Syllabus: Natural  Science Drawing,  Art 233 ,   Spring 2020

Time: Tues/Thurs  12:30-3:15  

Class Location: 211 Old Main, or Frich Biology Museum, or outdoors on campus

 

Maggy Aston, Associate Professor;       Email: aston@calu.edu

Office Phone: 724-938-4563;    Home: 724-943-4944;    Cell: 724-710-0805

Office Hours M/W 1:45 – 2:45  T/TH  3:15 – 4:45 in 301 Vulcan Loft  or 211 Old Main

Website:  maggyaston.com

Visual examples of student work for all assignments are posted on my website. Written assignments are also posted and may be printed out. Reading assignments are posted. From my Homepage go to Student Site and select Natural Science Drawing.  Password = vulcan, User ID = vulcan.

Required Text: Brian Curtis, Drawing from Observation. McGraw-Hill, ISBN:0-07-241024-8.

This textbook is on reserve at the circulation desk at the Manderino Library. New or used copies may be purchased from Amazon.com or Bookfinder.com.  Earlier editions may be purchased online for under $20.

Course Objectives

 

  1. Develop skill and discipline in visual acuity through the careful observation and rendering of details.
  2. Organize the elements of a composition according to design principles practiced in scientific illustration and the fine arts.
  3. Investigate the structures of organisms using rendering styles practiced in scientific illustration and the fine arts. (Gesture sketches; line drawings, full chiaroscuro with cross-hatching or stipple, schematic diagrams of parts and cross-sections, etc.)
  4. Develop technical skills in a variety of drawing and painting mediums: pencil, pen and ink, and watercolor. (Oil or acrylic painting is optional. Printmaking may be arranged for students enrolled in printmaking courses.
  5. Acquire a vocabulary of art, design, and scientific terms that will allow students to discuss and evaluate artworks as well as biological structures.
  6. Critique the work of classmates and apply recommendations received to the drawing process.
  7. Research the relationship between the form and function of organisms and describe this visually and verbally.
  8. Research and identify specimens using museum and library resources and investigate the multiple approaches of other artists who have illustrated the same species.
  9. Conduct visual research using cameras, scanners, books, and online image databases to portray the different aspects of organisms at various stages of development.
  10. Explore visual parallels in art and science, and be exposed to masterworks of natural science illustration, nature painting, and landscape painting through slide lectures and discussions.
  11. Conduct independent research on contemporary artists, illustrators, sculptors, designers, architects, land artists, or environmental artist whose work is based on nature or ecology.
  12. Deliver an oral slide presentation on a natural science illustrator, landscape/animal painter/sculptor, or ecological artist.
  13. Introduce students to scientific illustration as a possible career path.
  14. Explore the relationship between nature and human culture as a potential theme for artwork or environmental activism.
  15. Research the form and function of an organism to be used as a prototype product design in a final project on sustainable biological design.
  16. Demonstrate the proper handling of biological specimens and conduct safe, clean, and professional studio practices in each class meeting.
  17. Organize an exhibition and sale of student artworks at the end of the semester.

Catalog Description:

An introductory course in observational drawing/painting from biological specimens and outdoor field studies. Working with plant, animal, and landscape subjects, students will focus on the careful observation of natural forms and phenomena. Students will practice methods of scientific illustration through detailed renderings of organisms from direct observation supplemented by visual research. Through slide lectures, students will be introduced to masterworks of natural science drawing, as well as the work of the great landscape painters and animal artists. Outdoor field trips will include specimen-gathering and the sketching of landscapes, clouds, water, and waves. Advanced art students will have the option of working in color with oils, watercolor, printmaking or ceramics. Upper level science students may concentrate on drawing subjects that relate to their particular areas of interest or research. The course is repeatable.

Teaching Methodology:

In addition to studio/lab drawing and outdoor field studies, course material will be presented through research assignments, slide lectures, videos, reading assignments, class discussions, oral presentations, and critiques. Students will also conduct research with cameras, scanners, microscopes, online visual resources, and at the Manderino library.

