Southern Utah University

Course Syllabus

Southern Utah University
Southern Utah University
Fall Semester 2025

Painting I (Face-to-Face)

ART 2410-01

Course: ART 2410-01
Credits: 3
Term: Fall Semester 2025
Department: ARTD
CRN: 30731

Course Description

Introduction of painting materials and techniques as well as a brief history of painting with the focus on theory and the process of color mixing and matching.

Required Texts

Materials

Oil Paints - 37 ml. Make sure it says OIL and NOT ACRYLIC. (Gamblin, Grumbacher, or Winsor and Newton are all good brand choices. Paint quality affects your outcome.)

  1. Thalo Red Rose or Alizarin Permanent (Note that regular alizarin crimson is fugitive/color alters over time)
  2. Cadmium Yellow Light (PY35) or Hansa Yellow Light (PY3)
  3. Cadmium Yellow Medium or Deep (PY37)
  4. Cobalt Blue, Cobalt Turquoise, or Thalo (Phthalocyanine) Blue (cool shade)
  5. Ultramarine Blue or Ultramarine Deep (PB29)
  6. Viridian (PG18)
  7. Cadmium Red Light or Medium (PR108)
  8. Yellow Ochre
  9. Burnt Sienna or Transparent Red Oxide
  10. Raw Umber
  11. Titanium white 200 ml (You could divide it up and get a 37 ml. tube of quick dry white for your charts and have regular for your paintings)

Brushes: This can be according to personal preference if you have painted before. Make sure you have a variety in size/shape.

  1. #10 - #12 Flat Bristle
  2. #6 - #8 Flat Bristle
  3. #4 Flat Bristle
  4. #1-#2 Flat Natural/Synthetic
  5. #4 Fan – Natural
  6. #6-8 Filbert

Other Stuff:

  1. Liquin and/or Cobalt Dryer
  2. Canvas on Stretchers 16"x20" or larger. May be an inexpensive canvas board for your collage/still life. Total: 2
  3. Canvas on Stretchers or wood panel 24"x30" or larger. (Old Master copy) Total:1
  4. Paper Palette pad 16”x12” (“multi-Palette”)
  5. Masterson palette holder 16”x20”
  6. Palette knife/trowel
  7. GAMSOL only. NO TURPENTINE, Odorless Paint Thinner, or Mineral Spirits.
  8. Jar (to wash your brush in)
  9. Blue Shop Towels
  10. Rubber Cement or Glue Stick to create collages
  11. Exacto Knife or Scissors
  12. Sketch Book - approx. 9"x12" or sketch paper
  13. Pencil/Eraser
  14. Cropping tool, optional
  15. Proportional divider, optional
  16. Large format Color copy of your landscape and Old Master reference- Laminating is recommended! (This can be done at the copy center/ library inexpensively)
  17. Gloves

Learning Outcomes

Essential Learning Outcomes

Students will:

  1. Demonstrate proficiency with tools, mediums, and techniques of oil painting. They will also develop a vocabulary of terms and applied knowledge of those terms.
  2. Demonstrate “Color Literacy.” Students will develop their own color charts and develop skills in color mixing and matching.
  3. Demonstrate an ability to "paint what they see"- creating the illusion of form using shape, value, and color.
  4. Demonstrate an understanding of a brief history of painting- in the form of an oral report on a researched artist and the completion of the “Old Master” assignment.
  5. Demonstrate the use of appropriate communication and terminology to critique their own work and that of others.

Course Requirements

Assignment Outline

  • Technique Assignment: Color Mixing Charts Students will create a complete set of color mixing charts to build technical skills and to be used as reference for subsequent assignments. Color charts should be completed before beginning collage painting.
  • Collage/Non –objective Painting Students create 3 non-objective collages; the class will choose the best of the three to enlarge on canvas. Mix and match the color exactly according to the collage.
  • "White" Still-life Painting Opposing warm and cool light sources are placed on white objects in a still life. Students learn to use a fan brush and learn to work with a limited palette.
  • Studio Landscape Painting Students will create a landscape using their own photographic reference and will build a cradled panel in class to use for this project.
  • Copy an Old Master Painting. Students will research an artist of their choice, present a short oral presentation about that artist, and reproduce an exact copy of a painting by that artist.

Painting and presentation due at the final: December 9 (9-10:50 am)

A group evaluation/critique of your painting AND the short oral presentation about the master artist will be required for the final. This is the last day to turn in any work you plan to resubmit for an improved grade.

