When Viewing Examples of Student Work:

Often a single example of work may not demonstrate all the required objectives for a particular assignment. Instead students should collectively consider: the required objectives for each assignment, the multiple examples presented on this blog and during in class presentations. As well ideas discovered through a student's independent research in combination with various examples and ideas presented by instructor will ultimately be the best approach for synthesizing ideas and reaching the requirements (and unique outcome) for any particular course project.

Sunday, January 1, 2017

Drawing: Studio 2 Syllabus Winter 2017

University of Manitoba
School of Art: Studio

Course Title: Drawing: Studio 2 
Course Number: STDO 1250 - A01 
Credit Hours: 3hrs

Instructor: Derek Brueckner
Office: 395 Tache Hall
(on weekdays email replies may take up to 24hrs and on weekends 48hrs)

Office Hours: 11:15am – 12:15pm
Location and Lecture Times: 468 ART LAB Mondays 8:30 am - 11:15 am

Course Website: 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.

Course Description
Building on competencies developed in STDO 1210 Drawing: Studio 1, students integrate individual research with methods and materials of contemporary drawing. Prerequisite for further study in fine arts studio courses. May not be held with STDO 1200 (054.120). Prerequisite: STDO 1210.

Course Objectives/Outcomes
The purpose of this course will review and expand upon key concepts and competencies used in contemporary drawing practice. Course outcomes encourage the development of traditional materials and experimental (contemporary) approaches across a broad range of concerns, including but not limited to visualization, composition, materiality, the subject, expression, concept and content.
This entire 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. This course will also give greater emphasis on broadening thematic content (conceptual thinking), aesthetics and materials in relation to contemporary ideas. Emphasis will also be placed on drawing as a process that conveys ideas integrating 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.

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.

Materials List
All materials and supplies (costs) required for completing the course curriculum, or other financial impact.
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2016-2017 Course Outline: Studio


Drawing: Studio 1 
Instructor: Derek Brueckner

Instructional Methods
In addition to the 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.
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. All absences during class, late arrivals and early departures are recorded every day.

Making provisions for an open mind is essential for this 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 throughout the course. 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 (visual) vocabulary in relation to concepts. Throughout the course students will focus on pursuing personalized innovative drawing processes in relation to late 20th Century and current ideas (21st Century 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 assignments will focus on drawing in relation to digital media, 3D, and/or time based media.

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2016-2017 Course Outline: Studio

Drawing: Studio 2 
Instructor: Derek Brueckner 

Drawing Studio 2 Course Activities Schedule Jan 23 – April 17, 2017

COURSE OUTLINE and Important Dates (continued)

All assignments below in Part A and Part B will require studies and or preliminary drawings in a sketchbook to independently investigate and experiment with materials and concepts.
Students should begin to set themselves up with various potential images, memories, ideas and themes to work with. As well students should mentally prepare themselves for: risk taking, reworking, re-editing, researching, applying criticism and generally experimenting with conviction and curiosity. The term “research” will also include independently experimenting with drawing materials (which may be unfamiliar to students) in the sketchbook.

PART A of Course Jan 23 to March 13 50% All of Part A Course Assignments
Jan 23
Week 1:
Course Introduction and Dissemination of Course Syllabus and Supply List. Discuss some ideas and work completed from Drawing Studio 1 courses.
Dissemination of information for
Assignment 1: Blind Fold Drawing
Link to Assignment 1: http://derekbruecknercourseinformation.blogspot.ca/2009/12/blind-fold-drawing.html
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Jan 30
Week 2:
Assignment 1: Blind Fold Drawing (5%)
Link to Assignment 1: http://derekbruecknercourseinformation.blogspot.ca/2009/12/blind-fold-drawing.html 
Purpose of Assignment: Increase the awareness of other senses. In particular this assignment focuses on the sense of; touch, the variety of pressures applied to drawing tools, and the emphasized awareness of arm, hand and finger movements while drawing.
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Feb 6
Week 3:
Assignment 2: Two Options Assignment (Investigating Composition with Layering and Editing) (30%) The work should demonstrate a variety of formal concerns in the picture plane such as the use of colour, shapes, scale shifts, composition and mark making using primarily drawing materials. You
have the option of developing collaged materials into the drawing.
Choose one of the assignments:

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Feb 13
Week 4:
Assignment 2: Two Options Assignment (continued from Feb 6)
Feb 20
Week 5:
NO CLASSES - Louis Riel Day and Reading Week Break
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2016-2017 Course Outline: Studio

Drawing: Studio 2 
Instructor: Derek Brueckner 

COURSE OUTLINE and Important Dates (continued)

PART A of Course Jan 23 to March 13 50% All of Part A Course Assignments (continued) 
Feb 27
Week 6: 

Group Critique of the Two Options Assignment (Assignment 2)
Presentation of Assignment 3:
Twenty-One Items Drawing Assignment
Link to Assignment 3: http://derekbruecknercourseinformation.blogspot.ca/2011/01/21-itemselements-assignment.html
March 6
Week 7:
Assignment 3: Twenty-One Items Drawing Assignment (15%)
This assignment is about depicting imagery from imagination and memory and creating an interesting and unique narrative utilizing the list of 21 items given for the assignment. Each item in the drawing should convey a story and or symbolic meaning to the overall narrative. 
Link to Assignment 3: http://derekbruecknercourseinformation.blogspot.ca/2011/01/21-itemselements-assignment.html

The Twenty-One Items Assignment should present a drawing with thematic layers conveyed in a unique and innovative manner. Once again the integration of visual languages with concepts will also be required. Various coloured media of choice will be explored focusing on formal concerns regarding colour, space, mark making, soft and sharp edges, and different levels of detail and sensibilities.
March 13
Week 8: 

Portfolio Submission (Assignments 1, 2 and 3)
VIDEO TAPING of ALL PART A Course Work for Documentation and Final Evaluation
Begin researching/working on Assignment 4. Time Based Drawing

PART B of Course Mar 20 to Apr 17 50% All of Part A Course Assignments
Mar 20
Weeks 9:
Assignment 4: Time Based Drawing:
Traditional drawing materials in relation to time based mediums such as sound, video, animation, book works, and or performance. 
Link to Assignment 4: http://derekbruecknercourseinformation.blogspot.ca/2017/03/drawing-assignment-4-time-based-drawing.html 
As in previous assignments in the course the Time Based Drawing Assignment should present a hybrid of drawing materials and/or process with thematic layers conveyed in a unique and innovative manner. As usual aesthetic (formal visual languages) should be synthesized with thematic layers (conceptual content)
Mar 27
Week 10: 

Group Discussion of Time Based Drawing
Presentation of Assignment 5: Thematic Content, Contemporary Ideas and Drawing
Link to Assignment 5: http://derekbruecknercourseinformation.blogspot.ca/2017/04/assignment-5-final-assignment-for.html 
Mar 31 Last day for Voluntary Withdrawal (VW)
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2016-2017 Course Outline: Studio

Drawing: Studio 2 
Instructor: Derek Brueckner 

COURSE OUTLINE and Important Dates (continued)

PART B of Course Mar 20 to Apr 17 50% All of Part A Course Assignments (continued)
Apr 3
Weeks 11
Assignment 5: Thematic Content, Contemporary Ideas and Drawing:
This assignment will offer choices that require the student to address a culmination of ideas disseminated from this course.
Link to Assignment 5: http://derekbruecknercourseinformation.blogspot.ca/2017/04/assignment-5-final-assignment-for.html
Objectives of Assignment:
The following project requires synthesizing formal and conceptual thematic content in relation to contemporary art. The research and the final outcome of the project should demonstrate a curiosity and an awareness of contemporary ideas. Ultimately these contemporary ideas should be crafted technically and conceptually into a work of innovative contemporary art.
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Apr 10
Week 12:
Assignment 5 (Continued from Apr 3) Thematic Content, Contemporary Ideas and Drawing:
This assignment will offer choices that require the student to address a culmination of ideas disseminated from this course.
Objectives of Assignment:
The following project requires synthesizing formal and conceptual thematic content in relation to contemporary art. The research and the final outcome of the project should demonstrate a curiosity and an awareness of contemporary ideas. Ultimately these contemporary ideas should be crafted technically and conceptually into a work of innovative contemporary art.
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Apr 17
Week 13: 

Portfolio Submission (Assignments 4 & 5)
VIDEO TAPING of ALL PART B Course Work for Documentation and Final Evaluation
NOTE Regarding Deadlines:
1) Any work not presented during documentation and final evaluation will receive a zero.
2) Any assignment missing or incomplete during group critiques will receive one letter grade deduction.
3) Missing any group critiques or documentation for the evaluation of work in a studio course is equivalent to missing an exam or test in lecture courses.

Evaluation/Grading for Each Assignment
Each Assignment will be broken down in terms of:
Formal/Visual Language/Technical Skill 60% 

Layers of Concepts/Themes 20% 
Synthesis of the concepts/intention with formal/visual language 20%

Notification of Grades for Art Assignments
Grades for all assignments will be will posted on UM Learn Link to UM Learn: http://universityofumanitoba.desire.com
Students must ensure they are registered with UM Learn in order to access their art assignment grades.
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2016-2017 Course Outline: Studio

Drawing: Studio 2 
Instructor: Derek Brueckner

ARTSPOKE by Robert Atkins and ARTSPEAK (Late 20th Century Art Dictionary) by Robert Atkins
PERFORMANCE: Live Art Since The '60s by Rosalee Goldberg
VITAMIN D: New Perspectives in Drawing by Emma Dexter
Sculpture in the Expanded Field by Rosalind Krauss 
The Cuteness of the Avant-Garde by Sianne Ngaio

Projects/assignment evaluations are based on the following grading rubric:
Letter Grade Matrix
All School of Art students are expected to maintain a minimum GPA of 2.5. If the student’s term or degree GPA falls below 2.5 the student will receive a warning letter from the student advisor indicating they have one year to improve or they will be placed on Academic Probation. Students in the BFA Honours Degree Programs must maintain a GPA of 3.0.
Grading Rubric
A+/A: Reserved for Exceptional performances and normally achieved by a minority of students. These grades indicate a student who is self-initiating, exceeds expectation and has an insightful grasp of the subject matter.

A+ 93-100
Works in this range:
- demonstrate assignment requirements at an exceptional level
- show evidence of a high level of contextual awareness
- show full command of chosen materials or technology
- present a remarkable example of progress and development

A 88-92.9
Excellent achievement
Works in this range:
- demonstrate assignment requirements at an excellent level
- show thorough contextual awareness
- show confident use of chosen materials or technology
- present an excellent to outstanding example of progress and development

B+/B: indicate a Very Good performance. Normally achieved by the largest number of students. These grades indicate a good grasp of the subject matter or excellent grasp in one area balanced with satisfactory grasp in the other area.

B+ 80-87.9 
Very Good achievement

B 75-79.9
Good achievement
Works in this B to B+ range:
- demonstrate assignment requirements at a good to very good level - are consistently within the current boundaries of the field

- reveal commendable awareness of context for evaluation
- show a reasonable ability with chosen materials or technology
- present a good to very good example of progress and development
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2016-2017 Course Outline: Studio

Drawing: Studio 2 
Instructor: Derek Brueckner

Letter Grade Matrix (continued)
C+/C: indicates Satisfactory, or minimally satisfactory performance. These grades indicate a satisfactory performance and knowledge of the subject matter.

C+ 68-74.9 

C 60-67.9
Works in this C to C+ range:
- demonstrate assignment requirements at an adequate to satisfactory level - readily accept known boundaries of the field
- reveal partial contextual awareness
- show limited ability with material and technology
- are intermittent in its progress during the term

D: indicates Marginal performance. A student receiving this grade demonstrated a superficial grasp of the subject matter.

D 50-59.9
Marginal Pass
Works in this range:
- does not demonstrate assignment requirements at an adequate level - provide very limited understanding of limits of the field
- have unsubstantial contextual awareness
- have low level of competence with materials and technology
- very limited development of work within the term

Letter Grade              Grade Point Value            Percentage 
A+                                4.5                                      93-100%                      Exceptional

A                                  4.0                                       88-92.9%                     Excellent

B+                                3.5                                       80-87.9%                     Very Good

B                                  3.0                                       75-79.9% 

C+                                2.5                                       68-74.9%                     Satisfactory 

C                                  2.0                                       60-67.9%                     Adequate

D                                  1.0                                       50-59.9%                     Marginal 

F                                      0                                       Below 50%                  Failure

P                                                                                                                    Pass


Return of Student Work
The retention period for unclaimed student work is as follows:
Academic Papers for the Winter Term: May 19, 2017
Studio Projects for the Winter Term: April 21, 2017

Unclaimed academic papers or studio projects will, after the deadline, become property of the School of Art and will be disposed of at its discretion.
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2016-2017 Course Outline: Studio

Drawing: Studio 2 
Instructor: Derek Brueckner

University communications will only be sent to a student’s U of M account. The full policy is available at umanitoba.ca/governance.
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, UM Learn, and Aurora electronic notification systems.
To get your free U of M account visit: http://umanitoba.ca/computing/ist/accounts/claimid.html. For more 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. More information is available in your orientation package or by calling IST at 474-8600. It is your sole responsibility to continually monitor your class site(s) for information such as class announcements and email correspondence.

Class Attendance Policy
Regular attendance is expected of all students in all courses. Letters of warning may be issued for unexcused absences of three classes in one term reminding the student of academic consequences of not attending classes. Students who do not attend or submit assignments but do not withdraw will receive a final grade of F.

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 that 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 an 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 (i.e. crib notes) is subject to serious academic penalty (i.e. 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 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 avoid this practice, since it is expected 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 artist’s work, would be academically dishonest, except in cases where making a direct copy was a requirement of the assignment by an instructor, or that an 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.

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2016-2017 Course Outline: Studio

Drawing: Studio 2 
Instructor: Derek Brueckner

Statement on 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.

Material and Process Restrictions
Flammables, poisons, potentially bio-hazardous materials, aerosol sprays, and high-temperature processes are strictly prohibited in the School of Art classrooms, adjoining hallways, and the vicinity of the ARTlab. The instructor must be consulted before any materials or processes not on the class materials list are 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.

Policies Related to Student Discipline
Policy on Respectful Work and Learning Environment http://umanitoba.ca/admin/governance/governing_documents/community/566.html
Inappropriate and Disruptive Student Behaviour http://umanitoba.ca/admin/governance/governing_documents/students/279.html
Accessibility Policy for Student with Disabilities http://umanitoba.ca/admin/governance/governing_documents/students/281.html

Students wishing to appeal a grade given for term work are expected to discuss matters relating to the grading of that work with their instructor first, as an attempt to resolve the issue without the need to submit a formal appeal.
For further information on grade appeals, please go to the Appeals Policies, Procedures and Regulations on the School of Art website at: umanitoba.ca/schools/art/media/UG_Policies_GradeAppeals2012.pdf
More information related to appeals can be found at: umanitoba.ca/registrar/grades/691.html

Academic Accommodation
Please approach your instructor as soon as possible should you need some form of academic accommodation. Students with disabilities should also contact Accessibility Services, located at 155 University Centre (Phone: 204 474-6213; TTY: 204 474-9790; Fax: 204 261-7732; E-mail: student_accessibility@umanitoba.ca)

Important Dates Calendar
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Winter 2017
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January 17
Winter student orientation
January 18
First day of classes
January 31
Registration Revision Deadline
Last day to pay winter term fees
Last date for refund for dropped winter term
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February 20
Louis Riel Day – University closed
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February 21-24
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Winter term break – no classes
March 31
Voluntary withdrawal deadline
April 14
Good Friday - no classes scheduled
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April 21
Last day of classes
April 22-29
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Exam period


2016-2017 Course Outline: Studio

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