Ehren Fritz Gerhard
Teaching Portfolio
Ehren Fritz Gerhard
Teaching Philosophy
Where Do We Come From? What Are We? Where Are We Going?
Paul Gauguin, 1848–1903
Every human has a unique perspective formed by a rich personal history.
Communication through the visual arts affords humans the opportunity to present their
histories and observations to the world. An artist utilizes expanded methods of
conventional thinking to develop sophisticated ideas and is capable of solving problems
from multiple perspectives. As an educator of young artists, it is my conviction that
studio or classroom environments open to personal expression that embrace an evolving
discussion of artistic viewpoints can safely harbor the development of an individual’s
artistic spirit.
A strong foundation of tools and techniques aids students in developing the
language of their craft. Guiding my students through a wide range of artistic approaches
expands their technical vocabulary and personal boundaries. Through research and
hands-on projects students develop a relationship with the world of art. Technical and
conceptual excersizes address multiple perspectives and solutions to visual problems.
Informal classroom conversation provides students with insights and ideas
oriented towards their interests. I encourage students to work together, talk, collaborate,
integrate ideas, and form new visual concepts. In discussions we collectivly establish a
world view that builds from tradition and integrates new aesthetics and contemporary
ideas. Together we approach art as an evolutionary philosophy.
I want to give my students the skills nessesary to integrate art with life. Presenting
conversations by internationally recognized artist’s gives multiple perspectives to art
making and opinions on what art is, why we make it, and its significance. Developing a
comprehension of personal history while embracing global traditions and trends helps
students gain understanding of what art means to their lives.
The development a visual language is an evolving process. In every artist’s work
progress comes from a diligent work ethic and dedication to the act of making. Like an
athlete trains their body to perform, the artist must train the muscles of the hand, mind,
and soul to search for meaning and relevance in their art and lives.
Ehren Fritz Gerhard
818 W. 3rd Street Apt #127
Tempe, AZ 85281
Phone (239) 560-7422
ehrenfritzgerhard@comcast.net
www.ehrenfritzgerhard.com
Education
2009-2013
2004-2009
2003-2004
Master of Fine Arts Candidate, Painting, Arizona State University
Bachelor of Art, Florida Gulf Coast University, Honors
Diploma, Cypress Lake High School Center for the Arts, Honors
Teaching Experience
2007-2009
Instructor, Super Science and Amazing Art, Fort Myers, Florida
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2008
Lead introductory classroom art program detailing traditional to
contemporary art mediums in an experiential learning environment.
Develop and present lectures addressing contextual, historical, and
contemporary art practices.
Utilized visual aids and technology integration.
Placed emphasis on the “real world” applications and contexts of art.
Facilitated classroom management and addressed individual student needs.
Designer/Presenter, Potters for Peace Brigade, Nicaragua
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2007
Collaborated in creation of visual teaching aids presenting marketable low
technology ceramic designs and techniques to local potters.
Develop and conduct series of demonstrations presenting the information
to local artists and craftsmen in their studios.
Design a series of stamps and molds incorporating historical replication
methods and cultural heritage imagery for contemporary markets and mass
production.
Drafted hand-drawn illustrations to eliminate language barriers and
improve communication of methods and ideas.
Perform in-depth research of cultural trends, tourism and export markets.
Presenter, Media and Technique Demonstration
Cypress Lake High School Center for the Arts, Fort Myers, Florida
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Lead demonstration of acrylic painting methods for students including
group critique and discussion of my work.
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2008-2009
Assisted students with problem solving and conceptual development in
painting.
Gallery Assistant, Florida Gulf Coast University, Fort Myers, Florida
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Conduct gallery talks for visitors explaining the methods, concepts and
contexts of traditional and contemporary artists.
Documentation and preservation of archival collections.
Presentation, lighting and layout of exhibitions.
Administer receipt of deliveries, packing, and shipping of traveling
exhibitions.
