SEMESTER AT SEA COURSE SYLLABUS University of Virginia, Academic Sponsor

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1 Voyage: Fall 2014 Discipline: Studio Art ARTS 1710: Introduction to Painting at Sea Division: Lower Faculty Name: Suchitra Mattai Credit Hours: 3; Contact Hours: 38 Pre-requisites: Drawing I and Color Theory. SEMESTER AT SEA COURSE SYLLABUS University of Virginia, Academic Sponsor COURSE DESCRIPTION: This course is an introduction to painting using watercolor and gouache paints. We will investigate compositional issues such as scale, relationship of forms, rhythm, movement, and texture as well as themes of color, tone, atmosphere, line, perspective, and time. Students will begin with exercises in watercolor washes, tints and tones and will also develop experimental ways of handling the medium. We will explore still-lives, self-portraits, landscapes, collage, and non-objective painting. The final project will allow students the opportunity to creatively conceive of and execute an idea through a series of paintings, thus encouraging an understanding of the synergistic relationship of form and content in selfexpression. In-class critiques will foster dialogue about the creative process and supplemental presentations and field trips will engage students in both historical and contemporary art worlds. The voyage at sea and the adventures on land will provide a wealth of material for the exploration of this versatile medium. Photographs may also be used as source material for painting assignments. A laptop computer and digital camera are invaluable tools for this class. COURSE OBJECTIVES: 1. To learn the techniques and technologies of paint mixing and handling 2. To learn to paint from observation and from diverse sources 3. We will review and apply theoretical ideas about color to paintings 4. Students will be encouraged to think experimentally in the handling of materials 5. To gain an understanding of the use of drawing in the discipline of painting 6. To learn the relationship between form and content in self expression 7. Port visits and art history slide and book presentations, assigned readings, and field trips will aid students in their learning process. Students will gain appreciation of artists underrepresented due to race, gender, religion and political point of view 8. Weekly critiques will engage students in discussion and encourage dialogue about the creative process 9. Students will learn to appreciate, practice and recognize the importance of painting and visual art across multiple disciplines and within multiple cultures REQUIRED TEXTBOOKS There are no required textbooks for this class. 1

2 Materials MATERIALS (cost approx. $125-$175) Watercolor paints: titanium white, alizarin crimson, ultramarine blue, cobalt blue, burnt sienna, burnt umber, raw umber, yellow ochre, cadmium red, cadmium yellow, mars black, sap green Gouache paints: titanium white, ultramarine blue, phthalocyanine Blue, burnt sienna, burnt umber, raw umber, yellow ochre, cadmium red, cadmium yellow, mars black, sap green, phthalocyanine green Brushes: 6 or more assorted brushes: ¾ inch flat stroke brush, 1 rigger or script brush, 1 1 synthetic flat, 1 hog hair flat ¾-2 inch stiff wash brush, 3 round brushes 4, 6, and 8, 1 ½ -2 inch synthetic wash brush Paper: 10 sheets of cold-press heavyweight watercolor paper (140 lb) 14 x 11, 6 16 x 20 sheets of cold-press heavyweight watercolor paper(140 lb) bound 1 sketchbook (at least 9 x 12) 1 plastic palette 1 palette knife artists white tape packing tape plastic spray bottle liquid latex(drawing gum made by Pebeo) brown gummed tape 2 painting sponges utility knife 2 jars ruler (12 inch is fine) TOPICAL OUTLINE OF COURSE Depart Southampton- August 23: B1- August 25: Introduction to Painting slide presentation (an overview of art historical and contemporary paintings, including non-western examples, categorized by issues relating to color) Review of Color Theory 1) Twelve color circle developed from the primary colors yellow/red/blue, and the secondary colors orange/green/violet; 2) primary, secondary, tertiary colors; 3) hue, tints, shades, intensity; 4) color contrasts including that of hue, light-dark, cold-warm, complementary, simultaneous; 5) additive and subtractive processes; and 6)monochromatic, analogous, complementary, split-complementary, and triadic color combinations B2-August 27: Exploration of Water Color and Color Theory exercises -practice using various brushes, palette knife, and sponge 2

3 -create a grid of squares and alter either value or color for each square without repetition palette, palette knife and sponge St. Petersburg: August 29- September 2 B3- September 3: Still-life I -Critique exercises -mixing warm and cool grays -create own black through experimentation -create a 10-unit scale from white to black and create a still-life painting -make thumbnail sketches, enlarge area of still life palette B4- September 5: Still-life II -introduce one color into the mix, students use different colors to show a variety of levels of transparency to opacity palette Homework: bring in four objects of your choice, each with a different surface quality-reflective, fuzzy, plastic, and metal, draw in sketchbook Hamburg: September 7-11 B5- September 12: Color Mixing and Surface Texture Exercises -critique work -Introduction to watercolor techniques-wet on wet, sponge painting, masking -Explore texture of objects and decide which technique to apply for each of four paintings -choose two sets of complementary colors and make paintings, each with a single object (from your collection of four objects), palette knife Antwerp: September Le Havre: September B6-September 20: Self-portrait -Critique paintings 3

