CLASS WEBSITE EVERYTHING THAT YOU NEED TO KNOW IS POSTED HEREwww.ailischmeltzclasses.com

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1 LOS ANGELES MISSION COLLEGE ART 300 section 3132 INTRODUCTION TO PAINTING Spring 2015 TUESDAYS 5:50PM 10PM LOCATION CAC1 INSTRUCTOR: AILI SCHMELTZ mailbox #264 Office Hours by appointment CLASS WEBSITE EVERYTHING THAT YOU NEED TO KNOW IS POSTED HEREwww.ailischmeltzclasses.com This intensive painting course is intended to give the student a foundation, or strengthen the foundation a student may already have, in the medium of painting. The class introduces students to classical and contemporary painting, techniques and concepts, with emphasis on the understanding of its formal language and the fundamentals of artistic expression. Painting from still life and from observation will be geared towards realism; providing the students tools and techniques to paint what they see, although abstraction from life study will be explored. This is a studio course designed for an understanding of good painting techniques, capability and paint handling, and guidance toward a personal direction in painting. Intro to Painting students will be given a series of basic, concise projects, which will instill proficiency in the use of painting materials and techniques. Various painting styles and movements in historical context will be discussed. Acrylic paint will be the primary media for the class. Acrylic colors are an important development for all artists today. They have special appeal due to the crisp bright quality of the colors themselves. Acrylics are made from pigment, water, and a polymer binder which dries to a clear film as the water evaporates. This transparent Film reflecting light from the pigment inside it gives acrylic color its brilliance. Acrylic paints dry quickly and are permanent.you will learn a variety of acrylic techniques to be developed in a step by step process. Supports, grounds, colors, brushes and mediums will produce effects that will become more familiar to you as the semester progresses. Each student will continue to develop their personal ideas and aesthetics during the term. Students will be encouraged to actively seek out artists and periods, which will be of general interest to the classes as a learning tool. This is a studio course designed for an understanding of good painting techniques, capability and paint handling, and guidance toward a personal

2 direction in painting. Intro to Painting students will be given a series of basic, concise projects, which will instill proficiency in the use of painting materials and techniques. An emphasis will be placed on: Understanding the materials, methods and craft of painting; developing eye/hand coordination, i.e., working from observed objects; developing visual memory, and abstracting from observation and/or memory. OBJECTIVES 1. Students will familiarize themselves with brushes and canvas and various tools for painting. 2. Students will learn the best ways to use painting tools and equipment for optimum results. 3. Students will learn the properties of value in painting. 4. Students will learn how to apply paint to a surface in a manner, which creates an illusion of space. 5. Students will learn techniques involving paint texture, which are visually stimulating and enhance the illusion of depth. 6. Students will learn the aesthetic, emotional, and spatial properties of the various colors and how to mix them. 7. Students will learn how to apply color in the form of transparent glazes over a monochromatic painting. 8. Students will learn painting vocabulary. 9. Students will be given encouragement, constructive criticism, and technical advice. ATTENDANCE: is especially important to the studio class format. All students are expected to: 1.) attend all scheduled classes 2.) be on time; and 3.) be present for the entire period. If you are more than 30 minutes late for class you are absent. Roll will be taken twice each class period; once at the beginning of the period, once at the end. Students are expected to be present at each instance. Students are allowed 2 absences. Three absences or more will affect the students success and thus the final grade in the class. Students who miss 4 or more classes should not expect to earn a passing grade. When you are absent, you are responsible for contacting another student to find out what you missed and the assignments. Secure phone numbers and addresses from classmates in the event of an anticipated or unexpected absence.

3 Come to class prepared. It is not permissible to leave class to purchase supplies, etc. Due to the nature of studio experience it is seldom possible to make up missed class work. It is not reasonable to expect to be given individualized demonstrations or special explanations of material missed due to absences. IPODS are not allowed CELL PHONES MUST BE TURNED OFF DURING CLASS. THIS MEANS NO TEXTING ALLOWED! SINKS: Only soap and water are allowed down sinks. CONTACT ME: Please feel free to contact me at any point in the term with questions, comments or concerns. The best way to reach me is through . I am available for appointments before class on Tuesdays. GRADES: Final Grades will be based on all graded assignments, the final portfolio and participation in class. All assigned readings will be counted as assignments. All sketchbook, reading and homework assignments will be expected due on time. LATE WORK WILL NOT BE ACCEPTED. Any assignment not turned in on time will receive a zero. If you foresee that you will be absent on the date an assignment is due make arrangements to turn in the assignment early so you will not receive a zero!!! No exceptions!!!!!! REDOS You will have the chance to rework some assignments to try to improve your grade. Redos are accepted all semester up until the date the final portfolio is due. The last chance to turn in redos on any assignments from throughout the semester is with your final portfolio. The redos are graded with the same criteria as the original assignment. Remember, a REDO does not automatically entitle one to a grade improvement. DUE DATES: Assignments are due and will be collected on the dates and times specified. All sketchbook and drawing projects will need to be completed by the deadline. Sketchbooks and most all drawings will be required for the final portfolio hand-in at the end of the semester. Do not throw anything away after the initial handin and critique.

4 TIME COMMITMENT & OUTSIDE WORK Out of class work should reflect between 5 and 10 hours weekly. REFERENCE BOOKS Artist s Manual: A Complete Guide to Painting/Drawing Materials & Techniques by Angela Gair, San Francisco: Chronicle Books, ISBN The Elements of Color by Johannes Itten (Translated by Ernst Van Hagen), New York: Van Nostrand Reinhold Company, ISBN (maybe out-of-print) Alla Prima: Everything I Know about Painting by Richard Schmid, Manchester Center, VT: Stove Prairie Press, ISBN COURSE CONTENT & SCOPE Color Theory: Color wheel (primary/secondary, complementary), transparency/opacity, hue, value (intensity, brightness), chroma (saturation, purity) & temperature (warm/cold). Color Contrast & Attributes: Interaction, harmony, psychology/mood, culture & expression. Composition: Space, movement, balance, asymmetry, rhythm, shapes, proportion & lighting. Media Characteristics & Surfaces: Acrylic, paper, wood & canvas (primed/unprimed). Painting Techniques: Alla prima, glazing, impasto, knife painting, scumbling & blending. Mediums: Gel medium (heavy/regular/soft, gloss/semi-gloss/matte), texture medium, varnish. Painting History: Major painting styles & masters in Renaissance, Realism, Impressionism, Post-impressionism, Expressionism, Modernism, Abstract Expressionism & Postmodernism. COURSE REQUIREMENTS There will be lectures of important content about 30 minutes at the beginning of many classes. Some lecture time will be used for critique, discussion of required reading or educational video shown, student s presentation, and demonstration of various painting materials. Required class assignments will be started in class and may be completed outside-of-class. Additional out-of-class assignments, research and homework, may take approximately six hours per week and should be turned in for grading. Students are expected to keep, and turn in for evaluation, a sketchbook for sketching, thumbnail sketching, planning, idea drafting and note

5 Each project done during the semester will be handed in for grading. Factors included in evaluation are: - Use of tools and technique - Composition - Use of drawing, perspective, value, color, and paint - Manipulation to create a convincing illusion of form and space - Visual impact, expressiveness - Work performance in class attendance, attentiveness - Receptiveness, progress, productivity, timely completion, - Neatness The final grade will be an average of the grades on all the projects done during the course of the semester SCHEDULE - TENTATIVE Week 1 - Introduction and explanation of syllabus, show and discuss art supplies. Week 2 Black and white still life painting, Discussion of composition and layout. Week 3 - Critique black and white still life paintings. - Color theory and mixing - Primaries, Secondaries, Complementary Pairs - Mixing with Primaries/Secondaries/Complementaries only - Equal step progressions - Relative color vision, Albers push/pull - Paint Chip matching Week 4 - Color Still life exercises Week 5 - Color Still life exercises Week 6 - Color Still life exercises Week 7 - Color Still life exercises Week 8 Mid Term critique Week 9 Landscape painting Week 10 - Landscape painting Week 11 - Landscape painting Week 12 Abstract Painting exercises Week 13 - Abstract Painting exercises Week 14 - Final Project Weeks 15 Final Project Week 16 Final Critique CRITIQUES: Critiques are an integral part of the studio experience. The ability to give (out loud) as well as take constructive criticism is at the center of the creative process. Critiques will help you understand and talk about the work of others as well as your own. Critiques give students the chance to see what everyone else in the class has come up with and to share opinions with each other- they are not just about presenting the project to me. Crits are also a good opportunity for the creator of an object to ask questions to the rest of class concerning problems or asking for advice from others on techniques, how well an

6 idea is being communicated, etc. Participation in critiques is required and will be a part of your grade. SKETCHBOOK: You are required to keep a sketchbook or idea book in which you will record drawn observations, clippings, collage, responses to readings, etc. The purpose of this is to act as a holding place for visual ideas, studies, images that interest you, other written material and basically anything that your heart desires. It s up to you what kind of sketchbook you get. I suggest that it is somewhere around 8 1/2 x 11 in size. Don t get one too small. You are expected to carry these with you, and what s more - use them. Consider them an additional textbook for this class. And always bring it with you. Some assignments will be completed in the sketchbook (and graded as such), some days we will spend time in class sketching and other days I will want to look at them to see what you have been doing. This can not be faked- it will be apparent who is spending time on them and who is not. AT MID-TERM I will meet with students individually concerning their grades and attendance standing -students will not be encouraged to continue if there is a problem. These conferences will also help discuss where each student stands and gives the student a chance to ask any questions with privacy. Students who are concerned about a grade, a concept, or an idea anytime throughout the semester should see me directly after class or make an appointment. SPECIAL LEARNING NEEDS The College recognizes that students have specific and individual learning needs. Any person that is involved in a Mission College learning program or has any special physical requirements should let me know the first day of class. BE PREPARED WITH THE APPROPRIATE MATERIALS FOR EACH CLASS NOT HAVING THE NECESSARY SUPPLIES WILL GREATLY HANDICAP YOUR SUCCESS RATE AND THUS YOUR GRADE. MATERIALS: See list below. In addition to the materials list I suggest that you bring an apron or old cover up shirt to wear over your clothes each day to class. We will get dirty in this class - if you are not comfortable wearing an apron then consider that most of the materials we will be using WILL NOT WASH OUT so wear old clothes and things you don't mind getting dirty.

7 SUPPLY LIST--- I SUGGEST BUYING ALL OF YOUR MATERIALS AT ONCE!! TUBE ACRYLIC PAINTS (to start, it is your responsibility to replace paint as you run out): - Cadmium Red, Medium, 2 oz. tube - Quinacridone Red, 2 oz. tube - Ultramarine Blue, 2 oz. tube - Cobalt Blue, 2 oz. tube - Phthalocyanine Blue, 2 oz. tube - Cadmium Yellow, Medium, 2 oz. tube - Hansa Yellow, Light, 2 oz. tube - Titanium White, 5 oz. tube - Mars Black, 2 oz. tube - Dioxazine Purple, 2 oz. tube - Raw Umber, 2 oz. tube - Raw Sienna, 2 oz. tube BRISTLE BRUSHES: Buy a variety of size and shape to begin with to try out. You will want to purchase more depending on preference as you go along. The basic brushes-- - 1/4 inch flat - 1/2 inch flat - 1 inch flat inch flat - #2 round - 1 House painting brush, 3 inches wide, or foam brush or roller. - Bottle of Acrylic Matte or Gloss Medium - Bottle of Acrylic gel (extender) - Gesso (quart or gallon) - vine charcoal - 1 pad of palette paper - Containers for Water (Bring at least two)

8 - Soft rags and/or paper towels - Gessoed Masonite, matt board, canvas board, stretched canvas or heavy paper with back support - Tracing Paper approx. 12 x16 - sketchbook - Graphite Tracing Paper (Wax-Free) - Spray Bottle - Drawing Pencils and erasers Some links with good prices: Axioms. Do not abide by these all the time just a reference. In any layer: - Paint from warm to cool. - Paint from thin to thick. - Paint from dark to light. - Paint from loose to tight. - Paint from big to small. - Use the largest brushes possible. - Avoid using white as long as possible. Make as many midtones as possible without white. - Paint light not objects as long as possible. - Use as few colors as possible. - Remember that any daylight scene has one color of light and one opposite color in all the shadows. - After a certain point, removing paint can be more effective than adding it. After another certain point, removing paint becomes your only option. - Cover the surface evenly, don't let a problem area distract you. - In a given layer, don't do the same thing twice: make sure to vary the color as you develop it. - Your agenda for the painting may not be where it wants to go. Allowing it to succeed on its own terms might be more interesting. PAINTING VOCABULARY: Achromatic: Literally, without color. In art, a composition in shades of black, white, or gray. Additive: Colors made by light, the additive primaries are red, green, and yellow. After-image: The illusion of a visual complementary color image that occurs after staring at a hue, then shifting the gaze to a plain white surface. Analogous hues: Colors that lie next to each other on the color wheel.

