Art

Upon completion of this course, the student will be able to:

• SLO 1 DEVELOP A PROCESS OF WORKING WITH MONOCHROMATIC DRY MEDIA MATERIALS AND DRAWING TOOLS.
• Apply proper tool techniques for items such as compressed charcoals, graphite, charcoal pencils, blending stumps, chamois’, erasers, papers etc.
• Demonstrate mastery in sharpening techniques for both compressed media and pencil media.
• SLO 2 IDENTIFY AND APPLY A WIDE RANGE OF ACHROMATIC VALUES WHEN DRAWING VARYING STILL-LIFE FORMS OF INCREASING DIFFICULTY FROM DIRECT OBSERVATION.
• Create a multi-step grayscale including a range of greys, and black and white values.
• Distinguish the difference between relative and absolute values.
• Understand how black and white value accents function in a fully rendered drawing.
• SLO 3 APPLY SIGHTING TECHNIQUES IN THE EARLY CONSTRUCTION OF A DRAWING WHILE WORKING FROM DIRECT OBSERVATION OF STILL-LIFE OBJECTS.
• Using a long, narrow tool such as a knitting needle make comparative measurements from a still-life to establish the concept of using proportions in a drawing.
• Using a long, narrow tool such as a knitting needle measure against a perceptual X, Y grid various angles of planes of boxes and other objects foreshortened in space.
• Identify an eye level or horizon line when drawing objects from observation.
• SLO 4 DEMONSTRATE ABILITY IN CREATING SPACE USING VARIOUS DEPTH CUES IN A DRAWING.
• Create drawings utilizing the spatial cues of Overlapping, Diminution, Atmospheric Perspective, Linear Perspective and Foreshortening.
• SLO 5 DEMONSTRATE FACILITY WHEN APPLYING A LINEAR PERSPECTIVE SYSTEM IN A DRAWING.
• Create a drawing in both one point and two point perspective demonstrating the application of a horizon line, vanishing point(s) and confrontational planes and edges respectively.
• Illustrate the ability to create more complex forms such as cylinders, cones and other objects by intersecting, carving, and manipulating boxes in perspective.
• Demonstrate understanding in a drawing of how to draw ellipses accurately when tilted in space.
• Define terms related to a linear perspective drawing system.
• SLO 6 DEVELOP FACILITY IN CREATING CHIAROSCURO ON WHITE DRAWING PAPER WHILE DRAWING FROM DIRECT OBSERVATION OF STILL-LIFE OBJECTS.
• Create atmospheric effects, atmospheric perspective and depth cues utilizing different blending tools such as a chamois, cotton rag and blending stump.
• Develop middle-tone values to create transition across space and various objects in a drawing.
• Define terms related to a complete light and shadow system including a core shadow, highlight, half-tone light, cast shadow and reflected light.
• Differentiate differences in tonal edges and linear edges.
• Produce drawings emphasizing various planes on an object.
• SLO 7 MODEL AND RENDER MODERATE TO ADVANCED FORMS, SURFACES AND TEXTURES.
• Develop strategies of planar analysis to draw complex forms from observation such as teapots, flowers, seashells, drapery, vegetables, etc.
• Render various organic and inorganic surface textures such as glass, metal, wood, cloth, plastic, etc., providing visual distinction for varying surface qualities such as reflective and absorbent surfaces.
• SLO 8 DISTINGUISH VARIOUS ELEMENTS OF AN EFFECTIVE PICTORIAL COMPOSITION.
• Recognize the various elements of design and principles of organization in a drawing.
• Utilize the Rule of 1/3s or Golden Mean in a drawing.
• Understand the difference between an open and closed composition.
• Incorporate the principal of emphasis in a composition.
• Understand the process of creating effective thumbnail sketches and incorporating refinement in preparation for a finished drawing.
• SLO 9 APPLY CRITICAL THINKING SKILLS TO CRITIQUE INDIVIDUAL AND PEER WORK USING SELECT CRITERIA SUCH AS COMPARISON, CONTRAST AND FORMAL ANALYSIS.
• Critique and evaluate different subjects and aesthetic viewpoints in drawings.
• Critique artworks using correct terminology related to drawing concepts, materials, composition and techniques.
• Recognize qualities of a professionally presented drawing or drawing portfolio.
• SLO 10 FORMULATE AN HISTORICAL, GEOGRAPHICAL AND CHRONOLOGICAL CONTEXT OF DRAWING.

Upon completion of this course, the student will be able to:

• differentiate and synthesize various digital drawing materials, techniques and software appropriate for vector-based and pixel-based images. SLO#1
• analyze and integrate concepts related to form and spatial development and compose with the intent of creating illusion on a two-dimensional surface using a problem solving approach. SLO #2
• distinguish properties of scanning reflective art and transparencies. SLO#3
• construct, manage and manipulate digital images. SLO#4
• evaluate, prepare and print digital files. SLO#5
• critique and articulate visual concepts related to completed work. SLO#6

Upon completion of this course, the student will be able to:

• SLO 1 DEMONSTRATE INTERMEDIATE-LEVEL DRAWING SKILLS AND CONCEPTS USING DIVERSE MATERIALS, DRAWING TOOLS, TECHNIQUES AND SURFACES.
• SLO 2 OBTAIN FACILITY IN THE USE OF LIMITED COLOR AND FULL COLOR USING DRY MEDIA IN A DRAWING.
• Develop a layered process to establish middle values with a single color, dark values with black and highlights with white being careful not to mix all three together.
• SLO 3 COMPLETE A SERIES OF WORKS RELATED IN SUBJECT, TECHNIQUE, OR THEME IN ORDER TO ACHIEVE PERSONAL EXPRESSION AND SELF DIRECTION.
• SLO 4 DEVELOP DRAWINGS EXPLORING NON-OBJECTIVE SUBJECT MATTER.
• SLO 5 APPLY CRITICAL THINKING SKILLS TO DEVELOP MORE COMPLEX COMPOSITIONAL THUMBNAILS IN THE AID OF CREATING A DRAWING OR SERIES OF DRAWINGS.
• SLO 6 EVALUATE, BASED ON SELECT CRITERIA, HIS OR HER OWN WORK, AND THE WORK OF OTHERS THROUGH CRITIQUES AND DISCUSSIONS.
• SLO 7 EXAMINE THE HISTORICAL DEVELOPMENT AND USE OF DRAWINGS.
• SLO 8 DEVELOP A PORTFOLIO FOR TRANSFER OF DRAWING WORK THAT ENCOMPASSES PERSONAL EXPRESSION AND VISION.

Upon completion of this course, the student will be able to:

• SYNTHESIZE A KNOWLEDGE OF ANATOMICAL STRUCTURE IN THE INTERPRETATION OF HUMAN PROPORTIONS AND THE RELATIONSHIP OF THE FIGURE TO SPACE. SLO # 1
• Analyze and complete drawings from the human skeleton to understand bone placement and connections.
• Utilize analytical line and sight measurement to control the proportions of body features and placement.
• INCORPORATE THE ELEMENTS OF DRAWING (LINE, VALUE, TEXTURE, PERSPECTIVE, ETC.) WHEN CREATING COMPOSITIONS WITH THE FIGURE AS THE SUBJECT. SLO #2
• Utilize rapid visualization techniques such as gesture drawing or quick studies and contour to assess overall structure, placement, movement and composition.
• Assess and interpret light on the figure by utilizing a range of values.
• COMPARE AND CONTRAST HISTORICAL AND CONTEMPORARY CONCEPTUAL APPROACHES TO DRAWING THE FIGURE. SLO #3
• ASSESS AND EVALUATE THE DEPICTION OF THE HUMAN FORM THROUGH VERBAL CRITIQUE AND WRITTEN ASSIGNMENTS UTILIZING ART LANGUAGE. SLO #4

Upon completion of this course, the student will be able to:

• ANALYZE AND DRAW WITH INCREASING SKILL THE FIGURE WTIH RESPECT TO ANATOMY AND PROPORTION. SLO #1
• Assess through sight measurement and analytical line the figure proportions and placement of parts based on anatomical knowledge.
• Incorporate the use of color through dry color media to depict light, texture, form and spatial relationships within the figure.
• ASSESS AND CONTROL THE HUMAN FORM AS THE DOMINANT EXPRESSIVE ELEMENT IN A COMPOSITION THROUGH A SERIES OF DIRECTED PROJECTS. SLO #2
• Investigate the use of environment, props, clothing and drapery in complex compositions with the figure.
• Evoke mood or theme by controlling value and color relationships.
• GENERATE A SUBJECTIVE STYLE BASED ON RESPONSE TO HISTORICAL THEORY, CONCEPTS AND REPEATED PRACTICAL APPLICATIONS. SLO #3
• Research the use of the human figure in visual art and respond by creating works that demonstrate individual expression.
• Assess the intent and effectiveness of individual solutions to the use of the human figure as the primary subject.
• INTEGRATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH VERBAL “CRITIQUES” AND WRITTEN RESPONSE TO WORKS OF ART. SLO #4
• Analyze and respond to others work through oral and written communication during class and/or group discussion during class critique and in response to museum or gallery visits.

