 Cody Roberts: Inspired by Rauschenberg, Jim Dine, Shepard Fairey, and Dada  Sophie Eichner: Inspired by Sol Lewit  Kaelee Humphrey: Inspired by Chris Metze, Mary Scurlock, and Cindy Neuschwander | Application of ResearchSum of Parts Objective The Sum of Parts Project challenges you to synthesize your artist research into a single, original artwork that reflects your artistic influences while developing your unique creative voice. This project builds on the skills you developed in the Subject, Media, Mashup assignment and prepares you to further refine your work over the summer before Art 4. Through a methodical Copy > Combine > Transform process, you will analyze, deconstruct, and integrate visual and conceptual elements from the artists you’ve studied, creating a work that is both informed and original. Phase 1: Research & Inspiration To begin, reflect on the artists you have studied throughout your visual journal research. Answer the following questions for each artist:
1. Inspiration Collage (Digital & Physical)
Phase 2: Planning & Creation Using your collage and word map, decide how you will combine and transform elements from your studied artists into an original composition. Before you begin your final piece, complete the following:
Phase 3: Reflection & Critique At the conclusion of the project, you will participate in a group critique where you will:
 Rebecca Kuzemchak: Inspired by Damien Hirst, Joseph Kosuth, and Chris Jordan |
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Use This List of Old Master's Names To Find Your Inspiration Renaissance:
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    Research and Response Directions PAGE ONE & TWO Decorative title spread for the artist or topic you chose to study. Open your book flat and design both pages at once in either a vertical or horizontal format. This will save you time, and will unify your overall design. See the design tips that follow the page by page directions in the downloadable handout above this content. When studying a specific artist or group of artists, be sure to include at least 6 high quality images of artworks that are indicative of the signature style. Don’t make the mistake of including works in your research that don’t actually belong to the artist. The six images can be spread across the four pages of your artist research in any manner that suits your design. It's important to label those images with the titles and dates to give context to the work. PAGE THREE & FOUR Include the important information you gathered and the questions you have about what you researched. There is no one way to include your research and response across this two page spread, It's just expected that you are thorough and authentic in your writing. Be creative and authentic when displaying your research. Also, be sure that your handwriting is legible on the background you've chosen. If your typography is not legible, your design is not effective. | The Design Journal Your Design Journal is the most important tool you'll ever use as an artist. I truly believe in the power of the journal as a space to harness your most important creative ideas, and we will use it every day in this class. WHAT IS THE DESIGN JOURNAL? Your Design Journal will be a completely independent research and idea development journal. You will turn it in four times this year (once during each quarter). The grade for this quarterly project will weigh heavily toward your final grade, so please take it seriously. WHAT GOES IN THE BOOK ? Artist or Concept Research and Response (1 topic per installment) Project Brainstorming All Class Notes Specific Drawing / Design Challenges Silent Critique Feedback (Printed and Pasted From Schoology) Instructor Feedback (Printed and Pasted from Powerschool) This journal will be a personal interaction between you and your work. I will also be involved in that interaction, as I guide you with questions and comments about the content of your journal. WHAT IS MEANT BY RESEARCH? Your research will consist of (but is not limited to) biographical and historical content, maps, examples of artwork, notes, personal responses, questions about your research, and sketches made from found information. Research can look many different ways, but it should be focused with the intention of informing your own work. MAKING PERSONAL CONNECTIONS This is NOT a formal research paper. It will have entries that are written in first person. It will be about your personal experiences as you search for information. You will include information about your struggles and triumphs with your artwork and research. This personal account is just as important as the information that you find out about your topic. WHERE TO FIND EXAMPLES Examples of quality research pages can be found in the student online portfolios. Each portfolio is required to have a visual journal page on which the student displays their research as well as their thinking processes. These examples should be helpful for you and may guide you toward artists that interest you. HOW DO I KNOW WHAT TO STUDY? You could start by looking through the researched artists by past students. Be sure to choose artists whose work can be researched. Obscure artists create a difficult challenge. Many students use social media to discover artists, which is acceptable. I only ask that you consult me before committing to researching these lesser known artists. BUDGET YOUR TIME. Don’t wait until the day before it’s due to get started, or you will find the project to be overwhelming. Many of you will do this, and will complain about the amount of work required to earn an “A”. My advice is simply this: don’t wait until the last minute to get started. |
