Module Details

Module Code: VISU C1701
Module Title: Visual Studies - Colour, Drawing, 3D
Title: Visual Studies - Colour, Drawing, 3D
Module Level:: 6
Credits:: 15
Module Coordinator: Janette Davies
Module Author:: Ciara Healy Musson
Domains:  
Module Description: The module aims to stress the importance of the dynamics of visual form in Art and Design through colour theory and practice, studio drawing & processes, 3D design & fabrication and their multi-disciplinary role in the development of the student’s creative practice. Emphasis is on observation and recording as well as visual and analytical investigation/curiosity. The projects are tutor led. Students are expected to attend and participate in all the formal timetabled sessions for the subject. Students are also expected to manage their directed learning and independent study in support of the subject and project aims.
Subject aims: • To investigate and develop the basic Art and Design principles of colour theory and light, diagnostic & creative drawing, and understanding of 3 Dimensional form and spatial relations • To explore a wide variety of drawing, observational and recording processes as a means of visual creative thinking. • To introduce the student to the link between intention and technical applications in colour, drawing and 3D practices. To introduce the student to basic understanding and use of 3D form through studies in wood, plaster and metal and other 3D materials. • To equip students with the confidence and the ability to respond to problem solving and visual investigation • To express themselves creatively through visual form grounded in strong literacy of colour, drawing and 3 dimensional understanding.
 
Learning Outcomes
On successful completion of this module the learner will be able to:
# Learning Outcome Description
LO1 Be able to demonstrate understanding of additive and subtractive colour theory, through project exercises, through colour wheel and colour analysis, secondary and tertiary colours, complimentary colours, analogous colour, discordant colours,and colour perception and be able to understand how these principles apply across multiple Art and Design applications and platforms.
LO2 Be able to produce a body of work of that demonstrates a variety of practical exercises in technical skills in 2D visual media, including Studio drawing and processes: Blind drawing, contour drawing, tonal drawing, negative & positive space, pictorial composition, scale, perspective, mark making using charcoal, graphite, pencil, pen & ink, brush & ink.
LO3 Be able to demonstrate how objects behave in space considering balance, proportion, scale and materials through creating 3D constructions, Devise, design and present completed project work that demonstrates a variety of technical skills in 3D form including mixing and modeling of plaster over support structures, cutting, fixing/welding and fabrication of a variety of 3D materials including Wood and Metal.
LO4 To creatively link intention and the technical means of realisation through critically reflecting on questions of form and content Be able to express reflective and personal responses by communicating their ideas in a tutorial, making various presentation strategies of their work for assessment, Discussing their work in a group, Participating in self-assessment and producing work that meets requirements of a project brief and matches students own personal interests.
LO5 Be able to learn to identify learning needs and assist others in the shared learning environment by demonstrating problem-solving skills, identifying learning gaps and seeking tutor support, sharing research material, pooling information, forming discussion groups, working with trial and error, demonstrating inventiveness and experimentation.
Dependencies
Module Recommendations

This is prior learning (or a practical skill) that is recommended before enrolment in this module.
No recommendations listed
Co-requisite Modules
No Co-requisite modules listed
Additional Requisite Information
No Co Requisites listed
 
Indicative Content
PROJECT 1: DEVELOPMENTAL, DRAWING & VISUAL RESEARCH
DURATION: 3 WEEK; ASSESSMENT: SUMMATIVE; Introducing the student to a variety of tutor initiated and student discovered drawing processes; using drawing as a means of visual research/exploration for Art and Design. Student will be able to identify and employ strategic drawing techniques and be able to analyze, plan and build their work. Their learning should include a thorough interaction between the drawing tools and materials and how they impact on the image making process. Studio Drawing and Drawing from life: Blind drawing, contour drawing, tonal drawing, negative & positive space, pictorial composition, scale, perspective, mark making using charcoal, graphite, pencil, brush & ink. Silhouettes, tracing, transfers, rubbings, masking and stencils, printing and photo copying.
PROJECT 2: COLOUR THEORY AND APPLICATION
DURATION: 3 WEEKS; ASSESSMENT: SUMMATIVE; Introducing the student to the principles of additive and subtractive colour theory and its application in Art and Design to achieve both its instructed and desired intentions. The student will develop a confidence in the analysing, application and use of colour in analogue and digital media. Project exercises in additive and subtractive colour theory, through colour wheel and colour analysis, colour systems, primary, secondary and tertiary colours, complimentary colours, discordant colours, contrasts and harmonies, colour perception.
PROJECT 3: VOLUME SPACE AND FORM 3D DESIGN & FABRICATION
DURATION 3 WEEKS; ASSESSMENT: SUMMATIVE; An introduction to the understanding of 3D form using wood, metal, plaster and other 3D materials in a creative problem solving project for Art and Design applications. Introducing the student to 3D concepts, such as proportion, balance and narrative, this project will also ask the students to consider how scale informs our understanding of 3 dimensions. This will be informed by technical and creative supports while demonstrating the process of translating ideas/concepts/ experiences into three dimensions and demonstrating an awareness of how to read a 3D form in the round at a critique or presentation and its application for Art and Design.
Links Between History of Art and Design/Cultural Studies & Visual Stud
Where possible during the VISUAL STUDIES blocks, the history of art and design and cultural studies courses will compliment the studio briefs, relating each studio project to an historical and critical discussion. Suggested topics: • The invention of perspective. • The role of the European Avant Garde. • Modernism and Modernity. • Image and Text • The Bauhaus • Semiotics
Module Content & Assessment
Assessment Breakdown%
Continuous Assessment25.00%
Project75.00%

