Syllabus: Painting From Observation

Transcription

1 Syllabus: Painting From Observation CE 6161 N Fall 2018 Continuing Education Course Information Location: Room TBD Dates: TUE 6-8:30PM, SEP 25 - NOV 27 Note: Instructor Information Name: Michelle Oosterbaan mjo3132@gmail.com Policy: 24 hours Instructor Bio: Michelle Oosterbaan received her M.F.A. from Indiana University and B.F.A. from Washington University. Geometry and color provide the syntax through which she explores geography, atmospheres and boundaries. Her study of space and architecture concerns transitions and liminal effects, growing out of her earliest studies of plein-air painting as a teenager in Washington D.C. Since holding an apprenticeship at the Fabric shop and Museum in 1996, she has called Philadelphia home. Highlights of her exhibition history includes The Drawing Center, The Delaware Art Museum, The Pennsylvania Academy of Fine Art and Museum, and the Weatherspoon Art Museum. Oosterbaan has held grants from the Independence Foundation, The Center for Emerging Visual Arts, The Great Rivers Biennial, and The Pennsylvania Council of the Arts. She has held residential fellowships at Cite des Arts International, The MacDowell Colony, Yaddo, and VCCA. Recent collaborations include public art projects with The Mural Arts in Germantown. INSTAGRAM mjoosterbaan Course Description This course explores painting materials, technique and concepts with a focus on capturing realistic s from direct observation. Learn the basics of color mixing, application techniques and composition. You may choose to in acrylic or oil as you paint still life set-ups and live models.you may choose to in acrylic or oil as you paint still life setups, color mixing exercises, and live models. Topics include: Color Mixing Proportions of Hue and Saturation, Distinctive Palette Choices, Value, Tone, Analogous Color, Complementary Color, Reflection and Transparency, Broken Color, Light and Space Interior, Painted Head, Portraiture, and Model Painting. Pre-requisites There are no prerequisites for this course. #UArtsCE

2 Course Overview Each class will be divided between a lectures/design objectives and in-class. Some weeks will require students to complete out of classroom assignments. This course will integrate color theory and design concepts within each project by way of examples and readings. Students will be responsible for getting printed for assignments. Readings, Design Projects, Design Objectives (Lectures), Presentations and s, will all be part of the curriculum. Painting from Observation explores painting as a medium for self-expression based on perceptual space and the visual expression of ideas. We will study basic techniques, materials and terminology through a series of chronological painting assignments from still life and life models. Emphasis is placed on the application of color to articulate space, engaging with and practicing perceptual techniques and the development of individual expression. Course Objectives/Learning Objectives At the end of this course, students will: Learn to paint realistically utilizing a range of mark making and distinctive palettes, specific to the subject at hand. Students will learn a range of paint application methods as well as important historical figures and traditional art history arts along with contemporary artists experimenting with a diverse range of materials and subjects. As the course progresses students will have the opportunity to explore the use of different painting mediums and techniques. Course Expectations Students are expected to: 1. Attend all classes. (More than 2 absences will lower your final class grade by one letter. Exceptions due to emergency situations can be made.) 2. Arrive to class on time. 3. Arrive to class ready to with all required materials. 4. throughout the entire class time. 5. Participate in group critiques. 6. Clean up after yourself at the end of each class. 7. Ask questions, be curious, and be willing to explore and experience the steps of creative practice authentically. Course Resources Painting demonstration and slide lectures, periodically students will be required to complete assignments at home. Painting Vocabulary Analogous color - A color scheme that combines several hues next to each other on the color wheel. Atmospheric perspective - The effect that atmosphere has on the appearance of a object or scene viewed from a distance. Implied by reduced color intensity, loss of detailed and additions of blue. Alla prima- first attempt or direct painting, an entire painting created in one session Broken color - Color applied in small dabs as opposed to smoothly blended, also impressionist technique 2

