SEMESTER AT SEA COURSE SYLLABUS

Transcription

1 SEMESTER AT SEA COURSE SYLLABUS Voyage: Fall 2013 Discipline: Studio Art ARTS : Introduction to Painting at Sea (Section 2) Division: Lower B Days, 10:50-12:05 Faculty Name: Anne Simpkins Pre-requisites: None COURSE DESCRIPTION This course introduces students to the potential of figural painting by working from a range of subject matter present in our travel environment. Emphasis will be placed on developing the use of color media to describe depth of field, form, shape and mass. Subject matter will draw inspiration from our port cities. No prerequisite, materials list with required supplies, no text. COURSE OBJECTIVES To develop the habits of being an artist To understand and utilize the role of observation To become familiar with drawing and painting materials To understand basic drawing and painting techniques To develop creative ideas into imagery To develop your ability to evaluate and discuss artworks, including both your own work and the work of others REQUIRED TEXTBOOKS No text 10$ group supply fee REQUIRED SUPPLIES an expanded list will be sent with specific product codes purchasable through Dick Blick. Or the retailer of your choice. When substituting other brands please be accurate to quantity of product. Paper sizes are the minimum/ recommended dimension. Disposable wax paper palette 50 sheets or covered reusable plastic palette, Water cup plastic Watercolor canvas Pad of 10 pages 16 x20 Five brushes sized 2,4,6,8, 12 Palette knife size 1 sm. Acrylic paints- 37ml. ea.: alizarin crimson, dioxazine violet, cerulean, thalo blue, raw umber, cadmium yellow, lemon yellow, turquoise green, cadmium red med hue and one large tube of titanium white Acrylic thickener, impasto or thickening gel Drying retarder 81 ml 2 Bulldog clips that fold back into page 1

2 Watercolor block 10 sheets 9 x12 Watercolor style pencils 2 Drawing pencils both 6B ebony and 6B sketch wash 2-Erasers kneaded and magic-rub Sketchbook 5 x7 or larger Paste stick Plastic drop cloth of heavy gage plastic or shower curtain Gesso board 16 x20 *Portfolio with corrugated plastic or cardboard base Small plastic mirror *Apron Calendar B1- August 27: Preparing surfaces, Introduction to materials and journal. Bring all supplies to this class. Field assignment: Finding a small object evocative of place. Bring it back to the ship. (Note, food items must be sealed in vacuum pack.) Practice drawing a cartoon and composing a picture plane. Due 8-10 pre-sketches of possible compositions for next class. Introduction of St Petersburg Field Assignment: St Petersburg: Find an opportunity to view some art, ideally painting. I recommend the Hermitage collections. Tell me about your viewing experience. What qualities of this artwork did you find interesting. Bring a small example (brochure, photo, post card) of the work if available. Try to duplicate the color palette with color pencils of some of the work. St. Petersburg: August 29- September 1 B2- September 3: Using the first cartoons you have drawn, begin to block on basic colors of three of your small object composition. Blocked images, due next class. B3 Discuss small object compositions Discuss the blocking in process. Field assignment for Hamburg or port travel: Write a description of an interior space you find indicative of style or design in this country. Follow with a color pencil drawing depicting that locale. Hamburg: September 5-8 B4- September 9: Due: four small blocked images. In class we will begin developing a surface and color to describe depth and volume of an object. B5- September 10: Antwerp field lab with goals for activity, Painted marks to describe surface and texture. Field Lab in Antwerp at Rubens House, Rockox Museum and Mayer Van den Bergh Collection. We will be considering composition, surface and color in Flemish art. 2

3 Return from field lab with sketched posing ideas around portraits and a small example in poster or postcard or other printed form of a work you like in style, color and /or mark making (both to be used later in term) Goals: To view a collection of figurative and expressive works based on life subject ( impressionist, post impressionist, fauve works) To draw interiors and landscape on site, in one our locations with faculty assistance To model creating sketchbook content from an experience. Our Antwerp Field Lab will be used to compose and create our portrait paintings. Failure to attend and fully participate, in the activity will result in a 20 point deduction from your final grade. Antwerp and Le Havre: September B6 September 19: class critique over the small object pieces. Begin second painting: Using the image copies gathered in St. Petersburg, make a painted copy of a small section from that work. This will involve experimenting with different color approaches imitating the style of a master artist. Field Assignment, Dublin: -Free choice subject, spend at least two hours creating several pages of Journal content. Dublin: September B7- September 25: continue masterwork copies that reference surface, mark making and color of works at the Hermitage. Field Assignment, Lisbon to Morocco: Students should return from port with a proposed portrait based on an artwork they observed, or a photo of a person (may be self portrait) they have encountered (see issues related to photo portraits), sketch portrait plan in journal. Lisbon and Cadiz: September 27- October 1 Casablanca: October 3-6 B8-October 7 : Look at masterwork pieces in progress, Introduce plan for the portrait B9- October 9:Critique masterwork copies, Begin portrait studies with drawing. Bring a photo of a portrait to class. Plan to expand scale using photocopier or grids. B10- October 12: Using grids to transfer designs and create complex color decisions 3

