Fall 2026 ART 106: Foundation Core Media Technologies and Arts (Units: 1.5)

Office Hours

Office: VIA A234

Office Hours: I don’t hold regular office hours, though from Monday to Friday I can generally be found in my office or in one of the labs. If you wish to meet, email me (chaman@uvic.ca) to arrange a meeting time. Zoom meetings are possible, if preferred.

Course Overview

This introductory course exposes students to the fundamentals of developing digital media content, layouts, objects and environments in both two and three dimensional spaces. This course is very software intensive and students will spend much of their time working with the tools described in this syllabus.

Topics

3D Modelling

• Understanding 3D space - Developing spatial awareness within digital environments, including scale, proportion, orientation, coordinates, and perspective.
• From 2D to 3D thinking - Learning to conceptualize objects and spaces from multiple viewpoints and understand relationships between form, structure, surface, and negative space.
• Modelling fundamentals - Working with basic forms, vertices, edges, faces, transformations, and fundamental construction techniques.
• Modelling objects - Constructing objects from simple forms while considering observation, proportion, detail, abstraction, and design.
• Modelling environments - Creating architectural, natural, and imagined spaces, with attention to scale, composition, and spatial relationships.
• Modelling strategies - Exploring different approaches to constructing forms and developing efficient, intentional modelling workflows.
• Materials, lighting, and presentation - Using materials, textures, lighting, cameras, and rendering to communicate and enhance 3D forms and environments.
• 3D modelling as a creative medium - Exploring 3D modelling not simply as a means of representation, but as a medium for artistic expression, experimentation, and visual communication.

Open-Ended Media Project: World Building

• World building as creative practice - Exploring how environments, cultures, objects, technologies, histories, and systems can combine to create a believable imaginary world.
• Research as a creative catalyst - Using the TRAPPIST-1 system, astronomy, science, history, culture, and other sources of knowledge as starting points for imaginative exploration rather than constraints on realism.
• Speculation and imagination - Moving beyond what is known to ask “what if?” and develop possibilities that may be unfamiliar, unexpected, or impossible.
• Developing a fictional reality - Establishing internal relationships, rules, histories, environments, and visual languages that give an imagined world a sense of coherence.
• Visualizing the unseen - Using digital media to communicate places, objects, beings, events, systems, and ideas that cannot be directly observed.
• Narrative and storytelling - Considering how a world can communicate its stories through images, objects, environments, sound, text, and other forms of media.
• Collaboration and shared authorship - Working collectively to develop ideas, negotiate creative differences, distribute responsibilities, and maintain a shared creative direction.
• Self-directed creative process - Developing an individual or group concept, establishing goals, selecting appropriate tools and media, and making creative decisions throughout the project.
• Experimentation and iteration - Treating unexpected results, failures, and changes in direction as productive parts of the creative process.
• Presentation and communication - Developing effective ways to present and communicate the imagined world to an audience.

Integrating AI into Digital Workflows (Optional)

Students have the option to thoughtfully integrate AI into a media project as part of their creative workflow. The goal is to experiment with AI as a creative tool and collaborator while considering its advantages, limitations, and implications for artistic practice. Students are encouraged to document their process and reflect on questions of authorship, creative agency, bias, copyright, and the role of human decision-making. AI use should be intentional and support the student's creative goals rather than simply replace their own creative process.

Course Objectives and Learning Outcomes

Course Objectives

1. Introduce students to digital technologies and workflows as tools for creative exploration, artistic production, and visual communication.
2. Develop foundational skills in 2D and 3D digital media, with an emphasis on experimentation, problem solving, and creative decision-making.
3. Encourage students to approach technology as a creative medium rather than simply as a set of technical tools.
4. Develop spatial, visual, and conceptual thinking through digital 3D modelling and world-building practices.
5. Introduce collaborative and self-directed approaches to digital media production.
6. Encourage students to critically consider emerging technologies, including AI, within contemporary artistic practice.
7. Develop students' ability to move from an initial concept through experimentation, iteration, refinement, and presentation.
8. Foster an environment in which experimentation, productive failure, curiosity, and unconventional approaches are valued as part of the creative process.

Learning Outcomes

By the end of the course, students should be able to:

1. Apply foundational digital media skills to develop and communicate creative ideas using appropriate software and workflows.
2. Navigate and construct within 3D digital environments, demonstrating an understanding of spatial relationships, scale, proportion, perspective, and three-dimensional form.
3. Create and refine 3D models of objects and environments using appropriate modelling strategies and demonstrate an understanding of basic model integrity and geometry.
4. Use digital tools intentionally and creatively, selecting techniques and workflows that support the conceptual and visual goals of a project.
5. Develop and communicate imaginative concepts through digital media, translating abstract ideas into visual, spatial, narrative, or experiential forms.
6. Experiment and iterate, using testing, revision, troubleshooting, and unexpected outcomes as part of an intentional creative process.
7. Work collaboratively on an open-ended creative project, contributing ideas, skills, and constructive feedback while negotiating shared creative goals.
8. Reflect on authorship and creative agency, considering the role of human decision-making when working with digital tools, collaborators, and AI systems. (Optional)
9. Present and communicate completed work effectively, using appropriate digital formats and demonstrating an awareness of audience and context.