Exhibitions
2009
2009
2008
2008
2007
2006
2004
2003
Solo Exhibition, Broadway Palm Art Gallery; Ehren Fritz Gerhard
Group Exhibition, Artfest Fort Myers; “Best of the Next”
Group Exhibition, Space 39 Gallery; “New Works”
Group Exhibition, Space 39 Gallery; Dark Art 2
Group Exhibition, Sydney and Berne Davis Art Center; 13 Sculptors
Publication, Art and Literary Magazine, The Mangrove Review
Group Exhibition, Florida Sate Fair; Florida State Youth Fine Arts Competition
Group Exhibition, Holland Area Arts Council, March Festival Exhibition
Honors and Awards
2009
2008
2004
2004
2004
2004
2004
2004
2004
Fair
1st place, Southwest Florida Craft Guild Award
1st Place, Michi’s Pictorial Arts Award
Honorable Mention, ArtFest Fort Myers Drawing
Best in Printmaking, Southwest Florida Craft Guild Award
2nd place, Fort Myers Beach Art Association Scholarship
3rd place, Federal Junior Duck Stamp Competition
Florida State Youth Fine Art Competition Award
Certificate of Outstanding Achievement- Course of Study- Portfolio
Florida State Youth Fine Arts Competition- Selected for Exhibit at Florida Sate
Professional Affiliations
Southwest Florida Craft Guild - Honorary member, 2004
Educational Concerns For Hunger Organization - volunteer 2007-present
Conservation 20/20 - Volunteer Artist 2007
Lee County Parks and Recreation – Volunteer Artist 2007
Potters for Peace – Member
Empty Bowls SW Florida – Volunteer Artist 2007-present
Happehatchee Eco-Spirituality Center – Volunteer 2008-present
National Art Honor Society- Member 2001-2004
Other Training & Experience
Advanced Electronic Media Experience:
Microsoft Word
Microsoft Excel
Microsoft PowerPoint
Adobe Photoshop
Adobe Illustrator
Advanced Media Experience:
Acrylics
Watercolor and Watercolor Pencil
Pastels
Conte Crayon
Graphite
Charcoal
Canvas Frame and Stretcher Building
Wood Tools (Chop Saw, Table Saw, Router, Jig Saw, Band Saw)
Clay (Hand Building, Potters Wheel, Slab Roller, Extruder, Wet and Dry Mixers)
Ceramic Kiln Firing, Scheduling and Operation
Mold Making/ Slip Casting
Metal Casting
Welding (Arc and Tig)
Oxy-Acetylene Torch
Plasma Cutter
2-D
ARIZONA STATE UNIVERSITY, School of Art, artCore Program, Fall 2010
ART 112 (2-D Design). #70284. M/W. 10:40AM -1:30PM. ART 232
Instructor: GERHARD. Office: Tower A-105. Phone: 5-8339, Main Office: 53468
Office hours: M/W 4:30 – 5:30PM and by appointment
e-mail: efgerhar@asu.edu
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Course Description
This course provides a foundation in the fundamentals of pictorial design. In a
sequence of hands-on exercises and projects, you’ll be introduced to the concept
of the picture plane, figure/ground relationships, scale and proportional
transformation, patterning, composition, value, color, methods for conveying
time, and spatial illusion. Using a wide variety of materials and methods-including the computer—you will be encouraged to develop your own design
vocabulary and repertoire of practical techniques. In addition to introducing
formal design strategies, the course emphasizes content issues and the historical
and cultural context in which works of art are produced. Regular slide lectures
and critiques are structured informally to encourage dialogue and to provide you
and your colleagues with an opportunity to translate visual evidence into words.
Beyond the concepts and skills essential to good design practice, this course will
open a window towards self-expression and awareness.
References
(Required) The artCore Website:
http://www.asu.edu/cfa/wwwcourses/art/SOACore/2d.htm
(Required) Launching the Imagination, Mary Stewart, McGraw Hill, 2003
(Optional) Design Basics, David A. Lauer, Holt, Rinehart, and Winston, Publisher,
5th Edition, 2000. (Note: the textbooks are available in the ASU bookstore for
about sixty bucks. They are also on Reserve at the Hayden Library. Other
readings will also be assigned as needed.)
Course Requirements
During the whole of the semester, each student will be expected to participate
fully in the activities of the 2Design Studio. In addition to the completion of
assigned projects turned in on time, this means regular attendance, studio
etiquette, and participation in class discussions and critiques. All projects are to
be kept in a portfolio you are required to make or purchase (min. size: 17 x 22).
In addition, a three-ring notebook is to be kept of all handouts, sketches, ideas,
notes etc. It should be filled with "Biology Paper" (available in the Bookstore) for
drawing and notes. Your notebook will be a running record of your involvement
in the class and will be collected and evaluated a number of times over the
course of the semester. Your portfolio will be collected at the end of the
semester.