  • A Vocabulary Test will be given which will consist of the painting terms that will be handed out the first week of class. Test: October 23

Grading

There will be four paintings and one completed set of color charts required as well as a simple painting vocabulary test. Participation points will also be a factor. Paintings will be grading on how well they meet the parameters of the assignment (as discussed in class when the assignment is introduced) and the grading rubric. Overall design, skill, and work ethic in execution will be primary factors in grading. A test will be given which will consist of the painting terms that will be handed out the first week of class. Pop-up challenges will occur without pre-announcement and cannot be made up. If you do the challenge, you receive the points regardless of outcome.

Class Participation will be a factor as well, which consists of attendance, cleaning up and participation in class activities, pop-up challenges, and discussions, including critiques. Please note that watching videos or YouTube on your phone will result in lost participation points. Projects must be turned in on time. Projects brought into class after the critique has begun are considered late and will not be included in the critique. If your artwork is submitted for critique at 1:00 pm on the day it is due, it may be reworked to attempt to improve the grade (an improved grade is not guaranteed). Late projects will lose one letter grade for each day that they are turned in late and may not be reworked for a better grade. All projects that have been reworked must be turned in by finals day to receive consideration for an improved grade.

Painting Evaluation Rubric

 

A (100-93) A-(92-90)

B+(89-87) B (86-83) B-(82-80)

C+(79-77) C (76-73) C-(72-70)

D+(69-67) D (66-63) D-(62-60)

F (59-0)

Objective

The entire objective has been successfully met as outlined on the syllabus and discussed in class and all elements have been completed and finalized.

Most of the objectives have been successfully met as outlined on the syllabus and discussed in class and most elements have been completed and finalized.

Average completing of

objectives being successfully met as outlined on the syllabus and discussed in class and some elements have been completed and finalized.

Below average in completing of

objectives being met as outlined on the syllabus and discussed in class and very few elements have been completed and finalized.

Poor performance in

completing of

objectives being met as outlined on the syllabus and discussed in class and almost none of the elements have been completed and finalized.

Composition

Excellent design elements in the total composition that work together to create art.

Good design elements are present in the composition, and work is partially cohesive.

Average design elements are present in the composition, and work is partially cohesive.

Below average design elements are present in the composition, and cohesiveness is suffering.

Poor use or understanding of design elements. Poor overall design. Design lacks cohesion.

Creativity

The students used original work and ideas to create a unique project.

Most of the student's work is original and creativity exists.

Some of the student’s work is original and some creativity exists.

Little of the student’s work is original and little creativity exists.

Almost none of the student’s work is original and almost no creativity exists.

Craftsmanship

Excellent attention to detail, strong work ethic, and superior craftsmanship.

Good craftsmanship with good work ethic and progress in needed areas of improvement.

Average

craftsmanship with little areas of improvement.

Below average

craftsmanship with low work ethic, and little area of improvement.

Poor, sloppy or haphazard

craftsmanship with poor work ethic.

Effective Use of Class Time

Very productive, constantly working and focused on work. Actively participates in class discussions.

Somewhat productive, semi-consistent working and sometimes participates in class discussions.

Average productivity and average time spent working and participates in class discussions

very little.

Below average productivity and below average time spent working and participates in class discussions

rarely. Spends time on their phone instead of working.

Wastes time in class, produces almost nothing during class time and never participates in class discussions. Spends time on their phone instead of working.

Course Outline

Painting I Project Overview

A project information sheet will be provided for each assignment.

Technical Exercise: Color Chart Mixing

We will be mixing a complete set of ten oil color charts in class. These charts will be a valuable resource to be used to aid in the rest of your assignments and in other classes to make subsequent color choice and mixing much easier and faster. Doing them will enhance your understanding of how color behaves, how pigments vary in transparency, opacity, temperature, tinting strength, and drying time. I will provide each student ten charts on sturdy cardstock that has been pretreated with gesso to accept oil. If you need additional charts, you will be responsible to obtain another copy and prepare them. Your set of colors for each sheet need to be pre-mixed before applying them to each chart to ensure an even graduation across colors. Each chart will have a harmony of a dominant color.

Non-objective Collage Painting

Based on basic design principles, students will create three (3) Non-Objective Collages. Colors will be collected from magazines. Each collage will have a minimum of Fifteen (15) colors. If students chose a gradient, it may count as more than one color- dependent on the discernible numbers of colors in the gradient. Collages should be mounted on something stiff like Bristol board or card stock. Since the minimum size of the final painting will be 20”x16” the collage should be the same (format) aspect ratio, which is approximately 5”x4.” The entire collage should be covered, not allowing the color of the mounting board to show through. We will spend one day in class (first day) creating collages. Students will create whatever they have left to complete as homework for a total of 3. This assignment will work somewhat simultaneously with Color Chart Mixing, but color will be applied to your collage painting AFTER your charts have been completed to make your process faster and easier.

We will have a group critique of all three collages and will choose the best of your three. Using the “graph method” and pencil, students will draw the selected collage on a 20”x16” canvas or board. You may use an inexpensive canvas board for this assignment if you wish. It is recommended that students spray the drawing with Crystal Clear to avoid graphite bleeding into lighter colored paint. Because oil paints dry slightly darker when dry, I grade this assignment as we go. When mixing colors in class, students should get each color mix approved before applying paint to their canvases. If students are falling behind, they are encouraged to mix colors at home, but do not apply them to the canvas before getting my okay.

White Still-life Painting

For the third assignment, students will be asked to paint a still-life that will be assembled in the middle of the studio. The still-life will be lit with 2 light sources: one blue, the other orange. Using a cropping square tool, students will begin the assignment by doing several “thumbnail” sketches in their sketchbook. These are very fast rough sketches just to determine that the composition is an interesting one. Once a thumbnail is approved, students will refine the drawing- checking scale, proportion, and perspective. (It is easier to make refinements with pencil and paper, than it is to try and make major corrections while in the painting stage)

Students may want to graph their drawings and transfer them to a 16”x20” canvas. Once the drawing is finalized on the canvas, we will be using an imprimatura- A thin over all film or stain of translucent color over a white priming. This is applied before an artist begins to paint. It provides a useful background color and makes it easier to establish light and dark relationships. Often painters will use a stain of oil paint and Gamsol, but for our situation (where drying time is a concern) we will be using a thin coat of Acrylic raw umber and water.

I will give instruction on how to do this in class. Students may follow the process of using a Fan Brush to minimize brush strokes and encourage blending, or students can experiment with a more expressive approach and leave the brush strokes as part of the process. Either way, students will be graded on their ability to create an interesting composition and their ability to create the illusion of form, space, and light. This assignment must be painted from life, which means it cannot be made up once the still life is taken down. Please plan accordingly.

Landscape Painting

Using their own photographic reference, students will create a painting that emphasizes the landscape as subject matter. Emphasis will be placed on the connection you have to this landscape. Students will be asked to take the reference photos themselves and will be learning how to build a panel substrate to paint on. (Do not use copy written photographs from the internet, calendars, or postcards).

Students show 3-5 landscape possibilities. Once it is approved, you will need to obtain a large format Color copy (11x17 paper) to use as a reference.

The materials to create the panel will be provided and a special day will be set aside to build the panel. Students who miss this day will be required to make the board by themselves. As always, a good composition is extremely important. Unlike the last assignment in which creating a life-like representation was the goal, for this assignment students may want to explore a more impressionistic or expressionistic approach. Students will be graded on their ability to create a landscape that is well composed and creates an illusion of space and atmosphere. Since we will be using photographs, we will discuss ways to make the painting more interesting. This assignment is NOT an exercise in how well you can copy a photograph, but it still needs to be recognizable from your reference.

Old Master Copy-Final

For this last assignment students will be asked to find an old master painting that they have always admired. Choose something that you would like to own and choose a piece you have a connection to. The assignment is three-fold; One being an introduction to art history, the other being a color mixing assignment, the third being a steppingstone to the student’s development of creating their own stylistic voice as an artist. Looking at other artists is a way to pave your own path as an artist. Students will give a short oral presentation on their artist and painting during the final. Students will be graded on their ability to create an exact copy of the chosen work of art- not their interpretation of it. Attendance and participation are mandatory for the final critique of this assignment. The oral report on your artist counts heavily towards your final grade. Regardless of how well the painting is executed, lack of participation in the presentation will result in a failing grade.

Final Painting and presentation: Tuesday, December 9 at 9-10:50 am.

Instructor's policies on late assignments and/or makeup work

Timely completion of all assignments is mandatory. Please stay on task and complete your work when it is due. Your preparation for class will affect your grade. Procrastinating work increases stress for you and usually does not result in good outcomes.