4 -share favorite sketchbook drawings -using full color create a self portrait considering shapes and shifts in light -reveal painting as you build up washes, palette knife B7- September 22: Continue Self-portrait paintings Dublin: September B8- September 28: Slide Presentation on Issues of Color and Light -elements of composition-sensitivity to scale, value, texture, light -begin Dramatic Still-life with extreme lighting, color and cast shadows -use viewfinder to search out composition and prepare thumbnail sketches B9- September 30: Continue Dramatic Still-life Painting Homework: response paper to a contemporary painter Lisbon: October 1-2 In transit: October 3 Cadiz: October 4-5 B10- October 7: Slide presentation of abstract paintings and paintings with non-objective elements -Review possible examples for Objective/Non-Objective project (abstraction from organic source, magnification of small area of painting drawing collage, juxtaposing multiple photographs, geometric forms and patterns, textural surface investigations -response papers due Homework: prepare for objective/non-objective painting-think of idea, materials, color sources; make 4 thumbnail sketches Casablanca: October 8-11 B11-October 13: Objective/Non-Objective Collage painting -critique Dramatic Still-life Painting 4

5 B12- October 15: Mid-term reviews -work on Objective/non-objective painting Dakar: October B13- October 21: Landscapes from the Ship Diptych -make two paintings which convey the landscape from the ship at two different times of day Homework: Compete second landscape painting B14- October 23: Painting from the Sketchbook -using sketchbook drawings based on observations from port, create a series of paintings which are united in that they convey to the viewer highlights of your experiences around a theme-narrative, psychological, abstract, etc. Homework: work on Paintings from the Sketchbook series Takoradi: October Tema: October B15- October 29: continue Paintings from the Sketchbook series Homework: Continue Paintings from the Sketchbook B16- October 31: continue Paintings from the Sketchbook series Homework: Continue Paintings from the Sketchbook Study Day: November 2 5

6 B17-November 3: Critique Paintings from the Sketchbook series -Make thumbnails for final project B18- November 5: Final Project in class work Rio de Janeiro: November 7-9 In-transit: November Salvador: November B19- November 15: Final Project in class work B20- November 17: Final Project in class work Study Day: November 19 B21-November 20: Final Project in class work Bridgetown: November B22-November 25: Final Project in class work B23- November 27: Final Project in class work Havana: November 29- December 2: Study Day- December 3 B24-December 4 (A Day Finals): Final Critique 6

7 FIELD WORK Field lab attendance is mandatory for all students enrolled in this course. Please do not book individual travel plans or a Semester at Sea sponsored trip on the day of our field lab. This field lab is planned on Sunday, 14 September. FIELD LAB (At least 20 percent of the contact hours for each course, to be led by the instructor.) Students will visit the Royal Museum of Fine Arts Antwerp and view artists such as the 16th century Flemish artist, Peter Brueghel. Students will also visit the Museum of Contemporary Art Antwerp where they will gain an understanding of contemporary art practice in Belgium. At both sites students will gather cultural and aesthetic information through sketches, extended drawings, photographs, postcards, and printed materials. Working in sketchbook journals and using a variety of drawing tools and techniques, students will complete studies of art objects and architecture. Through the day students will engage in class critiques to share information and engage in critical dialogue. ACADEMIC OBJECTIVES 1.Gather knowledge of historical and contemporary art practice in Antwerp. 2.Observe and sketch cultural objects and architecture 3.Participate in individual, small group and collective critiques to share observations. FIELD ASSIGNMENTS Students will write response papers to their experiences in port and develop a sketchbook/journal for resource material used as the basis for visual projects. Students are also expected to engage in a series of critiques of artwork. Port experiences will serve as research for visual assignments. METHODS OF EVALUATION / GRADING RUBRIC The aforementioned factors will be evaluated as follows: In-class assignments: 40% Homework assignments: 25% Field Assignments (Sketchbook/journal/papers) 20% Participation in class and critiques 15% (Participation grade includes involvement in class and critiques, class presentations and assigned critical comments) The factors that will be considered in the evaluation process are as follows 1. Demonstration of a working process utilizing techniques covered in class. 2. Level of involvement in the process 3. Strength of design (includes presentation/craftsmanship) 4. Response to and use of critical suggestions in an effective manner 5. Adherence to assigned parameters 6. Artistic merit METHODS OF EVALUATION: Students will be evaluated by how well he/she has met and challenged their project proposal goals. 7

8 A = Outstanding 95 to100 A- = Excellent 94 to 90 B+ = Exemplary 86 to 89 B = Meritorious 85 B- = Very Good 84 to 80 C+ = Above Average 76 to 79 C = Average 75 C- = Below Average 74 to 70 D+ = Well Bellow Average 66 to 69 D = Well Bellow Average 65 D- = Well Bellow Average 64 to 60 F = Failing 59 RESERVE LIBRARY LIST AUTHOR: Barry Schwabsky TITLE: Vitamin P: New Perspectives in Painting PUBLISHER: Phaidon ISBN #: ISBN-10: X DATE/EDITION: 2002/1 st AUTHOR: Diana Craig and Hazel Harrison TITLE: The New Encyclopedia of Watercolor Techniques PUBLISHER: Running Press ISBN#: ISBN-10: DATE/EDITION:2010 /reprint edition AUTHOR: Gordon McKensie TITLE: The Watercolorist s Essential Notebook PUBLISHER: North Light Books ISBN#: SBN-10: DATE/EDITION: 2010 ART21 PBS DVDs Seasons 1-6 HONOR CODE 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 this course must be pledged by the student as follows: On my honor 8

9 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]. 9