Sketchbooks: I do not recommend restricting the use of a sketchbook to one
class. This promotes a separation of thinking. All skill sets are interrelated. One
sketchbook for ALL your classes will promote cross-disciplinary thinking: the
foundation of all art practice. You are likely to notice new relationships between
classes by not separating ideas/processes/and units in the sketchbook. I
discourage putting overtly personal materials in this sketchbook. If you do not
want me do read it, do not write it. When submitting sketchbooks for review,
please tab the pages relevant for this class. Hardcover sketchbooks take a
better beating and I have asked the local vendors to have plenty affordable
options in stock.
Grading
Completion of all assigned projects on time, with a reasonable degree of
craftsmanship and care, and regular attendance is the minimum expectation that
will earn you a “C”. I will allow you to “re-do” any project with in one week
without penalty for a higher grade--as long as you turn the work in on time and
show your best effort throughout the exercise. Late assignments will be
accepted within one week of the assigned date at the expense of an automatic
letter grade deduction.
Your final grade for the course will be based on the quality of your portfolio and
heavily influenced by the quality of documentation you provide in your
sketchbook. This documentation, to be organized around the sequence of
assignments, may take the form of drawings, photographs, computer print-outs,
or other media. Top grades will be awarded for a combination of design
excellence, conceptual depth, intelligent participation in discussion, and, most
importantly, individual improvement.
General outline of grading and qualifications:
A = Work shows a strong sense of imagination, creativity, with excellent
execution. Overall, an excellent degree of improvement and quality is shown and
created with an excellent working attitude.
B = Work shows above average imagination, creativity, with good execution.
Overall, a good degree of improvement and quality is shown and created with a
good working attitude.
C = Work shows some imagination, creativity, with fair execution, but it is not
above average. The student puts forth a good working attitude, some
improvement is made and all projects are completed.
D = All projects are turned in but work shows little improvement, imagination,
creativity, is poorly executed and created with a poor working attitude.
F = All projects are not turned in and what work is turned in shows no
improvement, imagination, creativity, is badly executed and created with no
worthwhile effort.
artCORE Attendance Policy
3 unexcused absences = one letter grade drop from final grade
Your grade will then drop one letter grade for every additional absence.
Information that is covered in class will not be repeated.
3 partial attendance (late arrivals and/or early class departures) = 1 absence
7 or more unexcused absences will result in failing the class
Arriving more than 15 minutes after attendance has been taken and/or departing
more than 30 minutes early from class will result in a partial attendance for that
day.
Any additional excused absences MUST be accompanied by a note from doctor,
student services, or other evidence that demonstrates the need to miss additional
classes. Every effort will be made to accommodate extenuating circumstances
when necessary.
As a courtesy to me, please email or leave a message in my art office mailbox if
you cannot attend class.
Classroom Code of Conduct
You are expected to behave in a responsible manner that allows everyone in the
classroom access to resources and learning. Behavior that disrupts classroom
learning will not be tolerated. If your actions are disrespectful to the Instructor or
to other students, you will be asked to leave and counted absent.
-Cell phone and PDA use is prohibited during class unless the Instructor is
informed of a
pending emergency at the beginning class. These units should be muted or set
to vibrate.
- Access to the Internet is permitted ONLY when it is related to the class material.
Respect should be given at all times to the Instructor, classmates and your
working environment. This includes appropriate behavior, language, and use of
classroom resources.
- Safety is primary concern for all students to work effectively. You must follow
all the safety procedures and guidelines posted in the studio you are working.
- Dressing appropriately for the studio activity that you are engaging in is another
important safety factor. This may include no food/drink, open toe shoes,
excessively exposing clothing, dangling jewelry, and/or tying hair back.
- At all times you must you’re the equipment in the studio in the manner is was
intended for use and per the instructions of your Instructor.
