TMCC CLASS SYLLABUS
ART 102 • DRAWING II (3.0 credits)
Prerequisite: ART 100 and 101
Continued exploration of drawing techniques and concepts.
Paris Almond, MFA
Campus E-mail:
palmond@tmcc.edu
Campus Mailbox:
RDMT 315 Box 2514
Access Faculty Webpage from TMCC Homepage
Cell Phone:
775-750-4661
emergency only
Student I.D. Card Get your Student I.D. Card at The Starting Point, Red Mountain, first floor.
Student E-Mail Activate your student e-mail account at: http://tmcc.edu/e-mail/
Conferences Regarding student/teacher conferences, I will schedule a time to confer with you
individually upon your request, or if I believe I need to speak with you in private. Please feel welcome
to see me before or after class, or leave an e-mail or written note for me.
Course Description Drawing II is an intermediate course designed to be a continued exploration of
drawing techniques and concepts. It is also intended to develop expression and discipline in drawing
with emphasis on materials. This semester-long art studio is intensive and requires your concerted
effort and regular attendance.
We will follow the general outline of our text, and use other resources as well. Drawing time is
emphasized, but we’ll have lectures, demos, exercises, critiques, as well as lots of drawing, and more
drawing - from still lifes, each other, in the classroom and hallways, in our homes, and outdoors. We
will experiment with a variety of media. You will each keep a sketchbook in which you should draw at
least 15 minutes per day and for which you will receive credit. This course will also include oncampus art walks and a field-trip to the Nevada Museum of Art.
As experienced artists, you most likely know that learning the basic skills of drawing occurs
over time and through practice. You know that you learn to draw through close observation and in so
doing, you develop the required discipline, visual sensitivity, patience, eye-hand coordination, and
rigorous work ethic necessary to develop this demanding skill.
The good news is, even if you’re rusty, once you have learned the basic skills of drawing, you
can draw for life! Although the initial learning may be a struggle, progress comes through practice and
refinement of technique. Drawing, with time and practice, can become automatic, just like reading or
walking or driving. It just takes doing!
Your perceptions evolve over time and with experience. It is hoped that as you become familia r
with the basic core of information, insights, and exercises provided throughout this course, that your
perceptions will evolve, and that you will find reward in a richer way of seeing, which is reason enough
to improve your drawing skills.
This course transfers to UNR/UNLV and satisfies UNR Fine Arts core curriculum.
Recommended Text
Drawing from Observation: an introduction to perceptual drawing,
Brian Curtis. McGraw-Hill. ISBN: 978-0-07-337918-0
This book is very useful in solving perplexing drawing problems and is filled with great readings,
illustrations and exercises. It is available in the TMCC Bookstore on online.
Course Objectives
To both further your basic rendering skills and to explore your personal areas
of interest. Initially, I want you to demonstrate an ability to convincingly draw your threedimensional perceptions onto a two-dimensional surface. I want you to demonstrate to me that you can
draw a “realistic” image through observation. It is important to have your basic visual problemsolving skills and an understanding of perceptual drawing because it is fundamental to artistic
awareness and provides a solid base from which to explore alternative and conceptual approaches. Once
I am satisfied that you have a solid foundation, I will confer with you regarding your artistic direction
and guide you in your pursuits.
Student artists also need to remember the importance of:
• how to see, to observe carefully, to remain receptive
• how to develop patience, to be present
• how to draw what you see and not what you think you know
• how to apply the formal art elements of line, shape, form, texture, value, and depth
• how to consider the composition as a whole - the arrangement of forms and spaces within the
picture plane, according to the principles of design
• how to study works of art to understand the kinds of choices artists make and to see connections
between your own and others’ work
• how to discuss and evaluate your own work and the work of others
• how to assess your work according to personal goals and standards of excellence in the field
Grading Points & Policy Your grade is a reflection of your performance. An average performance
will result in an average grade. Grades are not given but earned with hard work and willingness to
learn and grow. Grades are based on the following categories and percentages.
ATTENDANCE: includes Puncuality, Participation,
Resourcefulness, Attitude, Cooperation,
Initiative, Patience, Receptivity,
Individual Improvement
STUDIO WORK & SKETCHBOOK
__________________
Total possible points
The “plus” and “minus” are a
96-100 A
81-85
91-95
A76-80
86-90
B+
71-75
0-100 points
0-100 points
200 points
part of the letter grading scale (no A+)
B
66-70
C
51-55
B61-65
C46-50
C+
56-60
D+
0-45
50%
50%
__________
100%
D
DF
Attendance is required
ALWAYS SIGN IN!
Regarding Attendance, Puncuality, and Studio Etiquitte
It is important to be punctual and attend studio art class. Attendance and participation are half of your
grade, so absences do lower your grade. You will be allowed only one excused absence. As few as four
absences can result in administrative withdrawal or failure. Arriving late and leaving early without
prior approval is disruptive and can also be grounds for failure. Plan to be an active learner during
class. Also be open to interacting with classmates. If you show up late, leave early or are unprepared,
without supplies, it will count as a partial absence.
Be mindful Make room for each other. Share class supplies, return them to cabinet when
done, and clean up after yourself. Be conscious of your surroundings and classmates, yet focused on
your project at hand.
Be engaged There is never nothing to do. Be an active learner, be attentive, take notes. Speak
up and participate in class discussions, critiques, & activities.
Attitude is everything. We want to cultivate a learning community of classmates who are
positive, creative, and helpful to each other. Studio art is experiential learning and it is very
challenging. It demands your presence.
