Authorization to Implement New Program Major in Digital Arts – PSF 17/03-04 1. PROGRAM IDENTIFICATION: 1.1 Major in Digital Arts 1.2 Art Department 1.3 University of Wisconsin - Parkside 1.4 Fall of 2004 2. CONTEXT 2.1 History of Program: Since its inception, the Art Department has provided students with a thorough background in the visual arts. Both two- and three-dimensional studios, art history, art criticism and art education are long-standing features of the department’s curriculum, as are concentrations in each of the traditional fine art studio areas (Ceramics, Drawing, Painting, Printmaking, Crafts and Sculpture) and in Illustration. In 1997, the Department added a Graphic Design Concentration. Since that time, there have been seven new graphic design courses added to the curriculum. Recognizing the importance of expanding into web-based design, new course were developed in 1999. Soon after, the department offered animation as a special topics course, and it now offers a certificate program in that field. In part as a response to the new digital initiatives, the department experienced considerable enrollment growth, evidenced by the rise in majors from 59 in 1998 to 130 in 2000. The Art Department now finds itself at a pivotal point that necessitates a creative realignment. The university proposes to expand the existing Graphic Design Concentration into a separate Digital Arts Major with two concentrations: graphic design and animation. The department believes that separating the traditional fine arts and those based on computer technology will clarify the unique distinction between the classic crafting of visual form and the emerging computerized digital processes. At the same time, however, the Art Department believes that all art students need a strong foundation program of design, drawing and art history. Therefore, the department will integrate both areas where relevant so that the student sees the two as sharing many common aesthetic, historical, and philosophic underpinnings. This approach is supported by "A Labor Market Analysis of the Interactive Digital Media Industries - Opportunities in Multimedia", a private and public industry council (NOVA*), report, which stated: "Virtually every company interviewed stressed the importance of employees having a solid foundation in techniques and theories underlying the skills to create interactive digital media products. Even though software tools are constantly changing, the primary theoretical elements remain constant." Another NOVA* report identified twenty-two imperative skills, over half of which are anchored in the traditional fine arts such as art history, drawing, compositional and color theory, painting and sculpture. 2.2 Institutional Setting of Program: The proposed Animation Concentration is designed to blend into the existing art curriculum. Because animation involves both computer based learning and traditional techniques, it will utilize courses from both the graphic design and the fine arts. The core classes include the same classes as 2 the standard concentrations in the art department. The goal is to keep animation steeped in the tradition of fine arts by giving the animation student a strong background in 2D design, 3D design, sculpture, printmaking and, especially, drawing. Because it is a visual form that involves motion and audio, animation lends itself to interaction with several other departments. For example, animators have to concern themselves with Physics (for believable movement), Music (for capturing soundtracks), Theatre (for convincing acting and character development), Communication (for various delivery formats), and English (for script writing), and, of course, Computer Science. 2.3 Relation to Mission Statement and Strategic Academic Plan: As an engaged university that stresses access and diversity, UW-Parkside strives to meet the needs of its diverse student population and the region it serves. Over the past few years, the university has become increasingly involved in economic development efforts, as a convener of regional groups and as a source of intellectual capital for area businesses. We are, therefore, keenly aware of the development challenges that our region confronts. The manufacturing base of our service area continues to evolve in ways that require a differently skilled work force. There is a need for college graduates who can function as leaders and workers in the knowledge economy. The proposed Digital Arts major directly addresses this concern. Graphic Design and Animation clearly are growth areas at present. Digital technology is the industrial norm for creating visual form in the commercial realm. Animation has become a leading edge tool, with a variety of businesses as well as educational and entertainment based applications UW-Parkside encourages all its academic departments to review and revise their programs so that they remain abreast of new intellectual currents, new technology, and new societal needs. Departments further are encouraged to build upon existing strengths in a logical, consistent manner. The proposed Digital Arts major embodies that approach. While the proposed major clearly represents an important innovation (as indicated in section 2.1), it also represents the logical next step in what has been an ongoing process of first establishing, and then strengthening the digital emphasis of the department’s program. At the same time, it conforms to most of the specific objectives in the Art Department’s strategic plan. (See Appendix 1) *(NOVA is a partnership between Silicon Valley and Los Angeles interests (Public Affairs Coalition of the Alliance of Motion Pictures and Television, Bay Area Multimedia Partnership, City of Los Angeles Private Industry Council and the North Valley Private Industry Council) 2.4 Program Array History: Over the past seven years, UW-Parkside has added majors in criminal justice, sport and fitness management, and microbiology and bioinformatics, and a Master of Science programs in computer and information systems. No majors have been eliminated. 3. NEED 3.1 Comparable Programs in Wisconsin: Though Graphic Design programs exist on almost every campus in the UW-System, there are no programs directly comparable to the proposed major in Digital Arts. UW-Stout, Whitewater, Madison, and Milwaukee offer some instruction in animation. Stout recently added a multi media/animation faculty position where their focus is directed towards the video gaming market. (See attached Stout curriculum: Appendix #2). U.W. Milwaukee offers animation courses only in their film department but not art or graphic arts (See Appendix #2 for curricula). The Milwaukee Institute of Art and Design is considering the addition of an animation program, this costly private school is not a viable option for many students. Madison Area Technical Colleges offers animation specialization, and Milwaukee Area Technical College offers a two-year associate 3 degree in animation. Both programs are narrowly technical, and lack grounding in the fine arts. (See Appendix #2 for curricula) 3.2 Comparable Programs Outside of Wisconsin Special schools have recently appeared around the country to satisfy the number of students who see animation and/or game design as a viable option for an occupation. Although the quality varies, the main purpose is to help the student produce a formal portfolio (5-minute creative demonstration reel) that is necessary to get a job in the field. Columbia College in Chicago offers an animation and film degree, and the California School of the Arts offers a world-class animation degree as well as Sheridan College in Oakville, Ontario (See Appendix #2 for curricula). 3.3 Regional, State and National Needs: Projecting future needs in the digital domain is especially difficult in that some of the jobs are yet to be imagined. Who would have predicted web designer, flash animator, or non-linear video editor as a viable job description even a short time ago? Yet, all of these are real positions that have developed because of art-related digital technology. That said, UW System Market Research has developed an Outlook for Jobs for Digital Art Related Fields for UW-Parkside (See Appendix #3). It suggests that the job market is generally strong in Wisconsin, but especially so in Southeastern Wisconsin and Northern Illinois. The ten-year forecast (2000–2010) suggests growth rates of up to 40 percent in Lake County, IL, an area in which UW-Parkside has an established presence through its ties to Abbot Labs and its articulation agreement with the College of Lake County. 3.4 Student Demands--Future Enrollment: Art is one of most popular programs on campus ranking in the top third of departments for enrolled majors and minors. Compared to similarly sized and even some of the larger universities within the UW - System (Eau Claire, La Crosse, Oshkosh, River Falls, Stevens Point, Whitewater and Stout), over the five-year period from 1998 to 2003, the UW-Parkside Art Department stands first in the FTE rankings. (See Appendix # 4). In fall 2003 the Art Department sent a survey to area high schools (with art programs) that accessed interest in possible changes in the program. The results indicated that offering a major in digital arts would lead to an additional 8.6 percent of those surveyed to consider attending UW-Parkside. Based on past growth patterns, the information gathered from the high school survey, and the strength of the job market in southeastern Wisconsin, we anticipate that enrollments in the Digital Arts would grow significantly over the next five years. Indeed, given its unique features and the absence of any truly comparable course of study in our region, we expect that the Digital Arts major to become a “destination” major, attracting students from high schools throughout the Southeast Wisconsin- Chicago corridor. ENROLLMENT PROJECTIONS: Year: Implementation: 2nd Year Fall 3rd Year Fall 4th Year Fall 5th Year Fall Fall of 2004 of 2005 of 2006 of 2007 of 2008 New Students 15 15 20 20 25 Continuing Students 50 60 70 85 100 Total Enrollment 65 75 90 105 125 Graduating Students 10 - 15 15 - 20 15 - 20 20 - 25 20 - 25 3.5 Collaborative or Alternative Program Exploration: As noted in section 2, graphic design presently is a concentration within the art major and animation should also develop into a concentration. However, the entire thrust of this proposal rests on joining 4 these to form a separate major in Digital Arts, so to better meet student needs and respond to growing market demand. As animation becomes an ever-increasing visual force in our digital and media world, the arena of Graphic Design has also grown into new areas. Web Design and its offshoots are the most obvious but digital photography and video are also new areas that will need to be active partners in this growing field. Section 4.11 outlines our plans for collaboration with other UW-institutions. Given the differing emphases of those programs, however, developing a joint program is not practical at this time. 4. PROGRAM DESCRIPTION AND EVALUATION 4.1 Objectives: After first building a strong foundation in design and drawing, with relevant work in fine arts and supporting courses in art history, students majoring in Digital Arts will elect an area of computer imaging. This artist/designer will ultimately be able to take on careers in divergent fields within animation, illustration and graphic design (web based or print). The department's objective is to remain at the forefront of innovation, so as to provide students a competitive edge. Our present animation program is based on 2-D animation, with some three dimensional effects taught at the upper division. Three-dimensional animation is a major direction that we must pursue. We are already offering courses in digital video and blue screen effects and see that there are many other possibilities in interdisciplinary digitalized art forging new forms of artistic and creative expression. The 2003 hiring of Professor Katherine Gregory in the Communication Department, adds theoretical expertise in documentary video. Professor McRoy of the English/Humanities Departments (whose interest is in genres that utilize special effects in film) will also add depth to the study of animation, cinematography and its historical context. PROPOSED CURRICULUM—59 credits: The following courses are part of the Concentrations in Graphic Design, 2-D Animation and/or 3-D Animation. These courses and the number of credit hours are standard for such programs. Many University of Wisconsin - Parkside students must compete with Bachelor of Fine Art Candidates from other institutions who have an even larger credit load Foundation Courses –Required for of all the Art Majors (9 Credits) ART 102 Introduction to 2-D Design 3 cr ART 103 Introduction to 3-D Design 3 cr ART 122 Introduction to Drawing 3 cr All Digital Art Majors must take the following Introductory Art Courses (12 credits) ART 231 Beginning Life Drawing 3 cr ART 251 Beginning Printmaking 3 cr ART 282 Beginning Painting (or) 3 cr ART 284 Beginning Watercolor (or) 3 cr ART 