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Instructor:
Kathleen Ruiz
Associate Professor of Integrated Arts
email: ruiz@rpi.edu
office: West Hall 314c
office hours: Thursdays 11:00am to 1:00pm
please use sign up board on office door WH 314c or email ruiz@rpi.edu
* Required Materials
* Required
Events
* Resources and Tools
* Overview Schedule and Discussions
* Drop Box Information
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Please check our class website
frequently for updates.
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Course Assessment/Measures:
Assignments:
week 1. Emotion Sketches:
due Jan 24 (3 points)
Create a series of 7 drawings
suggesting emotional states using any technique. For instance
digital drawing with stylus or traditional drawing scanned into digital
space, or photographic drawing using time value exposure and gesture, or VR
drawing such as in the HTC Vive, or any combination.
Other Examples:
EmoGestureThree
Hope
Mixed
Jimmy
K
Memo
Repet
Ethan Kaplan http://cargocollective.com/ekapAdvDigImg/Emotion-Sketches
Consider basic emotions or characteristics: i.e. Joy, Love, Jealousy, Anger, Sadness,
Depression, Happy, Peace, Fear, Sickness, etc. As you connect to the emotion you have
coming into mind, just let the pencil or stylus or camera or VR drawing
tool go where you feel it should as you progress. Let your feelings and
intuitions guide you. The main ideas of the exercise: to LET GO of
preconceived notions! You cannot use literal symbols or pictures: no
intentional tornadoes, hearts, clouds, fluffy bunnies, etc.
upload to your class exchange folder and also print your best 7
drawings on the Phaser laser printer in class,
and
IN STUDIO 214 :
Ensure you configure your computer to print to the printer in WH214:
Set up for connecting to HASS printers:
http://hassinfo.rpi.edu/hass-student-printing/
Phaser 7760DX Laser
Printer
Suggested printing settings for printing on high quality laser card stock
semi-gloss paper 11x 17”:
Printer set up:
printer: manage colors
- tabloid
- tray 2 special paper (thick cardstock/glossy)
Image quality (automatic)
Print Settings on computer:
-use printer manger colors
-tabloid (11x17)
-tray 2 for special paper (thick glossy paper) set on computer and on
printer
- image quality (automatic)
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week 2, 3. Gesture Drawings
due Feb 2 (3 points)
Reading: due Jan
26 Gesture Drawing
please create a short reading reaction paragraph
Project: 7
finished gesture drawings or prints on 11” x 17” laser printer on cardstock
We will work with a live model in studio for digital life drawing gesture
studies. You can also work from objects or the landscape.
“digital action”
drawings in action of World-renowned dancer and choreographer
Bill T. Jones with Paul Kaiser and
Shelley Eshkar:
http://openendedgroup.com/artworks/gc.html
https://www.youtube.com/watch?v=aL5w_b-F8ig
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We will conduct a
series of modeling sessions in studio to help develop these skills further:
8 - 30 second poses =
240 seconds (4 minutes)
8 – 60 second poses =
480 seconds (8 minutes)
4 – 3 minute poses =
720 seconds (12 minutes)
3 - 5 minute poses =
900 seconds (15 minutes)
Request poses (please
bring in props, object, etc. for special requests)
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On your own please
try:
landscape studies: 2 at 30
seconds, 2 at 1 minute, 2 at 2
minutes, 2 at 3 minutes
object sketches: 2 at 30
seconds, 2 at 3 minutes; 60 + 360
seconds (7 minutes)
Pick your best 7 and print them on the laser printer on paper approximately 11” x 17”
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Week 4, 5. 6. Small Scale montage,
collage, drawings, photographic,
processing, or emerging genre works, or combinations
due Feb 28 (3 points)
(7) high quality Epson Archival Prints on your choice of substrate
and size
using any technique of montage, collage, drawing, photographic works, VR or
combinations
