#2 TWO MORE CUBES (FORM MODIFICATION)
DESCRIPTION OF PROJECT: Make two more 6" cubes. The first of these is to be modified by changing only its surface. The surface may be painted, stained, appliqued, or textured. The second cube is to have its physical form modified. It must retain its basic size (6") and must be primarily perceived as a cube. However, it is to be physically altered - for example, as an obvious solution to the problem, it could be made as a "skeletal" cube with open sides. Don't use this solution - discover your own - that's the creative part!
BASIC MATERIALS: White foamcore board 1/4" thick - white glue or hot glue - tape (optional) - paint or stain - crayons or colored pencils - found materials
TOOLS: exacto knife with triangular blade - spare blades - ruler - right-angle triangle or square -pencil - soft eraser like an "artgum" - sandpaper (medium grit) - glue gun if hot glue is used - brushes
SIZE: 6" X 6" X 6"
COLOR: Surface only cube - no restrictions. Physical form modification cube - white

#3 UNITY
DESCRIPTION OF PROJECT: Make a single form (structure) composed of at least five elements - the elements must all be physically connected. In order for the form to stimulate viewer interest, it should possess some variety. However - this is the important part - it must exhibit formal consistency (its elements/parts should share enough similarities to be seen as part of the same family).
BASIC MATERIALS: White foamcore board 1/4" thick - white glue or hot glue - tape (optional) - paint or stain - crayons or colored pencils - can of spray paint.
TOOLS: exacto knife with triangular blade - spare blades - ruler - right-angle triangle or square -pencil - soft eraser like an "artgum" - sandpaper (medium grit) - glue gun if hot glue is used - brushes.
SIZE: The form shouldn't be larger than 18" in its maximum dimension - it should be at least 12" in its minimum dimension.
C OLOR: Monochromatic - choice

SPECIAL NOTE FOR THIS AND THE FOLLOWING PROJECTS: Size parameters are approximate - if your work is slightly over or under-sized is of little worry.

#4 VARIETY
DESCRIPTION OF PROJECT: Make an arrangement of single form (structure) composed of at least five elements. In contradistinction to project #3, this form is to stress variety. The elements need not be physically connected, but they must all be seen to be part of a single entity. Put another way, the project stresses variety, however the resulting form must possess enough unity (coherence) so that it does not appear to be some sort of arbitrary amalgamation.
BASIC MATERIALS: White foamcore board 1/4" thick - white glue or hot glue - tape (optional) - paint or stain - crayons or colored pencils - spray paint
TOOLS: exacto knife with triangular blade - spare blades - ruler - right-angle triangle or square -pencil - soft eraser like an "artgum" - sandpaper (medium grit) - glue gun if hot glue is used - brushes
SIZE: The form shouldn't be larger than 18" in its maximum dimension - it should be at least 12" in its minimum dimension
COLOR: Must be monochrome. (Variety is be conveyed by form rather than color.)

#5 FORMAL (SYMMETRICAL) BALANCE
DESCRIPTION OF PROJECT: Make a form or structure that possesses absolute symmetry when viewed in alignment with the axis of any of its major facets. For the usual projects there are four such facets - front, left, rear, right. However, there may be as few as three (an object of basically triangular cross-section) or more than four (e.g., as in the case of a hexagonal cross-section). The major aesthetic problem with absolute symmetry is that it is very predictable and, thus, dull. You must discover ways to make your work visually attractive and lively. To get started, answer this question - is it possible to make a form that is symmetrical along its major facets although each facet is different?

BTW, it is possible to make a form that is absolutely symmetrical from any viewpoint - that form is a sphere - it is visually inert.

BASIC MATERIALS: White foamcore board 1/4" thick is to be the primary material. However, ancillary materials, like wood or wire may be used - white glue or hot glue - tape (optional) - paint or stain - crayons or colored pencils - spray paint
TOOLS: exacto knife with triangular blade - spare blades - ruler - right-angle triangle or square -pencil - soft eraser like an "artgum" - sandpaper (medium grit) - glue gun if hot glue is used - brushes - if you wish to use the power tools (saws and sanders) you must be checked-out for their safe operation. If you decide to use materials like wire, you'll need to have pliers and wire cutters.
SIZE: The form shouldn't be larger than 18" in its maximum dimension - it should be at least 12" in its minimum dimension
COLOR: monochromatic

