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ART 230 – Painting 4
BERGEN COMMUNITY COLLEGE Art Department
COURSE DESCRIPTION:
ART2xx (presumably ART230) – PAINTING 4 furthers the studio experience of the
previous courses. The thread of study is two-fold: a) traditional, academic study in oil
painting; and b) contemporary experimentation and exploration in oil and/or other media.
In this advanced course, students work toward greater technical competency than
achieved in ART229, and an increasingly refined personal aesthetic that includes both
their work and a written statement. Painting may include portraiture/life model, still-life,
interiors/exteriors, landscapes, and/or non-objective work.
2 lecs, 2 labs, 3 credits
Pre-req: ART2xx (presumably ART229) – Painting 3
TEXT:
Required: Hawthorne on Painting, Dover Publications, Inc., NY, 1960, $5.95
Required (either A of B below):
A) Art School, A Complete Painters Course, by Monahan, Seligman, and Clouse,
Barnes and Noble Books, NY, ISBN: 0-7607-4915-9, $9.98 B) The Oil Painting Book, Materials and Techniques for Today’s Artists ,
by Bill Creevy, Watson-Guptill Publications, NY, NY, 1994
COURSE OBJECTIVES:
a) Students develop technical competencies and personal expression in painting.
b) Students pursue a duality of study:
traditional, academic oil painting; and
contemporary exploration and experimentation in oil and/or other media.
COURSE FOCUS:
Seeing and painting relative value, temperature, and color, including opaque
vs transparent qualities
Seeing, understanding, and painting structure
Textural experimentation with techniques such as sgraffito, frottage, and
scumbling
Studying design organization; understanding design elements and principles
Studying form, with the aim of visually describing the 3D object on a 2D flat
surface
Development of unique, personal style, expression, and ideas
Experimentation and exploration with oil paints and/or other media, including
collage
Sometimes painting what you see; sometimes painting what you don't see
Gaining an understanding of traditional and contemporary approaches to
painting
Discussion and language usage, including critiquing of student and other work
COURSE CONTENT:
Discussions and demonstrations of materials, techniques, and approaches to
painting
Formal, academic study of structure, spatial relationships, value, composition,
color, temperature, and texture.
In-class and homework painting that may include any or all of the following
subject areas: portraiture/life model, still-life, interiors/exteriors, landscapes,
and/or non-objective work
Discussion and presentation, using smart classroom technologies, of the
works of various artists, from the great masters to contemporary.
Museum visit and discussion of artworks
TEACHING METHODOLOGIES:
Lectures, discussions, and visual presentations using the smart classroom
technologies
Individual and group critiques
One-on-one tutorial painting work with the individual students in the class
_______________________________________________________________
GRADING: A=excellent, B+=very good, B=good, C+=above average, C=average, D=below
average, F=Failure, E=unofficial withdrawal
Your final semester grade is determined by:
40% ART WORK PORTFOLIO #1: “Academic study”
Approximately 55 hours (minimum) of painting during the semester, divided
between in–class and outside-of-class studio painting.
Required:
a) Painting a series of realistic, or near-realistic, oil paintings that demonstrate
successful observation and technique regarding value, structure, temperature,
color, and composition.
b) Limited palette for a few weeks, leading to broader use of color, will be emphasized.
c) Subject matter possibilities: portrait, figurative, self-portrait, still life, interiors,
landscape, and master painting copying (only if approved by the professor).
d) Note: Copying from photographs, postcards, calendars, or any other reproduced
images is not permitted and will not be accepted as part of the portfolio, with
the exception of the master painting copying approved by the professor.
e) At least half the 55 hours will be done in class; the rest for homework.
40% ART WORK PORTFOLIO #2: “Student choice”
Approximately 55 hours (minimum) of painting during the, divided between in –class
and outside-of-class studio painting.
Required:
a) Completing a series of paintings in style and technique of your own choosing.
b) Subject matter possibilities: portrait, figurative, self-portrait, still life, interiors,
landscape, non-objective, abstract, surreal, etc.
d) Note: Copying from photographs, postcards, calendars, or any other reproduced
images is not permitted and will not be accepted as part of the portfolio, with
the exception of the master painting copying approved by the professor.
e) At least half the 55 hours will be done in class; the rest for homework.
f) Portfolio #2 may be a continuation if you choose, in whole or in part, of Portfolio #1.
g) Writing component: the student will create a written statement, of at least several
paragraphs totaling 500–800 words, that explains the nature of his or her work,
particularly with respect to, but not limited to, any or all of the following: exploration,
experimentation, discovery, direction, technical struggles and accomplishment,
conceptual approach.
20% ATTENDANCE
a) Absence, lateness, and leaving class early affect your final grade.
b) You are allowed one absence with no effect on your grade.
c) After that, your 20% Attendance Grade will be lowered by one full grade for each
additional absence or group of latenesses. (Ex: one absence=B; two absences=C;
3 absences=D; 4 or more absences=F in the 20% Attendance category)
ASSESSMENT:
In assessing the Artwork Portfolios #1 and #2 above, a rubric can be used that addresses :
a) Quality of work: competencies
b) Concentration of work: cohesiveness (ex: explorations in painting various portraits)
c) Breadth of work: has the student begun to “push the envelope,” or has he/she merely
stood still in an already-achieved comfort zone?
