|5/29/2023 9:04:47 AM||
|Discipline and Nbr:
INTRO ART & DESIGN||
Introduction to Art & Design
|Units||Course Hours per Week|| ||Nbr of Weeks||Course Hours Total
|Maximum||3.00||Lecture Scheduled||2.00||17.5 max.||Lecture Scheduled||35.00
|Minimum||1.50||Lab Scheduled||4.00||2 min.||Lab Scheduled||70.00
| ||Contact DHR||0|| ||Contact DHR||0
| ||Contact Total||6.00|| ||Contact Total||105.00
| ||Non-contact DHR||0|| ||Non-contact DHR Total||0
Title 5 Category:
AA Degree Applicable
Grade or P/NP
03 - May Be Taken for a Total of 3 Units
Also Listed As:
| ||Total Out of Class Hours: 70.00||Total Student Learning Hours: 175.00||
An introductory studio course in the fundamentals of art and design using shape, value, texture, line, pattern, color and space through exercises in drawing, painting, and collage. The course is required for the Fine Arts Certificate and is accepted for transfer at both the UC and CSU systems.
Limits on Enrollment:
Schedule of Classes Information
An introductory studio course in the fundamentals of art and design using shape, value, texture, line, pattern, color and space through exercises in drawing, painting, and collage. Course is required for the Fine Arts Certificate.
(Grade or P/NP)
Limits on Enrollment:
Repeatability:03 - May Be Taken for a Total of 3 Units
ARTICULATION, MAJOR, and CERTIFICATION INFORMATION
Certificate Applicable Course
Outcomes and Objectives:
At the conclusion of this course, the student should be able to:
|Associate Degree:||Effective:||Fall 1981||Inactive:||
|CSU GE:||Transfer Area|| ||Effective:||Inactive:
| ||C1||Arts||Fall 1990||
|IGETC:||Transfer Area|| ||Effective:||Inactive:
| ||3A||Arts||Fall 1981||
|CSU Transfer:||Transferable||Effective:||Fall 1981||Inactive:||
|UC Transfer:||Transferable||Effective:||Fall 1981||Inactive:||
| CID Descriptor: ARTS 100|| 2-D Foundations|| SRJC Equivalent Course(s): ART3
The student will be able to:
1. Develop perception and awareness of visual elements such as line,
shape, value, texture, color, volume and space.
2. Develop perception and awareness of visual composition and ways of
organizing the visual elements such as symmetrical balance (bilateral,
radial, repeat pattern), approximate symmetry and asymmetrical balance.
3. Develop perception and awareness of design concepts and the dynamics
of contrast such as positive/negative shape, unity/variety, harmony/
tension, simple/complex, static/active, structured/unstructured, organic/
4. Develop perception and awareness of visual relationships such as hue,
value, saturation, proportion, scale, weight, surface.
5. Become familiar with and able to describe visual composition both
verbally and in writing using vocabulary of terms pertaining specifically
to art and design.
6. Develop hand skills necessary for basic mastery of various artist's
tools and media, dry and fluid, cut and assembled.
7. Develop and exercise ability to perform basic measuring, scaling, and
positioning necessary to organize the two-dimensional picture plane.
8. Exercise ability to make critical aesthetic judgments through class
9. Cultivate an understanding of the creative process which includes
both the development of disciplined work habits and the practice of hand
skills, as well as risk-taking and experimentation, and the exploitation
of various aspects of the dynamic process involved.
10. Examine and analyze examples of fine art and applied design,
historical and contemporary, within a global context.
11. Define health and safety issues that could arise from the use of
artist's materials. Train students to use spray fixatives, pigments,
adhesives and other art materials safely.
Describe the values, themes, methods, and history of the discipline and
identify realistic career objectives related to a course of study in the
Perform research specific to the discipline and use appropriate citation
style, if different than MLA.
Topics and Scope
The primary intent of Art 3 is visual literacy and performance using a
wide range of specific media in a studio setting. This includes:
1. The ability to recognize the basic elements of visual art and design
(figure/ground, shape, line, color, value, texture, pattern, volume and
2. The ability to make aesthetic decisions and judgments about these
elements in development of visual composition.
3. The ability to perform specific techniques to demonstrate these
elements (use pencil gradients to create tonal values within clear
structures, use paint and brush to lay down even areas of flat color, for
modeling effects, and to develop painterly surfaces; use pen and ink to
create stipple marks or hatching to correspond to specific value ranges;
mix pigments to produce a color wheel, value scale and tints, shades and
tones; use brush and ink to make expressive marks and ink washes as well
as drawings derived from still life set ups, landscapes and/or portraits;
use cut and pasted papers to create collages.)
4. The ability to recognize relational aspects of composition: figure
vs. ground, positive vs. negative, the two-dimensional illusion, the
interplay of visual weights and forces.
5. The ability to intelligently use and care for the tools of Art 3
(pencils, brushes, pens and nibs, x-acto knife, scissors, inks, paints,
glues and adhesives, contÅ crayons, charcoal, various art papers).
The scope and sequence of the course will be presented as follows:
1. Through lectures concerning the concepts, elements and historical
precedents of art and design.
2. Through lecture/demonstrations of the proper use of materials and
3. Through student practice and demonstration of compositional,
expressive and technical concepts.
4. Through evaluative one-on-one discussions with individual students.
5. Through group critique discussions and presentations of in-class
and homework visual compositions.