283 Beginning Airbrush 3 cr And one of the following: ART 201 Beginning Ceramics 3 cr ART 202 Beginning Fibers & Textiles (or) 3 cr ART 223 Beginning Art Metals (or) 3 cr ART 236 Beginning Sculpture (or) 3 cr 5 Art History Courses (15 credits) ART 125 Foundations of Art History I 3 cr ART 126 Foundations of Art History II 3 cr ART 343 History of Modern European Art 3 cr ART 345 American Art Since 1913 (or) 3 cr ART 491 Special Topics in Art History 3 cr ART 461 Aesthetics and Art Criticism 3 cr Senior Capstone –Required for all Art Majors (5 credits) ART 492 Senior Seminar 1 cr ART 493 Senior Studio 4 cr (or) ART 494 Art Internship in Graphic Design or Animation 4 cr Specific Classes for Graphic Design Concentration (18 credits) ART 271 Introduction to Graphic Design 3 cr ART 372 Graphic Design 3 cr ART 374 Typography 3 cr And three courses from the following: ART 370 Animation 3 cr ART 373 Illustration 3 cr ART 375 Package Design 3 cr ART 376 Computer Illustration 3 cr ART 377 Web Design for Designers 3 cr ART 472 Advanced Graphic Design 3 cr ART 473 Advance Illustration 3 cr ART 474 Advanced Typography 3 cr ART 476 Advanced Computer Illustration 3 cr ART 477 Advanced Web Design for Designers 3 cr Specific Classes for the 2-D Animation Concentration (18 credits) ART 271 Introduction to Graphic Design 3 cr ART 2xx Introduction to Animation 3 cr ART 2xx Animation Analysis 3 cr ART 3xx 2-D Animation I 3 cr ART 4xx 2-D Animation II 3 cr And one course from the following: ART 3xx Digital Video 3 cr ART 331 Advanced Life Drawing 3 cr ART 373 Illustration 3 cr ART 376 Computer Illustration 3 cr ART 377 Web Design for Designers 3 cr ART 4xx Character Animation on the Web 3 cr ART 479 Web Motion Graphics 3 cr 6 Specific Courses for the 3-D Animation Concentration (18 credits) ART 271 Introduction to Graphic Design 3 cr ART 2xx Introduction to Animation 3 cr ART 2xx Animation Analysis 3 cr ART 3xx 3D Animation I 3 cr ART 3xx 3D Animation II 3 cr And one from the following: ART 3xx Digital Video 3 cr ART 331 Advanced Life Drawing 3 cr ART 376 Computer Illustration 3 cr ART 377 Web Design for Designers 3 cr ART 4xx Character Animation on the Web 3 cr ART 479 Web Motion Graphics 3 cr * For course descriptions refer to Appendix #6 4.2 Interrelationship with other Curricula: The Digital Arts, and especially animation, involve visual techniques, while also incorporating perspectives from Communication, Computer Science, English, Music, Physics, and Theater. Courses drawn from those disciplines form a ready pool of elective courses for students in the Digital Arts, as is indicated in the representative sample below. COMM 107 Communication and the Human Condition COMM 108 Media and Society CSCI 130 Intro to Programming CSCI 241 Computer Science I ENGL 207 Creative Writing - Fiction ENGL 208 Creative Writing - Screen Play Writing ENGL 252 Intro to Film MUS 101 Fundamentals of Music PHYS 101 Principles of Physics THEA 110 Theatre Appreciation THEA 125 Acting I These collaborations further underscore the strong potential for new classes to be developed with other departments. Some illustrative examples include music classes dealing with scoring for film and audio recording, the physics of motion, or a theater class dealing with Mime. Art, Music and Communication might collaborate on a course dealing with the interrelationship of music to film. The existing animation certificate includes courses in English. The pre-architecture track (articulated with UW-Milwaukee) includes courses in English, Geography, Communication, Math, and Physics, and the Art History Certificate also provides opportunities for students to elect a class from several different departments. Art also participates in an interdisciplinary Museum Studies Certificate that involves History and Sociology/Anthropology. And, the Certificate in Web Design, jointly developed by Art and Computer Science, requires courses drawn from both departments. In 2002 the Computer Science Departments and Art Department jointly wrote a National Science Foundation "Partnerships for Innovations" Grant. The Department will continue to work with Computer Science when and where it is relevant to help develop the Digital Arts Program. As digital arts depend on good encoders and creative programs, the interrelationship between the two Departments will only 7 expand. The university envisions that this focus will serve both departments and have a positive effect on growth for Computer Science as well as Art. Art and Biological Sciences faculty have collaborated to develop a course 'Biology through Art', which integrates contemporary art and biology, culminating with the creation of visual artworks in the laboratory. Faculty from those departments recently designed another new course, “Statistical Graphics, that provides students with more effective means of visually communicating their scientific findings. 4.3 Methods of Assessment and Evaluation: Assessment of the Digital Arts major would occur within the context of the Art Department’s assessment plan (see appendix #7). With regard to student work, there are three progress evaluations, each of which involves a portfolio review. These occur upon completion of the foundation courses, completion of the introductory courses in a given concentration, and following the Senior Capstone Course (Senior Studio or Internship). This last review enables the department to ascertain the maturation of our students’ artistic conceptual strengths and skills upon graduation and also give the department a superb opportunity for assessment. The collective analysis of these individual reviews provides a substantial evidentiary base for assessing the effectiveness of the essential elements of the department’s curriculum. Additional assessment tools include exit polls of graduating seniors, periodic surveys of graduates, interviews with individuals who have worked with our interns, dialogues with colleagues in similar disciplines at other universities, and ongoing curricular discussions in department meetings. 4.4 Accreditation Requirement: none 4.5 Diversity: A universal medium of expression and communication, art inherently provides a platform for diversity. Artists also create diversity through their personal unique visions that emerge from their own cultures and backgrounds. Art also provides more opportunity for diversity in that it accommodates different intelligences and learning styles. Its active, hands-on approach provides an inviting, accessible, and democratic learning environment. Not surprisingly, the department attracts a diverse student body. Approximately 19 percent of its majors are students of color, and their personal artistic production further enhances the visual diversity that students experience within the art program. Of the department’s three recent hires as tenure track Assistant. Professors, two are women, one of whom is a Latina, and one is an African American male 4.6 Strength or Unique Features: The strength of the new Digital Arts major will be its tie to the traditional mediums that are already in place at Parkside. As in our existing classes, the Art Department will strive for the animator and graphic designer to create a personal and unique art style that will best express their artistic viewpoints. Technical schools tend to leave out the “art” side of the curriculum. While Technical schools may provide students with the fundamentals of graphic design or the ability to work with software, the university setting provides both a richer background in the arts and a deeper understanding of artistic techniques and their historical framework, whether traditional or computer-aided. This produces graduates who have a complex and nuanced artistic sense that enables them to produce more compelling, quality works, whatever their chosen career field in digital arts. The interdisciplinary aspects of the Digital Arts major (see 4.3) are another strength, as is the link to several certificate programs, including arts management, museum studies, and worldwide web publishing. 4.7 Career Advising: All faculty members of the Art Department act as advisors. The department’s strong record of community engagement (see 4.9) and support for community arts programs also provides students with 8 opportunities to network and gain greater understanding of career opportunities. Another facet of the department’s career counseling is the Art Internship, which provides practical experience in studio and curatorial situations in business, industry, and museums. Faculty members and organization representatives jointly supervise the internships. At present, there are four to five students who are placed in internships each semester. UW-Parkside’s Career Center provides additional support for all students. 4.8 Outreach: The Art Department works closely with the University's Center for Community Partnerships helping organizations with graphic design projects. Last year, for example, the graphic design students assisted the Racine/Kenosha Lead Abatement Project to help make the community become aware of this danger. The graphic design students have also designed the web site for the Kenosha United Way, brochures for the Pleasant Prairie Park Commission, posters, logo designs and other advertising materials for area non- profit arts organizations [See Appendix #8]. A strong Digital Arts program will foster additional affiliations with our community. 4.9 Integration of Appropriate Technology and Instructional Design: The existing UWP graphic and web design program offer courses that include industry standard software as the basis for the course offerings. Ongoing professional development, through workshops, industry contacts, and professional organizations ensures that all our department members, especially those in the digital arts area, remain abreast of the ever-changing needs of this expanding field. Both administration and faculty are committed to providing state-of-the-art hardware and up-to-date software so students are learning on the equipment and software they will find in the field. Teaching and learning is a prime concern for the Art Department, and that directly involves issues related to designing effective learning environments and strategies. Members of the Art Department have been actively involved with campus- based projects related to the enhancement of teaching and learning (including, for example, community- based learning and, enhancing introductory courses). They also have worked with the university’s instructional design specialist, and have participated in several OPID programs. 4.10 Collaboration and Distance Education: UW-Parkside personnel have made initial contact with UW-Whitewater (which is pursuing a major in multimedia) to see where resources can be shared between campuses. Initial overtures to UW-Stout have also been made regarding the possibility of sharing some courses. UW-Parkside already has an articulation agreement with Gateway Technical College (implemented in December 2002) that allows students with their 2-year degrees in graphic arts to transfer into the art department for a completion of a 4-year degree. Currently, the concentration within the art program that students are encouraged to pursue is illustration (they already have their requirements for our graphic design program met). This new major would open up other concentrations and certificates to them such as animation and web design which should lead to an ever-increasing flow of students. We also are investigating the possibility of an articulation with Milwaukee Area Technical College. 4.11 Access for Individual with Disabilities The Art Department has always worked with the university’s Disability Services Office to ensure that it has followed all codes to ensure that our program is accessible for those with disabilities. The department has had a number of individuals who have had varied disabilities and has accommodated them through syllabus modification, alternative projects or adjusting the use of different tools. As this will be primarily a computer-based discipline, the accessibility and challenges will not be as acute as those such as a sculpture or printmaking class. 9 5. PERSONNEL 5.1 Faculty Participating Directly in the Program: The Art Department is committed to provide all its majors with a sound grounding in the fine arts and art history. Digital experimentation is already undertaken in printmaking. All current members of the Art Department will participate in the Digital Arts major. Lisa Salvatierra Barber, Asst. Professor, (ceramics, fibers, foundation drawing and design) Dennis Bayuzick, Assoc. Professor, (art education, painting, foundation drawing and design) Trenton Baylor, Asst. Prof., (sculpture, woodworking, foundation drawing and design), Douglas DeVinny, Professor, (printmaking, drawing and illustration) Susan Funkenstein, Asst. Professor, (art history) Alan Goldsmith, Assoc. Professor, (graphic design and illustration) David Holmes, Professor, (art appreciation, painting, foundation drawing and design) Robert Miller, Lecturer, (animation, graphic design and foundation design). 