Course Requirements

  1. Three weeks maximum are devoted to the research and drawing of each project.
  2. Invertebrate: Mollusk or Arthropod (Insect, Crustacean, etc.) Due Feb. 6
  3. Plant or Fungi                                                                                                                           Due Feb. 27
  4. Vertebrate: Fish, Amphibian, Reptile, Bird or Mammal Due March 19
  5. Landscape, tree, cloud, or water studies outdoors, weather permitting Due April 16
  6. BioDesign / Biomimicry project                                                                                    Due May 5

Course work may consist of 5 long-term drawing projects (with research), or daily sketches from observation of biological specimens.  You may choose a new specimen to draw each day, if that is the way you prefer to work, or you may create conduct 3-week projects of a single subject.  The instructor will work with each student according to their individual needs and interests.

For Advanced Art or Science students:  Special research projects may be arranged if students are preparing applications for graduate school or presenting work at the Strike a Spark Conference in April 2019. Alternative proposals to the above class projects may be discussed with the instructor, and if agreed upon, a written description of the project proposal must be submitted. At least one paragraph describing the medium, composition, and subject of each of the 5 independent projects proposed must be submitted.

  1. Drawing from Observation. Whenever possible, each project will begin with a minimum of one day of gesture sketching from observation to help you understand the characteristic movements or aspects of your specimen from all sides. Students may choose to draw from the taxidermic specimens available in Old Main, from the live animal rooms or museum in Frich (when acess is permitted) or you may bring your own specimens to class. Photographs, scans, detailed enlargements, and other resources may be used in the later stages of the drawing process.
  2. Visual Research conducted outside of class time is required for all projects. Drawing will be primarily from observation and original photographs, but projects will be supplemented with other types of visual research. All students are expected conduct research as homework and come to class with specimens or visual materials from which to draw. Students who hope to earn an A for the course should expect to work at least several hours a week outside of class on drawings and research. Visuals must be printed out on 8.5” x 11” paper and attached to the drawing and submitted for grading. Drawings may also be created from images on laptops or iPads, but working from cell phone images is not acceptable.

At least 3 types of printed research are required for each project:

  1. Original photographs or high-resolution scans taken by the student from the live subject in order to freeze motion or enhance viewing of details.
  2. Drawings or paintings of the same or similar species that show how other artists have treated the same subject. (required for all projects)
  3. Composition, color, or markmaking studies of other artists to help students compose, color, or render their subjects.
  4. Online photographs or written research that helps students properly identify the species or understand their subject.

 

Course Requirement: Work Ethic and Studio Conduct

 

Studio time is work time. Drawing from observation requires focused concentration, discipline, energy, and stamina.  Come to class prepared for physical work. Set up your specimen, pin up or spread out your research, set out your materials, and begin working as soon as you arrive.  Students who waste valuable studio time will have more work to do outside of class to complete assignments.

 

If you find that you are getting sleepy or restless, get up and walk around the room and see what other students are working on. If you are bored or disinterested in the drawing you are working on, start a new drawing form a different angle or choose a new specimen. Multiple drawings/sketches may be submitted for the day’s work. Students who experience chronic sleepiness during classtime will be expected to work standing at an easel.

 

If you don’t know what to do to improve your drawing, or color or medium to use, ask the instructor for help or pin your drawing to the board and ask your classmates for advice.

 

Cleanup may begin ten minutes before the end of class (not before 3pm).  Five minutes will be reserved at the end of each class (at 3:10) for students to sign and date drawings, update course logs, store drawings in folders, or submit work for grading.

  1. Critiques:

Drawings, sketches, photographs, and research will be displayed for critique every week. Active participation in critique is required of all students.  You are expected to talk about your work in class discussions and critiques, to offer suggestions and criticisms to classmates, and to apply the criticisms you receive to the drawing process. A short display and/or critique of the day’s work will occur in the first or last 15 minutes of each class. Longer critiques will be scheduled at Midterm and Finals Week. Missed critiques cannot be made up.