Assessments

Full Time

Continuous Assessment
Assessment Type Other % of Total Mark 25
Timing n/a Learning Outcomes 1,2,3,4,5
Non-marked No
Assessment Description
Each student will have a formal review interview a semester and a report and mark will be filed by the lecturer. The two reports and marks will be the basis for a summative continuous assessment mark. The review reports will be available for the students to see and the aim of the continuous assessment is to support students and identify any weak areas that could be improved on for their project briefs.
Project
Assessment Type Project % of Total Mark 75
Timing n/a Learning Outcomes 1,2,3,4,5
Non-marked No
Assessment Description
Each Project is assessed within the brief’s timeframe. Project 1 GROUP PROJECT will be a formative assessment to familiarise all students with the process of self assessment. Support material of notebooks, reflective writing, research material will be presented for assessment. Each assessment will be an opportunity for the student to focus on their work and evaluate their own progress and development. Each student must undertake an assessment of their work. Where a divergence of more than 20% between the tutors and the students notional assessment occurs, it is mandatory that a negotiated assessment mark is reached.
No Practical
No End of Module Formal Examination
Reassessment Requirement
Repeat examination
Reassessment of this module will consist of a repeat examination. It is possible that there will also be a requirement to be reassessed in a coursework element.
Reassessment Description
Marks for all projects/briefs are collected at the end of each semester. If a student fails to complete a project, re-assessment can take place if the student obtains the agreement of the tutor to submit completed work at the end of the semester. If part of a project involved group working then it is not possible to require students to submit such work and alternative assignments may have to be assigned.

SETU Carlow Campus reserves the right to alter the nature and timings of assessment

 

Module Workload

Workload: Full Time
Workload Type Workload Category Contact Type Workload Description Frequency Average Weekly Learner Workload Hours
Contact Hours Contact Contact Hours Every Week 8.00 8
Independent Learning Non Contact Studio Based Learning; Research & Studio practice Every Week 4.00 4
Total Weekly Contact Hours 8.00
 