4 B11- October 14: Continuing with portraits: warm and cool color in descriptions of skin. Field Assignment, Ghana: What color palette is present in the art, landscape and design motifs of Ghana? How does this differ from those of northern Europe? How is color evocative of place? Collect materials or examples that have these color palettes Takoradi to Tema: October B12- October 20: Portraits in progress B13- October 24:. Portraits in progress Field Assignment, Cape Town: Draw three different landscape settings from life. Pay attention to foreground, middle and deep space and the color that shifts with depth of field. When drawing is complete take a photo bring both for comparison to next class. What sites really illustrate the dual nature of this society? Describe in written form, or choose one of these sites for your landscape. Cape Town: October B14-Novenber 1: Portraits a critique and wrap up. Introduction to the art and landscape of Cape Town, Begin drawings for two paintings that reference shipboard space, Working with a muted palette, working with a high color key. B15- November 3: discuss/critique the sketchbook images. Shipboard space continued. Mid-term progress meetings B16- November 5: Shipboard space in-progress critique. B17- November 9: High color key works with color that references the artwork of Cape Town and Tema B18- November 10: The painting and street art of Buenos Aires. Shipboard paintings due. Field Assignment, Buenos Aires: Return from port with a documented site including written description, Drawing(s) and photos. Draw image out to begin landscape work at next class. Buenos Aires: November B19- November 19: Short landscape works based on sketchbook scenes and photos from Buenos Aires. Plan to work rapidly using a timer. Filed Assignment, Rio de Javier: Return from port with cut flowers or plant foliage. or organic object. Begin drawings of collected source. Put cut plants in water if allowed or bring back artificial flower or foliage. See discussion of ethical collection methods. Draw these objects over several pages in sketchbooks. Bring plants/objects to next class time. Rio de Janeiro: November

5 Study days Nov. 23 and 24 Salvador Nov B20- November 29:Critique quick landscape pieces. Begin plant/organic object paintings on Masonite panel B21- Dec.1 :Paintings based on plant cuttings/organic objects B22-December 4: in progress critique on organic objects pieces. Art of Havana B23-December6: Student portfolio conferences Havana- Dec B24 December 13: Finals-critique /exam METHODS OF EVALUATION / GRADING RUBRIC 20 points participation in our field lab 10 points-participation in class critique and discussion. This includes evaluation of your own work and that of your peers (both written and verbal). Asking questions of all participants including guides, peers, any faculty, about the subjects that lead you as an artist. 60 points- (10 points per piece) complete six painting projects of assigned topics. Paintings will be evaluated on your ability to: apply class concepts to your artwork, accept and respond to evaluation and criticism, and engage with assigned material for the time needed to bring works to completion. 10 points- Create a sketch journal documenting all ports and responding to assigned journal content. The Journal/sketchbook You will make journal entries throughout the semester responding to a variety of questions at the end of each class. The Journal is only effective as a learning tool if you write when the material is assigned. For this reason, plan to bring your journal to each class. Use the final few minutes of class to write and address this class component. I will collect Journals at random times to check that your entries are current. The entries will address some readings and help you reflect on methods of idea generation for the painter and artist. Be sure to also use your journal to sketch ideas, collect resource materials and jot down ideas for future art works. This graded component of class will require you to fill the journal to the halfway point at midterm (Nov. 2) and complete it by the final exam. This could include collage, sketches, doodles, writing, favorite quotes and phrases. Ideas for this component can also be found throughout our reserved text resources. Ideas and assignments for entries will be posted in class or on the shipboard Intranet. The value of this component will be 20 points of your total. Grades for journals will be based on quality, density, and obvious time dedicated to the construction of this resource. 5

6 RESERVE LIBRARY LIST AUTHOR:Teel Sale and Claudia Betti TITLE: Drawing, A Contemporary Approach PUBLISHER: Thomson Wadsworth ISBN #: DATE/EDITION: current/ 2008, or 6th AUTHOR: David A. Lauer TITLE: Design Basics PUBLISHER: Holt, Rinehart, and Winston ISBN #: DATE/EDITION: current AUTHOR: Jean Robertson and Craig McDaniel TITLE: Painting As a Language PUBLISHER: Harcourt Brace College Publishers ISBN #: X DATE/EDITION: 2000 ELECTRONIC COURSE MATERIALS Electronic course materials will need to be added at a later date. ADDITIONAL RESOURCES None HONOR CODE The requirement to site sources also applies to the work of the artist. Written content should be original to the artist (you) or credited on either the artwork face as in a quote, with authors name or the reverse side of the artwork. Photo sources that are not your own should be copyright free and credited on the reverse side of the page. It is recommended that you use your own images whenever possible and that appropriated imagery are substantially transformed in your artwork. For a figural painting course, I am most interested in seeing you develop work based on direct observation rather than through the filter of a photograph. But, travel and movement sometimes hinders our best efforts in this area. Use an observed 3-d Source whenever possible. Use your photo(s) as an informational tool rather than the sole source of an artwork. Semester at Sea students enroll in an academic program administered by the University of Virginia, and thus bind themselves to the University s honor code. The code prohibits all acts of lying, cheating, and stealing. Please consult the Voyager s Handbook for further explanation of what constitutes an honor offense. Each written assignment for the student must pledge this course as follows: On my honor as a student, I pledge that I have neither given nor received aid on this assignment. The pledge must be signed, or, in the case of an electronic file, signed [signed]. 6

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