Advanced Painting/ ART203

COURSE DESCRIPTION: Continued exploration of problems and skills explored in ART202, with emphasis on developing independent work.  Prerequisite: ART202

As a continuation of ART202 and the basic objectives remain the same: to further one’s understanding of the mechanics of painting and to increase one’s facility with the medium which allows one to achieve intended goals.  These goals again start with the formal concerns of developing controlled and effective use of composition, color, line, shape, form, texture, and space, and move progressively towards conceptual concerns related to personal expression. In VA 56, students are expected to approach the various problems with a higher level of sophistication and move deeper into the realm of expression.  Emphasis again will be placed on painting as a means of self-exploration and problem solving.

 

GOALS:  The goal of the course is to:

·       Expand the student’s knowledge of the basic materials and techniques used in oil and/or acrylic painting.

·       Give the student the opportunity to explore a variety of stylistic approaches in the translation of a subject.

·       Continue helping the student develop a process of conceiving of ideas that are unique and inventive.

·       Teach the student to make aesthetic choices concerning form and subject matter to communicate ideas.

·       Expand the student’s basic vocabulary of visual art terms used in painting.

·       Teach the student to work through multiple stages of development in the process of completing a painting.

·       Teach students to analyze paintings, both historical and contemporary, for their artistic merit.

·       Instill in the students the intrinsic motivation to grow artistically and as an individual.

OUTCOME BEHAVIORS: Upon completion of the course students should be able to:

-       Conceive of ideas that are unique and inventive which reflect his or her experience and point of view.

-       Make aesthetic choices concerning form and subject matter to communicate these ideas.

-       Apply a vocabulary of art terms when discussing his or her work or the work of others.

-       Respectfully and constructively critique fellow students’ work, identifying strengths as well as failings, in order to help each student improve.

-       Work through all stages of the artistic process starting with the conception of multiple ideas, selecting one through critical analysis, revising that idea, refining it during its development, and finally completing the work through its thoughtful presentation.

-       Be critical of one’s own work, assigning challenges to oneself in effort to grow artistically and as an individual.

-       Analyze paintings, both historical and contemporary, for their artistic merit.

 

As well as to:

-       Effectively use techniques and materials that he or she has not had exposure to in Painting I.

-       Demonstrate increased sensitivity to the materials used in painting and to an observed subject.

-       Define the beginning of a stylistic approach and content that is unique to his or her sensibility.

-       Relate ideas from one assignment to the next and in doing so present a personal point of view.

-       Begin a painting from a purely conceptual starting point.

 

PROCEDURES: Students will complete five extended painting projects over the course of the semester.  Each project will focus on a different concept or theme and each will involve using a different painting method or formal approach.  These assignments will be explained through a combination of lecture/demonstration and slide lecture.  Students will proceed individually, working to complete the assignment and meet the defined objectives.  At the end of each project a group critique will be held and the students’ work will be evaluated.   Each student will be expected to participate in critique and articulate relevant ideas concerning the concepts addressed in each assignment.

 

REQUIREMENTS:

1)    Regular attendance is absolutely mandatory.

2)    Completion of all assigned projects.

3)    Homework:  preparation of materials for class, outside readings, research for in-class projects,  drawings and color studies,  writing projects, and continuing to work on and completion of  in-class assignments.

4)    Outside of class museum/gallery visit with written paper.

5)    Participation of critiques and class discussions.

 

ATTENDANCE:  The college policy is followed (see handbook or college catalog).  Excessive absence or lateness will lead to failure of this course.  The college defines excessive absence as more than one week of classes.  Two lateness’s equal one absence.  In the exceptional circumstance in which the student is allowed to continue in the class beyond two absences, which is solely up to the discretion of the instructor, the students grade will be reduced one full letter grade for each absence beyond one.  This is a studio course.  The knowledge that is gained  in this course comes almost exclusively from working in class with others and with the instructor’s personal attention.  This can not be made up outside of class.  Therefore it is absolutely essential that you be in class.  However, you are responsible for all the information that transpired in class should you happen to be absent.  This includes such things as materials you need to have for the next class.  Arrangements should be made to contact the instructors or fellow student before returning to class.

EVALUATION:  Your grade will be determined from the following:

PAINTINGS – The majority of your grade will be based on the painting projects you complete over the course.  Paintings turned in after the due date or not presented at the critique will receive a reduced grade (one letter grade for each week late, an A becomes a B).  All paintings can be reworked or developed further for re-evaluation after critiques.

SKETCHBOOK/JOURNAL – You are required to keep a sketchbook/journal.  This should be used to develop ideas, keep notes and collect items of interest related to your creative process.  You must submit the sketchbook at the end of the semester for evaluation. It will be graded and equivalent to one painting.  You should keep in it names and photocopies or announcement cards of contemporary artists that you are looking at and that interest you.

PAPER – You are required to write a three page paper on your work in relation to art history and contemporary art movements.   You must visit a NYC art museum at least once during the semester as research for this paper.  The paper is equivalent to one painting grade.

EFFORT, PARTICIPATION and PROGRESS – A portion of your grade will be based on your overall work ethic, your seriousness of purpose, how prepared you are in class, how much you contribute to discussions and critiques and how much your work progresses from the beginning to the end of class.  Your grade in this area will be equal to one painting grade.

HOMEWORK – Completion of your paintings will require work outside of class.  The more time you spend on your paintings the better the results will be and it will be reflected in your grade.  Also preparatory work needs to be done outside of class so that you can start assignments on schedule and make full use of class time.  In addition, there will be occasional readings given as homework separate from your paintings.  The paper will require research into other artists’ work and a museum visit.

PROJECTS

During the semester you are to complete five paintings on the following five different human emotions: Love, Fear, Anguish, Desire and Joy.  In the group of paintings you must satisfy all the criteria listed below: 

1)  One painting must be on a canvas you have stretched yourself.

2)    One painting must be larger than 40 inches in one dimension.

3)    One must have as one of its focuses the exploration of surface by using different techniques to create a rich and varied surface to achieve depth.

4)    One must use alternative materials or mixed media.  Possibilities include working on paper, wood, unstretched fabric or use house paint, drawing materials or collage.

5)    One should use representational imagery and be narrative.

6)    One should be non-objective, meaning no representational imagery.

You can combine any number of these criterion together in different ways depending on what is most appropriate for your idea and the subject matter.  Over the course of the semester an attempt should be made to return to ideas, themes and stylistic approaches to begin creating a personal voice.  However, experimentation and risk taking is essential for growth and is expected in this course. 

 MATERIALS

Water Miscible Oil Paint (Grumbacher Max Paint, Winsor Newton Artisan)

 

Titanium white (large tube)

Cadmium yellow

Yellow ochre

Cadmium orange

Cadmium red

Alizarin crimson

Dioxine purple (any basic violet ½ between blue and red will do)

Ultramarine blue

Pthalo blue

Viridian (green)

Sap green

Burnt umber

Burnt sienna

Ivory black

 

Brushes

#1, #2, #4, #6, #10 round bristle

#2, #4, #8, #10, #12 flat bristle

 

Water Miscible oil medium

Coffee can with lid

Palette

Palette knife

Rags and or paper towels

Old magazines or phone book

Bar of soap (Lava)

Sketchbook

Drawing pencils and/or pen

Vine charcoal (1 or 2 sticks)

Gesso

Several sheets of heavy weight paper 100lbs+ or wood panels /masonite for studies approximately 8”x10”.

You will also need a minimum of five supports (canvases or panels) over the semester.

 

Evaluation Criteria for Effort, Participation and Progress  (10% of grade)

Score:    2  -- (Good) Yes, always meets requirement 

              1 –  (Adequate) Almost always meets requirement   

  0 –   (Needs improvement) More than a few times the student has not met  requirement

22 – 19 = A,   18.9 – 13.75 =B,  13.74 – 8.25 = C,  8.24 - 5.5 = D, 5.4 – 0 = F

Do you have your work ready for critique on time at the very start of class and offer a thoughtful analysis of your work during critique when called upon?                                                                                                                

Do you participate in the critique of other classmate’s work?

Are you prepared with materials and ready to work at the start of class?

Are you working consistently during the entire class period?

Have you worked on the projects between classes?

Have you developed your paintings under the guidance of the instructor from start to finish?

Have you taken input from the instructor and applied it to your paintings during its development in effort to improve the painting and try new ideas?

Have you completed all the outside assignments including readings, library visits, purchase of materials, researching artists, and other miscellaneous activities that may not be specifically graded?

Have you attended all classes, or if you have missed the one class allowed, have you made an effort to make up what you have missed? 

Is there evidence at the end of the class of an improved understanding of the artistic process seen through – creating multiple concepts at the beginning of a project; building on earlier stages of the painting; revising painting as it develops; bringing painting to completion in the allotted time period, and giving thought to presentation at critique.

Has each painting improved from where you started at the beginning of the course and are you reaching your fullest potential?

  

Artists and Ideas

The two lists below must be completed by the end of the semester and should be something you are working on throughout the semester.  The names and words can change as your painting develops.    To complete the lists it is important to look at a lot of contemporary art and to read about the ideas behind the work.   The lists should be kept in your sketchbook/journal.

 

List 5 artists from art history and 5 contemporary artists whose work you have an interest in or has provided inspiration for your own work.

 

List 10 words that describe your interests or ideas in your own artwork.

 

Artist Statement Paper

In a 2 – 3 page (500-750 word) written response, position your own work and interests within an art historical context using one or several artists that have provided inspiration for your work.  Discuss and analyze what similarities appear in the ideas, process and/or final presentation with regard to some of the following areas of interest:

 

            Subject Matter

            Content (emotion, overarching concept)

Creative Process

Treatment or technical practice

Style  

Point of view or Ideology

 

The assignment is meant to help you to see and articulate the vital areas of your own work in a manner that is understandable to a knowledgeable art audience.  What is borrowed and what have you done to the original idea or presentation to make it your own?  In what ways have your own ideas deviated from the original model or inspiration for your art?  This is a critical assignment requiring you to be as precise as possible about points of contact with other artists and ideas, however the focus should remain on your own work and interests.