ART Water-based Media Painting

Transcription

1 ART Water-based Media Painting Basic experience in water-based media painting including: transparent watercolor, gouache (ˈgwäsh) opaque watercolor egg tempera and acrylic. Life model may be used. Prerequisite(s): ART 1520, ART 1211; or permission of instructor. Completion of Art 3700: Color Experience is preferred. Spring 2014 WH 200 9:00-11:30 AM, Tuesdays and Thursdays Prof. Janice Williams Whiting Washington Hall JWHITING@gru.edu Office Phone: ; Home Phone: Office Hours: Monday and Friday 8:30-9:30AM or by appointment Please note that on my schedule, posted next to my office, I have included studio time. Studio time is, and should be, sacred time. Emergencies aside, please respect this time. Trust me, you do not want an instructor that is not active in the studio. This is tentative/flexible syllabus and may change during the semester at my discretion. Please check Desire2 Learn often. I Course Goals, Rationales, Requirements The water-based media we will study include: 1. Watercolor- transparent 2. Gouache 3. Egg Tempera 4. Acrylic 5. We will make gesso Why study these different techniques? There are a plethora of reasons and some of them follow: 1. How does one medium impact an image? a. We will do one image four times in all four techniques. There will be one composition, one size and one color scheme. The four will be alike in every way possible with the exception of the techniques used. What will happen? 2. As to why we paint at all in any medium: We start with nothing. We question, we test, we try what is new, and we take notes many notes. We learn that this is a journey a personal journey. Painting is a process. There are usual many possible solutions. We question everything. Anything is up for discussion. In one short semester you will make a beginning as learning to paint takes a lifetime. 3. Transparent watercolor, unlike oil paint and the other mediums, there is no going back. The white of the paper is your light as no white paint is used. Transparent watercolor forces us to make decisions and live with them. Practicing mark making, controlling washes and doing color testing happen before painting. These practices must be continued outside of the making of a painting in order to improve. Watercolor will insist on you trusting yourself. 4. Gouache, opaque watercolor, egg tempera and acrylic all have unique qualities that can contribute to your work no matter what your choice of media is. 5. Painting is work. Glorious work. No one ever said it was going to be easy. Water-based Media/Spring 2014/Janice Whiting 1 of 9

2 6. Be wiling to fail. FACE FEAR. Fear is not real. We construct it. Nag me, bug me it is your job. If something does not make sense to you ask! I cannot read minds. 7. Painting will help you learn to think, to take risks. 8. A few things I do not tolerate: laziness, whining, not showing up, coming but Oh, I forgot my materials. Really? 9. Be respectful of others, their paintings and materials. This is a shared space. 10. I advise you get a locker with a lock. Talk to Amanda in the Art Office about the locker. II Learning Objectives i. Learning the language of the water-based painting media we will be using and color b. Vocabulary: i. Color theory ii. Elements of art iii. Painting technical terminology iv. Painting Techniques 1. Watercolor- transparent 2. Gouache 3. Egg Tempera 4. Acrylic 2. Composing a painting. In the beginning a. Some paintings are planned and executed. b. Some paintings begin without a concrete vision or direction. A mark is made and a response follows improvisations. c. Many paintings are a marriage of a and b 3. Learning the value of: a. Using an aperture/composition finder b. Studying art history, different styles, different cultures, many artists 4. Learning the value of the challenge. Question everything. Critiques will help if we do more than pat each other on the back. Listen. 5. Learning that preconceptions cloud our vision. Beware of them. 6. Learning about different painting techniques. 7. Learning to begin to learn to see not glance casually but with great intensity. Learning to really see is a process that never ends. This may sound easy. It s not. 8. Work harder than everyone around you. A bad painting is better than no painting. Each work is needed to get to the next painting. Think of stepping-stones. 9. Learn the value of never giving up. Never. 10. Learn to trust yourself. You are better than you know. III Class Assignments and Requirements 1. There is no required text. 2. Painting assignments will be worked on inside of class and it will be necessary to work outside of class to complete your work. This studio is available to you twenty-four hours a day except if there is another class using it. Please inquire about the two-person-rule and instructions for entering the building after regular building hours. 3. Paintings are due at the beginning of class for critique. Paintings not 4. Completed for critique will be lowered one letter grade per day late. Paintings may be redone at any time. Students arriving late for a critique will be critiqued last. At the very least, late arrivals will go last. 5. All assignments are due again on the final exam day. Keep all of your paintings you may continue to work on any painting but do not paint over it! 6. Drawing Book/Journal: explained under III Grading #1 c. Water-based Media/Spring 2014/Janice Whiting 2 of 9

3 7. FIGURE MODEL: We may have at least one unclothed model during the semester. The human nude has a long history in the world of painting. This painting is a requirement for the course. If anyone has any reason to object to this or to not be able to do this, please inform me beforehand. 8. When we paint, our purpose is to paint, to think, to ponder, to observe, to concentrate, to wonder, and to devote ourselves completely to the task at hand. IV Class Activities 1. Demonstrations will be announced. The first one is the next class (third day of class) 2. Visit the Morris Museum of Art. TBA 3. Tour of library/using ARTstor 4. Critiques of assignments 5. Working on current assignments 6. Check Desire2Learn often for updates. V Grading: ART 3261 and ART All of Paintings for the semester 65% a. For midterm and the final, you will be required to do a self-assessment as to what grade you think you have earned. There will be a handout and you MUST assign yourself a grade I need to know what is in your head. b. Each of the following MUST be completed. If either is not completed, your grade will drop one letter grade from the 65%. i. Assignment: One painting, four times using all four of the techniques ii. Final project: Individual contracts with professor. c. Drawing Book/ Journal 20% i. This book should be a blank book as this will allow for drawings as well as notes. Keep notes about assignments, notes about artists and art history, painting techniques, preliminary drawings, paintings, any questions you have concerning art. Take notes during critiques. Take notes about how you succeeded or not when trying to match a color. Write down your questions. Write down your ideas for specific assignments or for future paintings that you have created the criteria. Keep notes and images of painters/paintings you find exciting. 1. Vocabulary: The professor reserves the right to give vocabulary quizzes should these seem necessary. (The terms are important just learn them and there will be no quizzes!) 2. Artists and/or Styles: Artists and their work will be talked about frequently. It is your job to write down the name of the artist, gather information about the artist and keep this in your journal. The same holds true for any style or period. 2. Class Participation - 15%: a. Critique participation, b. Following instructions, c. Studio work habits i. Studio work habits include following studio safety and environmental rules. ii. Art courses are hard work. Art studio art courses meet for a total of 5 hours during the academic year. It is expected that a student will dedicate at least 5 hours outside of class. I do not keep a lab sheet for you to sign when working in the studio outside of class (some students take work home); however, it is obvious when work is the same since the last class. It IS easier to paint here Water-based Media/Spring 2014/Janice Whiting 3 of 9

4 than at home because you have fewer distractions. If you work at home outside of class, the works need to be back in our studio everyday unless otherwise arranged with the professor. d. Includes attendance* (you must be in class the entire time to be counted), *Attendance Policy: The resources of Georgia Regents University are provided for the intellectual growth and development of the students who attend. A schedule of courses is provided for the students and faculty to facilitate an orderly arrangement of the program of instruction. The fact that classes are scheduled is evidence that attendance is important and students should, therefore, maintain regular attendance if they are to attain maximum success in the pursuit of their studies. It is recognized that the degree of class attendance may vary with the student, the professor, or the course. It is also recognized that, on occasions, it may be necessary for the student to be absent from scheduled classes or laboratories for personal reasons. On such occasions, all matters related to a student s absences, including the making up of work missed, are to be arranged between the student and the professor. A student must not be absent for laboratory periods, announced quizzes and tests or final examinations unless the reasons for the absences are acceptable to the concerned professors. A student should also understand that he or she is responsible for the academic consequences of any absences. At the beginning of each semester, all professors will provide a clear written statement to all their classes regarding their policies and handling absences. Professors will also be responsible for counseling with their students regarding the academic consequences of absences for their classes or laboratories. Students are obligated to adhere to the requirements of each course and each course professor. Professors will be flexible enough in their attendance and grading policies to allow students and reasonable number of absences without penalty for extraordinary personal reasons or for officially representing the university. However, if the student is absent for more than the equivalent of 10 percent of class time (3 days), regardless of cause, then the professor may withdraw the student for the class for excessive absences. A student withdrawn for excessive absence may appear before a board of review appointed by the Academic Policies Committee for reinstatement. In the event a student is reinstated, he or she is fully responsible for making up all work missed while the case was pending. It is important to note that the instructor may, or may not, withdraw a student from class based on attendance. In any case, a student should not assume that the instructor has initiated the withdrawal form. A student not withdrawn from a course that stops attending class (or never attends class) is subject to receiving a grade of WF or F for the course. i. Leaving the class early 3 times will result in an absence. 9. Extra work is encouraged. Quantity often improves quality. 10. Studio Safety Rules, Studio Environmental Rules and other studio practices MUST be followed! If a student does not follow these rules the student is in danger of being expelled from the course. VI Student Needs Students with disabilities enrolled in this course and who may need disability-related classroom accommodations are encouraged to make an appointment to see me before the end of the second week of the term. All discussions will remain confidential, although the Student Accessibility Services office may be consulted to discuss appropriate implementation of any accommodation requested. Testing and Disabilities, Summerville Campus, Galloway Hall VII Studio Access Water-based Media/Spring 2014/Janice Whiting 4 of 9