Student Code of Conduct and Student Disciplinary Procedures
The ABOR Student Code of Conduct is designed to promote and protect an
environment that encourages reasoned discourse, intellectual honesty, openness
to constructive change and respect for the rights of all individuals. In keeping with
this mission, the Office of Student Rights and Responsibilities staff seeks to
balance the rights and needs of the individual with responsibility of the individual
to meet the needs of the community. In addition, it reviews allegations of student
misconduct, determines whether a violation has occurred and if applicable,
imposes appropriate sanctions. Students are expected to adhere to the ABOR
Student Code of Conduct. Student Rights and Responsibilities:
http://students.asu.edu/srr/code
Obtaining an ASURITE Computer Account at ASU
For this class you are required to have an ASURITE account because some
projects, images, and services are password protected. You can use any type of
computer (Mac, PC) that has an Internet browser installed (such as Microsoft
Explorer, Firefox, Safari). Getting an ASURITE “userID” is self-service. The
easiest thing to do is to subscribe online at the following URL:
https://sec.was.asu.edu/asuriterequest/index.jsp
There is also a special terminal set aside in various locations around campus just
for creating new accounts and adding new services in person. I suggest going to
the one at the Computing Commons (about a block East of the MU). Look for the
specially marked terminal on the First Floor, on the left next to the Computer
Store. Sit down and subscribe! The process takes about 15 minutes and your
account will be ready to use in half an hour. If you have problems, the computing
site staff will be happy to assist.
E-Mail – It is required that all students activate their ASU email accounts. No
other email accounts will be used to communicate electronically with students.
You can link your ASU account to your personal account if you choose to do so.
Lockers
Lockers are available in the main Art Building. Lockers in the Basement are
reserved. Lockers in the SOA are First Come First Serve. Bring your own lock.
Materials
A complete material list can be found on line at the following URL:
http://www.asu.edu/cfa/wwwcourses/art/SOACore/supplies_2D.htm
Supply Houses
Local supply houses can be found at the following URL:
http://www.asu.edu/cfa/wwwcourses/art/SOACore/supplies.htm
Safety Procedures (take responsibility for your health and safety!)
http://www.asu.edu/cfa/wwwcourses/art/SOACore/safety.htm
Health and Safety Module:
It is now required that all 100 level classes pass a Health and Safety Module to
be administered the new Blackboard 9 website. You must pass with an 80% to
receive credit. You must repeat the test in additional CORE classes until you
receive a 100%. When you achieve a 100% you will be exempt for taking the
quiz again and instructed on how to take a screen capture to maintain a record of
your accomplishment. If you do not take the test, or pass the test by August 31
you will receive a notice of potential class failure in the first Academic Status
Report, September 16-23. In order for you to access the test after August 31 you
must make an appointment with me during my office hours. The test will be
worth 5% of your final grade. (whether you achieve 80% or 100%)
Special Accommodations - Any student needing a special course-related
accommodation due to a physical and/or learning impairment must bring this to
the attention of the instructor with appropriate documentation within the first week
of class so that learning needs can be addressed effectively. Students must
contact the ASU Disability Resource Center
(http://www.asu.edu/studentaffairs/ed/drc/#) to document a disability.
Accommodations cannot be made retroactively.
Academic Dishonesty - All necessary and appropriate sanctions will be issued
to all parties involved with plagiarizing any and all course work. Plagiarism and
any other form of academic dishonesty that is in violation with the Student Code
of Conduct will not be tolerated. For more information, please see the ASU
Student Academic Integrity Policy:
http://www.asu.edu/studentaffairs/studentlife/judicial/academic_integrity.htm.
Calendar (schedule approximate.) All content is subject to change.
August 23: First Day of Instruction The Frame
In Class: Syllabi Overview, Meet and Greet, Lecture, Frame Exercise,
Out of Class: Buy supplies, Collect Photos for Morgue, Read Frame and Mark
Making discussions from artCore website, Text (Stewart) pages 2-10
August 25 - August 30: Mark and Lines
In Class: Lecture, Mark Making Exercise, Group Critique, Introduction of Graffiti
Project
Out of Class: Graffiti Project, Read Unity and Identity from artCore website, Text
(Stewart) Pages 66-74
August 29 (in person) -31 (online): Add/Drop Deadline
Sept. 1 - 8: Unity: Unity/ Variety
In Class: Group Critique of Graffiti Project, Unity Lecture, Group Unity Exercise,
Introduce Identity Sheet Project
Out of Class: Identity Sheet Project, Read Figure/Ground discussion from
artCore website, Text (Stewart) pages 10-22
Sept. 6: Labor Day Observed
Sept. 15: Herberger College Extended Add Period Ends
Sept. 13 - 15: Figure / Ground
In Class: Identity Sheet Group Critique, Figure Ground Lecture, Mono-Print
Exercise
Out of Class: Protest and Persuasion Assignment, Read Value/Color discussion
from artCore website, Text (Stewart) pages 29-34 and 43-48
See also the ASU Academic Calendar at: http://www.asu.edu/calendar/academic.html
Important Dates (Fall 2010)
August 19
Classes Begin
August 25
Add/Drop Deadline
September 6
Labor Day Observed
September 8
University 21st Day
September 16-23
Academic Status Report (Early Warning)
November 3
Course Withdrawal Deadline
November 11
Veterans Day Observed
November 25-26
Thanksgiving Holiday Observed
December 7
Complete Withdrawal Deadline, in person or online
Last Day of Classes
December 8
Reading Day
December 9-15
Final Exams
December 13-20
Final Grades Due
Full academic Calendar can be found at http://students.asu.edu/academiccalendar
Grading Rubric:
[instructor name]
Assignment:
Student:
Grade:
A
Studio Fundamentals (25 pts)
Work shows exceptional understanding and application of fundamentals from current unit as well as
incorporation of previous fundamentals.
