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UTD Course Syllabus FOR REFERENCE: Formerly offered as ARTS 3340

Spring 2010 Arts 3311 COLOR Thursday: 4:00 – 6:45 p.m. Room 1.116


Professor Contact Information

Lorraine Tady Office: AS 2.114 Phone: 972-883-6753 Office Hours: Thur 1:00 – 4:00 p.m.; and by appt.

Email: Please specify in subject header of email UTD Class Name/Your Name
In general, let’s talk about issues before they become problems. Face-to-face/ in-person discussions (before or after class or
by appt.) are preferred over lengthy phone or email correspondence.

Course Pre-requisites, Co-requisites, Restrictions: 3 hrs of lower-division studio art course work.
Course Description

ARTS 3311 Theory and Practice of Visual Arts (3 semester hours) This studio art course provides a context for the
creation, discussion and critique of visual art. The course aims to fuse engagement in artistic production with reflection on
theoretical and socio-cultural issues relevant to contemporary art practices. Prerequisite: ARTS 1316, ARTS 2316, ARTS
2350, ARTS 2380, or ARTS 2381. (0-3) T

COLOR is a studio workshop for students to delve fully into the study and manipulation of color in a visual work of art
(traditional and digital). Color theories and color properties, as well as color in juxtaposition to historical, symbolic,
psychological, chemical, biological, and cultural systems are reviewed. Artists throughout the ages and contemporary visual
artists as well as writers, poets, architects, filmmakers, philosophers, etc. who investigate or use color in an important way
in their work will supplement the course study. The objective of the course is that the student will gain a personal breadth
and focus on the subject of color, and, the student will work towards a personal voice and expression in dealing with color
in their own work. Projects require traditional materials, computer and digital work, and other various mediums of the
student’s preference.

Student Learning Objectives/Outcomes

1.Students will explore the subject of color in visual art and design, developing a broader understanding of the history and
meaning of color in culture, various artistic practices, and contemporary visual arenas.
2. Students will practice creative problem solving using various mediums, building skill and understanding with regards to
color theme and manipulation, and striving towards personal interpretation and vision.
3. Students will work with the design elements and the visual language, engaging with verbal analysis and studio practice.

Required Textbooks and Materials

No required textbooks.
E-book, UTD:
Charles Riley Color Codes: Modern Theories of color in philosophy, painting, architecture, literature, and psychology

Recommended sources:
Joseph Albers The Interaction of Color, Yale University, New Haven, 1975.
Johannes Itten The Art of Color and Design and Form: The Basic Course at the Bauhaus
Albert Munsell (A Grammar of Color), Wilhelm Ostwald (The Color Primer), Goethe (Farbenlehre),
Hermann Hemholtz, Adolf Holzel, Lothar Lang, Isaac Newton, M.E. Chevreal,
Leatrice Eiseman and Lawrence Herbert The Pantone Book of Color Harry N Abrams, Inc., NY, 1990
Color Aid
Annie Besant and Charles Leadbeater Key to the Meaning of Colors
The Spiritual in Art:Abstract Painting 1890-1985 (Los Angeles County Museum of Art and Abbeville Press, NY, 1986)
Kandinsky Concerning the Spiritual in Art
Hans Hoffman Search for the Real
Alexander Theroux The Primary Colors: Three Essays (Henry Holt and Company, NY, 1994)
Ludwig Wittgenstein Remarks on Color

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Arthur Schopenhauer, poet Rimbaud, and poet Billy Collins
K. Kieslowski Blue, White, Red film trilogy; Woody Allen’s Interiors
John Gage Color and Meaning: Art, Science, Symbolism University of California Press, LA, 1999)
John Gage Color and Culture: Practice and Meaning from Antiquity to Abstraction (Thames and Hudson, 1993)
Marcia Hall Color and Meaning: Practice and Meaning in Renaissance Painting
Rupprecht Matthaei, Editor. Goethe’s Color Theory (Von Nostrand Rheinhold Company, NY, 1970)
Design Basics by David A. Lauer and Stephen Pentak (Wadsworth/Thomson Learning, Belmont, CA, 2002)

Required Supplies

It is required that you have appropriate supplies to develop artwork during and outside of class. You may need to replenish
items during the semester. Projects require traditional materials, computer and digital work, and other various mediums of
the student’s preference. You may be required to present your work in a professional manner for student exhibition,
possibly large professional color prints of your digital work or additional preparation for installation.

