Foundation Review
Continue to main contentThe Foundation Review is a formal portfolio evaluation that all art faculty give to each art major after completing the Foundation courses (AR100: Drawing I, AR202: Drawing II, AR201: Color Composition, AR106: 3D Design, and AR104: 2D Design). Art majors who do not pass or register for their Foundation Review will not be able to enroll in upper-level art studios. Questions? Contact Joshua Newth, assistant professor, CAC 033, or email jnewth@semo.edu
- After completing the five foundations courses, all art majors (BFA, BA, and BS Art Education) must enroll for their Foundation Review (AR001) the following semester. The Foundation Review (AR001) is a non-credit, required course for graduation as an art major. Four exercises (as specified by the rubric included below) from EACH Foundation course will be used for your portfolio evaluation, totaling 20 artworks
- Foundation Review exercises will be displayed for evaluation at the River Campus, in the hallway next to the art studios and reviewed by all full-time art faculty.
AR100 Drawing I
Linear Perspective: Exemplifies an understanding of one-, two-, and three-point perspective to create a representational illusion of three-dimensional objects, foreshortening, and spatial relationships.
Composition: Exemplifies an understanding of harmoniously balanced groupings of objects and figure/ground spatial relationships.
Line Quality: Exemplifies an understanding of the descriptive nature of line in defining form, texture, and value of objects.
Value: Exemplifies an understanding of the full range of value and its ability to create the illusion of three-dimensional form and spatial depth.
| Drawing I AR 100 | 1 - Poor | 2 - Average | 3 - Above Average | 4 - Excellent |
|---|---|---|---|---|
| LINEAR PERSPECTIVE Use of 1, 2 point perspective to create spatial depth and foreshortened geometric and organic projects. View Example |
POOR example of spatial depth, foreshortened geometric and organic objects. | AVERAGE example of spatial depth, foreshortened geometric and organic objects. | ABOVE AVERAGE example of spatial depth, foreshortened geometric and organic objects | EXCELLENT example of spatial depth, foreshortened geometric and organic objects. |
| COMPOSITION Demonstrates an understanding of accurate sighting of objects and placing them in a unified, balanced and structural composition. View Example |
POOR example of accurate sighting of objects and space, and utilization of f/g, pos/neg spaces/objects. | AVERAGE example of accurate sighting of objects and space, and utilization of f/g, pos/neg spaces/objects. | ABOVE AVERAGE example of accurate sighting of objects and space, and utilization of f/g, pos/neg spaces/objects. | ABOVE AVERAGE example of accurate sighting of objects and space, and utilization of f/g, pos/neg spaces/objects. |
| LINE QUALITY uses descriptive and expressive line to represent forms in space. View Example |
POOR example of descriptive or expressive line to represent forms. | AVERAGE example of descriptive or expressive line to represent forms. | ABOVE AVERAGE example of descriptive or expressive line to represent forms. | EXCELLENT example of descriptive or expressive line to represent forms. |
| VALUE Using a full value range and cross contour to create spatial depth and 3D volume. View Example |
POOR example of full value range, creating 3D volume and spatial depth. | AVERAGE example of full value range, creating 3D volume and spatial depth. | ABOVE AVERAGE example of full value range, creating 3D volume and spatial depth. | EXCELLENT example of full value range, creating 3D volume and spatial depth. |
AR104 2D Design
(Assignments completed in Black and White and employ non-objective imagery)
Balance and Figure/Ground Spatial Relationships: Exemplifies an understanding of asymmetrical balance and spatial relationships using the elements and principles of design.
Texture: Exemplifies an understanding of the relationships and importance of actual, visual, and invented textures in design.
Unity/Variety, and Emphasis: Exemplifies an understanding of Gestalt theory through the use of the elements and principles of design.
