AMANDA KAY WHITE
Teaching Philosophy
I recognize that my role as an art instructor goes beyond the discipline at hand. The physical
process of making art is inherently based on learning technical abilities, yet simultaneously lends itself to
the development of other crucial skillsets. Effective goal setting, problem solving and critical thinking are
just a few of the major takeaways in which I communicate to my students via art making processes.
Consequently, these valuable ideas may be applied throughout the students’ lives, regardless of their
career paths.
In the introductory courses, I focus on foundational design skills taught with the use of traditional
methods such as still life, portraiture and landscape. It is imperative students gain knowledge of such
skills in order to increase their capacities to express themselves. Once a sense of proficiency within these
basic skillsets is achieved, students are highly encouraged to explore their own personal interests further.
When students are empowered with fundamentals of art and encouraged to voice their own ideas, they
build a sense of confidence of which they can carry throughout any future endeavors.
I believe my flexible approach in teaching allows me to tailor instruction to the benefit of every
class. Through my experiences thus far, I have worked with a diverse group at the college level and
recognize that one semester to the next can be quite different. Some students have more or less
backgrounds within art and it is my role as instructor to adapt my curriculum in order to meet their needs
the best way possible. Studio art is mainly a hands-on approach of course, but teaching with a variety of
methods, such as lectures and class discussions, will in turn teach them to be more effective listeners and
how to think on a deeper level.
As a practicing artist, my enthusiasm and passion for this subject inevitably makes its way into
the classroom. This contagious attitude sets the tone for learning in a stimulating, enjoyable atmosphere.
Another aspect of building a constructive learning environment is the idea of community. To establish, I
begin by identifying individual needs through balancing one on one time for each student. I am able to
discover commonalities between the students and myself by paying utmost attention. During class
discussions I can then facilitate connections by relating ideas to one another. Being able to connect to
students and them amongst themselves is imperative in fostering a sense of community in the classroom.
Developing relationships among faculty is also very important to me, in that ideas and concerns may be
shared to better oneself and the facility as a whole.
I am very mindful that despite the titles of instructor and artist, I also proudly wear the additional
title as a life long learner. With that awareness, I know that routine self-evaluation of my own practice
and instruction is necessary in order to make improvements. I am always enthusiastic when it comes to
continuing my education and improving on a professional level. I know that building positive, working
relationships amongst faculty is one aspect of that, but I am also excited to attend conventions and be a
part of organizations related to the arts and instruction. I want to instill that same sense of eagerness of
seeking knowledge and experience to each and every one of my future students.
Art 2310: Introduction to Art—Section 5
Instructor(s):
Alan Pocaro—E-mail: adpocaro@eiu.edu
Office Hours: by appointment
Amanda K. White—E-mail: akwhite3@eiu.edu
Office Hours: Tuesday, Rm 1920, 3:40-4:40pm
Class times:
Lecture—9-9:50am, Doudna Rm 1210
Studio—Tuesday/Thursday 2-3:40pm, Doudna Rm 1920
Course Description:
This class is an introduction to the visual language of art and its appreciation. It is predicated on
the notion that understanding and experiencing art can make your life demonstrably better. Art
is a perceptual phenomenon: it must be seen to be understood. By viewing some of the most
compelling works of art made by human hands, this course will help you gain an appreciation
for the arts and western culture.
Our time together in class will focus on looking at and discussing art, examining our readings,
and hands on activities that reinforce the core concepts we will be learning. In addition to
hands-on activities we will be exploring art through field trips to art centers, as well as studying
select artists in depth. This is a college level course and it is designed to provide you with a
challenging, thought provoking experience.
Art is for everyone, it is important for all people to engage in the artistic experience, and
appreciating art by looking at and/or by the act of creating art. By engaging in the artistic
experience in the lab portion of this course, you will learn to think more critically, appreciate
diversity, become more understanding, reflective, and introspective. You will realize how the
world influences us and how we might influence the world.
Course Objectives:
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Develop aesthetic sensitivity and visual literacy through study and experiential learning.
Challenge and develop critical thinking skills through the observation and analysis of art.
