d. Vertical type mask 17. Selection a. Path b. Direct 18. Rectangle a. Rounded rectangle b. Ellipse c. Polygonal d. Line e. Custom shape 19. 3D rotate a. Roll b. Rotate c. Slide d. Scan 20. 3D Orbit a. Roll b. Pan c. Walk d. Zoom 21. Hand and rotate view 22. Zoom B. Demonstrate an advanced understanding of panels. 1. 3D 2. Actions 3. Adjustments 4. Animation 5. Brushes 6. Channels 7. Clone source 8. Color 9. Histogram 10. History 11. Info 12. Layer comps 13. Layers 14. Masks 15. Navigator 16. Notes 17. Paragraph 18. Paths 19. Styles 20. Swatches 21. Tool presets C. Exhibit an advanced understanding in using menus. 1. Photoshop 2. File 3. Edit 4. Image 5. Layer 6. Select 7. Filter 8. Analysis 9. 3D 10. View 11. Window 12. Help V. High Dynamic Range (HDR). A. Explain and demonstrate an image in HDR using three image manipulation. B. Explain and demonstrate an image in HDR using one image manipulation. VI. 3D A. Establish a proficiency in manipulating 3D objects. B. Demonstrate the ability to adjust lighting and surface texture on a 3D object. C. Show how to merge 3D layers D. Exhibit an understanding of how to paint on a 3D object. E. Define and demonstrate adding 3D text to an image. F. Show an understanding of how to manipulate 3D postcards. VII. Experimental Surfaces A. Define differences between traditional and alternative print surfaces. B. Demonstrate knowledge of how to apply and print on pre-coated surfaces. 1. Paper 2. Canvas 3. Metal C. Exhibit the ability to print on alternative surfaces. 1. Paper with no digital coating 2. Paper with digital coating (applied by hand) 3. Cloth with no digital coating 4. Cloth with digital coating (applied by hand) 5. Thin board with no digital coating 6. Thin board with digital coating (applied by hand) 7. Metal with no digital coating 8. Metal with digital coating (applied by hand) 9. Other surfaces to be determined through experimentation VIII. Professional Presentation of Digitally Related Images A. Demonstrate traditional approaches to presentation. 1. Matting 2. Mounting B. Experiment and exhibit non-traditional approaches to presentation. IX. Autonomous Decision-Making A. Improve confidence through practice and critique of one's own artwork. B. Increase self-assurance through the discussion and criticism of other student's artwork. C. Build and demonstrate comprehension of the decision-making process through study of professional artists' means of image development. X. Critiquing Artwork Objectively A. Review and discuss the importance of objective art criticism. B. Assess the significance of individual critiques. C. Judiciously accept criticism from fellow art students. D. Clarify the meaning and purpose of group critiques. E. Perform individual and group critiques without bias.
Method of Evaluation and Competencies:
65-75% Final Portfolio 5-15% Out-of-Class Assignments 5-15% Research Project 5-15% Class Participation
Caveats:
- JCCC is not liable for damaged or stolen work or personal property in classroom or hallway exhibition areas.
- Students working in the studio are expected to acquaint themselves with the efficient and safe use of equipment and materials.
- "Student Health: the college does not provide on-campus medical services, nor does it assume responsibility for injuries you may incur while participating in college activities. The college does not provide health and accident insurance for students. You must contract for this coverage on an individual basis. See the course catalog for more information."
- All JCCC students are issued a college e-mail account that is accessed through MyJCCC. This account is used by the college to communicate course, grade, financial aid, enrollment and other important college information. It is your responsibility to check your JCCC e-mail account regularly for important information.
- Any student artwork or art supplies not picked up 4 weeks after the end of the semester will be considered abandoned and the Visual Arts Department will dispose of the work or materials as it sees fit. Exceptions can be made for students who lend their artwork for student exhibitions or other special arrangements have been made between a student and their instructor.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.
ART 244
- Title: Ceramics Workshop I*
- Number: ART 244
- Effective Term: Spring/Summer 2014
- Credit Hours: 3
- Contact Hours: 6
- Lecture Hours:
- Other Hours: 6
Requirements:
Prerequisites: ART 143 and department approval
Description:
Students will have the opportunity to pursue advanced individual research under the direction of the instructor. Emphasis is on creative expression and development of technical skills as well as the further pursuit of technical studies that have relevance for emerging personal specializations. Students will conduct a personal program of study on one aesthetic issue that emerges as personally significant and present the outcomes in an appropriate and acceptable manner at the close of the semester. Students should initiate and pursue studies in directions that inform and further their individual professional and creative growth, which leads to invention, innovation and refinement of their personal semester work, as agreed upon with the instructor. This course enables further pursuit of technical studies that have relevance for these emerging personal specializations. Skill refinement, three-dimensional imagination, with increased creative expression and creative product generation are anticipated. 6 hrs. integrated lecture/studio/wk.
Course Fees:
NoneTextbooks:
http://bookstore.jccc.edu/Supplies:
Refer to the instructor's course syllabus for details about any supplies that may be required.Objectives
- Focus emphasis on individual development of advanced ceramic skills involving individual directions and ideas.
- Achieve individual development of idea expression by completing a volume of work showing these ideas manifested in form.
