California University of Pennsylvania Guidelines for New Course Proposals University Course Syllabus Approved: 2/4/13 Department of Art and Design A. Protocol Course Name: Figure Modeling Course Number: ART 448 Credits: 3 (repeatable to 18) Prerequisites: ART 385, Sculpture Studio Maximum Class Size (face-to-face): 22 Maximum Class Size (online): N/A (Choose which one is appropriate or both if applicable) B. C. Objectives of the Course: 1. Students will employ a variety of specific observational techniques in the creation of their sculpture from a live model. 2. Students will analyze gesture and movement inherent in the human form in the creation of their sculpture. 3. Students will scrutinize human anatomy in the creation of their sculpture from a live, nude and clothed, model. 4. Students will exploit a wide range of lighting and posing techniques and effects that are used to manipulate a variety of compositions. 5. Students will analyze and apply a variety of sculpture techniques and tools. 6. Students will formulate a variety of conceptual, formal, and historical considerations in the creation of their sculptures and critiques. Catalog Description: This advanced level sculpture course is a repeatable course which focuses on sculpting from a model from life. Students work from live nude and clothed models to develop a high level of skill in sculpting the human figure while exploring a wide variety of sculpture media and techniques. D. E. Outline of the Course: 1. Anatomy study a) Systems of the Body which affect Surface Form (skeletal structure, musculature, overall investment of skin and fat) b) The Head and Neck c) The Trunk d) The Shoulder and Arm e) The Hand f) The Hip, Leg, and Foot 2. Drawing from a live nude model daily (nude and clothed) 3. Sculpture tools and techniques a. Gesture sculpting b. Sculpture and model rotational techniques c. Constructing and sculpting from an armature d. Sculpting with clay e. Sculpting with self-hardening plastic materials such as Super Sculpey f. Patina techniques g. Modeling hand tools h. Kiln firing 4. Critiques Teaching Methodology: Traditional Classroom Methodology 1. Information sources a. Instructor: (1) Lecture (2) Demonstration (3) Individual guidance b. Studio atmosphere: critical discussion with peers c. Support materials (1) Text (2) Periodicals (3) Internet (4) Catalogues 5) Books (2) Videos (3) Slides (4) Actual artwork 2. F. Execution method: in and out of class student centered, hands on, class participation based methodology to engage students in developing effective strategies for thinking about and making sculpture as a developing artist, including: a. Individual hands on learning b. Formal and informal development of keen observation and critical discussion with instructor and peers Text Rubins, David K., The Human Figure: an Anatomy for Artists, Penguin Publishing, 1976 G. Assessment Activities: Traditional Classroom Assessment 1. Instructor and Student-led critiques of drawings, including assessment of a. Formal qualities of sculpture b. Content or meaning as it related to possible social, economic, political, religious, and cultural aspects and personal expression in sculpture c. Aesthetics d. Gesture e. Anatomy e. Proficiency with techniques used f. Presentation g. Art historical 2. Midterm and Final Portfolio Review of finished sculpture and figure studies 3. Instructor observation of safe, courteous and clean studio practice 4. Quality of production in relation to in class work and outside assignments Online Assessment This class will not be offered online. H. Accommodations for Students with Disabilities: Accommodations for Students with Disabilities Students with disabilities: • Reserve the right to decide when to self-identify and when to request accommodations. • Will register with the Office for Students with Disabilities (OSD) each semester to receive accommodations. • Might be required to communicate with faculty for accommodations, which specifically involve the faculty. • Will present the OSD Accommodation Approval Notice to faculty when requesting accommodations that involve the faculty. Requests for approval for reasonable accommodations should be directed to the Office for Students with Disabilities (OSD). Approved accommodations will be recorded on the OSD Accommodation Approval notice and provided to the student. Students are expected to adhere to OSD procedures for self-identifying, providing documentation and requesting accommodations in a timely manner. Contact Information: • Location: Azorsky Hall – Room 105 • Phone: (724) 938-5781 • Fax: (724) 938-4599 • Email: osdmail@calu.edu • Web Site: http://www.calu.edu/current-students/studentservices/disability/index.htm I. Supportive Instructional Materials, e.g. library materials, web sites, etc. Beck, James. Leonardo's Rules of Painting. New York: The Viking Press, 1979 Ruskin, John. The Elements of Drawing. New York: Dover Publications, 1971 Brown and McLean, Drawing fom Life. Thomson /WadsworthBelmont, CA, 2004 Goldstein, Nathan. Figure Drawing: The Structure, Anatomy, and Expressive Design of Human Form. Upper Saddle River, NJ, Prentice-Hall, 1999 Betti and Sale, 4th Ed. Drawing: A Contemporary Approach. Harcourt and Brace Simmons and Weiner. Drawing: The Creative Process. Englewood Cliffs, NJ: Prentice-Hall, 1977 Crary, Jonathan and Ferer, Michel, ed. Fragments for a History of the Human Body, 3 Vol. New York: Zone, 1989 Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon, 1953 