 

Class Participation Grade

 

A    Very active participation in group critiques, slide lectures, and class discussions. Offers criticisms and helpful suggestions to fellow students.

B     Participates frequently in group critiques and discussions. Asks questions and offers suggestions during critique.

C     Follows discussions and offers occasional comments.  Interacts with other students.

D     Speaks only to the professor about his or her work.  Does not comment in group critiques.

F      Does not comment or ask questions. Wears headphones during critiques and discussions. Does not interact with fellow students.  Talks or texts on cell phone during class.

  1. Course Requirements /Grades

Final grades are based on the average grade points of class drawings, research, quizzes, oral presentations, participation in class discussion, critique, classroom conduct, final project, and end-of-semester exhibition.

Final Grades are based on the following percentages:

30 grades for each day of classwork (2 days x 15 weeks)

2 grades for oral slide presentation on an artist or illustrator

2 grades for Midterm Critique  (one for presentation of your own work and one for discussion of classmates’ work)

2 grades for Final Critique  (one for presentation of your own work and one for discussion of classmates’ work)

2 grades for class participation in daily class discussion of artwork, research and slide talks.

1 grade for photo-print of high resolution scan (interested students may submit one for each project)

1 grade for classroom conduct and cleanup (or lack of cleanup)

1 grade for participating in landscape painting event

1 grade for participation in Vulcan gallery theme show: Earth Day 2020

I grade for attendance at Vulcan opening and Manderino Gallery art shows and artists talks (there will be 2 related to this course. 3 events = A, 2 events = B, 1 event = C, 0 events =F)

Grades are given for each day of classwork. If you are working on a long term project extended for 6 days  you may receive 6 grades for that project, if you show progress for each day that you work on it in class. If you are absent for one of the 6 days, you will receive 5 grades plus one zero. If 4 sketches are done in a single day, you will receive one grade for the day’s work.

 

  1. Attendance, Absence Policy and Illness

The development of drawing skills requires practice, so it is important that students are in attendance every day.  Missing classes will slow your progress in drawing and lower your grades. Students receive a grade for every class day of drawing, so each absence will count as a zero against your grade. Doctor’s excuses are not required. Missed critiques cannot be made up.

Attendance is mandatory for all students for the entire class period.  After 4 absences, excused plus unexcused, the final grade drops 1 letter. However, students who are clearly sick and/or contagious should not attend class. Students should anticipate working from home when they are ill. Sketches from observation in a small notebook are acceptable. Students should save their allowed absences in the event that they are sick for two weeks, have a family emergency, or other serious situation that prevents them from coming to class.

 

Make Up Work for Absences

*Absent students are responsible for missed drawing time. Three hours of drawing are required for each day of the semester, regardless of whether students come to class. Students are permitted to submit one make up drawing for each absence for a maximum of 4 absences. Absent students will be given one week to complete make up drawings.

*Make-Up work in the form of master copies must drawn /copied from materials provided by the professor (or must be pre-approved if chosen by students). If work is done from observation, a photo print-out or jpg of the subject must be submitted or emailed to the professor. Drawings done from imagination without visual references or copied from photographs will not be accepted.

*Make-up drawings will not count for more than one absence. If you miss 3 days, you must submit 3 drawings. If not, 3 zeros will be factored into your grade. A nine-hour drawing will not count for three absences.

*All make-up drawings/sketches must be labeled with the date of the absence.

*If you do not submit make up drawings, a zero will be factored into your grade for each absence, regardless of the circumstances.

*Extra work on class assignments outside of class is likely to improve your grades, but it will not count as make-up work for absences.

Please Note: Students with excessive absences will experience a grade drop of one letter after regardless of the number of make up-drawings submitted.  Students with prolonged illnesses or special problems should report to the Dean of Student Services to request a letter explaining their circumstances if they expect to pass the course. Students with disabilities that prevent them from coming to class regularly should report to the Office of Student Disabilities and request that letter be written on their behalf.