info needed for printing to the Epson Archival printer by appointment only
in Sage 2410:
* use high end monitors to view your image, do not rely on your
laptop monitor for high end file proofing for this printer
http://www.hass.rpi.edu/pl/teaching-facilities-s17/large-format-printer-suite
Aeroclub by Pastorino
Diaz
Portrait Photography
Table Top Photography
Toy Technique
3D Roundtable Photography
Landscape Photography
ECU Photography
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week 7, 8, 9, 10 Large Scale montage, collage, drawings, photographic works,
processing or emerging genre works,
or combinations
due: March 21 (20 points)
(3) Large Format Archival Prints
Epson archival 9800 prints
(minimum size 42” x 36”, max size 84” x 42”)
(at least one on canvass)
HÖCH, Hannah, Sans
titre, 1920
You can use any set
of themes from class, or from your own set of concerns and work them into
highly developed, finished large scale works using techniques of montage, collage, drawings or photographic works or
combinations thereof
Photographic Sculpture
Montage & Collage
Printing and Painting on Digital Canvas
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week 11, 12. Augmented Reality: Re-imaging
Public Space/Revitalizing Parks/ Making Parks / Geoparks
and Geocaching
due April 4 (10 points)
Fine Arts usage of augmented reality/
interactive print/augmented sculpture. Using augmented reality apps like LayAR https://www.layar.com/ and others we will experiment with ways
we can use the technology for expression in public spaces
Grand Center, the Art and Life Alliance and MOMO, Re+Public
has completed a digital, immersive, and interactive mural on the Moto
Museum (Steve Smith, Owner) wall (85' x 21') in St. Louis @ Grand Center.http://www.republiclab.com/projects
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Week 13, 14 Chose one of the following: either
Assemblage, Stencil
Art, or Projection
due April 18 (6 points)
We will be installing our class exhibition
April 11 in SAGE. Opening Wed April 12, 6 to 7pm
Assemblage:
using digital and/or analog techniques, found objects, textures, etc.
for 1 expressive 3d mixed media
minimally 17”x 11” x 10”
Joseph Cornell
Assemblage: a sculptural
technique of organizing or composing into a unified whole a group of
unrelated and often fragmentary or discarded objects.
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Week 13, 14 Stencil Art:
due April 11 (6 points)
(Please be considerate and responsible by stenciling on approved surfaces
only!)
Experiment with the techniques learned in studio create and create (1)
stencil artwork that dialogs in site.
You can use either hand cutting techniques or laser cutting technique.
Graffiti depicting graffiti
removal by Banksy.
Created in May 2008 at Leake Street in London,
painted over by August 2008
Hand Techniques
http://www.instructables.com/id/Creating-Complex-Spraypaint-Stencils-by-Hand/
Full-Color-Stencil-Art-with-Halftoning:
http://www.instructables.com/id/Full-Color-Stencil-Art-with-Halftoning/
Kyle McDonald : http://kylemcdonald.net/
http://vimeo.com/kylemcdonald
All work must be in exact and proper format before laser
cutting:
Laser Cutting Technical Info
Laser Format Template
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Week 13,14 Projection:
due April 11 (6 points)
create 1 projection
or 1 series of works for installation, or performance, or impact
 
Marcel Duchamp Rotoreliefs 1935 http://www.urbanscreen.com/
Reading:
Chrissie Iles: Between
the Still and Moving Image
Lev Manovich: The Poetics of Augmented Space http://www.streamingmuseum.org/articles-and-essays/lev-manovich-the-poetics/
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Week 15, 16.
Final Project
due
May 2 (40 points)
Étienne-Jules Marey
A large,
challenging, well thought out, and technically perfected and installed
final work.
This project should be about a topic of personal interest to you quite
possibly using the techniques, issues and ideas learned during the semester
and beyond.
