Art 260 & Art 200
Greg Clayton
CIDA curriculum standards with links to related course assignments and course content web pages. Each item is labeled "P" (Primary), "S" (Secondary) or "O" Supplemental
this page: www.harding.edu/gclayton/GLC_CIDAStandards.html
The teaching and learning methods MUST incorporate:
1F O — the experience of team approaches to design solutions.Art 200/2D Design
At least one project and several minor exercises will involve teams of designer. ( Creative Space )
[CIDA O supplemental]1G O — experiences that provide interaction with multiple disciplines (for example, code specialists, engineers, architects, artists, behaviorists) representing a variety of points of view and perspectives on design problems.
Art 200/2D Design
Projects ( Creative Space ) and multiple group critiques, group ideation experiences will usually involve student artist/designers from a variety of backgrounds. (e.g. Interior Design, Fine Art, Graphic Design, Web/Interactive Design and sometimes Theater Design)
[CIDA O supplemental]
The program MUST provide learning experiences that address:
2A O — client and user needs and their responses to the interior environment.
Art 200/2D Design
Most problem-solving exercises and projects consciously address user/client/viewer needs and responses, though sometimes only in terms of aesthetic response. Some projects explicitly address the interior environment. The problem-solving process introduced and reiterated throughout the course, includes an "Analysis" stage, in which the client/user/viewer is to be considered and assessed. In the "Define" stage, client/user needs and client/user responses are to be described in the concept statement.
At least two course projects directly involve interior space issues. ( Personal Creative Space Project & Nature Study Exhibit Design )The program MUST include learning experiences that incorporate:
2E S — critical, analytical, and strategic thinking.
Art 200/2D Design
— Creative Problem-Solving Process content ( CPSP) (lecture/discussion and web) includes analytic tasks and strategies. ( text also include some content on creative process.)
— CPSP is reiterated in each course project. (lecture/discussion)
— Critique is introduced and stressed as an aspect design method/process. (lecture/discussion) ( text also includes brief content )
— Critique is practiced individually (written crits of professional designs, and peer works, along with written self-crits of both incomplete and completed projects), in groups (verbal crits of in-process designs/presentations) as well as on tests/quizzes (written/graphic crits of professional art/designs).
— Test (and sometimes quizzes) include written critiques of formal traits of art/design works.
Art 260/Color Theory
— Critique is practiced individually (written crits of professional designs, and peer works, along with self-crits of both incomplete and completed projects), in groups (verbal crits of in-process designs/presentations) as well as on tests/quizzes (written/graphic crits of professional art/designs).
2F S — creative thinking (exhibit a variety of ideas, approaches, concepts with originality and elaboration).
Art 200/2D Design
— Creative Problem-Solving Process (CPSP) content ( lecture/discussion, web, text), introduces and stresses many aspect of creative thinking, including emphasis on and discussions of the importance of generating and exploring a multipicity of ideas, variations on initial ideas, and out-of-the-box originality.
— Multiple concepts (sketches) are expected for each project.
— CPSP is reiterated in each project.Art 260/Color Theory
— Multiple concepts (sketches) are expected for projects.
2G S — the ability to think visually and volumetrically.
Art 200/2D Design
— Sketching discussions/lecture introduces visual thinking issues and sketching as a primary tactic for developing visual concepts. (volumetric issues are less prevalent — though are explicit in Personal Creative Space and Nature Study Exhibit.
— Concept sketching is emphasized and expected for assignments, ongoing class critiques and in-class presentations.
— Personal Nameplate problem includes a spatial constraint.Art 260/Color Theory
— Concept sketching is emphasized and expected for assignments, ongoing class critiques and in-class presentations.
2H O — professional discipline (for example, time management, organizational skills).
Art 200/2D Design
— Creative Problem-Solving Process content includes accepting, addressing and planning timetable of design progression and implementation.
— CPSP is reiterated in each project.2I O — active listening skills leading to effective interpretation of requirements (for example, programming interviews, participatory critiques, role playing).
Art 200/2D Design
— Students are expected to discern project requirements from both written descriptions and verbal presentation and question-answer episodes.
