COURSE
SYLLABUS
STDO
1210 Drawing: Studio 1 • 3
credit hours
University
of Manitoba, School Art
Instructor: Derek Brueckner
Instructor’s Office: 312 Fitzgerald Building
Instructor’s Office: 312 Fitzgerald Building
TELEPHONE:
474
– 9549 (Instructor’s Office)
EMAIL: brueckne@cc.umanitoba.ca
Instructor’s
Office Hours: Most days will be available to meet after class, but it is
strongly suggested that students book appointments for consultation with
instructor.
Course
Schedule: Wednesdays 8:30 am to 11:20 am
Estimate
hours of out-of-class work per week: 3 to 6 hours minimum per week
Course
Blog: http://derekbruecknercourseinformation.blogspot.com/
Majority
of assignments and pertinent information from course will be posted on the
course blog. Updates will be made on a regular basis. It is advised that
students check and consult the blog on a daily basis. If students have
questions regarding course blog information/assignments print out text and
consult instructor with text.
Estimated
Costs of Materials, Supplies, or Other Financial Impact:
The
Fundamentals of Drawing course supply list is fairly extensive and costs will
vary depending on what students choose to purchase in terms of the optional
materials and the direction in which students choose to take certain projects
particularly during the second term. Overall there is an estimate of $150.00 for
costs of art supplies and materials for the entire course. Other additional
costs may include Winnipeg Art Gallery yearly passes or museum entry fees,
travel cost and/or parking costs during gallery tours/field trips, and printing
costs for resource imagery or presentation materials.
COURSE
CALENDAR DESCRIPTION:
Students
are introduced to key concepts and competencies used in contemporary drawing
practice. Prerequisite for further study in fine arts studio courses. May not
be held with STDO 1200 (054.120).
COURSE
PURPOSE AND OBJECTIVES:
The
purpose of this course is to introduce students to key concepts and
competencies used in contemporary drawing practice. Course outcomes encourage
the development of traditional and experimental (contemporary) approaches
across a broad range of concerns, including but not limited to visualization,
composition, observation, materiality, the subject, expression, concept and
content. In addition to these issues PART B of this course will also emphasize
the exploration of current ideas and aesthetic concerns; cultural and personal
concepts; and analytical and intuitive creative approaches with an emphasis on
creative, visually literate, conceptually informed and innovative self –
expression. See pages 5 to 7 in course outline for further details regarding
parts A and B of this course. PART B will also give greater emphasis
on broadening thematic content, aesthetics and materials in relation to
contemporary art. The majority of this course will emphasize drawing as a
process that conveys ideas synthesizing formal and conceptual content. This
course and other 1st year courses here at the School of Art are
preparation for intermediate and senior studio courses.
page 1
Drawing:
Studio 1 Instructor:
Derek Brueckner
COURSE
STRUCTURE and INTRUCTIONAL METHODS:
In
addition to the daily process of drawing, this course’s structure allows for
individual and class discussions (individual and group critiques) that assist
in forming the direction of the studio work. As well the ongoing dialogue
between the instructor, the individual student and the class is developed to
create a sense of community. Discussions will address problems of
interpretation, methods of representation, materials, scale, historical and
contemporary aesthetic issues, etc., and will provide the opportunity for
dialogue concerning the conceptual basis of the work. Conversational English
will be required for this course. Data projector presentations, demonstrations
and field trips may be scheduled periodically to enhance the above concerns.
Note taking will be required during presentations, group critiques and
discussions with instructor.
Often
this drawing course starts with an input at the beginning of class, students
are required to be in class on time and attendance is compulsory (see more
details regarding ATTENDANCE policy in this syllabus p.11) All
absences during class, late arrivals and early departures are recorded every
day.
Students
are required to have a University of Manitoba email account. (See ELECTRONIC
NOTIFICATION policy in this syllabus p.3) This email account ensures
that information regarding course assignments and daily activities is cohesively
communicated between instructor and students. All text communications to
students will be done through the U of M email.
Making
provisions for an open mind is essential for this course and in particular
during PART B of the course.
An
open and curious mind in many ways is linked to a student’s ability to apply
criticism and to thoroughly research each assignment. Research
methods for this School of Art course include independently locating and
reading non-art and art related books and other texts, and investigating within
the studio class various art processes and art practices. The goal of these
research methods is to expand and diversify knowledge via the innovative
synthesis of written/verbal ideas with visual art making processes.