Assignments

3D Modelling: Reimagining Place

In this project, students will combine foundational 3D modelling skills with creative problem-solving to imagine a new relationship between architecture, public space, and the people who inhabit it.

Students will model portions of the building housing the 5050 Arts Collective on Douglas Street, then extend their vision into the adjacent parking lot, reimagining it as a more welcoming, humane, and livable public space.

The project invites students to think beyond simply reproducing an existing environment. How might this space feel, function, and be experienced differently? What could transform a utilitarian parking lot into a place where people might want to walk, gather, pause, or simply spend time?

The completed environment should incorporate the following required elements:

• Portions of the 5050 Arts Collective building
• A reimagined adjacent public space
• A vehicle
• Park benches or other seating
• Street lighting
• Pedestrian sidewalks
• Roadways and circulation
• Trash and recycling amenities

Students are encouraged to experiment with scale, form, materials, spatial relationships, landscaping, lighting, and atmosphere to develop a distinctive vision for the site. The emphasis is not on creating an architecturally perfect representation, but on using 3D modelling as a tool for observation, imagination, problem-solving, and creative expression.

World Building: A New Reality

Project Overview

An imaginative group exercise in world building. Working within the TRAPPIST-1 star system, students will self-direct a digital media project that explores, describes, or reveals some aspect of an imagined world.

Scientific realism is not the goal. Instead, the TRAPPIST-1 system provides a jumping-off point from which research, speculation, imagination, and experimentation can coalesce into a new reality. What exists there? Who or what inhabits it? How does it function? You decide.

Setting & Scope

The TRAPPIST-1 red dwarf system and any of its planets provide the setting.

The scope is deliberately open-ended. You might develop an advanced, space-faring civilization spanning an entire planetary system, or focus on a small ecosystem within an underwater cavern. A single creature, object, location, culture, technology, or event can be as valid a starting point as an entire civilization.

The challenge is to make your choices intentional and create a sense of coherence within your imagined reality.

Possible Project Forms

The possibilities are open-ended. Examples include:

• 2D or 3D animation
• Stop-motion / claymation
• 3D models or environments
• Software / games
• Analog games
• Image and soundscape combinations
• Graphic novels or comics
• Mixed media
• Magazines, catalogues, diaries, or logs

The medium is up to you. The world is yours to invent.

Critiques

The final two classes of the course are reserved for critiques.

Grading

There will be a combination of skills-building exercises and two major assignments weighted as follows:

All Exercises (Total)   30 %
CAD Assignment       35 %
Digital Media Project 35 %

Assignment particulars and grades will be posted to the Art 106 Bright Space shell.

Clear weighting for exercises, assignments, critiques, participation and engagement. Could also include assessment methods.

Department of Visual Arts Attendance Standard.

Experiential learning and engagement are directly tied to class attendance. In the Department of Visual Arts students are expected to attend all classes. To succeed in the course, students should not have more than 2 unexcused absences in a 12-week semester, which equates to 6 hours of instruction.

Any student, regardless of illness or accommodation will not be able to succeed in the course with absences over 30%, which equates to 12 hours in a twelve-week semester. If a student finds that they are not able to meet this requirement, the instructor will work with the student to apply for academic concession or exceptional circumstances accommodation.

This standard is in place to ensure that students in the program acquire artistic experience in conjunction with the skill and safety requirements needed to complete the coursework and continue in the program. We find that active communication between students and instructors is the best method for ensuring attendance requirements are met. (Instructors are free to add information on how they will manage communication around attendance and can specify ways that they will work with a student who is experiencing extenuating circumstances). If the attendance standard has not been met and there is no communication with the instructor, an incomplete or failing grade will be assigned.

Academic Concession Link:

https://www.uvic.ca/students/academics/academic-concessions-accommodations/request-for-academic-concession/#ipn-request-a-withdrawal-or-aegrotat

Use of Generative AI in Assignments

AI may be used in this course, but only with transparency and in ways that support learning, critical thinking, and academic integrity.

Ethical Use of AI in Coursework

Students may choose to use AI technologies - including Large Language Models such as ChatGPT, to support their learning in this course. Any use of AI should be ethical, meaningful, and critically informed, and should enhance, rather than replace, a student’s own understanding and academic work.

Permitted Uses

Principle:

Students may use AI tools for visual ideation including preliminary imagery, concept generation, and the development of creative directions, provided this work is accompanied by critical analysis. Students are expected to assess the appropriateness, reliability, and ethical implications of AI-generated material, and to articulate how such material informs, but does not replace, their own creative process.

