Fine Arts Department 2 Fort Road • South Portland, Maine 04106 • 741-5500 Midcoast Campus • 29 Sewall Street • Brunswick, Maine 04011 • 844-2102 Title: Painting I Catalog Number: ARTS 180 Credit Hours: 3 / Total Contact Hours: 80 Lecture (or Lab): Lecture and Lab

Tuesday/Thursday 3:00—5:30 p.m. Instructor: Michael Branca [email protected] Office Hours by Appointment

Painting 1 Syllabus Spring 2016 Course Description This introduction to painting is designed for both beginners and more experienced painters. Using acrylic paints, the class will lead students through the basics of color theory, color mixing and paint application on a variety of surfaces. There will be a focus on creative approaches to observational work, using studio set-ups and the rich natural environment around SMCC. Regular homework assignments are given and these will make up a portion of your final grade. Course Objectives Upon successful completion of the course, the student will be able to: 1. Demonstrate competency with the basic skills of painting, including basic color theory, use of value, form, texture, composition and content. 2. Achieve familiarity and confidence with a variety of painting media, materials and grounds. 3. Apply a range of problem-solving techniques to the development of creative work. 4. Identify and discuss different approaches to subject matter in painting and begin to establish an individual voice or style in their work. 5. Develop disciplined work habits and a respect for materials, studio space and the work of others. 6. Acquire the language and open-mindedness needed to analyze and discuss art both critically and for pleasure. 7. Grow in ability to carefully observe the world and translate it into works of visual art. Course Requirements  At least three hours of homework time is expected each week.  Attendance and participation is required. Please let the instructor know if you expect to miss any class time. It is your responsibility to find out about all assignments that you miss and to make them up on your own time.  Weekly classes include presentations and demonstrations of technical skills, short exercises, longer, multi-step projects, individual and full-class critiques. Active and thoughtful participation in studio work, class discussions, critiques, and homework is essential.  Classwork and homework will be collected for evaluation at regular intervals. You must save all of your work until the end of the semeseter.  Students are required to research and present a short presentation on a painter of their choice.  Final project and portfolio of paintings will reveal an exploration of student’s own ideas demonstrating knowledge and skills gained during the class. ___________________________________________________________________________________________ “Study the science of art. Study the art of science. Develop your senses—especially learn how to see. Realize that everything connects to everything else.” ― Leonardo da Vinci

Unless otherwise instructed, all work should be done from life, not photographs. Week Dates 1. 1/19 – 1/21

In Class Introductions Grey scales

Homework Due ASAP: Purchase and bring to class all necessary supplies.

2.

1/26

B/W still life

Choosing from the artists listed in the syllabus, bring in two images of what you consider to be great paintings. If you wish to bring in more images by other artists you may do so in addition to these two.

1/28

B/W still life

Black & white palette knife copy of one of the master paintings you selected, approximately 8x10”. Focus on broad forms and range of value rather than fussy detail. Fill the whole frame— there are no “blank” areas!

3.

2/2 – 2/4

Color theory & mixing Work on color-value grid.

4.

2/9 – 2/11

Still life

Work on color star and color-value grid.

5.

2/16 – 2/18

Still life

Work on color star and color-value grid.

6.

2/23

Still life

Grid and star due. PORTFOLIO COLLECTED FOR GRADE.

2/25

Field Trip.

Three thumbnail sketches of Home Still Life. Bring to Field Trip along with sketchbook & pencil.

3/1

Texture studies

Home Still Life underpainting due. Bring texture objects.

3/3

Texture studies

Choose subject for Research Project. Work on Home Still Life.

3/8

Texture studies

Work on Home Still Life.

3/10

Midterm critique

Home Still Life Due.

7.

8.

-----------3/15 – 3/17

NO CLASSES: SPRING BREAK--------------------------------------------------------------------------------

9.

3/22

Skin-tone studies

Two more texture studies.

3/24

Self Portrait

Skin tone study.

3/29

Self Portrait

Home Self Portrait. Bring in pictures for Photo Combo.

3/31

Start Painting Copy

Come to class prepared to start your Painting Copy.

11.

4/5 – 4/7

Presentations & Photo Combo Work on Painting Copy and Research Presentation.

12.

4/12

Presentations & Photo Combo

4/14

Presentations & Photo Combo Work on Painting Copy.

4/19

Critique

10.

13.