Orientation, Continuity, and Movement: Exemplifies an understanding of the importance of and ability to create dynamic design through movement, orientation, and continuity.
| 2D Design AR 104 | 1 - Poor | 2- Average | 3 - Above Average | 4 - Excellent |
|---|---|---|---|---|
| BALANCE, FIGURE/GROUND SPATIAL RELATIONSHIPS Using asymmetrical balance, create a black and white design that demonstrates f/g relationships with attention to craft. View Example |
POOR concept of figure/ground relationships or asymmetrical balance. | AVERAGE concept of figure/ground relationships or asymmetrical balance. | ABOVE AVERAGE concept of figure/ground relationships or asymmetrical balance. | EXCELLENT concept of figure/ground relationships or asymmetrical balance. |
| TEXTURE Demonstrate the relationship between physical, visual and invented textures with attention to craft. View Example |
POOR use of visual textures | AVERAGE use of visual textures. | ABOVE AVERAGE use of visual textures. | EXCELLENT use of visual textures. |
| UNITY/VARIETY AND EMPHASIS Create a design that has a focal point or area of emphasis with attention to craft. View Example |
POOR ability to create unity/variety with a focal point or area of emphasis and attention to craft. | AVERAGE ability to create unity/variety with a focal point or area of emphasis and attention to craft. | ABOVE AVERAGE ability to create unity/variety with a focal point or area of emphasis and attention to craft. | EXCELLENT ability to create unity/variety with a focal point or area of emphasis and attention to craft. |
| ORIENTATION, CONTINUITY, AND MOVEMENT Create a design with orientation, continuity, movement, and balance with attention to craft. View Example |
POOR use of orientation, continuity, movement and attention to craft. | AVERAGE use of orientation, continuity, movement and attention to craft. | ABOVE AVERAGE use of orientation, continuity, movement and attention to craft. | EXCELLENT use of orientation, continuity, movement and attention to craft. |
AR106 3D Design
In The Round: Exemplifies the subtractive processes in the round with an emphasis on positive/negative space, concave/convex form, surface variety, continuity, and craft.
Planar: Exemplifies the additive processes of planar compositions with an emphasis on angles, variety, repetition, light and/or color, continuity, joints, structure, and craft.
Line Quality: Exemplifies an understanding of line quality using additive processes, with an emphasis on line weight, character, variety, connections and craft.
Relief and Texture: Exemplifies an understanding of relief and texture with emphasis on high and low relief, repetition, variety, and craft, using only subtractive processes.
| 3D Design AR 106 | 1 - Poor | 2 - Average | 3 - Above Average | 4 - Excellent |
|---|---|---|---|---|
| IN THE ROUND Demonstrate the subtractive processes in the round with an emphasis on positive/negatives space, concave/convex form, surface variety, continuity, and craft. View Example |
POOR use of surface variety, spatial continuity, and craft. | AVERAGE use of surface variety, spatial continuity, and craft. | ABOVE AVERAGE use of surface variety, spatial continuity, and craft. | EXCELLENT use of surface variety, spatial continuity, and craft. |
| PLANAR Demonstrate the additive processes of planar compositions with an emphasis on angles, variety, repetition, light and/or color, continuity, joints, structure, and craft. View Example |
POOR use of angle variety, structural continuity, and craft. | AVERAGE use of angle variety, structural continuity, and craft. | ABOVE AVERAGE use of angle variety, structural continuity, and craft. | EXCELLENT use of angle variety, structural continuity, and craft. |
| LINE QUALITY Demonstrate an understanding of line quality using additive processes, with an emphasis on line weight, character, variety, connections and craft. View Example |
POOR use of line variety, spatial continuity, and craft. | AVERAGE use of line variety, spatial continuity, and craft. | ABOVE AVERAGE use of line variety, spatial continuity, and craft. | EXCELLENT use of line variety, spatial continuity, and craft. |
| RELIEF AND TEXTURE Using subtractive processes, demonstrate an understanding of relief and texture with emphasis on high and low relief, repetition, variety and craft. View Example |
POOR use of high and low relief, spatial continuity, and craft. | AVERAGE use of high and low relief, spatial continuity, and craft. | ABOVE AVERAGE use of high and low relief, spatial continuity, and craft. | EXCELLENT use of high and low relief, spatial continuity, and craft. |
AR201 Color Composition
Color Schemes: Exemplifies an understanding of the color wheel, subtractive color, and the relationships and effects of one color to another.
Optical Color Mixing: Exemplifies an understanding of optical mixing of colors, the placement of one color next to another creating a secondary or tertiary color.
Color Interactions: Exemplifies an understanding of how one color interacts with one another, creating shifts in value and hue.