5 The painting studio is available to students currently enrolled in a GRU painting course at any time during the semester except when other classes are in session. Your name is on an access list for the painting studio. Your valid GRU ID will get you into the building. The card reader is next to the double doors at the far end of Washington Hall, the bookstore being on the other. Check to see if there is someone in the painting studio to let you inside. Otherwise, after hours (generally after 9:00 PM. but sometimes as early as 5:00 PM I have yet to figure out a pattern), you can gain access to the studio by calling Public Safety ( ). Being inside the studio BEFORE the building closes is certainly the easiest way as there is no waiting. Public Safety requires that at least two people be present at all times. The officers, all Richmond County Police officers, that I have met have been very helpful. Remember to be patient and polite. Should there be any problem, record the officer s name and then let me handle whatever the issue is. You may call me at home or on my cell. I ll give you both numbers in class. This has not happened in over fifteen years. Really, the officers are here to help our students. 1. After hours, do not let anyone into the building or into the studio that you do not know. This is for your safety hour access is a privilege, not a right. Politeness rules. 3. You may be able to work during another class in session, if you can get the permission the professor of that class. My advice is to ask in advance instead of interrupting the class. 4. You may have access to the MAC lab I ll ask. 5. Make certain you have a valid GRU ID. VIII Academic Honesty, Copyright Issues Please refer to the following web sites: This issue will be discussed in class. All work that you submit for this course must be yours and yours alone. Plagiarism will not be tolerated in this class. If you willfully attempt to receive credit for work other than your own, you will be subject to disciplinary action. For the details of such action, including the procedures for disciplinary hearings, see the University Catalog. Work completed for this course may not be used for credit for another course or vice versa. IX Classroom Conduct 1. When you are in class, listen carefully and refrain from speaking when others are talking. 2. Turn off all pagers and cell phones before you enter class. 3. NO texting in class. 4. If you have a valid reason for keeping your cell phone on or texting, please let me know in advance. 5. If it is a workday, you may use the computer to look up information relevant to our class. X Selected Bibliography: A more complete bibliography may be posted on Desire2 Learn Albers, Josef, The Interaction of Color. Yale University Elkins, James. What Painting Is. (sign up for the newsletter. Henri, Robert. The Art Spirit Kay, Reed. The Painter's Guide to Studio Methods and Materials. Englewood Cliffs, NJ: Prentice-Hall, Inc., // Water-based Media/Spring 2014/Janice Whiting 5 of 9

6 Mayer, Ralph. The Artist s Handbook of Materials and Techniques: Fifth Edition. Viking Adult XI Rules for safety and other requirements and rules. There will a test. You must pass in order to work in the studio. You may take the text more than once. Safety Rules: A Good Studio Management contract, which outlines the safety rules and responsibility of each student in this painting studio, is normally given out the first day of class. The painting studio flooding did not allow for the safety issues to be covered. These will be covered this the first day back in the studio, Tuesday 14 January. It is mandatory that each student signs this and returns it to me. 1. NEVER smoke in the studio. It is dangerous and stupid. We may not be using mineral spirits but others are. If you do smoke outside the building make certain your hands are free of paint as you could inhale poisonous fumes. We are now a smoke free campus therefore this is not a problem here, but should you paint elsewhere, please be aware of safety issues. 2. Shoe rule: wear shoes. No bare feet, of course. 3. Keep your work away from the oil painting parts of the room. Let me know if any oil painter violates our tables. Always check the table before placing your paper or board on the table. 4. The BLUE CANS are for regular trash such as paper, plastic, soda cans, etc. 5. Remember that if you use an easel you should tighten the screws on your easel every day. If the screws are too loose, the easel may fall and injure you, someone else or someone s work. 6. Only those who are currently enrolled in GRU painting classes have the right to be in the Painting Studio. If the presence of someone who is not supposed to be here is making you feel unsafe or uncomfortable, you have the right to call Public Safety and have that person removed. (As an alternative, you may wish to discuss the problem with your professor later if the situation is not an emergency.) 7. Party elsewhere. Do not use the projector for watching anything other than art related materials. MOREOVER, remember to turn the projector off; the bulbs are extremely expensive. 8. If you are throwing away something heavy, take it outside and put it in the dumpster. 9. Honor other people s work. Do not touch it or move it unless absolutely necessary and then be very careful with it. Treat it as you wish others to treat your work. 10. Used blades may be put into a yellow container labeled USED BLADES. a. Do not put used blades in the trashcans. 11. Only three pronged plugs are acceptable. 12. If you bring in lights and extension cords, put away when not in use. Use duct tape, if necessary to keep all safe 20. Health materials (MSD sheets) are in a book near the double doors. 21. There is an emergency kit in the room. 22. If you have not been taught to use the power tools in the wood shop, DO NOT USE THEM. a. Having passed ART 1530 at GRU gives you permission b. Having been taught by one of the GRU Art faculty gives you permission. 23. Always use dust masks when using powdered pigments or any other powder we may use. 24. Food and Beverage: For the safety of the student there will be NO FOOD OR DRINK in the painting studio at anytime. Breaks will be given where you may go outside the studio to eat or drink. I will uphold this! (Because of my wounded voice, I am allowed to have a drink in the studio. This makes me feel awful, but my voice just wears out quickly. (There is hope a GRU MCG ENT is working on my larynix1) 25. Never photograph a model without prior written consent. Water-based Media/Spring 2014/Janice Whiting 6 of 9