Projects must be turned in on time. Projects brought into class after the critique has begun are considered late and will not be included in the critique. Projects turned in on time may be reworked to attempt to improve the grade (an improved grade is not guaranteed). Late projects will lose one letter grade for each day that they are turned in late and may not be reworked.

LATE WORK/MAKEUP WORK:

If your work is present on time at the due date (critique day) for that assignment, you may improve your project for a better grade (not guaranteed) up until finals day. The highest grade for late work (meaning your assignment is not present at 1:00 pm on assigned critique day) attainable is a B. The grade for the late painting will continue to drop one letter grade for each day that it is late. You can avoid any problems in this area easily by ensuring that you attend critique.

Class Participation will be a factor as well, which consists of attendance, cleaning up and participation in class activities, pop-up challenges, and discussions, including critiques. Please note that watching videos or YouTube on your phone will result in lost participation points. Projects must be turned in on time. Projects brought into class after the critique has begun are considered late and will not be included in the critique. If your artwork is submitted for critique at 1:00 pm on the day it is due, it may be reworked to attempt to improve the grade (an improved grade is not guaranteed). Late projects will lose one letter grade for each day that they are turned in late and may not be reworked for a better grade. All projects that have been reworked must be turned in by finals day to receive consideration for an improved grade.

Attendance Policy

Studio courses are experiential in nature and rely heavily on in-class instruction, collaboration, and critique. As such, attendance is mandatory.

A student who misses more than 25% of scheduled class time (including unexcused absences and tardiness) will receive a final grade no higher than a “C–”, and may fail the course, regardless of performance on assignments.

Excused absences—such as those due to documented illness, university-sponsored activities, or other legitimate circumstances—may be made up with appropriate documentation (e.g., a doctor's note or official university communication). It is the student's responsibility to inform the instructor before the absence when possible and to make arrangements to complete missed work promptly.

Consistent attendance and active participation are essential to your success in this course and in your development as an artist/designer.

Please note that arriving late, leaving early, disappearing from class for excessive periods of time and improper technology use affect attendance points and grades.


Course Fees

Course Fees:
 ARTH courses have a $9.00 per credit fee, ART courses have a $19.00 per credit fee and FILM courses have a $50 per credit fee. 

Classroom and Studio Policies and Resources

Classroom Expectations

This class will be a combination of lectures, studio work, presentations, and critiques. Students can expect a lecture at the beginning of each new assignment and a critique at the end as well as some progress reviews during the assignment. The purpose of critiques and progress reviews are meant to provide value feedback, allow students to gain skills in evaluating their own and others’ work, learn from each other, consider new ideas, and stay on task. Students are expected to exhibit attributes expected of a competent learner, an effective communicator, and a responsible citizen. This means that students will have a sound work ethic, respect themselves, others, and the studio environment and contribute to the community of the class. During class you will be expected to fully engage in the activities and the work at hand. This how you can be successful in this class.

Watching programs/videos or scrolling on your phone during class time is not acceptable. Save texting, calls, and social media for break time so you are not distracting to yourself and others. All your attention should be focused on your painting during work time. Please understand that this falls under the 20% of your grade that relates to participation.

**Feel free to listen to music or audiobooks (not videos or shows) while working if you wish, if you are not disruptive to others, and it is your responsibility to ensure you can hear me if I am giving instruction. Otherwise, be off your phone. No movies, etc. because this is distracting from painting time. **

Studio Rules

1) No paint in sink or on counters. Clean your brushes with Gamsol, then wash the Gamsol out with soap/water. Oil Paint cannot go down the sink. Please clean up after yourself before you leave each day.

2) Either claim a locker or bring in a box to store your materials. Box must fit under the counter. All jars, palettes, paint… that are left on counters will be discarded or appropriated.

3) Be courteous to others. During instruction and critiques, show courtesy by listening and speaking politely. Make sure you are cleaning up, sharing the space, and are mindful not to create problems for others. There are other classes that share this room.

4) Be working and off your phone. Please be aware that this affects your grades.

Health related issues and conditions present in studio/facilities

1). Students should always use Nitrile Disposable Gloves when painting. Your skin is your body’s largest organ. Soaking it in paint and solvent will cause injury and sickness.

2). Only Gambin Gamsol should be used in class as a solvent. Turpentine, Mineral spirits—odorless or not, are not permitted and will be disposed of.

3) Used solvent should be disposed of in the red metal cans in the large yellow Solvent cabinet on the west side of the studio.

