SEMESTER AT SEA COURSE SYLLABUS
University of Virginia, Academic Sponsor
Voyage: Fall 2014
Discipline: Fine Arts
ARTS 1000-501 and 502: Drawing at Sea I (Sections 1 and 2)
Division: Lower
Faculty Name: Suchitra Mattai
Credit Hours: 3; Contact Hours: 38
Pre-requisites: This course has no pre-requisites.
COURSE DESCRIPTION:
This course will focus on the fundamentals of drawing: elements of line, gesture, composition,
proportion, spatial relationships, scale, value, and texture. It is intended for beginning students as
an introduction to learning to draw. During the semester, students will develop a range of skills that
will enable them to sharpen their observational sensibilities and then apply them to their work. We
will explore the notion of visual perception and how to record what we see. Students will be
introduced to the works of historical and contemporary masters for clarification of concepts, as
well as for inspiration. A series of classroom exercises will initially focus on gaining a working
knowledge of fundamental drawing skills and techniques. In port, students will sketch, draw, and
photograph, recording images that represent aspects of the countries and cultures encountered.
student will keep a drawing journal that is a record of shipboard life and port experiences. A laptop
computer and digital camera are invaluable tools for this class.
COURSE OBJECTIVES:
1. Students will develop the rudimentary skills of drawing from observation
2. We will learn to effectively translate the 3-dimensional world onto a 2-dimensional
picture plane
3. We will focus on line, volume, proportion, composition, perspective and value
4. Emphasis will be placed on learning to sight and express intuitive responses to the visual
world with sensitivity
5. Students will learn how to develop an active studio practice
6. Students will gain an understanding of dry and wet materials, such as charcoal, conte, and
ink
7. Weekly critiques will engage students in discussion and encourage dialogue about the
creative process
8. Port visits and art history slide and book presentations, assigned readings, and a
museum/gallery field trip will aid students in their learning process. Students will gain
appreciation of artists under-represented due to race, gender, religion and political point
of view
9. Students are also encouraged to share found drawings of interest with the class.
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10. Students will learn to appreciate, practice and recognize the importance of drawing and
visual art across multiple disciplines and within multiple cultures.
REQUIRED TEXTBOOKS
There are no required textbooks for this class.
Materials:
Total Cost should be between $125-175
Paper:
1 drawing pad: white paper, medium or heavy
weight, 18”x 24”
1 artist’s bound sketchbook 6” x 8” or larger
(white paper)
2 sheets white rag paper: 1 (22” x 30”) and 1
(30” x 44”), Arches and Stonehenge are
decent brands
1 sheet black paper: Canson is a good brand,
acid-free, 19” x 23”
1 sheet medium gray paper: (Canson), acidfree, 19” x 23”
4 sheets 8” x 10” mylar
Media:
6 pencils ranging from 6H to 6B
1 package soft vine charcoal (or box)
1 package medium vine charcoal (or box)
1 box Charkole brand compressed charcoal
sticks
Assorted charcoal pencils, hard, medium, and
soft
1 white conté pencil
1 white conté crayon and 1 black conté
crayon
1 extra fine black marker
Portfolio:
you will need a cardboard portfolio to
transport your work
Ink:
1 jar black India ink (4 oz.)
Erasers:
1 kneaded eraser
1 white vinyl eraser (Staedtler-Mars)
1 gum eraser
Brushes:
1 size 4 round brush
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Other:
1 tackle box for materials
1 roll of Artist’s tape (3/4” or wider)
2 bulldog clips
1 can of workable fixative (Krylon brand)
2 drawing stumps( different sizes)
TOPICAL OUTLINE OF COURSE
Depart Southampton- August 23:
A1- August 25:
Introduction to Drawing slide presentation
Introduction to gesture drawing
slide presentation as intro to line and gesture (Pontormo, Reubens,
Rembrandt, Daumier, Rodin, deKooning, etc.)