Specific areas of study within Art 3 include:
1. Composition: Understand the nature of two-dimensional composition
and the concept of visual balance. Analyze various types of symmetry
(bilateral, radial, field) and asymmetry to develop studies explaining
2. Shape: Recognize the essential relationship between positive and
negative shapes. Explore the dynamic interchange between positive and
negative shapes within a composition and reverse their roles. Classify
shapes into categories such as organic, geometric.
3. Value: Employ tonal contrasts and gradients to develop volume, depth,
drama and movement.
4. Color: Understand the basic properties of color: hue, value, and
saturation. Mix colored pigments to accurately diagram the 12 hue color
wheel, 7 step value scale, and other studies explaining tint, shade and
tone. Study harmonic color relationships such a monochromatic, triadic,
analogous, complementary, Analyze concepts of warm and cool, and spatial
cues like advancing/receding and aerial perspective. Explore emotional,
expressive and symbolic aspects of color.
5. Pattern: Understand the nature of repeat pattern design. Develop an
allover pattern by repeating a bsic unit. Discover variations produced
from the same or slightly altered starting unit. Understand the impor-
tance of placement, reflection, orientation, and their impact on the
6. Texture: Use textural contrasts to describe surfaces and to enrich
or give visual weight to visual compositions. Understand the difference
between actual and implied texture. Find textures in nature and the
man-made world, and manufacture textures to use in visual compositions.
7. Line: Explore various aspects of line through descriptive contour,
the expressive gesture, and controlled mark-making. Analyze the role of
tool, media, surface and attitude in the quality of line.
8. Abstraction: Explore pure, formal aspects of design. Introduce the
concept of abstraction through various means: extreme simplification of
the elements such as form or value, expressive, spontaneous, or impro-
vised use of materials, 20th century precedents in the visual arts.
9. Content: Recognize other-than aesthetic aspects of visual art such
as metaphor, symbol, narrative, etc.
10. Process: Balance the deliberate and planned with the accidental and
Orientation to the values, themes, methods, and history of the discipline
and identification of realistic career objectives related to a course of
study in the major.
Introduction to discipline-specific research tools, including seminal
books, important periodicals, major indexing sources, professional or
trade organizations, standard reference tools, discipline specific tools,
and major web sites.
May include the following:
1. Value contrast compositions exploring the extremes of light and dark,
positive and negative.
2. Gradient compositions exploring even sequencing of values from light
3. Texture compositions using found and manufactured textures as the
4. Pattern exercises exploring programmed and variable repeats.
5. Color problems dealing with mixing and painting skills: optical
color mixing; spatial characteristics, transparency; relativity and
interaction; emotive, evocative qualities; sensory, associative, symbolic
aspects; contrasts (hue, temperature, value, complementary, analogous,
triads, etc. ); tints, shades, tones.
6. Line study exercises which explore descriptive contour drawing,
expressive gesture, and formal arrangements.
7. Exercises emphasizing direction and movement as dynamic/physical
8. Compositions relating the above design elements to the visual
environment through drawing, painting and collage.
9. Compositions investigating various spatial effects such as size and
value contrasts, placement within the picture field, orthagonals, aerial
perspective and other devices.
10. Drawings of natural and man-made objects to study shape, texture,
light and shadow, singly and in combination.
11. Tone and color used to create allusions to effects of luminosity,
dusk, night, mist, the seasons.
12. Expand upon art reproductions to explore formal and stylistic
characteristics of the work.
13. Use theme of an imagined space, such as a garden, as a means to
employ symbol, abstraction and personal expression.
14. A design problem to be achieved in drawing and/or painting dealing
with specific criteria such as a clock face, stamp, label or poster.
15. A project based upon a well known artist's work or the concepts
underlying one of the important art movements or styles such as
Pointillism, Cubism, De Stijl, Dada.
16. A project related to the geometric abstraction and patterns found
in world textiles such as American quilts, Native American weavings,
African, Guatamalan and Indian fabric and printed cloth.
17. A study exploring bilateral symmetry to create an anthropomorphic
18. A sketchbook for specific homework assignments and self directed
studies related to class work.
19. An exploration of planar dynamics in a low-relief format,
investigating spatial relations, composition, light and shadow and color
and textural contrasts.
20. An introduction to three-dimensional considerations through the use
of simple materials such as cardboard, wood, wire, etc.
Methods of Evaluation/Basis of Grade.
Representative Textbooks and Materials:
|Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.||Writing
0 - 0%
|This is a degree applicable course but assessment tools based on writing are not included because problem solving assessments and skill demonstrations are more appropriate for this course.
|Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.||Problem Solving
40 - 60%
|Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.||Skill Demonstrations
10 - 30%
|Class performances, Portfolio||
|Exams: All forms of formal testing, other than skill performance exams.||Exams
0 - 0%
|Other: Includes any assessment tools that do not logically fit into the above categories.||Other Category
10 - 30%
|A portfolio of completed class and outside assignments. Other factors: attendance, attentiveness, attitude, effort, class participation, growth.||
Design Principles and Problems, Zelanski and Fisher, Hartcourt Brace
College Publishers, 2nd edition, 1996
Art Speak, A Guide to contemporary Ideas, Movements, and Buzzwords,
Atkins, Abbeville Press, 1st edition, 1990