25 pts
Understands and applies the fundamentals taught in current unit as well as incorporates other
fundamentals from previous units.
20 pts
Work shows minimal application of fundamentals taught in current unit and does not apply
fundamentals from previous units.
Work displays little to no attention to fundamentals.
15 pts
0-10 pts
Points Earned:
25
Concept (25 pts)
Exceptional sophisticated idea or concept that is clear and thought provoking.
Good concept that was clearly articulated in the piece.
Idea is commonplace or vague, and is not well expressed in the piece.
Conceptually weak, project treated merely as a technical exercise.
25 pts
20 pts
15 pts
0-10 pts
Points Earned:
25
Creativity (25 pts)
Work exhibits exceptional evidence of thought regarding the execution and solution to the given
problem. The resulting image displays a strong personal voice and willingness to go beyond
fulfillment of the assignment.
25 pts
Work exhibits sufficient evidence of thought regarding the execution and solution to the given
problem. The image displays a personal voice.
20 pts
Work exhibits minimal evidence of thought regarding the execution and solution to the given
problem and fulfills the assignment.
Work shows little to no thought and displays no personal voice.
15 pts
0-10 pts
Points Earned:
25
Effort (25 pts)
Exceptional care & skill displayed in craftsmanship and application of the fundamentals. Tools are
used to their maximum advantage resulting in a cohesive piece.
25 pts
Good care & skill displayed in craftsmanship and application of the fundamentals. Tools used to
good effect resulting in a highly refined piece with some existing problems.
20 pts
Minimal care and skill displayed in craftsmanship and application of the fundamentals. Apparent that
project was merely completed.
Little to no effort displayed in craftsmanship and application of the fundamentals.
15 pts
0-10 pts
Points Earned:
25
TOTAL POINTS EARNED:
100
2D Design (ART 112)
Materials
Metal straight edge (12-18" so it can fit in your
portfolio)
#11 Ex-acto knife and blades
Mat knife with fresh blades: heavier for cutting cardboard,
etc.
Linoleum Cutting Tool
Graphite pencils (2B and 4H minimum)
Prismacolor pencils
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Ultramarine blue #902
Lemon yellow #915
Crimson red #924 or #923 Scarlet Lake
White #938
Black #935
Pencil sharpener: small
Erasers (white plastic, Kneaded Rubber)
Unique Drawing Utensils: (Matchbooks, razors, Paper clips,
business cards, credit cards, rubber, sticks, anything
interesting)
1 technical ink pen--sizes .25 - .5 will do. Disposable
pens are fine. (Small and Large make nice variety of line)
Masking tape ("drafting" tape that won't pull off paper)
Acrylic paint or Gouache (opaque watercolor) (small tube,
student grade)
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Ivory Black
Zinc White
One color (pref. red or blue...student quality fine).
Watercolor brushes (synthetic white sable- approx. $16.00)
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Japanese Sumi Brush: medium
Round: #5 or #6
Flat: 1/2" - 3/4"
White palette or mixing tray (small).
Cold pressed illustration board, 15 x 20" (available at art
stores, pre-cut, 2 to package)
Cardboard or Mattboard 15 x 20” several sheets (for
mounting finished assignments)
Carbon Transfer paper or (8x10 Sheet)
Small Water container for cleaning brushes. No glass
please.
Portfolio for carrying 2-D work (17 x 22 min.) Make your
own if you wish.