5.2 Advisory Faculty (and Staff) Timothy Fossum, Professor, Computer Science (Chair) Susan Haller, Assoc. Professor, Computer Science Stuart Hansen, Assoc. Professor, Computer Science Judith Tucker-Snider, Assoc. Professor, Theater Arts (Chair) Jamie Cheatham, Assist. Professor, Theater Arts Dean Yohnk, Assoc. Professor, Theater Arts Katherine Gregory, Assist. Professor, Communication Megan Mullen, Assoc. Professor, Communication/Humanities Jay McRoy, Assist. Professor, English/Humanities Julie King, Senior Lecturer, English James Crowley, Assoc. Professor, Music Mark Eichner, Assoc. Professor, Music (Chair) Catherine Pietri, Assist. Director - Instructional & Technical Support 5.3 Additional Faculty Requirements: Our present faculty resources, with some augmenting by adjuncts, will suffice to initiate the Digital Arts major in fall, 2004. The department presently is preparing a request for a tenure-track faculty assistant professor, with a start date of fall, 2005-06, with strength in the area of web design and three- dimensional modeling. Assuming the anticipated rise in enrollments, we would expect to add a 3-D animator by either fall 2006 or ’07. Given changing enrollment patterns in other disciplines and the expected number of retirements, reallocation of resources will support the two new faculty lines. 5.4 Academic Staff: Depending on market conditions, the 2005 hire in Digital Arts might be an academic staff position. The need for Associate Lectures with professional proficiency in various areas of technical and artistic genres will need to be brought in to augment the programs. 5.5 Classified Staff: We do not anticipate any new classified staff needs within the Art Department. Although, there will need to be some additional needs in the Instructional Technology Support area, which oversees the campus computer labs That would not result solely from the Digital Arts program, but rather from the general rise in lab needs throughout the university. This need reflects both increases in classes but also the new and more advanced programs being used. A specialist with certification in Apple/Mac platforms will become a necessity 2005. 10 ACADEMIC SUPPORT SERVICES 6.1 Library Resources: The University of Wisconsin - Parkside has a large selection of art books, videos, DVDs and trade magazines. In the past few years our collection of animation videos has expanded considerably as well as graphic design books. The library has been very supportive in procuring materials needed for all the art concentrations to augment the curriculum. The Art Department sees no new demands on Library resources. 6.2 Additional Support Resources UWP has a competent computer support staff that shares multiple tasks. Although many support people help to make the Mac labs operate efficiently and effectively, primarily one person along with a student assistant builds and maintains the image that is used on all the computers in these labs as well as the PC labs. This person is responsible for maintaining the network connections, upgrading all the software that various faculty need for their courses, understanding the hardware requirements for all the programs in the lab. This is not a small task. As high-end graphics files can demand a great deal from a network, it is imperative that the staff stays current and anticipates what upgrades will be necessary. Periodic training will be required to keep the support staff up to date. The university presently is recruiting for a Director of Networking and Computers. Once this person is in place, we anticipate there will be some internal reorganizations and reallocation of resources. (Refer to 5.5) 6.3 - 6.5 (Not relevant) FACILITIES & EQUIPMENT 7.1 Capital Resources--Existing Facilities and Capital Equipment The University maintains two Macintosh computer labs that are used by the existing graphics program and would be anticipated to be used for the new program. Each lab is equipped with 25 networked Macintosh computers, one or two flatbed scanners, a digital projector and whiteboard for classroom use. The labs are shared with the Communication, Art, Theater Arts Departments, Teacher Education and occasionally an UW-Extension course. When no class is offered, the labs are open to the public and the student body. The labs are co-located in D150 Wyllie Hall and share a laser printer where students can buy printouts of their work. A recent upgrade of the labs has resulted in all major software programs running current versions. No program is more than one version behind the current release. In addition the lab has (as of spring 2004) upgraded to the new UN*X-based operating system, OS X. Also added fall 2003 is a small video editing lab consisting of two G5 Macs running OS X. external DVD burners, and other equipment. This lab is in a separate room directly behind the Mac Lab. Also available are a conference room and two learning labs (with 12 computers each) that can be reserved. The present setup includes desks and chairs for the 25 Macintosh G5 Computers, 1.8 Ghz, 512MB RAM, DVD-RW/CD-RW; 25 Macintosh Dual Processor G4 Computers, 600 Mhz., 512MB RAM, DVD- R/CD-R (five with CD-RW); an HP 8150 laser printer; three Epson 3400 scanners; 4 external CD burners. In addition the following software is available to anyone using the lab through a key server that manages licenses so that only as many copies of a particular program can be opened as UWP has licenses. 11 Software 53 Mac OS X (10.3) 25 Adobe Creative Suite that includes Illustrator CS, Photoshop CS, InDesign CS, GoLive CS, Acrobat Professional (with concurrent licenses) 25 QuarkXPress 6 52 MS Office X 25 Apple Final Cut Express 20 Adobe After Affects 5.5 15 Adobe Premier 6.5 25 Macromedia Dreamweaver MX (Mac concurrent licenses) 25 Macromedia Flash MX (Mac concurrent licenses) 25 Corel Painter 8 5 TypeStyler X (no release date) 1 Symantec System Works 10 Bias-Peak 3.2 LE (5 pack) 25 Poser 4 Mac 1 Debabelizer Pro 5 10 Roxio Titanium 5 26 HyperStudio 4 24 Vector Works Licenses 7.2 Capital Budget Needs--Additional Facilities Required The program can be initiated using the present Mac Lab described above, augmented by additional hardware and software and some minor remodeling. (see appendix ? for detailed listing). This retrofit involves providing fifteen fully functioning stations and an adjacent Drawing/Design Studio. Hardware needs for the lab would total $25,339.25, and would include fifteen additional 17” monitors (animation requires dual monitors), graphic tablets, an additional 2 GB of RAM for each computer, and one functioning whiteboard set-up. Software needs would total an additional $9,058.95. The Drawing/Design Studio, which would be created by taking space from an adjacent lounge area, would require fifteen Animation Drawing tables, three TV/DVD players, and one whiteboard set up. These hardware costs would total $5,245.97. Construction costs are estimated at $4,000, for a total capital cost of $49,144.17. . Additional capital costs for both the Mac Lab and Drawing/Design Studio will be needed for an adequate audio playback system. Audio is important and needs to have the same quality as the visuals being projected. Ceiling speakers that would be capable of stereo playback need to be in place. ($650.00) Through reallocations, Internal funds have been identified for all these costs. As the number of students pursuing animation grows, there would be a need to increase the number of workstations. We anticipate this occurring in year 2008 (See 3.4) At current prices, an additional ten stations would cost approximately $20,000. We would anticipate handling this internally. Clearly, continued growth would create pressures for a new high-end labs dedicated to animation and graphic design. A multipurpose smart room in close proximity to the lab would be needed for critiques, as a workroom and for lectures and conferences with “clients.” The expansion of the Communication Arts Building is a top priority project in the UW-Parkside facilities master plan, and we are hopeful that it will be funded in the next biennium. That expansion would dramatically alter the configuration of lab space throughout the campus, and would enable us to accommodate a thriving Digital Arts program. 12 APPENDIX 1 University of Wisconsin-Parkside Art Department Strategic Planning Update April , 2003 Mission Statement: The Art Department of the University of Wisconsin-Parkside extends to students the opportunity for collegial relationships with faculty in both classroom and studio. The department offers a range of opportunities within a traditional visual art curriculum for unique concentrations as well as a generalist’s approach. The faculty of the Art Department is dedicated to excellence in teaching, creative activity and research, and service to the university and the community, both local and regional. The Art Department believes in broadly sharing the visual experience through creative and pedagogical activities with students, colleagues and the community. Objective One: To offer a diverse curriculum and programs based on the traditions of the visual language and its important position within our contemporary culture, stressing the effects and influence of art. Strategies: • The curriculum has been formulated to integrate two and three-dimensional arts, with a foundation that is inclusive of traditional media complimented by a broad background in the history of art and aesthetics. • Class and studio activities are augmented each semester with field trips to museums and galleries, primarily in the Milwaukee/Chicago areas. The use of our own gallery is also utilized as a teaching tool with exhibitions that focus on issues relevant to the curriculum. Guest lectures by artists, art historians, art critics, aestheticians and other professionals in the art field are also used. Measurable Outcomes: • The Art Department sees the review of its curriculum as an ongoing activity, basing changes on our student evaluations, graduate surveys, comparable university programs (regional and national) and changing trends in higher education in a general context as well as specific issues that relate to the visual arts. With the addition of new faculty in the past few years, the curriculum continues to be refined to reflect their distinct areas of expertise. • As proof of our resolve to improve and expand our program within the limitations of the existing facility and our position as it pertains to faculty lines, the department has now implemented an expanded major. In the catalog of 2001-2003, the Art Department initiated eight options ranging from 45 credits to 59. These give the Art major three distinct options: either a General Art Major (45 credits), a Comprehensive Art Major (53 credits) or Concentrations in either Graphic Design, Drawing, Printmaking, Painting, Illustration, Ceramics, Crafts, or Sculpture (59 credits). These give more specific options and serve individualized career goals. It also allow those students who choose to go on to graduate school a degree which will be competitive with a Bachelor of 13 Fine Arts degree offered at many other schools. The Department created a Certificate in Animation in the fall of 2002. In addition, in the spring of 2002 a plan was devised and sent to the University of Wisconsin System to form a special degree program in Digital Arts that reflects the growth and interest in this area. • The Art Department envisions forming a concentration in Art History. The Art Historian (Dr. Funkenstein) would offer a broader range of courses that would include the studio areas with themes and methods found in the humanities, social sciences, and sciences. This concentration would enroll students who are interested in the historical and theoretical aspects of the visual arts. As a preliminary step, the Art Department created an Art History Certificate Program in the fall of 2002. Objective Two: To offer art students, as well as the non-art major, a broad yet comprehensive introduction to the visual arts along with a historical, cross-cultural, theoretical and technical emphases. Strategies: • The Art Department has developed foundation classes to substantiate a proper groundwork for further studies. These courses are the theoretical and technical basis for all supplementary studies in the art program. • Foundation studio courses, art history courses and art appreciation are open to all university students. These courses are important to the major but are also developed in consideration of the non-major who wants to receive a positive learning experience in the visual language. Measurable Outcomes: • By continuing the refinement of the foundation courses so the student is instructed in diverse cultural, theoretical and technical information. This is an ongoing activity with a formal review every two years. • By integrating new ideas and technology into the foundation program, especially as it pertains to conceptual directions in computer imaging. • By reviewing foundation courses with regard to the appropriateness of the course work for both majors and non-majors and