If you miss something, it’s your responsibility
Listening devices are acceptable
during class only if you don’t distract others, and only if you can remain aware of what’s going on in
class. Put your cell on vibrate, turn it off, or don’t bring it. You are invited to bring music to share.
B E
H E R E
N O W !
Canceled Classes Access TMCC's canceled class listing at: tmcc.edu/classes/canceled/
The canceled class listing displays classes that have been canceled for the current day and/or week due
to instructor illness or other unforeseen event, such as stormy weather. I will try to inform you well
ahead of time if there will be a cancelation.
Withdrawals & Incompletes
It is your responsibility to request a “W” (withdrawal) grade if
you choose to drop out. You must go online to Web-Reg or in-person to Admissions & Records (RDMT
319C) to request a “W” grade before the deadline. The instructor cannot give you a “W”.
It is your responsibility to request an ‘I’ (incomplete) grade. If you complete 75% of the class with a
C or better, but cannot complete the class, you may request an ‘I’ grade. This instructor is opposed to
giving incompletes unless the reason is extremely compelling and accompanied by a written statement
from a doctor or other professional.
Studio Work
Drawing is fundamental to art making and we will learn by doing - we will be drawing
a lot! It will be important to acknowledge what needs work and to tackle it head-on. While initially
during our studio we will review your basic drawing skills, you may eventually choose what you want
the semester to emphasize:
• drawing from observation
• the practice of perceptual drawing
• imagination and creativity
• how to generate ideas
• different approaches to style
• overcoming desire for perfection and fear of failure
• being open to changing your habits of thinking
• experiencing new ways of seeing.
Critiques - We do not p e r f e c t art, we p r a c t i c e art!
“At some point in the creative
process (or in truth, at many points), there will come a need for analysis and evaluation. Criticalthinking skills will play a vital role in achieving a unified and successful work. Whether formal or
informal, this review process, also known as critique, identifies what works well and helps to find
constructive ways to improve troublesome areas in the work.” (Fundamentals of Art, Ovirk, et al,
pp.27-8)
Not all projects will be critiqued, but students are required to be present and participate in
scheduled group critiques. It is important to give and receive feedback, as art is visual communication.
We need to experience the richness of insights that are possible in a group setting. Your classmates are
capable of sharing a wealth of insight regarding how to improve your work and what might be holding
you back from achieving your best.
Sketchbook - Due twice during semester This is an invaluable resource for all artists.
Bring an 8x10 or 9x12 sketchbook and drawing supplies to class. Draw at least 15 minutes every day
and date your entry. Utilize your sketchbook to record ideas, sketches, inspiration, preliminary
studies or thumbnail sketches, photos, and found images, etc., to do with projects in class. You will
take your sketchbook to the Nevada Museum of Art to sketch during your field trip.
You should also include anything else you like, such as what you have seen and imagined over the
course of the semester. You should come to expect your subconscious mind to come up with ideas and
you should automatically record them in your sketchbook. We dream art and come up with ideas just
any time at all, such as while in the shower or while driving. When ideas pop into your head, it’s
important to record them so when you do enter the studio, you have something to go on and you can bring
it to fruition. You may find a theme developing in your work that you can explore. So bring your
sketchbook to class with you and remember it will be turned in for credit twice during the semester.
Portfolio - Due at end of semester Should you choose to pursue a career in the visual arts, you
will always be glad to know you have the ability to assemble a portfolio, showing any future patron,
client, employer, gallery or museum director that you have marketable skills, studio discipline, and
unbounded imagination.
Your portfolio should include an artist’s biography, artist’s statement, and each of your
successfully completed assignments for this class. I will not be re-grading your individual
assignments, but grading the overall appearance and presentation of your portfolio as a whole. You may
leave out or redo an assignment if you believe that will strengthen the weight and quality of your
portfolio. If you see in your work a theme emerging, you may do well to play that up. Your portfolio
should have as professional an appearance as you are capable of producing at this time.
Extra Credit Opportunities
0 - 5 points possible for each submission
• Enter TMCC Student Art Exhibition - Submissions due March 25-27
Nevada Museum of Art Visit - Date TBA We will take a field trip to Nevada Museum of Art
during class time. We will meet at the museum. Students need to bring $3.00, student I.D., sketchbook
and pencil (no pens). Students should be present and drawing from the art on exhibit for at least an
hour (it closes at 8 p.m.). You may choose one to three pieces of art to sketch.
Other Resources These books are not required, but are a very good resource which we may use in
class, and from which you may benefit. You do not need to buy them.
• Drawing Basics, Jacklyn St. Aubyn. Thompson-Wadsworth. ISBN: 0-495-00628-9
• Art and Fear, Dave Bayless. Capra. ISBN: 0884963799
• Letters to a Young Poet, Rainer Maria Rilke. Penguin. ISBN: 0-393-31039-6
• The New Drawing on the Right Side of the Brain, Betty Edwards. Penguin. ISBN: 0-87477-424-1
• The New Drawing on the Right Side of the Brain Workbook, Betty Edwards. Penguin.
ISBN: T-58542-195-2
Student Integrity Policy Acts of academic dishonesty, including but not limited to cheating or
plagiarism, falsifying research data or assisting others to do the same shall constitute cause for
probation, suspension, or expulsion from TMCC. Simply do NOT hand in art projects you did not create
or papers you did not write and research yourself.
ADA STATEMENT “Qualified students with documented disabilities have the right to free
accommodations to ensure equal access to educational opportunities at Truckee Meadows Community
College. For assistance and clarification of services provided, contact the Disability Resource Center,
visit our website at www.tmcc.edu/drc, come by RDMT 315 B, or call 775-673-7277, TTY 775673-7888.”