Upon completion of this course, the student will be able to:

• SYNTHESIZE A KNOWLEDGE OF ANATOMICAL STRUCTURE IN THE INTERPRETATION OF HUMAN FACIAL PROPORTIONS. SLO #1
• Assess through analytical line and sight measurement the relative position and size of various facial features.
• Investigate the skeletal and planar structure of the head through drawings from skull.
• Assess the uniqueness of facial features and apply drawing skill in terms proportions, value relationships and textural control in portraying those features to capture not only a likeliness but also a personality in their drawings.
• ANALYZE AND EXPLORE THE RELATIONSHIP OF THE PORTRAIT IN COMPOSITION. SLO #2
• EXAMINE AND UTILIZE A VARIETY OF HISTORICAL APPROACHES, MEDIA, & TECHNIQUES USED IN DRAWING A PORTRAIT. SLO #3
• EVALUATE THE PORTRAIT AS SUBJECT AND CONTENT IN ART BOTH VERBALLY IN STUDIO "CRITIQUE" AND THROUGH WRITTEN ASSIGNMENT. SLO #4

Upon completion of this course, the student will be able to:

• CREATE COMPOSITIONS USING THE ELEMENTS OF DESIGN: LINE, SHAPE, VALUE, TEXTURE, COLOR AND SPACE AND THE PRINCIPLES OF ORGANIZATION: EMPHASIS, HARMONY, VARIETY, MOVEMENT, BALANCE, PROPORTION AND ECONOMY. SLO #1
• research various design organizational strategies, e.g. open vs. closed, golden mean, gestalt, unity, rhythm, figure/ground, etc.
• distinguish types of balance: symmetrical, asymmetrical, radial, axis.
• investigate the various properties of the visual elements, e.g. line qualities and direction, value scale or range, color hue, saturation and value.
• DEMONSTRATE THE PHYSICAL SKILLS/DEXTERITY TO USE DESIGN TOOLS PROFESSIONALLY IN THE EXPRESSION OF CONCEPTS. SLO #2
• Assemble and utilize various rulers and shape tools to accurately design images.
• Assess and apply pencil, pen and brush tools to create a professional finish.
• FORMULATE A CONCEPTUAL FRAMEWORK FOR THE FUTURE BY APPLYING ANALYTICAL SKILLS. SLO #3
• Analyze works of fine and applied art to critically assess the components of subject, form and content.
• INVESTIGATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF “CRITIQUE”. SLO #4
• Synthesize design concepts and history by applying the visual language in verbal and written form to the viewing experience.

Upon completion of this course, the student will be able to:

• DIFFERENTIATE THE HISTORICAL AND CULTURAL USES OF COLOR AND THE HISTORICAL CHANGES IN ATTITUDE TOWARD COLOR. SLO #1
• COMPARE AND CONTAST MAJOR THEORIES OF COLOR. SLO #2
• Understand the origin and rational for various systems of organizing color including Munsell's color solid model.
• Compare differences between color schemes e.g. complementary, analogous, triadic, etc.
• MANAGE SKILLS IN THE APPLICATION OF PAINT, KNOWLEDGE OF COLOR MIXING, AND COLOR INTERACTIONS. SLO #3
• Assess the effects of altering color in various ways such as single color alteration, multiple color alteration, and visual alteration.
• Contrast the difference between light color mixing and pigment color mixing and how this affects artistic production.
• ASSESS THE USE OF COLOR IN CONCEPT AND DESIGN SOLUTIONS AND APPLY THIS ANALYSIS TOWARDS MANIPULATING COLOR FOR CREATIVE EXPRESSION. SLO #4
• INTEGRATE KNOWLEDGE OF COLOR THEORY AND VISUAL VOCABULARY THROUGH VERBAL AND WRITTEN CRITIQUE OF ONE'S OWN AND OTHERS WORK. SLO #5
• analyze works of fine art and design to critically assess the function of color as it relates to the components of subject, form and content.

Upon completion of this course, the student will be able to:

• Choose diverse fragments of scraps and found objects to build a collection of materials. SLO #1
• Evaluate the potential design aspects of an object and assess the potential of various materials to suggest meaningful, artistic expression.
• Organize the use of artistic elements such as line, shape, value, texture, color, and space utilizing the principles of design. SLO #2
• Conceive a composition of found and chosen materials based upon the inherent properties of selected materials.
• Assess and revise expressive elements and unity in a composition.
• Investigate major historical developments and trends in contemporary work in assemblage. SLO #3
• Critique examples of student and professional work in relation to its historical context and design. SLO #4

Upon completion of this course, the student will be able to:

• ACQUIRE TECHNICAL SKILLS/DEXTERITY WITHIN A DISCIPLINE. SLO #1
• Arrange compositional elements and apply Gestalt principles using digital methods.
• Apply digital tools to create and manipulate production art.
• Assess graphic and text methods of input, output and file storage such as scanning and printing and understanding various file formats.
• Differentiate monitor color models and printing color models.
• ESTABLISH AN HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT OF ART. SLO#2
• Describe differences between traditional and contemporary methods of creating graphic design.
• Assess the role of graphic design in art history.
• DEVELOP SELF-ANALYSIS AND EXTERNAL ANALYSIS THROUGH THE ACTIVITY OF CRITIQUES. SLO#3
• Evaluate and assess self and peer projects from start to completion implementing specific analysis vocabulary.
• ACQUIRE ANALYTICAL SKILLS AND A CONCEPTUAL FRAMEWORK FOR THE FUTURE. SLO#4
• Define terms specific to traditional and digital graphic design and production art.
• Research a variety of information sources that will inform the graphic design solution.
• Deduce differences between vector, raster and page layout software.
• Analyze the relationship of letter form and image in visual communication.
• Compose, coordinate and effect a two-dimensional design or project plan using current methods of production.
• Assemble a professional digital portfolio that demonstrates a personal creative style in graphic communication design.

Upon completion of this course, the student will be able to:

• BUILD PHYSICAL SKILLS/DEXTERITY WITHIN THE PAINTING DISCIPLINE. SLO #1
• Evaluate and judge the correlation between painting supports, surface preparation, paint application and techniques for opaque and transparent painting medium.
• Create and utilize the color wheel to make effective decisions for color harmony, color schemes, color temperature, and tone.
• Utilize color mixing and blending to gain understanding of neutralized and saturated color, color temperature, and value.
• IDENTIFY AND ANALYZE THE MAJOR ASPECTS OF PAINTING: FORM, SPATIAL DEVELOPMENT, COMPOSITION, AND EXPRESSION. SLO #2
• Assess the effects of color in the light areas and in the shadow areas of a composition.
• Understand the effect of color in value, contrast, saturation, and temperature on forms and spatial development.
• UTILIZE ANALYTICAL SKILLS AND DEVELOP A CONCEPTUAL FRAMEWORK FOR THE FUTURE. SLO #3
• Integrate concept, process and execution in order to create compositions with a variety of subjects including still life, landscape and figure.
• ACQUIRE THE ABILITY TO CRITIQUE ONE'S WORK AND THE WORK OF CLASSMATES THROUGH COMPARISON, CONTRAST, AND FORMAL ANALYSIS. SLO #4
• PRACTICE PROPER CARE, CLEANING, SAFETY, AND MAINTENANCE OF ALL MATERIALS USED IN THE PAINTING PROCESS. SLO #5

Upon completion of this course, the student will be able to:

• BUILD UPON PHYSICAL SKILLS/DEXTERITY WITHIN THE PAINTING DISCIPLINE. SLO #1
• Evaluate skills and manage judgment in the painting process: handling of medium, form, spatial development, composition, and expression.
• Assess the appropriate support for intended projects.
• MANAGE ANALYTICAL SKILLS AND DEVELOP A CONCEPTUAL FRAMEWORK FOR THE FUTURE. SLO #2
• Create paintings that show further development and complexity in ideas, process, and presentation.
• Research and construct painting projects that demonstrate an understanding of various historical and contemporary artistic methods.
• DEMONSTRATE CRITICAL ANALYSIS IN WRITTEN FORM. SLO #3
• Evaluate and analyze a painting/paintings from a historical and/or contemporary perspective in a research project with written analysis.
• CRITIQUE ONE'S WORK AND THE WORK OF PEERS THROUGH COMPARISON, CONTRAST, FORMAL ANALYSIS, AND ASSESSMENT OF SUBJECT MATTER." SLO #4
• ASSESS AND UTILIZE A VARIETY OF INFORMATIONAL SOURCES FOR RESEARCH. SLO #5
• PRACTICE PROPER CARE, CLEANING, SAFETY, AND MAINTENANCE OF MATERIALS USED IN THE PAINTING PROCESS. SLO #6

Upon completion of this course, the student will be able to:

• DEMONSTRATE PHYSICAL SKILLS/DEXTERITY WITHIN A DISCIPLINE. SLO #1
• diagnose, compare and employ appropriate surface, media and techniques for chosen site.
• investigate, prioritize and apply the planning steps in large scale commission work.
• coordinate and work collaboratively with others to execute a mural as a public art form.
• BUILD SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF “CRITIQUES”. SLO #2
• assess the style, preliminary sketches and final design for the project based on its location, materials, and audience.
• evaluate success of design on aesthetic, narrative and technical levels.
• CONSTRUCT AN HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT OF MURAL ART. SLO #3
• research and contrast the function or purpose of the mural art form in various cultures and time periods in history.

Upon completion of this course, the student will be able to:

• BUILD PHYSICAL SKILLS/DEXTERITY WITHIN A DISCIPLINE. SLO #1
• Generate proficiency with the fundamentals of watercolor media: wash, transition, dry brush, glazing, and wet-into-wet.
• Evaluate strength, responsiveness, and freedom of handling medium through the interaction of watercolor on various papers.
• DISCRIMINATE AND ANALYZE THE MAJOR CONCERNS OF PAINTING: FORM DEVELOPMENT, SPATIAL REPRESENTATION, COMPOSITION AND EXPRESSION. SLO #2
• Differentiate the affect of color value, saturation and temperature on form development and spatial interpretation.
• UTILIZE ANALYTICAL SKILLS AND DEVELOP A CONCEPTUAL FRAMEWORK FOR THE FUTURE. SLO #3
• Develop visual analysis skills and translate these perceptions to the watercolor media.
• Synthesize concept, process and execution in order to create compositions with a variety of subjects including still life, landscape and figure.
• INTEGRATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF “CRITIQUES”. SLO #4
• Assess the effectiveness of problem solutions based on media use, compositional strategies, and correlation of form and content expression.
• ESTABLISH AN HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT FOR ART. SLO #5
• Appraise the antecedents in history in watercolor painting and assess contemporary trends in the watercolor medium.

Upon completion of this course, the student will be able to:

• CONSTRUCT PHYSICAL SKILLS/DEXTERITY WITHIN A DISCIPLINE. SLO #1
• Assess appropriate support and technical handling of watercolor for intended project resolution.
• Evaluate skills and manage judgment in the application of painting concerns: handling of watercolor medium, spatial and form development using color, compositional design and expression.
• MANAGE ANALYTICAL SKILLS AND DEVELOP A CONCEPTUAL FRAMEWORK FOR THE FUTURE. SLO #2
• Compose a series of watercolor paintings that reflect more complex problem solving in ideation, process and presentation.
• Explore personal expression through both style and content.
• INVESTIGATE CRITICAL ANALYSIS IN WRITTEN FORM. SLO #3
• Evaluate concerns in watercolor painting historically and in the contemporary world through research project and written analysis of project resolutions.
• CONFIRM SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF “CRITIQUES”. SLO #4
• Justify analysis of own work and peer work using various criteria such as comparison, formal analysis and assessment of subject matter, form and content relationship.

Upon completion of this course, the student will be able to:

• ASSESS AND SYNTHESIZE VARIOUS PAINTING TOOLS AND TECHNIQUES IN PAINTING SOFTWARE. SLO #1
• Distinguish different digital painting tools in the toolbox and their specific uses in a digital painting
• Understand the most common color gamuts in digital painting including HSV, RGB and CMYK
• Construct various digital brushes using varying brush technology and dab types
• Demonstrate skill in the use of Layers, Layers Masks and Selections
• DISCRIMINATE AND ANALYZE THROUGH PROJECTS THE MAJOR CONCERNS OF PAINTING: SPATIAL REPRESENTATION, FORM DEVELOPMENT, COMPOSITION AND EXPRESSION. SLO #2
• INTEGRATE THROUGH DIRECTED PROJECTS THE UNDERSTANDING OF IDEATION, PROCESS AND PRODUCT PRESENTATION. SLO #3
• Develop a process of creating a painting or design through the use of thumbnails, revision and refinements in digital painting software using various digital tools and strategies.
• CONSTRUCT, MANAGE, MANIPULATE AND PRINT DIGITAL IMAGES. SLO #4
• Obtain understanding of pixel resolution and the impacts on a printed image.
• Distinguish the different color differences as it relates to monitor color and the four-color print process and the unique characteristics of each color gamut.
• CRITIQUE AND ARTICULATE VISUAL CONCEPTS RELATED TO COMPLETED WORK. SLO #5

Upon completion of this course, the student will be able to:

• BUILD PHYSICAL SKILLS/DEXTERITY WITHIN A DISCIPLINE. SLO #1
• Differentiate the tools and techniques applied to each printmaking process: intaglio, relief, stencil and/or monotype.
• Assess the relationship of paper or other surfaces and the print process to achieve the most effective aesthetic combination.
• Create editions by printing a matrix repeatedly.
• UTILIZE ANALYTICAL SKILLS AND DEVELOP A CONCEPTUAL FRAMEWORK FOR THE FUTURE. SLO #2
• Integrate ideas in relationship to different printmaking techniques.
• INTEGRATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF “CRITIQUES”. SLO #3
• Analyze printed compositions on the basis of applied techniques and print aesthetics.
• Justify analysis of own work and peer work using various criteria such as comparison, formal analysis and assessment of subject matter, form and content relationship.
• CONSTRUCT AN HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT OF PRINTMAKING. SLO #4
• Correlate the major concerns of printmaking within a specific printmaking process.
• Research the development of printmaking as a major art medium.

Upon completion of this course, the student will be able to:

• BUILD PHYSICAL SKILLS/DEXTERITY WITHIN A DISCIPLINE. SLO #1
• Differentiate techniques of intaglio: hard ground etching, soft ground etching, aquatint, drypoint, engraving and mezzotint.
• Formulate and execute solutions to image development utilizing various intaglio techniques.
• Compare and select appropriate papers for image production and proper presentation formats.
• Manage production to create an edition.
• ORGANIZE ANALYTICAL SKILLS AND DEVELOP A CONCEPTUAL FRAMEWORK FOR THE FUTURE. SLO #2
• Synthesize understanding of intaglio processes with imaginative use of materials, tools, and techniques to resolve image.
• INTEGRATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF “CRITIQUES”. SLO #3
• Evaluate own prints and those of their peers by discussing technical effects, assessing the composition employing the vocabulary of two-dimensional design and judging the overall print quality.
• CONSTRUCT AN HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT OF INTAGLIO. SLO#4
• Appraise the antecedents in history in intalgio printmaking and assess contemporary trends in the use of intaglio.

Upon completion of this course, the student will be able to:

• BUILD PHYSICAL SKILLS/DEXTERITY WITHIN A DISCIPLINE. SLO #1
• Differentiate each relief technique, distinguish tools to carve and control effects of each technique and tool.
• Formulate and execute solutions to image development utilizing various relief techniques.
• Compare and select appropriate papers for image production and proper presentation formats.
• Manage production to create an edition.
• ORGANIZE ANALYTICAL SKILLS AND DEVELOP A CONCEPTUAL FRAMEWORK FOR THE FUTURE. SLO #2
• Synthesize understanding of relief processes with imaginative use of materials, tools, and techniques to resolve image.
• INTEGRATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF “CRITIQUES”. SLO #3
• Evaluate own prints and those of their peers by discussing technical effects, assessing the composition employing the vocabulary of two-dimensional design and judging the overall print quality.
• CONSTRUCT AN HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT OF ART. SLO#4
• Appraise the antecedents in history in relief printmaking and assess contemporary trends in the use of relief printing.