Your inspirations,
art historical referencing, philosophical influences, theoretical
background, and technical documentation will be articulated in an artist
statement properly cited and footnoted in The
Chicago Manual of Style
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Web
Portfolio & Documentation
due
May 9
of all works in standalone format submitted on a thumb drive or dvd and also uploaded to your class exchange folder before
12noon
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Class Schedule:
Week 1. Jan 17
Intro to the course
Review best works
Questionnaire of goals
In studio Expression from
within:
Freeing up the digital artist: Emotion Drawings: Create a series of 7
drawings suggesting emotional states using either of the following
techniques: digital drawing with stylus or traditional drawing scanned into
digital space, or photographic drawing using time value exposure and
gesture or any combination.
review of works and related artists in the field
Materials to bring to class:
Please bring a sample of your best work,
traditional or digital drawing implements, and substrates, or cameras
Week 2. Jan
24 Emotion Drawing
review of works and
related artists in the field
Jan 26 In studio: Gesture
Drawing I and portraiture from the live model
Materials to bring to class: your
favorite expressive instruments (whether they be drawing/ painting/ drawing
tablet/ camera & tripod / Kinect / paper cutting / sculpting / 3d
applications / other), substrates
and any props or table top items for the request time
Related readings: Gesture Drawing
Week 3. Jan 31
In studio: Gesture Drawing II and
portraiture from the live model
overview of the history of
portraiture, review of Rembrandt, butterfly and edge lighting techniques
experiments with portraiture
& lighting techniques short studio
Related readings: Barthes 15,16 and Barthes 46-48
Smithsonian
National Portrait Gallery explore portraits that speak to you:
http://npg.si.edu/portraits
http://npg.si.edu/blog
Materials to bring to class: your
favorite expressive instruments (whether they be drawing/ painting/ drawing
tablet/ camera & tripod / Kinect / paper cutting / sculpting / 3d
applications / other), substrates
and any props or table top items for the request time
Feb 2 Critiques of
Gesture works
Week 4. Feb 7 Expression from
the literary source and the
imagination
In studio: Table Top Photography:
lighting techniques & set ups
EZ cube soft light tent
3D Roundtable Photography
ECU Photography
Printing techniques for the large format Epson 9000 Archival printer
Related readings: Escape
from Spiderhead by George Saunders
review of works in progress and related artists in the field
Week 5. Feb 14 Transient forms
In studio: Photographic and
other techniques of transient media
Landscape Photography
Related readings: Oliver Sacks SPEED
and Hito Steyerl In
Defense of the Poor Image
Materials to bring to class:
Cameras, tripods, lighting kits, a small
item that moves, and relevant props or table top items
Wednesday Feb
15: studio
visit from Kim Sajet, the Director of the
Smithsonian National Portrait Gallery
Week 6. Feb 21 no class (the Institute follows a Monday schedule on this day)
Week 7. Feb
28
Critique of small scale
works
midterm assessment please have all perfected studies, reading
reactions, and works in your folder in the class drop box
In studio:
model will be available 4:15 to 7:45pm
experiment with landscape photography and the Body, and photographing
transient bodies
Critique of works in progress with reference to related artists in the
field
Related readings: Solso Visual
Perspective
Materials to bring to class:
cameras, tripods, and any props or table top items, ideas for working with
the body as landscape
Week 8. March 7
In Studio: introduction to the
augmented reality project: Re-imaging
Public Space/Revitalizing Parks/ Making Parks / Geoparks
and Geocaching. Do fieldwork over the break, photograph your local park or
public space, and imagine ways to enliven these spaces, take photographs
and video of a few of these spaces and see which one speaks to you. Do
research on augmented reality and preliminary experiments
Related readings: Lev Manovich: The Poetics of
Augmented Space and
Open source ImagePlot http://lab.softwarestudies.com/p/imageplot.html?m=1
Week 9. March 14 Spring Break
Week 10. March 21 Critiques of large format
archival prints
Materials to bring to class: your 3 completed large format archival
prints for critique (one on canvas), and your formulating ideas on your
augmented reality park
In Studio: Augmented reality
research review and experiments
Materials to bring to class:
cameras, tripods, and any props or table top items
Week 11.
March 28
In Studio: Augmented reality
research review and experiments
Materials to bring to class:
cameras, tripods, and any props or table top items
Week 12. April 4
Critiques of Augmented Reality: Re-imaging Public
Space/Revitalizing Parks/ Making Parks / Geoparks
and Geocaching
In studio: brief historical and technique review of assemblage, stencil
and projection art
chose one and experiment.
