Painting I: Syllabus

Delaware County Community CollegeDCCC
ART 140, Room 4331
Three Credit course
Spring 2007

Instructor:
Mr. Jaime Treadwell, Contact information: jbtreadwell@hotmail.com
Office hours: Please schedule an appointment
Required Text:
“Color”, Betty Edwards

www.jaimetreadwell.com -use as a reference to the course, not a guide.

Course objective: This is a primary studio course in acrylic painting with instruction in the use of brush and palette knife. Introductory demonstrations will be given in still life painting. Upon successful completion of this course, students will be able to:
-Prepare the materials for the process of painting.
-Demonstrate knowledge and understanding of the 12-hue color wheel.
-Demonstrate the ability to activate the concept of the picture plane.
-Produce cohesive composition.
-Demonstrate the ability to analyze how light creates form with the interplay of hue, value and chroma.
-Create the illusion of three-dimensional forms and space on a two-dimensional plane.

Attendance: Attendance is mandatory. Classes involve working time and discussions that cannot be duplicated. All students are responsible for missed assignments and class work and should make arrangements to contact the instructor or a fellow student to obtain this information before returning to class.
Please refer to your college handbook
-Two absences equal the failure of the entire course (four for T R classes)
-Two late arrivals or leaving early lowers the base grade one level.

Homework: Homework will be assigned every week. It is your obligation to obtain missed information. We will have group critiques on your homework, so it is imperative your homework is finished on the due date. A 9 x 12-in. spiral sketchbook should be purchased after the first class. In this sketchbook students will be expected to draw preliminary sketches for paintings and to peruse ideas outside of class.

Grading: I take into account the student’s growth, work ethic, attendance, and the ability to receive and use criticism. Assignments are very particular and the grade reflects your ability to meet the specifics of that assignment. I measure student’s class work, homework, and quantity / quality of work as evidence of development. The assignments will be viewed and graded on the due date and at the end of the semester in a portfolio. Use of your sketchpad will add a bonus to your final grade.

There are 7 main categories I will grade; each student will receive a Grading Sheet
1. Value Paintings
2. Warm-cool paintings
3. Speed Drills
4. Pointillism Painting
5. Full color palette paintings
6. Final self-portrait paintings
7. Miscellaneous homework, etc.

A…90-100 Assignments…40%
B…80-89 homework…30%
C…70-79 Attendance, class participation…15%
D…60-69 Final Assignment…15%
F…59-or below

Student Artwork: Please note that all student artwork submitted for inclusion in the Annual Art Exhibition will be held for exactly one year after opening date of the exhibit. After this time any work not picked up by the student will become property of DCCC. Students enrolled in this course are required to allow faculty the option to hold onto their artwork until the next Annual Student Exhibit. Since the artwork is being created under the tutelage of DCCC faculty the legal right to exhibit work remains to be up the discretion of the college.

Material list:

-9” x 12” sketchbook (ringed binder)
-Art pencil for sketch book, (HB)
-Vine Charcoal: soft, thin size (small bag, or two pieces)
-Pencil sharpener.
-Tackle box or Art box large enough to hold materials: brushes, etc
-Portfolio: Nothing too fancy, two pieces of card board and duct tape is acceptable
-Brush cleaner container: clear glass canister with metal spring inside works well.
-Palette knife
-Gloss, or semi gloss Acrylic Medium, 1 pint.
-Artists tape (1 roll)
-Disposable Palette: 9x 12 or 11 x 14 inches. Larger is better. (wax paper works too).
-Old rags to clean brushes
Paint:
-Titanium White, Large Tube
-Ivory Black, Small
-Raw Sienna, small
-Burnt Umber, small
-Ultramarine Blue, small
-Pthalo Blue, small
-Yellow Ochre, small
-Alizarin Crimson, small
-Viridian Green, small
-Cadmium Yellow Light, small
-Cadmium Red Medium, small
Brushes: *Do not purchase watercolor brushes, only brushes used for Oil and Acrylic paint.
#12 Filbert
#12 Flat, short bristles, long handle.
#10 Flat, short bristles, long handle.
#8 Filbert
#6 Flat, short bristles, long handle.
#2 Flat, short bristles, long handle.
Canvas:
-(2) 11 x 14”,(2) 16 x 20”, (1) 20 x 24”
-Canvas paper: one pack of ten sheets, 11 X 14”

I have arranged for Pre-packs to be ready for purchase at Utrecht Art Supplies for your convenience. You may purchase these items where you please.
Utrecht Art Supplies
2020 Chestnut Street
Philadelphia, PA 19103
215-563-5600