Upon completion of this course, the student will be able to:

• DEMONSTRATE FUNDAMENTAL PHYSICAL SKILLS/DEXTERITY IN THE FABRICATION OF THREE DIMENSIONAL FORMS. (SLO #1)
• Create preliminary drawings to develop ideas for three-dimensional forms.
• Incorporate a variety of construction methods necessary to assemble three-dimensional forms from various media.
• Integrate knowledge of the properties and tendencies of various media while constructing three dimensional forms.
• MANAGE THE ABILITY TO DISCUSS WORKS OF ART PUBLICLY. (SLO#2)
• Utilize the basic vocabulary of art and design.
• Design standards to evaluate the functional and aesthetic value of three-dimensional forms.
• Design observations regarding the functionality and aesthetics of three-dimensional forms.
• Manage oral presentations in a professional manner while presenting finished projects.
• STRUCTURE A HISTORICAL, GEOGRAPHICAL AND CHRONOLOGICAL CONTEXT FOR THREE-DIMENSIONAL FORMS. (SLO#3)
• Examine and consider how three-dimensional design concepts have been applied past and present in various cultures.
• Analyze how established design concepts are incorporated into contemporary three-dimensional forms.
• INVESTIGATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF "CRITIQUE". (SLO#4)
• Critique three-dimensional forms and discuss the decision making process used during the creation of those forms.
• Assess and evaluate the aesthetic attributes of three-dimensional forms.
• Evaluate the strength and clarity of any message or symbolism present in a three dimensional form.
• Judge points of craftsmanship used in the construction of three-dimensional forms.
• Evaluate the function and impact of three-dimensional forms as they relate to the environment in which they are displayed.
• Examine and explore the aesthetic attributes and relationship of a three-dimensional form within the context of its environment.
• Assess the use of other techniques or design alterations that might enhance aesthetic attributes of a three-dimensional form.
• FORMULATE A CONCEPTUAL FRAMEWORK FOR THE FUTURE BY APPLYING ANALYTICAL SKILLS. (SLO#5)
• Evaluate how the level of craftsmanship and planning executed during production of a project directly relates to the precision and overall success evident in a finished three-dimensional form.
• Assess the time allotted to each step in the production of a project and evaluate its impact on the execution of the work.
• CHOOSE AND APPLY A VARIETY OF INFORMATIONAL RESOURCES FOR RESEARCH. (SLO#6)
• Incorporate information from museum/gallery trips, Internet research, library research and personal observation in the conceptualization of three-dimensional projects.
• Support and defend their own observations and opinions regarding three-dimensional art forms.

Upon completion of this course, the student will be able to:

• DEMONSTRATE FUNDAMENTAL PHYSICAL SKILLS/DEXTERITY IN THE FABRICATION OF THREE-DIMENSIONAL SCULPTURE. (SLO#1)
• Create preliminary drawings to develop ideas for sculptures.
• Incorporate a variety of construction methods necessary to assemble sculptures from various media.
• Integrate knowledge of the properties and tendencies of various media while creating sculptural forms.
• MANAGE THE ABILITY TO DISCUSS WORKS OF ART PUBLICLY. (SLO#2)
• Utilize the basic vocabulary of art.
• Design standards to evaluate the functional and aesthetic value of sculptural forms.
• Report observations regarding the function and aesthetic value of sculptural forms.
• Manage oral presentations in a professional manner while presenting finished projects.
• STRUCTURE A HISTORICAL, GEOGRAPHICAL AND CHRONOLOGICAL CONTEXT FOR SCULPTURAL FORMS. (SLO#3)
• Examine and consider how concepts for sculpture have been applied past and present in various cultures.
• Analyze how established concepts for sculpture are incorporated into contemporary sculptural forms.
• Correlate the aesthetic trends and stylistic devices apparent in contemporary sculpture with those from various historic, geographic and cultural sources.
• INVESTIGATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF "CRITIQUE". (SLO#4)
• Critique sculptural forms and discuss the decision making process used during the creation of those forms.
• Assess and evaluate the aesthetic attributes of sculptural forms.
• Evaluate the strength and clarity of any message or symbolism present in sculptural forms.
• Judge points of craftsmanship used in the construction of sculptural forms.
• Examine one's own artistic point of view through self critique.
• FORMULATE A CONCEPTUAL FRAMEWORK FOR THE FUTURE BY APPLYING ANALYTICAL SKILLS.(SLO#5)
• Evaluate how the level of craftsmanship and planning executed during production of a project directly relates to the precision and overall success evident in a finished sculptural form.
• Assess the time allotted to each step in the production of a project and evaluate its impact on the execution of the work.
• CHOOSE AND APPLY A VARIETY OF INFORMATIONAL RESOURCES FOR RESEARCH. (SLO#6)
• Incorporate information from museum/gallery trips, Internet research, library research and personal observation in the conceptualization of sculptural forms.
• Support and defend their own observations and opinions regarding sculptural forms.

Upon completion of this course, the student will be able to:

• DEMONSTRATE THE FUNDAMENTAL PHYSICAL SKILLS/DEXTERITY IN THE CREATION OF CERAMIC WHEEL THROWN FORMS(SLO#1)
• Create functional ceramic vessel forms implementing the basic techniques of wheel throwing.
• Integrate knowledge of the properties and tendencies of the material, clay.
• Incorporate standards of functionality and aesthetics while creating wheel thrown forms.
• Demonstrate informed choices in color, texture, design and pattern in the application of basic glazing techniques.
• MANAGE THE ABILITY TO DISCUSS WORKS OF ART PUBLICLY (SLO#2)
• Utilize the basic vocabulary of ceramic art.
• Design standards to evaluate the functional and aesthetic value of pottery forms through guided discussion.
• Report observations regarding functionality and aesthetics of pottery forms.
• Formulate questions pertaining to aspects of throwing techniques used, choice of materials, and firing process used in the creation of pottery forms.
• STRUCTURE A HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT FOR CERAMIC FORMS(SLO#3)
• Examine and discuss historical trends of ceramic throwing/building techniques, firing and glazing materials/methods, practiced in various cultures.
• Compare and contrast the function and creation of ceramic forms beyond fine art and every day domestic use, into the realm of industrial ceramic applications.
• Analyze the utilitarian nature of pottery forms throughout history and how it affected the design and evolution of those forms.
• INVESTIGATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF "CRITIQUE"(SLO#4)
• Critique finished vessel forms and discuss the decision making process used during the creation of those forms.
• Assess and evaluate the functionality and aesthetic attributes of pottery forms.
• Verify attributes of craftsmanship in pottery forms at an elementary level.
• Evaluate how changes in throwing execution, choice of materials, and application of glazes might impact pottery forms.
• Examine one's own artistic point of view through critique.
• CHOOSE AND APPLY A VARIETY OF INFORMATIONAL RESOURCES FOR RESEARCH(SLO#5)
• Incorporate information from museum/gallery trips, Internet research, library research and personal observation in the creation of pottery forms.
• Support and defend their own observations and opinions regarding ceramic art forms.

Upon completion of this course, the student will be able to:

• DEMONSTRATE PROFICIENT PHYSICAL SKILLS/DEXTERITY IN THE CREATION OF CERAMIC WHEEL THROWN FORMS(SLO#1)
• Create functional ceramic vessel forms, exploring the technical and creative processes of pottery making beyond the use of basic techniques.
• Conceive and develop more personal artistic concepts to be expressed in the creation of ceramic vessel forms.
• Experiment with alternative throwing, building, glazing and firing techniques.
• Systematize practices to achieve a higher degree of craftsmanship, functionality and aesthetics while creating ceramic vessel forms.
• Incorporate the usage of multiple thrown forms to build composite pieces.
• MANAGE THE ABILITY TO DISCUSS WORKS OF ART PUBLICLY(SLO#2)
• Utilize ceramic art terminology that reflects additional building, throwing, glazing and firing techniques learned in the Intermediate Wheel Thrown Ceramics class.
• Evaluate the functionality and aesthetics of pottery forms commensurate with skills acquired in the Intermediate Wheel Thrown Ceramics class.
• Formulate questions pertaining to aspects of throwing techniques used, choice of materials, and firing process used in the creation of pottery forms commensurate with the Intermediate Wheel Thrown Ceramics class.
• STRUCTURE A HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT FOR CERAMIC FORMS(SLO#3)
• Examine and discuss the historical trends of ceramic throwing/building techniques, firing and glazing materials/methods, practiced in various cultures.
• Analyze the utilitarian nature of pottery forms throughout history and how it affected the design and evolution of those forms.
• Incorporate culturally distinct motifs and ornamentation techniques in the development of their own artistic statements.
• INVESTIGATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF "CRITIQUE"(SLO#4)
• Critique finished vessel forms and discuss the decision making process used during the creation of those forms.
• Assess and evaluate the functionality and aesthetic attributes of pottery forms.
• Verify attributes of craftsmanship in pottery forms at a level commensurate with the Intermediate Wheel Thrown Ceramics class.
• Evaluate how changes in throwing execution, choice of materials, and application of glazes might impact pottery forms.
• Examine the degree to which the student executed a more personalized artistic expression through their functional pottery forms.
• Examine one's own individual artistic point of view through critique.
• CHOOSE AND APPLY A VARIETY OF INFORMATIONAL RESOURCES FOR RESEARCH(SLO#5)
• Incorporate information from museum/gallery trips, Internet research, library research and personal observation in the creation of pottery forms.
• Support and defend their own observations and opinions regarding ceramic art forms.