*** ALL WORK LEFT IN STUDIO WILL BE DISCARDED ONE WEEK AFTER FINAL EXAMINATIONS

*** ALL LOCKERS MUST BE EMPTIED ONE WEEK AFTER FINAL EXAMINATIONS.

LOCKS WILL BE CUT AND CONTENTS WILL BE DISCARDED.

Painting Terms

Alla Prima- Literally means “at first.” Italian expression which can be translated by “at

first try”. Technique of direct painting which completes the painting in a single session,

without previous preparation or later stages.

Dammar – One of the most frequently used resins in making varnishes to be applied to

oil paint. It comes from certain trees in the conifer family. It dissolves well in turpentine or alcohol. It will not completely dissolve in mineral spirits.

Fat Over Lean The rule of painting in layers, in which each successive layer of paint should have more oil than the preceding layer. By increasing the oil content, top layers have increasing degrees of flexibility, reducing the risk of cracking, or flaking.

Frottage- Term derived from French verb frotter (to rub), this is a painting technique that consists of lightly loading the brush with a very small amount of paint and scrubbing on top of an area that has already been painted and is dry.

Grisaille- (Griz- eye) Painting carried out in whites, blacks, and grays. Historically this was used in the European academies when students were painting low relief sculptures. The term today can also be used to describe an underpainting in B&W.

Impasto- A thick layer of paint, often applied with a palette knife or bristle brush, which is heaped up in ridges to create a heavily textured surface.

Imprimatura- A thin over all film or stain of translucent color over a white priming. This is applied before an artist begins to paint. It provides a useful background color and makes it easier to establish light and dark relationships.

Mahl Stick- Thin stick, about four feet long, topped by a small ball. Used as a rest to steady the hand holding the brush when painting small areas, so as not to touch the painting.

Trompe L’oeil- to fool the eye. Technique involving realistic imagery to create the optical illusion that the depicted objects exist in three dimensions.

Scumbling- Technique in which a heavy amount of paint (often applied with a palette knife or bristle brush) is dragged across the surface of an already dry textured surface. The paint sticks to the high spots and patches of the color underneath show through.

Sfumato- (Smoke or Evaporate) Italian term applied to Leonardo da Vinci’s practice of blurring the outlines of the model.

Sgraffito- A technique, usually involving a sharp knife, in which dried paint is scraped off the painted surface so that the color painted previously is visible.

Simultaneous Contrast- Optical effect in which a color appears darker to the extent that the surrounding color is lighter and vice versa.

Stretcher- Wooden frame that can be taken apart on which canvas is mounted.

Verdaccio- Oil color used by the Northern Renaissance artists in the first phase or underpainting. Applied with solvent, verdaccio was a mixture of black, white, and ochre.

Plein Air- Landscape painted alla prima outdoors.

Glaze- A technique in which paint is made transparent by adding a majority of medium which is painted on top of dry paint. A glaze is most effective when painted on light valued colors.

Chroma- This is the intensity, strength, or purity of a color. Squeezing paint directly from the tube to the palette or canvas is ‘Full Chroma’. Also, Intensity or Saturation.

Medium- Oils, resins, waxes, dryers, or solvents that are added to paint to alter the viscosity and to increase “flow” characteristics (makes paint less stiff) and to speed up or slow down the drying process.

Chiaroscuro – The use of light and dark values to create the illusion of volume in a 2-dimensional work.

ADA Statement

Students with medical, psychological, learning, or other disabilities desiring academic adjustments, accommodations, or auxiliary aids will need to contact the Disability Resource Center, located in Room 206F of the Sharwan Smith Center or by phone at (435) 865-8042. The Disability Resource Center determines eligibility for and authorizes the provision of services.

If your instructor requires attendance, you may need to seek an ADA accommodation to request an exception to this attendance policy. Please contact the Disability Resource Center to determine what, if any, ADA accommodations are reasonable and appropriate.

Academic Credit

According to the federal definition of a Carnegie credit hour: A credit hour of work is the equivalent of approximately 60 minutes of class time or independent study work. A minimum of 45 hours of work by each student is required for each unit of credit. Credit is earned only when course requirements are met. One (1) credit hour is equivalent to 15 contact hours of lecture, discussion, testing, evaluation, or seminar, as well as 30 hours of student homework. An equivalent amount of work is expected for laboratory work, internships, practica, studio, and other academic work leading to the awarding of credit hours. Credit granted for individual courses, labs, or studio classes ranges from 0.5 to 15 credit hours per semester.