Module Resources
Recommended Book Resources
  • Marc Treib. (2008), Drawing/Thinking: Confronting an Electronic Age: Drawing in an Electronic Age, Routledge, p.192, [ISBN: 978-041577561].
  • Dexter, E. (2005), Vitamin D New Perspectives in Drawing, London: Phaidon Press.
  • Smagula, H. J. (2002), Creative Drawing: Pages 28-29, 31-35, 41-44, 93-97, 110- 113, 173-190, Laurence King Publishing, London.
  • Edwards, B.. (1979), Drawing on the Right Side of The Brain: Pages 48-54, 72-79, Also chapters 6, 7 , 8, London: Fontana.
  • Itten Johannes. (1970), The Elements of Colour: Pages 32-36, 52-65, Van Nostrand Reinhold Co..
  • Bell, J.. (1998), What Is Painting: Pages 146-151, London: Thames & Hudson.
  • Batchelor, D.. (2000), Chromaphobia: Pages 21-32, 97-101, London: Reaktion Books.
  • Peck, J. (1989), Sculpture as Experience: working with Clay, Wire Wax, Plaster & Round Objects, Radner DA: Chilton Book Co.
  • Baker, K. (2000), Wall: at Storm King/Andy Goldsworthy, London: Thames and Hudson.
  • Brettel, R.R.. (1999), Modern Art, Capitalism and Representation: Pages 22-47, 181-186, Oxford History of Art.
  • Berger , J.. (1972), Ways of Seeing, Reprint edition 2008. Penguin Classics, [ISBN: 978-01410357].
  • Tarabukin, N. (1982), (1923) in ‘The Easel To The Machine’, from Modern Art and Modernism A Critical Anthology: Pages 115-123, London: Paul Chapman publishing /Open University.
  • Flynn, T.. (1998), The Body in Three Dimensions, New York: Harry N Abrams.
  • Hutchinson, J.. (2000), Anthony Gormley, London: Phaidon.
  • Josef Albers. (1963), Interaction of Color, 50th Anniversary edition 2013. Yale University Press, p.192, [ISBN: 978-030017935].
  • Maurice De Sausmarez. (1964), Basic Design: The Dynamics of Visual Form, 2nd Reprinted edition edition 2007. Herbert Press Ltd, [ISBN: 978-071368366].
  • Stephen McLaren. (2014), Photographers' Sketchbooks, Thames and Hudson Ltd, p.320, [ISBN: 978-050054434].
  • Alex Coles. (2007), Design and Art (Documents of Contemporary Art), Whitechapel Art Gallery, Mit Press, p.240, [ISBN: 978-085488153].
  • Dennis Puhalla. (2011), Design Elements, Form & Space, Rockport Publishers, p.168, [ISBN: 9781592537006].
  • Arthur Williams. (2005), The Sculpture Reference Illustrated, Sculpture Books Pub, p.510, [ISBN: 0975538306].
  • NICK BROOKS. (2005), Mouldmaking and Casting: A Technical Manual, [ISBN: 1861266685].
  • Nick Brooks. (2011), Advanced Mouldmaking and Casting, Crowood Press, p.160, [ISBN: 1847973108].
Supplementary Book Resources
  • Fried, M. (1982), ’Three American Painters’ from Modern Art & Modernism A Critical Anthology: Pages 115-123, London: Paul Chapman publishing /Open University.
  • Crook, J. and Learner, T.. (2000), The Impact of Modern Paints, London: Tate Gallery , Watson Guphill.
  • Hughes, R.. (1999), The Shock of The New London, Thames & Hudson.
  • Frascina, Harrison, Blake, Fer, (eds). (1982), Modernity & Modernism London, Open University.
  • Gombrich, E.H. (1999), The Image and The Eye, London: Phaidon.
  • Charles Harrison. (2005), Painting The Difference: Sex and Spectator in Modern Art, Chicago: University Chicago Press.
  • Harrison Wood (eds.). Art in Theory 1900-1990, London: Blackwell.
  • Harrison Wood Graiger (eds.). Art in Theory 1815 – 1900, London: Blackwell.
  • Hockney D. (2006), Secret Knowledge, London; Thames & Hudson.
  • Thompson B. (1997), Post-Impressionism, London: Tate publishing & Cambridge University Press.
  • Bradley F. (1997), Surrealism, London: Tate publishing & Cambridge University Press.
  • Humphreys, R. (1999), Futurism, London: Tate publishing & Cambridge University Press.
  • Harrison, C. (1997), Modernism, London: Tate publishing & Cambridge University Press.
  • Malpas J. (1997), Realism, London: Tate publishing & Cambridge University Press.
  • Behr S. (1997), Expressionism, London: Tate publishing & Cambridge University Press.
  • Causey, A. (1998), Sculpture Since 1945, London: Oxford.
  • Lucie-Smith, E. (1987), Sculpture Since 1945, London: Phaidon.
  • La Gamma, A.. African Art and Rituals of Divination, New York: Harry N Abrams..
  • Bishop, C. (2005), Installation Art, London:Tate Publishing.
  • Cottingham, D. (1997), Cubism, London: Tate publishing & Cambridge University Press.
  • Humphreys, R. (1999), Futurism, London: Tate publishing & Cambridge University Press.
  • Padound, A.. The Process of Sculpture., London: Dacado Press..
  • Mills, J. Encyclopaedia of Sculpture., UK: B.T. Batsford.
  • Hammer, M. (2000), Constructing Modernity: the art and career of Naum Gabo., New Haven CT: Yale University Press.
  • John Gage. (2000), Colour and Meaning: Art, Science and Symbolism, Thames and Hudson, p.320, [ISBN: 978-050028215].
  • Goethe. (1810), Goethe's Theory of Colours, Tra edition 2014. Cambridge University Press, p.482, [ISBN: 978-110807544].
  • David Hornung. (2005), Colour: A Workshop For Artists and Designers, 2 edition 2012. Laurence King, p.168, [ISBN: 978-185669877].
 
This module does not have any article/paper resources
Other Resources
Discussion Note: