Marywood University Art Department

Foundation Student Guidebook 2016-2017

Foundation Year Student Guidebook

Table of Contents

A. Introduction Welcome Foundation Year Art Supplies Computer Purchase Recommendation The Foundation Text Book

B. Course Sequence Sample (for current declared major of Graphic Design)

C. Liberal Arts Course Requirements (all students)

D. Course Outlines  ART 110 Basic Drawing  ART 116 Drawing I  ART 118 2-D Design and Color  ART 212 3-D Design  ART 233 Painting I

E. Student Advisement

F. Portfolio Evaluation and Forms 1. Requirements and Guidelines 2. Portfolio Review Form 3. Activity Sheet

G. Bus Trips/Field Trips

H. Visual Journal

I. Clubs, Societies, Opportunities

J. Foundation Display Area

K. Online Activities

L. Visiting Artist/Foundation Seminar

M. Addenda  Weekly Schedule  Maps of Art Buildings  Campus Map  Terms/Artist Study Guide

Welcome to the Art Department and Foundation Program!

This online Foundation Student Guidebook is intended to provide you with information to help direct your studies at Marywood. Hopefully it answers many of the questions you may have. Throughout the year the foundation resources link will expand and include additional and updated information you will find useful. Make sure to periodically visit the resource link including the foundation events and activities.

Included in the guidebook are forms and information pertaining to the foundation portfolio review that takes place in the spring. The requirements, guidelines, and forms to be filled out before review are found in section F of this guidebook and can be downloaded for printing; also found are the course outlines for Art 110, 116, 118, 212, and 233. Corresponding examples for many projects can be viewed on the department’s web site student gallery.

Please regard this guidebook as a “work in progress” that continues to be refined and supplemented. Your suggestions for additional content and improvements are welcomed and appreciated.

Thank you,

Peter Hoffer Director of Foundation Program

FOUNDATION YEAR ART SUPPLIES

The following is a partial list of the most widely used art supplies during Foundation Year that you may want to purchase prior to the beginning of classes. In addition to this basic list, each teacher may have specific requirements or suggestions. Many supplies are sold at the Marywood University Bookstore and kits may be available.

Basic supplies needed for the Fall Semester Drawing board-large enough to hold 18” x 24” drawing paper (masonite or wood) - masonite is sturdy but lightweight Portfolio (Vinyl or Manila) the manila is less expensive, but will get you through the year Newsprint tablet 18” x 24” All-purpose white drawing paper 18” x 24” Bristol Pad 11” x 14” Sketch pad, 100 sheets, 9” x 12” (possible visual journal) Graphite lead pencils 2H, HB, 2B, 4B, 6B Ebony pencils (soft, rich, black) Black Prismacolor pencils (4) Conte’ crayon various colors (make sure they are soft) Charcoal vine 6A or medium hardness Charcoal compressed Austrian #3 or equivalent Kneaded erasers (2) Pink pearl erasers (2) Masking tape White artists tape X-Acto knife Utility knife and blades Black India Ink (waterproof) such as Higgins 1 fl. Oz. Winsor and Newton designer’s gouache - Primary set of six-14 ml Flat brush ¾” watercolor (sheep/nylon head will cost less than sable) Two watercolor brushes pointed round, No. 4 and No. 6 (same as above) Sketch box or tackle box for containing/carrying supplies. 15” metal ruler

The following are specific to Art 212 (3-D Design): Hot glue gun and glue sticks Three (3) disposable dust masks Safety goggles or glasses Sandpaper (assorted pack), fine, medium, and coarse One 2-gallon disposable plastic paint pail

Supplies specific to Art 233 (Painting I) are listed in Art 233 Course Outline that appears in this Guidebook.

Computer Purchase Recommendation

The department does not require laptops as we have 3 Mac labs and a drop-in lab which are available 24 hours. We advise incoming freshmen to wait until they can better assess their needs. During the freshman year most computer-based projects can be completed in class during lab time.

For art students, and in particular for design, illustration, and photography majors, a Mac is strongly recommended. The department is Mac-based and Mac is the industry standard.

If you are considering a Mac laptop, a MacBook Pro is recommended, not just a MacBook. It has the graphics and video cards necessary to handle Adobe Creative Cloud software (Photoshop, Illustrator, Acrobat, InDesign, Dreamweaver, AfterEffects, and others as needed) which we use in the classroom. You can get an education priced monthly subscription directly from Adobe and other software at such places as Journeyed.com. The Macs come with plenty of RAM and storage space so you don’t need to worry if you are ordering the right thing. We recommend at least a 15” laptop.

The Foundation Text

Currently there is one text that is required for all beginning art students in foundation year: Art Fundamentals, Theory and Practice, Tenth (10th) Edition, McGraw Hill Publishers, ISBN 0-07- 286233-5 (soft cover).

Although there is a more recent edition available, we are staying with this edition because of cost factors to you and the continued availability of used books. Students can locate a copy through an online source such as Amazon.com or Abebooks.com. It will not be available on campus.

Art Fundamentals is a text/resource that is used in all foundation year classes, as instructors deem useful and appropriate. Its primary use is in ART 212 (2-D Design and Color), but it is an appropriate reference for Drawing, Painting, 3-D Design, Photography, Art History, and many other areas.

In the past, students have sold their copy after using Art Fundamentals. Rather than selling your copy we suggest you keep it as a valuable reference for your remaining years of study at Marywood. The more you advance in your studies the more likely you will be enriched by its use, augmenting and supplementing your access to other resources. You are advised to hold off selling Art Fundamentals or any other art reference or textbook until you are certain it is of no value to you. If you decide to part with it, your decision will be better informed and considered.

Bachelor of Fine Arts ‐ Design GRAPHIC DESIGN

Student Name______Advisor______

Year / Semester Catalog # Course Title Credits Semester/Year

1st Year FALL ART 110 Basic Drawing 3.0 cr. ART 118 2‐Dimensional Design and Color 3.0 cr. ART 241 Computer Graphics I 3.0 cr.

1st Year SPRING ART 116 Drawing I 3.0 cr. ART 212 3‐Dimensional Design 3.0 cr. ART 210 Introduction to Typography 3.0 cr. ART 322 Foundation Portfolio Review 0 cr.

2nd Year FALL ART 113 Art History I 3.0 cr. ART 315A Basic Photography 3.0 cr. ART 314 Introduction to Graphic Design 3.0 cr.

2nd Year SPRING ART 114 Art History II 3.0 cr. ART 441B Computer Graphics II 3.0 cr. ART 221A Visual Concepts 3.0 cr. ART 322A Sophomore Portfolio Review 0 cr.

3rd Year FALL ART 441H 3.0 cr. ART 430 History of Graphic Design 3.0 cr. ART 416A Graphic Design II 3.0 cr. ART 405 Advanced Typography 3.0 cr.

3rd Year SPRING ART 218 Art in the Modern Era 3.0 cr. ART 441I Interactive Design II 3.0 cr. ART 416B Graphic Design III 3.0 cr. ART 322B Junior Portfolio Review 0 cr.

