Painting—Arts 262/262—Spring 2018
Tuesdays; 2:10 p.m. 5:50 p.m.; Studio 104, Building C
Professor Julia Healy
Professor Julia Healy
Jhealy@qcc.cuny.edu
Introduction: This course will further your exploration of
painting. Students will continue to develop their skills in using
form, tone, color and composition. Subject matter will include a focus on the still
life, the landscape and/or portraiture.
Attendance and Lateness: Attendance is mandatory and essential to your performance. There
is no substitute for working and participating in class. Three absences are grounds for a failing
grade.
Please be on time. Class begins promptly at 2:10 p.m. Two tardies can be counted as one absence. If
you will have an ongoing scheduling conflict, please discuss it with me at the
beginning of the semester. Note that
parking is always an issue, so allow time to find a space or take public
transportation.
Make-Up Policy: As a student in this course, it is your responsibility to make certain you obtain information covered, should you miss a session. This syllabus and our blog have the information you need to know as to what we are working on and when it is due. Previously-absent students must come to the following class with all of the appropriate work finished for that class.
Make-Up Policy: As a student in this course, it is your responsibility to make certain you obtain information covered, should you miss a session. This syllabus and our blog have the information you need to know as to what we are working on and when it is due. Previously-absent students must come to the following class with all of the appropriate work finished for that class.
Grading: Individual grades will be given for
each of your paintings and averaged to make up 75% of your
grade. Class participation/attendance will count as 10%, preparation
counts as 5%. The Museum Paper will count 15%. Two unexcused absences will
lower your grade by one letter grade. (From a B to a C, for, instance.)
I expect you to already know and understand:
262:
•The color wheel
•Primary, Secondary, Tertiary, Complimentary
Colors
•How to dull colors without using black
•The idea of edge (as opposed to line) in
painting
•How to blend
•How to make different marks with the same brush
and different brushes
•Composition
•Foreground/Middle Ground/ Background
•The importance of light and dark to create
illusion
•How to use texture to great advantage
•The importance of subject matter
263:
•The color wheel
•Primary, Secondary, Tertiary, Complimentary
Colors
•How to dull colors without using black
•The idea of edge (as opposed to line) in
painting
•How to blend
•How to make different marks with the same brush
and different brushes
•Composition
•Foreground/Middle Ground/ Background
•The importance of light and dark to create
illusion
•How to use texture to great advantage
•The importance of subject matter
•Understand some of the possibilities of
glazing, scumbling, sfumato and chiaroscuro.
•Be able to identify transparent colors
•Be able to identify opaque colors
•Have a rudimentary understanding of the
interaction of color
ªHave a body of work that exhibits a personal
style
•Have a direction you want to explore this
semester
Note: If you don’t know the above, you might want to embed some of the items in your Painting Plan for the Semester. (See Below.) There may be occasional quizzes to test your knowledge of the above, so don’t be shy as to what you still need to learn. Painting is a sequential subject and it helps to build up your knowledge of basics before moving to more difficult work.
Course Objectives
At the end of the course, students will:
•Refine techniques of mixing and blending color
•Create the effects of three-dimensional forms with shadow and light
•Create the effects of three-dimensional forms with shadow and light
•Use composition to create dynamic works
•Analyze your personal work through critique and
feedback from classmates and the instructor
•Examine works by other artists that relate to
their process
•Create five or more paintings
•Continue to develop thinking and writing skills
through personal reflections and aesthetic inquiry
Supplies: See below. Materials and supplies for this class
are not inexpensive but if you take care of them, they will last a long time.
We will discuss how to approach buying the materials the first
class. You must come prepared to work every week, with all the
materials you need. Do not expect other students to lend you paint, brushes and
canvases!!!
Sessions:
Week 1: 1/31—Introduction and Syllabus; Supply Tutorial, Group Abstraction Project. Think about your direction for this semester.
Week 2: 2/7—Baseline Project. Being a small (11 x 14, 12 x 16”
canvas and all your supplies. Plotting our direction.
Week 3: 2/14
Week 4: 2/21
Week 5: 2/28.
Week 6: 3/
Week 7: 3/14
Week 8: NO CLASS 3/21--COMP TIME FOR MUSEUM TRIP
Week 9: 3/28
SCHOOL CLOSED for Easter Break from 3/30—4/8; No Class on 4/4
April 11—Conversion Day—No Class—School is on a Friday Schedule
Week 10: 4/18
April 11—Conversion Day—No Class—School is on a Friday Schedule
Week 10: 4/18
Week 11: 4/25
Week 12: 5/2
Week 13: 5/9
Week 13: 5/9
Week 14: 5/16—Critique
"ACCOMMODATIONS FOR STUDENTS WITH DISABILITIES:
As stated in the current college catalog, any student who
needs specific accommodations based on the impact of a disability should
register with the office of Services for Students with Disabilities (SSD) to be
eligible for accommodations, which are determined on an individual basis. The SSD
office is located in the Science Building, room S-132 (718-631-6257). Students
should also contact their instructor privately to discuss their specific
needs."
Supplies
I use Dick Blick or Utrecht (online). Michael’s is expensive,
except for when canvases are on sale or there are special deals.
Apron or old shirt to use as smock. You will
ruin your clothes otherwise!
Container for paints such as a large shoebox,
tackle box or canvas tote.
A glass jar or two with a lid for turpenoid.
Label with your name.
Soft pencil 4B and eraser (optional)
Scissors (optional)
RAGS: LOTS OF THEM! OLD COTTON BEDSHEETS RIPPED UP, OLD WHITE
T-SHIRTS, ETC. NOTHING WITH A NAP, LIKE A TOWEL.
Turpenoid in the BLUE AND WHITE container (not the green one)
Master’s Brush Cleaner
Brushes: DON’T
BUY CHEAP SETS…THEY ARE USUALLY A RIP-OFF. Get soft, sable or
sableline, Wonder Whites (from Blick), not the stiff hogs-hair kind. Those are
harder to control and clean. If you take care of your brushes, they will last a
long time.
Minimum Brushes Needed:
BRIGHT SOFT (not bristly) BRUSHES: Choose at
least 6 brushes (smalls (0, 1, 2, 4), mediums (6, 8, 10, 12), bigger ones (14,
16, 20, 24)
At least 1 ROUND brush smallish (0, 1, 2)
Optional Brushes: filberts, flats, a fan brush
Palette knife
Palette—Palette paper tear-off pads are fine
(12” x 16”gives you enough mixing room)
Paint
Oil is preferable for beginners. If you have to
use acrylic, see me. I use Gamblin Paints, but Windsor and Newton, Utrecht, and
Grumbacher are also good. The best student grade oil paint is WINTON.
Basic Beginning Colors
37 ml tubes of:
Cadmium Red Medium
Cadmium Yellow Medium
Alizarin Crimson
Ultramarine Blue
Permanent Green Light
Viridian Green
Burnt Umber
Raw Sienna or Yellow Ochre
Burnt Sienna
Ivory Black
Large 150ml tube of Titanium White
Optional Colors:
Cadmium Orange
Cerulean Blue
Terra Verte Green or Hooker’s Green
Dioxazine Violet
Magenta
Raw Umber
Payne’s Gray
Supports—stretched canvases or canvas boards or
a combination thereof to total 5-6 canvases in all:
3-12” x 16”
1 or 2-14” x 18”
1 or 2- 16” x 20”
Optional Fold-Up Table Easel (Black kind is
best)
Earphones, ipod if you want to “zone out” while
painting
No comments:
Post a Comment