Submit proposal for final project including sketches, written explanation, dimensions and materials.

Painting Copy due.

4/21

Limited Earth Palette

4/26

Landscape or still life

Home Landscape. Work on Final Project.

4/28

Landscape or still life

Work on Final Project. PORTFOLIO COLLECTED FOR GRADE.

15.

5/3 – 5/5

Landscape or still life

Work on Final Project.

16.

5/10 – 5/12

Final Critique

FINAL PROJECT DUE

14.

Work on Final Project.

__________________________________________________________________________________________ Materials A kit is available at Artist & Craftsman (540 Deering Ave, Portland, 772-7272) at a 20% discount off retail price. If you have a financial aid book voucher you may redeem it at the SMCC bookstore and bring the receipt to Artist & Craftsman for a kit. You are required to have all necessary materials by the second week of class. Required Materials:  Set of paintbrushes of various sizes  2” metal palette knife  disposable palette paper or homemade glass palette with razor scraper  ¾” white artist’s tape  20” x 26” flat portfolio (may be homemade)  11x14” (or similar size) bristol pad  19x24” (or similar size) canvas pad or bristol pad  Student-grade (or better) acrylic paints. Ultra-cheap craft acrylics are unacceptable, as they are unable to achieve the effects we will be working on in this class. One choice from each line of the list below. Daler Rowney kit colors are in bold. White (large tube) Cool red Warm red Earth red Warm yellow Cool yellow Earth yellow Green Cool blue Warm blue Black Optional earth tones Optional violet

Titanium white; Zinc white Crimson; Alizarin crimson; Cadmium red deep (hue), Quinacridone red Cadmium red light (hue); Cadmium red (hue) Burnt sienna; English red Cadmium yellow (hue) deep or medium (hue) Cadmium yellow (hue) light or lemon (or lightness not specified); Hansa yellow Yellow ochre; raw sienna Sap green; Brilliant green; Phthalo green Process cyan blue; Cobalt blue (hue); Cerulean blue (hue); Phthalo blue Ultramarine blue Mars black; Ivory black Burnt umber; raw umber; raw sienna Purple; manganese violet; dioxazine violet

Note: The word “hue” in this context describes a paint color which has been designed to mimic the color of a more expensive pigment. Cadmium, for example, is a beautiful (and expensive) mineral which comes in a range of colors from red to yellow. The cadmium hues are made to look and act as much like the originals as possible, but at a fraction of the price.

Other materials: A small sketchbook will be useful. Canvas boards, stretched canvases, plywood or wood panels may be used as supports (particularly recommended for major homework projects). Oil paints may be used for homework projects only (we do not have proper facilities to use oils in class). You’ll also want some rags (old tshirts are best), and possibly a spritzer or spray bottle to keep paints on your palette from drying out. Small tupperware containers may be useful for storing leftover paint for later use.

Grading Criteria for evaluation include: attendance; level of self-challenge; quantity and quality of work produced; active participation in projects, discussions & critiques; timely completion of assignments; understanding of concepts covered; neatness of presentation. Your grade will be calculated as follows: 50% of grade Attendance/Participation/Preparedness/Classwork 50% of grade Homework Homework Checklist: __ Black and white palette knife study __ Color-Value Grid __ Color Star __ Home Still Life: sketches __ Home Still Life: underpainting __ Home Still Life: finished painting __ Home Texture Studies __ Home Skin Study __ Home Self Portrait __ Photo Combo: photos selected and printed on time __ Research Project: timely selection of subject __ Research Project: artwork __ Research Project: research, presentation, & bibliography __ Home Landscape __ Final Project: proposal __ Final Project: underpainting __ Final Project: finished painting

POINTS 2.25 7.5 4.5 .75 1.5 4.5 2.25 1.5 2.25 .75 .75 6.75 2.25 2.25 .75 1.5 9

A A’s are reserved for excellent work. These are students are serious about learning, come to class on time, ask lots of questions, participate in class discussions, and complete all assignments beyond expectations. B The B student has a very good attendance record and shows a high level of effort and enthusiasm, with a sincere level of commitment and a devotion to learning the skills of the class. All or most assignments are completed as assigned. C A satisfactory level of achievement in quantity and quality of work. Multiple assignments are incomplete or rushed. Student may have a poor attendance record. D Deficiency in commitment and accomplishment. Many assignments are incomplete. Often a significant amount of class time is missed and/or student has not actively participated in class exercises and discussions. F Extreme deficiency in commitment and accomplishment. Very few assignments are attempted. Much class time is missed. Attendance Policy All class meetings are mandatory. Showing up and playing an active role in class discussions, exercises and critiques are essential to success. With no textbook, it is impossible to fully make up lessons missed. If you do miss class, it is your responsibility to obtain and complete all assignments, be aware of all deadlines and know what you will need in class. Missed classes will affect your grade in the following ways: • • • • •