  1. Students must sign the attendance sheet at the beginning of each class and sign out if they leave early. Students who sign the attendance book and leave class early without signing out will not receive credit for attendance.

Please Note: Students who consistently leave class early, arrive late, waste time in class, or show up without the required research will not receive good grades.

  1. All work submitted for grading must be signed and dated for each class day. Completed sketches or projects must be submitted in the folder marked “To be Graded” and placed on the front desk. Unfinished projects and sketches should be kept in your “Storage” folder and placed on the wooden shelves in the corner of the studio.
  2. Students must keep a daily log of absences, grades, and critique dates. This will enable students to know the ongoing status of their grades. The subject of each day of drawing should be recorded on your class log at the end of the day when you put your work away on the storage shelves. The log must be submitted at midterm and finals week and must be taped to the inside of their grading folder.
  3. Each species you draw must be properly identified with the scientific name written on the front or back of the drawing. Scientific biological illustrations must have the name printed and centered on the front with an appropriate professional-looking type font.
  4. Submit projects /sketches for grading every 3 weeks according to the above course schedule.
  5. Course Requirement: Oral Presentation

 

Each student will present a powerpoint slide talk on an artist , natural scientist, or art+science topic. Presentations will take place in the first half hour of class, and a dated sign-up sheet will be posted on the wall. A minimum of 20 slides should be shown and discussed. Background information on the artist’s influences and historical/cultural context should also be discussed. Short video clips from YouTube may be shown.

  1. Drawing Materials

Art materials are available for student use in the classroom. Paper, pastels, charcoal, watercolor paints, brushes, pens and inks, drawing boards, and easels will be available for use in the classroom. (Students who prefer to bring their own materials should identify them with a sharpie marker.) Art supplies and materials are for use in the studios and may not be taken from the classroom or used for other classes. Students must provide their own materials and drawing boards for use at home. Depending on availability, certain items such as watercolor trays or drawing pens may be checked out for the day or weekend, but they must be returned they following day because these supplies are shared by 60+ drawing students. A materials sign-out sheet will be posted on the wall. Drawings boards and easels cannot be checked out.   As supplies run out, students will need to purchase their own materials.

Required: students must make or purchase the following for use at home:

Drawing Board for use at home (can also be made from smooth cardboard, Masonite, or plexiglass).

Portfolio or two sheets of cardboard or matboard to transport your work to class for critiques. May be handmade from stiff cardboard or mat board.

Optional: Digital Camera, ipad, or phone camera.

Portable easel for work at home

Picture frames for artwork in group exhibitions. (All artwork submitted to shows must be framed or at least matted and wired for hanging.)

Studio Rules Regarding Cell Phones / Classroom Conduct for 211 Old Main and when working in Frich

  1. Texting or talking on cell phones is not permitted in the classroom. Students who text or talk on cell phones will be asked to leave the studio. Students experiencing family or medical situations should excuse themselves from the classroom to take a call or respond to a text.
  2. Drawing from cell phone images is not permitted. Cell phone images are too small. Students are not permitted to use class time searching the internet for images to draw. Decisions about what to draw must be made outside of class time, as required homework research. Visual materials should be researched, edited and printed out in advance of class. Students who show up for class without printed research will be expected to draw from observation of actual specimens.
  3. Headphones are not permitted during discussions, critiques or slide lectures. Pandora or Spotify stations may be played for the class without advertisements. Headphones may be applied to one ear only after discussions have ended and with the professor’s permission.
  4. Do not touch the live animals in Frich! Do not tap on the cages or attempt to feed or play with the animals. Handle stuffed taxidermic specimens with care. Remove all evidence of art materials from the museum and animal rooms of Frich. Place specimens and chairs back where you found them. Loud behavior in the hallways of Frich is not allowed. No food or drink is allowed in the Frich museum or animal rooms. Wash your hands after leaving the live animal rooms.

