Return
to Teaching
Printer Friendly
| Gutwirth/ext. #4434 leave messages by e-mail not by phone | |||||
| Office hours: | |||||
| or by appointment | |||||
| e-mail: sarah.gutwirth@murraystate.edu | |||||
| 3 Credit Hours ART 330/Painting I | |||||
| Introduction to Oil Painting | |||||
| Syllabus | |||||
| CATALOGUE DESCRIPTION | |||||
| Conceptual and compositional construction of painting and the relationship to various media. | |||||
| PURPOSE | |||||
| To introduce students to the media and techniques of painting in oil. | |||||
| COURSE OBJECTIVES | |||||
| This class is the introduction to Painting. I use oil paint as the medium of instruction in this class because it is the most flexible and versatile painting medium and it is also the primary medium used over time in the development of painting technique. In Painting III and IV students may chose to work in another medium and I encourage experimentation but on the introductory level it is best to learn one medium well. | |||||
| I have several goals for the first level of painting: I wish to see students learn how to handle the medium through such techniques as flat paint application, blending, impasto, glazing and scumbling, wet into wet. I wish students to work further with compositional skills acquired in Drawing I and Color and Design to create images with interest and tension as well as pleasing relationships of color, scale, texture, value and line. I wish students to understand how to mix color, which means having a grasp of color theory and relationships. I wish students to understand how color relates to space. I teach the basic skills involved in rendering: that is how to minutely observe surface detail and color and light to "paint what you see". | |||||
| We will progress through a series of problems designed to develop a sensitivity to paint application and surface quality, to color, to value, to composition; to volume, light and space as the necessary elements of recreating perceptual experience; and finally to incorporating the more abstract aspects of painting side by side with the more perceptually based aspects. | |||||
| PREREQUISITES: ART 101, 201, and 111 are prerequisites for art majors only | |||||
| COURSE REQUIREMENTS: | |||||
| GRADING PROCEDURE: | |||||
| Course Evaluation | |||||
| I will grade each project as well as your written critiques. If you hand
in a critique late it will be marked down. |
|||||
| Grade Breakdown: Each early painting is worth 12%.........………….48% | |||||
|
|||||
| ATTENDANCE POLICY: | |||||
| Attendance is absolutely required! There is no possible way that you can learn to paint unless you are in the studio and working at every available moment of class time. I will allow you three free absences only. Every project must be completed and thus if the class moves on to the next project you must be able to come in and finish outside of class. The studio is available at all times, with the only exception being when the intermediate painting class is in session. With my permission, you can work then as well. A missed critique will count as two class absences. If you are in class unprepared to work that will be considered an absence. You will also be graded on attendance. Each unexcused absence will deduct 3 points from your final grade. Lateness will also be noted and deducted if it starts to add up. I reserve the right to require attendance at relevant lectures and gallery events. | |||||
| Content Outline | |||||
| We will work on two paintings at one time on alternate days. This is to allow the oil paint to dry a bit so it doesn't get too muddy and frustrating, and to allow glazing. | |||||
| I. COLOR AND SPACE | |||||
| Painting #1: Use Canvas board in @14" x 18" size This assignment is to control the paint and solve a problem I pose. Using complementaries, first execute a saturation/ or using one color plus black and white, execute a value scale. Then using these tones as your palette, create a composition using color or value to create a sense of three-dimensional space. Some of your edges should be hard and some should be soft. Keep your shapes simple and your paint flat and even. You cannot use overlapping or perspective. Try to create "color space” Half the class will do saturation and the other will do value. | |||||
| Painting #2: Use Stretched Canvas in @14" x 18" Make a composition using both a range of saturation and a range of value of one hue. Incorporate brushstroke into the composition as well. Again do not use perspective or overlapping. | |||||
| OR extra credit: Paint a 12-hue color wheel with primary, secondary and tertiary hues. Mix the secondary hues to make 3 earth colors. (Violet-orange, orange-green, green-violet) Make a composition using all hues to create color-space. | |||||
| (6 class working days) | |||||
| II. COLOR LAYERING AND TECHNIQUES OF PAINT APPLICATION | |||||
| Sketches for color: get a small canvas board or stretch and gesso a small piece of heavy (printmaking) paper and use it to try out color swatches for glazing or scumbling. | |||||
| Use one Canvas Board 18” x 24” and one Stretched Canvas in @18" x 24" size or two stretched canvases | |||||
| Paintings #3 and #4 will be a flat composition for which you will use a still-life set up as a reference. You will do two different versions of the same problem. One will be a homogeneous composition and one will have a clear focal point. You will invent the color and it must be mixed. You must include some area of palette knife painting in each. In one painting you will use Indirect technique: every color will consist of at least two layers of superimposed color, either glazed or scumbled. The second layer of the painting will involve painting out something and a change in the composition. The other painting will use Direct technique or alla prima painting. All mixing must be wet into wet, no pre-mixed color can be used. | |||||