3 Chiaroscuro - The use of light and dark values to imply depth and volume. Contrast in Saturation (Chroma) - Intensity or dullness of a color Falloff - Light diffusion over a surface produced by the dispersion of light as it spreads further from its source. Figure ground - Relationship of a figure (shape or form) separated from the background or negative space. Focal point - Compositional device emphasizing a certain area or object to highlight or draw attention. Glazing - Thin layers of transparent paint. Hue - Property of a color defined by its distinction within the visual spectrum or color wheel. Impasto - Thickly applied paint. Linear perspective - Spatial system used in 2-D to create the illusion of space, with parallel lines converging on a vanishing point. Local and Apparent color - The color of an object as seen in normal daylight as distinct from the color in a particular situation with varying conditions of light color and intensity. The color you know something to be as opposed to the color it appears under a specific lighting situation. Monochrome - Color scheme using one hue with varying degrees of value or intensity. Multi-stage painting - Painting built up in stages, an under-painting followed one or several over-paintings. Optical mixture - Dabs of contrasting color placed next to each other so that they mix optically or in the eye at a distance. Painting ground - A prepared or tinted surface applied to canvas before the painting has begun. Projected shadow - The shadow cast by an object. Representational painting - The exact portrayal of the modification of local color by the effects of illumination light and shadow, reflected light, color of light sources and optical appearance from a fixed point of view. Secondary light - The light reflected into the indirectly lit or shadow portion of an object. Selective Focus - Focus on a particular portion of a subject to frame a composition. Tone The effects of light, shadow and hue taken together - the overall light or atmosphere of the painting Under painting - The first paint layer in multi-stage technique, a foundation for subsequent layers. Value - Measure of lightness and darkness. Materials Supplies Surfaces to paint on: 9x12 inches bristol board and Fredrix canvas paper pad 10 sheets 12 x 16 Set of brushes (sizes and shapes up to the student) Palette/ disposable palette/ roll of wax paper Palette knife Jars/containers for mediums and solvents Acrylic or oil paints of the following colors: Titanium White, Black (any type), Cadmium Red, Cadmium Yellow, Ultramarine Blue (Hues, which are cheaper substitutes are acceptable) Optional colors: Burnt Sienna, Raw Umber, Cerulean Blue, Chromium of Oxide, Alizarin Crimson, Yellow Ocher, Viridian, Phthalo Blue, Dioxazine purple 3

4 Course Policies Student Feedback/Communication If you experience an emergency, which will prevent you from completing required course on time, please communicate with the instructor at the earliest opportunity. Please state the nature of the emergency and when you expect to turn in the course. Submitting Electronic Files All electronic files must be submitted in.pdf format unless otherwise noted. Please name your file in the using the following convention: Project Name_First Initial Last Name. Thus, if my name where John Smith and I was submitting the Narrative PowerPoint assignment, I would rename the NarrativePowerPoint.pdf file as NarativePowerPoint_JSmith. Attendance + Participation All students are expected to attend classes regularly and promptly, and for the duration of the scheduled instructional time. Please notify instructor if you expect to miss a class via mjo3132@gmail.com. Repeated absences (up to three absences) may result in a grade of "F" for the course. This course content is delivered through a series of presentations, examples and hands-on exercises in a computer lab so regular attendance is critical to your success. Students are expected to arrive on time and stay the length of the class. An absence will not be considered an excuse for a late assignment. A student with three total absences will not be able to pass the course, even if the absence is medically excused. Each absence past the first excused occurrence will result in a lowered grade. Any materials or announcements covered in class missed during an absence are the student s responsibility. Lectures and class activities are visual experiences which cannot be repeated. ::STUDIO GUIDELINES:: There are no scheduled breaks. If you must answer a call or have a bite to eat, take a 5-min. break in the common area. Keep conversations short and in a low tone. No cell phones. No texting during class. (Cameras are the exception.) Please clean up after yourself, dispose of paint rags in waste barrels and clean up table surfaces before you leave. All paintings and painting materials must be removed from painting studio and lockers by the end of the term or else specified by the instructor. The instructor is not responsible for any paintings or materials left beyond the end of the term. Students who withdraw from a course must do so in writing. Non-attendance does not constitute an official withdrawal. Syllabi Changes to the course content will be communicated by from the instructor, and the Program Director will be copied. The syllabus is subject to change based on individual needs of the class at the instructor s discretion. 4

