ART 227 / Beginning Painting



ART 227 / Beginning Painting SP12 M/W 8:00am-11:00am

Instructor: Professor Samantha Fields Office Hours: M/W 5-6pm Email: Samantha.fields@csun.edu

Description

This is an introductory course addressing basic painting techniques with both oil and acrylic paint. Emphasis will also be placed on composition, painting materials and hazardous waste procedures regarding painting. The techniques covered in this course will prepare students for study in upper division courses.

Objectives

Students will learn the formal skills of surface preparation, composing paintings, color relationships and mixing, painting techniques specific to oil and acrylic painting, the use of painting tools and safety in using hazardous materials.

Attendance Policy

Attendance is mandatory. This is an activity class. Deductions are as follows:

On your 3rd absence, your grade will drop one letter grade. Additional absences will result in continued deductions. This means you may be absent twice. There are no excused absences.

Tardiness and leaving class early are not permitted. Three such incidents will convert to equal one absence.

Classroom Conduct

• You must come prepared to work; failure to do so will result in an absence. Class time is not to be used to purchase supplies.

• Eating is not permitted in the studio; you can take a break from working whenever you wish to have a snack or to smoke. Breaks should not be excessive or overly frequent.

• Water or covered drinks may be brought to class and put on the floor so there are no “art disasters.”

• Unless you are a parent (vibrate feature only), please turn off your mobile phone. No texting or cell phones during my lectures or critiques. EVER. 5 points off the project grade if you break this rule.

• If you have questions or are struggling with the course material, please come talk to me so that I can help.

• Class time is for work on projects for this class only.

• When there is no lecture, you are welcome to listen to your own music, provided you use one ear-bud.

• If you have a health condition that will affect your performance in this class, please let me know. This

information will be kept confidential.

Grading and Assignments. I grade on the university standard point system, which results in a +/- final grade. Incomplete or partially completed projects will be graded down substantially. Projects are evaluated through consideration of both aesthetic and technical achievement. Expert craftspersonship alone will not earn you an A on a project, neither will unique and powerful content unsupported by strong skills.

I do not accept late projects. Any project that is not presented at the critique will take a 25 point reduction. You may redo any project for an improved grade. Reworked projects are due two weeks prior to the final critique.

All paintings will be graded on a 100-point scale.

Cropped Food Still Life: 100 points

Acrylic Process/Abstract Landscape: 100 points

Memento Mori: 100 points

Total Points: 300

Extra credit may be offered during the semester. This is the only extra credit I will accept.

You may not turn in extra credit if you have not completed all course projects.

Submitting Work. Projects are due at the beginning of class on the date announced when they will be

critiqued.

Final Grades Final grades will be based on a +/- scale, according to University Policy.

COURSE INFORMATION WILL NOT BE REPEATED, SO IF YOU MISS A CLASS IT IS YOUR

RESPONSIBILITY TO GET INFORMATION FROM ANOTHER STUDENT.

COURSE CALENDAR Spring 2012 / 227 Painting/Fields

Week 1

1/23 Introduction, course requirements, supplies.

1/25 LECTURE: Food Project

HOMEWORK: Start collecting images of food from magazines, select at least five images and do at least 10 thumbnail sketches for you composition. Make sure to sale the thumbnails to the same rectangular proportion as your canvas. These should all be kept in your sketchbook. GET YOUR SUPPLIES.

Week 2

1/30 DEMO: Gridding, Underpainting, Fat over Lean Rule, Basic color, Laying a palette, Workday: Cropped Food

2/1 Workday: Cropped Food

Week 3

2/6 DEMO: Developing the painting, wet and dry blends, fat-over-lean, Workday: Cropped Food

2/8 Workday: Cropped Food

Week 4

2/13 Demo: Glazing to correct color and unify surface, Workday: Cropped Food

2/15 Personal Day: Class Cancelled

Week 5

2/20 Workday: Cropped Food

2/22 Class Cancelled: CAA

Week 6

2/27 Critique: Cropped Food

2/29 Lecture: Acrylic Process/Abstract Landscape

Week 7

3/5 Workday: Acrylic Process

3/7 Workday: Acrylic Process

Week 8

3/12 Workday: Acrylic Process

3/14 Workday: Memento Mori

Week 9

3/19 Critique: Acrylic Process/Abstract Landscape

3/21 Lecture: Memento Mori DEMO: How to stretch & gesso a canvas

Week 10

3/26 Workday: Memento Mori

3/28 Workday: Memento Mori

Week 11

4/2 SPRING BREAK

4/4 SPRING BREAK

Week 12

4/9 Workday: Memento Mori

4/11 Workday: Memento Mori

Week 13

4/16 Workday: Memento Mori

4/18 Workday: Memento Mori

Week 14

4/23 Workday: Memento Mori

4/25 Workday: Memento Mori

Week 15

4/30 Workday: Memento Mori

5/2 Workday: Memento Mori

Week 16

5/7 Workday: Memento Mori

5/9 Workday: Memento Mori

FINAL: May 14 8:00am-10:00am: Critique : Memento Mori

Art 227 Supply List

Project One: Supplies have been ordered at Continental Art Supply.