3rd Year SUMMER ART 449 Fieldwork Experience 3.0 cr.

4th Year FALL ART 416 Advanced Graphic Design 3.0 cr. ART 442B Interactive Design III 3.0 cr. ART 448 Packaging Design 3.0 cr. ART 322C Senior Portfolio Review 0 cr.

4th Year SPRING ART 440 Adv Portfolio Development 3.0 cr. ART 428 Design Business and Production 3.0 cr. ART 455 Professional Contribution (Exhibit) 0 cr. ART Elective 3.0 cr. * Every Studio Class has a Lab component. Student must register for the Lab when registering for a Studio Class. IT IS THE STUDENT’S RESPONSIBILITY TO FOLLOW THE ART SEQUENCE AND PLAN FOR ALTERNATE YEAR COURSES IN ORDER THAT THEY FULFILL THE REQUIREMENTS OF THE PROFESSIONAL DEGREE. REVISED 12/5/14 FOR FALL 2014 6

D. Course Outlines

The outlines included here are for general reference. They should not be considered entirely complete or accurate and are subject to additional enclosures and individual instructor’s additions or alterations. Samples for many of the projects or assignments can be viewed in the student gallery (link).

ART 110 Basic Drawing - Course Outline

REQUIRED TEXT: Art Fundamentals, Theory and Practice, Ocvirk, Stinson, et al., 10th Edition

COURSE CONTENT:

The primary focus of this course is based in the fundamentals of drawing. Students draw directly from observation of the natural world while developing an ability to compose well- constructed pictorial space. The process is intended to engage students in perceptual discovery, pictorial invention, and understanding of visual play.

This course is structured to introduce the beginning student to: 1. Drawing as a foundation study in art and visual communication. 2. Historical and contemporary drawing methods, philosophies and techniques. 3. Experimentation with a variety of drawing media including the basic ones of pencil, charcoal, ink, and wash. 4. Constant observation and sketching in order to develop drawing proficiency. Studies are expected to demonstrate a daily routine of drawing and should exhibit increasing facility in both quick sketching and sustained studies.

COURSE OBJECTIVES:

Students should demonstrate or show evidence of the following: 1. Dynamic composition. 2. A range of various styles or approaches to drawing, including media 3. An expanded and varied use of line, value, texture, and proportion. 4. Insight into the design/composition process, its link with drawing. 5. Increased Aesthetic Awareness (expanding beyond clichés, awareness of Masters)

SUGGESTIONS ON PERTINENT INFORMATION:

Visual Journal: Keeping a creative book(s) is required. As a drawing student you should include daily activities of drawing and sketching in your visual journal. Sketching and drawing should be a daily part of your self -study or independent research and investigations. Your activity pertinent to Art 110 found in the visual journal will constitute up to 10% of your final grade. Due dates: Will be set for each activity. Failure to complete or hand in assignments as due will result in grade reduction. Attendance: Is mandatory. Unexcused absences in excess of three classes will result in automatic grade reduction.

Readings: Are required appropriate to activity as scheduled. Bring your Foundation text to every class for possible reference. Critiques: Will occur on a regular basis, sometimes formally, at other times, more impromptu. Participation and involvement in critiques is considered an important activity. In-class expectations: The class will be a highly concentrated studio environment in which informal lecture/discussions punctuate extended drawing exercises. Students are expected to approach their studies in a responsible and professional manner. You are preparing to make art your career. Excessive talking and discussions during drawing activities and critiques will be disruptive, counterproductive, and not conducive to achieving course objectives. During class cell phones should be turned off.

ASSIGNMENTS:

The following is a listing of various in-class and outside class topics or assignments. The primary areas of drawing will concern line, contour, shape, value, and composition

This study is based an objective observation of the natural world and is regarded as the most fundamental and primary concern to be addressed in this course. Through this study students should achieve an understanding and application of the following, and based on results and class progress other areas or activities may be included. However, any such study should be designed in a way that supports the following:

Learning to recognize and graphically depict special angles and perspective.

Learning to see and understand space and composition through the arrangement of shapes within a defined picture frame.

Learning to see and render a variety of subtle and more pronounced value contrasts that are reflected in both line and value mass studies.

The following topics or activities may possibly be addressed in various degrees dependent on stated class objectives and class progress. The following listing is random and does not distinguish the primary concerns stated above.

1. Gesture drawing 2. Gesture and contour drawing 3. Construction of line and measurement 4. Shape/Value Studies 5. Value/texture 6. Value reduction 7. Self-portrait 7. Model 8. On site Drawings 9. Intro to Color 10. Sustained Drawing (in and outside class)

OUTSIDE ACTIVITY:

A number of sustained projects that support and expand on in-class activities will constitute outside drawing assignments. Portraits, figure studies, still-life studies, and ongoing sketchbook drawing (including quick compositional activity) are among typical projects and expectations. Due dates will be assigned for each.

Course grade is based on the following: (this is subject to individual instructors discretion)

Class projects 40% Outside class projects 40% Attendance/participation 10% Creative book (visual journal) 10%

END OF ART 110 COURSE OUTLINE

ART 116 Drawing I - Course Outline

REQUIRED TEXT: Art Fundamentals, Theory and Practice, Ocvirk, Stinson, et al., 10th Edition Other required or recommended supplemental resources used at the discretion of individual instructors

COURSE CONTENT:

The primary focus of this course is to continue the drawing practices, principles, and concepts introduced in basic drawing. Students draw directly from observation of the natural world while developing an ability to compose well-constructed pictorial space. The process is intended to engage students in perceptual discovery, pictorial invention, and understanding of visual play. Further, students will be involved with the following concerns:

1. Drawing as a foundation study in art and visual communication. 2. Historical and contemporary drawing methods, philosophies and techniques. 3. Experimentation with a variety of drawing media with emphasis on pencil, charcoal, and ink. 4. Constant observation and sketching in order to develop an enlarged and more sensitive response to his/her environment and expanded visual vocabulary. Students are expected to demonstrate a daily routine of drawing and should exhibit facility in both sketching and sustained studies.

COURSE OBJECTIVES:

Students should demonstrate or show evidence of the following: (A continuance of Art 110 Objectives) 1. An understanding and application of dynamic composition. 2. An awareness of a range of various styles or approaches to drawing, including media 3. An expanded and varied use of line, value, texture, and proportion. 4. An understanding of the design/composition process and its application in drawing. 5. An increased aesthetic awareness.

GUIDELINES ON PERTINENT INFORMATION:

Visual Journal: Keeping and making entries in your journal is required. Sketching and drawing in your journal should be a daily part of your self -study or independent research and investigation. Your journal activity will constitute up to 15% of your final grade. Due dates: Will be set for each activity. Failure to complete or hand in assignments as due will result in grade reduction. Attendance: Prompt attendance is mandatory. More than two to three absences (number to be determined by each instructor) and excessive lateness to class will result in a grade reduction. Readings: Are required appropriate to activity as scheduled. Bring your Foundation text to every class for possible reference. Critiques: Will occur on a regular basis, sometimes formally, at other times, more impromptu. Participation and involvement in critiques is considered an important activity. In-class expectations: The class will be a highly concentrated studio environment in which informal lecture/discussions punctuate extended drawing exercises. Students are expected to approach their studies in a responsible and professional manner. You are preparing to make art your career. Excessive talking and discussions during drawing activities and critiques will be disruptive, counterproductive, and not conducive to achieving course objectives. During class cell phones should be turned off.

