Brown University

Instructor: Lisa Perez lisa_perez@brown.edu

Office Hours By Appt: MW 12:30-1:30

Studio Foundation - VISA 0100 S02

MW 1:30 5:20 / Classroom LIST 325

Summer session VISA 0100 is a highly intensive and immersive studio foundation course with projects designed to
actively engage with and deepen your understanding of the fundamental art making principles. This course will
challenge you to explore, experiment, and nurture your own individual creativity. Technique and concept-based projects
will engage your visual language skills, aesthetic decision-making, and help build confidence in your own creative
solutions. The foundational principles of art making are critical to all forms of creative expression and are nurtured with
practice, persistence, patience, play and many mistakes along the way.
Projects will focus on exploration of line, texture, value, form, proportion, space + composition.
From drawing to expanding beyond two-dimensional media, assignments explore a wide array of subjects (i.e. still life,
nature, landscape, and the imagination) and will offer traditional to more experimental or contemporary approaches.
Working beyond the studio context, there will be site visits to explore subjects from the collections at the RISD Nature
Lab to the Haffenreffer and RISD Museums. Delving into the history of art from the past to the present will elaborate on
topics and enrich critical thinking and dialogue.
Course Objectives:
Skills + Concepts: Introduction to the fundamental techniques and principles of making art; Immersion in the technical
vocabulary of art materials and methods while experimenting, researching and working towards conceptually, formally
and personally relevant creative solutions.
Develop Critical Thinking + Expression - Lectures/Videos/Readings and Critiques: Employ critical thinking and critical
dialogue in response to art historical and contemporary examples, your own work and that of others.
Studio Sessions and Homework: Projects will develop technical and observational skills and creative problem solving
towards development of a portfolio that successfully demonstrates comprehension and exploration of course material
with significant individual growth.
An active sketchbook will be required in class at all times. This is a vital tool in the creative process and should become a
habit. You are required to bring all of your materials and sketchbook to every studio class. Materials to
bring to off-site locations will be discussed as necessary.
Grading Considerations:

Individual Creative Growth = Consistent improvement your work - skill level, creativity, and quality of project ideas and
outcomes
Attitude + Participation: attendance and arriving on time (attendance is taken beginning of each class); critiques and class
discussions, assignments and readings on time, taking care of the studio + cleaning up.
Sketchbook: Use daily in conjunction with your outside assignments - nurture creative exploration.
Homework Quality: minimum of 8 hours per week of independent studio time / homework expected (including sketchbook)

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S/NC Please seriously consider opting this if you have any inhibitions about the nature of a studio art class. Risk taking,
experimentation and failures are par for the course in a studio art class - you will be expected to challenge yourself technically and
conceptually.
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B

Completion of consistently outstanding work, significant growth, initiative + understanding of course material
Completion of excellent work, above average creative growth, initiative + understanding of course material

Completion of course work and meeting the average expectations for the class

NC Failure to complete class projects, failure to participate in class and excessive absences
Studio Rules: No food is allowed in the studio. Please bring any beverages in a spill-proof mug/thermos. No
phone/texting, personal audio, or disruptive behavior. Studio clean up must happen 10 minutes prior to the end
of class as there is another studio course following us at 4pm. Respect that others use the space and keep any
work or materials stored neatly along the storage wall. Be mindful of your work and that of others.


Brown University
Instructor: Lisa Perez lisa_perez@brown.edu
Office Hours By Appt: MW 12:30-1:30

Studio Foundation - VISA 0100 S02

MW 1:30 5:20 / Classroom LIST 325

Materials Required:
Students are responsible for bringing the supplies listed here to each studio session.
Large pads, rolls of paper and drawing boards may be stored in the studio when not used for homework.
Paper:
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Sketchbook: 8 x 10 or larger
Roll of drawing paper 40 wide x 10 yards (share with another student)
Roll of newsprint paper (share with another student)
18 x 24 white spiral drawing pad (70 sheets per pad recommended, or two 30 sheet pads)
2-4 sheets of 22x30 RIVES BFK white multi-media paper (140 lb preferable)
Other single sheets of various papers as needed (RISD store), ie. acetate, tracing paper, mixed media
Portfolio -1 durable and appropriate size for storing and/or carrying your work to the studio. It should be
organized to keep your projects and finished work neat and clean
Drawing Board with clips/band

