QCC/CUNY
Department of Art and Design
Painting—Arts 262/263—Fall 2019
Wednesdays; Online Zoom 3:15-4:15 p.m.; 4 hours, 3 credits
Professor Julia Healy
BLOG:
http://paintingatqcc.blogspot.com
Jhealy@qcc.cuny.edu
text/cell: 646.285.7976
Course Description: (from college catalog):
262: Assumes basic knowledge and experience in oil or acrylic painting. Individual creativity encouraged.
263: Continuation of Arts 262.
Academic program(s) for which the course is required:
A.S. Art: (Concentration: Art and Design)
Course-specific student learning outcomes:
1. Personal Aesthetic: Student will demonstrate the ability to construct a unified work by employing color, value, composition and/or processes that are indicative of an established and evolving creative personal aesthetic or process.
2. Revision: Student will participate in group critiques to analyze the formal elements of a painting and to formulate objective criticism. Student will evaluate objective criticism directed at his/her own work to revise and refine its formal qualities.
3. Composition: Student will demonstrate competence in composition as evidenced by balance or expressive choices in the use of positive and negative space, patterns, rhythm and/or visual paths through the arrangement of all elements on the canvas.
Program-specific outcomes:
1. Demonstrate a progressive understanding of the various elements and basic interrelated processes of creation, interpretation, and execution within their discipline
2. Integrate personal observation and objective criticism in the evolution of their artistic work.
3. Apply increasingly sophisticated design principles to various media and visual forms.
Other program outcomes (if applicable).
A. Integrate knowledge and skills in the program of study
Introduction: This course will further your exploration of painting. Students will continue to develop their skills using form, tone, color and composition. Subject matter will include a focus on personal choice that might include 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 online begins promptly at 3:15 p.m. If there are any changes, I will let you know in advance. 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 YOU ARE ALWAYS WELCOME TO ATTEND THE EARLIER, 161 ZOOM SESSION, AS WELL, WHICH STARTS AT 2:10!
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, Blackboard 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.
Methods by which student learning will be assessed and evaluated; describe the types of methods to be employed; note whether certain methods are required for all sections):
The general education outcome is assessed by participation in lectures, class discussions and group critiques. An analytic rubric is used to assess knowledge and skills as evidenced by the integration of various elements of painting to achieve a unified whole, while expressing a particular vantage point or personal creative aesthetic.
Grading: Individual grades will be given for each of your paintings and averaged to make up 80% of your grade. Class participation/preparation and attendance will count as 10% and Written Reflections will count for another 10%. Two unexcused absences will lower your 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
Course Objectives/Outcomes:
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
•Use composition to create dynamic works
•Analyze 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 personal paintings, including a baseline painting.
•Continue to develop thinking and writing skills through reflections on your work and that will highlight your personal 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. I have placed a sample order on Blackboard to use as a guide if you like.
Sessions:
1. August 26—3:15-4:15 p.m. (although you may want to enter Zoom session with 161 students at 2:10 p.m. and you are most welcome to do so.) #1-Introduction and Syllabus; Supply Tutorial, Group Abstraction Project. Think about your direction for this semester.
2. September 2,—3:15-4:15 p.m
Focus on Color, Composition, Texture and Edge-Bring a 12 x 16”canvas and all your supplies.
Painting #1: Baseline Painting
You’ll Need:
•Resources such as still life objects, plants, sketches, old paintings, images, photographs, etc.
•12 x 16” canvas or larger
•paint-full palette
•jar for turpenoid (Oils) or water (Acrylics)
•brushes of different sizes
•disposable palette
•Master’s Brush Cleaner
•lots of rags
HOMEWORK: all materials and have another canvas on hand in case you finish. We will begin plotting your direction. Email me documentation of previous work to jhealy@qcc,cuny edu by September 7.
3. September 9—3:15-4:15 p.m
Individual Meetings to Discuss Possibilities.
Continue Painting #1 Baseline Painting
You’ll Need:
•Resources such as still life objects, plants, sketches, old paintings, images, photographs, etc.
•12 x 16” canvas or larger
•paint-full palette
•jar for turpenoid (Oils) or water (Acrylics)
•brushes of different sizes
•disposable palette
•Master’s Brush Cleaner
•lots of rags
HOMEWORK: Personal Worksheet and Peer to Peer Formative Assessment. Email this to jhealy@qcc.cuny.edu by September 14.
4. September 16—3:15-4:15 p.m
Group Discussion/ Critique of first two paintings. Private meetings to discuss direction.
Painting (#2): Personal Vision
5. September 23—3:15-4:15 p.m
Continue working on Painting # 2: Personal Vision
6. September 30—3:15-4:15 p.m
Power Point and Class Discussion on working in a series
Painting #3: Working in a Series
7. October 7 —3:15-4:15 p.m
Continue Painting #3: Working in a Series
NO CLASS OCTOBER 14--QCC FOLLOWS A MONDAY SCHEDULE
8. October 21—3:15-4:15 p.m
What do you do that no one else does? How can that vision be made real in a painting?