ASSIGNMENTS:

The following is a brief description of various in-class and outside class assignments and suggested media used for each. Individual instructors will determine their approach to cover and achieve the stated course content and objectives.

IN-CLASS TOPICS:

1. Gesture drawing - Gesture drawing will be explored using a wall hung drapery set up and live model. Pencil, charcoal, conte’ and litho crayon. 2. Gesture and contour drawing - Will be continued using a still life drapery set up in the round as well as live model. Pencil, charcoal, conte’, litho crayon. 3. Construction of line and measurement - Line drawings explored using still life and model. 4. Shape/value studies - Line and value studies using still life and model. In both #3 and #4, the study of shape is a prime concern. The same media used in #1 and #2 will be continued. 5. Value/texture - Landscape drawings will be made outside, on site, to study line, value, and texture; will use primarily charcoal. 6. Value reduction - A still life will be set up to create limited value and color studies. Chalk and pastel will be used. 7. Extended color - The same still life or modified one will be used to explore extended color. Chalk and pastel. 8. Model - Drawing from the model will serve as a review of previous techniques, including chapter assignments and media and also as a way to augment new skills and ways of seeing. 9. On site drawings - Various locations will be used, i.e.: Suraci Gallery, Rotunda, Boiler room, Painting classroom, to complete sustained drawings using various media. 10. Sustained drawing - The last few weeks will involve still life drawing set up in class, comprehensive activity. Media and kind of drawing(s) will be explained. 12

OUTSIDE ACTIVITY:

A minimum of two sustained projects will constitute outside drawing assignments. Listed below are three possible projects. Due dates will be assigned for each.

Project A: Studies of value and composition based on old masters’ drawings/paintings.

Project B: Self-portraits, landscapes, or still life’s in the manner of an old Master.

Project C: Sustained large scale value and composition interpretive study of a Master Painting through the application of drawing media.

Course grade is based on the following: (this is subject to individual instructor’s discretion) Projects 75% Visual Journal 15% Attendance/Participation 10%

Projects or activities are subject to change based on Instructors discretion and assessment of class progress.

“Drawing is a discipline of vision. It heightens perception. Drawing = Seeing, as we have already said, but the nature of the equation is complex and elusive; the complexity is compounded by misconceptions and the elusiveness increased by the ambiguity of words... Seeing is the act of perceiving with the eyes; to look is to direct this faculty. To look for, to seek meaning in experience is the cogent and unyielding task of the draftsman, requiring every capability he can marshal, above all a state of complete awareness!! From: The Language of Drawing, by Edward Hill, Prentice Hall, Publ.

END OF ART 116 COURSE OUTLINE

ART 118 2D Design & Color - Course Outline

REQUIRED TEXT: Art Fundamentals, Theory and Practice, 10th edition

COURSE CONTENT AND OBJECTIVES:

This course introduces the student to fundamental elements comprising graphic 2-D expression. Regardless of future pursuits, your knowledge of design and color enhances your general perception and experience of the world around you and brings a deeper understanding and insight to your particular art discipline.

COURSE CONTENT:  9 assignments: The first 4 are black and white, the 5th combines black and white with color, and the final 4 are color.  Weekly readings from required text  A total of 10 quizzes: 8 based on readings, 1 midterm quiz, and 1 final quiz.  Visual journal (as explained)  Outside class activity (relevant to activity sheet - as explained)

OBJECTIVES:

This course introduces compositions that are intended to provide sequential learning experiences. Of primary importance to all relevant exercises is a focus to achieve successful composition through the understanding and creation of dynamic spacial relationships. The picture frame, picture plane, and the structural principles of visual order and composition should be considered for each assignment. This aim is supported by the assigned readings, quizzes, critiques/discussions, and terms/questions included in course content.

PROCEDURE AND POLICY:

Projects assigned will be explained and started in class under the instructor’s supervision. Following completion, assignments will be tacked on the board to be critiqued by the group to facilitate discussion and a wider understanding of concepts presented. Because of this contribution to the group, assignments must be presented on time and according to specifications.

PROJECTS/COMPOSITIONS:

1. Just Line 2. Line Plus 3. Shape Plus 4. Line and Shape Plus 5. Value Scale and Color Chart 6. Contrast of Hue/Extension 7. Light-Dark/Saturation Contrast 8. Warm-Cold/Complementary Contrast 9. Simultaneous Contrast 14

Schedule

Wk 1 Introduction 2 Composition #1 3 Composition #2 4 Composition #2 5 Composition #3 6 Composition #4 7 Composition #4 8 Composition #5 9 Composition #6 10 Composition #6 11 Composition #7 12 Composition #7 13 Composition #8 14 Composition #8 15 Composition #9

GRADING:

All projects will be assigned a due date according to the weekly schedule provided. Late projects will automatically receive a lower grade. Each project will be given a letter grade by instructor and returned to students as soon as possible. All work will be evaluated with an overriding concern for craftsmanship, relevancy to project assigned, creativity, and execution.

Any completed assignments submitted on time, either not fully understood or not receiving an acceptable evaluation, may be done again and handed in later for reassessment and the possibility of an improved grade.

Final grade will be based on the following:

Projects: Average of individual grade projects (9 total) 70% Quizzes: Average of seven weekly quizzes 10% Average of Mid-term and final quizzes 10% Visual Journal: Two reviews (mid-term and final) 10% 100%

Additional final grade considerations: attendance, class participation, activity outside class (refer to student guidebook and activity sheet).

PARTIAL SUPPLY LIST for 2-D DESIGN AND COLOR

Black Prismacolor Pencils Assorted lead drawing pencils Liquitex or Golden Acrylic set, primary and secondary set Matt Medium Palette Paper 18” x 24” all purpose white pad Tracing paper 11”x14” Bristol pad, Vellum 11”x14” Black and gray construction paper White mat board - Assorted brushes, good quality (to be explained) X-acto knife Utility knife Scissors White artist tape Clear magic tape Water containers Plastic paint storage containers with lids Pencil compass (inexpensive) Metal ruler, 18” or longer

The above items are subject to addition/change by instructor.

FALL READING AND QUIZ SCHEDULE:

Although considered essential, the scheduled readings and quizzes should require no more than 5-10% of total course effort and time. If necessary, Instructors will modify requirements if the above balance of readings, quizzes, and hands-on activity is not being met.

Instructor will preview required readings before each assignment to identify essential material for study.