Dry Media+:
! Graphite pencils - H, 3H, 2B, 5B, 8B (H=harder/lighter, B=softer/darker)
! Compressed Charcoal, min. 4 Sticks
! Willow charcoal thick + thin, min. 4 sticks
! White pencil and White Conte crayon/stick
! Colored pencils (buy individually: min. 3 colors)
! Erasers - 2 Kneaded. 1 Gum, 1 Plastic
! Krylon Spray Fixative for charcoal/graphite: use in 5th floor spray booth only! (share with another student)
! Blending stumps + Chamois or soft rag (for blending charcoal/pastel/softer graphite)
! Black Ink Pen + Black Sharpie
! 1 Artist masking tape
! 18 Ruler
! Scissors + Exacto knife
! Glue (PVA, Jade, for paper/collage)
! Box for carrying ALL supplies to ALL classes
! Old shirt/work apron (This class requires messy work, so cover up or wear appropriate studio clothing.)
! Magazines + other collage materials (RISD Library Picture Collection + RISD 2nd Life offer free materials)
Wet Media:
! Acryla Gouache: color mixing set (5 Mixing Colors Set Primary: White, Black, Cyan, Yellow, Magenta)
! Black Drawing Ink
! Bamboo SUMI brush: #2, #6
! Small and large bristle brushes
! Water container and plastic bowls for wet media mixing and washing
! Several clean up rags + small sponge
Optional: watercolors, colored inks, colored markers (ie. Prismacolor) and pastels
Art Stores for Supplies: (ask for discount with Brown ID)
RISD Store: 30 North Main Street http://risdstore.com
Blick : 200 Wickenden St http://www.dickblick.com/stores/rhodeisland/providence/
Jerrys: 653 North Main Street http://www.providence-jerrys.com/home/


Brown University
Instructor: Lisa Perez lisa_perez@brown.edu
Office Hours By Appt: MW 12:30-1:30

Studio Foundation - VISA 0100 S02

MW 1:30 5:20 / Classroom LIST 325

Sam ple READING + RESO URCE LIST (PDFs will be assigned and available on Canvas)

Make visual responses and notes directly in your sketchbook as you read.

Criticizing Art: Understanding the Contemporary", Terry Barrett, Chapter 6: Writing and Talking About Art
Art Critiques A Guide, James Elkins, excerpts Ch 13-16
Sam Anderson, Letter of Recommendation: Blind Contour Drawing - The New York Times, May 15, 2015
John Berger Drawing Selected Essays John Berger, ed. Geoff Dyer, 2001 Random House Pantheon
Stephen Nachmanovitch, The Work Practice, Free Play: Improvisation in Life and Art (p,66-77) 1990, JP Tarcher, Inc.
James Elkins How To Use Your Eyes, 2000 Routledge, New York
James Elkins The Object Stares Back Chapter 2: The Object Stares Back: On the Nature of Seeing, 1996 Harcourt Inc,
1st Harvest Edition
Margaret Livingstone Acuity and Spatial Resolution, Chapter 7: Vision and Art: The Biology of Seeing, 2014 Abrams
NYC
Charles and Ray Eames Powers of Ten: About the Relative Size of Things in the Universe, Film: 1977, 9 min
http://www.eamesoffice.com/the-work/powers-of-ten/
Book: ed. Phillip/Phylis Morrison and the Office of Charles and Ray Eames, 1990 Scientific American
David Hockney Dimensions of Time and Space, Wider Perspectives, The End of Positivism Thats the Way I See It,
1993 Chronicle Books

Note: Other and alternative readings may be assigned per instructor and course unit.

Tentative Schedule: NOTE: as all things are in constant flux, so too is the schedule. I may change
or shift projects or dates due to project progress or other events that impact goals Ive set for the
class.
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Section 1 (6/2, 6/29) Intro to Course, Elements of Art + Line

Section 2 (7/6, 7/11) Line / Texture
Section 3 (7/13, 7/18) Value
Section 4 (7/20, 7/25) Color + Collage
Section 5 (7/27, 8/1) Shape / Perspective / Space
Section 6 (8/3, 8/8) Final Project + Individual Portfolio Reviews
Final Critique (8/10)