As
well an open and curious mind is linked to expanding ideas and processes
through out the course and in particular during the course’s PART B section.
Overall in this course students are always expected to analyze their work in
progress and develop numerous intuitive and analytical processes that
ultimately expand their own understanding of various philosophies. More
importantly this philosophical expansion is interrelated to broadening each
students’ comprehensions regarding the philosophical purpose or functions of
art (beyond conventional “pretty” or “cool” pictures) For the entire course
students do not have to agree with certain philosophies or ideologies. However,
as a part of any assignment’s objectives this course always expects the
synthesis of thorough research and comprehension of a philosophy and
that this synthesis is ultimately communicated clearly by the work in a
critical, unique, and sophisticated manner.
Students
are expected to integrate the potential breadth of new knowledge received in
the course with their personal ideas and interpretations. Individual critical
discussions of works in progress with the instructor occur continuously
throughout both terms. Utilizing criticism and dialogue with instructor and
peers, and researching terminologies are essential for developing the studio
work, verbal terminology and formal vocabulary in relation to concepts. Through
out the course and in particular PART B section of course students will focus
on pursuing personalized innovative drawing processes in relation to late 20th Century
and current ideas (contemporary art). These processes include a variety of
materials that will emphasize thematic/metaphorical, and technological and
conceptual applications. Hand made drawings processes are emphasized on various
2D surfaces and occasionally may consider drawing in relation to digital media,
3D, and/or time based media.
Note
Taking and Participation: Note taking will be required as part of the
participation for this course. Students should be prepared with a small
sketchbook for note taking for each class as well as during individual
critiques with instructor and during group critiques with peers.
page 2
Drawing:
Studio
1 Instructor:
Derek Brueckner
COURSE
STRUCTURE and INTRUCTIONAL METHODS (continued):
Assignments
will involve a synthesis of formal and conceptual issues that will often
overlap each other, they are:
· Thematic
Content (use of symbol, metaphor, allegory, icon, motif, signifier, etc)
Generally all formal choices including various emotive drawing styles, colour
and mark making will interrelate to innovative thematic content.
· Other
formal concerns such proportions, composition and emotive style will also be
considered and developed in relation to innovative thematic content
· Broad
range of formal considerations of shapes and lines (organic and geometric) will
be considered in relation to thematic content
· Space
in relation to volumes and planes (atmospheric perspective, representational
and abstracted space) will be considered in relation to thematic content
· Tone,
light, shadow (shading) in relation to innovative thematic content
· Value
(comprehending broad ranges of grayscale and translating colour into
grayscale)
· Textures
(variety of surfaces - illusionary and physicality of materials)
· Unity
and diversity of formal elements will also be considered in relation to
thematic content.
· Colour
application and theory in relation to drawing, and other materials.
· Drawing
in relation to current ideas, drawing materials in combination with
non-traditional drawing materials, and/or non-euro centric ideas (i.e.:
technology, installation, performance, or current issues)
ELECTRONIC
NOTIFICATION:
You
will also be required to have a University of Manitoba email account. This
email account will ensure cohesive communication with instructor and all
enrolled students in this course. Having a U of M email account is also meant
to encourage students taking fine arts courses to investigate and utilize the
various software offered in the computer lab at the School of Art. Once you
have a U of M account you will be able to access the School of Art Computer Lab
in the basement of the Fitzgerald building. The U of M email accounts are free
for all University of Manitoba students and will be imperative for this course.
As a university policy it is mandatory that all students maintain and regularly
monitor a University of Manitoba email account. Critical information from the
registrar, instructors and the School of Art will be relayed to you through the
Web mail, Jump and Aurora electronic notification systems.
To
get your free U of M account visit https://pasweb.cc.umanitoba.ca/webapp/gu/claimid/
For
additional information, visit http://umanitoba.ca/computing/ist/
Students
without personal computers can use computers in Information Services and
Technology labs in a variety of locations on campus including the Dafoe
Library.
For
forwarding U of M emails to another email account such as your personal email
account (such as personal email addresses for hotmail, yahoo, gmail, shaw, etc)
please visit
http://mail.cc.umanitoba.ca and click
on the 'basic' button
More
information is available in your orientation package or by calling IST at
474-8600.