Week

1. Overview of all reading 2. Chapter 1 (Intro) 3. Chapter 1 (Intro), quiz 1 4. Chapter 2 (Form), quiz 2 5. Chapter 3 (Line), quiz 3 6. Chapter 4 (Shape), quiz 4 7. REVIEW, 8. MID-TERM, (material to date including content/style readings) 9. Chapter 5 (Value) 10. Chapter 5 (Value), quiz 6 11. Chapter 6 (Texture), quiz 7 12. Chapter 7 (Color) 13. Chapter 7 (Color), quiz 8 14. Chapter 8 (Space) 15. Chapter 8 (Space), FINAL quiz 9 (comprehensive including space and content style readings) 16

Quizzes will be given during the second class of the week as scheduled. The brief quiz and feedback will not exceed 10-15 minutes. The more extended mid-term and final quizzes will be comprehensive (consisting of all past quiz questions to date) and will take approximately 25-30 minutes to complete. A duplicate of each quiz will be distributed to students for their records (visual journal). The actual quizzes will be kept by instructors and returned at the end of the semester.

Chapter 10 /Content and Style:

Twelve on-going readings from chapter 10 are assigned in small increments as follows:

Week

2 pgs. 248-255 (to beginning of photography) 3 to pg. 258 (Impressionism) 4 to pg. 267 (Expressionism) 5 to pg. 274 (Cubism) 6 to pg. 280 (Abstract Sculpture) 7 to pg. 287 (Surrealist Painting) 8 Midterm 9 to pg. 291 (Abstract Expressionism) 10 to pg. 301 (Abstract Expressionism and Photography) 11 to pg. 309 (OP Art) 12 to pg. 316 (Post Modernism) 13 to pg. 319 (Process) 14 to pg. 332 (To the end)

Make note of the chronological outline of Western art, especially beginning on pg. 334 with the 19th Century. This section and the glossary of terms starting on page 338 will be helpful references in the material studied for quizzes.

Terms, Topics, Artists (for weekly quizzes)

The following is a list of terms, topics, and artists found in the required text (Art Fundamentals) that will be the subject of quizzes. This material represents essential information or knowledge – in addition to the possibility of other material covered by your instructor – that comprises part of learning expectations that supplement and reinforces “hands on” studio experiences. The final quiz at the end of the semester will be drawn mostly from the following terms.

TERMS Chapter 4 (shape) Shape Chapter 1 (intro) Biomorphic Shape Content Implied Shape Style Perspective Elements of Art Volume Form Non Objective Art Chapter 5 (value) Objective Art Value Picture Plane/Picture Frame Achromatic Value Representational Art Closed-Value Composition Unity Open-Value Composition Tenebrism Chapter 2 (form) Form Evolution of Form Chapter 6 (texture) Composition Texture Gestalt Collage Golden Mean, Golden Section Papier Colle Harmony Tromp L’Oeil Principles of Organization Unity Chapter 7 (color) Variety Color Chroma Chapter 3 (line) Additive Calligraphy Subtractive Contour Hue Hatching Local Color Implied line Monochromatic Color Line Tertiary Analogous Complementary Neutralized Color Color Systems Simultaneous Contrast Intensity Intermediate

Chapter 8 (space) Space Linear Perspective Two Dimensional Space Three Dimensional Space Plastic Space

Content and Style: pg. 246-33 Timeline Glossary: pg. 33

TOPICS:

 List and briefly define the elements and principles of design  List and briefly explain Itten’s color contrasts  Explain what is meant by the Development toward Abstraction  Explain the evolution of form using the chart as example: pg. 29, Fig. 2.1  List and briefly explain the three basic components of a work of art (pg. 11)  Explain how shape is used in Picasso’s Guernica. (pg. 100)  List and briefly explain the three physical properties of color?  List and describe some well known color systems, one example being primary triads (pg. 152)  What are the devices used to create spacial indicators? (pg. 181)

ARTISTS:

Examples (color plates) of artists appear in the following chapters. The artist’s work represents an idea discussed in that chapter. For instance, in the introduction the work of Piet Mondrian is used to illustrate the concept of the Development toward Abstraction shown in 1.14 at the top of page 13.

Another example is the illustration of Picasso’s painting Guernica shown on page 100, Illustration (4.16) to show how shape can be used as a directional device. By studying and understanding these examples you not only familiarize yourself with artists new to you, but also see how the ideas and devices discussed in the text are used by these artists. Artists appear below:

Chapter 1 (Intro) Chapter 5 (Value) Mondrian Giotto Sheeler Leonardo Da Vinci Rembrandt Caravaggio Van Gogh Titian Christo Manet Motherwell Poussin Gauguin Frank

Chapter 2 (Form) Chapter 6 (Texture) Shahn Wyeth Rivera Picasso (synthetic Cubism) Stella Lichtenstein Close Riley Chapter 7 (Color) Escher Gauguin Chagal Cezanne Diebenkorn Johns Picasso Monet Seurat (golden mean) Bearden Mitchell Chapter 3 (Line) Nolde Daumier Lautrec Chapter 8 (Space) Marden Canaletto Gris Lawrence Zorn Homer Masaccio Chapter 4 (Shape) Botticelli Durer Matisse Hopper Miro Escher Picasso (Guernica) Feininger Sheeler Hoffman Albers Cezanne

END OF ART 118 COURSE OUTLINE

ART 212 3-D Design I - Course Outline

The Course in relationship to the Marywood Mission

Your instructor is a practicing professional artist and designer who seek ways to engage his/her activity in a socially responsible manner. He/she operates on the belief that artists impact the way we conduct ourselves as a society. One can make a great contribution towards the quality of life for oneself and others by assuming this responsibility.

Your education, along with that which you take responsibility for, may empower you to engage others as leaders and contributors to a diverse and interdependent world.

Course Intent:

This course demonstrates the basics for expressive use of form and space in the visual environment. Models of design solutions and the effects of light and shadows and the use of color and texture are applied to each problem. Projects involve exploration of effective use of form with emphasis on concepts and ideas. Appreciation of art history and aesthetics will be systematically incorporated into this course. Personal involvement with materials, process and concepts will be encouraged. All work is to be presented for class review and evaluation by the instructor.

Course Content:

A. Slides/Videos, lectures and demonstrations by instructor B. Individual and class review of work C. Art work presented for evaluation by instructor

Areas of Student Involvement:

A. Creative thinking and activity both in and out of the studio B. Communication of artistic intent C. Developing a vocabulary in art to be able to articulate visual ideas more fully D. Exhibition reviews which include group critiques of class work

Materials:

Students will be expected to purchase materials and supplies as required. The instructor will provide a list of these materials as needed for the following class. Students are expected to come to class with all of the necessary material for the current assigned project. A “bucket” filled with tools, materials and supplies required for this class is available in the Campus Bookstore. All students are expected to purchase and have those supplies available for studio work. Additional materials will be called for on a project to project basis.

Your studio fees are set by the department and cover expenditures such as hand tools, power tools, gases, plaster, files, wax and general studio maintenance.