— Students regularly participate in critiques of their own work, professional designs, and peer designs.Art 260/Color Theory
(Same as Art 200)
Student work MUST demonstrate understanding of design fundamentals including:
3A P — design elements (for example, space, line, mass, shape, texture) and principles (for example, scale, proportion, balance, rhythm, emphasis, harmony, variety).
Art 200/2D Design
Content of 2D Design course includes introduction, discussion of, examples of, exercise with and analytical recognition of design elements. (lecture/PPTs, Web, Text ) Students are expected to identify dominant/active visual elements in professional designs (written critiques ) and to establish dominating formal traits in their concept statements and designs.
— Assigned critiques
— Progression designs (Order-Disorder Series, Static-Dynamic Set, Thematic Progression Series, etc.)
— Written critiques on test.
— Nature Study content (Designed space is to assert graphic/formal unity. Content is to include present formal traits of the subject. Presentation is to be graphically unified. )Art 260/Color Theory
— Continues discussions and experiences with core design elements.
— "Scheme to Palette" discussion & exercises explore harmonizing color palettes by developing explicit color relationships. (Lecture/Discussion, exercises )3B P — color principles, theories, and systems (for example, additive and subtractive color, color mixing; hue, value, and intensity; the relationship of light and color).
Art 200/2D Design
Limited introduction to core color issues.
Art 260/Color Theory
Primary content of the Color Theory course includes introduction, discussion of, examples of, exercise with and analytical recognition of color traits, theory and systems.
— various color plates/exercises ( Color mapping, color mixing, value staff, intrinsic value staff, complement mix plate, Constant Hue plates )
— tested content
— creative designs3C P— theories of design and design composition (for example, functionalism, Gestalt)
Art 200/2D Design
— Gestalt issues are introduced ( Lecture/Discussion ) and explored in developing patterns/motifs in Order-Disorder series
— Ongoing discussion of Harmony as an expressive balance of similarity and variety is the primary aesthetic theoretic base. (introduced in PPT/lecture content )
— Functionalism is introduced in association with the Creative Problem Solving Process as an imperative relationship between form and purpose, design and concept statement.
— Analysis is explored as a necessary stage for assessing the needs and limitations of the design problem and the design context.
— The Define stage involves establishing the goals and functions which the designer will pursue in developing the design.
— The Select stage asserts that effective design choices can only be made in reference to the design's concept — select only forms that follow the function, goals and purpose outlined in the concept statement.
— The Evaluate stage involves reflecting on the concept statement, and thus on the goals and functions that drive the design's development -- comparing actual design choices to stated purpose/intent of the design.Art 260/Color Theory
Beyond the traditional hue schemes, a variety of color theorists are introduced (Lecture & Text ) offering theories and observations on color balance, optical mixing, simultaneous contrast.
Further, the scheme-charting system is derived from Ellinger's Color Structure and Design. The charting methods lead to a theory of color harmony baed on well-established hue, value, chroma dominances (color balance) and on well-established hue, value and chroma relationships among the palette's colors ( unity ). The method encourages the designer to concieve schemes in terms of both adequate similarity for unity, and adequate diversity for contrast.
3D S — principles of lighting design (for example, color, quality, sources, use).
Art 260/Color Theory
— Color of light sources, color lighting balance, light-surface interactions, etc. included in lecture and testing.
Student work MUST demonstrate understanding of theories of human behavior in interior environments:
3E O — human factors (for example, ergonomics, anthropometry/anthropometrics).
Art 200/2D Design
Limited discussion/design involving ergonomic issues in Personal Creative Space Design.
3E S — the relationship between human behavior and the built environment.
Art 260/Color Theory
Color, color environment and human response issues presented and tested. ( text, Ch. 5 )
Student work MUST demonstrate understanding of the history of:
3HIJK O — art/architecture/interiors/furnishings
Art 260/Color Theory
— Historical use of color in varied creative fields introduced in text, lecture.
— Student presentations involves how color has been used in a contemporary or historical context.
— historical development of color use (and understanding of color) is tested.
Student work MUST follow a process and demonstrate the ability to:
4A P — apply 2-dimensional design elements and principles in interior design projects.
Art 200/2D Design
P — Nature Study Exhibit incorporates principles in
(a) the design of the unifying traits of the presentation itself,
(b) in the design of the space, and
(c) in the content presented within the exhibition, regarding formal traits of the study's subject.
