SYLLABUS: First Semester Painting
REQUIRED MATERIALS: Oil paints and supplies will be used during the first semester.
- COLORS: 2 oz. tubes of each:
- cadmium yellow medium
- ultramarine blue
- cobalt blue
- cadmium red medium
- alizarin crimson
- pthalo green
- raw siena
- burnt umber
- 4 oz. tube of titanium white
- BRUSHES: #9 or #10 flat, #4 or #5 round, #1 or #2 round, palette knife
- PALETTE: made of glass or a suitable palette pad
- GROUND & SUPPORTS: canvas panels and prestretched canvas as needed.
- RECEPTACLES: with lids for brush cleaning and to hold medium mixture
- CLEAN UP: paper towels and rags, bar of soap
- MEDIUM: 2.5 oz W&N Liquin Painting
- PAINT THINNER: 1 qt or more, odorless
- SKETCHBOOK: 9 x 12, for ideas
- FRAMING: lattice strips, wire brads, latex paint
OTHER MEDIA: Will be discussed individually.
FIRST SEMESTER PROJECTS
Assignment 1: Composition and Planes.
This assignment is done in the sketchbook. Students will do a number of drawings of the still life setup. Emphasis is put on the shading and expression of the planes and relationshgips between objects. Value and the rhythms within the work are the primary focus.
Painting 1: High Key Monochrome Painting (Tints).
From Assignment 1, choose a successful composition of the object (objects). Do a painting on a 11 " x 14" canvas or canvas panel where most of the values are light. All the values will be achieved by adding white or black to the chosen color. Any color which is derived from adding white is called a tint.
Assignment 2: Figural Sketch.
This assignment is done in the sketchbook. Do three full-page drawings using a figure as your source material. The images should reflect the idea of the body as an object in the way they are drawn.
Painting 2: High Key Duochrome Painting (Shades).
From Assignment 2, choose one of the Figure sketches and transfer the drawing to a 11 " x 14" canvas or canvas panel. Paint the surface with only shades of two colors. All the values will be achieved by adding black or white to the chosen colors. Any color which is derived from adding black is called a shade.
Painting 3: Vegetablescape Imprimatura Painting.
Cover a 11 " x 14" canvas or canvas panel with a neutral color (burnt umber or raw siena). Bring assorted fruits and vegetables to contribute to a still life. Paint the still life using the rules of landscape depth. Focus on the attributes of landscape-like depth. Do three thumbnails and choose the most interesting. Then paint the composition over the prepared canvas, making sure to use some of your medium with the paint. Match colors as closely as possible.
Research 1: Pigment Report
Write a two-page paper on the attributes of a common pigment used in painting. A list of pigments from which to pick will be provided. The paper should examine the physical, artistic, and applied characteristics of the pigment and should be done with bibliography and appropriate citations. Students should examine the pigment's attributes when used in a number of different media.
Painting 4: Repetition
Using an 16" x 20 " prestretched canvas, do a painting that repeats an image, motif, or theme. The work can integrate printing methods or applied materials and may be done on an untraditional painting ground. Emphasis will be placed on the concept of unity.
Painting 5: Broken Stroke Still Life Painting.
Using Painting 1 as your ground, paint the same still life using the broken stroke technique. Apply paint in an impasto fashion. Allow elements of the underpainting to show through. This assignment investigates the concept of painterly space.
Painting 6: Self Portrait
Using a 16" x 20" prestretched canvas, do a self portrait that is bold, dramatic, or shocking. You may change some of your physical characteristics and do a work about your alter-ego if you like. Dramatic lighting can be used to create strong contrasts (always a good idea when trying to create strong visual impact).
Assignment 3: Abstraction.
Using your sketchbook, draw at least three compositions in which you change the appearance of an object so that it is not easily recognizable in a traditional way. Choose one of these for Painting 7.
Painting 7: Abstraction.
Create a composition using one of the abstract compositions done in Assignment 3 as the subject and do a painting (18" x 24" or larger). You should try to change the appearance of a recognizable image to something that is less obvious. Retain detail even if the subject is simplified.
Painting 8: Pro
Create a composition that describes a political or social idea that you support (18" x 24" or larger). Political painters include Diego Rivera, the Dada movement, Honore Daumier, Jacques-Louis David, Leon Golub, Judy Chicago, Sue Coe, etc... Keep emphasis on the visual form and try to communicate the idea without insulting your viewer, but still communicate your support of the idea. Painting 8 and 9 can be merged into one larger painting (24" x 36" or larger) to show contrast between pro and con.
Painting 9: Con
Create a composition that describes a political or social idea that you are against(18" x 24" or larger). Political painters include Diego Rivera, the Dada movement, Honore Daumier, Jacques-Louis David, Leon Golub, Judy Chicago, Sue Coe, etc... Keep emphasis on the visual form and try to communicate the idea without insulting your viewer, but still communicate your dislike of the idea. Painting 8 and 9 can be merged into one larger painting (24" x 36" or larger) to show contrast between pro and con.
Assignment 4: Portfolio
We will be creating three portfolios for during the course of the semester to document our collections of paintings. Each student will create a digital, online and physical collection of work from the semester. This will be done through the use of digital cameras, some introductory computer work, and the framing of at least one of the paintings done during the semester. A slide portfolio may also be created for extra credit. |