Up to two absences may be excused without affecting your grade if all missed work is made up. Beginning with the third absence, each absence will lower your grade by 5%. Any student who misses five or more classes may be assigned an Academic Failure and/or be advised to withdraw from the course. Any student who misses three consecutive classes without communicating with the instructor will be assigned an Administrative Failure. Late arrivals and early departures will be recorded. Three late arrivals or early departures will be considered an absence.

Portfolio Your portfolio will be reviewed and graded periodically during the semester. It is defined as all homework and classwork. It may also include preparatory sketches or painted studies, failed attempts and any extra paintings you do which relate to issues we are working on in class. Please keep everything. When turning in your portfolio, please consider presentation. Assignments must be completed on time for full credit. If you miss classwork or homework you will be allowed to make it up at a later date for partial credit. Old assignments may be embellished, reworked or redone at any time before the final portfolio collection and may increase your grade. No work will be accepted after the final critique. ___________________________________________________________________________________________ 100 Painters to Know Joseph Albers Frank Auerbach Francis Bacon Cecilia Beaux George Bellows Isabel Bishop Sandro Botticelli Georges Braque Claudio Bravo Caravaggio Emily Carr Mary Cassatt Paul Cézanne Frederic Edwin Church Thomas Cole J.B.C. Corot Gustave Courbet Salvador Dalí Jacques-Louis David Edgar Degas Eugène Delacroix André Derain Vincent Desiderio Richard Diebenkorn Otto Dix

Lois Dodd Marcel Duchamp Albrecht Dürer Thomas Eakins Jan van Eyck Piero della Francesca Lucian Freud Antonio López García Paul Gaugin Artemesia Gentileschi Théodore Gericault Vincent van Gogh Arshile Gorky Francisco Goya El Greco Matthias Grünewald Marsden Hartley Anne Harris Robert Henri Hokusai Hiroshige Winslow Homer Edward Hopper J.A.D. Ingres Jasper Johns

Frida Kahlo Wassily Kandinsky Rockwell Kent Anselm Kiefer Ernst Ludwig Kirchner Gustav Klimt Käthe Kollwitz Willem de Kooning Jacob Lawrence Élisabeth Vigée LeBrun Leonardo da Vinci Judith Leyster Jacob Lawrence René Magritte Édouard Manet John Marin Henri Matisse Michelangelo Jean-François Millet Amedeo Modigliani Claude Monet Piet Mondrian Giorgio Morandi Berthe Morisot Edvard Munch

Elizabeth Murray Alice Neel Georgia O’Keeffe Pablo Picasso Jackson Pollock Fairfield Porter Raphael Robert Rauschenberg Rembrandt van Rijn Diego Rivera Norman Rockwell Peter Paul Rubens John Singer Sargent Joaquín Sorolla Jenny Saville Georges Seurat Henry Ossawa Tanner Titian George Tooker Euan Uglow Diego Velázquez Johannes Vermeer J.A.M. Whistler Andrew Wyeth Francisco de Zurbarán

___________________________________________________________________________________________ Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through. —Ira Glass ___________________________________________________________________________________________ “One mustn’t be afraid to do something wrong sometimes, not afraid to lapse into some mistakes. You don’t know how paralyzing it is, that stare from a blank canvas that says to the painter, ‘you can’t do anything.’ The canvas has an idiotic stare, and mesmerizes some painters so that they turn into idiots themselves. Many painters are afraid of the blank canvas, but the blank canvas is afraid of the truly passionate painter who dares—and who has once broken the spell of ‘you can’t.’” —Vincent van Gogh