Attendance:

Regular attendance is imperative. Demonstrations by the instructor will not be repeated. It will be the student’s responsibility to make up for any lack of information due to poor attendance by independent research or obtaining information from students who attend. There are no cuts allowed in this class. Students must attend every class unless some emergency or illness prevents attending. In this case, the instructor should be notified immediately. Students should arrive in class on time, in order that demonstrations or discussions will not be interrupted. Three late arrivals will be counted as one cut class.

Reviews:

Work will be evaluated on an on-going basis. Reviews will be scheduled for the completion of each project’s due date. At that time all projects are due at the beginning of the class and will be expected to be included in the class review. Students are required to discuss their work during reviews and to evaluate the work of others. Constructive criticism by the instructor and by fellow students is the nature of development by art students. All students are expected to respond in a receptive and positive manner. Such communication becomes an important tool for measuring progress and evaluating creative pursuits.

Journal/Image File:

Your instructor requires note-taking, sketches, photo images, etc. which become a useful resource and will be used to record and inform the creative process behind the work. A bound book-like journal is best suited to this and can become a useful and lasting document of importance when revisiting information and activities covered during the semester.

The journal should be available for review by facility during portfolio reviews. Media in the journal can be any of the following: pen, pencil, felt tip, photo images pasted, computer generated materials, etc.

Content may be anything which relates to your personal creative process and documents critical thinking being engaged and applied. Examples are notes taken in class, sketches, exercises, messages, poetry, design in all forms, reference to artists/designers and experimentation.

In addition to the journal, an image file should be kept along with all hand-outs of relevant printed material generated by the course. All projects should be photographed and images included in the file. Relevant information about the project’s date, intent, materials, size and process should be documented with each of the project’s image.

Both of these documents are to be submitted at the end of the semester and will be graded as equivalent to an assignment. There will be a grade combined for the two in the following manner: Acceptable – A, Substandard – C, Not Handed In – F.

OUT OF CLASS ACTIVITIES

Your instructor and the Art department are engaged in providing and informing students of experiences outside of course work, including field trips, exhibitions, presentations by visiting artists and performances. Off campus visitations to galleries, showrooms and museums are a requirement and responsibility for every student. Attendance is a demonstration of your level of commitment to the field. Your involvement in the activities should be documented in the course

22 file and/or journal in the form of notes, receipts, admission tickets or photo images as proof of attendance. Your involvement will be taken into account during grading of the journals/files.

Grading:

All projects will be assigned a due date. Work must be completed and prepared for evaluation at these times. Late projects will automatically receive a lower grade. Each project will be given a letter grade by the instructor and returned to the student the week following the due date.

GRADING POLICIES AND CRITERIA FOR ASSIGNED WORK

A Creatively conceived and flawlessly executed. 1. A challenging and engaging concept in every respect: a form that provokes intellectual or emotional interaction. Meaningful work. 2. Well crafted. Technique is “married” to concept or form. Surface, proportion, color and scale best representing the form. 3. Demonstrates careful consideration of all aspects of the assigned concept activity. Outstanding work.

A- All of the above with some aspect of the three criteria missing. Very excellent work.

B+ Demonstrates knowledge and grasp of skill. Applies engagement with and employment of, all aspects of assigned work. Goes beyond the obvious. Strives to be challenging to the student and the reviewer of the work.

B Above average work. Demonstrates work that achieves goals and objectives of the assigned activity. B- Above average work with some aspect of assigned activity not addressed. Often given to students not working to fullest potential.

C+ On the plus side of average effort and result.

C Average. The result of an average effort without the merit and challenge of creative thinking or the successful application of demonstrated processes related to work.

C- Below average

D+ Minimal effort

D Very minimum of effort

F Most likely, too many cuts, assignments missing, no attempt to resolve problems.

END OF ART 212 COURSE OUTLINE

ART 233 Painting I - Course Outline

DESCRIPTION:

This is a foundation painting course which will focus on fundamentals such as observation, composition, color theory and basic techniques in oil painting.

OBJECTIVES AND CONTENT:

Upon completion of this course the student should have a deeper understanding of painting as a fine art, be able to observe the world with a heightened level of perception, and be able to translate that perception with technical proficiency through the medium of oil painting. Fundamental principles and theories of painting will be learned and applied to the development of heightened creative capacities and pictorial problem-solving.

All work will be done through observation of nature, focusing on still life, landscape and the human figure. The student will learn to construct a painting using values, planes, spaces, compositional structures and color relationships. Questions of content or meaning will also be addressed. The instructor will present a variety of reference materials to enhance the student's understanding of art-history and the art-making process by studying the work of masters of painting, including Titian, Rembrandt, Corot, Cezanne, Bonnard, Matisse, Mondrian, de Kooning. Through these studies, the student will also develop the ability to verbally articulate theories and concepts of painting.

In addition to studio projects, participation in the Art Department Bus Trip, and attendance at all Departmental Visiting Artist lectures and gallery openings will be mandatory for this class. Students must make arrangements with their Liberal Arts classes to be excused for those events.

COURSE REQUIREMENTS:

There will be two (2) formal critiques, one at mid-term and one at the end, in which students will be expected to participate in a lively critical discussion of the finished work. Less formal critiques and discussions will take place in the studio throughout the term. At each formal critique, the student is required to present his/her (minimum) five (5) best paintings from that half-term

EVALUATION:

Grades are based on the quality of effort in completion of the assigned work, and on participation in class discussions and activities. Students will be evaluated on the basis of personal excellence and progress made from one project to the next. The final grade is determined by the average of the minimum10 required paintings (80%) and a grade given for class participation (20%).

All course requirements must be complete in order to pass the course.

ATTENDANCE:

Prompt attendance is mandatory. More than 3 absences will adversely affect one's grade, and missed work must be made up. Lateness by more than 10 minutes counts as 1/3 absence. Students without supplies may be marked absent.

If a student is going to miss several classes because of illness, a death in the family, or other serious reason, the student must take the responsibility to inform the department offering the course. If the absence involves several courses, the student is responsible for notifying each department involved.

PROJECT SCHEDULE:

1. Instructor demonstration, white still life

2. Still life 2, emphasis on color theory & composition

3. Still life 3, emphasis on rhythm and color

4. Still Life 4, emphasis on facture and negative space

5. Figure 1, instructor demonstration

6. Figure 2, reclining nude

7. Figure 3, draped figure in a still life

8. Landscape 1, instructor demonstration

9. Landscape 2, combining natural and architectural elements

10. Abstraction derived from landscape

This schedule is subject to change according to the progress of the class.