9 Attributes of Color: The three main description or properties of colors, namely, hue,value, and intensity. Balanced Color: Colors that are balanced by their complements and carried across theory values and intensities. Binocular Vision: Two retinal images, one from each eye, melded by the brain s visual system into a single image that appears three-dimensional. Chroma: The degree of purity or brilliance of a color. Chromaticity: A term interchangeable with chroma, saturation, and intensity. Color constancy: The psychological tendency to see colors we expect to see even when the actual colors are different. Color harmony: The pleasing result of balanced color relationships. Color scheme: A set of colors chosen to combine within a composition. Color wheel: A two-dimensional circular arrangement of colors that reveals color relationships of spectral hues. Complement, complementary: Colors that lie opposite each other on the color wheel. Placing them side enhances the brilliance of both, while mixing them together neutralizes their brilliance. Composition: The arrangement of shapes, spaces, lights, darks, and colors within the format of an artwork. Cool colors: Colors that connote the coolness of water, dusk and vegetation: usually violets, blues, and greens. Crosshatching: A method of shading by using short parallel lines, often in superimposed sets of lines crossed at various angles to darken an area. Double complementary: A color combination of four hues: two sets of complements such as red/green and blue/violet/yellow-orange. Dyad: A color scheme based on two colors. Wash: A transparent film of color painted over another color. Grisaille: A method of painting that uses shades of gray in an underpainting to establish the value structure of a composition. Hue: The name of a color. Intensity: The brightness or dullness of a color; also called chroma, chromaticity, and saturation. Line: A narrow mark that defines the edges of spaces and shapes in a composition. Line can also be used for shading, as in crosshatching. L-mode: The language mode of the brain usually located in the brain s left hemisphere and characterized as a verbal, analytic, and sequential mode of thought. Local color: The actual color seen on objects or persons. Luminosity: In painting, the illusion of radiance or glow. Monochromatic: In painting, a work based on variations of one color. Monocular vision: By closing or covering one eye, the brain receives a single image, which appears to be flat like a photograph. Negative spaces: In art, the shapes that surround the objects; sometimes considered background shapes. Palette: A surface for holding pigments and providing space for mixing paints. Perceptual color: The actual colors of objects and persons.

10 Pictorial color: The adjustments to perceptual color needed to bring a color composition into unity balance, and harmony. Pigment: Dry color ground to a fine powder and mixed with a liquid for use as a painting medium. Primary colors: Colors that cannot be mixed from any other colors for example, red, yellow, and blue. Reflected color: Color reflected from one surface to another. R-mode: The visual mode of the brain usually located in the brain s right hemisphere and characterized as a visual, perceptual, and global mode of thought. Saturation: A term signifying the brightness or dullness of a color: used interchangeably with intensity, chroma, and chromaticity. Scumble: A technique similar to glazing, except that the coating is opaque, and is just painted on very thinly to allow bits of the paint below to shine through Secondary Colors: Colors that are mixtures of two primaries for example, mixing yellow and red (theoretically) makes orange. Shade, shading: In Ostwald s model, color changes made by adding black, thus decreasing the proportion of the original color. Simultaneous contrast: The effect of one color on an adjacent color. Spectrum, spectral hues: The sequence of colors seen in a rainbow or in the colors created by passing light through a prism. Style: An artist s personal, usually recognizable, manner of working with images and art materials. Subtractive color: Pigments and pigment mixtures used in painting that absorb all wavelengths except those of the color or colors apparent to the eye. Successive contrast: Interchangeable with after-image. Tertiary colors: Colors made by mixing a primary and its adjacent secondary for example, the tertiary yellow-orange results from mixing the primary yellow and the secondary orange. Tetrad: A color scheme based on four hues equidistant on the color wheel for example, green, yellow-orange, red, and blue-violet. Tint: A light value of the color. The color plus white. Toned ground: A thin wash of a neutral color on a surface to prepare it for painting. Triad: A color scheme based on three colors equally spaced from each other on the color wheel for example, yellow, red, and blue. Underpainting: A preliminary toning of the surface to be painted, often somewhat more detailed than a toned ground. Unity: The ruling principle of art and design, which all parts of an artwork contribute to the harmonious unity of the whole. Value: The degree of lightness or darkness of a color. Warm colors: Colors associated with heat or fire, such as red, orange, and yellow.