Recognize and understand themes and ideas explored by artists across time and media.
Connect the work of artists to everyday experiences; understand that art and life are
intimately related.
Experience the joy and pleasure of creation through hands-on studio activities.
Use visual vocabulary to communicate ideas about your work and the work of others.
Understand that form and content are related phenomenon.
Course Requirements:
Students are required to work on projects in and outside of class. All students must attend class
fully, regularly, and punctually with required materials. Students are expected to participate in
all group class discussion and lab critiques.
Attendance:
Your learning greatly depends on your presence. No exceptions will be made. It is impossible to
make up missed lectures, demonstrations or critiques, and getting the information second-hand
is rarely satisfactory. Students are required to have a partner for this class. In the event of an
absence or tardy, the partner is responsible for taking notes and relaying any missed information
to the absent member. Please exchange names and email or phone numbers with your
partner. Ultimately, it is the responsibility of the absent person to make up any missed class or
homework. I will be happy to answer any unresolved questions after the partner(s) have been
contacted.
Students are allowed 3 excused or unexcused absences per semester total for both the lab and
lecture portion of this course with no effect on their final grade. After the third absence, the final
course grade will be lowered one letter grade for each additional absence (B will drop to C). 3
tardies (more than 5 minutes late) and/or early departures count as one absence. The following
also counts as one tardy:
1) disappearance from class for longer than 5 minutes
2) failing to arrive with the assigned materials needed for the class
Arriving more than 30 minutes late for class will be recorded as an absence. No differentiation is
made between excused and unexcused absences. The student fails the course on the 7th
absence regardless of circumstances. You cannot make up an absence or a tardy, so please
save any absences until you truly need them.
Class Policies:
Cell phone policy: The front of the lecture hall is equipped with a Cell Phone Parking lot. Each of
you has an assigned space for your phone, please ensure that it is off and parked prior to the
start of class. If you are present and your phone is not parked, I will assume that it is on your
person. If your phone is on your person during the course of the class you will be marked absent.
If at anytime during the course of the lecture OR studio that I have to make a comment to you
regarding your phone, you will be marked absent.
According to a recent study from the McCombs School of Business at The University of Texas at
Austin, just the presence of your cell phone is “reducing your cognitive capacity” i.e., it’s making
you dumb.
Use of laptops are not permitted during class time. If you have to be asked to put your laptop
away, you will be marked absent.
Absolutely no recording—audio or visual—of this class may be made without the written
permission of the instructor.
Obviously, the other types of disruptive or dangerous behavior are prohibited. I reserve the right
to remove any student (with my super-human strength) from class if I feel that they are disturbing
the work environment of the class. If you are having any problems or questions, come to me,
before your problem or question gets larger.
Grading:
You EARN a grade, you are not given one. Pay attention to both my and my teaching
assistants’ expectations for evaluation. Your grade will be based on your effort and willingness
to apply methods being taught, comprehension and application of the information presented in
class, quality of work, and participation in class discussions. The letter “C” is the pivotal grade
point. A “C” letter grade represents an average fulfillment of course work—you did what was
required. Students, who fail to meet required deadlines, project and class objectives, and
participate will receive a less than average grade. Those who excel, demonstrating greater skill,
creativity, understanding and ambition deserve an above average grade.
Grades are based on a point system. Participation in lecture discussions and project grades
make up the majority of your final grade along with several short response papers and a midterm critical analysis paper. In order to figure your grade throughout the semester, keep a tally
of the points you earn and divide them by the total possible points.
A:
Exceptional work. Exceptional work is work that demonstrates a full realization of the
ideas put forth in assignment, and more. This ‘extra’ involves researching projects by asking
questions about artists works/ideas, using a sketchbook to expand awareness of each project,
and being thoroughly engaged with the richness of the task at hand. This student is inventive,
and does not hesitate to take chances within the requirements of the assignments, exhibiting
growth throughout the semester. This student is also an active member of the class, discussing
relevant points during the critique sessions with superior use of visual vocabulary. Clearly projects
enthusiasm for the subject matter with an inquisitive, curious mind.
