Fall 2026 ART 115: Exploring Drawing and Colour (Units: 1.5)

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Course Overview

Welcome to Exploring Drawing and Colour. This is a course designed around the practice of drawing and the nature of colour. The seminar will investigate the representational drawing method and compare it to alternate ways of thinking and expressing oneself in the second dimension. The material will appeal to participants from any profession that requires the transformation of material and the development of a concept. The seminar will survey the drawing conservatory, and the in-class sketching component will facilitate conceptual and technical approaches toward the confident handling of varied media.

Drawing and colour theory are often viewed as diametrically opposed topics.Let us occupy and enjoy the mystique of this integrated course title about light and texture.

Topics

In this course the investigation of drawing is complimented with the traditional aspects of a colour theory course as the class concurrently attempts to understand colour through art, physiology, chemistry and physics, as well as their prospective historical developments. And while the making of great art is not necessitated by colour science, colour theory effects how we see and visualize, and its understanding is advantageous in the advent of digital media.

Topics include colour relativity, colour constancy, and explorations into near-equal luminosity.

Course Objectives and Learning Outcomes

Our objective is to draw, and while doing so, to develop an awareness that our lives are made competent through an evolution of design. Practice will inspire confidence in technique, rhetoric, and scope, during active problem solving and exposure, by means of exercise, discussion and historical analysis.

Assignments

Every class is a drawing/painting activity that will be included in the final portfolio. Roughly every two weeks there will be  an assignment that is to be done independently. You are advised to complete these assignments and include them in your portfolio in tandem with the pace of the schedule, but will technically be due in two batches, mid-term and end of term.

Assignments: 

Use the Whole Pen

Composition using only Five Lines

Find a Rainbow

Fool's Paradise: Make an image based on the prismatic fringes of looking through a prism

Squash and Stretch

100 Blacks

Something Must Be Done: make a list

Final Project: Double-reflection self portrait w/ retinal drawing

Critiques

There are no formal group critiques in a large enrolment class such as this, although you are encouraged to view the digital portfolios of other students. Conversations about the drawings are conducted in the classroom while they are being made. 

Grading

Your grade is overwhelmingly informed by the strength of your final portfolio. Participation and attendance are also important factors. In most cases more than six unexcused absences can be considered a technical fail. This is an experiential learning studio course that requires you to be there.

Given the qualitative nature of our investigations, there is no one rubric that would describe a successful outcome, however conceptual rigour, technique, evidence of effort in production, demonstrative of understanding the learning principal, use of economy and originality are components to be observed. 

Participation 20%

Drawing Assignments 80%

About 23-26 drawings in total.

Each worth roughly 3% each

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

(The material list is only a suggestion, not required, but consider
it an oThe material list is only a suggestion and not required, but consider the course as an opportunity for media exploration. The main requirements are coming to class prepared to draw with paper and drawing utensils. Art materials can be expensive and there are many painting mediums to choose from. I offer some paint for those without in the situations that require it, however they are not quality materials. You are advised to have your own.

8 ½ x 11” paper, pen, and pencil in combination with digital photo or scanner,

clear ruler, eraser

drawing tablet (not required, but if you already have one, it is a possibility, and you are encouraged to use it.)

coloured papers (could be salvage)

portable water colour kit

guache

glue-stick

brush pen, ink, brush, quill

prism

pfor media exploration. The main requirements are coming
to class prepared to draw with paper and drawing utensil.)
8 ½ x 11” paper, pen, and pencil in combination with digital photo or scanner,
clear ruler, eraser
drawing tablet (not required, but if you already have one, it is a
possibility, and you are encouraged to use it.)
coloured papers (could be
salvage)
portable water colour kit
guache
glue-stick
brush pen, ink, brush, quill
prism

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.