-exploration of mark making
-using still-life, make several line drawings considering underlying structure
of objects, thinking about the unifying elements of composition such as
curves, weight & balance, and movement in space
Materials: white sketch pad (18” x 24”), vine charcoal, erasers
Homework: create still-life of 5 of your favorite objects of varying size and
make 2 gesture drawings, each from a different perspective
A2-August 27:
-slide presentation of contour drawings
drawing from still-life, also without looking and without removing hand
from page, slowly draw the form, concentrating on nuances of line weight
and sensitivity to touch
Materials: white sketch pad (18” x 24”), graphite and charcoal pencils, vine
charcoal and compressed charcoal, erasers, fixative
St. Petersburg: August 29- September 2
A3- September 3:
Cross Contour and Volume
-exploring parallel lines which move across the folds and creases of the
object to model form
Materials: white sketch pad (18” x 24”), vine charcoal, charcoal pencils and
conté pencils, erasers, fixative
Homework: finish cross-contour drawings
A4- September 5:
Contour as Expressive/Sighting and Measuring
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-hand drawings focusing on differences in line weight and fluid and broken
lines as you move from (soft) inside lines to (more defined) outside lines
-Mystery of the Wrapped Object drawing
-collection of sketchbooks
-learning to utilize horizontal and vertical axes to determine location and
direction in space (using hands of clock and geometric angles)
Materials: white sketch pad (18” x 24”), graphite and charcoal pencils, vine
charcoal and compressed charcoal, erasers, fixative
Hamburg: September 7-11
A5- September 12:
Complex Sighting and Measuring
-using liquid media consider relationships, such as scale, and position of
objects in space, introduction of viewfinder
-conté and charcoal pencils, white pad of paper, erasers, fixative, brush,
acrylic gesso, 1 sheet black paper (Canson, 19” x 23”), ink, tape
Homework: create a dramatic still-life set up outside
with objects of varying size and shapes
Antwerp: September 14-16
Le Havre: September 17-19
A6-September 20:
Introduction to Perspective
-practice critique assignment will be introduced
-slide and book presentation of historical perspective systems, both
rudimentary and complex (including Renaissance examples of one point
perspective through contemporary multiple point perspective as well as
alternative Egyptian, Persian, South Asian and East Asian systems);
discussion of context and intuition in relation to scientific systems
One Point Perspective
-investigating the relationship of volumes in space through establishment of
horizon line and elements of converging lines, relative scale and distance
(foreshortening), overlapping of forms
-using a still life consisting of blocks parallel to the floor, practice one point
perspective drawing
Materials: white paper sketchpad (18” x 24”), vine charcoal, graphite and
charcoal pencils, eraser, and fixative
A7- September 22:
Two Point Perspective
-Ship Hallway drawing
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Materials: white paper sketchpad (18” x 24”), vine charcoal, graphite and
charcoal pencils, erasers, and fixative
Homework: complete hallway drawing
Dublin: September 24-27
A8- September 28:
Multiple Point Perspective
- using ladder with objects, explore multiple point perspective with
introduction of leaning forms and tubes
Materials: white paper sketchpad (18” x 24”), vine charcoal, graphite and
charcoal pencils, conté pencils, eraser, and fixative
A9- September 30:
Introduction to Value
-revealing form through lightness/darkness
Materials: white paper sketchpad, vine charcoal, charcoal pencils, white
conte, erasers, tape
Lisbon: October 1-2
In transit: October 3
Cadiz: October 4-5
A10- October 7:
Introduction to Value continued
-collect sketchbooks
-bring in toy/colorful object for next class
Homework: complete Introduction to Value project
Casablanca: October 8-11
A11-October 13:
Aerial Perspective
-combining a distant landscape and a closer object, determine how to
express varying degrees of clarity through value as one moves back into
space to effectively emphasize distance
Materials: 22” x 30” white rag paper, vine charcoal, Charkole, graphite and
charcoal pencils, erasers, and fixative
A12- October 15:
Aerial Perspective drawing continued
Mid-Term Individual Reviews
-bring in all work done thus far for review
Homework: Complete Aerial Perspective drawing
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Dakar: October 16-19
A13- October 21:
White on White Still Life
-slide presentation of value drawings, discussion of light and modeling, cast
shadows, reduction of color into value (Caravaggio, Poussin etc.)
-from white on white still-life with extreme lighting (sheets, eggs, etc.)
focus on shifts in value and composition, create value scale and use paper
tone, make thumbnail sketches
Materials: dark gray paper, white conté crayons, vine charcoal, Charkole,
graphite and charcoal pencils, erasers
A14- October 23:
continue White on White Still Life
Homework: research/response paper; work on White on White Still Life
Takoradi: October 25-26
Tema: October 27-28
A15- October 29:
continue White on White Still-life
Homework: finish White on White Still-life
A16- October 31:
Self-Portrait
Materials: white paper sketchpad (18” x 24”), vine charcoal, graphite and
charcoal pencils, conté pencils, eraser, fixative
Homework: finish Self-Portrait
Study Day: November 2
A17-November 3:
Topography of Our Journey
-create a value drawing which describes a story from the trip thus far
-use photographs, images from memory and observational drawing
A18- November 5:
Continue Topography of Journey Drawing
Rio de Janeiro: November 7-9
In-transit: November 10-11
Salvador: November 12-14
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A19- November 15: Final Project in class work
-a reflective self-portrait describing how the journey has affected you
A20- November 17: Final Project in class work
Study Day: November 19
A21-November 20:
Final Project in class work
Bridgetown: November 22-24
A22-November 25:
Final Project in class work
A23- November 27: Final Project in class work
Havana: November 29- December 2:
Study Day- December 3
A24-December 4 (A Day Finals):
Final Critique
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FIELD WORK
Field lab attendance is mandatory for all students enrolled in this course. Please do not book
individual travel plans or a Semester at Sea sponsored trip on the day of our field lab.