Upon completion of this course, the student will be able to:

• DEMONSTRATE MASTERY OF PHYSICAL SKILLS/DEXTERITY IN THE CREATION OF WHEEL THROWN FORMS(SLO#1)
• Create functional ceramic vessel forms, exploring the technical and creative processes of pottery making beyond the use of intermediate techniques.
• Conceive and develop more personal artistic concepts to be expressed in the creation of ceramic vessel forms.
• Experiment with alternative throwing, building, glazing and firing techniques.
• Systematize practices to achieve a higher degree of craftsmanship, functionality and aesthetics while creating ceramic vessel forms.
• Produce ceramic vessel forms that are ready to exhibit in professional settings.
• MANAGE THE ABILITY TO DISCUSS WORKS OF ART PUBLICLY(SLO#2)
• Utilize ceramic art terminology that reflects additional building, throwing, glazing and firing techniques learned the Advanced Wheel Thrown Ceramic class.
• Evaluate the functionality and aesthetics of pottery forms commensurate with skills acquired in the Advanced Wheel Thrown Ceramics class.
• Formulate questions pertaining to of throwing techniques used, choice of materials, and firing process used in the creation pottery forms commensurate with the Advanced Wheel Thrown Ceramics class.
• STRUCTURE A HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT FOR CERAMIC FORMS(SLO#3)
• Examine and discuss the historical trends of ceramic throwing/building techniques, firing and glazing materials/methods, practiced in various cultures.
• Analyze the utilitarian nature of pottery forms throughout history and how it affected the design and evolution of those forms.
• Incorporate culturally distinct motifs and ornamentation techniques in the development of one's own artistic statements.
• INVESTIGATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF "CRITIQUE"(SLO#4)
• Critique finished vessel forms and discuss the decision making process used during the creation of those forms.
• Assess and evaluate the functionality and aesthetic attributes of pottery forms.
• Verify attributes of craftsmanship in pottery forms at a level commensurate with the Advanced Wheel Thrown Ceramics class.
• Evaluate how changes in throwing execution, choice of materials, and application of glazes might impact pottery forms.
• Examine the degree to which the student executed a more personalized artistic expression through their functional pottery forms.
• Examine and explore one's own artistic point of view through critique.
• FORMULATE A CONCEPTUAL FRAMEWORK FOR THE FUTURE BY APPLYING ANALYTICAL SKILLS(SLO#5)
• Categorize their artistic style, and assess the logistics, audience/venues, and budget for the monetary/time constraints affecting their work.
• Research the factors involved with exhibiting in professional settings and/or establishing a personal ceramic studio.
• Investigate criteria influencing competition juries and apply this to the conceptualization of projects.
• Design projects and accompanying presentations for juried art competitions/professional exhibitions.
• CHOOSE AND APPLY A VARIETY OF INFORMATIONAL RESOURCES FOR RESEARCH (SLO #6)
• Incorporate information from museum/gallery trips, Internet research, library research and personal observation in the creation of pottery forms.
• Support and defend one's own observations and opinions regarding ceramic art forms.

Upon completion of this course, the student will be able to:

• DEMONSTRATE THE FUNDAMENTAL PHYSICAL SKILLS/DEXTERITY IN THE CREATION OF CERAMIC SCULPTURAL FORMS(SLO#1)
• Create three dimensional ceramic sculptural forms implementing basic hand building techniques.
• Integrate knowledge of the properties, limitations and tendencies of the material, clay.
• Produce structurally sound ceramic sculptural forms by executing appropriate designing and building techniques.
• Determine informed choices in color, texture, design and pattern in the basic application of glaze to bisqued sculptural forms.
• MANAGE THE ABILITY TO DISCUSS WORKS OF ART PUBLICLY(SLO#2)
• Utilize the basic vocabulary of ceramic art.
• Design standards to evaluate the aesthetic value of ceramic sculptural forms through guided discussion.
• Report observations regarding the aesthetic value and potential ceramic sculptural forms have to convey ideas, messages or social statements.
• Formulate questions pertaining to aspects of ceramic building techniques used, choice of materials, and firing process used in the creation of ceramic sculptural forms.
• STRUCTURE A HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT FOR SCULPTURAL CERAMIC FORMS(SLO#3)
• Examine and discuss historical, geographical, and cultural references in the evolution of contemporary ceramic sculptures.
• Correlate the aesthetic trends and stylistic devices apparent in examples of contemporary ceramic sculptures with those from various historical, geographic, and cultural sources.
• INVESTIGATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF "CRITIQUE"(SLO#4)
• Critique ceramic sculptural forms and discuss the decision making process used during the creation of those forms.
• Assess and evaluate the aesthetic attributes of ceramic sculptural forms.
• Evaluate the strength and clarity of any message or symbolism present in a ceramic sculptural form.
• Judge points of craftsmanship in ceramic sculptural forms at an elementary level.
• Examine and explore one's own artistic point of view through critique.
• CHOOSE AND APPLY A VARIETY OF INFORMATIONAL RESOURCES FOR RESEARCH(SLO#5)
• Incorporate information from museum/gallery trips, Internet research, library research and personal observation in the conceptualization of ceramic sculptural forms.
• Support and defend one's own observations and opinions regarding ceramic art forms.

Upon completion of this course, the student will be able to:

• DEMONSTRATE PROFICIENT PHYSICAL SKILLS/DEXTERITY IN THE CREATION OF CERAMIC SCULPTURAL FORMS(SLO#1)
• Create three dimensional ceramic sculptural forms while exploring the technical and creative processes of ceramic sculpture building beyond the use of basic techniques.
• Integrate knowledge of the properties, limitations and tendencies of the material, clay
• Produce structurally sound ceramic sculptural forms by executing appropriate designing and building techniques.
• Integrate alternative glazing techniques that increase the opportunity to execute greater, more precise personalized expression.
• Systematize assemblage methods to achieve a higher degree of craftsmanship and aesthetics while creating ceramic sculptural forms.
• MANAGE THE ABILITY TO DISCUSS WORKS OF ART PUBLICLY (SLO#2)
• Utilize ceramic art terminology that reflects additional building, glazing, ornamentation, and firing techniques learned in the Intermediate Clay Sculpture class.
• Evaluate the aesthetics and presentation of sculptural forms commensurate with the Intermediate Clay Sculpture class.
• Formulate questions pertaining to aspects of ceramic building techniques used, choice of materials, and the firing processes used in the creation of ceramic sculptural forms.
• STRUCTURE A HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT FOR SCULPTURAL CERAMIC FORMS (SLO#3)
• Examine and discuss historical, geographical, and cultural references in the evolution of contemporary ceramic sculptures.
• Correlate the aesthetic trends and stylistic devices apparent in examples of contemporary ceramic sculptures with those from various historic, geographic, and cultural sources.
• Incorporate culturally distinct motifs and ornamentation techniques in the development of one's own artistic statement.
• INVESTIGATE SELF-ANALYSIS AND EXTERNAL ANALYSIS TECHNIQUES THROUGH THE ACTIVITY OF "CRITIQUE" (SLO#4)
• Critique ceramic sculptural forms and discuss the decision making process used during the creation of those forms.
• Assess and evaluate the aesthetic attributes of ceramic sculptural forms.
• Evaluate the strength and clarity of any message or symbolism present in a ceramic sculptural form.
• Judge points of craftsmanship in ceramic sculptural forms at a level beyond what is considered basic.
• Examine and explore one's own artistic point of view through critique.
• FORMULATE A CONCEPTUAL FRAMEWORK FOR THE FUTURE BY APPLYING ANALYTICAL SKILLS (SLO#5)
• Research the factors involved with exhibiting in professional settings and/or establishing a personal ceramic studio.
• Investigate criteria influencing competition juries and apply this to the conceptualization of projects.
• Design projects and accompanying presentations for juried art competitions/professional exhibitions.
• CHOOSE AND APPLY A VARIETY OF INFORMATIONAL RESOURCES FOR RESEARCH (SLO#6)
• Incorporate information from museum/gallery trips, Internet research, library research and personal observation in the conceptualization of ceramic sculptural forms.
• Support and defend one's own observations and opinions regarding ceramic art forms.