Recommended possibility A basic KIT has been set up for purchase at Asel Art:

Color-Aid 220 Colors, 4.5x6

Triangle, 30/60, 8”
X-acto Knife
Rubber Cement
Ruler with cork back, 15”

Palette Kit #1013 or similar (clean plastic palette, 9 ¾” x 13 ½”, for watercolors, large mixing area, 20 tubs/wells, lid,
storage; enables you to mix and save dry/re-wettable gouache)
Sabelline brush (Round, size 4) Artificial, synthetic sabelline (at least one, students may find 2-3 helpful) OR #6 American
Painter 2300 Shader
Designer Colors Gouache, Windsor/Newton: (do not substitue)
Ivory Black, Zinc White, Cadmium Yellow Pale, Cobalt blue, Magenta red (14ml)

Bristle pad (paper for color aid presentation)

Sketch book, spiral bound, 9x12 (for Color Source Dictionary)

Other items necessary:

Pentel or Bic #2 0.7 mm mechanical pencil
Some kind of water jar, recycled plastic with lid

Digital projects:
Computer access, Photoshop, and scanner capabilities (provided by university lab; printing available next door to bookstore
or in library)
CDs, flash or zip drive, etc.
Personal snapshot or digital camera/camera phone and capability for storage and retrival of images (CD, flash drive, or
negatives) and a physical result such as a print or grocery store developed and computer printed pictures.

If additional supplies are needed: Hobby Lobby, MJDesigns, Michaels, Sav On Office, Office Depot, Office Max, and
websites (allow 5-7 days shipping)

Assignments & Academic Calendar

Subject to change, therefore attendance is important

Jan 14 Introduction, material requirements, expectations. Artist examples of how small studies led to major
works with a color subject. (Contemporary artists and historical examples in the history of color in art will be viewed
throughout the semester.)
The sources listed on the syllabus (recommended textbooks) will be discussed in class. Through visits to exhibitions, talks
from visiting artists, lectures, readings, films, slides and “hands on workshop experiences”, the semester will progress
towards preparing the student to propose 5 ideas each for 2 major color projects (Color Project I and II) in the second half
of the semester. These 2 major color projects will be influenced by the student’s personal response to the information
discussed in class and reflect a personal vision and intent. Therefore, the two major projects are “open media” and might
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possibly manifest as sculpture, painting, video, photography, etc.* Both Color Project I and Color Project II will have
intermediate proposal stages consisting of 5 studies to present in the scheduled developmental discussions and critiques,
and their final presentation will be due during the second half of the semester.
The first half of the semester is a preparation for Color Project I and II. Various topics introducing color theory and color
concepts (ranging from a scientific approach to the metaphysical or psychological) invite students to explore approximately
20 small color “lab” problems. Additionally, students will have ongoing outside projects called “ATLAS” (using snapshot
photography as a tool to capture color ideas or notations) and “Color Dictionary Source Collection” (a sketchbook/ journal/
physical collection of color). These projects provide hands on comprehension of the class material and may influence a
student’s direction for further study in Color Project I and II. Overall, this accounts for 22 lab projects, 10 preparatory
studies (5 each for Color Project I and II), and 2 major color works called Color Project I and II.

*Projects presented must not be projects from previous or current classes unless this is discussed beforehand with the

Continue with Academic Calendar – Subject to change, therefore attendance is important

Jan 21 Word/Color Project, a personal experiment/ interpretation of word/color association using color aid.
Black, White and Grey meditation; Value, Value Contrast;
High Key, Middle Key, Low Key Lab Project
Film: Bergman’s “The Seventh Seal” or Hiroshi Teshigahara’s “Ako”
Describe and begin Color Dictionary Source Collection (a sketchbook/journal/physical collection of
color symbolism, color in culture, natural and man made color, etc.).

Jan 28 Review High, Middle, Low Key meditations; Review and discuss Word/Color project

Overview of Johannes Itten’s Color Wheel and the history of Color Solids (Goethe, Runge, Chevreal,
Bauhaus, etc.); Tints and Shades, Saturation, Temperature, Color Interaction, Spatial Tension; Color
Harmony, Color and Color Theory, Joseph Albers, Simultaneous contrast, illusion of transparency,
optical vibration, Bezold Effect; Color in Art History and Contemporary “color” artists continued.