| (6 class working days) | |||||
| III. RENDERING | |||||
| Paper due March 15 | |||||
| Painting #5 will be from two objects that you will bring in : one hard and one soft or one reflective and one non-reflective. You will enlarge them to fill the whole canvas. Your palette will consist of black and white and one blue and one brown, and the local color of the object if you cannot mix it from the above. You will attempt to render the objects with modeling, and blending of tones. Some possible objects might be a pair of shoes, a draped piece of cloth, a metallic object or a hat. Avoid anything that is too complex or too small or is too polychromatic. This painting should be about 24"x 30"on stretched canvas. We will start with an imprimatura | |||||
| (7 class working days) | |||||
| IV. FIGURE | |||||
| Painting #6 will be a large canvas of a nude figure. We will start with an imprimatura. (about 24 x 30" or larger on stretched canvas) | |||||
| Final Critique Day of Final Exam (7class working days) | |||||
| V. Extra Credit: This assignment is to experiment with color and try out the paint. Try to attain the greatest range of texture. Start with an idea of what you would like the paint to do in terms of color, texture, value and space. Then see what happens. Accident can teach you a lot in art. Please incorporate what you are learning in class. This assignment will be graded. It will be due at the end of the semester, but YOU WILL SHOW IT TO ME AT LEAST FOUR TIMES so that I can see that you are developing it over the course of the whole semester. | |||||
| You will have two written assignments in the form of a quiz on terms and a written exercise on light and shade. | |||||
| Painting I Supply List: All items on this list are required! | |||||
| Supplies: The supply list is not optional for this class. The initial outlay for materials is about $104.44 and the final cost for the class is about $180.00. This is as cheap as I can make it, to my regret. But if you cannot afford the materials you should not take the class at this time. Cathy Bogard is in charge of art supplies at the school store. No one else really is aware of the stock so if you have questions ask one of them or come to me. They have put together a Painting I Kit that will save you $. Ask for it behind the checkout counter. Some items I will sell you through art cash. I estimate your savings at around $35.00 for these. | |||||
| FROM THE SCHOOL STORE | FROM THE HARDWARE STORE | |
| -*two palette knives | -2" natural bristle brush for gesso | |
| -*natural bristle oil brushes: 4 flat in sizes between 1/4" to 1" (two brights or filberts and one long) |
-*razor-blade scraper | |
| FROM HOME OR THE RECYLCLING BINS | ||
| -*two tin cans, one large and one small | ||
| -*glass jars | ||
| -*rags | ||
| -*2 round natural bristle brush | ||
| -*one red sable 1/2" (Liquitex Brand) |
||
| additional brushes, canvas, and stretcher bars will be required | ||
| *large tube of Titanium White opaque color |
||
| 1..*Cadmium Red Medium (warm) | -ART CASH | |
| 2.*Cadmium Yellow Light (warm) | *canvas board: | *1 14" x 18" |
| 3.*Permanent Green (warm) | 1 18" x 24" | |
| 4. *Ultramarine Blue (cool) | -stretched canvas *1 14" x 18" | |
| 1 18" x 24" | ||
| neutrals | ||
| 1. Ivory or Mars Black | Cadmium Red Light | |
| 2. Raw Umber | Thalo Blue (warm) | |
| 3. Raw Sienna | Alizarin Crimson (cool) | |
| 4. Burnt Umber | Zinc Yellow (cool) | |
| 5. Yellow Ochre | Viridian (cool) | |
| Burnt Sienna | ||
| (not all browns will be needed) | Yellow Ochre | |
| *All items with asterisk are needed at the start of the course. All items in bold are in the Painting I kit at the school store. All items in italics are purchased through art cash. |
||
| TERMS FOR PAINTING I | ||
| These terms are cumulative so that all terms are applied to the last painting. You are responsible for learning these and I may quiz you on them. in place of a written critique. | ||
| I. PAINTINGS #1 and , #2 | III. PAINTINGS #5 and #6. | Surface: |
| Value | rendering | Specular |
| Intrinsic Value | local color | Lambertian |
| Hue: warm and cool | neutral color | |
| Saturation | imprimatura | |
| hard edge | ||
| soft edge | Light Source: | |
| medium | Point | |
| shade | Extended | |
| tint | Diffused | |
| tone | Ambient | |
| simultaneous contrast | Color | |
| mass tone | ||
| Light Behavior: | ||
| Diffuse | ||
| II. PAINTINGS #3 and #4. | Direct | |
| glaze | Reflected | |
| scumble | Diffracted | |
| impasto | Refracted | |
| underpainting | ||
| local color | Shadow: | |
| focal point | Shading | |
| homogeneous composition | Self-shadow | |
| hierarchical composition | Projected attached | |
| optical mixing | Projected not attached (cast) | |
| indirect painting technique | Umbra | |
| direct painting technique | Penumbra | |
| alla prima painting | Color | |
| grisaille |
| INSTRUCTIONAL ACTIVITIES: |
| lectures, demonstrations, one-to- one instruction and critiques |
| RESOURCES: |
| Library, slide library, University art collection |
| ACADEMIC HONESTY POLICY: |
| Any instance of flagrant academic dishonesty, as determined by the instructor of this course in compliance with the university policy, will result in the student’s dismissal from the class and the assignment of a grade of “E” for the course. Flagrant should be understood to mean the “knowing” violation of any aspect of the University’s Policy on Academic Integrity. |
| Reference: Ralph Mayer The Artist’s Handbook NY: Viking. 1981 |