FIELD LAB: SECTION 1 (At least 20 percent of the contact hours for each course, to be led by
the instructor.)
Students will learn about historical works of art through a tour of the Kunsthalle Hamburg,
Germany’s largest art museum. We will then proceed to the exhibition spaces at the
Deichtorhallen, where contemporary exhibitions of photography and other mediums are shown.
Students will also gather cultural and aesthetic information through sketches, extended drawings,
photographs, postcards, and printed materials. Working in sketchbook journals and using a variety
of drawing tools and techniques, students will complete studies of art objects, architecture of the
city and the ocean. Through the day students will engage in class critiques to share information and
engage in critical dialogue.
FIELD LAB: SECTION 2
Students will learn about a variety of historical works of art and design through a tour of the
Calouste Gulbenkian Museum, the Museum of Design and Fashion, and the Tile Museum.
Students will gather cultural and aesthetic information through sketches, extended drawings,
photographs, postcards, and printed materials. Working in sketchbook journals and using a variety
of drawing tools and techniques, students will complete studies of art objects, architecture of the
city and the ocean. Through the day students will engage in class critiques to share information and
engage in critical dialogue.
FIELD ASSIGNMENTS
Students will write response papers to their experiences in port and develop a sketchbook/journal
for resource material used as the basis for visual projects. Students are also expected to engage in a
series of critiques of artwork. Port experiences will serve as research for visual assignments.
METHODS OF EVALUATION / GRADING RUBRIC
The aforementioned factors will be evaluated as follows:
•
In-class assignments:
40%
•
Homework assignments:
25%
•
Field Assignments (Sketchbook/journal/trips)
20%
•
Participation in class and critiques
15%
(Participation grade includes involvement in class and critiques, class presentations and assigned
critical comments)
The factors that will be considered in the evaluation process are as follows
1. Demonstration of a working process utilizing techniques covered in class.
2. Level of involvement in the process
3. Strength of design (includes presentation/craftsmanship)
4. Response to and use of critical suggestions in an effective manner
5. Adherence to assigned parameters
6. Artistic merit
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METHODS OF EVALUATION: Students will be evaluated by how well he/she has met and
challenged their project proposal goals.
A = Outstanding 95 to100
A- = Excellent 94 to 90
B+ = Exemplary 86 to 89
B = Meritorious 85
B- = Very Good 84 to 80
C+ = Above Average 76 to 79
C = Average 75
C- = Below Average 74 to 70
D+ = Well Bellow Average 66 to 69
D = Well Bellow Average 65
D- = Well Bellow Average 64 to 60
F = Failing 59
RESERVE LIBRARY LIST
AUTHOR:
TITLE:
PUBLISHER:
ISBN #:
DATE/EDITION:
Nathan Goldstein
The Art of Responsive Drawing
Prentice Hall
9780130486295
1998/5th edition
AUTHOR:
TITLE:
PUBLISHER:
ISBN#:
DATE/EDITION:
Otto Ocvirk
Art Fundamentals: Theory and Practice
McGraw-Hill Humanities/Social Sciences/Languages
0073526525
2008 /11th
AUTHOR:
TITLE:
PUBLISHER:
ISBN#:
DATE/EDITION:
Brian Curtis
Drawing Form Observation
McGraw-Hill Humanities/Social Sciences/Languages
0077356276
2009/2nd
AUTHOR:
TITLE:
PUBLISHER:
ISBN #:
DATE/EDITION:
Emma Dexter
Vitamin D: New Perspectives in Drawing
Phaidon
978-0714845456
2005
AUTHOR:
TITLE:
Christian Rattemeyer
Vitamin D2
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PUBLISHER:
ISBN #:
DATE/EDITION:
Phaidon
ISBN-13: 9780714865287
2013
ART21 PBS DVDs
Seasons 1-6
ELECTRONIC COURSE MATERIALS
AUTHOR:
ARTICLE/CHAPTER TITLE:
Nathan Goldstein
The Art of Responsive Drawing, Chapter 1
HONOR CODE
Semester at Sea students enroll in an academic program administered by the University of
Virginia, and thus bind themselves to the University’s honor code. The code prohibits all acts of
lying, cheating, and stealing. Please consult the Voyager’s Handbook for further explanation of
what constitutes an honor offense.
Each written assignment for this course must be pledged by the student as follows: “On my honor
as a student, I pledge that I have neither given nor received aid on this assignment.” The pledge
must be signed, or, in the case of an electronic file, signed “[signed].”
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