being ever sensitive to gender and ethnic issues. • By assuring that the arts of Africa, Asia, Latin America, and the Middle East, and the issues of gender, race, and ethnicity, are consolidated into coursework. This will be important not only to the art history and art appreciation courses but integrated into media-specific studio course work as well. Objective Three: To offer art majors an opportunity to develop their abilities within a varied curriculum that offers an assortment of opportunities to explore a wide range of career possibilities. Strategies: 14 • The major requirement offers three options with eight studio concentrations under the third option. This allows the major a wide range of choices, from a generalist major to the more demanding concentration in a studio specific area (Drawing, Painting, Ceramics, Printmaking, Illustration, Sculpture, Crafts and Graphic Design), and an opportunity for art education certification. • The expansion of the Concentrations to include art history is a strategy that the Art Department considers significant. This would present the more historically and theoretically minded student an opportunity for an art major. The cultural relativism taught in the art history courses would also appeal to students from diverse ethnic backgrounds, and inspire them to consider this program. • The upgrading of computer technology as well as other technical upgrades for the studios/labs is imperative to the student who needs to be current for the contemporary job market. Measurable Outcomes: • To survey our graduates through both exit interviews and a follow-up survey two years after graduation so to evaluate the impact of the options on their career. • To also poll individuals from the community (museum directors, designers, etc.) who can give input into expanded or defining new possibilities for employment for the art major. • To attend and/or host conferences, meetings and other opportunities in the art field, the art department will continue to investigate how it can best tailor the major to make the most productive graduate for today’s job market. Objective Four: To offer students an opportunity to experience the application of new technology in the creation of their unique artistic vision. Strategies: • The use of computer technology is being actively integrated into the major especially as it pertains to the Concentration in Graphic Design and Animation Certificate. Foundation level two-dimensional design is being considered as an introductory experience with computers. Other studio areas will to be sensitive to the computer as new technology is introduced. • Within the traditional studio areas, there are constant improvements in materials and technology that need to be explored on a continuing basis. New resins and pigments have a constant impact on drawing, printmaking, painting and sculpture. New technologies, outside the tradition of studio art, will be integrated to form new visual creations. This has to be a perpetual preoccupation of the department if we are to offer a program that represents the contemporary art world. As new products and technology impacts the arts, the department must not only understand their use but also invest in a thorough understanding of the health and safety issues related therein. Measurable Outcomes: 15 • The Art Department will again survey current students and our graduates to ascertain the worth of various components within the curriculum as it pertains to technological issues. • The department will also continue to have an active dialogue with experts within the field to make sure that the department is as technologically up to date as our budget will allow. The department must invest in new avenues of support beyond the standard S&E account to improve our technical upgrades. Objective Five: To prepare students for specialist art teaching in elementary and secondary schools. Strategies: • The Art Department will address and meet the State of Wisconsin Department of Public Instruction Certification Standards to insure a vital and relevant curriculum that will prepare a student for a career in primary and secondary education, both in the public and private sectors. Likewise, the department will also work with the Department of Teacher Education at the university so that our program properly coordinates with their requirements. • The coordination of the Art Education component within the art curriculum will continue to be monitored by an appropriately trained faculty member whose professional expertise and activities involve contemporary pedagogical theory and application. Measurable Outcomes: • The department will continue to monitor the job placement patterns and hiring histories of recent Art Education Certification students as a measure of the program’s success. To date approximately 95% of the students graduating with the Art Education Certificate have been hired in their field of study. The department will continue to survey the Art Education Certification students within two years into their teaching careers to assess their analysis of the quality and pertinence of the art education curriculum in preparing them a careen in Art Education. The department will also survey appropriate administrators in a formal and a formal manner to ascertain how well the program is preparing current and future art educators. Objective Six: To provide a solid foundation for graduate studies in art, design, art education and/or art history. Strategies: • The Comprehensive Degree in Art and especially the Concentrations with their specific 16 studio directions provides the student with a high quality background in their chosen field of studio research. This will give them a base to build a course of studies at the graduate level as well as make them competitive with the individual whose degree is a Bachelor of Fine Arts. • The Art Department will continue in its mission to expand the art history component of the major, as this is a crucial part of graduate studies. It is also the desire of the department to establish a more thorough major with the expansion of the offerings in art history and the addition of a Concentration with this distinction. Measurable Outcomes: • A timely survey of the graduates who applied to graduate schools to ascertain the acceptance and rejection rates, and the quality of the schools will serve as a primary factor in judging the measure of success. For example, in the fall semester of 2001, the department hosted an exhibit composed of work from two former graduates who went on to earn their Master of Fine Art degrees. We have used this vehicle in the past and had very successful exhibitions. Also, as featured in the summer of 2002 edition of Perspectives (09/02), eighteen of the department’s graduates were featured as some of the major contributors to Racine’s ―Dog Days of Summer‖ (a corporate supported sculpture competition to put artistically altered canine sculpture throughout downtown). Such showings help the department be aware of how pervious students are involved in their career and the community. • Reviews of how our curriculum can compete with comparable universities will be another means of measurement we use to see how competitive we are in this arena. Catalogs from system campuses as well as other similar-sized midwestern universities will be reviewed. • Experiencing new technology is important for the successful entry of an individual into a graduate program. This will have a major impact on the department’s supply and equipment budget if the program is to be competitive, making such investments in technology a primary necessity. Our continued modernization, especially in the area of computer technology, hardware, software, maintenance, and development, will be imperative. This is also true in the areas of sculpture and ceramics where the two new faculty members are very involved in modernizing the studio facility. Objective Seven: To provide a broad background in the history of art that stresses the diversity of cultural forms, attitudes, and contexts in works from the United States, Europe, as well as globally, and analyze the aesthetic theories that may be used. Strategies: • The faculty will integrate art historically relevant information into the studio programs whenever possible, being sensitive to both western and non-western ideas, images and individuals. The studio area, from the foundation level through the capstone courses, has always offered a rich arena to explore art history related issues that directly affect the student’s personal creative endeavors. • The art historian must be able to augment the broad base of courses currently offered, to include classes in African American art, Latino/a art, women and art, and the art of Africa, Asia, Latin America, and the Middle East. The Art Historian (Dr. Funkenstein) 17 adds depth to the department’s own diverse major and also contributes to other areas in the university (anthropology, archaeology, humanities, social science, women’s studies, etc.) and to the community. • With an art historian, the Art Department has a cultural ambassador who adds new depth to the university’s mission beyond her individual pedagogical offerings. Some of the major venues of cultural service to the university are through our varied field trips and our exhibitions in the Communication Arts Gallery. The art historian’s service in this area is pivotal to the department’s mission. Having this individual work in concert with the curator of the gallery, this role will be expanded even further. With the development of the major remodeling of the Communication Arts building in the next decade, an enlarged gallery facility will be part of this new construction. In addition to a variety of contemporary visual art exhibitions, the art historian would coordinate exhibits of art historical significance, many being multicultural in nature. Even within the existing gallery, such a role is a major augmentation of the missions of the Art Department and the University of Wisconsin – Parkside. Measurable Outcomes: One standard measurement of the success of any program is its enrollments. Last fall semester (2001) art history (two classes) and art appreciation enrollment stands at 181 students. The ART-125 class (Foundation of Art History—Ancient to Medieval) is enrolled at 53, three over the enrollment limit. Figures from this fall of 2002 are comparable. This is an indication of the history of enrollments that are generated for two basic courses being taught at the foundation level. In addition, upper-division classes in art history enroll well with the ART 345 (American Art since 1913) has 31 students enrolled as of December 27th of 2002. It is quite clear the popularity of this important area of academic investigation. • Again, measurement of success by means of a survey from those interested in art history and therefore, the success of our distinct program will give us proper data to make refinements and additions to the art history program. Objective Eight: To provide programs that meet the cultural needs of the regional community and provide a resource for educational and community engagement through: studio course work, exhibitions (in the Communication Arts Gallery or by the faculty in various local and regional museums and galleries), guest lectures, and art-related field trips (local, regional, national or international). Strategies: • The faculty will continue to use the Communication Arts Gallery to make cultural offerings through major exhibits that range from student displays, exhibitions by noted professional artists, and the nationally recognized small print exhibition. The gallery provides a rich resource for cultural interaction between community and university. • Studio and art history courses are available to any individual from the community, both matriculant and non-matriculant alike. The department will continue to offer classes in the community as it has often done with Art Appreciation at the Wustum 18 Museum of Art in Racine. • Guest lectures by both regionally, nationally and internationally known experts in the field of art are advertised broadly to attract the regional community. To date, the response has been quite positive by art patrons to these lectures. • The members of the art faculty are available to act as lecturers, jurors and workshop presenters both to the immediate community and throughout the region. The number of such presentations by the faculty is impressive and demonstrates that they play a very active roll in their community. With the addition of the art historian will add significantly to this category. • The use of field trips is another way the department chooses to provide service to the community. Each semester a trip is organized to either the Milwaukee Art Museum or the Art Institute of Chicago. These well-attended trips draw very well with over a hundred per museum expedition. A main objective of the department is to focus on major shows keeping the cost at a reasonable rate ($13 to $22). This covers costs with no extra money generated. The local art museum charged $55 for their member and $65 for non-members. Our strategy is to make an affordable cultural event for all. National and international tours are also offered with some frequency. In spring 2002 a trip to London and Paris with primarily community people was offered. • With the addition of our full time art historian all the services we offer to our students, colleagues and the community will be given new depth and meaning. An art historian, who offers lectures, mounts exhibitions, joins in field trips, etc., will serve the university and its greater community far beyond the needs of the Art Department. To augment our curriculum and allow enrichment opportunities, the department should be able to coordinate and offer an array of mini courses in studio and art history/appreciation topics. This would enable the department to control the quality, content, and eminence of the instructor of the offering, which would better enhance the department’s outreach mission regarding arts education and enrichment. Measurable Outcomes: Updates and further developments of the mailing lists should be targeted at a visual arts audience. If the Art Department wants to have a meaningful impact on the community, they need to be kept apprised of the exhibitions, field trips, lectures and other events sponsored or organized by the department. With a current, appropriate, and accurate mailing list the feedback via questionnaires and other inquiries would be very constructive. More accurate mailing lists of the department’s alumni must be kept through the Alumni Office for our use in keeping all our graduates connected to departmental events, programs and general information about what the Art Department is doing. Publicity regarding the professional activities of current and former art faculty as well as art students and alumni should be generated. The public will be more supportive of the efforts if they are made aware of the professional activities of the faculty, current art majors and alumni. Blueprint is a collective newsletter from the three arts areas at the university and serves as a good first step to this end. Feedback through surveys regarding the positive and negative aspects of exhibitions and field trips offered by the Art Department would aid in improvements of these 19 venues as well as development of new concepts. RESOURCES NEEDED TO COMPLETE THE MISSION Space: The Art Department needs additional space in four areas. The sequence these are placed in should not be seen as their order of preference. The department sees them all as important and unique to the various functioning of our mission and that of this university. 1. Gallery: The Communication Arts Gallery is by far one of the smallest facilities of its kind in the University of Wisconsin System. If we are to ever enlarge our exhibition offerings, this space will need to be updated and expanded. With the fine arts building expansion, currently a system proposal, this problem would be resolved. A concern is that The National Small Print Exhibition will always remain small in format. Perhaps, we will retain this successful format but certainly with the current gallery size, we have no other option but to keep the prints relatively modest in scale. Larger exhibitions, that might be both exciting to the community and also serve as a excellent teaching tool for the university could never be booked. Likewise, student work that is meritorious may not be able to be included in the student art shows because of the space limitations within our small gallery. The gallery's track lighting system is outdated and the walls are showing wear. 2. Gallery Storage: This area is at best barely adequate for its function. A space that is larger and closer to the gallery is needed. In the present gallery storage area, there is no room for permanent storage for works of art and even temporary storage is awkward. This is one major reason why we take down a show and return it before the next one is delivered and installed. This can shorten the length of exhibitions. Often this must be done in a two day period, as the Art Department does not like to leave the gallery closed for extended periods during a semester. A proper gallery storage area also should have an exhibition preparation area as well as unique storage facilities for plinths, lights, clear display cubes, tools, ladders, etc. There is also a question of climate control for the safety and preservation of works of art and materials that needs to be present in a proper gallery storage room. The present facility has little of these things and is really nothing more than a large closet. 3. Drawing Studio: The drawing studio [CA 125] is also much too small. Its size limits the number of students who can use it and presents a major problem for the storage of drawing supplies, stools, drawing horses, easels, model stands and still-life materials. Although the tiered room with its new lighting is fine for a small class, it cannot safely handle over twenty students. We often enroll over 25 students so there is little room for movement and the teacher is encumbered in his or her attempt to move about the studio. Movement of the faculty member is imperative, as individual instruction while the student is at their station is critical in the teaching of studio art, especially drawing. The size of the room also limits the size of the drawings. Unless the enrollment is small (there are 119 people in five classes equaling 24 per class in the fall of 2002), there is little hope for large-scale drawing. Clean up after the use of certain mediums also becomes a problem, with accidents a common occurrence. A simple solution would be the annexation of the room next to the drawing studio, CA 129. With the removal of the wall between the two rooms, an ideal amphitheater for drawing 20 would be created with semi-circular tiers to each side and a stage for a still-life or the model in the middle. The drawing studio is actively used with up to eight classes being taught in it each semester. 4. Graphic Design Studio: With such a large number of accepted art majors in the Graphic Design Concentration, having a studio dedicated to this area should be a high priority for the university. This lab must have as much flexibility as possible as it must serve a multitude of roles. The computer lab must support the present needs of the graphic design program (16 courses) and be flexible enough to accommodate future innovations in technology that will have to be incorporated into the curriculum. At present the department uses the Mac lab in the Library (shared with other departments) to teach its array of classes. It is an overly active area and one that allows little flexibility in scheduling and little student access beyond class hours. The ideal graphic design studio would have 24 workstations with a faculty workstation hooked up to video and projection equipment for presentations, demonstrations, and lectures. A whiteboard near the projection screen would also be necessary. The work areas around the individual workstations should accommodate any peripherals needs such as graphic tablets, external drives, etc. In that web design and animation has become a much more important aspect in the graphic design program, it will be necessary to also add multimedia production facilities to include video editing, sound recording and extensive animation facilities. Because of the multiple uses of the room, the lighting should be variable. Also, the ventilation needs to have adequate air filtration to minimize dust buildup in the room to protect the diverse equipment. Likewise, the electricity installed in the room needs to be as flexible as possible with ample amperage for all the computers, printers, scanners, etc. In addition, this studio should have an area for at least two graphic workstations that would be dedicated to scanning (flatbed and slide scanners) with large-format graphics tables attached. For animation students there has to be a copy stand with dedicated video camera and a computer for shooting pencil tests. Also, the graphic design studio will need a security system to allow students access but also protect the large investment in equipment. Capital: Gallery: The need for capital expenditures would go up with a new gallery or the expansion of the existing gallery, and storage area. Even without new facilities, most of the plinths and clear display cubes date back to the beginning of the university. It is imperative to have the proper display units in mint condition if one wants to display art in a professional manner. Almost all of these will need to be replaced as soon as possible. Studio: Much of the equipment in the 3-D studios (ceramics & sculpture) dates back to the start of the university or in a few cases to the old Center System Campuses in Racine and Kenosha. The replacement of some of this is inevitable. Although some tools are solid in design and might even be called classic, much has shown the wear over thirty years and newer technology has made them obsolete. With the new sculptor and ceramist bringing new technological concepts and more up to date applications, there is a need for modernization and expansion in these two areas. Studio Furniture: Likewise, much of the studio furniture dates back to the genesis of the university. Many of the drafting tables in Comm. Arts 111 are wobbly, cracked and generally in disrepair and at least twelve need to be replaced soon. General furniture such as stools, chairs and worktables are also in need of replacement or updating. 21 Tables and chairs have been replaced in the print studio making this a much more workable and safe environment (summer 2002). Also, a Lab Modernization proposal for CA 111 was recommended for funding pending legislative action and the governor’s signature. As of January of 2003, the furniture has not arrived. The furniture in the print and design studio is a beginning but there are more studios that need to be addressed. Graphic Design: Some of the equipment has already been defined in the prose presented in the need for a graphic design studio. The computers, scanners, digital cameras, video cameras, etc. to make a holistic studio (and Graphic Design Concentration) is an expensive reality for this department and the university. Yet as expensive as the equipment is, the programs themselves present another major investment (Adobe Illustrator, QuarkXpress, Photoshop, etc.). As the programs are constantly updated, new versions need to be procured and the appropriate license bought so to serve all the stations in the lab. Between computers which also have a shelf life and programs with their licensing, graphic design proves to be a major investment that will always demand a great deal of capital. But, with so many majors in this concentration, the need cannot be ignored. Personnel: Graphic Design: With the large enrollments in all our Graphic Design classes, a second individual in this field became a major necessity for the Art Department. There are over eighty art majors in the Graphic Design Concentration and at least four minors. That is a greater student population seeking the Graphic Design Concentration than there are in two-thirds of the departments in the College of Arts and Sciences at the University of Wisconsin – Parkside. This load should not be on the shoulders of even two individuals and the addition of a third graphic designer will need to be considered to assist develop the area of digital arts. Beyond helping advising and mentoring the large number of majors moving through the concentration, the new designers will bring diverse technical understanding and design sensitivities to broaden the student experience in kinetic digital arts and 3-D animation. A third designer will strengthen the graphics program even more by stressing 2-D animation and other motion graphic programs. From the Graphic Design Concentration's original format of eight courses presented in the 1999-2001 catalog, to the expanded sixteen now offered, the department is trying to keep up with an area that is expanding rapidly. If this concentration is going to remain timely and progress, we need additional faculty members to help in its growth. Graphic Design is an area, which touches every component of society, and certainly the university has called upon our graphic designer and the graphic design students to help fulfill our collective mission. The third designer will not only make the Concentration more viable but the University engagement. Art Historian: With the addition of the Certificate in Art History and the strong potential for a Concentration in this important subject, it is not at all unlikely that a second art historian may be needed in the future. Certainly the student interest (in and outside of the Art Department) is there with approximately 250 students served in the academic portion of the art curriculum. Even advanced courses such as the History of Modern European Art (ART 343) enrolled well with 35 students in the fall of 2002. As of December 27th, 31 had signed up for the American Art Since 1913 class (ART 345). 