Drawing students working in Frich must respect the rules of the Biology faculty. Disregarding rules may result in the loss of access to the biological specimens in Frich.

  1. Working / studying for other classes during class time is not allowed.

Please note: Students who disregard cell phone, headphone and clean up policies will receive lower class grades.

  1. All students are required to participate in the planning of an exhibition in the Vulcan Gallery.

Hopefully, all students will have an artwork finished and framed for exhibition by the end of the semester (April 16). Students in the Department of Art and Languages are responsible for the planning of Vulcan Gallery shows and gain valuable experience in exhibition work when they help to organize these events. Students are responsible for set-up and cleanup of the exhibition space, the design and distribution of posters, the food and music for the opening, sale of artworks, and clean-up after the reception.  All artworks must be framed or matted, priced, and labeled with exhibition tags

Studio Health, Safety and Cleanup Rules.  

*Clean Up Students must leave the studio clean and orderly after each class.  Students must clean their work areas before leaving, dispose of all trash, and return all drawing boards and easels to their proper places.  Clean up will begin 10 minutes before the end of class. Students sharing inks and watercolors will share the responsibility for clean-up. If tablemates leave the room without cleaning their messes, it will be the responsibility of the last student at that table to see that all is cleaned and cleared.

It is each student’s responsibility to remove their pastel and charcoal dust from the tables with wet towels as these dusts may contain toxic heavy metals such as cadmium and lead. When inhaled repeatedly, this dust may cause damage to the brain and nervous system and create other health problems. The custodians do not clean the easels or tables. Health issues associated with art materials are serious, and it is important that students realize their role and responsibility in maintaining a safe and clean studio environment.

  1. Remove pastel, charcoal, and eraser dusts from easels and tables with damp cloth. Avoid breathing of dust.
  2. Wash paintbrushes, reshape, and allow to dry with bristles up, handles down. Wet paintbrushes left to dry with bristles down will be bent out of shape out of shape and ruined.
  3. Wash and dry the pen nibs. Return unused ink to bottle and wash ink cups in hallway sink. Unwashed ink nibs will be ruined. Unwashed cups containing dried ink chips can clog pens and spoil drawings.
  4. Do not cut or paint directly on the tabletops. Even though they look old and dirty, please try to keep them as clean as possible. Remove all wet paint and ink with damp paper towels. Wet ink will permanently stain clothes and damage artworks when unsuspecting students come into contact with uncleaned surfaces
  5. Return all materials and specimens to their proper places. Wet watercolors may be left on top of the glass table under the windows to dry
  6. Fixatives, spray glues, spray paints, solvents, and varnishes are not to be used inside Old Main or Vulcan Drawings should always be fixed outdoors. Spray paints and solvents may be used outdoors on a drop cloth. Never spray paint directly onto the sidewalk, buildings or grass. The University has very strict rules regarding the use of spray paints outdoors and takes violations seriously! Do not fix drawings before they have been critiqued, as additional work may be required. Or, if necessary, spray only lightly with workable fixative and carry the drawing under a cover sheet.

Printing Presses  Students who use the presses must be familiar with all safety precautions and must understand how to adjust the press pressures. Felts must always be protected with a backing sheet to avoid offset of printing inks.  All plate edges must be beveled to avoid cutting felts. The students that use them must clean ink slabs, brayers, etc.

  1. After Hours Access and Security: Art students are allowed to work in 211 Main outside of class time and on weekends. The instructor will issue passes to students who request them. Students working late in Old Main after the doors have been locked at 5pm may request campus security officers to open the building for them if they have a pass. Students working after class in 211 Old Main cannot play loud music or make excessive noise as this room is directly above the President’s office. We have been granted special permission to use 211 and could be asked to leave at any time. Any roof / window leaks or large spills in 211 Old Main should be reported immediately to campus security. Make sure all windows are closed and turn off the lights when you leave. Make sure both doors lock behind you when you leave the building at night.

Possible ways to fail this course. (Listed in order of frequency from past student behavior.)

