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School of The Art Institute of Chicago/First Year Program |
This 2D Studio will dedicate time to exploring the potential of the classroom/studio, the resources of the Museum and the context of the city as laboratory, library and inspiration respectively. Each student will come to this class with certain "Intelligences", "Abilities" and "Interests"; this studio class will acknowledge these individual directions and work to develop each artist's level of consciousness for their work as well as introducing and stimulating new ideas and directions.
EXPLORATION, PRACTICE, REFLECTION AND COMMUNICATION
Five distinct projects will present opportunities for the exploration of varied media. Critical research to develop and support conceptual ideas will be key to each of these projects. In-turn, informed, hands-on practical exploration of familiar and unfamiliar materials and methods will expose students to opportunities for representation of their ideas. Regular lectures will punctuate the studio, along with site visits to the Art Institute and other sites within the city. These visits and interactions will be to specific stimuli providing students with materials and events appropriate to the specific project. Each project will culminate in an informal exhibit and the publication of a class-size edition of work to elevate the critique to an interactive, educative event at which critical evaluation can take place amongst peers.
Ongoing research will be formatted in both written notebooks and sketchbooks that will be required as part of the informal critique process and integrated into the exhibit that punctuates the transition and overlap from one project to the next.
PROJECT 1 (SEPTEMBER
3-24)
COMMUNICATING IN AN ENVIRONMENT
ALPHABET:
Exploring line, shadow, proportion, weight, composition, balance,
and repetition.
In the tradition of Roman stonemasons, students will follow disciplined
drawing exercises culminating in the creation of a hand-drawn,
rendered Trajan alphabet.
Through drawing, photography and collage, investigations and documentation of environmental lettering will be made, along with analysis of their effectiveness as both objects of communication or legibility and as designed objects.
A composition of selected hand-drawn Trajan letters will take place alongside a collage of "found" letters. Each student will then devise a series of letters from an alphabet of their choosing or creation. The letter series may not be a word or message, though a conceptual idea should be represented through their depiction. Research into form, typography and precedent will accompany the drafting and/or painting of this alphabet and its 2D representation. The final exhibit will be made in postcard format.
PROJECT 2 (SEPTEMBER
24-OCTOBER 8)
REPRESENTING A MEMORY
A PLACE OF REVERIE:
Selecting a place of childhood reverie, students will explore different media to depict a space or event, and to narrate their story. Color will be introduced to emphasize the mood and memory. Explorations and studies using the psychological use of color and how it affects the impression of the work will be made.
The final project will be an abstract representation of the place of reverie, accompanied by a written description of that place. The final exhibit will be made in electronic format and distributed on interactive CD ROM.
PROJECT 3 (OCTOBER 8-NOVEMBER 5)
COMMUNICATING SPACE
BOX CITY:
Exploring and seeing form, space and depth, students will study perspective using a still life of boxes and cylinders in a grided space. Further analysis of the still life and the creation of accurate linear perspective drawings and grids will be made.
Utilizing student created grids, drawings of the city will be made and the depiction of space, form and depth exploited. In the final project students will create both orthogonal and perspective projections of the city, abstracting the form of buildings and space as elements of a still life.
The final exhibit will be a combination of drawings, two-dimensional cutout models, QuickTime VR models and "joined" photographs. The exhibit will be panoramic and will position the visitor to view optimum and designed perspectives and illusions.
PROJECT 4 (NOVEMBER 5-19)
PATTERN MAKING
SURFACE STATEMENTS:
Reviewing the projects to date, students will select and analyze
composition, rythmn, harmony, balance, symmetry, pattern and repetition
in both their own work and that which has informed it.
Taking their analysis and observations, will develop patterns
to apply to wrapping and wall papers.
The final project will be a print or painting of their pattern
module, plus explorations of how the pattern could be applied
to different surfaces and planes and different scales.
The exhibit will be a small installation of the each pattern's
potential.
Each student will write a proposal for an outdoor, public two dimensional urban art project in the environs of SAIC and downtown Chicago (suggestions ranging from stamp art to mural-scaled work and projections).
Comprehensive documentation of the proposal, complete with studies and mock-ups will be made. Students will present their proposals in seminar format, to include readings, a written paper and an appropriate bibliography.
The significance of art in everyday places will be stressed and the opportunity and responsibility to create art in the environment as an expectation rather than as an exception. A checklist of 2D "concepts" will be provided to each student. Addressing each of these concepts and reviewing these with faculty will be an important aspect of this self designed project.