Glue stick
Three ring notebook for handouts, syllabi, ect.
Three ring Folder for Morgue Pictures.
Sketchbook (8x10” min) (Hardcover Takes a beating and
serves as nice support) for notes, thumbnail sketches,
collages. (No lines, Water media suitable if you wish)
Tackle box (to carry your supplies)
Project I: Mark Making and Line
Overview:
Use any type of mark making device to create an image that is a reflection of your
personality.
Technical:
The Objective for this assignment is to explore and experiment with the potential of mark
and line as forms of powerful expression.
Conceptual:
Design an image that tells the viewer something about your personality.
Aesthetics:
Create dynamic surfaces and spaces for the interaction of marks and lines.
Vocabulary:
Line, psychic line, implied line, actual line, curvilinear, rectilinear, graffiti, horizontal
line, gesture, diagonal line, contour, vertical line, and shape.
Materials:
Open. Anything goes. Some examples might be pencils, charcoal, chalk, lipstick, ink,
markers, pastels, spray cans, anything that makes a mark. Minimum size of 10x14in.
Project II: Compositional Unity
Overview:
Plan and execute a composition that illustrates the concept of unity. Explore how various
objects and their relationship to one another can suggest an individual’s identity.
Objectives:
Understand and apply various methods for achieving unity on a two-dimensional surface.
Find equivalents for your personal identity.
Vocabulary:
Chance, proximity, unified direction, continuation, unity with variety, identity, facsimile,
signature, and mechanical reproduction
Materials:
Open. Anything goes. Some examples might be cut paper, collage, pen, pencil, paint, or
photography. Minimum size of 10x14in.
Project III: Scale and Proportion
Overview:
Plan and execute a composition that illustrates transformation of scale and proportion.
Objectives:
Explore the differences between size, scale, and proportion. To use various tools and
transformation techniques as aids to visual expression.
Vocabulary:
Grids, proportion wheel, scaling by percentages, mapping, size, scale, proportion, ratio,
orthogonal.
Materials:
Any painting or drawing medium. Minimum size of 10x14in.
Project IV: Patterning
Overview:
Plan and Execute a composition that illustrates a “cosmology” (a metaphysical picture of
the origin and structure of the universe) that you have either researched from another
culture or invented from scratch.
Objectives:
Understand and apply various methods for creating patterns and textures. Explore the
“hidden voices” of pattern found in contemporary, historical, and cross-cultural
experiences.
Vocabulary:
Module, pattern, texture, cell, repetition, rhythm, adjacency, rotation, rotational
symmetry, translation (also glide), reflection (also mirror), parallel reflection, orthogonal,
proportion, alignment (unity by direction), transitional unity (unity by transformation),
icon, tapestry
Materials:
Open. Anything goes. Traditional or untraditional media. Minimum size of 10x14in.
Project V: Time, Change and Motion in Nature
Overview:
Plan and execute a mural, cartoon, or animation that uses time, change, or motion to
convey an idea about the natural world.
Objectives:
Gain experience with sequential imagery to convey time, change, or motion. Create
moving visual images and symbols that explore the idea of Nature in flux.
Vocabulary:
Time, still image, frame, sequential images, cartoon, mural, animation, flip book,
zoetrope, frame rate, frame sequence.
Materials:
Open.
Project VI: Depth Cues
Overview:
Plan and execute a photomontage that both creates a convincing spatial illusion and
conveys the feelings of a personal fantasy or dream. Your focus should be on the
effective use of depth cues deployed in a convincing perspectival space. Your final
composition can be understood as an opportunity to give visual expression to your
fantasies--whether of heaven or hell.
Objectives:
To apply various methods of suggesting or denying spatial illusion or depth on a twodimensional surface. To explore compositional strategies that help to organize pictorial
elements across, into, and out from the picture plane. To find visual equivalents for the
feelings of a fantasy, dream, nightmare, or reverie.
Vocabulary:
Picture plane, depth cues, overlap, relative size, transparency, vertical location, relative
position, aerial/atmospheric perspective, vanishing point, horizon line, vantage point,
one-point perspective, two-point perspective, three-point perspective, multi-point
perspective, amplified perspective, foreshortening, multiple perspective.
Materials:
10x14in illustration board, x-acto knife, scissors, rubber cement or graphic arts paste,
collage/montage materials (magazine images, prints, photos), ruler, paints and brushes,
pens and pencils.