#6 ASYMMETRICAL BALANCE
DESCRIPTION OF PROJECT: This project is much like #5 in that whatever form is made in response to this assignment must possess visual balance in its major facets. The difference is that balance may NOT be achieved through symmetry. You'll have to find ways of balancing forms that are unalike. For examples of asymmetrical balance, look at ikebana (Japanese flower arranging). A warning - many ikebana arrangements are frontal (have one major view).
BASIC MATERIALS: Optional materials like aluminum flashing, various types of cardboard, wood, wire, polymer clay, and so on, may be used (foamcore board is O.K. too) - white glue or hot glue - tape - nails - screws - rivets - paint or stain - crayons or colored pencils - spray paint
TOOLS: You'll have to choose tools appropriate to the materials you use. You may use whatever tools the sculpture department can make available only during class time.
SIZE: The form shouldn't be larger than 18" in its maximum dimension - it should be at least 12" in its minimum dimension
COLOR: optional

#7 RHYTHM
DESCRIPTION OF PROJECT: Rhythm is perceived when similar forms or formal units are repeated at more or less regular intervals. For a form to be rhythmic, it must possess repetitive parts - For a form to be both rhythmic and interesting, its rhythm has to have variation. There are many ways to vary the elements within a structure and still maintain rhythm. Some things to vary are; size, direction, spacing, basic nature of the elements (like cubic vs. cylindrical) and arrangement of elements within substructures (if #%# is one substructure, %#% could be another). However you choose to make your rhythmic form, it will have to exhibit two characteristics: first, it will have to have multiple elements; second, the rhythm will have to carry through all its parts and dimensions (it can't end up being some sort of free-standing relief).
BASIC MATERIALS: Optional
TOOLS: As per the materials chosen
SIZE: The form shouldn't be larger than 18" in its maximum dimension - it should be at least 12" in its minimum dimension
COLOR: optional (may be polychrome)

#8 DIRECTIONAL ORGANIZATION (THEMATIC)
DESCRIPTION OF PROJECT: Make a form composed of at least seven elements that strongly expresses one (choose) of three directions - Horizontal - Vertical - Diagonal. There must be enough variety in the forms and their direction to project energy and create viewer interest. The elements may be physically joined or separate, but together they must function as a single overall form
BASIC MATERIALS: Optional
TOOLS: As per the materials chosen
SIZE: NOTE CHANGE The form shouldn't be larger than 24" in its maximum dimension - it should be at least 6" in its minimum dimension
COLOR: optional (may be polychrome)

#9 CELLULAR ORGANIZATION
DESCRIPTION OF PROJECT: Make an open form of multiple parts joined into a single structure. The overall form may be composed of struts or girders. When one part meets another it must be perfectly in line with it or it must be at the particular angle, orcombination of angles you have chosen. (The 90 degree (right-angle) juncture is common in many man-made structures. Other "combination" angles like 30/60degrees also work.) Besides the strictures imposed by the angle choice(s) you make, there is the problem that cellular structures are often dull. You'll have to find ways to build viewer interest. You may be able to make an interesting structure by varying the size of the elements and their interstices (without varying the angular conjuction you've chosen!). Be careful in your choice of technology (that is the materials you choose and how you plan to join the parts).
BASIC MATERIALS: Optional
TOOLS: As per the materials chosen
SIZE: NOTE CHANGE The form shouldn't be larger than 24" in its maximum dimension - it should be at least 12" in its minimum dimension
COLOR: optional

#10 FORCE MADE VISIBLE
DESCRIPTION OF PROJECT: Make a form that conveys a sense of the action of any two of the following basic forces; Compression (squeezing force), Tension (pulling force), Torque (twisting force), Shear (torn between forces moving in opposite directions). You must create this form from scratch - you may not take some object like a can and twist and stamp it. Further, the form itself must convey the forces you choose. Making a three-dimensional diagram (for example passing a bolt through a piece of foam rubber sandwiched between two pieces of wood and tightening down the bolt to show compression) is not the way to go. Look at things that have been crushed, chopped, twisted and stretched to find ideas. For example, a stubbed-out cigarette butt often shows the effects of compression and torque.
BASIC MATERIALS: Optional
TOOLS: As per the materials chosen
SIZE: The form shouldn't be larger than 18" in its maximum dimension - it should be at least 12" in its minimum dimension
COLOR: optional

#11 0RGANIC FORM AND ORGANIZATION
DESCRIPTION OF PROJECT: Make an organic abstraction. (Most of the forms made so far in class have been of a geometric nature. The reason for this is that, for the most part, forms have been constructed from materials that are most easily assembled into geometric configurations.) The form made for this project should have a minimum of five elements. Its structure (organization) should convey a sense of natural growth and development. The overall nature of the form should be that of living things - it should, for the most part, be of a rounded and curving nature. While the form you make may refer to some plant or animal, it must not be a representation. You are to emphasize the generalities of organic forms, not the specifics.
BASIC MATERIALS: Optional - However, materials that can be modeled directly and quickly dried (polymer clay?) will probably best lend them selves to this project
TOOLS: As per the materials chosen
SIZE: NOTE CHANGE The form shouldn't be larger than 12" in its maximum dimension - it should be at least 4" in its minimum dimension
COLOR: optional