ART STORE LIST: Local stores:

Merion Art & Repro Center Pearl Paint
17 West Lancaster 417 South Street
Avenue. Ardmore, PA 9003 Philadelphia, PA 19147
61 0-896-61 61 215 238-1900

Rubinstein's Utrecht Art Supply AC Moore
250 East Market Street 301 South Broad Street Broomall Plaza
West Chester, PA 9380 Philadelphia, PA 19107 2940 Springfield Rd
6 10 696- 1150 215 546-5600 Broomall, PA 9008
6 10 353- 1117

Village Art Shop Utrecht Art Supply Michaels
23 E. State Street 2020 Chestnut Street 601 West Baltimore Pike
Media, PA 9063 Philadelphia, PA 19103 Springfield, PA 19064DCCC
6 10 566-6242 215 563 5600 610 690-1633

Weekly Schedule: (Subject to change)

Week 1: Introduction: discuss syllabus, material list, and the significance between drawing and painting. Discuss the history of oil and acrylic paints. Answer questions? Mandatory: Purchase materials for the following class. Without the materials, you cannot work.
-Homework:
-Purchase materials
-Make a view-finder

Week 2: How to hold a brush, mix paint, and prepare a painting station. Begin twelve step value scale. Introduce drawing fundamentals: (MSP) measuring sighting, and perspective. Introduce comparative relationship / vertical and horizontal plumb lines. Study the still life, with your viewfinder, Begin to think about composing an image (composition). Demonstration and begin working from the still life.
Read: p. 2-9, 36-47, 126-133, Betty Edwards, “Color”

Week 3: Slide show/Lecture focusing on the parallels of renaissance geometric composition to non-objective Russian Constructivists. Review basic compositional elements: balance, harmony through pattern of shape, form and space. Discuss how horizontals, diagonals, and verticals support or control compositional intentions.
-Leading line, or directional movement.
Volume and depth. Focus on edges (soft and hard), push and pull forms. Continue working on black/white paintings. Introduce Chiaroscuro: Italian word meaning light to dark in relation to modeling forms. Class critique on paintings (home and class work).

Week 4: Introduce warm and cool color. Expand your palette using Yellow Ochre and Ultramarine Blue. Use a hole puncher and white paper to see the color without distraction. How does the light produce a warm orange-like hue, and the shadows are on the cool blue side. Work on warm and cool color paintings. Extract multiple hues from a limited palette.
Read P. 9-33, Betty Edwards, “Color”.

Week 5: Continue warm / cool paintings for Final critique. Homework: Artist presentation: find a book on a painter of your choice for a future 5-10 minute presentation to your peers.
Read p. Chapter 5, Betty Edwards, “Color”.


Week 6: Introduction to color theory: Create a 12 hue color wheel: primary, secondary, and tertiary color / complement and analogous colors. Discuss the three attributes of color: hue, value, and intensity. Mix opposite colors to achieve a perfect gray. Pointillism paintings / impressionism: Color reaction. Review Seurat, Monet, Manet, Cézanne, etc. Begin a small pointillist color study for homework. Speed drills: 30-second paintings up to 30-minute paintings. Read and react with immediacy, instinct and speed.
Read Chapters 6-7, Betty Edwards, “Color”.

Week 7: Begin large scale full palette still life; must be accompanied with preliminary sketches.
Read Chapter 10, Betty Edwards, “Color”.

Week 9: Bring pointillism paintings to class for mid-painting critique. Continue full color palette painting of still life.

Week 10: Slide lecture of historical, modern, and contemporary painters relevant to concept of final and current project. Continue to work on paintings.

Week 11, 12: Bring pointillism painting to class for final critique. Continue to work on full-color palette paintings for final critique.

Week 13-16: Discus final project to be announced. (possibly a series of self portraits involving a copy of Lucien Freud).

Exam date will be announced: Final project due


Axioms

In any layer:

* Paint from warm to cool.
* Paint from thin to thick.
* Paint from lean to fat.
* 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.

If you work with these ideas for a while you'll see a pattern emerging: a layer begins warm, dark, transparent, and relatively out of focus. It moves towards cool, light, opaque, and more detailed. A new layer begins the same way. If you want to work Mars brown, Venetian Red, Raw Siena) followed by a translucent cool layer using black and a relatively transparent white.


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.
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;
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
Glaze: 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.
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.
Secondary Colors: Colors that are mixtures of two primaries—for example, mixing yellow and red (the oretically) 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
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.

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.
Three point perspective: All lines go to a vanishing point. Two vanishing points on the horizon line; one above or below.
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 mediums.
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); 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