EXPECTED READINGS:
Links to Amazon.com highlighted:
The following book is mandatory and should be purchased by
all students:
John Berger, Ways of Seeing. Viking Press, London
reprinted 1995.
The following are strongly recommended:
Richard J. Light, Making the Most of College. Harvard
University Press, Cambridge 2001. (this is an excellent book to
recommend to your parents).
Douglas Cooper, Drawing and Perceiving. John Wiley,
New York 1992.
Extracts from the following will be presented in class:
Howard Gardner, Frames of Mind. Basic Books, New York 1983
(selected readings)
Others to be announced.
NOTES & GENERAL INFORMATION
CLASS FORMAT
Regular handouts will explain all requirements for individual projects. Please take time to read and understand all instructional and informational materials; if something isn't clear, please talk to me about it either in person, by voice (312 335 1317), fax (312 335 1346) or preferably via e mail (peter@architectureisfun.com). Class notes and assignments will be posted on the internet. (www.architectureisfun.com) Refer to these first.
There will be some flexibility in the schedule; often unforeseen opportunities to visit exhibits, offices or lectures will be incorporated into the class format. Most of our time will be spent working together in studio, participating in informal (and a couple of formal) lectures, desk crits and pin-up crits, and making field trips around our neighborhood.
PARTICIPATION
Successful participation in the FYP 2D studio is dependent upon regular attendance to class. Class begins at 9:00am and concludes at 4:00pm. There will be a one-hour break for lunch - usually between 12:00 and 1:00pm. There will be a sign up sheet available between 9:00 and 9:15am; students not in attendance will be considered absent. Any student absent more than two times during the semester risks a failing grade for the class. I suggest discussing any anticipated absences prior to their occurrence. Students should be ready to start class at the beginning of the day and after lunchtime - class time should not be used for running errands to art supply stores or bookstores - that's inefficient use of students' and faculty valuable and precious time. If you have any questions about your commitment to this class as a student or my expectations, please don't hesitate to talk to me about it.
CRITS
Student work is discussed collectively in a crit. Students are expected to attend and participate in the crit dialogue for the entire class - not just their own presentation. Failure to attend any crit (see syllabus schedule) will count as an absence.
This is a fun and rewarding class; we cover a lot of ground and explore a variety of media and approaches to two dimensional space. We'll spend a lot of time in the studio and exploring the rich urban environment in our Loop neighborhood.
All questions should be addressed in class time to the instructor, or via e mail (peter@architectureisfun.com). The class web site will be updated during the semester - students wishing to have their work considered for posting to the web site should submit digital media (max. 50k. jpeg files preferred) via disc or e mail.
MATERIALS
To be discussed in class, in association with each individual
project.
Currently the best art supply store in town seems to be The
Art Store at 1574 N. Kingsbury (312 573 0110) - just south
of North Avenue (the 72 bus gets you very close). Also, Pearl
Art & Craft Supply, 225 West Chicago (312 915 0200) -
take the Ravenswood El to the Chicago stop, Pearl is right there
underneath the train on the south side of the street. Across the
street is Paper Source, a great store for exotic papers.
Also, the assorted locations of Utrecht (in School and
elsewhere). Ask about student discounts before you pay, and make
sure you have your ID with you.
Plan on purchasing all supplies outside of designated class
time; i.e. in advance, if you know about it.
If specific brand names are specified, please try and use those.
Typically, with cheap materials and supplies you get what you
pay for; ask instructor for advice.
SKETCH BOOKS:
Small pocket sketch book for visual journal. Hard, spiral bound,
at least 100 pages. Approx. 8"x6".
Large spiral bound sketch pad (minimum 11"x17").
My current preference is "Multi-Drawing Book No. 33YT-1"
available from Pearl - about 30 pages, spiral bound 7.5"x5.75"
A sketch book/journal is an essential tool for all artists and designers for recording ideas, thoughts, inspirations, making observations and for working things out. Carry your small sketch book with you always and use it at every opportunity to doodle ideas. A couple of times during the semester, we'll have informal class crits of sketch books.
Love and take care of your sketchbook.
SOME KEY DATES:
August 29, 2002 Semester Begins
September 3, 2002 First day of FYP/2D
October 22, 2002 Midterm Evaluation (Individual meeting with faculty)
October 29, 2002 Crit Week There is class for FYP studios
December 10, 2002 Final class for FYP/2D
December 16, 2002 Semester Ends