SELECTED PROJECTS Color-Value Grid • This entire project should be done with the palette knife. • Set up a grid consisting of ten columns and ten rows of one-inch squares. • Start with a black & white value scale on the left side of the page with white at top, black at bottom and eight solid squares of different grays in between. Try to make equal steps as your scale moves from white to black. • For each of the subsequent columns, start by determining the relative value of the pure color you are working with by aligning it with the appropriate box on the gray scale. Notice that some colors (such as reds and blues) tend to be dark when they come out of the tube. Other colors (such as yellows) tend to be light. Apply the pure color to the box in its column which lines up with the correct value. • Complete each column by mixing white with the pure color for lighter values (above the pure color) and by mixing it with black for the darker values (below). WHICH DALER-ROWNEY KIT COLORS TO USE: COLUMN 1: gray scale black and white COLUMN 2: cool red crimson COLUMN 3: warm red cadmium red light hue COLUMN 4: orange mixture of cadmium red light hue + cadmium yellow deep hue COLUMN 5: warm yellow cadmium yellow deep hue COLUMN 6: cool yellow cadmium yellow light hue COLUMN 7: green sap green (or mixture of cadmium yellow light hue + process cyan blue) COLUMN 8: cool blue process cyan blue COLUMN 9: warm blue ultramarine blue COLUMN 10: violet mixture of ultramarine blue + crimson __________________________________________________________________________________________ Color Star • This project should be done with a palette knife. • Use only one red, one yellow, one blue and white to mix all colors. • “Tints” are formed by adding white to adjacent color. • Avoid having your tertiaries become neutrals. They should be a muted version of their adjacent primary or secondary color (e.g. “sage” should be a grayish green, “russet” should be a brick red, etc.). DOMINANT COLOR YELLOW VIOLET RED GREEN BLUE ORANGE

+ SMALL AMOUNT of COMPLEMENT + violet + yellow + green + red + orange + blue

= TERTIARY = Citrine = Plum = Russet = Sage = Slate = Buff

__________________________________________________________________________________________ Texture Studies We will devote a few class periods to making a series of 4-inch square texture studies of various objects. Each study will zoom in on its subject so that you may focus on texture, mark-making and paint-handling, rather than drawing or proportion. Consider how you can obtain different painterly effects using traditional and nontraditional means of applying and influencing your paint. A variety of objects to paint from will be provided but you may wish to provide more of your own.

Painting Copy / Research Project Choose an artist that you don’t know much about to research, use as the inspiration for a work of art, and introduce to the class. The artist you choose may be well-known or obscure, living or dead. He or she must be a painter working in acrylic, oil, fresco or tempera. All artist choices must be approved in advance. No two students may research the same subject. 1. Artwork. A direct copy of a painting, done in the style of your chosen artist. Please avoid choosing entirely abstract works. This painting should be done on your large (19 x 24”) pad or on a canvas of similar size. 2. Research. Using at least three reference sources (NOT Wikipedia), learn as much interesting and relevant information as you can about your artist. Factors to consider may include: when and where s/he lived; historical context; social and political climate; other artists who influenced your artist; the artwork being made in the time period immediately before, during and after your artist; the movement or “-ism” your artist belonged to, materials and subject matter s/he focused on, etc. 3. Presentation. On the day the project is due you will give a 5-minute talk on your artist to the class. Please provide 10 images of your artist’s work to be projected. This should include the painting that you copied. You may use notes to keep the facts straight. In presenting your artist, tell us why you think her/his work is important, interesting, disturbing, boring, powerful, etc. Your insight is as important as the facts. 4. Quotations. Include two quotes by your artist in your presentation. 5. Bibliography: All sources (books, periodicals, websites, people interviewed, etc.) must be appropriately cited in a bibliography and turned in via paper or email on the day the project is due. A program to facilitate this process may be found on the SMCC portal, or you may ask a librarian for assistance. Do not simply list the websites you visited. Painting Copy / Research Project Grading Breakdown: 25% COLOR Demonstrates an understanding of complementary color mixing with a focused intent to achieve the colors found in the original painting. 15% COMPOSITION & PROPORTION Composition is designed for the entire page. Layout of forms reflects a focused intent to capture the proportions of the original design. 15% PAINT APPLICATION Painting strives to capture the essence of the original artist’s work in terms of brush-handling, mark-making and style. 20% SELF-CHALLENGE Student undertook and accomplished an ambitious project and worked hard to bring his/her work to the next level. 10% DEPTH OF RESEARCH 10% ORGANIZED PRESENTATION 5% BIBLIOGRAPHY ___________________________________________________________________________________________ Photo Combo This is the only project we will do from photographs. Rather than copying a single image, this project involves collaging found images onto your canvas and building your painting from the visual information gathered from these and other photos. The photographs you choose may be taken by you or appropriated from other sources (online, magazines, etc.). If you print the images yourself, you will get the best results from pictures printed on high-quality photo paper. Examples will be shown to help you brainstorm ideas. ___________________________________________________________________________________________ Final Project On the final week of class, each student will present a project which synthesizes newly learned skills with personal artistic vision. This may consist of one sustained painting or a series of related pieces. Subject matter, style, materials and approach are up to you, but the project must demonstrate an understanding of compositional design, color mixing, paint application, value relationships and other key components covered in this course. Final Project Grading Breakdown:

25%

USE OF COLOR

Demonstrates an understanding of complementary color mixing, temperature, value and intensity. 25% COMPOSITION Painting is designed for the entire page with no spaces left unconsidered. 25% PAINT APPLICATION Brush-handling, mark-making and other stylistic choices work in harmony with the overall concept. 25% SELF-CHALLENGE Student undertook and accomplished an ambitious project and worked hard to bring his/her work to the next level. ___________________________________________________________________________________________

What Colors Should I Use? NOTE: These palettes assume the course kit. Alternative paint colors may be substituted using the suggestions in the Materials List.

Primary Palette Use this palette to mix nearly every color you see using the basic building blocks of color. By using two reds, blues and yellows, you will learn to choose colors based on TEMPERATURE. For example, if the blue you are looking for is more violet than green, start with ultramarine (which leans violet), not cyan (which leans green). Cool red Crimson Warm red Cadmium red light (hue) Warm yellow Cadmium yellow (hue) deep Cool yellow Cadmium yellow (hue) light Cool Blue Process cyan blue Warm blue Ultramarine White Titanium white ___________________________________________________________________________________________ Expanded Primary Palette Once you have started to get a hang of the Primary Palette, you may want to increase your range of potential colors by adding in the secondaries: green, purple and orange. While working with this Expanded Primary Palette, you should resist the urge to use your earth tones (ochres, siennas, umbers and black). ___________________________________________________________________________________________ Black Without Black Forget that tube of black paint. You will get much better overall color harmony if you mix a near-black with your other paints. Here are two good formulas: Primary Palette “Black”

Mix a bluish-violet using ultramarine and crimson, then add a touch of Cadmium yellow deep (hue) to neutralize the color intensity.

Expanded Palette “Black” Burnt sienna + ultramarine is about the best black you can get without black. ___________________________________________________________________________________________ Skin Tones This is a good initial palette for mixing the many tones needed for portraiture. Earth red Burnt sienna Earth yellow Yellow ochre Warm blue Ultramarine White Titanium white You may also want to add : Cool red Crimson Other browns Burnt umber, raw umber, raw sienna, etc. ___________________________________________________________________________________________ Limited Earth Palette Believe it or not, you can get a surprisingly full range of colors using just: Earth red Burnt sienna Earth yellow Yellow ochre Black Mars black White Titanium white

Expanded Earth Palette In addition to the above pigments, you might want to add other browns such as burnt umber, raw umber, raw sienna, etc. Ultramarine blue and sap green are useful to expand the range of possible colors. ___________________________________________________________________________________________ COLOR WHEEL The first color circle was developed by Sir Isaac Newton around 1660. After he observed light passing through a prism and realized that the wavelengths divide to reveal separate hues. He interpreted seven hues rather than the six we classify today, largely to fall in line with prevailing notions about the importance of the number seven in other areas and disciplines. At the same time the belief was that there were seven planets, and in classical tradition there were seven notes of the musical scale. Newton arranged the colors as follows: Red—Orange—Yellow—Green—Blue—Indigo—Violet Newton viewed the seven colors of the spectrum as fundamental to color development. By joining the two extremes of the spectrum together (Red and Violet) he formed the first color circle or wheel. In 1831 Sir David Brewster concluded that the spectrum consists of three spectra of equal wavelengths: Red, Yellow and Blue. We now understand that the lengths of the waves vary, with Red having a long wavelength of low frequency and Violet having a short wavelength of high frequency. Brewster’s theory produced the Brewsterian Color Circle or Color Wheel. Primary Colors: Yellow, Red, Blue. The three cornerstones of the visible spectrum. These are pure colors that cannot be created out of any other colors. A simple primary (prismatic) palette should be capable of mixing all of the spectral hues. Secondary Colors: Orange, Green, Violet. Created by mixing two Primaries: Intermediate Colors: These fall between the Primary and Secondary colors, therefore they are mixtures of a Primary and a Secondary. In compounding these names, that of the primary is placed first (eg. yellowgreen, not green-yellow). This wheel shows the six basic primary and secondary hues with six basic intermediates. This wheel may be expanded to include more subtle degrees of intermediates (yellow-yellowgreen, etc.). Complementary Colors: Any two hues that are directly opposite on a color wheel. When placed side by side, their colors are intensified. Tertiary Colors: Any hue created by mixing all three Primary Colors, often achieved by directly combining two Complementary Colors. When mixed in equal proportions, the result is a Neutral. When one of the six Primary/Secondary hues is allowed to dominate, an infinite range of Tertiary Colors becomes possible.