7 26. If you wish to have a model in the studio after hours, you must first get permission from the instructor or the ART Department. You may be required to fill out forms. 27. When the semester is over and grading is finished, remove your work and possessions. Anything of yours, remaining after final exams are over is the property of your professor. 28. The professor has the right to withhold your final grade until the studio is returned back to its original state. 29. RULES may be added and then there would be another test. ***If you are pregnant, see me after class regarding this course. Accreditation rules may not allow you to take the course. This is for your safety as well as your unborn child s. XII Supply List A supply list follows. A $75.00 lab fee has already been used to buy your basic supplies, however you are responsible for purchasing additional supplies as needed. Supplies to get you started: You will receive $75.00 of painting materials, unfortunately, $75.00 will buy a portion of your supplies but not all. You will need to purchase more materials throughout the semester. Learn to be frugal unless you don t need to be. 1. At least one cotton or linen rag 2. Palettes - There are many plastic watercolor palettes available. Several white, cheap, porcelain plates will work as well. 3. At least one board made of 1/2 exterior plywood that is at least 24 x 32. a. The plywood needs to be smooth and without knots b. One 4 x 8 piece of exterior plywood will yield six boards. c. I recommend buying a simple handle made for a drawer that can be screwed into the center of the 32 side. This is to make carrying much easier but is optional. d. At least one board is required but I recommend at least two. 4. Cheap tackle box (usually for fishing) or plastic bins 5. Drafting tape (optional) 6. Brushes a. Look for watercolor brushes. At least one 3/4 or larger wash brush. Have at least 4 or 5 other size soft bristle usually synthetic brushes. i. Calligraphy and Hake brushes make great watercolor brushes (The pronunciation of hake I have heard two ways: ha KAY and ˈhāk.) ii. The following are examples but you do not need all of these. 7. Watercolors Colors: Below is a list of colors to get you started a. Titanium white, Chinese white or Zinc white Water-based Media/Spring 2014/Janice Whiting 7 of 9

8 b. Burnt Sienna or Indian Red c. Burnt Umber d. Yellow Ochre 8. One pad or block of 140 lb watercolor paper or on 18 x 24 or larger pad of paper that is made for water media. 9. Palette knife. Needed for egg tempera and acrylic. 10. You will be buying eggs when we begin egg tempera. More on Supplies: At least some of the following will be provided. I will keep you informed. 1. Paper tape for stretching paper. I think we have plenty. 2. Glass Muller 3. 1/2 glass for grinding paint 4. Untempered Masonite boards for egg tempera 5. Watercolor paper 6. Distilled water 7. Brushes for egg tempera 8. Brushes for acrylics 9***Pigments for egg tempera and binders. Definitely wait to see how much I can get. 10***Acrylic paint, again, wait. Remember to ask questions, many. If you do not understand something there is an excellent chance that someone else does not either. Ask, ask and ask some more. Make it a mantra! Nag me. It is your job. I m good but I cannot read minds. Challenging me and disagreeing with me will not have negative impact on your grade. A lively debate is often invigorating, as long as we are all respectful of each other. Make a leap of faith. If you really don t understand why we are doing something do it anyway. It all has a purpose. Eventually sit and stare at your image. This, too, is painting. Learn to let it guide you. Many centuries ago a group of Chinese painters said that every painting must have a life of its own or it was not any good. They understood all of this. And at the end of the day, if you have not talked to this inanimate object in front of you, if you have not yelled at this thing I m not certain you have really started. Water-based Media/Spring 2014/Janice Whiting 8 of 9

9 Agreement for Water-based Media/ Spring 2014/Janice Whiting I understand the syllabus and will abide by the rules. DATE PRINTED NAME SIGNATURE Water-based Media/Spring 2014/Janice Whiting 9 of 9