#12 SUBTRACTIVE PROCESS
DESCRIPTION OF PROJECT: Carve a form from a block. The subtractive process imposes limits on form that you have hitherto not generally encountered since you have been mostly working in the additive process (usually in the "constructive' technique). In the subtractive process, you must have a very definite idea of the final (finished) form you wish to achieve or you'll probably go astray in your efforts. The process is unforgiving - once material is removed, it can't be put back! Also, you are to follow the "Block Aesthetic" in that the finished work is to have the same height, depth, and width as the block you start with. Further, the resulting form must not be reminiscent of the original block. For example, if you start with a rectangular solid 6" X 3" X 3", and you carve from it an abstract shape resembling a bone, that "bone" should be 6" X 3" X 3" in its overall dimensions and should not in any way be blocky. POINT OF INFORMATION: when carving the term "block" refers to just about any shape one starts with, not just rectangular solids.
BASIC MATERIALS: Either a plaster block or a piece of alabaster
TOOLS: (chisels, gouges, rifflers, and mallets will be provided by the studio) - sandpaper of various types - surface finishes or stains as appropriate
SIZE: determined by the size of the available blocks
COLOR: determined by the material - patina may be applied

#13 CLASS CHOICE
DESCRIPTION OF PROJECT: The class, with the instructor's guidance, will select a design project. The project may be a further exploration of a previous assignment, or it may investigate a "new" area.
BASIC MATERIALS: Optional
TOOLS: As per the materials chosen
SIZE:?
COLOR: Optional

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Course Syllabus - Art 153

I. ART 153, Three-Dimensional Design. Three credit hours.
II. Prerequisites: None
III. Course Description: Introduction to the methods, materials, and concepts related to the control of forms in space.
IV. Texts and Materials: There is no specific text for this course although the instructor may require the purchase of paperback books. The materials used in this class are many and varied, running the gamut from paper to wood, to wire and to plaster. Choice of materials is determined by the problem under consideration and its presentations.

V. Objectives - General:
1. To bring the student to an awareness of the properties of three- dimensional forms.
2. To involve the student in the purposeful manipulation of forms in space.
3. To involve the student's critical faculties in the problems peculiar to three-dimensional forms through fabrication and critique participation.
4. To develop a vocabulary of design terms and to bring the student to an awareness of this vocabulary's importance.
5. To develop a flexible attitude on the part of the student relative to the revision of initial form concepts.
6. To expose the student to a variety of materials/material types useful in the fabrication of three-dimensional forms.

Objectives - Specific:
Due to the almost infinite quantity of form concepts in this area, the following are only some of the possible specific objectives. (The student will become familiar with the following concepts or properties of forms in space.)
1. Closed and open form
2. Balance
3. Methods of spatial organization
4. Properties of texture
5. Form modification effects
6. Function as form determiner
7. Material properties as form determiners
8. Color and its 3-D effects
9. Geometric - organic form properties
10. Expression of dynamic forces by form

VI. Activities and Procedures:

Activities in this class consist of a series of specific short-term problems. These individually emphasize one of the other of the specific objectives. Occasionally a long-term problem incorporating two or three specific objectives may be presented. The general procedure to be followed is: first, the presentation; second, a work period (in and out of class) in which the student attempts a personal solution; third, a presentation of the solution by the student with a critique/discussion by the instructor and the class. The problem under discussion may generally be related to possible future art activities.

VII. Course Calendar: Course calendars will be customized for each semester.

IX. Attendance Policy: The Art Department's attendance policy is in effect. Its major provision; 15% absences (excused or not) automatically result in an "F".

X. Evaluation: Generally evaluation will take the form of a critique by the instructor with emphasis on the success and appropriateness of solutions to the individual problems. Students must participate in critiques. Each assignment will be evaluated both in terms of the specific set-problem and in general art criteria. Each project will have essentially equal weight in determining the course grade unless otherwise noted by the instructor. Any book reports, quizzes, tests and papers assigned will be factors in determining the course grade. Relative weight given to these will be determined by the instructor. See the attached "Grading Method" sheet.

STUDENTS WILL BE EXPECTED TO PROVIDE THEMSELVES WITH MATERIALS AND TOOLS AS THE INSTRUCTOR DIRECTS. STUDENTS NOT PROPERLY EQUIPPED (MATERIALS/TOOLS) WILL BE COUNTED AS ABSENT EVEN THOUGH THEY MAY BE PHYSICALLY PRESENT. For additional information re. materials and tools, see class handout sheet.