  1. Excessive absences
  2. Unwilling to work during class time (includes cell phone use)
  3. Failure to submit drawings for grading at due dates
  4. Academic dishonesty:
  5. sign attendance book on days when you are absent
  6. record false dates and false grades on your course log
  7. record false dates for attendance on the backs of drawings
  8. sign book for absent classmates
  9. submit work for grading that was not drawn by you

 

 

Getting Help and Contact Information

 

If you need extra help with a project; if you need help with understanding perspective theory; or if you need to discuss an absence problem, you can find me at my office on the third floor of Vulcan, M/W, or in my classroom in 211 Old Main T/TH.  Outside of office hours you may find me in the ceramic studio or art office. You may stay after class or arrange to speak with me at another time if my office hours conflict with your schedule.  If you are sick and need to find out about an assignment, you can call my office and leave a message or contact me by e-mail.   Office: 724 938-4563; Email: Aston@calu.edu. If you have an urgent question and you are not able to reach me in my office, you may call my home phone: 724-943-4406, or text me on my cell phone: 724-710-0805.  If you call my home you may reach a bookshop answering machine followed by a series of beeps. Please leave a message. If it is snowing and roads are hazardous, students who commute may text my cell phone or call my home phone to find out if classes are cancelled. Also, if I am over 10 minutes late for class and there is no notice posted on the studio door, please feel free to call my cell phone. I commute from rural Greene County and there is a chance I may be delayed if it snows and roads have not been cleared. If I have to cancel class I will email you and post a notice on D2L. If I am sick for more than one day, I will email you an out-of-class assignment that will also be posted on D2L. If you arrive in the Vulcan studio late and find it empty, the class may be working outdoors, in 211 Old Main, or in the Frich museum.  If there is no message on the board you should text my cell or one of the 3 classmates that have exchanged numbers with you.

 

 

 

Supporting Literature and suggestions for visual research. Many of the slide images used in this course are taken from the following books.

Armstrong, Carol and De Zegher, Catherine. Ocean Flowers: Impressions from Nature. Princeton and Oxford: Princeton University Press, 2004

Aldous, Chris. Ghosts of Gone Birds: Resurrecting Lost Species through Art, Bloomsbury Publishing,  London,  2013

Ball, Philip. Shapes: a tapestry in Three Parts, New York: Oxford University Press, 2009

Bager, Bertal. Nature as Designer: A Botanical Art Study. New York: Reinhold, 1977

Baker, Steve. The Postmodern Animal, London: Reaktion Books, 2000

Baumeister, Dayna. Biomimicry Resource Handout: A Seed Bank of Best Practices. Missoula, MT, Biomimicry 3.8, 2014

Blossfeldt, Karl. Art Forms in the Plant World. New York: Dover Publications, 1985.

Benyus, Janine. Biomimicry: Innovation inspired by Nature, NewYork: Harper Perennial,  1997

Blunt, Wilfred and Stearn, William.  The Art of Botanical Illustration. Woodbridge, Suffolk: 1994.

Clark, Kenneth. Animals and Men. New York: Wm. Morrow and Co., 1977.

Clark and Dietrich. Critical Messages: Contemporary Northwest Artists on the Environment, Washington University, 2010

Colquhoun and Ewald, New Eyes for Plants: Workbook for observing and drawing plants. Stroud:1996

Cook, Theodore. The Curves of Life: Being an Account of Spiral Formations and their Application to Growth in Nature, Science , and Art. N Y: Dover, 1979

Croney, John. Drawing by Sea and River. Cincinnati: North Light, 1985

Dance, S. Peter. The Art of Natural History. New York, Arch Cape Press, 1990

Davis and Turpin, Art in the Anthropocene: Encounters among Aesthetics, Politics, Environments, and Epistemologies. Open Humanities Press, London, 2015

Da Vinci, Leonardo.  The Notebooks. New York: Oxford University Press, 2008

Donald, Diana and Jane Munro. Endless Forms: Charles Darwin and the Visual Arts. New Haven: Yale University Press, 2009

Dowden, A.O. From Flower to Fruit. New York: Houghton Mifflin, 1994.           ______. The Clover and the Bee. Pittsburgh: Harper Collins, 1990.