5 University Policies Academic Honesty/ Integrity Policy Violations of academic integrity are considered to be acts of academic dishonesty and include (but are not limited to) cheating, plagiarizing, fabrication, denying others access to information or material, and facilitating academic dishonesty, and are subject to disciplinary action. To review the Academic Honesty/ Integrity Policy in its entirety, please visit: Student Code of Conduct It is the policy of the Division of Continuing Studies to provide a safe and healthy environment for learning, personal growth and enjoyment. The well-being of this community depends upon the good judgment and considerate behavior of its members. Student status at The University of the Arts is not an unconditional right, but a privilege subject to certain rules and expectations articulated in the Student Code of Conduct. To review the Student Code of Conduct in its entirety, please visit: Notice of Nondiscrimination The University expressly prohibits any form of discrimination and harassment on the basis of race, color, national origin, religion, sex, gender identity, age, mental or physical disability, veteran status, or any other protected classification in accordance with Federal, state, and local non-discrimination and equal opportunity laws. If you have encountered any such form of harassment or discrimination, we encourage you to report this to the Title IX Coordinator and Diversity Administrator, Lexi Morrison, at lmorrison@uarts.edu. Sexual violence, sexual harassment, intimate partner/dating violence, and other forms of sexual misconduct are considered forms of sex-based discrimination and are prohibited by University policy and by law. We encourage students to report any incidents of sexual misconduct by contacting the Title IX Coordinator at titleix@uarts.edu. For more information about options and resources available to those who may have been impacted by sexual misconduct, please visit Office of Educational Accessibility UArts values diverse types of learners and is committed to ensuring that each student is afforded an equal opportunity to participate in all learning experiences. If you have or think you may have a learning difference or disability including a mental health, medical, or physical impairment that would impact your educational experience in this class, please contact the Office of Educational Accessibility (OEA) at or access@uarts.edu to register for appropriate accommodations. Faculty can provide course accommodations/modifications only after receipt of an approved accommodations letter from OEA. Grading Students taking the course for non-credit will receive a PASS/FAIL grade. Component Examples of Components Points Technical Proficiency 8-10 Projects + Exercises 35 Conceptual Development + Personal Expression -Visual Evidence of Growth and Investment -Creativity of interpretation 35 5

6 s Feedback Indication that a significant about of time and focus are present in assignment.; Process 20 Deadlines & Following Instructions 10 Total 100 Projects will be graded in the following categories: [update as appropriate for your content area and course: examples include visual appeal, concept, development, and presentation.] Schedule* Session + Date Session 1 Sep 25 Session 2 Oct 2 Session 3 Oct 9 Session 4 Oct 16 Session 5 Oct 23 Session 6 Oct 30 Topic Course Due Introductio n In-Class Perceptual Color Analysis and Mark Making Assignment 8 Hue Color Chart Sept 25 Review 8 Hue Color Chart In-class ::Slide Lecture:: Value Painting Assignment Value Painting & Value Sketchbook Exercises Oct 02 Review Value Painting In-class ::Slide Lecture:: Tonal Painting Assignment Sketchbook Exercises Oct 09 Review Tonal Painting In-class Analogous & Complementary Color Painting Assignment Sketchbook Exercises Oct 16 Review Projects from all previous sessions + Revisions MID TERM REVIEW : SLIDES Art History + Contemporary: In-class CRITIQUE and SNACKS!! :-) Assignment Readings / Artist Videos / Movie Sheet Handout Oct 23 No classes week of March 5-9 Review Readings / Artist Videos / Movie Sheet Handout In-Class Reflective and Transparency Painting or Flower Ptg Assignment Sketchbook Exercises Oct 30 Session 7 Nov 6 Review In-Class Reflective and Transparency Painting or Flower Ptg Flower / Plant 6

7 Assignment Near White/ Near Black Sketchbook Exercises Nov 06 Session 8 Nov 13 Session 9 Nov 20 Review Flower / Plant In-Class MODEL: Same pose for 3 weeks: DAY 1 Assignment Palette Knife Studies Nov 13 Review Model & Flower Painting Broken Color In-Class MODEL : Painted Head : DAY 2 Assignment Hands, Features Sketchbook Exercises Nov 27 Session 10 Nov 27 Review In-Class Hands, Features Sketchbook Exercises MODEL : Painted Head: DAY 3 *Lectures and Projects subject to change throughout the course determined by the Instructor. Any changes to syllabus will be ed to students, and the Program Director will be copied. Assignments/ Projects 1. Postcard / Perceptual Color Analysis 2. Color Chart & Mark Making Sketchbook Exercises 3. Value Painting & Value Sketchbook Exercises 4. Tonal Painting & Tonal Sketchbook Exercises 5. Analogous and Complementary Painting & Sketchbook Exercises 6. Reflective and Transparency Painting & Sketchbook Exercises 7. Interior Hallway & Near White/ Near Black Sketchbook Exercises 8. Broken Color: Flower Painting 9. Model : Painted Head & Palette Knife Hands, Feet, Features Sketchbook Exercises 10. / CRITIQUE DAY at WEEK 5 / 11. Written Response to Contemporary Artist Websites, Spectacle Movies, Art Documentary Kanopy 7