22 Slide Librarian/Exhibition Preparator: With the large success of our National Small Print Exhibition (now in its 16th year) and the addition of a full time Art Historian, our Slide Librarian and Exhibition Preparator (Glen Larson) is being given more and more responsibilities. Both of these positions could easily be rationalized as full time but the Art Department realizes this is not possible at present. It simply hopes to move Larson to 100% employment to help in both of these vital areas. Besides work in the gallery and the slide library, Larson has also acted as a general project assistant. Having Larson as a full time employee to help in a multitude of areas within the Art Department would be of great importance to the proper functioning of the department’s mission. APPENDIX 2 Curricula: Other Campuses Information being compiled. 23 APPENDIX 3 - Research Findings - Outlook for Jobs for Digital Arts Related Fields Estimated & Projected Occupational Employment Prepared for: UW-Parkside By: UW System Market Research October 2003 24 Purpose Faculty at UW-Parkside would like information on the job outlook for occupations relevant to graduates of a proposed Bachelor of Arts in Digital Arts. Assessing Job Outlook Data on job outlook come from employment projections generated by the U. S. Bureau of Labor Statistics (BLS) and cooperating state agencies such as the Wisconsin Department of Workforce Development (DWD). These data represent the most systematic, comprehensive attempt to forecast demand for workers in all occupations. Job categories used by the BLS can be broad or general in their definition, depending on the field. Some occupations are grouped into broader categories for reporting purposes. Often, BLS job categories are not specific enough to be useful in assessing the job outlook for graduates of interdisciplinary programs or programs geared toward new or emerging occupation areas. For these programs, studies conducted by industry groups or academic associations may provide more specific and relevant data. At the national level, the most current projection series is based on 2000 data and projects employment in the year 2010. States in this analysis are also using 2000 to 2010 as their current projection series years. Employment projections are best interpreted as directional findings of the general outlook for jobs that graduates of a program may enter. Since the job categories used here are not designed to correspond directly with academic degree programs, numbers of job openings are NOT direct measures of demand for graduates of an academic program. Academic programs in other fields may provide equal preparation for positions in a given job category. The typical education and training requirements for a job category may differ from the proposed program‟s degree level. Openings in one state or region may draw applicants from other states or regions. Likewise, graduates of a program in Wisconsin may look for jobs in other parts of the country. Any job category may include workers with atypical education or training, just as many graduates may get jobs unrelated to their academic studies. 25 Relevant Job Categories Graduates with a Digital Arts degree would most likely seek jobs in the following category, as identified by UW-Parkside. (Descriptions are from the Bureau of Labor Statistics.): Graphic Designers: “Design or create graphics to meet a client's specific commercial or promotional needs, such as packaging, displays, or logos. May use a variety of mediums to achieve artistic or decorative effects.” Commercial and Industrial Designer: “Develop and design manufactured products, such as cars, home appliances, and children's toys. Combine artistic talent with research on product use, marketing, and materials to create the most functional and appealing product design.” Multi-Media Artists and Animators: “Create special effects, animation, or other visual images using film, video, computers, or other electronic tools and media for use in products or creations, such as computer games, movies, music videos, and commercials.” TV, Video and Motion Picture Camera Operators and Editors: “This broad occupation includes the following two detailed occupations… 1) Camera Operators, Television, Video, and Motion Picture: Operate television, video, or motion picture camera to photograph images or scenes for various purposes, such as TV broadcasts, advertising, video production, or motion pictures. 2) Film and Video Editors: Edit motion picture soundtracks, film, and video.” Education and Training Currently, the BLS identifies a Bachelor‟s degree as the typical education and training level for all of the titles detailed above. Competing Program Areas According to the Bureau of Labor Statistics, fields having to do with art and design are very competitive. Therefore, it often emphasizes how beneficial it is for job candidates to have a bachelor‟s degree in the fields presented in this report and in some cases, a master‟s degree. Based on a crosswalk between the BLS and the Classification of Instructional Programs (CIP) system, the best educational matches for fields such as Graphic Design, Multi-media artist and animators, etc appear below. Digital Arts is not specifically available in the CIP System at this time. Occupation Related Academic Program Areas 1) Design and Visual Communications, 2) Graphic Design, Graphic Designer Commercial Art, and Illustration, or 3) Industrial Design 1) Design and Applied Arts, Other, 2) Design and Visual Commercial / Industrial Designer Communications, 3) Industrial Design 1)Art, general, 2) Drawing, 3) Graphic Design, Commercial Art, Multi-Media Artist and Animator and Illustration, 4) Intermedia, 5) Painting or 6) Printmaking 1) Communications Technology/Technicians, Other, 2) Film- TV, Video and Motion Picture Camera Operators Video Making/Cinematography and Production, 3) Radio and Editors and Television Broadcasting Tech./Technician Related academic programs are identified by the National Crosswalk Service Center (http://www.state.ia.us/ncdc/) based on their descriptions in the Classification of Instructional Programs (CIP) system (http://nces.ed.gov/ipeds/web2000/cip2000.asp). 26 General Job Outlook: Design In the Design field overall, the BLS notes that most entry-level design jobs require a bachelor‟s degree, while noting that computer-aided design is becoming increasingly common. It goes on to note the following facts about the field of design on its web site: Design is a field where 3 out of 10 designers are self-employed (that is a much higher proportion than most other professional fields). Competition in this creative field is fierce and while a bachelor‟s degree is almost always necessary to be competitive for design jobs, a master‟s degree might provide an advantage in this field. Growth in this field – especially among Graphic Designers specifically -- is expected to be fueled by rapid demand for employees skilled at creating Web-based graphics and “the expansion of the video entertainment market, including television, movies, videotape, and made-for-Internet outlets.” Source: 2002-03 Occupational Outlook Handbook, http://www.bls.gov/oco/ocos090.htm Two specific fields of design are highlighted in the tables which follow: Graphic Design and Commercial / Industrial Design. Job Outlook: New Positions in Graphic Design Average growth, according to the BLS, falls between 10-20%. Nationally, job growth for graphic designers (presented in the following two tables) from 2000 to 2010 is expected to have a growth rate of about 27% -- in this occupation about 51,000 positions. Given this rate of growth, this occupation is predicted to grow more quickly than average. Looking at the projections that are available for 2000-2010, Wisconsin and Illinois are expected to have growth rates of 14% and 24%, respectively – lower than the United States as a whole. The county-level data included in the table below stick closely to the same growth patterns as the states that contain them. While Wisconsin as a state overall expects this field to grow at a rate of 14%, Southeast Wisconsin is projected to increase openings in the graphic design field by about 13% between 2000 and 2010. Lake County, IL is projected to grow at a rate of 33%, slightly higher than the growth rate of the state of Illinois (24%) overall. Growth in Positions, 2000-2010 Estimated Projected Growth Occupation Employment Employment 2000 2010 N % Graphic Designers United States 190,000 241,000 51,000 27 Wisconsin 5,320 6,040 720 14 Illinois 7,490 9,256 1,766 24 Total of WI and Illinois 12,810 15,296 2,486 19 Southeast Wisconsin 160 180 20 13 Lake County, IL 356 473 117 33 Numbers may not total because of rounding. Different data sources may employ different rounding methods. 27 Job Outlook: Openings in Graphic Design New positions – job growth – are not the only source of job openings. Openings also arise from employees leaving an occupation (separation). Separations occur when workers retire, switch careers, or permanently leave the occupation for some other reason. In job categories with low growth or high turnover, separations can be an important component of total job openings. Examining the occupation data for graphic designers, separations do play a role in these data. Total Projected Openings in this field between 2000 and 2010 are expected to reach 70,000. New growth between 2000 and 2010 accounts for about 50,000 positions overall while separations account for about 40% of the projected openings, at 20,000 positions. Scrutinizing Projected Openings on a state and county level below, it is clear that separations play a role not only at the national level, but at these smaller geographical areas, as well. Separations play the largest role -- among the geographic areas highlighted below -- in Wisconsin. Of the 1,200 projected openings in the state between 2000 and 2010, 500 openings – over 40% -- come from separations. Data on new job growth vs. separations for graphic designers were not available for Southeastern Wisconsin for this data series. Job Openings from Growth and Separation, 2000 – 2010 Projected Openings from 2000 to 2010 Occupation Growth* Separations Total Graphic Designers United States 50,000 20,000 70,000 Wisconsin 700 500 1,200 Illinois 1,770 750 2,520 Total of WI and IL 2,470 1,250 3,720 Southeastern Wisconsin ** ** ** Lake County, IL 120 40 160 *Differences in values from the previous table result from different rounding methods employed in the original data sources. Numbers may not total because of rounding. **-: Statistics are not available. 28 Job Outlook: New Positions in Commercial / Industrial Design National projected growth for Commercial / Industrial Designers is nearly 24% or 12,000 positions in this field. This surpasses what the BLS defines as average job growth – a rate of 10-20% growth. Both Wisconsin and Illinois have lower projected growth rates than the national rate. Wisconsin projects to grow by 190 positions or about 13%. Illinois projects a similar rate of growth, expecting to increase the number of jobs in this field by almost 200, or about 12%. Examining the county level data, Southeast Wisconsin‟s projected growth rate of about 20% in this field is more in line with the national projections. Lake County, IL echoes the state of IL projections, with an expected growth rate of about 14%. Growth in Positions, 2000-2010 Estimated Projected Growth Occupation Employment Employment 2000 2010 N % Commercial / Industrial Designers United States 50,000 62,000 12,000 24 Wisconsin 1,450 1,640 190 13 Illinois 1,631 1,828 197 12 Total of WI and Illinois 3,081 3,468 387 13 Southeast Wisconsin 50 60 10 20 Lake County, IL 73 83 10 14 Numbers may not total because of rounding. Different data sources may employ different rounding methods. 29 Job Outlook: Openings in Commercial / Industrial Design As explained previously, new positions – job growth – are not the only source of job openings. It is also important to examine openings which arise from employees leaving an occupation (separation). As was the case when examining the data for graphic designers, separations also play a role in the projection data for Commercial / Industrial designers. Total Projected Openings in this field between 2000 and 2010 are expected to reach 20,000. Half of those (10,000) are projected to come via separations. Projected Openings in the two states highlighted below is nearly identical. Wisconsin anticipates total projected openings to reach 300 while Illinois projects 360. The two states have identical levels of projected new openings (200) but Illinois projects an additional 60 job openings as a result of a slightly greater number of separations. Data appeared to not be available for the Southeastern WI area for the field of Commercial / Industrial Designers. Lake County, IL projects a very modest number of both growth and separations between 2000 and 2010. Job Openings from Growth and Separation, 2000 – 2010 Projected Openings from 2000 to 2010 Occupation Growth* Separations Total Commercial / Industrial Designers United States 10,000 10,000 20,000 Wisconsin 200 100 300 Illinois 200 160 360 Total of WI and IL 400 260 660 Southeastern Wisconsin 0 0 0 Lake County, IL 10 10 20 *Differences in values from the previous table result from different rounding methods employed in the original data sources. Numbers may not total because of rounding. **-: Statistics are not available. 