B:
Good work. Good quality work is work that demonstrates a sound and competent
realization of the ideas put forth in each assignment. This student understands what is asked of
him or her and responds well to suggestions. This student also works hard and has a solid grasp
of concepts and methodologies covered in class. This student consistently does more that is
required and the work is of a high standard, but further considerations and adjustments are
needed for improvement. This work conveys an understanding and intelligence that is only
lacking in the ‘special’ characteristics mentioned in ‘A’, above.
C:
Average work. Average work would is work that demonstrates a reasonable attempt at
grasping the expectations of each assignment, and its particular specifics. This student
completes all assignments as required, but does not excel beyond what is merely expected. This
work lacks a competent, comprehensive understanding of concepts and methodologies,
resulting in little growth. The student may put forth effort but initiative is directionless and risktaking is minimal.
D:
Extremely poor and half-finished work with no care or attention to presentation. This
student works, but has poor presentation, no growth, unchallenging ideas, and little in-class
participation. This student shows little growth and lacks proper motivation or initiative. Also, this
grade is earned when someone has missed a significant amount of classes, (above three) and
has failed to complete assignments.
F:
This student has failed to meet the course requirements. Work is often not turned in or is
unsatisfactory. This student has a problem with his or her attitude and often disrupts the learning
process. IN MANY CASES, THIS STUDENT MAY EXHIBIT ALL OF THE EFFORT OF AN “EXCELLENT” (A)
ASSESSMENT, BUT HAS MISSED FIVE (5) CLASSES OR MORE.
A—315-350
B—280-314
C—245-279
D—210-244
Lecture Points
Quizzes
(5, 5pts each)
Writings
(5, 15 pts each)
Analysis Paper
Final Exam
F—209 and below
Total:
Studio Points
25
Still Life
20
75
Self-Portrait
20
Representational
Painting
Abstract Painting
40
Printmaking
30
25
Projects
25
30
150
Sketchbook & In Class Exercises
40
Quizzes
10
Homework
10
Basic Criteria of Evaluation for Hands on Projects:
1) Participation/Effort/Class Critiques
Total:
200
2) Design- Shows understanding of Assignment and concepts
3) Craftsmanship/Care- No bent edges, creases, etc.
4) Originality, Creativity, Inventiveness- Avoid all images that are copyrighted
Homework:
Students are expected to spend approximately 3-5 hours a week on assignments outside this
class. After an assignment is graded and returned, students have one week to rework (redo) the
assignment for a new grade. Grades will never go down due to a redo, but may remain the
same if a problem is not adequately resolved. Redo assignments may be limited if an individual
student abuses the opportunity. No Redos on late assignments.
One late assignment per student per semester will be accepted. The penalty for this late
assignment is a letter grade drop for each class period the assignment is late. There are no redo
opportunities for late assignments. After the first late assignment is accepted, any remaining late
assignments will receive a failing grade. Homework assignments are due at the beginning of
class and should be complete before you arrive to class. If you are sick or absent, please make
arrangements to have your work to me on or before the due date.
Discussion/Critiques:
The Lecture portion of this course emphasizes discussion and classroom participation. Like your
elbow, everyone has opinions and you should feel both safe and free to make yours known so
long as you respect my teaching assistants, your fellow students and me.
We will have group critiques at the due-date for every project. The purpose of criticism in art is
to provide artists with feedback directed towards improving specific areas in their work.
Receiving as well as giving constructive criticism is a vital part of the learning process.
Participation in all critiques is required. All specific projects are to be completed by this time.
Craft:
Please take extra care in maintaining your projects. It is possible that your work will be included
in an exhibition of student work.
All work should be well crafted and clean on the back and front
Keep all mock-ups and failed pieces
Keep all your work inside your assigned drawer or portfolio; a safe, clean, dry, place.
Other Information:
o
o
o
The studio is a shared space. Please be respectful of others by cleaning up after yourself
as well as return any classroom materials back to their designated areas after use.
You will be assigned a drawer of which you may share with other students. Be careful
and respectful of other’s projects stored in the drawers.
D2L will be used throughout this course. The link to this site is on EIU’s homepage. Grades
will be updated regularly and available to view on D2L.