STUDENTS WILL BE EXPECTED TO PAY A STUDIO FEE TO COVER EXPENDABLE MATERIALS.

DISABILITY STATEMENT
If you are registered with the Office of Services for Individuals with Disabilities, please obtain your accommodation letters from the OSID and present them to the course instructor to discuss any academic accommodations you need. If you believe you need accommodation and are not registered with the OSID, please contact the Office in the Student Services Building Room 361 by email at disserv@eku.edu or by telephone at (859) 622-2933 V/TDD. Upon individual request, this syllabus can be made available in an alternative format.

ACADEMIC INTEGRITY
Students are advised that EKU's Academic Integrity Policy will strictly be enforced in this course. The Academic Integrity policy is available at <www.academicintegrity.eku>. Questions regarding the policy may be directed to the Office of Academic Integrity.

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GRADING METHOD FOR ART 153, THREE-DIMENSIONAL DESIGN
Project/Problem points are awarded based on the following breakdown (100 points max. - 40 Problem Solution - 30 Technical - 30 Creative/Aesthetic)

GRADING SCALE

A = 91% ...... B = 81% ...... C = 70% ......D = 60%

The Course (Final) grade is determined by averaging the grades of all projects

ALL WORK MUST BE COMPLETED OR A FAILING GRADE WILL RESULT**** NO EXCEPTIONS

EXAMPLE OF GRADING METHOD APPLICATION

40 POINTS: SOLUTION OF PROBLEMS INHERENT IN THE ASSIGNMENT
Solving the problem concerns; selection of shapes, forms, colors, textures, and other art elements; the placement of these elements relative to each other and the whole; all must be done in such a way that the problem is solved. In design classes, management of these formal concerns is the substance of the class.

ASSIGNMENT:
CREATE A RHYTHMIC STRUCTURE USING A CURVILINEAR ARRANGEMENT
This problem concerns making a three-dimensional form that is manifestly rhythmic (repetitive patterning of elements) and that presents the viewer with elements so arranged as to form curves along a line. The primary formal evaluation here has to do with the arrangement and appropriateness of elements to create a rhythmic structure. Suppose that in evaluation (critique), the result is rhythmic but instead of being curvilinear it's angular. In this part of the grade, the problem might be considered only half solved and would only receive 20 points (1/2 of 40) for SOLUTION OF PROBLEMS INHERENT IN THE ASSIGNMENT towards the project grade. Conversely, if the project actually were a rhythmic, curvilinear structure, it would receive all 40 points.

30 POINTS: TECHNICAL PROFICIENCY (CRAFTSMANSHIP)
This refers to how well-made the project is. (Craftsmanship is an alternate term for this proficiency.) Parts should be shaped, surfaced, and assembled with appropriate skill. A project that falls apart, won't stand properly, or is crude where it shouldn't be is not technically proficient.

To continue with the "RHYTHM" example - the technical part of the assignment involves the skill with which the individual parts are made and joined to one another and the neatness of such things as paint application. Clumsy or sloppy work would severely cut into the 30 points available to be calculated towards a project grade. On the other hand, appropriate craftsmanship might get all the available points.

30 POINTS: CREATIVITY/ORIGINALITY AND AESTHETICS
The amount of creativity/originality in a problem's solution is the degree to which the project responds to the assigned problem with a solution that is fresh and innovative. Solutions which are obvious, everyday sorts of responses to the assigned problem are not very creative and will not receive many points. In art, creativity and originality (innovation) is of prime importance.
The Aesthetic component is that part which deals with the appropriateness of the work to its function. In slang, this might be called "rightness". The degree to which the art elements work to elicit an appropriate response from the viewer is the aesthetic effectiveness of an artwork.

In sum, if a project were to present a novel and effective solution which brings out favorable responses from viewers, it might receive most or all of the 30 points. If not, it would be downgraded.

N. B., Grading in this area is at least partially a "judgement call". The instructor relies on his experience with the world of art generally, and student work particularly.

AN EXAMPLE OF CALCULATING A GRADE:
( ASSUMING THE WORK IS TURNED IN ON TIME)
The problem was generally solved with only minor lapses - 36 points awarded. 
Technically, the craftsmanship was only moderately skillful - 21 points awarded. 
Creatively, the work was an unusual response to the problem (good) and, aesthetically, there were a very few inappropriate form relationships (not so good) -27 points awarded. 
TOTAL POINTS – 84 
GRADE - B
(IF THE WORK IS NOT TURNED IN ON TIME, THE GRADE WILL BE LOWERED APPROPRIATELY)

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