ART4312C ADVANCED DRAWING

INSTRUCTOR: Lisa Iglesias

06 credits
FALL 2014
ROOM: FAD 117
MEETING TIME: M/W: Periods 02-04 (8:30 -11:30a) Friday: Periods 02-07 (8:30a-2:45p)
OFFICE HOURS: FAD 223 – Mondays 11:30a-12:30p or by appointment (subject to change)
E-MAIL: Liglesias@arts.ufl.edu (Professor will respond as soon as possible, approximately within 24 hours)

Advanced Drawing is designed to promote a self-motivated course of studio research in an open

studio environment. In this course, you will have the opportunity to expand, experiment, and build
upon your existing drawing skills, strengthen the conceptual lines that thread throughout your
work, and develop your experience regarding professional practices. This course centers upon a
tutorial, workshop atmosphere and is structured to include presentations, discussions, critiques,
and studio time. Major components of Advanced Drawing include studio work, the continuation of
your commonplace books, rigorous and enthusiastic use of a research sketchbook, applications to
art opportunities, and multiple variations of artist statement writing. This class will explore the many
historical and contemporary ways that other artists have explored and defined the medium of
drawing while we investigate our own studio trajectories.

Objectives:
o To create a cohesive body of work and individual projects.
o To develop the connection between idea and form in your studio work.
o To foster creative growth and experimentation.
o To refine professional practice methods, through the development of artist statements, work
documentation, and application strategies.
o To mature critical thinking and communication skills through critique and discussion.
o To strengthen your engagement with the discipline of drawing in preparation for future
endeavors including exhibitions, residencies, and further studies at the graduate level.

Class Hours / Studio Time

This six-credit hour class format consists of six class hours of instructed time and six scheduled
hours of Friday individual class time. You are responsible for twelve hours of class time and AT
LEAST an additional twelve hours of working time outside of class. That’s a minimum of 24 hours
devoted exclusively to this class each week. The time that you invest in this class – in your studio –
will be reflected in your work. The grade you earn will also reflect this time and effort. I will hold you
accountable to the potential I see in you and your work. Make a commitment to this class and you
will be rewarded with exciting growth in your artistic practice. This commitment requires
cooperation, hard work, dedication, creativity, motivation, and perhaps most critically - being open
to input and new ideas and a willingness to receive mentorship.
Attendance
You are expected to attend and actively participate in ALL scheduled class sessions (M/W/F).
Attendance will be taken at each class session. Your participation grade will be negatively affected after the
first three absences. If you are late three times it will be counted as an absence. Lateness of more than 30 minutes or
early departure is considered an absence. Sleeping in class, or working on non-Advanced Drawing related coursework
during class is also considered a form of absence.
UF policy related to class attendance: https://catalog.ufl.edu/ugrad/current/regulations/info/attendance.aspx#absences
MATERIALS:
You will explore a variety of materials throughout this year and you may be required by your studio practice to
purchase alternate or additional supplies for certain projects. CFOP has closed, so we will need to order our supplies
online as soon as possible. I have made a class list at Utrecht Art Supplies. www.UtrechtArt.com: Search for
University of Florida, the name of this course is Advanced Drawing Fall 2014. All of the items are listed as optional
because only you know what you will want to use this semester. For material that dulls or gets used up quickly (like X-
acto blades), please purchase the item even if you have one. Check out the list below for materials to buy at local
supermarkets or hardware stores.

Central Florida Office Supply is closed. Order materials online and find other items, your collage materials, and
unconventional material at Gainesville’s thrift stores and at the stores below:
The Repurpose Project: www.RepurposeProject.com, Mon-Fri: 3-7pm!Sat: 10am-6pm, 519 South Main St,
Gainesville FL 32601. Closing in October. Pay what you wish.
Michael’s: http://www.michaels.com, 3644 SW Archer Rd, Gainesville, FL 32608, M-Sat: 9am-9pm, Sun: 10am-
7pm.
Friends of the Library Book Sale: http://folacld.org, 430-B North Main Street!Gainesville, Florida 32601, October
25-29, 2014.

Materials I have suggested to buy on UtrechtArt.com (Search for Advanced Drawing Fall 2014 Class List):
Kneaded eraser, Inexpensive watercolor set, Inexpensive gouache set, 1 roll of masking tape, At least 1 roll of artist
tape (any color), Pencil sharpener, Assortment of brushes for water-based media (small, medium and large at least),
Glue stick, Rubber cement & rubber cement pick-up, X-acto knife and extra blades, Scissors (for cutting small, fine
work), Small ruler, Variety of graphite pencils, Matte medium, Drawing paper, Charcoal, Chalk pastel, Oil pastel.

Class Requirements / Projects

This course will require you to develop a semester-long project (involving short-term and long-term goals), maintain a
sketchbook, deliver artist presentations, execute experiments, finesse your professional portfolio, and apply to artist
opportunities. This is a rigorous course, one that asks you to exceed your own expectations. Addressing these
projects with enthusiasm and tenacity will make you a better artist. The following projects are designed to successfully
prepare you for life after undergraduate studies and to arm with you the tools necessary to apply for graduate school,
call for entries, creative employment, and residencies.
* LATE POLICY: Late project responses will not be reviewed unless addressed with Professor in advance or warranted by
an emergency situation. An absence does not constitute an extension of an assignment deadline. Failure to turn in any
one of the projects will result in failure of the course.
FAC Shop Orientation
We will all participate in a wood shop orientation. Date TBA.