30 General Job Outlook: Artists Jobs for Artists are expected to grow at about the average rate for all occupations through 2010, the BLS web site states. In the art field especially, the BLS notes, the competition from „aspiring artists‟ can be very fierce; therefore, creativity – along with experience and education -- will be key factors that continues to set job candidates apart as the field continues to expand. Perhaps positively for the field of Digital Arts, the BLS explains that “the need for artists to illustrate and animate materials for magazines, journals, and other printed or electronic media will spur demand for illustrators and animators of all types. Growth in the entertainment industry, including cable and other pay television broadcasting and motion picture production and distribution, will provide new job opportunities for illustrators, cartoonists, and animators.” Artists held about 147,000 jobs in 2000, and more than half of them were self-employed. However, the BLS notes that many types of artists who are NOT self-employed are artists who work in areas that a multi-media artist – the job category highlighted specifically in the data below -- would work in (television, film, computer software, etc). Source: 2002-03 Occupational Outlook Handbook, http://www.bls.gov/oco/ocos092.htm Job Outlook: New Positions for Multi-Media Artists & Animators Looking at the projections that are available for 2000-2010, Illinois has a much higher growth rate (25%) projected for openings for Multi-Media Artists & Animators than Wisconsin (7%). Given that the BLS pegs “average growth” as 10-20%, Wisconsin expects to grow at a slightly lower than average rate while Illinois has a higher than average rate of growth. Lake County, IL and Southeast Wisconsin both have rapid projected growth in the field for Multi-media artists and animators however, with Southeast Wisconsin projecting 40% growth while Lake County, IL posts an expectation of a 34% increase in new positions. It should be noted, however, that Southeast Wisconsin only had about 50 positions available in 2000. Growth in Positions, 2000-2010 Estimated Projected Growth Occupation Employment Employment 2000 2010 N % Multi-media artists and animators United States 69,000 85,000 15,000 22 Wisconsin 1,180 1,260 80 7 Illinois 4,995 6,253 1,258 25 Total of WI and Illinois 6,175 7,513 1,338 22 Southeast Wisconsin 50 70 20 40 Lake County, IL 231 309 78 34 Numbers may not total because of rounding. Different data sources may employ different rounding methods. 31 Job Outlook: Openings for Multi-Media Artists & Animators In the field of Multi-media artists and animators, separation is expected to play a very large role in contributing to the projected openings available between 2000 and 2010. Wisconsin is expected to have more openings due to separations (200) than new growth (100). Nearly half of the projected openings that will be available in Illinois during this period are expected from separations. While looking at county level information for this field, data for Southeast Wisconsin was not significant enough to be reported. However, Lake County, IL expects that 50 of its 130 projected openings (38%) will be as a result of separations. Job Openings from Growth and Separation, 2000 – 2010 Projected Openings from 2000 to 2010 Occupation Growth* Separations Total Multi-media artists and animators United States 20,000 20,000 40,000 Wisconsin 100 200 300 Illinois 1,260 1,030 2,290 Total of WI and IL 1,360 1,230 2,590 Southeastern Wisconsin 0 0 0 Lake County, IL 80 50 130 *Differences in values from the previous table result from different rounding methods employed in the original data sources. Numbers may not total because of rounding. 32 General Job Outlook: TV / Video / Motion Picture Camera Operators & Editors National job growth for the field of TV / Video & Motion Picture Camera Operators & Editors is expected to grow faster than average (average being 10-20%) from 2000 to 2010. Overall in this field, a growth rate of roughly 23% is projected. As with the other creative occupation fields presented in this report, the BLS stresses that many creative people will likely enter this field. Therefore, while a Bachelor‟s degree is recommended to be competitive for jobs, the BLS also stresses the potential importance of job experience or additional training to excel in this field. While much of the BLS concentration in its narrative about this job title concentrates on camera operators, it does also indicate the positive impact of the growth of computer and Internet services on all jobs that would fall under this category. Source: 2002-03 Occupational Outlook Handbook, http://www.bls.gov/oco/ocos091.htm Job Outlook: New Positions for TV / Video / Motion Picture Camera Operators and Editors While the U.S. level of growth in this field is expected to be at about 23%, both Wisconsin and Illinois are expected to grow at a slower rate. The projected rate of growth for Wisconsin is 14%, while Illinois is just slightly higher at 16%. Examining the county-level data included in the table below, Lake County, IL comes closer to having a rate of growth that echoes the national trend. Its projected rate of growth between 2000 and 2010 is approximately 22%. Growth in Positions, 2000-2010 Estimated Projected Growth Occupation Employment Employment 2000 2010 N % TV / Video / Motion Picture Camera Operators & Editors United States 43,000 53,000 10,000 23 Wisconsin 520 590 70 14 Illinois 1,562 1,808 246 16 Total of WI and Illinois 2,082 2,398 316 15 Southeast Wisconsin ** ** ** ** Lake County, IL 60 73 13 22 Numbers may not total because of rounding. Different data sources may employ different rounding methods. **-: Statistics are not available. 33 Job Outlook: Openings for TV / Video / Motion Picture Camera Operators and Editors As with other occupations presented in this report, separations do play a role in these data under this occupational title. Both growth and separations are projected to number about 10,000 in the national data, and both Wisconsin and Illinois have projected job openings via separations. Separations will play a role in the job market in Illinois market especially, where separations (a projected 310 of them) surpass new growth openings (250). Looking at Projected Openings at the county level, data are not available for the Southeast Wisconsin region in this field for this data series. Lake County, IL, on the other hand, has a small and equal number of projected openings via both new growth and separations. Job Openings from Growth and Separation, 2000 – 2010 Projected Openings from 2000 to 2010 Occupation Growth* Separations Total TV / Video / Motion Picture Camera Operators & Editors United States 10,000 10,000 20,000 Wisconsin 100 100 200 Illinois 250 310 560 Total of WI and IL 350 410 760 Southeastern Wisconsin ** ** ** Lake County, IL 10 10 20 *Differences in values from the previous table result from different rounding methods employed in the original data sources. Numbers may not total because of rounding. **-: Statistics are not available. 34 Data Sources & Definitions Data on job outlook come from employment projections generated by the U. S. Bureau of Labor Statistics (BLS) and cooperating state agencies. National data in this report were taken from the National Employment Matrix published on the BLS‟ Employment Projections web site (http://www.bls.gov/emp/home.htm). Descriptions of job categories are taken from the Standard Occupational Classification (http://www.bls.gov/soc/socguide.htm) for the 2000-2010 series and from the Occupational Employment System (http://www.bls.gov/oes/2001/oes152011.htm). State data in this report were obtained from one or more of the following state agencies: Wisconsin Dept. of Workforce Development: http://www.dwd.state.wi.us/lmi/projections.htm Illinois Dept. of Economic Security Labor Market Information: http://lmi.ides.state.il.us/ Data Sources & Definitions (cont.) Links between job categories and academic program areas are identified by the National Crosswalk Service Center (http://www.state.ia.us/ncdc/) based on the descriptions of academic programs in the Classification of Instructional Programs (CIP) system (http://nces.ed.gov/ipeds/web2000/cip2000.asp). The BLS identifies the education and training typically required for each occupation. This level of preparation is the most common way people are expected to enter the occupation, although there may be other acceptable education or training. The BLS uses the following definitions: Short-term On-the-Job Training: These occupations require no more than one month of on-the-job training and the training usually happens at the work place. Moderate-term On-the-Job Training: Training for these occupations usually occurs at the workplace and lasts from one to twelve months. Long-term On-the-Job Training: These occupations require more than one year of on-the-job training, or combined work experience and classroom instruction. Work experience in related occupation: Occupations in this category require skills and experience gained in other jobs. Postsecondary Vocational Award: These formal training programs last from a few weeks to more than a year, and are offered at vocational or technical schools. Associate degree: This degree requires two years of full-time academic work beyond high school. Bachelor‟s degree: This degree requires four or five years of full-time academic work at a college or university. Master‟s degree: This degree requires one to two years of full-time study beyond a bachelor‟s degree. Doctor‟s degree: This degree usually requires at least three years of full-time study beyond a bachelor‟s degree. First Professional degree: These degrees typically require at least two years of full-time study beyond a bachelor‟s degree. Degree plus Work Experience: These occupations require a bachelor‟s or higher degree, in addition to work experience in a related non-managerial position. APPENDIX 4 35 Student Credit Hours per Instructional FTE for Selected Departments from All UW Comprehensive Universities Prepared by the Office of Institutional Research and Assessment Services October 16, 2003 Note: Departments from the other UWs were selected because they may be, but are not necessarily, comparable to a UW- Parkside department or program. Data for any department not listed is available from the Office of Institutional Research and Assessment Services (Extention 2235). SCH per SCH per Total Fall Term of SCH per Legal Academic Instructional Unit Name Department Name Academic Year Faculty FTE Staff FTE FTE EAU CLAIRE ART 199899 254.8 176 240.8 EAU CLAIRE ART 199900 260 217.8 255.1 EAU CLAIRE ART 200001 253.4 256.3 253.8 EAU CLAIRE ART 200102 212.1 452.7 256.4 EAU CLAIRE ART 200203 243.6 355.1 266.2 AVERAGE 244.8 291.6 254.5 LA CROSSE ART 199899 280.4 511.8 311.3 LA CROSSE ART 199900 272.9 430.5 296.5 LA CROSSE ART 200001 249.1 338.4 268.7 LA CROSSE ART 200102 275.3 443.4 290.5 LA CROSSE ART 200203 263.3 . 