— Creative Space project, to a lessor extent incorporates elements and principles in an interior.4B O — apply 3-dimensional design elements and principles to the development of the spatial envelope (for example, volumes of space, visual continuity and balance, visual passages, interconnecting elements).
Art 200/2D Design
— Nature Study Exhibit incorporates principles in the design of the space.
— Creative Space project, to a lessor extent incorporates elements and principles.4C P — select and apply color in interior design projects.
Art 200/2D Design
— Nature Study Exhibit and Creative Space project involve color selection and application.
Art 260/Color Theory
P — Creative color projects ( 4-Scheme design, Nature Color Design ) involve planning, applying, rendering and specifying color in interior applications.
Student work MUST demonstrate programming skills, including:
4D S — problem identification.
Art 200/2D Design
— Creative Problem-Solving Process, as presented and applied, includes Analysis of and Definition of problem.
4E O — identification of client and user needs.
Art 200/2D Design
— Creative Problem-Solving Process, as presented and applied, includes Analysis of and Definition of problem context, including users/audience. Client/User needs, however, are not stressed in this course's projects.
4F O — information gathering research and analysis (functional requirements, code research, sustainability issues, etc).
Art 200/2D Design
— Creative Problem-Solving Process, as presented and applied, includes Analysis of the problem context, including exporation of functional issues. However, code issues and sustainability are usually only peripheral issues, at the most, in this course.
Student work MUST demonstrate competent schematic design, concept development, and problem solving skills including:
4G S — concept statements.
CPSP introduces concept statements as a designer's definition of a project's unique objectives — both in terms of client expectations and designer goals/priorities. Critiques (and, in some cases, grading) are based on success of design solution in relation to student's concept.
4H S — the ability to rapidly visualize concepts through sketching.
Art 200/2D Design
Sketching and visualization excercises introduce visual concept development. Sketching is stressed in the development of all projects.
Art 260/Color Theory
Sketches continue as primary tool for graphic concept development.
(Interior projects: )4O S — Student work MUST demonstrate competent design development skills in:
justifying design solutions relative to the goals and objectives of the project program.
Art 200/2D Design
CPSP introduces and emphasizes that the problem statement, initial needs and the designers concept are the basis for critical evaluation of a design.
Art 260/Color Theory
Continues CPSP emphasis on problem conditions and concept statement priorities.
Student work MUST demonstrate competence in:
5B O — illustrative sketching.
Art 200/2D Design
Presentations for Personal Creative Space and Nature Study Exhibit require sketches during concept development.
Art 260/Color Theory
Interior projects require sketches during concept development.
5C S — presentation of color, materials, and furnishings (for example, sample boards, collages, mock-ups, digital representations).
Art 200/2D Design
Presentations for Personal Creative Space and Nature Study Exhibit include illustration and/or model requirements.
Art 260/Color Theory
Interior projects encourage sample boards and/or mock-ups as presentation tools.
Students MUST:
5D O — express ideas clearly in oral presentations and critiques.
Art 200/2D Design
Course includes oral presentations of concepts under development, completed designs, and participation in oral critques.
Art 260/Color Theory
Course includes oral presentations of concepts under development, completed designs, and participation in oral critques.
5E O — communicate clearly in writing (using correct spelling, grammar, and syntax) in specifications, schedules, and contracts and other business-related documents, such as project programs, concept statements, reports, research papers, resumes, and correspondence.
Art 200/2D Design
Written work includes: concepts statements, design analysis and (some) critiques. (however, ordinarily, these are not expected to have rigorously correct grammer/spelling/syntax.)
Art 260/Color Theory
Written work includes: concepts statements, design analysis and (some) critiques.
Student work MUST demonstrate the ability to:
5F O — render by any medium, manual or computer -generated, that successfully communicates the design intent.
Art 200/2D Design
Presentations for Personal Creative Space and Nature Study Exhibit require rendering (or model).
Art 260/Color Theory
Interior projects require rendering of color applications.
* CPSP — Creative Problem-Solving Process. As presented in this course, a series of nine-stages, each with its own concerns and priorities, which typify and model a designer's creative process. Introduced early and reiterated throughout Art 200.
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