Continental Art Supplies, 7041 Reseda Boulevard, Reseda, CA 91335-4283, (818) 345-1044

Project One:

Brushes for Oils (See master list)

Oil Paints (See master list)

12”x16” Masterson® Plastic Palette Box

Galkyd Medium

Gamsol

Silicoil Tank Jar

18” x 24” Archival Canvas

Masking Tape

Palette knife

Sketchbook

assorted detail brushes…personal preference, they are cheap!

Rags, no paper towels

Apron or smock

Combination lock for your locker, a tacklebox for your supplies, old paper towel for brush storage

Wax paper

Project Two

Practice Surfaces

Acrylic Gesso

Acrylic Paints and Medium (see master list)

Acrylic Brushes – (See master list)

Plastic Containers with Lids (think salsa, yogurt, grated cheese, etc.) for mixing/storing paint

Painter’s Tape, Sand Paper, sponge

Large water container (old milk jug with the side cut out works well, or a one gallon bucket)

X-Acto knife and #11 blades

Canvas Stretcher bars, your choice of size, but no smaller than 18" X 24"

Raw canvas

Project Three

One 12” x 12” canvas

18" X 18" square of medium weight cotton duck canvas

One 12” x 12” board

Oil Paints and Tools

Staples and staple gun

Gesso and gesso brush

Sand paper

Project Four

Oil and Acrylic Paints and Tools, Stretcher bars, canvas, staples, staple gun, and gesso

Basic Project Descriptions: A full description will be given before each project

Cropped Food Still Life

Supplies: 18”X24” archival canvas, oil supplies, image of food, paper viewfinder

There is a historically rich tradition of food as subject matter for painters. For our first painting, we will explore representations of food in contemporary culture, and create paintings that reflect our discoveries. This project serves as in introduction to basic oil painting. Choose at least 5 images as potential sources, and do a minimum of ten pencil sketches in your notebook. You may use images from food magazines, or you may photograph your own images. You may not use images off the internet, the print quality is too low. You should also note why you have chosen these specific images in your notebook.

You will learn: under-painting, oil blending techniques, composition, and color. You will find a picture of food, and crop it down in class into an engaging composition. You will learn how to scale a composition to canvas, block in the underpainting using local color, and use basic blending techniques.

Artists to reference: Audrey Flack, Janet Fish, Pieter Claesz, Jan van den Hecke, Jan Davidsz, Maria van Oosterwyck, Wayne Thiebaud, Cezanne

Acrylic Process Abstract Landscape

Supplies: Acrylic supplies, canvas (size is your choice, must reflect your subject matter), photograph of a landscape.

This project will introduce you to basic acrylic techniques such as: glazing, impasto/brushwork, sanding, stippling/scumbling, and erosions. While most of these techniques can be used with both oil and acrylic paint, sanding and erosions are unique to acrylics. You will take a photograph of a landscape…make sure to capture an image that has rich color, textural, and compositional qualities. Bring at least 5 potential images to class, and do a minimum of 10 color sketches in your notebook.

You may NOT use images from a magazine or other publication.

You will learn: acrylic processes and brushwork, how to use a representational image as inspiration for an abstract painting & how to create surface unity in acrylic.

Artists to reference: Tim Forcum, Richard Diebenkorn, Milton Avery, Jennifer Bartlett, Helen Frankenthaler, Susan Rothenberg, Joan Mitchell

Memento Mori: Trompe l’oeil & Vanitas

Supplies: Raw canvas and stretcher bars, 12' X 12" board and objects to place on it, acrylic gesso, oil supplies and tools

Tromp l’oeil is French for “to fool the eye”, and Memento Mori is Latin for “Remember Death”. Both have rich traditions in both historical and contemporary painting practice. Memento Mori paintings were meant to remind viewers that youth and vanity will pass, as flowers wither so shall you! These reminders were often meant to keep viewers on the “’righteous path”. You will create a composition using real objects, which will be attached to a board. Your painting will be an “exact” replica. The objects you choose should reference the fleeting passage of time, and serve as a contemporary reminder to “remember death”. You must include at least five objects. Minimum 10 thumbnail compositional sketching in your book, as well as preliminary drawings of each object you want to use. You must also include:

• Some kind of background on the board, fabric, paper, ect.

• One metal object

You will them replicate the objects and the board EXACTLY in paint in an attempt to “fool the eye”. Choose carefully!

Artists to reference: Audrey Flack, Phillipe de Champaigne, Pieter Claesz, Jan van den Hecke, Jan Davidsz, Maria van Oosterwyck, William Hartnett, Richard Hass, John Haberle, Edward Collier

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