263.3 AVERAGE 268.2 431.0 286.1 OSHKOSH ART 199899 274.4 257.6 268.7 OSHKOSH ART 199900 219.5 394 287.2 OSHKOSH ART 200001 170 655.1 256 OSHKOSH ART 200102 251.2 297.6 265.2 OSHKOSH ART 200203 230.2 252.1 234.4 AVERAGE 229.1 371.3 262.3 PARKSIDE ART 199899 204.9 754.4 270.7 PARKSIDE ART 199900 208.8 604.9 333.1 PARKSIDE ART 200001 258.6 339.3 287 PARKSIDE ART 200102 276.5 650 310 PARKSIDE ART 200203 266.1 286.9 273.1 AVERAGE 243.0 527.1 294.8 RIVER FALLS ART 199899 215.6 307 236.3 RIVER FALLS ART 199900 199.6 333.5 238.3 RIVER FALLS ART 200001 211.3 451.8 276.8 RIVER FALLS ART 200102 222.1 391 268.9 RIVER FALLS ART 200203 234.7 316.5 256.4 AVERAGE 216.7 360.0 255.3 STEVENS POINT ART 199899 241.8 240.5 241.6 STEVENS POINT ART 199900 254.6 225.7 247.6 STEVENS POINT ART 200001 259.5 160.7 235.7 STEVENS POINT ART 200102 244.6 180 229.5 STEVENS POINT ART 200203 178.8 249.1 193.3 AVERAGE 235.9 211.2 229.5 WHITEWATER ART 199899 161.8 185.7 167.8 WHITEWATER ART 199900 192.4 142.9 180.6 WHITEWATER ART 200001 158.4 210.3 173.3 WHITEWATER ART 200102 151.8 246.2 179.6 36 WHITEWATER ART 200203 163.4 235.5 190.4 AVERAGE 165.6 204.1 178.3 STOUT ART & DESIGN 199899 237.7 225.4 233.7 STOUT ART & DESIGN 199900 238.1 249.3 241.7 STOUT ART & DESIGN 200001 232.5 239.4 235.6 STOUT ART & DESIGN 200102 227.5 224 226 STOUT ART & DESIGN 200203 216.7 233 224.1 AVERAGE 230.5 234.2 232.2 OVERALL AVERAGE 229.2 318.0 249.1 37 APPENDIX 6 The Animation Course Descriptions ART 2XX Introduction to Animation 3 cr ART 2XX Animation Analysis * 3 cr ART 3XX 2D Animation I * 3 cr ART 4XX 2D Animation II * 3 cr ART 3XX 3D Animation I * 3 cr ART 4XX 3D Animation II * 3 cr ART 4XX Character Animation on the Web * 3 cr * New courses ART 2XX - Intro to animation (3 credits) Prereqs: (ART 102 Intro 2D Design, ART 122 Intro drawing, ART 271 Intro to Graphic Design); Freq: every semester. In this introductory course the student will be exposed to various animation techniques, both 2D and 3D. The student will learn how to create rotoscoped video footage, storyboards, animatics, 3D animations, pixelation footage, and lip synced characters. Sound design will also be covered to supplement the visuals the students will be producing. Because of the exposure to these different techniques the student should have a clearer understanding of the direction they may want to take in animation. ART 3XX - Animation Analysis (3 credits) Prereqs: (ART 102 Intro 2D Design, ART 122 Intro drawing); Freq: spring This course will take a very close look at the physics of motion and how it is captured in animation. Storylines will be dissected along with the believability of characters. Through screenings in class and frame by frame analysis, the student will gain an in depth understanding of how to express themselves through the medium of animation. The history of animation will also play an important role in analyzing animation. ART 3XX - 2D Animation I (3 credits) Prereqs: (ART 2XX Intro Animation, ART 2XX Animation Analysis); Freq: spring. This course is the first class for the student animators who prefer to concentrate on 2D drawing and 2D computer assisted animation. The basics of character design and motion in the 2D environment is an emphasis, specifically physics, acting, believability, timing and weight. The student will go through extensive pencil-testing and scene development through individual, as well as group critiques. Visually, the final look or style of the finished product will begin to be discussed and how to technically achieve the look that is desired. Audio design will also be covered dealing with voices, sound effects, music and ambient sound and how audio plays such an important role in animation. ART 4XX - 2D Animation II (3 credits) Prereqs: (ART 2XX Intro Animation, ART 2XX Animation Analysis, ART 3XX 2D Animation I); Freq: spring This course goes beyond the technical basics of animation and into the acting and emotion of characters. Storytelling will be our main focus as we strive to have meaning to our animations. Stylistic approaches will be expanded upon and experimented with as the student finds their “voice”. Audio design will be further explored as we fine-tune the interrelationship of this audio/visual art form. 38 ART 3XX - 3D Animation I (3 credits) Prereqs: (ART 2XX Intro Animation, ART 2XX Animation Analysis); Freq: fall. This course is the first class for the student animators who prefer to concentrate on 3D computer animation. Using pre-made models, the student will investigate the basics of motion in the 3D environment, specifically physics, acting, believability, timing and weight. Texture mapping and various other attributes for customizing objects will be looked at. The importance of audio will be covered and how it relates to aiding the believability of 3D animation. ART 4XX - 3D Animation II (3 credits) Prereqs: (ART 2XX Intro Animation, ART 2XX Animation Analysis, ART 3XX 3D Animation I); Freq: fall. This course goes beyond the technical basics of animation and into acting and emotion of characters. Storytelling will be our main focus as we strive to have meaning to our animations. Stylistic approaches will be expanded upon and experimented with as the student finds their “voice”. Realistic as well as cartoon style environments will be explored. The students will have more of an emphasis on the model itself and how to tweak it to best fit the final objectives and storylines. ART 4XX - Character Animation on the Web (3 credits) Prereqs: (ART 3XX Web Motion Graphics, ART 3XX 2D Animation I, ART 3XX 3D Animation I ); Freq: Every rd 3 semester. This Flash-based course looks at how various applications can aid the animator in creating character-based animations for the web and for video/DVD. Both 2D and 3D animation will be covered in this course. The challenges of audio sound syncing will be covered and as well as other web limitations, including resolution, frames per second, streaming video and download times. 39 APPENDIX 7 Measurable Outcomes for the Art Department – University of Wisconsin-Parkside OBJECTIVE STRATEGIES OUTCOME Objective 1. To offer the visual arts 1. The curriculum has been Review curriculum every two years; curriculum and programs based on developed to integrate two and make changes based on student the culture of art and its tradition three dimensional arts, with a surveys, comparable programs, throughout history, but with foundation that is inclusive of changing trends in higher education emphasis on the effect and traditional mediums and a broad visual arts curricula. influences of art on our background in the history of contemporary society. western art. 2. Students are encouraged to participate in field trips to galleries and museums offered at least once a semester. Objective 2. To offer all students a 1. Foundation studio courses, art history Review foundation courses every broad, yet comprehensive, coures and art appreciation are open and two years with regard to the introduction into the visual arts accessible to all students; these courses appropriateness of the course work along with a substantial technical also become the theoretical and technical for both the major and non-major. and theoretical foundation for basis for course work in the major. students whose major is in the visual arts. Objective 3. To offer students an 1. The majore requirements offer three Survey graduates, both through exit opportunity to develop their options, and six studio concentrations interviews and two years after abilities within a curriculum that under option three. This allows the graduation to evaluate the impact of offers a variety of opportunities to student a wide range of choices, from a the options on their careers. explore a wide range of career generalist major to a more demanding possibilities. concentration with a specific studio focus. Objective 4. To offer students an 1. The graphic design program is Survey current students to ascertain opportunity to experience the computer-based, and offers a the worth of the program, survey application of new technology in technical application of image graduates to find if the technical the actualization of their artistic making. This will effect the experience is appropriate and useful vision. manner in which many students in their careers, and compare approach the traditional studio program and facility to other processes. computer programs in art that have 2. Within the traditional studios, merit. technical advances are integrated into the curriculum. Objective 5. To prepare students 1. The curriculum currently in place has Survey art educators two years into for specialist art teaching in close ties with the Teacher Education their teaching careers to measure the elementary and secondary schools. Department and the Wisconsin quality of their educational Department of Public Instructioon, and experiences. Survey those teachers’ presents students with a quality, rigorous administrators in a similar manner. program in art education. Objective 6. To provide a 1. The comprehensive degree in art and Survey graduates who apply to foundation for graduate study in art, especially the concentrations with graduate schools; acceptances, design, or art education. specific studio emphases, will provide rejections, and quality of graduate the student with a quality background in programs should be factors in the chosen field of study to advance into judging the measure of success in graduate study. studio preparation. Objective 7. To provide broad 1. Course offerings in specific areas of Survey those interested in this type general background in art history art history and aesthetics, along with the of career to find level of success in and aesthetics which will provide supplemental historical and aesthitic regard to the art history/aesthetics access to a variety of art-related material offered in all studio classes will curriculum in the art program. fields in art history. offer students access to non-studio art- related careers. 40 OBJECTIVE STRATEGIES OUTCOME Objective 8. To provide programs 1. The Communication Arts Survey the community, students and that meet the cultural needs of the Callery offers six exhibitions alumni regarding their interests in regional community and provide a annually that range from student exhibitions’ quality, quantity, resource for educational and shows, exhibitions by noted variety, media, and themes. Survey cultural outreach for that professional artists, and a the same clientele regarding community through studio course nationally-recognized print availability, accessibility and type of work, exhibitions, guest lectures, exhibition. These shows visual arts classes offered. and art field trips locally, provide a rich resource for the Questions should measure the nationally, and internationally. university and regional interest, participation, opinion of communities. guest lectures, artists, and field trips. 2. Studio and academic art courses are available to all community members, both matriculant and non-matriculant. 3. Guest lectures on campus are advertised broadly to attract the regional community. 4. Faculty members are frequently available to act as lecturers, jurors, and workshop presenters in the area. 5. Field trips are offered every semester to area (Chicago/Milwaukee) museums and galleries. Field trips nationally and interationally are frequently offered as well. 41 APPENDIX 8 Graphic Design students have been involved in many projects both in-house and for various non- profits and commercial entities over the years. Some were done as class projects and some as independent studies with individual students. None include internships which would add greatly to the list as many more projects including websites and printed material for the athletic department have been produced this way. Here are a sample of the projects from the last five years: Commercial Projects: Martin Petersen Company, Inc. ....................................... three 4-page, full color brochures Spotlight Theatre Tours ................................................................ logo and brochure design Gear House Music ...................................................................... logo, stationery, envelopes Red Bell School Supplies .......................................... redesign of logo, advertising program Non-Profit Projects: Agape, Racine Theatre Group .............................................................................logo design Town of Mount Pleasant ................................................................ brochure of park system Channel Access Racine (public access television) ......................................................... logo Kenosha County United Way .................................................................................... website Racine County Conflict Center ............................................................................... brochure Racine Area Health Care, Kenosha Co. Lead Reduction Program, and Center for Community Partnerships ............................ ad campaign that resulted in ...................................... billboards, bus placards, poster, and coloring book Friends of UW-P Library ................................................. posters (1999–2004) an brochure UW-P Earth Day Celebration ..................................................................................... posters International Olympiad of Informatics .................................... poster for international event UW-Parkside Projects: Art Dept/Business Dept. ................................................. postcards as a commercial venture Theatre Arts Dept. ............................. posters, playbill cover, brochure for 2003/04 season ................................................. brochure, playbill cover for 2002/03 season ................................................. brochure, playbill cover for 2001/02 season Womyn’s Center ................................................................................ logo, brochure, poster Women in the Director’s Chair ...................................................... posters, flyers, brochure Art Dept. .................................................................................................................. web site Music Dept. ............................................................................................. logo for symphony UW-P Center for Community Partnerships .................................. booklet cover and layout In addition under the direction of Don Lintner, Graphic Design Students make up the entire student workforce of the Informational Technology Systems Department where they design projects that range from tickets to brochures to booklets to posters that are printed both on campus and at printing plants throughout the state as well as produce web sites and multi-media presentations.