Students may use AI for tasks such as:

• brainstorming and idea generation
• clarifying concepts
• language refinement (grammar/checking clarity)
• developing initial outlines / frameworks
• concept generation and development as described in the above principle.

Prohibited Uses

AI must not be used for:

• generating complete assignments or submissions that are then presented as original work
• avoiding required readings, research, analysis, or creative thinking
• producing academic dishonesty (plagiarism, fabricated citations, etc.)
• generating sensitive personal information about others

Transparency

Students must be transparent about when and how AI is used. Any substantial use of AI should be acknowledged and addressed in the work. If in doubt, it is better to fully disclose such details.

Critical Engagement

Students are responsible for critically evaluating the accuracy, quality, and ethical implications of AI outputs. AI-generated material may contain inaccuracies, biases, or misleading information. Students are expected to verify facts and maintain academic integrity.

Instructor Guidance

Students planning to incorporate AI in substantial ways (beyond drafting or brainstorming) must consult the instructor. The instructor may require revision or reject work that relies inappropriately on AI tools.

Materials

Post what materials your course requires here.

Additional Information

Additional Information as needed.

Support

CAL Accommodations

Instructor Responsibilities:

• Access, review and acknowledge receipt of the accommodation letter https://al.uvic.ca/ClockWork/user/instructor/default.aspx
• Take the time to privately discuss the accommodation with your student; if you would like to understand the requested accommodation better, reach out to the CAL Advisor mentioned in the accommodation letter or communicate with both the student and their CAL Advisor. The goal is to learn if the accommodation pertains to studio-based classes, and if so, discuss best practices for moving forward with the accommodation request and achieving the learning outcomes of the course.
• Work with your student to meet their requirements for your specific class.
• Inform the student of their role in the accommodation process.
• Be mindful of the need to ensure confidentiality and protect the student’s privacy at all times.

Student Responsibilities:

• Register with the Centre for Accessible Learning by the posted deadlines https://www.uvic.ca/accessible-learning/students/how-to-register/index.php
• Take the time to discuss your accommodation with your instructor. Consider how your accommodation relates to a studio-based learning environment, and which, if any, aspects will pertain.
• A CAL accommodation does NOT exempt students from completing assignments or attending class.
• If you require additional time on an assignment or deadline, this must be discussed with your instructor in advance.
• If you require alternate methods for engagement (class discussion, working in the studio classroom, working in the shops), discuss this with your instructor at the beginning of the course.
• If you require alternate methods for lectures, film or image presentations, discuss this with your instructor at the beginning of the course.
• Keep your instructor up to date on accommodation needs throughout the term, especially if there are improvements or setbacks.

Health and Safety Policies for the Department of Visual Arts

 In order to protect the integrity of the Visual Arts building and guarantee the safety of students, staff and faculty, the following guidelines must be followed:

• There will be no alteration of the physical building (temporary or otherwise), without the written approval of the chair. All proposals for special projects should be first submitted to The Visual Arts Facilities and Production Manager for consideration.

• All temporary installations of art that may occur outside the regularly sanctioned locations (i.e., the gallery and classrooms) must be authorized.

• At no time will the use of hazardous materials either inside or outside the vicinity of the Visual Arts Building, be permitted without the department’s prior approval.

• There shall be no disposal of toxic materials down sinks: all solvents, acids and other substances used in the routine course of art making must be handled in a safe and acceptable manner. 

• Artworks that include an element of self-harm must be authorized in writing by the Chair and will include strict pre-determined conditions depending on the proposal. In most cases the artist/ student will be responsible for ensuring all safety precautions are taken regarding their safety and the safety of others. This includes having first aid equipment at the performance or during the creation of the work where the action takes place, and consider any health risks your actions may pose to others. At the discretion of the Department Chair, a first responder may be required to be present

• Art that includes elements of violence, self-harm, and or other subject matter that may be traumatic or pose a trigger risk should be clearly identified to students, faculty and staff, allowing them to choose if they want to witness your work, these types of warnings are typical if one were to do such a performance in a gallery or other public space.

• Art that includes excessive volume is dangerous to the hearing of students, faculty and staff. These artworks can also be disruptive to other classes and activities within the Visual Arts Building. Artworks and or actions that contain sound at or above 98dB need to be pre-approved by the Department and clearly labeled. During critique situations hearing protection should be made available anyone required to experience the piece. Free decibel metering apps are available for most smart phones determine the level or risk.

FAILURE TO COMPLY WITH THE DEPARTMENT SAFETY GUIDELINES MAY RESULT IN ACADEMIC PENALTIES, FINANCIAL CHARGES, AND/ OR, THE LOSS OF SHOP, LAB, STUDIO, AND EQUIPMENT USE PRIVILEGES.