___________________________________________________________________________________________ “You can see a lot by looking.” ― Yogi Berra

SMCC POLICIES End-of-Course Evaluation Students complete evaluations for each course attended at SMCC. Evaluations are submitted online and can be accessed through the student portal. Students can access the course evaluations beginning one week before the end of classes. The deadline for submission of evaluations occurs Monday at 5 PM following the last day of the class. You will receive an email to your student email account when course evaluations are available. ADA Syllabus Statement Southern Maine Community College is an equal opportunity/affirmative action institution and employer. For more information, please call 207-741-5798. If you have a disabling condition and wish to request accommodations in order to have reasonable access to the programs and services offered by SMCC, you must register with the Disability Services Coordinator, Sandra Lynham, who can be reached at 741-5923. Further information about services for students with disabilities and the accommodation process is available upon request at this number. Course policies about online testing are modified to suit each individual’s accommodations. SMCC Pay-for-Print Policy In an effort to control the escalating cost of supplies and to encourage students to conserve resources, SMCC charges for printing. Students receive a $20 credit every semester. This credit resets for each semester and extra credit is not rolled over to the next semester. Per page costs are as follows: • 8.5"x11" black and white: $0.10 per page • 8.5"x11" color: $0.50 per page • 8.5"x14" and 11"x17" black and white: $0.20 per page • 8.5"x14" and 11"x17" color: $1.00 per page Duplex (two-sided) pages are discounted 50% from the listed page costs. Students can monitor their remaining credit and number of pages printed by visiting the IT Help tab on MySMCC or by checking the Printing Information icon in the lower right corner of the screen while logged in to an SMCC computer. More information about the Pay-for-Print Policy is available on the IT Help tab on MySMCC. Add-Drop Policy Students who drop a course during the one-week “add/drop” period in the fall and spring semesters and the first three days of summer sessions receive a 100% refund of the tuition and associated fees for that course. Please note any course that meets for less than the traditional semester length, i.e., 15 weeks, has a pro-rated add/drop period. There is no refund for non-attendance. Withdrawal Policy A student may withdraw from a course only during the semester in which s/he is registered for that course. The withdrawal period is the second through twelfth week of the fall and spring semesters and the second through ninth week of twelveweek summer courses. This period is pro-rated for shorter-length courses. To withdraw from a course, a student must complete and submit the appropriate course withdrawal form, available at the Enrollment Service Center (no phone calls, please). The designation “W” will appear on the transcript after a student has officially withdrawn. A course withdrawal is an uncompleted course and may adversely affect financial aid eligibility. Failure to attend or ceasing to attend class does not constitute withdrawal from the course. There is no refund associated with a withdrawal. Plagiarism Statement Adherence to ethical academic standards is obligatory. Cheating is a serious offense, whether it consists of taking credit for work done by another person or doing work for which another person will receive credit. Taking and using the ideas or writings of another person without clearly and fully crediting the source is plagiarism and violates the academic code as well as the Student Code of Conduct. If it is suspected that a student in any course in which s/he is enrolled has knowingly committed such a violation, the faculty member should refer the matter to the College’s Disciplinary Officer and appropriate action will be taken under the Student Code of Conduct. Sanctions may include suspension from the course and a failing grade in the course. Students have the right to appeal these actions to the Disciplinary Committee under the terms outlined in the Student Code of Conduct.

___________________________________________________________________________________________ “Art tends toward balance, order, judgment of relative values, the laws of growth, the economy of living – very good things for anyone to be interested in.” —Robert Henri, “The Art Spirit”