Assign Color Influence lab projects:

Simultaneous Contrast Project #1 - Make 1 color look like 3
Simultaneous Contrast Project #2 - Make 2 colors look like one
Spatial manipulation of color, freestyle, exploring spatial tension, and (separate or
included,) Color Vibration, and Illusion of Transparency
Bezold Effect variations
Psychophysiological Color Effect
Exploring Warm and Cool Colors within one color family

Feb 4 Continue discussion and lab projects.

Describe ATLAS project (24 minimum snapshots)
Developmental critique of lab projects, ATLAS and Color Dictionary

Feb 11 Limited palettes and color organization theories: Monochromatic, Analogous, Split Complement;
Itten’s Contrast Theories: Light/Dark Contrast, Contrast of Extension, Warm/Cool Contrast, Contrast of
Saturation, Contrast of Hue; These are lab projects to explore.
Developmental critique of ATLAS and Color Dictionary

Feb 18 Continue ongoing review of Lab Projects.

Color as Light, Chemistry and Sensation (continue Goethe, Runge, Albers “morality of color”); Color and
Sound, Color Coding, Color and psychology; Color and the Spiritual; Various Color Solids and artist
examples of personal color manifestos. (Chakra codes in WWI, Beasant and Leadbeater’s Thought
Forms, California experimental filmmakers, etc.)

Feb 25 Describe outside project, Color Notation Project – Observation of Local Color – 1 scene noted 2-3
different weather/or light situations
The case of Krystof Kieslowski’s Blue, White and Red trilogy (film) discussion and viewing

Mar 4 All LAB Projects due.

Your in-class presentation of 3-5 visual ideas for Color Project I
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(Mar 5 10:00 a.m. midterm grades due)
Mar 11 In class presentations continued. Developmental critique of Color Project I

Mar 18 Spring Break

Mar 25 Present Color Project I

Apr 1 Present Color Project I

Apr 8 Present 3-5 visual ideas for Color Project II

Apr 15 Developmental critique of Color Project II

Apr 22 Present Color Project II

Apr 29 LAST REGULAR CLASS Present Color Project II; any late work due

May 6 FINAL Critique during regular class time; Present Color Project II

May 19 Grades due

Grading Policy
Evaluations take into consideration the following equally:
1. Project completion and result/ outcome as outlined in critique criteria.
Critique criteria involves:
(1) Overall results of work and understanding of objectives
(2) Personal concept & interpretation of the problem into a visual image/ creativity in visual concept
(3) Mastery and development of skills and technique in the use of materials/craftsmanship
(4) Results of/ use of composition and formal elements in the work (design, spatial concerns, color, etc.)
(5) Ability to verbalize personal connection to the work (concept), verbal analysis of the formal issues (visual
elements), and to verbally connect the work to other artists modern or contemporary
(6) History of development of work during previous “work in progress” days or “critique in development” days

2. Critique sessions and group evaluations are like major tests. Attendance and participation are graded. Attendance is
required for verbal analysis and evaluation of visual projects. If missed, student must set up an appointment with the
instructor a later date. If more than one critique session is missed the student’s grade will be lowered.

3. The preparatory and exploratory investigations, and lab projects assigned will be graded for evidence of thoughtfulness and
intent for discovery.

4. Each project begins with a lecture that explains each assignment and is not repeated. Attendance is important to grasp the
objectives. If a student misses more than one slide lecture, their grade could be affected.

i. Projects must be completed by due dates for full credit.

ii. All projects are equally important. Expectations rise as the course advances through individual and group critiques.
iii. ALL grade concerns should be discussed PRIOR to the end of the semester. If you are worried about your GPA or scholarship,
be pro-active with your concerns & meet with me periodically DURING the semester when suggestions are effective for
improving your outcome.
iv. Portfolio of assigned work thoughtfully exhibits growth or understanding of objectives; and shows results, commitment, effort,
focus, complexity, and willingness to be open to new ideas. Work shows demonstrated awareness of problems involved,
experimentation within objectives, variety in solutions and investigations. Work exhibits good craftsmanship, care, presentation
and execution.
v. Participation in class studio and discussions, critiques, and activities; maintains a good attitude and has a good work ethic. The
commitment to attend full classes regularly and to be prepared with the proper materials for working. Respects fellow students
and studio property.

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Course & Instructor Policies

The third and each next absence automatically lowers your grade by one letter grade. A total of 5 absences will result in a failing grade.
Please note these guidelines apply to all “excused” and “unexcused” absences, such as sickness, work schedule, family commitments,
and transportation problems. I am available to provide guidance with challenges and wish to ensure your attendance and successful
completion of this course.