    | Analyzing and Evaluating The student portfolio is an essential piece of the curriculum in this course. It will serve as the brand for your creativity and work-ethic. Before you can be expected to design and maintain a professional portfolio site, we need to take the time to analyze and evaluate the vast collection of student websites that are displayed on our official DRHSART site. This activity is meant to have you collaborate and discuss with your peers the nuances of what makes one student website more professional than another. This 40 minute activity should give each of you plenty of inspiration and information to better design your own portfolio site. Step One: Analyze The Big Picture First, get into your pre-assigned groups. Once settled, I would like you each look at the student portfolio page. Take ten minutes to look at how it is arranged, and click through some of the portfolios on your own. When you are prompted to stop, I'd like you to get with your group and discuss the following questions: What did you notice about how the student portfolio page was designed? What trends or consistent patterns emerged as you navigated the various student portfolio sites? Step Two: Critical Measures and Rank As a group, take 20 minutes to navigate the websites that stand out to you. I'd like your group to design your own ranking criteria, and evaluate those top websites that seem to stand out above the others. Choose a "Top 5" list of sites, and make a list of at least five critical measures by which you can rank those sites. After you have your critical measures, I want your group to rank order these 5 websites in order of how they meet your measures. After the 20 minute timer sounds, we will share the results through informal presentations. During these presentations,, your group will share the critical measures used to rank your "Top 5" student sites. Step Three: Design Your Portfolio After our discussion of which sites were ranked highest among the class groups, it is time to design your own portfolio site. Some of you have created your sites last year, and some of you have not. Those of you who have a site from the past should update and consider re-designing the site based on the critical measures discussed by the groups today. Because you are only in the beginning of Art 3, it is not expected that your website be as full of rich content as those site you ranked today. Designing a solid foundation for the content you will be adding this year is what this assignment is all about. It's so much easier to start with a great design and add content, than it is to poorly design a site, and have to re-design it and everything it contains. You will have the rest of this class to work on your portfolio design, but this is the only class period we will dedicate to this task before it your site will be evaluated by me in one week. Your homework is to complete it by then. Assessment Rubric for Online Portfolio |
  | To keep things organized and easy to navigate, I’ve added the needed links for this assignment in this space above the directions. Please refer back to this space after you’ve read the directions for this assignment. Links: Lottery Assignment List Number Generator Subject Media Mashup Chart Embrace the Shake: Phil Hansen 100 Artists How It Works
Goal This assignment is not just about producing a final piece—it’s about challenging your understanding of art, embracing risk, and unlocking your creative potential. Use the limitations as a framework to innovate and push yourself further than ever before. |
| FIGURE DRAWING | DAY ONE: Focused "Seeing": Contour Drawing After warm-up, we will focus on "seeing" properly through contour drawing activity that will challenge each of you to look at the figure with focused attention. For this activity we will be drawing with both the dominant and non dominant hands, and will draw without looking at the paper or picking up the drawing tool. Composition and Structure: After we practiced gesture and contour drawing, we will discuss compositional structure and will begin the long pose drawing. DAY TWO: Long Pose: These drawings should demonstrate an understanding of proportion, academic hatching, and the effective use of space. We will work on these drawings for the entire class, and you will be given the weekend to complete them. The following list of prompts will be used during our silent critique. 1. Comment on the overall line quality of the drawing. Is there a variety of line weight? Does the line quality express energy, or is static and stiff? 2. Comment on the proportion of the figure. Does it look as if the artist was focused when developing the underlying structure of the drawing, or does it seem like they may have rushed a bit? Is it evident that the artist used "sighting" to check the angles and proportion of the figure? 3. How did the artist use the space that was provided? Does the figure adequately fill the space of the picture plane? How does the eye move throughout the piece- does it stay within the picture plane, or is it tempted to leave without coming back? 4. Does the drawing emphasize the use of line more than it does modeling (shading)? Discuss how he or she could have better met the assignment expectations. 5. Point out the part or parts of the drawing that you enjoy the most. Give the artist praise for positive aspects of the work. Finish your comments on a positive note. |
    | Art is a Reflection of Time In our second intensive art history lecture series, we will explore the artists of the Baroque Age, and will contrast the drama they represent with what we've already studied this year. For the most part, art reflects the social and economic circumstances of the time in which it was made. Few eras in art history demonstrate this as well as the Baroque Age, especially when it's compared with the stability and idealistic imagery of the High Renaissance. LINKS Art History Basics: Baroque and Rococo The Power of Art: Caravaggio DOWNLOADS 
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 | Art History Lecture Series This is the first Art History intensive lecture series for students in the DRHSART program. In this unit, we will explore the depths of the Renaissance and how it both echoed the great art of the past, while setting the stage for the great art of the future. There is no more important era in Art History, and for that reason we will begin our journey here. Please download the annotated One Note package that contains all of the Power Point presentations, flashcards, and detail slides that I've created for this unit. You can also add to these notes very easily in this organized package. |
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