PRELIMINARY MATERIALS LIST:

- Oil paint (preferably Winton or Rowney 200ml tubes) Buy the following colors (or their equivalents) ONLY:

Cadmium Red Deep Hue Permanent Green Lt. Hue Cadmium Red Hue French Ultramarine Cadmium Orange Hue Titanium White Cadmium Yellow Light Hue Yellow Ochre Raw Umber

- Thinner--ONLY Turpenoid, Grumtine or Turpenoid Green

- Brushes--#16, 12, 8, 4 bright or flat + 2" for gesso

- Palette--Masonite, about 16 x 20"

- Palette knife (trowel shape, not straight)

- Gesso

- Coffee cans and old rags (not paper towels)

- Painting surface--your choice of the following:

* Pre-stretched canvas, any size * Raw canvas (#12 weight cotton duck) + ready-made stretcher bars (or make your own) + staple gun & gesso * Masonite or plywood panels, any size, primed with gesso

END OF ART 233 COURSE OUTLINE

E. Student Advisement

Marywood University Mission Statement A Catholic university sponsored by the Congregation of the Sisters, Servants of the Immaculate Heart of Mary, Marywood University roots itself in the principle of justice and a belief that education empowers people. Enacting its ideals, Marywood offers students a welcoming and supportive community that encourages men and women of all backgrounds to shape their lives as leaders in service to others. Proud of its liberal arts tradition and host of professional disciplines, Marywood challenges students to broaden their understanding of global issues and to make decisions based on spiritual, ethical, and religious values. Marywood calls upon students to seek their full potential and invites all to engage in a lifelong process of learning. Witnessing the efficacy of teaching and scholarship, Marywood educates students to live responsibly in a diverse and interdependent world.

Goals and Objectives

1. Provide a values based context for university experiences. • A majority of students will participate in service opportunities in an ongoing way. • Students will demonstrate an understanding of the ethical dimensions of their fields of study. • A majority of students will participate in spiritual development activities. • Employees will demonstrate core values in the work place.

2. Foster an awareness and appreciation of the pluralistic nature of contemporary society. • Graduates will choose to study or work in multicultural settings either at home or abroad. • Students will demonstrate a deeper appreciation for cultural diversity and an understanding of global issues. • Enrolled students will travel abroad during their college years. • Employee groups and governing bodies will reflect the pluralistic nature of contemporary society.

3. Provide a supportive and welcoming environment to a diverse academic community. • Students enrolled in any program will fulfill their academic goals by successfully completing their degree work. • An increasing number of racially and culturally diverse students and employees will choose Marywood as a welcoming community. • Students from a cross-section of socio-economic groups will enroll in each incoming class. • Campus constituencies will express satisfaction with all campus services.

4. Prepare people for socially responsible leadership roles. • Students will participate in an internship or practicum experience. • Students will demonstrate a significant level of co-curricular activities. • Students will experience positive interactions with faculty members outside of class. • Employees will serve as role models of socially responsible leaders.

5. Provide a challenging instructional program. • Students will demonstrate achievement of cognitive skills at a level comparable to peers on standardized tests. • Students will demonstrate the ability to think critically by engaging in research activities and by developing problem solving strategies. • Students will demonstrate the ability to integrate the liberal arts tradition with their professional specializations. • Students will demonstrate competence in both information literacy skills and communications skills. • Students will provide evidence of ongoing scholarly activity.

6. Inspire a sense of personal responsibility for responding to social justice issues. • Faculty, staff, and students will participate in projects designed to address social inequities. • Students will demonstrate knowledge of both national and international social justice issues. • Faculty, students, and staff will serve as advocates for justice in their personal and professional lives.

Foundation Advisement

Art students are assigned a faculty advisor according to their field of study. For some students, the advisement process begins in July during Summer Orientation prior to beginning of their first year studies.

Each semester students are required to schedule a meeting with their advisor to plan the required and elective classes to be scheduled for the next semester. After reviewing the proposed registration, the faculty will sign the student’s registration form, allowing the student to register online or in person according to the designated time period. If the student wishes to register for classes online, the advisor will have to release that student to do so.

It is incumbent upon students to complete, to the best of their ability, a proposed schedule of classes prior to meeting with the faculty advisor in order to facilitate the process and to encourage students to understand and take responsibility for their course requirements.

In order to do this properly, students should keep their own file containing the records needed to track their progress; this would include curriculum guides and program requirements (checklist) for their specific concentration and the liberal arts component. (Both are included in this guidebook)

Students’ most recent curriculum guide and schedule of course offerings for the upcoming semester are available through the Registrar’s office several weeks in advance of registration and should be picked up by students. Not doing this in a timely fashion or failing to schedule a meeting with your advisor can lead to complications that may result in you not getting the courses you must have or might elect to take. Most advisors post an advising sign-up sheet on their office door so make sure to reserve a time slot that fits your schedule.

F. Foundation Portfolio Evaluation and Forms

Requirements and Guidelines

A portfolio review is required of all foundation year students. It is scheduled for April in the 2nd floor lounge, Insalaco Center for Studio Arts. There will be signup sheets (near or in the main office) on the first floor of the SAC.

You are required to register for ART 322, 0 credits, (Foundations Portfolio Review) during the Fall semester for Spring classes. It is 0 credits.

You are expected to bring the following to your review: 1. Portfolio: Bring 2-3 examples from every studio course you have taken (or are currently taking) Foundation year. Be prepared to explain the purpose of each project and how you did or did not meet objectives. You should have a total list of works, the class in which you did them, and the purpose of the assignment or project. 2. Foundation Exhibit: During each course of Foundation Year and before the end of the semester you must choose one or two examples (with instructor’s approval) for possible inclusion in the Foundation Year Exhibit. This is held in the Kresge Gallery following the Foundation Review Instructors will provide you with Foundation exhibit labels that you complete. These include your Instructor’s approval signature. The labels are attached to the back of pre-approved work which is brought to the portfolio review and which are part of your two or three examples from each course. If you have taken five foundation courses you will bring a minimum of five pre-approved works. It is important to obtain the approved work and labels before the end of fall classes and in spring semester before the review in April. This assures your best work is represented and it facilitates selection and approval. Make sure to put your approved fall semester work in safekeeping for spring review. 3. Visual Journal: Bring all visual journals completed to date (see explanation of visual journal). 4. Activities Form: Bring a completed activities sheet (see form). 5. Questions: Come prepared to answer general questions as well as ones specific to your area (form will be distributed at the end of fall semester).

The purpose of this review is to provide students with feedback regarding their progress, area of emphasis, and future direction. It is intended to foster positive support and development.

All first year art students are required to register for Foundations Portfolio Review. Although the review is for 0 credit, it is not optional and must be successfully completed to satisfy first year requirements. Guidelines for the review are included in this section. After completion of the reviews, copies of your Foundations Portfolio Review Form and activity sheet will be forwarded to your advisor for filing and discussion, providing you with positive guidance.

Foundations Portfolio Review Checklist (To be completed by Faculty at review. Student will receive a carbon copy)

Student Name: ______Major: ______

The student brought the following required materials to his/her review. Content and presentation for each is considered: (O) Unsatisfactory, (1) Satisfactory, (2) Exceptional. Faculty comments are optional.