Extra credit in the form of additional works of art can only help improve the grade.

The use of cellphones in the classroom is a distraction, please do not use them in class.

A good work ethic and attendance during class work-days can only help improve the grade. At least a 4-6 hour commitment each week
outside of class, utilizing the studios and working on projects, outlines the expectation of this course. Habitual or frequent breaks or long
absences from class are discouraged and will affect your grade.

Students must retain all artwork until the end of the semester, even if the work is stored at the student’s residence. Some student work
may be selected and retained by the professor temporarily or for the student show. Work will be returned to the students or informed of
pick up dates.

Technical Support If you experience any problems with your UTD account you may send an email to: or call the UTD Computer Helpdesk at 972-

Field Trip Policies

Off-campus Instruction and Course Activities
Off-campus, out-of-state, and foreign instruction and activities are subject to state law and University policies and procedures regarding travel and risk-related activities.
Information regarding these rules and regulations may be found at the website address Additional
information is available from the office of the school dean. Below is a description of any travel and/or risk-related activity associated with this course.

Student Conduct & Discipline

The University of Texas System and The University of Texas at Dallas have rules and regulations for the orderly and efficient conduct of their business. It is
the responsibility of each student and each student organization to be knowledgeable about the rules and regulations which govern student conduct and activities. General
information on student conduct and discipline is contained in the UTD printed publication, A to Z Guide, which is provided to all registered students each academic year.
The University of Texas at Dallas administers student discipline within the procedures of recognized and established due process. Procedures are defined and
described in the Rules and Regulations, Series 50000, Board of Regents, The University of Texas System, and in Title V, Rules on Student Services and Activities of the
university’s Handbook of Operating Procedures. Copies of these rules and regulations are available to students in the Office of the Dean of Students, where staff members
are available to assist students in interpreting the rules and regulations (SU 1.602, 972/883-6391) and online at
A student at the university neither loses the rights nor escapes the responsibilities of citizenship. He or she is expected to obey federal, state, and local laws
as well as the Regents’ Rules, university regulations, and administrative rules. Students are subject to discipline for violating the standards of conduct whether such
conduct takes place on or off campus, or whether civil or criminal penalties are also imposed for such conduct.

Academic Integrity The faculty expects from its students a high level of responsibility and academic honesty. Because the value of an academic degree depends upon
the absolute integrity of the work done by the student for that degree, it is imperative that a student demonstrate a high standard of individual honor in his or her scholastic
Scholastic Dishonesty, any student who commits an act of scholastic dishonesty is subject to discipline. Scholastic dishonesty includes but is not limited to
cheating, plagiarism, collusion, the submission for credit of any work or materials that are attributable in whole or in part to another person, taking an examination for
another person, any act designed to give unfair advantage to a student or the attempt to commit such acts.
Plagiarism, especially from the web, from portions of papers for other classes, and from any other source is unacceptable and will be dealt with under the
university’s policy on plagiarism (see general catalog for details). This course will use the resources of, which searches the web for possible plagiarism and is
over 90% effective.

Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted materials,
including music and software. Copying, displaying, reproducing, or distributing copyrighted works may infringe the copyright owner’s rights and such infringement is subject
to appropriate disciplinary action as well as criminal penalties provided by federal law. Usage of such material is only appropriate when that usage constitutes “fair use”
under the Copyright Act. As a UT Dallas student, you are required to follow the institution’s copyright policy (Policy Memorandum 84-I.3-46). For more information about
the fair use exemption, see

Email Use The University of Texas at Dallas recognizes the value and efficiency of communication between faculty/staff and students through electronic mail. At the same
time, email raises some issues concerning security and the identity of each individual in an email exchange. The university encourages all official student email
correspondence be sent only to a student’s U.T. Dallas email address and that faculty and staff consider email from students official only if it originates from a UTD student
account. This allows the university to maintain a high degree of confidence in the identity of all individual corresponding and the security of the transmitted information.
UTD furnishes each student with a free email account that is to be used in all communication with university personnel. The Department of Information Resources at U.T.
Dallas provides a method for students to have their U.T. Dallas mail forwarded to other accounts.

Withdrawal from Class The administration of this institution has set deadlines for withdrawal of any college-level courses. These dates and times are published in that
semester's course catalog. Administration procedures must be followed. It is the student's responsibility to handle withdrawal requirements from any class. In other words, I

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cannot drop or withdraw any student. You must do the proper paperwork to ensure that you will not receive a final grade of "F" in a course if you choose not to attend the
class once you are enrolled.