Upon completion of this course, the student will be able to:

• CONSTRUCT A FRAMEWORK FOR AGE AND GRADE LEVEL APPROPRIATE ART CURRICULUM. SLO #1
• Assemble a sequential plan for art education that utilizes appropriate visuals and artistic materials for specific groups of children in preschool and elementary programs.
• Incorporate CA K-12 art standards in the art curriculum design.
• Evaluate and apply various child development theories as they relate to the child's ability and artistic expression.
• SYNTHESIZE ANALYTICAL SKILLS AND DEVELOP A CONCEPTUAL FRAMEWORK FOR DISCUSSING ART. SLO #2
• Combine the concepts and language of visual art when analyzing or assessing art objects.
• Generate an awareness of the historical, cultural and social uses of art.
• DIFFERENTIATE COMMON ART MATERIALS AND THE VARIOUS APPLICATIONS AND TECHNIQUES FOR HANDLING THOSE MATERIALS. SLO #3
• Distinguish art materials for two-dimensional art (e.g. drawing, painting) and three-dimensional art (e.g. sculpture).
• Assess the appropriateness of materials and techniques to age-related projects
• VALIDATE, SUPPORT AND DIRECT THE CREATIVE POTENTIAL OF THE CHILD. SLO #4
• Design a stimulating art program.
• Integrate a variety of motivational techniques as an impetus for developing creativity.

Upon completion of this course, the student will be able to:

• DEVELOP ANALYTICAL SKILLS AND A CONCEPTUAL FRAMEWORK FOR THE FUTURE. SLO #1
• recognize and demonstrate an understanding of gallery procedures.
• assess and solve problems associated with displaying, cataloging, preserving and documenting works of art.
• plan and install exhibitions.
• differentiate the relationship between professional gallery and museum procedures and the artist whose work is exhibited, including preparing and analyzing professional artist's presentation portfolios.
• ANALYZE WORKS OF ART PUBLICLY. SLO #2
• relate to the public in a gallery setting and provide relevant information regarding the exhibition.
• distinguish and utilize terminology associated with the visual arts when discussing and writing about historical and contemporary works of art.
• CONSTRUCT AN HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT OF ART. SLO #3
• demonstrate knowledge of the cultural history of museum and gallery institutions.
• UTILIZE A VARIETY OF INFORMATIONAL SOURCES. SLO #4
• integrate practical knowledge and language learned in both art history and art studio courses to course content and projects.
• research appropriate information for each exhibition to develop marketing strategies, create resources for the viewer or organize public programs.

Upon completion of this course, the student will be able to:

• Choose a variety of creative and planning approaches to developing visual ideas. SLO #1.
• Integrate their knowledge and understanding of various medium through select projects. SLO #2.
• Evaluate art work and assess the aesthetics of diverse medum. SLO #3.

Upon completion of this course, the student will be able to:

• SLO #1: Actively engage in intellectual inquiry beyond that required in order to pass a course of study (College Wide Learning Outcome – Area 4).
• Discuss and outline a proposal of study (that can be accomplished within one semester term) with a supervising instructor qualified within the discipline.
• Design an independent study (to be completed individually or by collaboration of a small group) to foster special knowledge, skills, and experience that are not available in any one regularly scheduled course.
• Use information resources to gather discipline-specific information.
• SLO #2: Utilize modes of analysis and critical thinking to apply theoretical perspectives and/or concepts in the major discipline of study to significant problems and/or educational activities (College Wide Learning Outcome – Area 3).
• Analyze and apply the knowledge, skills and experience that are involved in the independent study to theoretical perspectives and/or concepts in the major discipline of study.
• Explain the importance of the major discipline of study in the broader picture of society.
• SLO #3: Communicate a complex understanding of content matter of the major discipline of study (College Wide Outcome – Area 3).
• Demonstrate competence in the skills essential to mastery of the major discipline of study that are necessary to accomplish the independent study.
• SLO #4: Identify personal goals and pursue these goals effectively (College Wide Outcome – Area 4).
• Utilize skills from the “academic tool kit” including time management, study skills, etc., to accomplish the independent study within one semester term.

Upon completion of this course, the student will be able to:

• FORMULATE STANDARDS OF JUDGEMENT BASED UPON REFERENCE TO THE HISTORY, PURPOSE, AND AESTHETICS OF ART (SLO #1).
• Differentiate art historical methodologies as well as historical periods and styles of art.
• Demonstrate an understanding of the materials and techniques in the production of art.
• INCORPORATE PROBLEM SOLVING AND ANALYTICAL SKILLS IN COMPLETING CLASS WRITING AND ART PROJECTS (SLO #2).
• Evaluate the basic visual and design elements in art utilizing art vocabulary and concepts.
• Apply knowledge from lectures in creating simple art objects.
• MANAGE THE ABILITY TO DISCUSS WORKS OF ART PUBLICLY (SLO #3).
• Practice the visual analysis of art objects before an audience utilizing art vocabulary.
• Compare related art objects speaking clearly and using visual aids.
• DEVELOP AN APPRECIATION FOR THE ARTS AND CULTURAL PRACTICES OF PEOPLE FROM THE PAST TO THE PRESENT (SLO #4).
• Understand art as a creative human expression found since humans exist.
• Identify common art themes in different global cultures.
• CHOOSE AND APPLY SCHOLARLY SOURCES FOR RESEARCH AND EXPRESS THOUGHTS CLEARLY IN WRITING (SLO #5).
• Differentiate between scholarly and not scholarly sources.
• Practice writing about art in short essays and papers utilizing art vocabulary.

Upon completion of this course, the student will be able to:

• demonstrate an appreciation of artistic endeavors, cultural expressions, ideas and/or institutions through non-empirical, analytic, interpretive studies and critical thinking projects (SLO #1).
• identify an array of art objects and monuments created from the prehistoric period to the 1300’s in Europe and the Near East.
• manage the ability to discuss works of art publicly (SLO #2).
• practice the visual analysis of art objects and monuments using art historical vocabulary.
• compare related art objects or monuments from different periods and regions up to the 1300’s.
• structure an historical, geographical and chronological context of art (SLO #3).
• express clearly their own analyses and interpretations of arts, ideas, skills (including language), and/or institutions, and will properly use the vocabulary appropriate to the field (SLO #4).
• compose a formal, iconographic, and functional analysis of objects and monuments within their social and historical contexts.
• recognize the influence of culture, society and religion on art production and architecture.
• recognize intercultural relations and influences of artistic themes and stylistic elements.
• choose and apply a variety of scholarly sources for research and express thoughts clearly in writing (SLO #5).
• develop an appreciation for the arts and cultural practices of people of the past (SLO #6).

Upon completion of this course, the student will be able to:

• identify works of art and architecture in the Early Modern period, from the duecento (13th century) through the cinquecento (16th century) in Italy and related cultures(SLO #1)
• compare and contrast the characteristics of artistic styles common in the Early Modern period in Italy and related cultures (SLO #2)
• identify the main stylistic and formal components of visual arts in Italy in the periods of the Renaissance
• recognize intercultural influences and/or appropriation of art themes and stylistic elements.
• examine the relationship between the visual arts and the social, economic, and ideological environment of Italy during the Renaissance(SLO #3)
• detect the historic reasons why Italy has developed such works of art and architecture during this period.
• manage the ability to discuss works of art publicly (SLO #4).
• practice the visual analysis of art objects and monuments using art historical vocabulary.
• choose and apply a variety of scholarly sources for research and express thoughts clearly in writing (SLO #5).