If
students have questions regarding information/assignments sent in emails or
from course blog print out text and consult instructor with printed text.
ELECTRONIC
DEVICES in CLASS:
Cell
phones and other electronic devices must be turned off during class time. This
also includes no text messaging during class time.
page 3
Drawing:
Studio 1 Instructor:
Derek Brueckner
CRITS:
GROUP CRITIQUES and INDIVIDUAL CRITIQUES
Group
or Individual Critiques will become a very important component in the student’s
learning process for this course. The group critique is loosely structured in a
way that allows the class as a group to discuss and build a consensus as to
what each artist or art student's work is conveying to the viewer (classroom
audience). Not attending a group critique is equivalent to missing a test
– a letter grade for participation will be deducted. The individual critique
will involve an intensive one on one consultation.
During
a group critique usually the audience will view and is required to speak first
about the presented work. The artist who is presenting work then responds to
remarks made by classmates and may also discuss ideas that were missed by their
classroom peers. Usually group critiques will last 10-20 minutes per student.
Each critique will offer advice and constructive criticism regarding such ideas
as intent, level of formal and conceptual content, context and overall
professionalism. Critiques of work (Group and Individual) will offer as many
options as possible to strengthen the artist’s/art student's work. There are
many variables and possible solutions, a person will be required to research,
explore and investigate many options to discover the applicable solution(s).
Due
to the instructor having more experience within the visual arts than the
student group, at times the instructor will strongly challenge the student
group’s value systems, preconceived ideas and interpretations regarding issues
generated by the group and individual critiques with the instructor.
Ultimately
the purpose of group critiques and individual critiques can be pared
down into these following points: generating ideas and new ways of thinking,
creating a class culture that has a positive but critically productive
dialogue, and assists the person to grow, expand and improve their work. As
well the group critiques and discussions are also about developing a person’s
attention span and their ability to focus on discussions.
Note
that the presented work for group critiques will not be given a final
evaluation (grade) until the work is videotaped at the end of each
quarter. However it is still extremely important and compulsory to
have the work completed for group critiques. Work that is not completed
adequately for group critique will have an entire letter grade deducted from
any incomplete assignment. If you have any concerns regarding amount of work
required for group critique consult or contact instructor well in advance of
critique. Students are strongly encouraged to continue to utilize
comments from the group critiques and individual critiques with the instructor.
Following any critique, students will always be required to rework and quite
often significantly modify assignments outside of class until it is time to
videotape work. (See course syllabus for videotaping dates)
During
the group critique students will be evaluated on your class participation, this
evaluation will be part of your overall class participation grade. This class
participation includes complete attention to all discussions during
crits, general professional and respectful behavior, actively
viewing work at a very close range and offering comments. Due to the nature of
most assignments, group crits will be emphasized more for the latter part of
the course.
Please
keep in mind the instructor’s criticisms during individual and group critiques
is always intended to assist the artist/student in improving their work. The
ability to apply these criticisms is also firmly connected to a student’s
evaluation (grade) in the course.
page
4
Drawing:
Studio 1 Instructor:
Derek Brueckner
COURSE OUTLINE and Important Dates
PART
A of Course Sept 15 to Oct 20
45%
All of Part A Course Assignments
5%
Attendance and Participation
Sept
15
Week
1: Course Introduction and Dissemination of Course Syllabus
Dissemination
of Information for Cliché/ Thematic/ Contemporary Art Assignment and
Thematic
Still – Life: Emotive Observational Drawing Assignment
Content
for Sept 15 to Oct 6:
TONE,
LIGHT, SHADOW AND VALUE
SUBJECT
MATTER: INTERIOR, EXTERIOR ENVIRONMENTS, STIIL-LIFE, PEOPLE
Traditional
black and white drawing materials to be explored primarily in the following
order: Graphite pencils, graphite sticks, erasers, black & white conte,
black & white oil pastel, vine with white chalk, and India ink, felt
pens with white acrylic.
Thematic
content will be introduced and researched by student. Students will
be expected to continually synthesize thematic content (concepts) in relation
to formal assignment objectives through out the course.
General
Objectives of Assignments:
Black
and White Atmospheric Perspective: The strategic use in contrast of light
& dark tones /lack of contrast in tones, hard edges/ soft (or blurred)
edges of forms, and clarity of surfaces & planes in relation to space.
Comprehensive
explorations of figure ground relationships and concepts will be explored
through various mediums involving flexible additive and subtractive layering
processes.
Collectively
the tone, light and shadow drawings will be required to demonstrate a variety
of surface qualities in subject matter such as reflective, transparent, soft
and hard textured surfaces
Continuation
of Daily Schedule:
Sept
22
Week
2: Group discussion/Presentation of:
Assignment
1. Cliché/ Thematic/ Contemporary Art Assignment
Sept
29
Week
3:
Assignment
2. Thematic Still – Life: Emotive Observational Drawing in B and W
Mediums
Oct
6
Week
4:
Assignment
3. Thematic Interior/Exterior: Emotive Observational Drawing in
B
and W Mediums
page
5
Drawing:
Studio 1 Instructor:
Derek Brueckner
COURSE
OUTLINE and Important Dates (continued)
PART
A of Course (continued) Sept 15 to Oct 20
45%
All of Part A Course Assignments
5%
Attendance and Participation
Oct
13
Weeks
5:
Assignment
4. Blindfold Drawing in Colour and or B and W Mediums http://derekbruecknercourseinformation.blogspot.com/2009/12/blind-fold-drawing.html
Oct
20
Week
6: Portfolio Submission
VIDEO
TAPING of ALL PART A Course Work for Documentation and Final
Evaluation
PART
B of Course Oct 27 to Dec 8
45%
All of Part A Course Assignments
5%
Attendance and Participation
Content
for Oct 27 to Nov 10:
COLOUR
IN REPRESENTATIONAL IMAGES and ABSTRACTION
Materials:
oil bars, oil pastels or chalk pastels with the option of combining acrylic
paint or watercolor with pastels Colours should include: double primary (warm
& cool), secondary colours, white and brown (Note: using low quality
materials may cause problems that may result in a low grade on assignments)
General
Objectives of Assignments:
Colour
processes of observational drawing, representational space (atmospheric
perspective) and abstraction will be explored in relation to a sophisticated
mixing of colour, compositional elements, language of materials and conceptual
emotive expression
For
most assignments, whether a work has technological or hand made elements, the
goal is to obtain a simultaneous presentation of variety, visual innovation and
unity in the picture plane, which at times may involve a more intuitive working
process. The work could include representational elements using
imagery and sensibilities from a broad range of cultural contexts (such as in
the Eclectic/Pluralist Assignment) or elements of pure abstraction (such as in
the Blindfold and Pure Abstraction/Modernist Assignments) The
Eclectic/Pluralist Assignment will anticipate potential thematic imagery and
concepts.
Oct
27
Week
7: Assignment 5. Pure Abstraction/Modernist Drawing in Colour Mediums (weighted
as two days)
Nov
3 & 10
Weeks
8 and 9:
Assignment
6. Eclectic/Pluralist Project in Colour Mediums
page
6
Drawing:
Studio 1 Instructor:
Derek Brueckner
PART
B of Course Oct 27 to Dec 8 (continued)
45%
All of Part A Course Assignments
5%
Attendance and Participation
Content
for Nov 17 to Dec 1:
THEMATIC
CONTENT and CONTEMPORARY ART
This
assignment will offer choices that require the student to address a culmination
of ideas disseminated from this course.
General
Objectives of Assignments:
The
following project requires synthesizing formal and conceptual thematic content
in relation to contemporary art. Ideally projects should address contemporary
ideas and be crafted technically and conceptually as a work of contemporary
visual art.
Nov
17 **Last day for VW from fall courses without penalty
Week
10:
Assignment
7. Drawing in the Expanded Field Diagram in Colour and or B & W Mediums
Suggested
Essay Readings:
Roland
Barthes Antithesis and Rosalind Krauss Sculpture in the
Expanded Field
Nov
24 & Dec 1
Weeks
11 & 12:
Assignment
8. Drawing in the Expanded Field Project in Colour and or B & W Mediums
Dec
8
Week
13: Portfolio Submission
VIDEO
TAPING of ALL PART B Course Work for Documentation and Final
Evaluation
NOTE: The
above outline will most likely change due to factors such as gallery
visits or other unforeseen circumstances. It is each student’s responsibility
to be prepared for and cognizant of any potential changes. These changes will
always be communicated in advance during class and/or sent by email.
SELECTED
READINGS
Readings
will be given and class discussion and participation will be expected.
Books:
Excerpts
from Art Fundamentals by Otto Ocvirk, Robert Stinson, Phillip Wigg
and Robert Bone, Search for the Real by Hans Hofmann,
ARTSPOKE by
Robert Atkins and ARTSPEAK (Late 20th Century Art Dictionary) by
Robert Atkins
Essays:
Modernist
Painting by Clement Greenberg and The Flatbed Picture Plane by
Leo Steinberg
Sculpture
in the Expanded Field by Rosalind Krauss
Depending
on the characteristics and needs of a specific class, the preceding listings of
dates, assignments and readings in the course outline are subject to change.
An
Optional Reading List will also be posted on the JUMP site and course blog
**
Depending on art exhibitions, art lectures and the needs of a specific class,
these listings of dates, assignments and readings in the course outline are
subject to change.
page
7
Drawing:
Studio 1 Instructor:
Derek Brueckner
ACADEMIC
ACCOMMODATION:
Please
approach your instructor as soon as possible should you need some
form of academic accommodation. Students with disabilities should also
contact Disability Services, located at 155 University Centre (Phone:
204 474-6213; TTY: 204 474-9790; Fax: 204 261-7732; E-mail: disability_services@umanitoba.ca)
STUDENT
PARTICIPATION in the PRESENTATION or DISCUSSION of ART:
At
the School of Art, numerous required and elective courses contain content that
includes working from the nude model and some language, imagery, or dialogue
that may offend students. In particular, the School of Art provides
comprehensive art training that requires use of the nude model in some courses.
In viewing and discussing works of art, the School of Art encourages the
broadest possible tolerance consistent with Canadian law.
COURSE
BREAKDOWN and GRADE PERCENTAGES
As
stated in the course outline this is one term course that is divided into two
parts (A & B). The course dates and the percentage breakdown of the
course parts are:
PART
A of Course Sept 15 to Oct 20
45%
All of Part A Course Assignments
5%
Attendance and Participation
PART
B of Course Oct 27 to Dec 8
45%
All of Part A Course Assignments
5%
Attendance and Participation
All
in class assignments are weighted according to the amount of days assignments
are work on during class in each quarter (if an exception occurs students will
be informed). Each of the homework assignments are weighted as specific day
amounts (see course outline and/or assignment information for details)
ATTENDANCE:
Section
4.1 of the School of Art’s entry into The University of Manitoba calendar
reads:
“Letters
of warning may be issued for unexcused absences in excess of three for a course
in one term. Unexcused absences in excess of four for a course that meets twice
a week and five for a course that meets three times a week in one term may
result in suspension.”
MATERIAL
and PROCESS RESTRICTIONS:
Flammables,
poisons, potentially biohazardous materials, aerosol sprays and
high-temperature processes are strictly prohibited in the Foundations
classrooms, adjoining hallways and the vicinity of the Fitzgerald Building. The
instructor must be consulted before any materials or processes not on the class
materials list may be used. If there is any doubt as to the safety of work to
be undertaken, work must be halted until the instructor has been consulted.
Spray fixative may only be used outside. After using spray fixative, drawings
must be left to dry outside for a minimum of 30 minutes to gas off. Ensure no
campus property gets sprayed with paint or other materials if working outside.
Cover an area with plastic (inside or outside) if art materials will go beyond
a project’s borders.
page
8
Drawing:
Studio 1 Instructor:
Derek Brueckner
PLAGIARISM
and CHEATING POLICY:
To
plagiarize is to take ideas or words of another person and pass them off as
one’s own. In short, it is stealing something intangible rather than an object.
Obviously, it is not necessary to state the source of well known or easily
verifiable facts, but students are expected to acknowledge the sources of ideas
and expressions they use in their written work, whether quoted directly or
paraphrased.. This applies to diagrams, statistical tables and the like, as
well as to written material, and materials or information from Internet
sources. To provide adequate and correct documentation is not only an
indication of academic honesty but is also a courtesy, which enables the reader
to consult these sources with ease. Failure to do so constitutes plagiarism. It
will also be considered plagiarism and/or cheating if a student submits a term
paper written in whole or in part by someone other than him/herself, or copies
the answer or answers of another student in any test, examination, or take-home
assignment. Plagiarism or any other form of cheating in examinations, or term
tests (e.g., crib notes) is subject to serious academic penalty (e.g.
suspension or expulsion from the faculty or university). A student found guilty
of contributing to cheating in examinations or term assignments is also subject
to serious academic penalty.
Similarly,
to copy a part, parts, or to reproduce everything from an artist’s individual
artwork and pass them off as one’s own is also considered a form of plagiarism.
When completing assignments or presenting work done in self-directed studio art
projects, students should be avoiding this practice, since what is expected is
that you will originate the ‘look’ or ‘style’ of the work from your own
responses to the subject or ideas in question. To do otherwise, through the
knowing use of printed or internet reproductions of published artists work
would be academically dishonest, except in cases where to make a direct copy
was a requirement of the assignment by an instructor, or that your idea required
such a response. In those cases it is clear as to the intent to copy and is a
public aspect of the meaning of the work. This also includes having one
person do a drawing assignment for another.
CLASS
POLICIES
This
class is intended as a forum for creative, independent thinking and open
discussion of Art, Design and its attendant issues within a respectful
environment. Disruptive, damaging or dangerous behavior is not
acceptable and will be penalized. Persons not enrolled in the class may be
present only by permission of the instructor. Each individual will be held
responsible for keeping the classroom clear of debris after each class. All
unclaimed work will be disposed of two weeks after grading. Ask your instructor
before storing any materials or artwork in the studios.
Students
are required to attend all discussions, demonstrations, etc., that are
scheduled for their classes, and if any are missed they must be made up in full
at the earliest possible moment.
EVALUATION (FACTORS
THAT DETERMINE GRADE)
Grades
are determined by a number of factors including:
(10%
of Course) Evaluation of Class Participation and Attendance:
· Motivation,
initiative, seriousness of purpose including punctually arriving to class
with the required materials and required research that is applicable to the
assignment of that day.
· Actively
working during studio time and conducting positive in class participation
during group critiques and while working in class on studio
assignments.
· The
ability to accept and apply criticisms
· Punctual
attendance of all scheduled classes and during the entire scheduled class is
expected (See ATTENDANCE policy in this syllabus p.8)
· Students
are expected to work independently with regularity outside of class.
page
9
Drawing:
Studio 1 Instructor:
Derek Brueckner
EVALUATION (continued)
(90%
of Course) Evaluation of Studio Work and Assignments:
· The
evaluation of course work (successful completion of assignment objectives and
presentation of all required assignments which includes in class presentation
during critiques and presentation during all work for video
documentation. Work will require applying criticism and thorough editing prior
to videotaping. (See course outline for videotaping dates)
· A
demonstrated understanding of aesthetic issues specific to the studio
work
· The
work and its presentation demonstrates the ability to independently research
relevant current and historical issues and that research is applied to studio
practice
· An
ability to organize and express the synthesis of formal and conceptual ideas
clearly in the work and during the presentation of the work
· A
creative and innovative application of concepts to the studio work
· A
thoroughness of exploration and execution of the studio work
· Work
demonstrates qualities of curiosity, experimentation, creative inventiveness
and innovation
· Level
of overall versatility, sophistication and qualitative consistency in the
studio work including the improvement, editing and reworking of projects to the
applicable resolution of each assignment.
· Overall
work demonstrates initiative and seriousness of purpose (professionalism)
· The
assignments demonstrates required amount of work outside of class. (In addition
to regularly scheduled classes, students are expected to work independently
with regularity outside of class)
· The
work demonstrates the acceptance and innovative application of criticisms
Video
Documentation: All related course work and assignments (including
sketches and preliminary work for projects) is required for video documentation
to evaluate work. Missing work will result in a zero for an
assignment or the grade will be lowered by a full grade if
preliminary work or studies are missing. Please note that videotaping will
occur during class time and absence during videotaping is equivalent to missing
a test or exam. See course outline for specific dates for videotaping work.
In
addition to regularly scheduled classes, students are expected to work
independently on homework with regularity outside of class
Students
desiring access to their progress in course at any time during the course year
may do so by appointment.
DUE
DATES FOR ALL WORK MUST BE MET- LATE WORK WILL NOT BE ACCEPTED. *
*Without
a Physician’s certificate and/ or in special circumstances
The
Letter Grade
System: Letter GPA
Grade Grade
A+ 4.5 Exceptional
A 4
– 4.4 Excellent
B+ 3.5
– 3.9 Very Good
B 3
– 3.4 Good
C+ 2.5
– 2.9 Satisfactory
C 2
– 2.4 Adequate
D 1
– 1.9 Marginal
F 0
–
.9 Failure
The
grade of ‘D’ is regarded as marginal in most courses by all faculties and schools.