Student Grievance Procedures Procedures for student grievances are found in Title V, Rules on Student Services and Activities, of the university’s Handbook of
Operating Procedures.
In attempting to resolve any student grievance regarding grades, evaluations, or other fulfillments of academic responsibility, it is the obligation of the student
first to make a serious effort to resolve the matter with the instructor, supervisor, administrator, or committee with whom the grievance originates (hereafter called “the
respondent”). Individual faculty members retain primary responsibility for assigning grades and evaluations. If the matter cannot be resolved at that level, the grievance
must be submitted in writing to the respondent with a copy of the respondent’s School Dean. If the matter is not resolved by the written response provided by the
respondent, the student may submit a written appeal to the School Dean. If the grievance is not resolved by the School Dean’s decision, the student may make a written
appeal to the Dean of Graduate or Undergraduate Education, and the deal will appoint and convene an Academic Appeals Panel. The decision of the Academic Appeals
Panel is final. The results of the academic appeals process will be distributed to all involved parties.
Copies of these rules and regulations are available to students in the Office of the Dean of Students, where staff members are available to assist students in
interpreting the rules and regulations.

Incomplete Grade Policy As per university policy, incomplete grades will be granted only for work unavoidably missed at the semester’s end and only if 70% of the course
work has been completed. An incomplete grade must be resolved within eight (8) weeks from the first day of the subsequent long semester. If the required work to
complete the course and to remove the incomplete grade is not submitted by the specified deadline, the incomplete grade is changed automatically to a grade of F.

Disability Services The goal of Disability Services is to provide students with disabilities educational opportunities equal to those of their non-disabled peers. Disability
Services is located in room 1.610 in the Student Union. Office hours are Monday and Thursday, 8:30 a.m. to 6:30 p.m.; Tuesday and Wednesday, 8:30 a.m. to 7:30 p.m.;
and Friday, 8:30 a.m. to 5:30 p.m. The contact information for the Office of Disability Services is:
The University of Texas at Dallas, SU 22
PO Box 830688
Richardson, Texas 75083-0688
(972) 883-2098 (voice or TTY)
If you anticipate issues related to the format or requirements of this course, please meet with the Coordinator of Disability Services. The Coordinator is available to discuss
ways to ensure your full participation in the course. If you determine that formal, disability-related accommodations are necessary, it is very important that you be registered
with Disability Services to notify them of your eligibility for reasonable accommodations. Disability Services can then plan how best to coordinate your accommodations.
It is the student’s responsibility to notify his or her professors of the need for such an accommodation. Disability Services provides students with letters to
present to faculty members to verify that the student has a disability and needs accommodations. Individuals requiring special accommodation should contact the
professor after class or during office hours.

Religious Holy Days The University of Texas at Dallas will excuse a student from class or other required activities for the travel to and observance of a religious holy day
for a religion whose places of worship are exempt from property tax under Section 11.20, Tax Code, Texas Code Annotated.
The student is encouraged to notify the instructor or activity sponsor as soon as possible regarding the absence, preferably in advance of the assignment. The
student, so excused, will be allowed to take the exam or complete the assignment within a reasonable time after the absence: a period equal to the length of the absence,
up to a maximum of one week. A student who notifies the instructor and completes any missed exam or assignment may not be penalized for the absence. A student who
fails to complete the exam or assignment within the prescribed period may receive a failing grade for that exam or assignment.
If a student or an instructor disagrees about the nature of the absence [i.e., for the purpose of observing a religious holy day] or if there is similar disagreement
about whether the student has been given a reasonable time to complete any missed assignments or examinations, either the student or the instructor may request a ruling
from the chief executive officer of the institution, or his or her designee. The chief executive officer or designee must take into account the legislative intent of TEC
51.911(b), and the student and instructor will abide by the decision of the chief executive officer or designee.

These descriptions and timelines are subject to change at the discretion of the Professor.

Please read your syllabus and ask questions in the first two weeks of school. Please keep this copy and cut and return the bottom to me
as requested (by the second or third class meeting).

I, ____________________________________(Print) ___________________________________(sign),
have read and understand the syllabus for the class

(Student Copy above)


(Professor Copy)

I, ____________________________________ (Print) ___________________________________(sign),

have read and understand the syllabus for the class

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