Upon completion of this course, the student will be able to:

• demonstrate an appreciation of artistic endeavors, cultural expressions, ideas and/or institutions through non-empirical, analytic, interpretive studies and critical thinking projects (SLO #1).
• identify an array of art objects and monuments created in Europe and the United States in the period from 1400’s (Renaissance) to the mid 1800's.
• identify important art objects and monuments created by non-Western cultures in the period from 1400’s to the 1800's.
• manage the ability to discuss works of art publicly (SLO #2).
• practice the visual analysis of art objects and monuments using art historical vocabulary.
• compare related art objects or monuments from different periods from early Renaissance to mid-19th century using visual aids.
• structure an historical, geographical and chronological context of art (SLO #3).
• identify the main stylistic and formal components of visual arts in Western Europe in the periods of Renaissance, Baroque, Rococo, Neoclassicism and Romanticism (1400- mid 1800’s).
• express clearly personal analyses and interpretations of arts, ideas, techniques, skills, and/or institutions, and will properly use the vocabulary appropriate to the field (SLO #4).
• detect the reasons why cultures have created works of art and architecture.
• compose a formal, iconographic, and functional analysis of objects and monuments within their social and historical contexts.
• recognize the influence of culture, society and religion on art production and architecture.
• recognize intercultural influences and/or appropriation of art themes and stylistic elements.
• choose and apply a variety of scholarly sources for research and express thoughts clearly in writing (SLO #5).
• develop an appreciation for arts and cultural practices of people of the past (SLO #6).

Upon completion of this course, the student will be able to:

• demonstrate an appreciation of artistic endeavors and cultural expressions through non-empirical, analytic, interpretive studies and critical thinking projects (SLO #1).
• display knowledge of the two major art periods of Modernism and Postmodernism and of the most significant artists of the period.
• develop an appreciation for the aesthetic principles and stylistic considerations that guide the creation of Modern and Postmodern art.
• engage in art discourse and employ critical thinking
• formulate an historical, geographical and chronological context of art (SLO #2).
• list an array of art objects and monuments created in the 19th, 20th, and 21th centuries in Europe, the United States and the rest of the world.
• explain the origins and development of art styles of the Avant-garde
• compare related art objects or monuments from different periods and countries.
• discuss works of art publicly (SLO #3).
• practice the visual analysis of art objects and monuments in oral presentations.
• express clearly their own analyses and interpretations of arts, ideas, techniques, skills, and institutions, and use the vocabulary appropriate to the field (SLO #4).
• compose a formal, iconographic, and functional analysis of art objects and monuments within their social and historical contexts and employ the vocabulary specific to the discipline of art history.
• evaluate the influence of culture, society, and technology on art production and architecture.
• demonstrate a basic understanding of the technical processes involved in the creation of art objects (e.g. fresco painting, engraving, photography, video installation, digital media, etc.).
• identify intercultural relations, influences and appropriation of artistic themes and styles in the work of later artists.
• analyze the function and intention of art exhibitions, and the role of museums and art galleries.
• choose and apply a variety of scholarly sources for research and express thoughts clearly in writing (SLO #5).
• research an art history topic, synthesize the information, and write a research paper with footnotes and bibliography.
• develop an appreciation for the diversity and inclusiveness of contemporary artistic and cultural practices (SLO #6).
• evaluate the scope and variety of works of art.
• interpret art as expression of individual and human values within a technologically ever-changing, global society

Upon completion of this course, the student will be able to:

• demonstrate an appreciation of artistic endeavors, cultural expressions, ideas and institutions of female artists (SLO #1).
• identify an array of art objects and/or buildings created by female artists
• express clearly orally and/or in writing an understanding of the value of art produced by women.
• recognize issues particular to the art production, education, training, and professional success of women artists
• structure an historical, geographical and chronological context of art works produced by female artists (SLO #2).
• recognize the development of female artistic production from the late Middle Ages to the present.
• identify art works by women artists from Western and non-Western cultures.
• exercise critical thinking in understanding the importance of gender in connection with patronage, economics, education and art production.
• develop awareness of the obstacles imposed by society, religion, and culture on the life and art of female artists.
• manage the ability to discuss works of art created by female artists publicly (SLO #3).
• practice the visual analysis of art objects using Art History vocabulary.
• compare stylistically related art objects by female artists to the art of contemporaneous male artists.
• interact and learn the dynamics of group work while creating joint projects.
• choose and apply a variety of scholarly sources for research and express thoughts clearly in writing (SLO #4).
• differentiate written and web sources particular to Feminist Art History and Women Studies and apply them in research

Upon completion of this course, the student will be able to:

• Demonstrate an appreciation for the arts and cultures of Mesoamerica and South America. (SLO #1)
• identify the art and architecture of major American cultures including the Inca, Olmec, Maya and Aztec.
• recognize the distinctive contributions that indigenous cultures of the Americas have made to the contemporary culture of the Americas.
• relate pre-contact American art forms to the rest of the world in terms of material contribution.
• Formulate an historical, geographical and chronological context of American art. (SLO # 2)
• debate stylistic developments and discuss forms in the arts and architecture of various regions from ancient times to the post-contact eras.
• analyze social, philosophical, and cultural constructs and ideals in America as they are reflected in American art and architecture.
• Express clearly their own analyses and interpretations of arts, ideas, techniques, skills, and institutions, and use the vocabulary appropriate to the field. (SLO # 3)
• formulate and analyze meanings and functions of art objects and buildings.
• engage in formal analysis of art objects employing the vocabulary specific to the discipline of art history.
• demonstrate a basic understanding in the art media and the technical processes involved in the creation of art (woodcarving, basketry, ceramics, textiles etc).
• critique intercultural connections between pre-contact American and Western art and the resulted art forms of the post-contact era.
• Manage the ability to discuss works of art publicly. (SLO # 4)
• practice the visual analysis of art objects and monuments during oral presentations.
• associate the images of your chosen artwork to the art discussed in class.
• Choose and apply a variety of scholarly sources for research and express thoughts clearly in writing. (SLO # 5)
• research an art history topic on pre-contact American art or architecture using scholarly published and internet sources.
• synthesize the information and ideas and write a research paper with footnotes and bibliography.

Upon completion of this course, the student will be able to:

• Demonstrate an appreciation for the arts and traditions of the Native North Americans. (SLO #1)
• identify the arts and architecture of major Native American cultures including the ancient cultures of the Hopewell, the Mississippian, the Anasazi, as well as later ones such as the Navajo, Cheyenne, Chumash, and Inuit.
• enumerate the wide variety of Native American cultures.
• Formulate an historical, geographical and chronological context of Native American art. (SLO # 2)
• discuss forms in the arts and architecture of various regions of North America from the ancient to contemporary times.
• debate stylistic developments from the ancient to contemporary times.
• critique and analyze the contribution of Native American artists in contemporary arts.
• express clearly their own analyses and interpretations of arts, ideas, techniques, skills, and institutions, and use the vocabulary appropriate to the field. (SLO # 3)
• formulate and analyze meaning and purpose of art objects and buildings.
• engage in formal analysis of art objects employing the vocabulary specific to the discipline of art history.
• demonstrate a basic understanding in the material and the technical processes involved in the creation of art (woodcarving, basketry, ceramics, textiles etc).
• contrast and critique the artistic products of Native cultures with more Eurocentric cultures.
• Manage the ability to discuss works of art publicly. (SLO # 4)
• practice the visual analysis of art objects and monuments during oral presentations.
• examine and place the art objects in its cultural and social context.
• compare the images of your chosen art objects to those made by other Native cultures.
• Apply a variety of scholarly sources for research and express thoughts clearly in writing. (SLO # 5)
• analyze and research an art history topic on Native American art or architecture using scholarly published and internet sources.
• synthesize the information and ideas from your research and write a paper with footnotes and bibliography.

Upon completion of this course, the student will be able to:

• demonstrate an appreciation for the arts and cultures of Africa. (SLO #1)
• identify the art and architecture of major African cultures including ancient Egypt and Nubia, Ife, or Benin.
• relate African art forms to the rest of the world in terms of material contribution.
• formulate an historical, geographical and chronological context of African art. (SLO # 2)
• differentiate between art and architecture of different geographic regions such as the Mediterranean, Sub-Saharan, tropics etc.
• discuss art forms and stylistic developments in the arts and architecture of various regions of Africa from ancient times to the 20th century.
• express clearly their own analyses and interpretations of arts, ideas, techniques, skills, and institutions, and use the vocabulary appropriate to the field. (SLO # 3)
• formulate and analyze meanings and functions of art forms throughout Africa.
• engage in formal analysis of art objects employing the vocabulary specific to the discipline of art history.
• demonstrate a basic understanding in the media and the technical processes involved in the creation of art objects (woodcarving, basketry, ceramics, textiles etc).
• critique intercultural connections between African and Western art, in particular the impact of African art on 20th century Western art
• manage the ability to discuss works of art publicly. (SLO # 4)
• practice the visual analysis of art objects and monuments during oral presentations.
• compare the images of your chosen artwork to those discussed in class.
• Choose and apply a variety of scholarly sources for research and express thoughts clearly in writing. (SLO # 5)
• research an art history topic on African art or architecture using scholarly published and internet sources.
• synthesize the information and write a research paper with footnotes and bibliography.