Doczi, Gyorgy. The Power of Limits: Proportional Harmonies in Nature, Art, and Architecture. Boston and London: Shambhala, 1994

Gould, Stephen Jay. Alexis Rockman. New York: the Monacelli Press, 2003

Grande, John K. Art Nature Dialogues: Interviews with Environmental Artists. State University of New York Press, Albany, 2004

Guild of Natural Science Illustrators.  Careers in Scientific Illustration, Washington, DC, 2010

Haeckel, Ernst. Art Forms from the Ocean. New York: Prestel Verlag, 2005.    _____________. Art Forms in Nature. New York: Prestel Verlag, 1998.

_____________. Art Forms from the Abyss: Ernst Haeckel’s Images from the Challenger Exhibition. New York, Prestel, 2015

Hale, Nathan Cabot. Abstraction in Art and Nature. New York: Dover, 1993

Hildebrant and Tromba. Mathematics and Optimal Form. NY: Scientific American Books, 1986

Huxley, Robert. The Great Naturalists, London: Thames and Hudson, 2017

Hyman, Susan. Edward Lear’s Birds. Stamford CT: Longmeadow Press, 1989

Jacobs, Michael. The Painted Voyage: Art, Travel and Exploration 1564-1875. London: British Museum Press, 1995

Kasner, Jeffrey. Nature: Documents of Contemporary Art. Cambridge: Whitechapel Gallery and MIT Press, 2012

Kemp, Martin and Wallace Marina, Spectacular Bodies: The Art and Science of the Human Body from Leonardo to Now. Berkeley: U. of Cal. Press, 2000

Knight, David M.  Natural Science Books in English, 1600-1900. London: Portman Books, 1989

Lack, H. Walter. Masterpieces of Botanical Illustration: Garden of Eden.  New York: Taschen, 2001.

Lambourne, Maureen. John Gould’s Birds. Secaucus New Jersey: Chartwell Books, 1981

Lippincott, Louise and Andreas Bluhm. Fierce Friends: Artists and Animals, 1750-1900. Pittsburgh: Carnegie Museum, 2006.

Mabey, Richard. The Flowers of Kew. New York: Atheneum, 1989..

—The Cabaret of Plants: Forty Thousand years of Plant Life and the Human Imagination. New York. Norton, 2015

Matilsy, Barbara. Fragile Ecologies: Contemporary Artists Interpretations and Solutions, New York: Rizzoli, 1992.

McKenna, Terence. Food of the Gods: The Search for the Tree of Knowledge: A Radical History of Plants, Drugs, Human Evolution. NY: Bantam 2002

Morley, Simon, Ed. The Sublime: Documents of Contemporary Art. Cambridge: Whitechapel Gallery and MIT Press, 2012

Murdoch, John E. Album of Science: Antiquity and the Middle Ages. N.Y. Scribner’s Sons, 1984

Ormond, Richard. Sir Edwin Landseer. London: The Tate Gallery, 1981

O’Malley and Saunders. Leonardo Da Vinci on the Human Body: The Anatomical, Physiological and Embryological Drawings. New York: Wings Books, 1982

Roger Tory Peterson. The Bird Illustrated 1550-1900. New York: Abrams, 1888

Pinault, Madeleine.  The Painter as Naturalist: From Durer to Redoute. Paris: Flammarion, 1991

Rappaport/Stayton. Vital Forms: American Art and Design in the Atomic Age, NY:Abrams, 2001

Rhodes, Richard. John James Audubon: The Making of an American, New York: Knopf, 2004

Rifkin and Ackerman. Human Anatomy (from the Renaissance to the Digital Age). New York: Abrams, 2006

Robin, Harry.  The Scientific Image:  from Cave to Computer. New York: Abrams, 1992