Lab Fees:
There is a $40.00 material usage fee for the studio section. A set of pencils, eraser and various
other materials will be yours to keep. Pay attention to your instructor as to what other materials
this may include.
Withdraw/Drop Policy:
January 22, 2018 is the last day to drop this course with no grade.
March 30, 2018 is the last day to drop this course with a “W”
Statement on Academic Integrity:
Students are expected to maintain principles of academic integrity and conduct as defined in
EIU’s Code of Conduct (http://www.eiu.edu/judicial/studentconductcode.php). Any instructor
who discovers academic misconduct (cheating, plagiarism, etc.) has the right and the
responsibility to impose upon the guilty student an appropriate penalty, up to and including
immediate assignments of a grade of F for the course, and to report the incident to the Judicial
Affairs Office (Student Standards). See the Academic Integrity section of the undergraduate or
graduate on-line catalog for a fuller explanation of the process and sanctions.
Safety:
The art department recognizes that possible hazards exist in the materials, processes, and
technologies in the various fields of study in the visual arts. Students should carefully study,
review, and apply all safety information provided in classes through demonstrations, lectures, or
textbook assignments. Students are required to follow all safety guidelines for tool, equipment,
and material use so that not only is their safety insured but also the safety of those that work
around them.
Unsafe practices will not be tolerated and failure to comply with reasonable safety requests will
result in disciplinary action. Questions of safety should be directed to the primary instructor,
departmental safety committee, or the department chair
Information for Students with Disabilities:
If you have a documented disability and wish to receive academic accommodations, please
contact the Coordinator of the Office of Disability Services (217-581-6583) 9th St Hall, Room 2006,
as soon as possible. All accommodations must be approved through OSDS.
Students who are having difficulty achieving their academic goals are encouraged to contact
the Student Success Center (www.eiu.edu/~success) to support their academic achievement.
The Student Success Center provides individualized consultations. To make an appointment, call
217-581-6696, or go to 9th Street Hall, Room 1302.
Hate or Bias Reporting:
If you have experienced bias or know someone who has experienced bias due to
your race, gender, religion, sexual orientation, or disability The Office of Student Standards would
like to hear from you. Please call 217-581-3827 to contact their office. If you require emergency
assistance, please dial 911 for the police.
Fire:
In case of fire in the building, you exit the building and activate fire alarm as exiting (do not reenter building on fire to activate alarm). When a fire alarm goes off, all persons must exit the
building and cannot re-enter the building until allowed by the building coordinator. The closest
exit for DFAC 1210 are the atrium doors immediately to your left as you exit the lecture hall. The
closest exit to DFAC 1920 are the doors to the Library Quad to the right and left of the classroom
exit.
Severe Weather:
In case of severe weather/tornado warning, you should proceed immediately to the designated
tornado shelter area in the hallway by 3D Foundations and Sculpture.
Medical Emergency:
In case of medical emergency, go to nearest phone and call 911. During a medical
emergency, someone should wait at the nearest entrance of the building to direct EMS
personnel to the right location in the building.
Lecture Schedule:
Week 1
Week 2
Week 3
Introduction. Syllabus, class
policies.
Lecture: On Knowing (What is
Art?)