Several considerations regarding the student’s work and performance can subsequently be
made, and might includes some or all of the following:
Understanding and using the mechanical aids (of measuring height to width, for example)
to perception. Locating the positions of forms in space and translating them to a flat, two
dimensional plane.
Understanding and creating shapes and their relationships in space. Deciding on a
relative value scale and implementing the scale so that the image incorporates a relative
value structure, in the same way the camera creates an image as a photograph. NO lines
are visible in this step.
Understanding of spatial systems including linear perspective, aerial perspective, and
other ways of creating space including use of size changes and overlapping forms.
Understanding of composition. Placement of formal elements including line, shape, color,
texture and value, to achieve a whole. Understanding of figure/ground relationships.
Aesthetics. Ability to achieve an image where all parts work together in a harmony that
becomes more than a depiction of information, but which can become a higher order of
thought process.
Economy of means. Understanding the editing process. Changing and/or eliminating
some of the elements to achieve a desired outcome.
Understanding of color theory regarding warm/cool or temperature, complementary
colors, split complementary. Achieving focal points with color anomaly. Creating rhythms
or movement by placement of colors.
Understanding and exploring a variety of techniques, including sgraffito, frottage, and
scumbling.
Discovery and growth: Through this process, what discovery and growth has been
demonstrated by the student.
Assess whether a student is capable of generating an idea and creating a body of work
exploring a specific visual idea that has a coherance. This may be conceptual.
To what extent does the student’s personally driven work (Portfolio #2) show a
steadfastness and seriousness of purpose, exploration, and/or experimentation
To what extent does the student’s writing component, regarding his or her personal
direction and discovery, address his or her seriousness of purpose, exploration, and/or
experimentation in painting. This will also demonstrate his or her ability to use the visual
language appropriately.
______________________________________________________________
MATERIALS LIST
FOR CANVAS TONING:
Acrylic paint (in a small jar or tube):
Red oxide
Raw umber
Ivory black
Sap green
FOR SURFACE PREPARATION:
Gesso (for preparing paper, unprimed canvas, etc)
PALETTE: Wood palette, or glass palette. (A wood palette needs to be oiled
thoroughly with linseed oil/stand oil). Paper or plastic palettes are unacceptable, and will
not be allowed in the studio.
OIL PAINTS: Winsor-Newton Artists’ Oil Colours, Grumbacher, Rembrandt
DO NOT GET student grade paints: ex: WINTON paints (from Winsor-Newton)
ACRYLIC PAINTS for working with collage Lascaux (the best), Liquitex, Golden
Large tube (4 oz):
Titanium-zinc White
Small tubes: 1.25 oz:
Paynes Gray or Ivory Black Cadmium Red Light or Permanent Red
Raw Umber Alizarin Crimson
Burnt Umber Ultramarine Blue
Raw Sienna Cerulean Blue (optional)
Burnt Sienna Cobalt Blue (optional)
Yellow Ochre Pale Prussian Blue (optional)
Naples Yellow Sap Green (optional)
Cadmium Yellow Medium
Acrylic PAINTING MEDIUM when working with collage:
Gel medium
Glazing medium
Gloss and/or matte varnish
BRUSH CLEANING:
for OILS: Odorless Turpenoid (NOT Natural Turpenoid), mineral spirits, or gamsol
for ACRYLICS, when working with collage: Water from the tap
PAINTING MEDIUM for OILS:
Liquin Original
SURFACES... choices
1. Pre-Stretched canvas or linen... or Stretchers, Canvas Pliers, Staple gun and staples,
primed or unprimed Canvas or Linen,
2. Masonite panel (1/8 inch un-tempered) covered with gesso
size brush you'll want. Below are some possibilities.
A good brand is: Robert Simmons Signet (with beige handles and green tips). It's best and
most convenient to have several identical brushes, so that you can have different colors on
brushes of the same size and shape
BRUSHES
Brush size, type (bright, flat, round, filbert, fan brush, etc), brand name, is a personal
preference. A good brand is: Robert Simmons Signet (with beige handles and green tips).
It's best and most convenient to have several identical brushes, so that you can have
different colors on brushes of the same size and shape.
The following are suggested:
Bristle brushes:
Round #2, #5, #10
Flat or Bright #3, #8
Filbert #3, #6, #10
Sable brushes:
Round #3
Filbert #3, #6
Flat or Bright #3, #6
MISCELLANEOUS
Utility box or paint box for brushes, paints, supplies
Paper towels (you’ll need several rolls throughout the term)
3 or more small to medium sized Glass jars... for turpenoid, etc
Blue painters tape or drafting tape for holding canvas paper to board
Plastic bags (that you can tie or seal) for your dirty rags and paper towels
Saran wrap (or similar) to wrap around your oil paint palette when you're done
Vine Charcoal -- soft, medium, hard... for drawing on canvas
Compressed charcoal -- Various grades and kinds, hard, medium, soft
50 (or more) PUSHPINS (clear or white) for use in critiques -- Bring to class each day