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SYLLABUS: Second Semester
REQUIRED MATERIALS: Students who have completed the first semester of painting may select any painting medium.
Suggested supplies by medium:
OILS: - Materials used in 1st semester
- MEDIUM: 8 oz each of damar varnish, pure gum turpentine, cold-pressed linseed oil
ACRYLICS:
- COLORS, BRUSHES, PALETTE, RECEPTACLES, CLEAN UP, SKETCHBOOK: same as oil paints.
- MEDIUM: 8 oz. Acrylic Gel Medium
BOTH: these supplies are for both media. - GESSO: 1/2 gallon white acrylic gesso
- CANVAS: 2 yds. 48" wide
- MASONITE BOARD: 2- 18" x 24"
- GESSO BRUSH: 2" house painter brush
- WOOD: 2- 6' sections of 1"x 2" firring, 2- 6' sections 1" quarter round.
- SUPPLIES: wood glue, 1" brads
- STAPLE GUN: and staples
OTHER MEDIA: Will be discussed individually.
SECOND SEMESTER PROJECTS
Assignment 1: Monochrome Value Scales.
Using a 9 " x 12" canvas panel, paint a 7-step monochromatic value scale in Ultramarine blue, cadmium red, and cadmium yellow. Black and white will be two of the values in each set.
Painting 1: Flat Space Object.
Using a 11 " x 14" canvas panel as your support and ground, paint an object or objects with no variation in value. Use a variety of colors, but always keep the value the same. Deny volume without sacrificing the image. Work from life.
Research 1: Ancient Techniques.
Write a three-page paper about an ancient process and images produced by these techniques. The paper should have a minimum 3 sources and be accompanied by some images of artwork. Add a cover page and bibliography. Citations from sources should be included.
Painting 2: Ancient Techniques and the Still Life.
Choose either egg tempera, encaustic, or fresco and execute a painting (9" x 12" or larger) which is derived from the still life setup. This painting will include preparation of grounds, as well as painting.
Assignment 2: Building Stretcher Frames.
Build one 18" x 24" stretcher frame and stretch canvas. This process will be explained in detail, demonstrated and much of the work will be done outside of the painting room.
Research 2: 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 3: 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.
Assignment 3: Abstraction.
Do a drawing from life then show a series of five steps in which the form is simplified and distilled to its essentials. Feel free to move away from the De Stijl habit of using the rectangle as a core element.
Painting 4: Abstraction with Applied Texture.
Do an 18" x 24" painting on canvas or panel from the last step in your Abstraction drawings, but add heavy texture, aggregate, collage materials, etc. to the surface of your work.
Painting 5: Non-Representational Painting.
Create associations with non-visual forms to compose a work. You will be organizing your own system for interpreting a non-visual form, i.e. music, literature, mathematics, etc..., into a visual one. Then use the system to make a painting on an 18" x 24" canvas. Use layers to create a "visual history" in the work. Refine your painting by abandoning the system and making the visual elements work better as a composition.
Assignment 4: Strip Framing.
Construct a strip frame for either Painting 4 or 5 based on the instructions and demonstrations from class.
Painting 6: Portrait
Using a 16" x 20" or larger support, do a portrait that is bold, dramatic, or shocking. You may change some of the figure's characteristics and do a work that distorts of the figure if you like. Dramatic lighting can be used to create strong contrasts (always a good idea when trying to create strong visual impact).
Painting 7: Open
Use this assignment to experiment or do a painting that you have wanted to do.
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 can be created for extra credit. | 