- Develop an appreciation of ceramic art as an useful and expressive art of men and women, reflecting our culture from prehistory to the present.
- Gain a more advanced working knowledge of glazes and various methods of kiln firing approaches by participating in the kiln firing process.
- Develop an individual approach to ceramic form making involving skill refinement, three-dimensional imagination leading to an increased creative expression and creative product generation.
- Develop a semester plan for specific assignments and directions with the approval of the instructor.
- Develop an individual critique criterion for evaluation of ceramic ware.
Content Outline and Competencies:
I. Individual Development of Advanced Ceramic Skills Involving Ceramic Techniques and Processes A. Perform wheel throwing techniques which are appropriate to the more advanced ceramic level application, including: 1. Individual sense of wheel thrown form involving the vessel. 2. Individual sense of decorative closure. B. Perform non-wheel manipulation techniques which are appropriate to the more advanced ceramic level application, including: 1. Individual sense of sculptural form with non-wheel manipulation techniques. 2. Individual sense of closure with glaze and non-glaze surfaces. II. Individual Development of Idea Expression A. Produce ceramic ware which reflects variations on a theme including: 1. Multiple series researching matching sets. 2. Individual ceramic ware which exhibits a style. B. Initiate the evolution of a conceptual basis for ceramic ware including: 1. Scale variations. 2. Variations of volume and height. III. Historical Influence and References in Individual Student Ceramic Ware A. Produce ceramic ware which reflects historical references. B. Produce ceramic ware which exhibits firing methods reflecting cultural and regional influences. IV. Creative Expression with Ceramic Ware A. Establish a personal repertoire and palette by emerging a clay, surface, glaze, and firing combination that works best for their individual direction. (Magazine, book, and journal readings as required and appropriate for their individual research should be completed.) B. Establish the content of this course largely in a self motivated fashion after establishing an over-all semester direction with permission of the instructor. (Study, reading and research with the task of preparing an acceptable proposal leading to a final presentation of work at the close of the semester is expected. Study is complemented and catalyzed by various directed reading, exhibit viewing, guest speakers, tutorial discussions and individual advice and critique by the instructor.) C. Develop specific course content by consultation with the instructor. (The number of projects to be completed and the standards expected will be clearly established at the beginning of the semester in individual critique and conferences.) V. Students Will Demonstrate Proficiency in a Range of Research Directions Including But Not Limited to: A. Advanced ceramic design. B. Individualized decorative style development. C. Advanced glazes; researching their properties and reactions. D. Glaze calculation and formulation; utilization of computer technology is encouraged. E. Advanced ceramic wheel throwing techniques. F. Kiln design and firing research. G. Computer/liquid light images on ceramic ware. VI. Development of an Individual Critique Criterion A. Analyze, evaluate and critique specific ceramic ware including historical and peer ceramic examples. B. Demonstrate the basic elements of art and ceramic form which leads to more clearly defined notions of what is creative form, good form, or bad form. C. Critique ceramic ware with specific articulation stated in written analysis and group critique discussions. VII. Safe Studio Practices A. Identify hazardous materials and processes common to the ceramics studio. B. Safely handle hazardous materials, including their disposal, and apply safe processes in the ceramic studio setting. C. Describe and follow protective measures for: 1. Inhalation 2. Direct contact/absorption 3. Ingestion VIII. Attitudes and Work Habits A. Identify and develop positive attitudes toward tasks and fellow students appropriate for the studio, including giving and accepting criticism and praise. B. Identify and develop productive work habits, including attending to detail, completing tasks, maintaining the work setting and recording data. C. Identify and develop collaborative/teamwork skills, including solving problems in groups, building consensus and responding to supervision.
Method of Evaluation and Competencies:
Attendance: 21 or more unexcused studio/lecture hours will result in receiving a grade of failure in the course; 10 to 20 unexcused studio/lecture hours will result in the reduction of the final grade. Attitude and Work Habits: Although attendance is essential, productive attitudes and work habits affect morale, efficiency, accuracy and safety in the studio and will be a factor in determining grades. In addition, collaboration and teamwork will be expected and evaluated. Participation: Students will be assessed on their degree of participation in the following collaborative activities: Group critiques, Demonstrations, Class discussions, Studio maintenance, Safe practices General Competencies: Students will be evaluated through testing or studio behavior in the following areas: Fundamental ceramic vocabulary, Ceramic history, Ceramic materials, Techniques/processes Grading: Assigned major projects and various minor projects: 60-80% of grade. Quizzes and tests: 20-40% of grade.
Caveats:
- It is the student’s responsibility to notify the instructor of any disability which will require special accommodation in this course.
- Although care will be taken with individual student work, the process of drying, firing & glazing may sometimes result in loss of that work.
Student Responsibilites:
Disabilities:
If you are a student with a disability, and if you will be requesting accommodations, it is your responsibility to contact Access Services. Access Services will recommend any appropriate accommodations to your professor and his/her director. The professor and director will identify for you which accommodations will be arranged.
JCCC provides a range of services to allow persons with disabilities to participate in educational programs and activities. If you desire support services, contact the office of Access Services for Students With Disabilities (913) 469-8500, ext. 3521 or TDD (913) 469-3885. The Access Services office is located in the Success Center on the second floor of the Student Center.