Broude, Norma. The Power of Feminist Art. New York: Abrams, 1974 Schaffner,Ingrid. Salvidor Dali's Dream of Venus: The Surrealist Funhouse from the 1939 World's Fair, New York: Princeton Archiectural Press, 2002 Haslam, Malcolm. The Real World of the Surrealists. New York: Galley Press, 1978 Pack, Susan, Film Posters of the Russian Avant-Garde. New York: Taschen, 1995 Barkhatova, Elena. Russian Constructivist Posters. Paris: Flammarion, 1992 O'Malley and Saunders. Leonardo Da Vinci on the Human Body: The Anatomical, Physiological, and Embryological Drawings. New York: Wings Books, 1982 Strauss, Walter. The Comlpete Drawings of Albrecht Durer. (6 Volumes)New York: Abaris Books, 1974 Albrecht Durer: The Human Figure. The Complete Dresden Sketchbook. New York: Dover, 1927 Scheidig, Walther. Rembrandt's Drawings. Boston: Boston Book and Art Shop, Inc. Lampert, Catherine. Rodin: Drawings and Sculpture. Arts Council of Great Britain, 1986 Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955 Muybridge, Eadweard. Animals in Motion. New York: Dover Publications, 1955 Adhemar and Cachin. Degas: The Complete Etchings, Lithographs, and Monotypes. Secaucus, NJ: Chartwell, 1974 Elderfield, John. The Drawings of Richard Deibenkorn. New York: Houston Fine Arts Press, 1988 Leiris, Michel. Francis Bacon. New York: Rizzoli, 1983 Kiefer, Anselm. A Book: Transition from Cool to Warm Boston: Museum of Fine Arts, 1988 Carandente, Giovanni. Balthus: Drawings and Watercolors. Boston: Little, Brown & Co., 1982 Posner, Helaine. Kiki Smith. Boston: Bullfinch Press,1998 Schjeldahl, Peter. Eric Fischl. New York: Stewart, Tabori & Chang, 1988 Hughes, Robert. Frank Auerbach. London: Thames and Hudson, 1989 Gohr, Siegfried. Georg Baselitz: Prints. Munich: Prestel-Verlag, 1984 Couma-Peterson, Thalia. Miriam Shapiro. New York: Abrams, 2001 Schjeldahl, Peter and Phillips, Lisa. Cindy Sherman. New York: Whitney Museum, 1987 L. Bourgeois and L. Rinder. Louise Bourgeois: Drawings and Observations Clemente, Francesco. Evening Raga and Paradiso. New York, Rizzoli, 1992 de L'ecotais, Emmanuelleand Ware, Katherine. Man Ray:1890-1976. Koln: Taschen, 2000 Goldman, Judith. James Rosenquist. Denver: Denver art Museum, 1985 The Human Figure in Early Greek Art Greek: Greek Ministry of Culture/National Gallery, Washington, DC, 1987 Corn, Wanda. The Art of Andrew Wyeth. Greenwich, CT: New York Graphic Society,1973 Zigrosser, Carl. Kathe Kollwitz. New York: Bittner and Company, 1946 Rosenberg, Jakob. Great Draughtsmen from Pisanello to Picasso, Cambridge: Harvard U. Press, 1959 Berenson, Bernard. The Drawings of the Florentine Painters. Chicago: Univ. of Chicago Press, 1970 Ames-Lewis, Francis. The Draftsman Raphael. New Haven: Yale University Press, 1986 Hale, Robert Beverly. Drawing Lessons from the Great Masters. New York: Watson-Guptill, 1965 Tietze, Hans& Erica. The Drawings of the Venetian Painters in the 15th and 16th Centuries. New York:J. Augustin, 1970 Marks, Claude. From the Sketchbooks of the Great Artists. New York: Thomas Crowell Co., 1972 Moskowitz, Ira. Great Drawings of All Time. New York: Shorewood Publishers, 1962 Kahn, Gustave. The Drawings of Georges Seurat. New York: Dover, 1971 Olszewski, Edward.The Draftsman's Eye: Late Renaissance Schools and Styles.Cleveland:Cleveland Museum of Art, "81 Sachs, Paul. Modern Prints and Drawings. New York: Knopf, 1954 Sayre, Eleanor. The Changing Image: Prints by Francisco Goya. Boston: Museum of Fine Arts, 1974 Segy, Ladislas. African Sculpture. New York: Dover, 1958 Additional Information for Course Proposals J. Proposed Instructors: Any qualified faculty of the Art and Design Department K. Rationale for the Course: The Department of Art and Design now offers a B.F.A., a Bachelor of Fine Arts, which is a professional degree requiring 78 credits in the major. Figure study can be an integral part of the expected curriculum for this degree. L. Specialized Equipment or Supplies Needed: None. M. Answer the following questions using complete sentences: 1. 2. 3. 4. 5. 6. Does the course require additional human resources? (Please explain) This course does not require additional human resources. Does the course require additional physical resources? (Please explain) This course does not require additional physical resources. Does the course change the requirements in any particular major? (Please explain) This course does not change the requirements of any particular major. Does the course replace an existing course in your program? (If so, list the course) This course does not duplicate any other course on campus. How often will the course be taught? This course will rotate with “Figure Modeling” and “Figure Drawing and Modeling” such that each course is offered every 3rd semester. Does the course duplicate an existing course in another Department or College? (If the possibility exists, indicate course discipline, number, and name) This course does not duplicate any other course on campus. N. If the proposed course includes substantial material that is traditionally taught in another discipline, you must request a statement of support from the department chair that houses that discipline. N/A O. Please identify if you are proposing to have this course considered as a menu course for General Education. If yes, justify and demonstrate the reasons based on the categories for General Education. The General Education Committee must consider and approve the course proposal before consideration by the UCC. Yes, Fine Arts.