| Course # |
SLO |
Rating (of students achieving the SLO as reported by faculty) |
Action Type |
Action |
| ART 391 |
demonstrate skills of wheel-throwing and hand- building ceramic techniques |
1 - All or most students |
Individual |
Face to face learning in the fall! While online was adequate for this past COVID year, I believe all art classes are better when the student attends class in the studio or lab where the instructor can help the student, in person, on a daily basis. The students succeed more thoroughly when working alongside other students and the professor. |
| ART 442 |
demonstrate responsibility for gallery scheduling and exhibition procedures. |
1 - All or most students |
Individual |
We are working on providing software to students in the future which will allow them to create virtual online exhibitions on a regular basis. This will allow for expanded practices with arranging, curating and scheduling exhibitions. |
| ARTH 333 |
demonstrate knowledge of and comparatively analyze examples of the various branches of the art and architecture and the relating arts, for example the art of the book, calligraphy, and book illumination as part of the art of the object, religious and secu |
1 - All or most students |
Individual |
I am always thinking about new ways to engage students with me and with each other more online. For me, every semester is a new opportunity to try something different and more stimulating. This spring I was happy with the way the assignments worked, despite the challenges of the pandemic. However, I continue to look for new technology to make the online modality as close as possible to on-ground environment. |
| ART 302 |
critically evaluate one's own artwork and the works of others |
2 - More than half of students |
|
|
| ARTPH 305 |
prioritize software tools and applications to edit digital photographs |
1 - All or most students |
|
|
| ARTPH 345 |
identify significant artists and their influence on the history of photography. |
1 - All or most students |
|
|
| ART 314 |
examine areas of specialization of illustration and analyze required skills for illustrators. |
2 - More than half of students |
Individual |
I plan on having more guest speakers who have been successful in the industry. |
| ARTH 300 |
identify the functions of art and roles of the artist in diverse cultures. |
2 - More than half of students |
|
|
| ART 300 |
create a portfolio of finished drawings in a variety of drawing media that demonstrates the ability to observe and record the characteristics of simple and complex objects using both line and value. |
2 - More than half of students |
Individual |
In the online teaching of this class some students defaulted to landscape photographs instead of direct observation of landscape forms. The next time I teach this course I will re-write that assignment to exclude working from photographs and require direct observation of whatever landscape or cityscape the student can directly observe from their own environment. In the f2f sections of this course we go outside together and work on landscape forms and perspective. As the assignment was presented in canvas, the language about direct observation of the environment was not clear enough. |
| ART 304 |
analyze, compose, and construct a variety of figure drawing skills with respect to using line, shape, value, and color. |
1 - All or most students |
|
The sentence for the SLO is terrible. I have re-written it below. Upon completion of this course, students will be able to: analyze the human form from direct observation and compose finished drawings and studies, which will serve to develop their drawing skills, utilizing line, value, shape, and color. |
| ART 328 |
construct and document an initial portfolio of paintings for professional presentation. |
1 - All or most students |
Individual |
Yes, insist that I be on ground to see their painting assignments in person. The primary assessment method of in-class assignments, my only viewing of the paintings has been through jpegs, online, this method does not have the same merit of actually looking at the work in person, being able to see them in the painting process for individual and group critique and offer methodologies for improvement on their own unique scenario. Being on-ground, in person is critical in this art studio course. |
| ARTH 310 |
discuss and distinguish styles and stylistic changes in art from the Neoclassical period to the contemporary period. |
1 - All or most students |
Individual |
Since distinguishing stylistic changes is both a matter of identification and memorization, as well as a critical thinking skill, I am always looking for new ways for students to try out their ability in this area. Although there are so many students and it is easy for them to evade too much personal attention, and distance learning can make this both better and worse, opportunities like small group discussions or low-stakes 'first impression' type answers might be something I can incorporate in the future. This can also reinforce for them how much they do understand a style, when an unknown artwork appears and they are able to place it based upon their own familiarity with others like it. |
| ARTPH 305 |
identify major movements and artists from the history of photography |
1 - All or most students |
Individual |
I might add a tertiary assessment where students create an image they think has the same elements and intent. |