11 DRAWING VOCABULARY: Contour Line: A line that represents the shared edges of a form, a group of forms, or forms and spaces. Line weight: Varying line thickness achieved from applied pressure to the drawing tool. Linear perspective: A Mathematical system for creating the illusion of space and distance on a flat surface. One point perspective: Uses one perspective point; all parallel lines converge to one point. That point is called the vanishing point. Two point perspective: Uses two perspective points or vanishing points. In two point perspective the sides of the object vanish to one of the two vanishing points on the horizon line. Vertical lines in the object have no perspective applied to them. Atmospheric perspective: Using value to create the illusion of depth and space. As objects recede into space their value becomes lighter. Vanishing Point: Is where all parallel lines (convergence lines) that run towards the horizon line appear to come together like train tracks in the distance. Eye level: In perspective drawing, a horizontal line on which lines above and below it in the horizontal plane appear to converge. Horizon line: Runs across the canvas at the eye level of the viewer. The horizon line is where the sky appears to meet the ground. Convergence lines: Visual rays helping the viewer s eye to connect points around the edges of the canvas to the vanishing point (also known as orthogonal lines). Value: In art, the darkness or lightness of tones or colors. White is the lightest, or highest, value; black is the darkest, or lowest, value. Composition: An ordered relationship among parts or elements of a work of art. The arrangement of forms and spaces: (the design of the page). Medium: Material used by the artist. e.g. Charcoal, graphite, conte crayon, oil paint, welded metal, terra cotta, etc. These are all different media. Gesture drawing: A quick simple translation of an organic shape; usually associated with the human figure. Texture: The visual or tactile surface characteristics and appearance of something. Mass: Refers to the effect and degree of bulk, density, and weight of. Volume: Space within a space. Negative space: Empty space. Positive space: Opposite of negative space; filled with something. Both spaces have equal importance. Figure / ground relationship: The depth ambiguity between the positive and negative shapes / space. Shape: An enclosed space defined and determined by other information. e.g. A donut has two shapes. Edge: The place where two things meet (e.g. where the sky meets the ground);

12 the line of separation between two shapes or a space and a shape. Picture Plane: An Imaginary construct of a transparent plane, like a framed window, which always remains parallel to the vertical plane of the artist s face. The artist draws on paper what he or she sees beyond the plane as though the view were flattened on the plane. Crosshatching: A series of intersecting sets of parallel lines used to indicate value change or volume in a drawing. Symmetry: Equal balance on both sides. The parts of an image or object organized so that one side duplicates, or mirrors, the other Asymmetry: Opposite of Symmetry. Both sides do not mirror each other. Balance: Equal distribution of elements on both sides of a drawing. Rendering: To represent in a drawing or painting, especially in perspective. Also, to create an interpretation of another artist s work. Sighting: Also known as Rule of thumb, Measuring relative sizes by means of a constant measure (the pencil held at arm s length is the most usual measuring device); determining relative points in a drawing the location of one part relative to some other part. Also, determining angles relative to the constant s vertical and horizontal. Foreshortening: A way to portray forms on a two-dimensional surface so that they appear to project from or recede behind a flat surface; a means of creating the illusion of spatial depth in figures or forms. Chiaroscuro: Italian (light and shade or dark) High contrast; the use of light and dark to achieve a heightened illusion of depth. Can be used to heighten drama or feeling as used in the theater. Figurative: Describes artwork representing the form of a human, an animal, or a thing. Abstraction: Imagery which departs from representational accuracy, to a variable range of possible degrees; to exaggerate or simplify surrounding forms. Picasso / Braque.