Semester-Long Project: 4 Critiques

The first objective of this course is for you to develop a cohesive body of work. You will have 4 formal critiques
throughout the semester where you will show NEW work relating to your semester-long project. Aside from emergency
situations, attendance and participation at scheduled critiques are mandatory. Critique dates TBA.
At each critique, you will show finished, new work, a 100-word project statement as well as preliminary sketches and
collages. Each critique will address the semester-long project goals that you set in the beginning of the semester and
adapt throughout the course. You will plan your installation needs in advance and present yourself and your work
professionally.
You will hand in a typed Project Plan on Monday, September 8 th that will stipulate long-term goals, short- term
goals, project time line and artist statement.
Long-term Goals: The conceptual and formal qualities of your semester-long project.
Short-term Goals: What do you need to do to achieve your long-term goals?
Project Time Line: Assign yourself due dates for specific goals – research, experimentation, production, etc.
Artist Statement: Between 250 and 500 words.
Artist Presentations
You will present two personal,10-minute artist talks in order to introduce us to your studio practice, methods, and
ideas and to exercise your abilities with public speaking, professionalism and verbal communication of you as an artist.
You will present your first presentation in the beginning of the year and one at the end. You will project digital slides in
PDF, PowerPoint, or equivalent structure with your own laptop (you may need to purchase or borrow a projector
adapter). You will develop a spoken, descriptive account of you and you work which may be organized thematically,
chronologically, formally or otherwise. You will present your artist talk in the beginning of the semester, adjust and
mature your presentation and then present again at the end of the semester. You will be expected to present your
work in a professional manner – rehearse, dress smartly, and project your voice.
Presentation Dates TBA.

Rules and Verbs

Find Sister Corita Kent’s 10 Rules popularized by John Cage and Richard Serra’s Verb List. For each of these lists you
will:
o Transcribe the 10 Rules and Verb List in your Sketchbook and cite the origins (website/book, author, date,
anecdotal information).
o Write your own version of Rules and Verbs in your Sketchbook – due on Wednesday, September 10 th
o Update your own version throughout the semester. Your accumulation of Rules and Verbs is due in your
Sketchbook at the end of the semester, date TBA.

Sketchbook: 4 Checks
You will begin a NEW sketchbook for the semester and you will have this sketchbook with you as often as you can and
every time you are in the studio (M/W/F). Your sketchbook will include compositional and material experimentation,
brainstormings, diagrams for hypothetical projects, notes from demonstrations, presentations and lectures, collage,
sketches, as well as responses to sketchbook assignments, Rules and Verbs, and readings (separate handouts). You
will work in this sketchbook EVERYDAY, so you will accumulate a minimum of 7 pages of drawings / writings a week.
4 Checks, dates TBA.

Professional Portfolio: Due end of semester, date TBA.

Website
Artist Statement
Artist CV/resume
CD of at least ten images
Image List with thumbnails
Imaginary press release for hypothetical exhibition
Apply for two of the following four opportunity applications and provide documentation* (See resources below):
o Exhibition entry documentation
o Residency application documentation
o Scholarship/Grant application documentation
o Viewing Program application documentation
*Documentation may include screen shots, cut and paste, scans, xeroxes, confirmation emails, acceptance/rejection
letters, etc. Some online application programs, like Slideroom, allow you to print out your application.

Senior Project:
You will exhibit your work in a local venue* by the end of the semester in a solo, two or three-person show or major
group exhibition. You will create and develop an exhibition title, a press release, a Facebook event page, a
postcard/poster. You are responsible for contacting the local venue (this can be a local gallery, residential space turned
temporary gallery or event space).
* If you have made attempts to show your work physically and have not been able to make it happen, you can develop
and launch a virtual/online exhibition.
Resources:
Apply to a Residency:
http://www.transartists.org/map
http://www.resartis.org/en/residencies/
http://www.wooloo.org/open-call
http://www.nyfa.org/source/content/search/search.aspx?SA=1
http://www.vermontstudiocenter.org/residencies/
http://www.atlanticcenterforthearts.org
http://source.nyfa.org/content/search/search.aspx?SA=1
http://libraries.cca.edu/learn/research/grants

Online Presence / Viewing Programs / Artist Registries / Flat File Programs:

http://hifructose.com/submit/
http://www.wooloo.org/user/create-account
http://local-artists.org
http://paperdarts.org/submit/
http://www.pierogi2000.com/about/flat-files/
http://www.artistsregistry.com/catalog/registration/artists_registration.php
http://www.southarts.org/site/c.guIYLaMRJxE/b.7505309/
http://www.artistportfoliomagazine.com/#!submit-art/c1411

Apply for an exhibition/call for entry/juried show:

http://www.wooloo.org/open-call
http://www.nyfa.org/source/content/search/search.aspx?SA=1
http://www.newamericanpaintings.com/competitions

Apply for $$$$ - grant/scholarship

https://www.dso.ufl.edu/home/scholarships/uwc
https://www.dso.ufl.edu/home/scholarships
https://www.scholarships.com/financial-aid/college-scholarships/scholarships-by-major/art-scholarships/
http://www.nyfa.org/source/content/search/search.aspx?SA=1
http://mcnairscholars.com/funding/
http://www.disabled-world.com/disability/education/scholarships/
http://www.hampshire.edu/corc/16342.htm
http://www.leakycon.com/makemagic/
http://www.admissions.ufl.edu/scholarships.html
http://www.honors.ufl.edu/Honors-Program-Scholarships.aspx
http://www.arts.ufl.edu/resources/usp.aspx

Websites to view emerging artists’ work & read statements:

http://smackmellon.org/index.php/contact/current-artists/
http://www.lmcc.net/residencies/workspace/current_session

Art Blogs/Online Magazines/Videos:

http://www.art21.org
http://hyperallergic.com
http://www.e-flux.com
http://ubu.com
http://www.coolhunting.com/video

Grading
Your grade will be determined by the following:
1. Studio work: You will have 4 formal critiques throughout the semester where you will show NEW work relating
to your semester-long project.
 2. Response papers and Leading Discussion Groups
3. Studio Experiments
4. Professional portfolio package
5. Sketchbook – Checked 4 times
6. Critical thinking and class participation, attitude
7. Tenacity- in terms of studio work, studio research, and a determined willingness to succeed

60% Studio Projects: includes all aspects of your practice – your process should reflect a rigorous and comprehensive
pursuit of bettering your work and is qualified by such habits as studies, sketches, collages, material exploration,
and artist research in and out of your sketchbook, and ultimately your finished work presented at critique.
40% Studio Research:
10% Reading Response papers and discussion
10% Sketchbook
10% Studio Experiments
10% Portfolio Package

1. A Extremely well presented exceptional work. Exceptional work demonstrates a full realization of the ideas put
forth in assignment, and more. This ‘extra’ should be the student researching projects by looking up artists
mentioned in slide talks, asking questions about artists works/ideas, and being thoroughly engaged with the work
to the point of working on your own pieces/ideas and not just doing the minimal expected from the class syllabus.
Further, participation in an intelligent analysis of the work including both form and content. Discussing points in the
work of you and your peers is expected during the critique sessions. Excellent attendance (none or one absence
per semester) and no lateness. Clearly projected enthusiasm and joy in the subject, an inquisitive, curious mind,
and, finally, a desire to learn and grow as an artist.
2. B Well presented very good work. Very good work demonstrates a sound and competent realization of the ideas
put forth in each assignment. This work conveys an understanding and intelligence, which would only be lacking in
the ‘special’ characteristics mentioned in ‘A’, above. Participation in critique, attendance, and enthusiasm apply
throughout.
3. C Well-presented, average work. Average work demonstrates a fairly good attempt at grasping the expectations
of each given assignment, and the break down of the particular specifics, (material experimentation and handling,
idea development, etc., whatever has been discussed prior to assignment). This work lacks a competent,
comprehensive understanding mentioned in ‘B’ above. Participation in critique, attendance, and enthusiasm are
expected, as they would be in the earning of any letter grade.
4. D Inadequate work: Extremely poor and/or half-finished work with no care or attention to the assigned problem or
presentation. In addition, when someone has missed an enormous amount of classes, (three and above) and has
failed to complete assignments, or keep up to date with the studio-based syllabus.
5. E When someone stops coming to class and stops communicating with instructor. This is a severe grade and is
usually given in severe circumstances.

Grading Scale
a 95-100, a- 94-90, b+ 89-87, b 86-84, b- 83-80, c+ 79-77, c 76-74, c- 73-70, d+ 69-67, d 66-64, d- 63-60, e 59-0
A: 4.0, A-: 3.67, B+:3.33, B:3.00, B-: 2.67, C+: 2.33, C: 2.00, C-: 1.67, D+: 1.33, D: 1.00, D-: .67

Notes:
o A "C" represents satisfactory work, regular attendance, and successful accomplishment of the course.
o A grade of "C-" or below will not count toward major requirements.

Galleries
Focus Gallery, Grinter Gallery, the Samuel P. Harn Museum of Art, Sante Fe Community College Gallery, Reitz Union
and Thomas Center Galleries and local galleries. Your goal is to attend no less than two gallery or museum exhibitions.
You are expected to attend as many art lectures as possible. See below for local galleries you may wish to consider
pursuing an exhibition at:
Gallery Protocol: http://galleryprotocol.com
F.L.A. Gallery: http://rewildingfla.com
Display Gallery: https://www.facebook.com/pages/Display/128070390618851
MASS Visual Arts: http://massvisualarts.wordpress.com
The Wooly: http://www.woolydowntown.com
WARPhaus gallery: Contact Bethany Taylor, bwarp@ufl.edu, https://www.facebook.com/pages/WARPhaus-
Gallery/152065564891401
4Most Gallery: https://www.facebook.com/4MostGallery 4MostGallery@arts.ufl.edu

Reading Response Papers and Discussion Group

Various readings and essays will be posted on e-learning. You will write a response – this response will either be a
response paper (see below for points to address), a poetic essay inspired by the reading, an essay pointing to personal
connections or connections to artists on your Artists List, or may be a response structured by an assignment provided
by the Professor. Each student will facilitate a discussion about a reading, this includes preparing questions (in
advance) in order to aid the groups’ investigation of the author’s ideas.
Typewritten Reading Responses
1. Cite the articles (author, title, date source) at the top of the page
2. Summarize the article first.
• What is the author’s main argument?
• What proof does the author give to back up the ideas?
• What are the author’s main points?
3. Next, react and comment on your thoughts about what you have read.
• Note unclear points or points you agree or disagree with.
• Note ideas of interest to you or problems with the author’s arguments.
4. Most importantly, support your statements and opinions with evidence from the article, just as you support your
comments in critique with physical evidence from an artwork.

Bibliography (the following list are examples of the readings you may
encounter)
Vitamin D: Drawing, Emma Dexter, Phaidon Press
Vitamin D2: New Perspectives in Drawing, Christian Rattemeyer, Phaidon Press
Species of Spaces and Other Pieces, Georges Perec, Penguin
The Creative Habit: Learn it and Use it for Life, Twyla Tharp, Simon & Schuster
Tiny Beautiful Things, Cheryl Strayed, Vintage Books
Outliers, Malcolm Gladwell, Back Bay Books
The Language of Drawing, Edward Hill, Prentice Hall
Roland Barthes, Camera Lucida, Hill and Wang
Just Kids, Patti Smith, Ecco
Drawing Now: Eight Propositions, Laura Hoptman, MOMA
The Lure of the Local, Lucy Lippard, New Press

Advanced  Drawing  >  List  of  Artists  >  Focus:  Drawing  

Aili,  Jia   Bachli,  Silvia   Bowers,  Andrea   Christensen,  Nik  
Akunyili,  Njideka   Baez,  Firelei   Bransford,  Jesse   Cinto,  Sandra  
Al-­‐Hadid,  Diana   Bamber,  Judie   Bronstein,  Pablo   Clemente,  Francisco  
Allouche,  Dove   Banhart,  Devendra   Bryce,  Fernando   Coe,  Sue  
Alvarez,  D-­‐L   Barriball,  Anna   Burgher,  Elijah   Cook-­‐Dizney,  Brett  
Alys,  Francis   Bauer,  Marc   Burin,  Katarina   Crotty,  Russell  
Aoki,  Ryoko   Benchama,   Caivano,  Ernesto   Cuoghi,  Roberto  
Applebroog,  Ida   Abdelkader   Calle,  Johanna   Curring,  John  
Aran,  Uri   Beudean,  Dan   Camplin,  Bonnie   Cutler,  Amy  
Arceneaux,  Edgar   Boghiguian,  Anna   Carr,  Emily   Cutler,  Amy  
Arima,  Kaoru   Bool,  Shannon   Chan,  Paul   Dant,  Adam  
Ashoona,  Shuvinai   Boorujy,  George   Chaves,  Raimond   Davis,  Jeff  
Avery,  Charles   Borremans,  Michael   Chopra,  Nikhil   Dean,  Tacita  
Despont,  Louise   Hiebert,  Christine   Mehretu,  Julie   Rego,  Paula  
Diebenkorn,  Richard   Hoki,  Nobuya   Milan,  Wardell   Reid  Kelley,  May    
Dine,  Jim   Holstad,  Christian   Miller,  Dan   Reid,  Alan  
Dix,  Otto   Hucht,  Anna  Lea   Mir,  Aleksandra   Renes,  Fernando  
Dodiya,  Anju   Huck,  Alain   Molder,  Adriana   Rhode,  Robin  
Donef,  Antonis   Huddleston,  Donna   Monahan,  Matthew   Richardson,  Frances  
Donnelly,  Trisha   Hughes,  Dean   Moriceau,  Jean-­‐ Ritchie,  Matthew  
Dr.  Lakra   Ingres,  Jean-­‐ Francois  &  Mrzyk,   Robbins,  Cameron  
Dumas,  Marlene   Auguste-­‐Dominique     Petra   Robbio,  Nicolas  
Durant,  Sam   Jacobsen,  Colter   Moscheta,  Marcelo   Roccasalva,  Pietro  
Durant,  Sam   James,  Gareth   Muller,  Claudia  &   Sasportas,  Yehudit  
Durer,  Albrecht   Jamie,  Cameron   Julia   Satorre,  Jorge  
Duville,  Matias   Ji,  Yun-­‐Fei   Muller,  Dave   Schatz,  Silke  
Dzama,  Marcel   Johanson,  Chris   Muniz,  Vik   Scherffig,  Elisabeth  
Erdener,  Memed   Jurczak,  Dorota   Muresan,  Ciprian   Schiele,  Egon  
Evans,  Simon   Kafouros,  Elias   Musgrave,  David   Schmidt,  Aurel  
Faithfull,  Simon   Kartscher,  Kerstin   Mutu,  Wangechi   Schneider,  Anne-­‐
Finch,  Spencer   Kentridge,  William   Nai,  Manish   Marie  
Fischer,  Urs   Kentridge,  William   Nara,  Yoshitomo   Schubuck,  Simone  
Flexner,  Roland   Khedoori,  Toba   Nawabi,  Kymia   Sen,  Mithu  
Forster,  Richard   Kontis,  Maria   Noble,  Paul   Serse  
Fox,  Neal   Kopelman,  Irene   Noble,  Paul   Shah,  Seher  
Gallagher,  Ellen   Kulkov,  Vlad   Nordstrom,  Jockum   Shearer,  Steven  
Gastaldon,  Vidya   Kunath,  Friedrich   Novoa,  Glexis   Shieh,  Wilson  
Gibbs,  Ewan   Kwok,  Cary   Nugroho,  Eko   Shrigley,  David  
Gray,  Alasdair   Landy,  Michael   O’Neil,  Robyn   Siena,  James  
Greene,  Matt   Langa,  Moshekwa   Ondak,  Roman   Sietsema,  Paul  
Grigely,  Joseph   Lanzarini,  Ricardo   Orozco,  Gabriel   Sikander,  Shazia  
Gudmundsdottir,   Lassry,  Elad   Pabon,  Tony  Cruz   Sillman,  Amy  
Anna  Sigmond   Legaspi,  Jose   Paris,  Nicolas   Skaer,  Lucy  
Guo-­‐Qiang,  Cai   Lesperance,  Ellen   Pepperstein,  Pavel   Skauen,  Martin  
Gures,  Nilbar   Lewer,  Richard   Peri,  Peter   Slama,  Torsten  
Guston,  Phillip   LeWitt,  Sol   Perjovschi,  Dan   Smith,  Josh  
Guzman,  Daniel   Little,  Graham   Pettibon,  Raymond   Smith,  Zak  
Gyatso,  Gonkar   Lombardi,  Mark   Peyton,  Elizabeth   Sokolow,  Deb  
Haendel,  Karl   Lopez,  Mateo   Pica,  Amalia   Solakov,  Nedko  
Haines,  Davis   Los  Carpinteros   Piene,  Chloe   Soulou,  Christiana  
Hammwohner,   Lukosaitis,   Pimentao,  Diogo   Suciu,  Mircea  
Sebastian   Mindaugas   Ping,  Huang  Yong   Tansey,  Mark  
Hancock,Trenton   Lumer,  Britta   Plender,  Olivia   Thomas,  Mickalene  
Doyle   Maggi,  Marco   Ponce  De  Leon,  Rita   Titian  
Harris,  Kira  Lynn   Magnotta,  Frank   Pramuhendra,  J.  – Tobias,  Gert  &  Uwe  
Harvey,  Steven  C.   Mahr,  Erika   Ariadhitiya   Tompkins,  Hayley  
Heffernan,  Julie   Manders,  Mark   Quieroz,  Jorge   Toulouse-­‐Lautrec,  
Helms,  Adam   Masnyj,  Yuri   Qureshi,  Imran   Henri  De  
Hergardt,  Bjorn   Mazur,  Michael   Ray,  Jen   Treister,  Suzanne  
Herrera,  Arturo   McGill,  Dominic   Redon,  Odilon   Trouve,  Tatiana  
Turcot,  Susan   Van  Lieshout,  Erik   Wa  Lehulere,   Wlodarczak,  Gosia  
Uriarte,  Ignacio   Villar  Rojas,  Adrian   Kemang   Wright,  Richard  
Urquhart,  Donald   Violette,  Banks   Walker,  Kara   Wulff,  Katharina  
Valentine,  J.  Parker   Voigt,  Jorinde   Walker,  Kara   Xun,  Sun  
Van  De  Velde,  Rinus   Von  Heyl,  Charline   Westphalen,  Olav   Zeller,  Daniel  
Van  Dongen,  Iris   Von  Wulffen,   Wieser,  Claudia   Zsako,  Balint  
Van  Eeden,  Marcel   Amelie   Wilson,  Hugo  

EVALUATE YOUR PROFESSOR

Students are expected to give feedback on the quality of instruction in this course based on 10 criteria. These
evaluations are conducted online at https://evaluations.ufl.edu. Evaluations are typically open during the last two or
three weeks of the semester, but students will be given specific times when they are open. Summary results of these
assessments are available to students at http://evaluations.ufl.edu/results/.

STUDIO:
Studio space is provided for the express purpose of the production of art objects and scholarly work in pursuit of your
BFA drawing degree. The studio is for your use outside of class time. You will be given the combination to the studio, it
is for YOUR use only. Students are expected to follow studio guidelines at all times. The closest telephone is on the
second floor/SE corner. There is a first aid kit in each room as well as a sharp container for your use.
It is expected that the student will use the space for this purpose only. These studios are in a shared space divided to
provide privacy and, at the same time, allow easy access to faculty and visitors to the department. The studio is a
professional working area, and every effort must be made to preserve the rights of others working in the space.
Studio clean up list:
• Patch and paint studio white. All walls must be painted with a fresh coat of paint (materials are not provided by
the SA+AH)
• Studio must be free of trash
• Excess furniture should be removed (please keep chair, tables, desks, cabinets or bookshelves in studios
• Floor must be scrubbed clean
• Remove any materials stored in the flammables container

CELL PHONES / PERSONAL ELECTRONICS:

Students in the SA+AH must turn off beepers and cell phones during class. Students will not be permitted to use
personal music devices during class. Keep your phone on silent when you’re in the studio and listen to headphones
without singing out loud. You are in an open, shared studio and many artists prefer a quiet environment in which to
work.

DEMEANOR POLICY:
Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to
assure that all students have the opportunity to gain from time spent in class, unless otherwise approved by the
instructor, students are prohibited from engaging in any form of distraction. Inappropriate behavior in the classroom
shall result, minimally, in a request to leave class and will negatively affect the course grade of the offending student.

UF COUNSELING AND WELLNESS SERVICES:

University Counseling & Wellness Center: 3190 Radio Road, PO Box 112662, University of Florida, Gainesville, FL
32611-4100, (352) 392-1575, http://www.counseling.ufl.edu/cwc/

LOCKERS/STORAGE:
The SA+AH is not responsible for items in lockers. Please watch for posted signs on lockers regarding their use. Each
student must share a locker with two students. You are responsible for keeping the locker form attached AT ALL
TIMES to your lockers. Lockers will be cleaned out at the end of each semester. The SA+AH is not responsible for
items left in classrooms. Be sure to pick up personal belongings at the end of each class and work at the end of the
semester.
 
 
ACADEMIC HONESTY POLICY:
http://itl.chem.ufl.edu/honor.html

ACCOMODATION FOR STUDENTS WITH DISABILITIES:

Students requesting classroom accommodation must first register with the Dean of Students office. The Dean of
Students will provide documentation to the student who will then provide this to the instructor when requesting
accommodation. The ADA office (www.ada.ufl.edu) is located in Room 232 Stadium (phone 392-7056 TDD 846-
1046).
 
HEALTH  &  SAFETY  
SA+AH  Health  &  Safety  policy  and  handbook:  
http://saahhealthandsafety.weebly.com/  
Health  &  Safety  Area  Information:  
1.  Hazards  of  Media  (inherent)  
  The  hazards  of  each  type  of  painting  or  drawing  will  depend  on  the  toxicity  of  the  ingredients  of  the  materials  and  
how  much  exposure  occurs  during  use.  When  drawing  materials  are  airborne,  they  are  more  dangerous  to  your  system,  while  
many  materials  cause  skin  irritation.  See  the  MSDS  forms  for  each  material  you  work  with  to  determine  precautions,  risks  and  
treatment  plan  for  inhalation,  contact  or  ingestion.  The  hazards  of  traditional  drawing  materials  arise  from  exposure  to  their  
pigments,  vehicles  and  solvents.  Today,  as  the  definition  of  drawing  changes,  students  should  cross  reference  as  needed  
based  on  materials  they  choose  to  work  with.  Drawing  materials  are  pigments  suspended  in  vehicles.  Drawing  vehicles  
include  wax  (crayons),  inert  materials  (pastels,  conte  crayons,  chalks),  and  liquids  (solvent  and  water-­‐based  inks  and  marking  
pens).  Pencils  contain  graphite  and  clay  or  pigmented  clay/binder  mixtures.  
Fixatives,  Mists,  Adhesives,  Spray  Paint  
  Both  permanent  and  workable  spray  fixatives  used  to  fix  drawings  contain  toxic  solvents.  There  is  a  high  exposure  by  
inhalation  to  these  solvents  because  the  products  are  sprayed  in  the  air,  often  right  on  a  desk  of  easel.  In  addition,  you  can  be  
inhaling  the  plastic  particulates  that  comprise  the  fixative  itself.  Spray  mists  are  particularly  hazardous  because  they  are  easily  
inhaled.  If  the  paint  being  sprayed  contans  solvents,  then  you  can  be  inhaling  liquid  droplets  of  the  solvents.  In  addition,  the  
pigments  are  also  easily  inhaled,  creating  a  much  more  dangerous  situation  than  applying  paint  by  brush.  Aerosol  spray  
paints  have  an  additional  hazard  besides  pigments  and  solvents.  They  contain  propellants,  usually  isobutanes  and  propane,  
which  are  extremely  flammable  and  have  been  the  cause  of  many  fires.  Other  aerosol  spray  products  such  as  retouching  
sprays,  spray  varnishes,  etc.  also  contain  solvents.  
Pencils  
Pencils  are  made  with  graphite,  and  are  not  considered  a  hazard.  Colored  pencils  have  pigments  added  to  the  graphite,  but  
the  amounts  are  small  so  that  there  is  no  significant  risk  of  exposure.  
Charcoal  
Charcoal  is  usually  made  from  willow  or  vine  sticks,  where  wood  cellulose  has  been  heated  without  moisture  to  create  the  
black  color.  Compressed  charcoal  sticks  use  various  resins  in  a  binder  to  create  the  color.  Although  charcoal  is  just  considered  
a  nuisance  dust,  inhalation  of  large  amounts  of  charcoal  dust  can  create  chronic  lung  problems  through  a  mechanical  
irritation  and  clogging  effect.  A  major  source  of  charcoal  inhalation  is  from  the  habit  of  blowing  excess  charcoal  dust  off  the  
drawing.  
Chalks  
Colored  chalks  are  also  considered  nuisance  dusts.  Some  chalks  are  dustier  than  others.  Individuals  who  have  asthma  
sometimes  have  problems  with  dusty  chalks,  but  this  is  a  nonspecific  dust  reaction,  not  a  toxic  reaction.  
Pastel  
Pastel  sticks  and  pencils  consist  or  pigments  bound  into  solid  form  by  a  resin.  Inhalation  of  pastel  dusts  is  the  major  hazard.  
Some  pastels  are  dustier  than  others.  Pastels  can  contain  toxic  pigments  such  as  chrome  yellow  (lead  chromate),  which  can  
cause  lung  cancer,  and  cadmium  pigments  (which  can  cause  kidney  and  lung  damage  and  are  suspect  human  carcinogens).  
Blowing  excess  pastel  dust  off  the  drawing  is  one  major  source  of  inhalation  of  pastel  pigments  Pastel  artists  have  often  
complained  of  blowing  their  nose  different  colors  for  days  after  using  pastels,  a  clear  indication  of  inhalation.  
Crayons  and  Oil  Pastels  
Crayons  and  oil  pastels  do  not  present  an  inhalation  hazard,  and  thus  are  much  safer  than  pastels.  Some  oil  pastels  can  
contain  toxic  pigments,  but  this  is  only  a  hazard  by  accidental  ingestion.  
Liquid  Drawing  Material  
Drawing  inks  are  usually  water-­‐based,  but  there  are  some  solvent-­‐based  drawing  inks.  These  usually  contain  toxic  solvents  
like  xylene.  Many  permanent  felt  tip  markers  used  in  design  or  graphic  arts  contain  solvents.  Xylene,  which  is  a  highly  toxic  
aromatic  hydrocarbon,  is  the  most  common  ingredient;  newer  brands  contain  the  less  toxic  propyl  alcohol  (although  it  is  an  
eye,  nose  and  throat  irritant).  The  major  hazard  from  using  permanent  markers  results  from  using  a  number  of  them  at  the  
same  time  at  close  range.  Water-­‐based  markers  do  not  have  an  inhalation  hazard  although  there  is  a  concern  about  the  dyes  
used  in  these  (and  the  permanent  markers).  
2.  Best  Practices  
Working  safely  means  becoming  more  knowledgeable  about  the  hazards  of  the  media  that  you  work  with,  making  changes  in  
how  you  select  and  handle  your  art  materials,  and  creating  a  healthier  environment  to  work  in.  Good  hygiene,  reviewing  
MSDS  forms  and  working  safely  can  prevent  many  problems  caused  by  pigments  and  exposure  or  accidental  ingestion.  Wear  
gloves,  wash  hands  regularly  and  avoid  any  over-­‐exposure  to  materials.  
Spray  Materials  
o Try  to  brush  items  rather  than  spraying  if  possible.  
o Use  water-­‐based  airbrushing  paints  and  inks  rather  than  solvent-­‐based  paints.  
o Use  spray  cans  or  an  airbrush  in  a  spray  booth  (FAC  211A).  
o Never  try  to  spray  paint  by  blowing  air  from  your  mouth  through  a  tube.  This  can  lead  to  accidental  
ingestion  of  the  paint.  