Upon completion of this course, the student will be able to:

• structure an historical, geographical and chronological context of art (SLO #1).
• differentiate stylistically among the arts of various regions of Asia, such as India, Southeast Asia, China and Japan, from antiquity to 1900.
• recognize the affect of Asian art and culture within contemporary global cultures.
• demonstrate an appreciation of artistic endeavors, cultural expressions, ideas and/or institutions through non-empirical, analytic, interpretive studies and critical thinking projects (SLO #2).
• reflect on the influence of culture, society philosophy and religion of a region upon art production and architecture.
• recognize and exercise critical thinking in cultural co-relationships and influences between Asian countries/regions but also between Asia and the West.
• apply a variety of scholarly sources for research within clearly written communication.
• recognize intercultural relations and influences of art themes and styles.
• manage the ability to discuss works of art publicly (SLO #3).
• discuss and clearly present observations of the form, style, and content within a range of works of art.
• analyze and interpret art based on the history, religion and ideology of Asian countries and properly use the vocabulary appropriate to the field.

Upon completion of this course, the student will be able to:

• demonstrate an awareness of the definition of "Islamic art"; detect and discuss the stereotyping challenges of the study of Islamic art (SLO #1).
• recognize and analyze the influential elements in the formation of Islamic art and assess the social and historical backdrop against which Islamic art flourished (SLO #2).
• identify the Biblical connections that trace Islam back to the other two Abrahamic traditions and their visual expression in art and architecture.
• recognize the principles of the Islamic faith and assess their direct impact on specific examples of art and architecture (e.g. the creation of the prayer niche or Mihrab).
• discuss the development of Islamic dynastic rules and their contribution to the Islamic culture; identify main schools of thought within the religion and analyze their impact on the building and expansion of empires and on their artistic production.
• evaluate the more unorthodox approach within the Islamic faith and its influence on the development of Islamic art and architecture through the conception of its own symbolic language (e.g. Sufi mystic dances, and the establishing of the Sufi sanctuaries).
• analyze examples of religious and secular architecture, and identify the different elements in the building plans and their functions, as well as their decorative elements (SLO #3).
• compare regional stylistic changes and periods to reveal artistic innovations.
• discuss the issue of patronage, limitations that regulated the artistic production, formation of guilds and religious endowments.
• incorporate the concept of methodology as it applies to the visual arts, particularly with respect to the Western vision of the Islamic east, "Orientalism," and the role of colonialism.
• demonstrate knowledge of the various types of books produced as well as types of visual arts involved such as calligraphy and book illumination (SLO #4).
• analytically address the issues of "figurative" and "non-figurative" art within the various regions impacted by Islam.
• recognize the importance of the development of libraries.
• assess the mutual impact of Islam and other cultures (SLO #5).
• examine similarities and difference reflected in the artwork produced in Asia and identify the Islamic and Asian elements.
• evaluate examples of art within Western traditions, specifically that of Christianity and Judaism, and identify the elements of mutual appropriation in their visual art.
• incorporate the concept of methodology as it applies to the visual arts, particularly with respect to the Western vision of the Islamic east, "Orientalism," and the role of colonialism.
• choose and apply a variety of scholarly sources for research and express thoughts clearly in writing (SLO #6).
• manage the ability to discuss works of art publicly (SLO #7).
• practice the visual analysis of Islamic art and architecture using art historical vocabulary.

Upon completion of this course, the student will be able to:

• integrate navigation skills in the Mac OS environment. SLO #1
• manage and apply scanning techniques. SLO #2
• distinguish appropriate file formats. SLO #3
• analyze distinctions between vector and bitmap imagery. SLO #4
• assess and define digital vocabulary appropriate for the Art New Media and Intermedia environment. SLO #5

Upon completion of this course, the student will be able to:

• ACQUIRE TECHNICAL SKILLS/DEXTERITY USING VECTOR SOFTWARE. SLO#1
• Analyze and apply basic operating principles of Vector drawing software.
• Apply vector software tools to create and manipulate vector designs and illustrations using Gestalt principles.
• Assess digital methods of input and output and file storage.
• STUDENT WILL ESTABLISH AN HISTORICAL, GEOGRAPHICAL, AND CHRONOLOGICAL CONTEXT OF DIGITAL ART. SLO#2
• Describe differences between traditional illustration and design and contemporary methods.
• STUDENT WILL DEVELOP SELF-ANALYSIS AND EXTERNAL ANALYSIS THROUGH THE ACTIVITY OF CRITIQUES. SLO#3
• Evaluate and assess the project from start to completion, articulating visual concepts related to completed work.
• STUDENT WILL ACQUIRE ANALYTICAL SKILLS AND A CONCEPTUAL FRAMEWORK FOR THE FUTURE. SLO#4
• Define terms specific to computer illustration and design and computer graphics.
• Contrast on-screen color models such as RGB, LAB and HSB and print models such as Process, CMYK, and Pantone color.
• Implement visualization and thumbnail strategies to clarify an idea.
• Formulate, coordinate, and compose a project plan.
• Apply design and color principles and execute artwork with vector software towards an illustrated concept or identity.

Upon completion of this course, the student will be able to:

• ACQUIRE TECHNICAL SKILLS WITH 3D MODELING SOFTWARE. SLO#1
• Analyze and apply basic operating principles of digital modeling software.
• Apply digital modeling tools to create and manipulate three-dimensional, portfolio quality, polygon meshes.
• Create portfolio quality polygon meshes by translating a 2D image to a 3D object.
• Create portfolio quality images of digital models.
• DISCRIMINATE AND ANALYZE THE MAJOR CONCERNS OF DIGITAL MODELING: FORM DEVELOPMENT, TOPOLOGY, AND MODEL COSTS. SLO #2
• Compare and contrast form and space to shape and line.
• Define terms specific to digital modeling.
• Research industry-standard digital modeling techniques.
• Critique different forms and discuss the decision making process to be used during the creation of those forms.
• FORMULATE A CONCEPTUAL FRAMEWORK FOR THE FUTURE BY APPLYING ANALYTICAL SKILLS. SLO#3
• Gather photo reference, or create preliminary drawings to develop ideas.
• Evaluate how the level of craftsmanship and planning executed during production of a project directly relates to the precision and overall success evident in finished digital models.
• Synthesize a contextual understanding of digital production pipelines.
• INTEGRATE SELF-ANALYSIS AND EXTERNAL ANALYSIS THROUGH THE ACTIVITY OF CRITIQUES. SLO#4
• Evaluate and assess the project from start to completion, articulating visual concepts related to completed work.
• Critique the level of realism and believability of images, according to industry standards.

Upon completion of this course, the student will be able to:

• SLO #1: Actively engage in intellectual inquiry beyond that required in order to pass a course of study (College Wide Learning Outcome – Area 4).
• Discuss and outline a proposal of study (that can be accomplished within one semester term) with a supervising instructor qualified within the discipline.
• Design an independent study (to be completed individually or by collaboration of a small group) to foster special knowledge, skills, and experience that are not available in any one regularly scheduled course.
• Use information resources to gather discipline-specific information.
• SLO #2: Utilize modes of analysis and critical thinking to apply theoretical perspectives and/or concepts in the major discipline of study to significant problems and/or educational activities (College Wide Learning Outcome – Area 3).
• Analyze and apply the knowledge, skills and experience that are involved in the independent study to theoretical perspectives and/or concepts in the major discipline of study.
• Explain the importance of the major discipline of study in the broader picture of society.
• SLO #3: Communicate a complex understanding of content matter of the major discipline of study (College Wide Outcome – Area 3).
• Demonstrate competence in the skills essential to mastery of the major discipline of study that are necessary to accomplish the independent study.
• SLO #4: Identify personal goals and pursue these goals effectively (College Wide Outcome – Area 4).
• Utilize skills from the “academic tool kit” including time management, study skills, etc., to accomplish the independent study within one semester term.