Portfolio ~ 2-3 examples from every studio class taken Foundation Year (0) Comments: (1) (2) Typed List ~ (including copy for faculty records) of portfolio content with (0) project name and class. (1) Comments: (2) Visual Journal(s) (0) Comments: (1) (2) Activity Sheet (0) Comments: (1) (2) Foundation Exhibit submission(s) one or two pre-selected and approved works (0) from each Foundation course taken, including labels and presentation ready. (1) Comments: (2) List completed by Faculty member:

______Signature

MARYWOOD UNIVERSITY DEPARTMENT OF ART

FOUNDATION YEAR ACTIVITY SHEET

SPRING 2017 NAME: ______

THIS FORM SHOULD BE FILLED OUT IN ADVANCE OF THE FOUNDATION PORTFOLIO REVIEW AND SHOULD BE PRESENTED WITH OTHER REQUIRED MATERIALS. THE FORM SHOULD INDICATE A STUDENTS INVOLVEMENT IN LEARNING EXPERIENCES OUTSIDE USUAL CLASSROOM OR STUDIO ASSIGNMENTS, PROJECTS, AND REQUIREMENTS.

THE FOLLOWING SHOULD INCLUDE ACTIVITIES OR EXPERIENCES INDICATING SELF DIRECTED INVOLVEMENT IN YOUR STUDIES: ART GALLERY OPENING(S), BUS TRIP(S), WORKSHOP(S), DEMONSTRATION(S), USING MARYWOOD’S LRC RESOURCES OR COMMUNITY LIBRARIES, ON-LINE RESOURCES, SCRANTON FIRST FRIDAY EVENTS, AND ANY OTHER ACTIVITY YOU FEEL IS APPROPRIATE. BE SPECIFIC WHEN YOU LIST ACTIVITIES AND USE THE BACK IF NECESSARY. ALSO, BRING A COPY OF THIS FORM TO YOUR REVIEW FOR FACULTY FILES.

FALL 2016 EVENT LEARNING BENEFIT

SPRING 2017

G. Bus Trips/Field Trips

Twice a year one-day bus trips are available to all art students to visit museums and galleries in New York and Philadelphia. All art students, and especially first year students, are encouraged to participate in these opportunities in order to further your study and involvement.

Sign up and payments for both the fall and spring trips can be done in SAC 119 via Mr. Patrick Cowley, Administrative Assistant.

In addition to these major bus trips, many class trips in ceramics, sculpture, graphic design, and other disciplines are often scheduled by instructors in those areas. Class trips are sometimes available to non-class members and are announced in advance by instructors.

It is important that you participate in these opportunities. Your teachers try to anticipate these trips in their scheduling and typically consider your being on a bus trip as an excused absence. Make sure you know what their policy is.

When you visit museums, galleries, artist’s studios, outdoor sculpture parks, and other relevant sites you broaden your exposure and interest in art. These experiences will enrich your classroom study as well.

Make sure you document these kinds of activities in your activities sheet and in your visual journal. This will record your level of involvement and it indicates your taking responsibility in your studies.

H. Visual Journal

The visual journal is a personal creative book that enables the artist/student to personalize and document his/her discovery, development, and educational journey.

The journal can take many forms and properly made will reflect the personality, interests, and thinking of the student artists. The entries can be varied, ranging from sketches and rough ideas to more complete and composed pages, incorporating musings, reminders, reflections, notations, and questions – whatever the student finds worth including. The journal can range from simple and spontaneous to complex and thoughtful. Your pictures, sketches, composition, and written entries should all reflect what you are personally about, what is getting your attention, and in what ways you have independently researched and discovered on your own as a result of your studies in and out of class. For instance, if you see the work of an artist in a drawing or design class that interests you, try to learn more about that artist or painting. How is that pursuit of additional knowledge reflected in your journal in the designing or planning of your work in progress?

Need some ideas? There are plenty. Go to Google, type in visual journal, and here are a few examples of what comes up: visual journal ideas, visual chronicles, keep a visual journal, make a visual journal, and many more. You should also see related topics: visual journal prompts, visual studio journal, visual diary, visual blog, and more.

Here are a few of the many books available on the subject: Amazon.com will offer many of them at used book prices, some for under $10.00 including shipping. Check them out online.

The Creative Journal: The Art of Finding Yourself by Lucia Capacchione Visual Journaling: Going Deeper Than Words by Barbara Ganim A Life in Hand, Creating the Illuminated Journal by Hannah Hinchman Artists Journals and Sketchbooks, Exploring and Creating Personal Pages by Lynne Parella. Another Site: Google: Keeping an Art Journal www.kporterfield.com/journal/illuminations.html Includes 14 recommended books for Visual Journaling.

I. Opportunities, Clubs, Societies, and Organizations

There are many opportunities for art students to become active and enrich their study at Marywood. Special features include the following:

Art Study Abroad Because success in the field of visual art depends not only on technical expertise, but on breadth of experience and depth of insight, the Marywood Department of Art encourages all students to experience first-hand the global nature of our cultural tradition. Through a variety of options, students may study for a semester, a summer session, or a shorter study tour in Italy, France, Ireland, Scotland, or Australia. The centerpiece of our study abroad program is Marywood’s Italian Campus for outstanding art students at Studio Art Centers International (SACI) in the heart of Florence, Italy. Through the Marywood/SACI Program, students may apply to study in Florence for a semester or a summer session and may choose from a full curriculum of offerings. This program also includes organized field trips to many important locations throughout Italy. All courses are taught in English, and the program is geared toward an easy assimilation of Italian culture.

Visiting Artists Program Throughout the year, the Visiting Artists Program enables the art student and the Marywood community to participate with numerous guest artists in their creative processes by lecture/demonstrations and exhibits. In the past, Marywood has been visited by many artists and craft-persons, including fabric artists, wood workers, metalsmiths, sculptors, painters, photographers, potters, graphic designers, illustrators, and others.

Art Galleries Located in the Visual Arts Center, the Marywood University Art Galleries provide the Marywood community and northeastern Pennsylvania with noteworthy cultural events. All exhibitions, receptions, and accompanying events are free of charge and open to the public. Handicapped accessible, both galleries have weekday, evening, and weekend hours.

Mahady Gallery Throughout the year, the Mahady Gallery offers a varied program of group and solo shows by visiting artists, juried regional competitions, Marywood art faculty, and curated national exhibits. The gallery also presents graduate and undergraduate group exhibits in fulfillment of degree requirements. Featured exhibitions are accompanied by artist’s slide lectures, gallery talks, workshops, or demonstrations.

Suraci Gallery The Suraci Gallery maintains Marywood’s permanent collection of fine and decorative arts. The Asian Collection consists of paintings, furniture, ivories, tapestries, and ceramics. Bronze and 33 marble sculpture, furniture, and paintings make up the Nineteenth Century Collection. In addition, European ceramics, glass, and other decorative arts are displayed. Feature exhibitions, highlighted throughout the year, showcase regional artists, selections from the permanent collection, and recent work by the art faculty.

The Maslow Collection Study Gallery for Contemporary Art The Maslow Collection focuses on contemporary art, primarily American, with an emphasis on major prints by the most recognized and important American artists of the 60s and 70s, as well as works by emerging painters and sculptors who were exhibiting in New York art galleries during the 80s and 90s. The Maslow Collection is housed at Marywood University in the Shields Center for Visual Arts where it is utilized as a learning laboratory, providing fieldwork experiences, internships, and opportunities in curatorial and exhibition studies for Marywood students through the Arts Administration program. The collection also enables faculty in art history and studio arts to request individual works or two week selected exhibitions for presentation and student discussion in the Maslow Study Gallery for Contemporary Art. At Marywood, The Maslow Collection continues to be a major resource to the larger community, loaning works to regional and national exhibitions, as well as being available for professional research and study.