Pastels,  Chalks,  etc.  
o Use  the  least  dusty  type  or  pastels,  chalks,  etc.  Asthmatics  in  particular  might  want  to  switch  to  oil  pastels  
or  similar  non-­‐dusty  media.  
o Don't  blow  off  excess  pastel  or  charcoal  dust  with  your  mouth.  Instead,  tap  off  the  built  up  dust  so  it  falls  to  
the  floor  (or  paper  on  floor).  
o Wet-­‐mop,  vacuum  or  wet-­‐wipe  all  surfaces  clean  of  dusts,  do  not  sweep.  
Liquid  Drawing  Material  
o Use  water-­‐based  markers  and  drawing  inks  if  possible.  
o Alcohol-­‐based  markers  are  less  toxic  than  aromatic  solvent-­‐based  markers.  
o Solvent-­‐based  drawing  inks  and  permanent  markers  should  be  used  with  good  dilution  ventitlation  (e.g.    
near  classroom  vents).  
3.  Links  to  more  information  on  Health  &  Safety  for  Drawing  
http://www.modernalchemyair.com/common-­‐uses/business/art-­‐studios/  
http://www.uic.edu/sph/glakes/harts1/HARTS_library/paintdrw.txt  
4.  Area  Rules  
All  users  of  the  studio  classrooms  are  expected  to  follow  studio  area  rules  at  all  times.  If  you  have  any  questions,  ask  your  
instructor.  
o Follow  all  SA+AH  Health  and  Safety  handbook  guidelines  (the  handbook  should  be  reviewed  by  your  instructor  and  
can  be  found  at:  www.arts.ufl.edu/art/healthandsafety)  
o Follow  the  SA+AH  Satellite  Waste  Management  Chart  in  the  classroom  and  other  health  and  safety  guidelines  posted  
for  your  media.  
o In  case  of  an  emergency,  call  campus  police  at  392-­‐1111  
o File  an  incident  report  (forms  may  be  found  in  the  SA+AH  H&S  handbook,  the  SA+AH  faculty  handbook  and  in  the  
main  office.  Turn  completed  forms  into  the  SA+AH  Director  of  Operations  within  48  hours  of  the  event.  
o Do  not  prop  classroom  doors.  Doors  are  to  remain  closed  to  ensure  the  building  HVAC  and  ventilation  systems  work  
properly.  
o Practice  best  practices  for  material  handling.  If  you  have  questions  about  a  material,  ask  your  instructor  for  
guidance.  
o Familiarize  yourself  with  the  closest  eyewash  unit.  
o Do  not  spray  any  aerosols  in  any  SA+AH  classroom/studio/doorway  or  exterior  wall/floor.  A  spray  booth  is  located  in  
FAC  room  211A.  
o Wear  nitrile  gloves  when  handling  hazardous  materials.  These  are  provided  in  your  classroom  studios.    
o Remove  all  trash  that  does  not  fit  in  trashcans  to  the  dumpster  on  the  south  side  of  FAC.  Any  trash  that  does  not  fit  
in  the  trash  can  must  immediately  be  taken  to  the  dumpster.  All  oversized  trash  (has  any  length  that  exceeds  4  feet  
in  any  direction)  must  be  taken  to  the  dumpster  on  the  south  side  of  FAC  and  placed  beside  the  dumpster  in  the  
area  designated  for  oversized  trash.  Broken  glass  must  be  packed  inside  paper  and  labeled  with  a  filled  out  yellow  
hazardous  waste  labels  and  placed  in  the  blue  bin  at  the  SWMA.  The  trash  guidelines  are  to  ensure  the  safety  of  
anyone  encountering  the  trash.  Liquids,  medical  waste,  yard  waste,  appliances  and  pallets  are  prohibited  from  
disposal  in  the  dumpster.  
o No  eating,  consumption  of  alcohol  or  smoking  is  permitted  in  the  studios.  
o Clean  up  after  yourself  -­‐  wipe  down  surfaces  (easels,  drawing  boards,  stools  with  a  wet  towel).  
o Do  not  block  doorways  or  block  access  to  lights.  
 o Do  not  remove  furniture  from  rooms  or  borrow  furniture  from  rooms  without  permission  from  the  area  
coordinators.    
o Do  not  create  "daisy  chains"  with  multiple  electrical  cords.  
o No  hazardous  materials  down  sinks.  
o Store  all  flammables  in  the  flammable  cabinet.  Keep  your  instructor  if  supplies  are  low.  
o Report  any  safety  issues  IMMEDIATELY  to  your  instructor.  
o All  courses  must  engage  in  an  end  of  semester  clean  up.  
o NO  SOLVENT  USE  ALLOWED  IN  DRAWING  ROOMS  
o Follow  the  SA+AH  Container  Policy  (see  policy  below)  
There  are  two  types  of  labels  used  in  the  SA+AH  -­‐-­‐  yellow  and  white.  Both  labels  are  found  at  the  red  MSDS  box  and  are  
supplied  by  the  SA+AH.  Each  is  used  for  a  different  purpose.  
White:  
All  new  and/or  used  product  in  containers  (hazardous  or  what  might  be  perceived  as  hazardous  -­‐  i.e.  watered  down  gesso,  
graphite  solutions,  satellite  containers  of  solvents,  powders,  spray  paints,  fixatives,  oils,  solvents,  etc...)  must  be  labeled  
within  the  SA+AH  to  identify  their  contents.  Labels  can  be  found  at  the  MSDS  box  in  each  studio  and  work  area.  All  containers  
must  be  marked  with  your  name,  contents,  and  date  opened.  All  secondary/satellite  containers  for  hazardous  materials  must  
be  marked  with  content,  your  name  and  the  date  opened.  All  unmarked  containers  will  be  disposed  of  with  no  notice.  
Yellow  
WHEN  HAZARDOUS  ITEMS  ARE  DESIGNATED  AS  WASTE  
All  containers  must  have  a  yellow  label  identifying  the  contents  that  are  designated  as  trash  for  weekly  EHS  pick  up.  
o Flammable  solid  containers  (red  flip  top)  must  have  a  yellow  hazardous  waste  label  on  the  outside  (top).  
o 5  gallon  jugs  must  have  yellow  hazardous  waste  label  on  the  outside.  
o Fibrous  containers  must  have  a  yellow  hazardous  waste  label  on  the  outside  (top).  
o Each  item  in  the  blue  bin  must  have  a  yellow  hazardous  waste  label.  
NOTE:  
Hazardous  Waste  labels  should  include  all  constituents  in  the  waste  mixture  as  well  as  an  approximate  percentage  of  the  
total  for  that  item  and  mist  add  up  to  100%.  Labels  should  also  include  Bldg  and  room  number  of  the  shop  generating  the  
waste  along  with  the  Waste  Manager  for  your  area,  this  is  located  on  the  SWMA  sign  posted  at  the  sink  or  at  the  Waste  
Management  Area,