Related Readings:
MoHoly-Nagy Contributions
of Arts to Social Reconstruction
and Make
a Light Modulator or
Chrissy Isles: Between
the Still and Moving Image
Materials to bring to class:
for assemblage: objects,
small box, images
for stencil: images and ideas (exactos, suitable substrates, cutting board if working
via hand)
for projection: data projectors,
objects
Week 13. April 11
We will be
installing our class exhibition April 11 in SAGE. Opening Wed April 12
individual meetings to discuss final project ideas
Materials to bring to class: experiments
and ideas/materials for final projects
Exhibition opening Wed April 12 6:00-7:00pm Dean’s Gallery.
Week 14. April 18 Final
Project Trajectory
Critiques of experiments in either
assemblage, stencil or projection art
Artist statements and works in progress informally reviewed
Related readings: Personal research readings for preparing
your artist statement and references
Intensive work studio
Week 15. April 25 Final
Project Trajectory
Related readings: Personal research readings
Intensive work studio works in progress informally reviewed
Week 16. May 2
Critiques of Final
Projects
Web Portfolio & Documentation
due May 9
of all perfected works in standalone format submitted on a
non-returnable thumb drive or dvd and also
uploaded to your class exchange folder before 12 noon
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Learning
Outcomes:
Upon
successful completion of the course students will be able to:
1.
demonstrate the ability to conceptualize, design, produce, and express
ideas through one or more of the following: advanced gesture drawing,
digital painting, montage/collage, digital photography, VR, assemblage,
high end archival digital printing, mid-range digital printing, augmented
reality, stencil art, or projection projects as demonstrated through short
study projects, final project and web portfolio documentation of all works.
2.
develop art making strategies which merge concept, process and form -
encouraging approaches that are at once inquisitive, analytical, creative,
experimental and articulate.
3.
examine the work of several artists, theoreticians, and institutions who
engage in digital and physical art creation.
4.
design and plan a detailed artist statement document which expounds upon
individual concepts, processes, creative exploration, technical
experimentation and references for the final project.
5.
compare, contrast, describe and critique the strengths and weaknesses of
their own artwork and that of their fellow classmates relating to formal,
aesthetic, and content attributes.
6.
successfully articulate informed, philosophically and socially aware ideas relating
to art, technology, and culture as demonstrated in class discussions and
critiques and in short written reaction papers to the relevant readings and
events.
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Requirements and Suggestions
Evaluation
Students must demonstrate satisfactory achievement of course
objectives through fulfillment of course projects and by contributing to
class discussions and critiques.
Grading
Experiments I:
9% short studies (3% each set of 7 studies x 3): emotion sketches, gesture
drawings, mid-range digital prints = 9
points
Completed works:
20% (3 at 6.6 points each) large high end archival digital prints = 20 points
Augmented Reality Studies: 10% = 10 points
Experiments II: 6% short study in one of the following:
assemblage, stencil, or projection = 6
points
Final Project
40% = 40 points
Participation
in class 10% = 10 points
Event & Reading reaction papers
5% = 5 points
Letter grade equivalents for the course are as follows:
A=4.0, 100 points A-=3.67, B+=3.33 B=3.0, B-= 2.67, C+= 2.33,
C=2.0 C-= 1.67, D+=1.33, D=1.0,
F=0.0
If you are concerned about your creative trajectory or your grade
at any point during the semester, please do not hesitate to contact your
Instructor and schedule an appointment during office hours. You will have a
midterm review where your current grade will be given to you.
Participation: you are invited, encouraged, and expected to
engage actively in discussion, reflection and activities.
Class Attendance Policy
As an enrolled student, you have made a commitment to this class
and your attendance is a significant part of that commitment. Attendance
will be taken at every class. An absence is considered excused if the
student has informed the course instructor by phone, email or in person
before the beginning of the class and the excuse is considered reasonable
by the instructor. All students are required to be on time and in
attendance for each and every class. Students arriving to class more than
10 minutes late may be counted as absent. Two (2) unexcused absences
will result in a reduction of one entire letter grade.
