SRJC Course Outlines

3/25/2023 1:30:49 AMART 7B Course Outline as of Fall 2006

Changed Course

Discipline and Nbr:  ART 7BTitle:  DRAWING & COMP II  
Full Title:  Drawing & Composition 2
Last Reviewed:3/14/2022

UnitsCourse Hours per Week Nbr of WeeksCourse Hours Total
Maximum3.00Lecture Scheduled2.0017.5 max.Lecture Scheduled35.00
Minimum3.00Lab Scheduled4.006 min.Lab Scheduled70.00
 Contact DHR0 Contact DHR0
 Contact Total6.00 Contact Total105.00
 Non-contact DHR0 Non-contact DHR Total0

 Total Out of Class Hours:  70.00Total Student Learning Hours: 175.00 

Title 5 Category:  AA Degree Applicable
Grading:  Grade or P/NP
Repeatability:  08 - May Be Taken for a Total of 6 Units
Also Listed As: 

Catalog Description:
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To pursue at greater depth those aspects of drawing offered in Art 7A and to introduce additional concepts and a greater variety and combination of media and tools.  May involve concentration on a theme, subject or problem.  Work sessions in specific areas off campus.

Course Completion of ART 7A

Recommended Preparation:

Limits on Enrollment:

Schedule of Classes Information
Description: Untitled document
To pursue at greater depth those aspects of drawing offered in Art 7A & to introduce additional concepts & a greater variety & combination of media & tools.
(Grade or P/NP)

Prerequisites:Course Completion of ART 7A
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:08 - May Be Taken for a Total of 6 Units


Associate Degree:Effective:Inactive:
CSU GE:Transfer Area Effective:Inactive:
IGETC:Transfer Area Effective:Inactive:
CSU Transfer:TransferableEffective:Fall 1981Inactive:
UC Transfer:TransferableEffective:Fall 1981Inactive:
 CID Descriptor: ARTS 205 Intermediate Drawing SRJC Equivalent Course(s): ART7B

Certificate/Major Applicable: Certificate Applicable Course


Outcomes and Objectives:
At the conclusion of this course, the student should be able to:
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1.  Reinforce perceptual awareness of visual elements and compositional
2.  Develop in greater depth, concepts covered in Art 7A: line, volume,
   light, tonal and textural contrasts, and space.
3.  Employ a greater variety of graphic media, tools, and surfaces.
4.  Develop confidence in using this greater range of media and tools
   appropriately, flexible, and imaginatively.
5.  Cultivate independence and ability to critically analyze and judge
   one's own work and the work of others.
6.  Investigate the non-objective: the unconscious, the gestural, the
   spontaneous, the improvisational.
7.  Explore the realm of an invented, fanciful world.
8.  Involve a more personal approach, a greater self-expression.
9.  Define health and safety issues that could arise from the use of
graphic arts materials.  Properly use spray fixatives, inks and other
drawing materials safely.

Topics and Scope
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The primary intent of Art 7B is visual literacy and performance using
specific media in a studio setting. This includes:
1.  The ability to reinforce the basic elements of drawing:  value,
texture, the plane, volume, space.
2. The ability to make aesthetic decisions and judgments about these
elements in drawing.
3.  The ability to exercise drawing skills to apply these insights,
using line, tonal and textural contrasts, differentiations of sizes,
sharpness, variety of marks, etc.
4.  The ability to use a combination of mixed graphic media and tools
such as lithographic crayon used with wash, bamboo sticks with ink,
compressed charcoal with water, litho crayon with paint thinner, etc.
5.  The ability to involve a greater variety of papers and note how
their surfaces combine with various media to create differing effects.
6.  The ability to exploit the techniques of collage and monotype as a
means of enriching the possibilities in drawing.
7.  The ability to consider stylistic concepts of historical precedent
not covered in Art 7A, such as Cubism, Surrealism, etc., for use as
inspiration and a point of departure for further exploration.
8.  The ability  to elaborate upon areas such as Abstraction.
9.  The ability to investigate more thoroughly the dynamics of space:
deep space, shallow space, the reconciliation of two and three dimen-
sional aspects, the mixing of viewpoints and eye-levels, the influence
of size and scale, the effect of light and shadow and other tonal and
textural contrasts.
The scope and sequence of the course will be presented as follows:
1.  Through lectures concerning the concepts, elements and art historical
precedents of drawing.
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 drawings.
Specific areas of study within Art 7B include the continuation of basic
concerns covered in Art 7A, at greater depth.
1.  Line:  using line to define contour and act as an expressive
element in itself.
2.  Value:  employing tonal contrasts and gradients to develop volume,
depth, drama and movement.
3.  Shape:  recognizing the essential shape of forms first before
focusing on surface detail, using positive and negative shape relation-
ships to strengthen compositional drama and unity.
4.  Proportaion:  analyzing the proportions of a single object and
analyzing the proportional relationships between objects.  Using plumb
lines and level lines as well as of sight measuring.
5.  Scale:  considering how size, scale and shape of format influence
a drawing.  Concidering how the size and scale of what is drawn
influences the impact of a composition on the viewer.
6.  Texture:  using textural contrasts to describe surfaces and to
enrich or give visual weight to drawing.
7.  Edge:  emphasizing tonal variations as an alternate to contour lines
in achieving contrast between figure and ground.
8.  Abstraction:  introducing the concept of abstraction through
various means:  using exaggeration, alteration, and distortion, and
including the spontaneous and improvisational use of materials,
guided by 20th century precedents.
9.  Content:  recognizing other-than aesthetic aspects of drawing
such as metaphor, symbol, narrative, etc.
10. Process:  balancing the deliberate and planned with the accidental
and spontaneous.

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1.  Create a series of drawings of an object as viewed from a variety
of viewpoints.
2.  Include multiple eye-levels in a single drawing.
3.  Draw a still life in a series of various lighting situations.
4.  Erase areas on a vine-charcoal toned surface to create lights.
Add charcoal for deeper darks.
5.  Set up a still life with objects against a tonally varied background.
Make all values lower than a middle-tone black and leave white all values
in the set-up which are lighter than a middle-tone to create a high-
contrast drawing.
6.  Discover multiple patterns in the environment, exterior or interior,
and combine with emphatic darks and lights in a drawing.
7.  Find a subject matter which exemplifies active and contrasting
textues and combine with emphatic darks and lights in a drawing.
8.  Translate a completed black and white drwing to white on black, using
chalk and/or white paint.
9.  Draw a small subject considerable larger than life-size to alter
the scale and impact.
10. Create a "landscape" from objects such as bones, or tools, etc.
11. Draw the figure from a model in relation to the studio setting.
12. Draw unposed figures in the campus environment.
13. Stress the planar aspects of various subjects such as still life,
faces, interiors, the urban landscape, etc.
14. Draw "cubistically", using the work of Picasso, Braque and FGris
as a guide.
15. Draw non-objectively, employing the grid gesture or change, as a
point of departure.
16. Create sequential or otherwise related images in a single drawing
using a basic grid as employed in comic-strips for the initial layout.
17. Include cut-out shapes collaged onto a drawing in order to involve
tonal, textural and spatial contrasts and to sharpen or soften edges.
18. Use the technique of monotype (painting on glass with printing
inks) for self-portraits, still life, landscape, etc.
19. Use various methods such as enlarging, cropping, distortion, and/or
simplification as a means of abstracting an object or image.
20. Enlist the copy machine or opaque projector to reduce, enlarge,
or vary the contrast of images as a devise for developing an image.

Methods of Evaluation/Basis of Grade.
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%
Homework problems
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
40 - 60%
A portfolio of completed work will be major basis for course grade. Other factors: attendance, attitude, attentiveness, effort, growth participation

Representative Textbooks and Materials:
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Art and Fear, David Bayles, Ted Orland, Capra Press, Santa Barbara, CA,
Creative Drawing, Howard J. Smagula, UC Berkeley, Brown and Benchmark,
The Craft of Drwing, Dan Wood, Harcourt, Brace, Javanovich, 1988.

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