Fieldwork Experience Fieldwork experience gives the student firsthand knowledge of job opportunities, equipment, and skills necessary to be creative and productive in the professional world. Art Education students complete a pre-professional phase of observation of grades K-12 for 100 hours, prior to their experience in student teaching. For certification, each Art Education major is assigned as a student teacher for one semester (12 credits), usually in two placements representative of the content and levels of the certification involved. Bachelor of Fine Arts in Design majors with emphasis in Graphic Design, Photography, and Interior Architecture/Design must earn at least three credits of professional fieldwork experience. The Bachelor of Fine Arts in Studio Art offers the option of fieldwork with artists and organizations pertinent to future pursuits. Typically, students are placed in studios representative of the content of the major professional area: printing, graphics, or photographic studios; newspapers; graphic design companies; interior design studios, departments, and companies; museums; and architectural firms. The Bachelor of Arts Program in Arts Administration provides professional training and fieldwork experience for those who have an appreciation for the arts and an aptitude for management. BA Art Therapy students participate in a 90-hour internship that exposes students to the use of art in service to others.

In addition, among the clubs and organizations available for involvement and activities are the following:

 Kappa Pi International Art Honor Society, Zeta Omicron Chapter The Zeta Omicron chapter of Kappa Pi International Art Honor Society is a service organization for art majors, sophomores & up who have at least a 3.0 overall GPA and a 3.5 in their major. Zeta Omicron helps our members get involved in the local art community. The group also sponsors several art-related community service projects each year, and offers scholarships and publication opportunities.  MUSATA (Marywood University Student Art Therapy Association) is composed of art therapy students (graduate and undergraduate), and art therapy professors. The purpose of the club is to promote continued learning regarding the use of art as a healing mechanism within personal and professional settings, along with developing the students as art therapists. Our goal is to promote art therapy as a means to restore, maintain, and improve the mental and physical health of all individuals.

 National Art Education Association (NAEA): This organization is dedicated to giving students greater insight and perspective on teaching methods and contemporary concepts of art education. They sponsor service projects include speakers, symposia, and exhibitions. Membership is open to all art students and faculty.  The Wood Word: The Wood Word is Marywood's monthly student newspaper. It is edited and written by students throughout the University and features articles on Marywood news, sports, community entertainment, plus other features of interest to the Marywood students, staff and faculty.  The Bayleaf: Marywood’s journal of literature and art spotlights the work of student writers and artists. The Bayleaf is published in the fall and spring semesters and is a co- curricular activity of the English Department and Art Department.  The CMYKlub at Marywood University aims at providing students with a place to share ideas on artistic design in a modern world. The club works collectively to expand knowledge in realms of color, shape, line, composition, typography, photo manipulation, advertisement, and other various areas of design. The club also prepares students for entry-level work and aids them in portfolio layouts, social networking, gallery work, clientele and other company related agencies.  Photography Club: The purpose of this organization is to organize students and other individuals to promote an open dialogue about photography; promote shows, field trips and other activities.  The Drawing Board is a club made by art students for art students. The primary purpose of this club is to provide learning opportunities outside of class and to unite the students within the majors allowing for the co-mingling of upperclassmen and underclassmen in an environment where ideas, concepts, techniques, and opinions can be shared without harsh judgment.  Marywood Players: Through the Marywood Players, students have opportunities to go before the footlights and behind the scenes in faculty-directed major productions, as well as student-directed workshops and productions. Any and all aspects of theater production are explored to encourage and foster an active interest in the performing arts.

Participation in the above clubs, organizations, and opportunities can be meaningful ways to supplement your experiences and studies at Marywood. Evidence of your involvement indicates a willingness and effort to enrich your knowledge and skills in your discipline of art and should rightfully be reflected in your activities sheet and, finally, in the necessary resume and records that will be needed for seeking employment and being better prepared for your profession and/or advanced study. For other information visit the Marywood University Center for Student Activities and Leadership Development.

J. Foundation Display Area

On the 3rd floor of the SAC (Insalaco Studio Art Center), there are panels in the hallway reserved for the display of foundations year classes. The display changes every two to three weeks during the semester and highlights student work being made in Basic Drawing, Drawing I, 2-D Design and Color, and Painting I. Also displayed in the hallway near the panels is 3-D work, again representing the various sections of 3-D Design in session.

The instructors of foundations classes meet and select work that represents good examples of projects in terms of quality and expectations as stated in course syllabi.

The work allows students the opportunity to see what is being produced in other classes and can serve as a learning experience by viewing appropriate and commendable examples. We urge you to look for your work on display– and that of your classmates–as the semester progresses.

K. NEWS AND ONLINE ACTIVITIES

Connect with us on social media to stay informed about department activities.

Where Creativity Works Blog: https://wherecreativityworks.wordpress.com/ Facebook: http://www.facebook.com/MarywoodUniversityArtDepartment Twitter: https://twitter.com/MarywoodArt Tumblr: http://marywoodartdept.tumblr.com/

You’ll also find news and information about upcoming artist talks and opening receptions on our Department News& Events page at http://marywood.edu/art/news-events/

L. VISITING ARTIST AND FOUNDATION SEMINAR

This academic year marks the third consecutive time for a year-long visiting artist position dedicated to foundation studies and activities. In addition to teaching foundation studio classes, the visiting artist is responsible for leading foundation seminar. Foundation seminar meets for three times per semester for approximately one hour to promote exposure to professional development and expectations, achieved through guest lecturers and an ongoing final project that is due toward the end of the first year. Foundation seminar is considered part of Foundation portfolio review that is required of all foundation students in spring semester.

Addendum K: Weekly Schedule Planner

Addendum 2A: Map of Art Buildings

Addendum 3 – Campus Map

Addendum 4 – Terms/Artist Study Guide

Foundation year

Terms/Movements/Artists Study Guide

The following terms (some may be duplicates) are intended to supplement those studied in foundation courses. Research of this material should be reflected in your visual journal activity (see visual journal).

1. Be prepared to define/explain the following terms in a few sentences, including examples.

Form Space Content Perspective Subject Chiaroscuro Abstract art Primary and secondary colors Representational art Elements and principles of design Non-objective art Format Picture plane Medium Composition Aesthetic Shape Plasticity

2. Describe the following art movement, date it as early, middle, or late 19th or 20th century, and name two important artists associated with the movement. Make sure to include women artists. Be able to briefly describe the work of the two artists you associate with art movements.

Cubism Romanticism Fauvism Postmodernism Surrealism Conceptualism Dada Expressionism Abstract expressionism Pop art Impressionism Minimalism Postimpressionism Earthworks Realism Installation Art Neoclassicism Op Art

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