Adherence to deadlines is expected. It is the individual student's
responsibility to keep track of deadlines and to present the work to the
class and instructor on the specified dates. 15% per day will be subtracted
from late assignments.
If a student needs an official excuse, please go to the Student
Experience office – 4th floor of Academy Hall, x8022, se@rpi.edu
Academic Honesty
Statement On Academic Integrity
Class Specific
Collaboration and discussion about class projects is actively
encouraged, and is in no way considered cheating. This is a studio course,
and personal ownership of information is not deemed to be appropriate.
Original works such as drawings, photographs, images, montage, collage,
augmented reality, assemblage, projections, stencil art and final project
art are required. If appropriated imagery is to sought to be used it must
be expressly cleared by the professor first in a personal meeting where the
appropriated imagery is shown and discussed. Projects are expected to
reflect personal endeavor.
Academic Integrity
Student-teacher relationships are built on trust. For example,
students must trust that teachers have made appropriate decisions about the
structure and content of the courses they teach, and teachers must trust
that the assignments that students turn in are their own. Acts, which
violate this trust, undermine the educational process. The Rensselaer
Handbook of Student Rights and Responsibilities defines various forms of
Academic Dishonesty and you should make yourself familiar with these. In
this class, all assignments that are turned in for a grade must represent
the student’s own work. In cases where help was received, or teamwork was
allowed, a notation on the assignment should indicate your collaboration.
Submission of any assignment that is in violation of this policy will
result in a penalty of a grade of F given for failure in the course and
also further disciplinary action as outlined in the Handbook of Student
Rights and Responsibilities.
Addressing Academic Dishonesty at Rensselaer
Polytechnic Institute
Intellectual integrity is critical to the foundation of all
academic work. Academic dishonesty, therefore, is considered a serious
matter and will be addressed as such. As defined in the current Rensselaer
Handbook of Student Rights and Responsibilities, examples of academic
dishonesty include, but are not limited to: academic fraud, collaboration,
copying, cribbing, fabrication, plagiarism, sabotage, and substitution.
Additionally, attempts to commit academic dishonesty, or to assist
in the commission or attempt of such an act, are also violations of the
academic dishonesty policy. If found in violation of the academic
dishonesty policy, students may be subject to two types of penalties. The
instructor administers an academic (grade) penalty of F, and the student
may also enter the Institute judicial process and be subject to such
additional sanctions as: warning, probation, suspension, expulsion, and
alternative actions as defined in the current Handbook of Student Rights
and Responsibilities.
How to take the course (in a nutshell):
Show up prepared with all materials and supplies needed to work in
studio. Attendance is mandatory every week. Do the work and the assignments. Do the readings and come prepared to ask questions. Turn work in on time. Contribute to the
discussions. Check the course website for the latest information about
assignments and activities.
Electronic Communication
Email: All students are expected to have an active electronic mail
account, and should check mail at least four times a week for class
information. Some essential class information is communicated by email
only.
Work Habits
Always back-up your work frequently; that is, every time you make
something you think is worth keeping. Systems crash when least
expected and you could lose all your work. It is a good idea to
make three backups (on different media), as storage media are sometimes
unstable. Always save onto your own media or into your account as files
left on hard drives will be removed.
Also, please keep in mind the highly addictive aspects of working
with computers. Many people lose track of time and later wonder why they
have severe back, neck and eye problems. It is a good idea to take a
rest every 15 to 20 minutes. Look up or beyond your computer or,
better still, at a long distance to relax your eyes. Take a walk or
stretch. Fatigue can lead to frustration. Stay in touch with your
body's needs.
Try not to harm or deface any equipment in any way or lose files
and folders belonging to our class or other classes.
For problems in the studio please be specific in your email and
contact: http://helpdesk.hss.rpi.edu/pl/submit-service-request-ticket-system
Please follow the guidelines for working in each studio very
carefully, as you will be held personally responsible for problems you
incur. At all times please keep the lab clean after each use.
Reserve all gear beforehand at
http://www.arts.rpi.edu/pl/iear-studios-facilities/equipment-room
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