Color and Composition: Exemplifies an understanding of the visual weight, balance, distribution, proportion, and emphasis of colors to create a harmonious composition
| Color Composition AR201 | 1 - Poor | 2 - Average | 3 - Above Average | 4 - Excellent |
|---|---|---|---|---|
| COLOR SCHEMES Demonstrate an understanding of color scheme(s) through the use of subtractive color with attention to craft. View Example |
POOR example of color scheme(s) and attention to craft. | AVERAGE example of color scheme(s) and attention to craft. | ABOVE AVERAGE example of color scheme(s) and attention to craft. | EXCELLENT example of color scheme(s) and attention to craft. |
| OPTICAL COLOR MIXING Demonstrate an understanding of optical color mixing using dots, dashes, marks of color with attention to craft as appropriate to the medium. View Example |
POOR example of optical color mixing and craft. | AVERAGE example of optical color mixing and craft. | ABOVE AVERAGE example of optical color mixing and craft. | EXCELLENT example of optical color mixing and craft. |
| COLOR INTERACTIONS Demonstrates an understanding of how one color interacts with one another, creating shifts in value and hue. View Example |
POOR example of color interaction and ability to create shifts in value and hue, and craft. | AVERAGE example of color interaction and ability to create shifts in value and hue, and craft. | ABOVE AVERAGE example of color interaction and ability to create shifts in value and hue, and craft. | EXCELLENT example of color interaction and ability to create shifts in value and hue, and craft. |
| COLOR AND COMPOSITION Demonstrate an understanding of visual weight, balance, distribution, proportion, and emphasis using color in composition with attention to craft. View Example |
POOR examples of attention to craft, color distribution, visual weight, proportion, and emphasis in a composition. | AVERAGE examples of attention to craft, color distribution, visual weight, proportion, and emphasis in a composition. | ABOVE AVERAGE examples of attention to craft, color distribution, visual weight, proportion, and emphasis in a composition. | EXCELLENT examples of attention to craft, color distribution, visual weight, proportion, and emphasis in a composition. |
AR202 Drawing II
Figure Proportion and Foreshortening: Exemplifies the ability to accurately and proportionally represent the figure in foreshortened contexts.
Gestural Studies: Exemplifies the ability to use quick dynamic and expressive line to accurately describe and capture the energy of the figure in space.
Shape, Form, and Plane: Exemplifies the ability to use value, form, and shape to accurately represent the three-dimensional volume of the figure.
Figure in Composition: Exemplifies an understanding of the relationship between the figure and its spatial environment, representing balance and context.
| Drawing II AR 202 | 1 - Poor | 2 - Average | 3 - Above Average | 4 - Excellent |
|---|---|---|---|---|
| FIGURE PROPORTION AND FORESHORTENING Demonstrate an ability to represent the figure with accurate proportions and foreshortening. View Example |
POOR example of proportion and foreshortening. | AVERAGE example of proportion and foreshortening. | ABOVE AVERAGE example of proportion and foreshortening. | EXCELLENT example of proportion and foreshortening. |
| GESTURAL STUDIES Demonstrate an ability to use dynamic and expressive line, describing the figure in space with accurate proportions. View Example |
POOR example of gestural line, proportions. | AVERAGE example of gestural line, proportions. | ABOVE AVERAGE example of gestural line, proportions. | EXCELLENT example of gestural line, proportions. |
| SHAPE, FORM, PLANE Use of value, plane and accurate proportions to describe 3D volume of the figure. View Example |
POOR example of 3D volume, use of plane, value and accurate figure proportion. | AVERAGE example of 3D volume, use of plane, value and accurate figure proportion. | ABOVE AVERAGE example of 3D volume, use of plane, value and accurate figure proportion. | EXCELLENT example of 3D volume, use of plane, value and accurate figure proportion. |
| FIGURE IN COMPOSITION Demonstrate the understanding of figure/ground (positive/negative) relationships, balance, unity/variety and cropping. View Example |
POOR example of figure/ground (pos/neg) relationships, balance, unity/variety, cropping. | AVERAGE example of figure/ground (pos/neg) relationships, balance, unity/variety, cropping. | ABOVE AVERAGE example of figure/ground (pos/neg) relationships, balance, unity/variety, cropping. | EXCELLENT example of figure/ground (pos/neg) relationships, balance, unity/variety, cropping. |
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