Schwenk, Theodor. Sensitive Chaos: the Creation of Flowing Forms in Water and Air. London: Rudolf Steiner Press, 2004

  1. Schor and B. Taylor, Ed. Sustainable Planet: Solutions for the 21st Century. (6 Vols) Boston: Beacon, 2002

 Strauss, Walter. The Complete Drawings of Albrecht Durer. (6 Vols)New York: Abaris Books, 1974

Thompson, D’Arcy. On Growth and Form. New York: Dover, 1992

Verneuil, M.P. Ed., Artistic Plants and Flowers. New York: Dover, 2009

West, Keith. How to Draw Plants: The Techniques of Botanical Illustration. Portland:`Timber Press 2005.

___________Painting Plant Portraits: A Step-by-Step Guide. Timber Press. Portland. 1991

Wood, Phyllis. Scientific Illustration: A guide to biological, zoological, and medical rendering techniques, design, printing, and display; New York: Van Nostrand Reinhold,  1994.

Zweifel, Frances W.  A Handbook of Biological Illustration.  Chicago, U. of Chicago Press, 1997

 

Online visual reference resources (and interlibrary loans) are available through the Manderino Library.

  1. Go to Artstor : Public Folders: Natural Science Images 2. Library Homepage: Quick Links: Find Resources by Subject: Class Guides: Art: Natural Science Drawing.

 

 

 

Accommodations for Students with Disabilities:  OSD    Revised June 2015

STUDENTS WITH DISABILITIES

Students reserve the right to decide when to self-identify and when to request accommodations.  Students requesting approval for reasonable accommodations should contact the Office for Students with Disabilities (OSD).  Students are expected to adhere to OSD procedures for self-identifying, providing documentation and requesting accommodations in a timely manner.

Students will present the OSD Accommodation Approval Notice to faculty when requesting accommodations that involve the faculty

Contact Information:   Location:  Carter Hall  – G-3 Phone:              (724) 938-5781  Fax:  (724) 938-4599   Email:                osdmail@calu.edu Web Site:        http://www.calu.edu/osd

  1. Title IX Syllabus Addendum

California University of Pennsylvania

Reporting Obligations of Faculty Members under Title IX

of the Education Amendments of 1972, 20 U.S.C. §1681, et seq.

 

 

California University of Pennsylvania and its faculty are committed to assuring a safe and productive educational environment for all students.  In order to meet this commitment and to comply with the Title IX of the Education Amendments of 1972 and guidance from the Office of Civil Rights, the University requires faculty members to report incidents of sexual violence shared by students to the University’s Title IX Coordinator, Dr. John A. Burnett, Special Assistant to the President for EEEO, Office of Social Equity, South Hall 112, Burnett@calu.edu, 724-938-4014.  The only exceptions to the faculty member’s reporting obligation are when incidents of sexual violence are communicated by a student during a classroom discussion, in a writing assignment for a class, or as part of a University-approved research project.  Faculty members are obligated to report sexual violence or any other abuse of a student who was, or is, a child (person under 18 years of age) when the abuse allegedly occurred to the person designated in the University protection of minors policy.

 

The University’s information regarding the reporting of sexual violence and the resources that are available to victims of sexual violence is set forth at:

  • Office of Social Equity, South Hall 112, 724-938-4014
  • Counseling Center, Carter Hall G53, 724-938-4056
  • End Violence Center, Carter Hall G94, 724-938-5707
  • Student Affairs, Natali Student Center 311, 724-938-4439
  • Wellness Center, Carter Hall G53, 724-938-4232
  • Women’s Center, Natali Student Center 117, 724-938-5857
  • Threat Response Assessment and Intervention Team (T.R.A.I.T.) & of Public Safety & University Police, Pollock Maintenance Building, 724-938-4299

EMERGENCY:  From any on-campus phone & Dial H-E-L-P or go to any public pay phone & Dial *1. (*Identify the situation as an emergency and an officer will be dispatched immediately.)