Read: Getlein pgs. 7 - 22
HW: What is Art? Short Response
Paper
D2L Syllabus Quiz
No Class Martin Luther King
Holiday
Lecture: On Love of Self and
Others
Read: Getlein pgs. 25 -38
D2L Quiz
Week 9
Visit to Tarble Arts Center
HW: Critical Analysis Paper
(Feldman Method)
Week 10
Graduate Lecture: Amanda White
Week 11
Week 4
Graduate Lecture: Jade Phillips
on Painting
HW: Short Response Paper
Week 12
Week 5
Lecture: On Age and Death
Week 13
Lecture: On Joy and Sorrow
Week 6
Week 7
Week 8
Graduate Lecture: Nick Eckmayer
on Ceramics
HW: Short Response Paper
Critical Analysis Paper DUE
Lecture: On Reconciling the Past
Read: Getlein pgs. 51 - 61
D2L Quiz
Graduate Lecture: Claudia
Tomassi on Installation
HW: Short Response Paper
Lecture: On the Color Red
Week 14
Graduate Lecture: Lauren Mann
on Printmaking
HW: Short Response Paper
Lecture: The Aesthetic Judgment
Read: Getlein pgs. 38 - 47
HW: Read: Feldman Method
D2L Quiz
Week 15
Lecture: On Work
Read: Getlein pgs. 61 - 75
D2L Quiz
Week 16
Final Exam
Studio Schedule:
Tuesday
Thursday
Week 1
Syllabi/Intro/Sketchbooks/Drawers
Still Life Evaluation/The Elements
Week 2
Drawing Tools & Techniques/Still Life
Line: Contour vs. Gesture
Week 3
Drawing: Value Scale
Still Life
Week 4
Still Life
Still Life Group Critique
Week 5
Self-Portraiture: Examples, Demo,
Exercises
Self-Portraiture/Quiz 1: Value & Line
Week 6
Self-Portraiture
Self-Portrait Critique/Color Theory &
Wheel
Week 7
Painting: Acrylic Techniques
Painting
Week 8
Painting
Painting
Week 9
Painting
Painting
Week 10
No Class—Spring Break
Week 11
Painting
What is Abstraction? Abstract
Painting
Week 12
Cont. Both Paintings
Paintings
Week 13
Paintings/Quiz 2: Color Theory
Representational/Abstract
Paintings Due/Self Critique
Week 14
Printmaking: HW Sketches
due/Demo/Trace Transfer
Printmaking: Transfer/Begin Cutting
Week 15
Printmaking/Sketchbooks
Due/Teacher Evaluation
Printmaking: Prints due/Critique/
Pick up all work & Clean Drawer
Week 16
Finals—Studio Meets Thursday May 3rd 10:15-12:15 pm
*The information contained in this syllabus, materials list, and lesson plans are subject to
change. However, it is the responsibility of each student to read and understand this
syllabus.
Art 2310 Student
Work
{
Graduate TA: Amanda K. White
2017-18
Relief Block Printing Steps
1.) Transfer the drawing
 Tape your drawing onto the block,
facedown
 With the burnishing tool, press
lightly in a small circular motion
making sure to transfer all areas of
the drawing
 Using an HB pencil or marker, color
in the areas you want to be printed
2.) Cut the Block
 Any uncut areas will pick up the ink
 The cut areas will act as negative
space where no ink adheres
 Be sure and rinse & dry the block
of any dust & debris before inking
 Use your various cutting blades to
achieve a variety of line weights
and mark making

3.) Ink the Block
 Select a color of ink and apply a
small bead strip of it to a plate
 Using the brayer, roll onto the ink
in multiple directions to pick up an
even layer of ink
 Next, apply to the block, again in
multiple directions to create an
even coat of ink
4.) Print the Block
 Taking a sheet of paper larger than
the block (2” minimum), line it up
and place carefully onto the block
**have 2 sheets the same size,
under the block and 1 to print on
top
 Press lightly to adhere then using a
burnishing tool, rub the paper onto
the block using small circular
motions making sure to hit all
areas
 Carefully take one corner and
slowly peel up the print
5.) Labeling the Print
 Bottom: edition#/# of prints in
series; “Title”; Name
Printmaking
Materials: pencils, paper, rubber block, cutting tools, ink, brayer, burnishing tool
Goals: Create a relief print using the tools listed above. The prints must be at least 6x6” dimensions or multiple
layers/colors if a smaller overall dimension was chosen. Use your design concepts to make a creative summer
themed print!
+
/12
Preliminary Sketches (6) Critique Participation (3) & Effort (3):
___/3 Sketches. Time well spent? Contribute to class discussion? Ask questions?
+
/10
Creativity, Design & Concepts—Use of Elements & Principles (3) properly edition/label 3
submissions (3) Originality (2) Summer Theme (2)
+
/8
Craft & Process: Block is carefully cut and not rushed (3), quality of prints (3), no unintentional
marks (2)
Total:
+
/30