|
DEPARTMENT OF MUSIC, ART AND DESIGN,
SCHOOL OF LIBERAL ARTS & EDUCATION,
VIRGINIA STATE UNIVERSITY
ARTS 306, Painting II - 3 semester hours
Spring 2008
1-4:50 Monday and Wenesday, room 222
Instructor: Ms. Dort, room 216E Harris Hall,
phone: 524-5856; sdort@vsu.edu
Office hours: 12-1 Monday and Wednesday; 12:30-2 Tuesday and Thursday.
I. Course description:
Fundamentals of painting in oils or acrylics are introduced. Traditional and contemporary employment of painting processes are explored. Course includes weekly critiques and discussions.
Prerequisite: another art course or ARTS 101, 102, 103, 104, or VCAD 204 or permission from the instructor.
II. Text:
Painting as Language: Material, Technique, Form, Content by Jean Robertson and Craig McDaniel, Harcourt Brace Pub., 2000
III. Knowledge:
1. Learn visual and verbal art vocabulary.
2. Identify the work of past masters and contemporary artists.
3. Historical and critical research in the area of painting.
IV. Skills
1. Learn technique in handling the media of oil or acrylic paint.
2. Explore the elements and principles of design as they pertain to the painting medium.
3. Comparative analysis and judgment of paintings.
4. Write a research paper.
V. Abilities
1. Create original compositions.
2. Produce paintings in terms of expression and personal style.
3. Critique orally and in writing.
VI. REQUIREMENTS:
A. Attendance is mandatory.
· Each student may have up to two (2) unexcused absences during the semester.
· Each unexcused absence after that will result in a reduction of the final grade for the course of five (5) points.
· 3 lates will add up to one absence.
· Leaving before being excused will be considered an unexcused absence.
· Sleeping and any disruptive behavior in the class will likewise be considered an unexcused absence.
· Any absence will lower the quality of your portfolio.
· To obtain an excused absence, the instructor must be notified in advance (or, in case of an emergency, as soon as possible) and written proof must be provided.
B. Students who are covered under the American Disability Act should privately inform the teacher of this fact so that appropriate instructional arrangements can be made.
C. Use of cell phones and cell phone ringing is prohibited in the classroom.
D. Painting surface must be at least 18 x 24 but keep in mind that larger dimensions usually present a more powerful statement. You need to complete 7 - 8 paintings that include the following:
1. A series of paintings of your personal choice in subject matter and/or style.
2. A self portrait that can be part of the above series.
3. The Charrette assignment, "The Things We Do the Things We Say/Mirror Life Through the Arts," that can be part of the above series.
4. A painting with an untraditional format and/or the inclusion of unusual materials that can be part of the above series.
E. Assignments will often need to be completed outside of class but each one must be started in class.
F. A 3 page type-written paper discussing your body of work for this semester. Double space with 1" margins. You can describe the subject, form and content. It should resemble a detailed "artist's statement." You should consider your "thought process" of what went into the creative process of this body of work.
G. You will be required to review the art shows in the Meredith Gallery.
H. A field trip may be required.
I. Oral communication and cognitive thinking will be practiced and graded during critiques and discussions.
J. All your paintings will be re-evaluated during the final exam time allotted for this class.
VII. Bibliography
Michael Auping, ed., American Expressionism, The Critical Developments, Albright Knox Gallery, 1987.
Elva Bett, Drawing and Painting: A Complete Study Course, A.H. and A.W. Reed Ltd., 1984.
Alfred C. Chadbourn, Painting with a Fresh Eye, Watson-Guptill Pub., NY, 1987.
Jean-Luc Daval, Oil Painting from Van Eyck to Rothko, Rizzoli International Pub., Inc., NY, 1985.
Helen Douglas-Cooper, 100 Keys to Great Oil Painting, North Light Books, 1995.
Gardner's Art Through the Ages by Horst de la Croix, Richard G. Tansey and Diane Kirkpatrick, Harcourt Brace Jovanovich, 1991.
Rita Gilbert, Living with Art, McGraw Hill.
Angelo John Grado, Mastering the Craft of Painting, Watson-Guptill Pub., NY, 1985.
Catherine Hagen, Color: A Guide for Every Painter, David McKay Co., 1976.
H. W. Janson and Anthony Janson, History of Art, 4th ed., Prentice Hall, 1990.
David Lyle Millard, Impasto, Watson-Guptill, 1987.
Regina Perry, Free Within Ourselves, National Museum of American Art, Washington, D.C. 1992.
Art Journals, i.e., American Artist, Art in America, Artforum, Art Journal, Art News.
VIII. SAFETY PROCEDURES
1. Clean up your workspace before leaving! Thoroughly wipe off any stray paint on benches, easels, floor, etc. Put all containers of medium, turpentine, kerosene, etc. in your locker in a manner that they will not spill.
2. Electrical equipment, paper cutters or mat cutters are off limits without proper instruction by the instructor.
3. Use safety goggles when using saws or chemicals.
4. Use a face mask when using sprays or chemicals.
5. Always read product labels before using.
6. Always use sprays, rubber cement, oil paint, air brush or chemicals in a well ventilated area or out doors. Solvents and cleaning materials require ventilation.
7. Always store flammable spray cans in non-flammable cabinets.
8. Avoid using lead-based paint. Never allow lead-based paint to make contact with skin, eyes or mouth.
9. Dispose of chemicals, turpentine, kerosene and oil paints only in designated containers. Do not dump this material down the sink!
10. When diluting acids, always add the acid to water, never the reverse. Wear rubber gloves and goggles.
11. Make sure the blade on exacto and mat knives are always retracted or protected when not in use, even if for a short time period.
12. Extend handle when passing a tool to another person.
13. Know where first aid kits and eye washes are located.
14. Report all accidents to the instructor immediately.
IX. SUPPLIES for ARTS 305 and 306, painting:
BRING TO EVERY CLASS:
Studio-size tubes of oil paint:
Titanium or permelba white (extra large tube; you may need more than one tube)
Ultramarine blue deep
Burnt umber
Cadmium yellow light
Cadmium red medium
Yellow ochre
Burnt sienna
Cerulean blue
Permanent green light
Alizarin crimson
Other useful colors: Naples yellow, a violet or purple, sap green, Payne's gray, etc.
Quart or gallon of mineral spirits, turpenoid or equivalent (odorless turpentine)
Linseed oil (at least a pint)
Damar varnish (optional) Or Drying oil medium
Retouch varnish
spray can also be useful
plastic round cleaning pad
hand cleaner (goop) or pink cleaner rags
palette (disposable palette pad works well)
palette knife with bent handle
brushes for oil painting (animal hair brushes are recommended, not nylon; you'll need several sizes)
carrying case for supplies (metal tackle or tool box)
canvases or surfaces for 8 paintings, the larger the better:
Set of stretcher strips (for at least an 18 x 24 stretched canvas) and unprimed canvas
|