Academic Freedom

SUU is operated for the common good of the greater community it serves. The common good depends upon the free search for truth and its free exposition. Academic Freedom is the right of faculty to study, discuss, investigate, teach, and publish. Academic Freedom is essential to these purposes and applies to both teaching and research.

Academic Freedom in the realm of teaching is fundamental for the protection of the rights of the faculty member and of you, the student, with respect to the free pursuit of learning and discovery. Faculty members possess the right to full freedom in the classroom in discussing their subjects. They may present any controversial material relevant to their courses and their intended learning outcomes, but they shall take care not to introduce into their teaching controversial materials which have no relation to the subject being taught or the intended learning outcomes for the course.

As such, students enrolled in any course at SUU may encounter topics, perspectives, and ideas that are unfamiliar or controversial, with the educational intent of providing a meaningful learning environment that fosters your growth and development. These parameters related to Academic Freedom are included in SUU Policy 6.6.

Academic Misconduct

Scholastic honesty is expected of all students. Dishonesty will not be tolerated and will be prosecuted to the fullest extent (see SUU Policy 6.33). You are expected to have read and understood the current SUU student conduct code (SUU Policy 11.2) regarding student responsibilities and rights, the intellectual property policy (SUU Policy 5.52), information about procedures, and what constitutes acceptable behavior.

Please Note: The use of websites or services that sell essays is a violation of these policies; likewise, the use of websites or services that provide answers to assignments, quizzes, or tests is also a violation of these policies. Regarding the use of Generative Artificial Intelligence (AI), you should check with your individual course instructor.

Emergency Management Statement

In case of an emergency, the University's Emergency Notification System (ENS) will be activated. Students are encouraged to maintain updated contact information using the link on the homepage of the mySUU portal. In addition, students are encouraged to familiarize themselves with the Emergency Response Protocols posted in each classroom. Detailed information about the University's emergency management plan can be found at https://www.suu.edu/emergency.

HEOA Compliance Statement

For a full set of Higher Education Opportunity Act (HEOA) compliance statements, please visit https://www.suu.edu/heoa. The sharing of copyrighted material through peer-to-peer (P2P) file sharing, except as provided under U.S. copyright law, is prohibited by law; additional information can be found at https://my.suu.edu/help/article/1096/heoa-compliance-plan.

You are also expected to comply with policies regarding intellectual property (SUU Policy 5.52) and copyright (SUU Policy 5.54).

Mandatory Reporting

University policy (SUU Policy 5.60) requires instructors to report disclosures received from students that indicate they have been subjected to sexual misconduct/harassment. The University defines sexual harassment consistent with Federal Regulations (34 C.F.R. Part 106, Subpart D) to include quid pro quo, hostile environment harassment, sexual assault, dating violence, domestic violence, and stalking. When students communicate this information to an instructor in-person, by email, or within writing assignments, the instructor will report that to the Title IX Coordinator to ensure students receive support from the Title IX Office. A reporting form is available at https://cm.maxient.com/reportingform.php?SouthernUtahUniv

Non-Discrimination Statement

SUU is committed to fostering an inclusive community of lifelong learners and believes our university's encompassing of different views, beliefs, and identities makes us stronger, more innovative, and better prepared for the global society.

SUU does not discriminate on the basis of race, religion, color, national origin, citizenship, sex (including sex discrimination and sexual harassment), sexual orientation, gender identity, age, ancestry, disability status, pregnancy, pregnancy-related conditions, genetic information, military status, veteran status, or other bases protected by applicable law in employment, treatment, admission, access to educational programs and activities, or other University benefits or services.

SUU strives to cultivate a campus environment that encourages freedom of expression from diverse viewpoints. We encourage all to dialogue within a spirit of respect, civility, and decency.

For additional information on non-discrimination, please see SUU Policy 5.27 and/or visit https://www.suu.edu/nondiscrimination.

Pregnancy

Students who are or become pregnant during this course may receive reasonable modifications to facilitate continued access and participation in the course. Pregnancy and related conditions are broadly defined to include pregnancy, childbirth, termination of pregnancy, lactation, related medical conditions, and recovery. To obtain reasonable modifications, please make a request to title9@suu.edu. To learn more visit: https://www.suu.edu/titleix/pregnancy.html.

Disclaimer Statement

Information contained in this syllabus, other than the grading, late assignments, makeup work, and attendance policies, may be subject to change with advance notice, as deemed appropriate by the instructor.