Painting # 4: Developing Your Voice
9. October 28—3:15-4:15 p.m
Continue Working on Painting # 4: Developing Your Voice
10. November 4—3:15-4:15 p.m
Group Critique and Private Meetings. Exploring the idea of risk-taking. The importance of “Knowing your edges” and looking at and understanding art throughout the ages
Painting # 5: Going Out on a Limb
11. November 11—3:15-4:15 p.m
Continue Working on Painting #5: Going Out on a Limb
12. November 18—3:15-4:15 p.m
What have I learned? How can I apply many of the concepts in a final painting?
Painting #6: Synthesis
NO CLASS NOVEMBER 25--QCC FOLLOWS A FRIDAY SCHEDULE
13.December 2—3:15-4:15 p.m
Painting #6: Synthesis
14. December 9—3:15-4:15 p.m
Group Critiques
15. December 16—3:15-4:15 p.m
Individual Critiques
Think about the following:
Big Ideas
Struggle, War, Peace, Idealism, Power, Fear, Mystery, Simplicity,etc.
Then,
CHOOSE YOUR SUBJECT MATTER: PORTRAIT, STILL LIFE, ANIMALS, LANDSCAPE, CITYSCAPE, SEASCAPE, HISTORICAL/DOCUMENTARY, ABSTRACTION, ETC.
CONCENTRATION(S): SCALE, POINT OF VIEW, COLOR EXPLORATION, NARRATIVE,
STYLE/MEDIUM: REALISM, SURREALISM, ABSTRACTION, EXPRESSIONISM, etc.
Academic Integrity Policy
Academic honesty is expected of all students. Any violation of academic integrity is taken extremely seriously. All assignments and projects must be the original work of the student or teammates, if applicable. Plagiarism will not be tolerated. Any questions regarding academic integrity should be brought to the attention of the instructor. The following is the Queensborough Community College Policy on Academic Integrity: “It is the official policy of the College that all acts or attempted acts that are violations of Academic Integrity be reported to the Office of Student Affairs. At the faculty member’s discretion and with the concurrence of the student or students involved, some cases through reported to the Office of Student Affairs, may be resolved within the confines of the course and the department. The instructor has the authority to adjust the offender’s grade as deemed appropriate, including assigning an F to the assignment or exercise, or, in more serious cases, an F to the student for the entire course. Please refer tot the college’s Academic Integrity Policy.
"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 personally use Dick Blick. Their Website is:Dickblick.com Phone:800.828.4548
I HAVE MADE UP A POSSIBLE ORDER SHEET FOR DICK BLICK ON BLACKBOARD UNDER "DOCUMENTS". IT HAS THE ITEM NUMBERS, TO MAKE IT EASIER FOR BEGINNERS. Many things (such as Blick Wonder White Brushes) were out of stock, so I added a different brand when necessary. You can’t wait weeks for your supplies.
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.
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 "natural" one-it smells)
Master’s Brush Cleaner—THIS IS VERY IMPORTANT
Brushes: DON’T BUY CHEAP SETS…THEY ARE USUALLY A RIP-OFF. Sets are often a bad choice. 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 (8):
BRIGHT SOFT (not bristly) BRUSHES: Choose at least 7 of these brushes—more if possible— (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)
RAGS: LOTS OF THEM! OLD COTTON BEDSHEETS RIPPED UP, OLD WHITE T-SHIRTS, ETC. NOTHING WITH A NAP, LIKE A TOWEL.
Paint
Oil is preferable for beginners. If you have to use acrylic, I am okay with that. I use Gamblin Oil Paints, but Windsor and Newton, Utrecht, and Grumbacher are also good. The best student grade oil paint is WINTON.
BEWARE: READ THE LABELS…SOME STORES SELL WATER-THINNED OILS THAT WILL NOT WORK WITH REGULAR OILS. DO NOT BUY THEM. READ THE LABELS CAREFULLY. SOMETIMES THEY ARE DISPLAYED NEXT TO THE REAL OIL PAINTS.
If you want to use acrylics, I like Liquitex or Golden brands.
Basic Beginning Colors—Do not buy cheesy sets with fake colors!!!!! Get the real colors.
37 ml tubes of:
Cadmium Red Medium
Cadmium Yellow Light
Alizarin Crimson
Ultramarine Blue
Permanent Green Light
Viridian Green
Burnt Umber
Raw Sienna or Yellow Ochre
Burnt Sienna
Ivory Black
Large 150 ml tube of Titanium White
Optional Colors:
Cadmium Orange
Cerulean
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 a total of SIX (or more, just in case) canvases in all:
3-4 12” x 16”
1-3 14” x 18”
1-3 16” x 20”