It contributes to decreasing a sessional or cumulative Grade Point Average to
less than 2.0. The course in which ‘D’ standing is obtained need not be
repeated except by probationary students in certain faculties or where a grade
of ‘C+’ or better is required in a prerequisite subject. It may be repeated for
the purpose of improving a GPA. Students in doubt as to the status of their
record should consult an advisor in their faculty or school. For minimum grade
levels for each faculty or school, especially as these affect progression
requirements, see the faculty or school regulations or consult an advisor.
page
10
Drawing:
Studio 1 Instructor:
Derek Brueckner
EVALUATION (continued)
Additional
Information Regarding Grades:
Students
may want to assess their assignments with the following guidelines before
submitting them to ensure you have done an excellent job of responding to the
specific criteria for the course. If an assignment is lacking in something, the
information below will assist in the revisions of the studio work prior to
presenting the work to your instructor for videotaping and final evaluation.
(See course outline for videotaping dates)
Grade
of A or A+ (GPA of 4.0 to 4.5) Excellent to Exceptional: A thorough and
thoughtful treatment of the assignment presented consistently in an
original, logical and convincing manner. The “A” assignment has clearly
articulated formal (visual literacy) and conceptual ideas
(philosophical/thematic content), which are innovative, complex, and thoroughly
researched. Generally the ”A” assignment demonstrates an excellent level of
research, versatility, criticality and a breadth of formal and conceptual skill
sets. All of the assignment’s objectives in terms of quality and quantity are
achieved in an excellent or exceptional manner. In addition to demonstrating
the assignment objectives often an ”A” work offers supplementary strengths as
an excellent example of contemporary art and or takes the work beyond the
assignment’s objectives.
Grade
of B or B+ (GPA of 3.0 to 3.9) Good to Very Good: This is a good or very
good assignment in most ways, but it is generally less thoughtful than an “A”
work. Often “B” assignments are those that mostly repeat what the instructor
and the readings have taught, and do so in a way that makes it apparent that the
student understands the concepts and objectives, but does not add much to them.
The B assignment may be less sophisticated than an “A” assignment, but the “B”
is still reasonably competent and conveys ideas and concepts to the viewer. At
times the B assignment may offer some innovation but simultaneously may be
missing some the assignment’s objectives. Generally in the B assignment, the
assignment objectives are achieved in a less sophisticated and innovative
manner than the A assignment in terms of formal (visual literacy) and
conceptual ideas (philosophical/thematic content).
Grade
of C or C+ (GPA of 2.0 to 2.9) Adequate to Satisfactory): An assignment
that shows an understanding of most concepts and objectives involved in the
assignment, but does not treat it thoroughly or does not synthesize the
assignment into an entirely clear manner. In the C assignment the ideas are
visually and or conceptually vague and may appear to be contradictory, or
visually noisy or confused. Strong effort by a student may be given for a C
assignment, but the work struggles to convey the assignment objectives in terms
of demonstrating visual literacy and/or conceptual ideas in the work.
Grade
of D (GPA of 1.0 to 1.9) Marginal: Seriously flawed. The assignment
neither demonstrates an understanding of the material nor articulates any
coherent ideas or concepts. The assignment might wander among several ideas
with out developing any single one. There is no focus in this kind of work.
Often a D assignment will be presented as incomplete or unfinished. In a “D”
assignment a student might rely on others’ work rather than developing her/his
ideas. The instructor might wonder if the student tried at all.
Grade
of F (GPA of 0 to 0.9) Failure: Little redemptive value appears
in “F” work. The assignment fails to address the assignment in fundamental
ways. There is no real answer to any of the problems posed by the assignment,
and there is no real engagement in the topic in any way. The work often fails
to be coherent at all and demonstrates no effort or any of the objectives.
Generally the student who receives an F on their assignment does very little of
the required work, nor utilizes criticism, and often their classroom attendance
is in violation of university policy.
If
there are any questions or comments regarding the above grading criteria feel
free to talk to the instructor during class, or schedule a meeting outside of
class.
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