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Course Title: ART 270 Painting II 
Term: Spring

Major, Elective credit. Prerequisite: ART 170. This class explores various painting and drawing techniques. Focus will be on introductions to methodologies of abstraction, figure ground relationships, composition and psychological and narrative uses of the figure in space. This class will explore various painting techniques to initiate and resolve a painting. Skill development in palette organization, color mixing, paint application and surface preparation will also be addressed. Class will be structured in a fairly academic and pedagogical manner.

 

COURSE LEARNING OBJECTIVES: 

  1. Strengthen skills in painting techniques, color theory, and design elements and principles.

  2. Develop a working knowledge on the techniques of figure painting. 

  3. Technical skill in the construction and preparation of a large-scale canvas and at least one other painting surface.

  4. Gain a basic understanding of contemporary concerns and topics in painting.

  5. Develop an understanding of the process of concept development and personal expression within one’s own artwork. 

  6. Evaluate art critically, both orally and written utilizing a visual vocabulary.

  7. Understand safety methods that are used in painting.  

  8. Develop a basic understanding of documentation of artwork and its purpose for fine artists. 

 

COURSE LEARNING OUTCOMES:

Upon completion of this course, students will be able to:

1. Understand and have experience with various methodologies of abstraction and how it applies to their own work. 

2. Understand the strategies of mixing paint that will accurately reflect the warms and cools of flesh tones.

3. Be able to articulate the concepts they are addressing in their own work.

4. Be able to articulate what tradition of painting they are working in.

5. Be able to compose a well-balanced and thoughtfully executed piece, by demonstrating an understanding of 2D composition and pictorial space through various drawing and painting materials

7.Students will work responsibly in the classroom using appropriate safety methods.

8.Students will produce a set of digital images of paintings created during the term.

 

Digital Portfolio: 

All art and design students are required to establish a Digital Portfolio in which all artwork created during your time at Converse is documented on Google Drive and placed on your personal website. Documentation techniques will be covered in the class and students expected to document all paintings created in the course. Some digital images will be emailed to the instructor at the end of the term. 

 

Exercise #1: 36"x36" Skin Tone/ Color Assignment

This assignment is designed to help students master skin tones. It is due at midterm, so it is n ongoing homework assignment. It is introduced at the beginning of the semester along with a lecture on skin tones and an extensive demonstration of mixing skin tones and altering their palettes to better suit figure painting. 

 

Step 1. Print out a 9inx9in close up picture of your face or someone you know. The picture needs to be in color and needs to have a strong light source from one side...you will have to take this picture yourself...No celebrities! Decide if you will use natural light or synthetic light. This will affect the overall color scheme you are working with, warm or cool, high key, low key.

 

Step 2. Using a ruler divide the picture into 18x 18, ½in squares on both sides (total 324 squares)

 

Step 3. Divide a 36inx36in canvas into 18x18, 2inx2in squares (total 324 squares)

 

Step 4. Paint each square. Treat each square as its own individual painting. Use palette knife or brush but be consistent. Match color to be EXACT, do not settle for less than perfect. We should not see pencil marks or canvas showing through...you may want to first prime your canvas with a brown or orange and when you draw your squares out in pencil be careful not to make them too dark.

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Project #1: Painting and Photography.

With this project students will develop a methodology for abstracting from a photograph, using simplification, found/ arbitrary color, and distortion. We look at the history of the influence of photography on painting, read Eugene Delacroix’s Letters on Photography, and we view and discuss many examples of contemporary artists who utilize the photograph in their work either as a tool or a source. 

 

  • Size and quantity: 3 Paintings any size

  • Artist Inspiration:Peter Doig, Laurel Sparks, Carrie Moyer, Annie Lapin, Cecily Brown, Jenny Saville.

  • Reading: 

    • “Mamma Anderson.” Anthology: Living with Substance and Style. February 28, 2011. Accessed March 19, 2015.http://anthologymag.com/blog3/2011/02/28/mamma-andersson/.

    • Deleuze, Gilles. “Painting Forces.” In Francis Bacon: The Logic of Sensation, 63. New York, New York: Continuum, 2003.

 

  1. Find any image that you consider to be visually interesting and using tracing vellum, trace the image editing out any unnecessary/ information.

  2. Then find another image that you feel has interesting color and single out the colors and values to reveal its ratio.                              

        Ex. Take the photo and cut out each color, glue each color into a cluster on a clean white sheet of paper.

 

Painting #1: Make one painting that maintains proportions from a line drawing and found color ratio.

Painting #2: Make second painting that distorts proportions of the line drawing and uses the same palette in a totally different ratio.

Painting #3: Make a third painting that distorts the proportions of the line drawing, uses the same palette but exaggerates value, working in a high key or low-key range.

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Project #2: Painting and Collage

With this project students will look at how collage can be utilized in painting. We look at the history of collage and many artists that use painting.

 

  • Size and quantity: 1 painting (medium/ large), 2 collages

  • Artistic Inspiration: DeChirico, Schwitters, Rauchenberg, Cubists, Tristan Eaton, Romero Bearden, Eduardo Recife, Mark Weaver, Wangechi Mutu, Jennifer Packer, Angel Otero, Adrian Ghenie

With this work students will learn how collage can be used as a tool for painting and/ or how it can also be incorporated into painting.

  1. “Build” two small collages out of found color using any combination of paper, fabric or objects. Representational images and fragments of images are welcome, patterns are fine.

  2. Choose one of the two collages to make a painting from. Apply strategies from the assignment on color. Using a projector, project collage in order to transfer the image onto a large-scale surface in preparation to paint. You can also use grid method if needed.

 

Consider unique properties of specific collage elements and how to best represent them in paint and as it pertains to the whole image. Actual collage materials can be incorporated and are encouraged.

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Exercise #2: A Painting a Day for 10 Days

This assignment is given at midterm, students can begin anytime they want. The idea is that students commit themselves to painting every day. This is a good mid semester boost to the curriculum. Students always surprise themselves by how prolific they can be.

 

Please complete a painting a day for 10 days. Ideally these will be somewhat cohesive and relate to a particular subject, concept, style or process.

 

  • Any Size

  • Any medium

  • Any style

  • Any subject (as long as you like it)

 

Paintings must be complete and ready to hang!

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Project #3: The Pour/ Non-Objective Painting

With the assignment we discuss the history of abstraction and non-representation painting. We look at the Abstract Expressionists and many contemporary painters that are still working in the tradition. This assignment is meant to explore the nature of paints inherent properties. Many artists have utilized the method of pouring (or dropping, splattering, staining etc..) to create work that is partially dictated by chance and spontaneity. Students are encouraged to build on each previous decision rather than planning out their work from start to finish.

 

  • Painting Size and quantity: One Large Painting (no smaller than 30”)

  • Artist Inspiration: DeChirico, Schwitters, Rauchenberg, Cubists, Tristan Eaton, Romero Bearden, Eduardo Recife, Mark Weaver, Wangechi Mutu, Jennifer Packer, Angel Otero, Adrian Ghenie

 

A. Begin with a large paint surface and place it on the floor, so you have to work around it and so that the piece isn’t forced into any particular viewing orientation. Begin to experiment with applying paint to the surface using anything but a brush. Although you may want to start with some sort of overall composition in mind, allow yourself to react to each decision and make choices as you go. Adjust opacity of paint as needed.

 

  • Consider color choices, perhaps begin with a particular color ratio/ scheme in mind

  • Consider texture, perhaps draw from previous collage assignment

  • Work “around” the piece. You may want to place the work on the floor.

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Project #4: Painting and Technology.

With this assignment we look at what it means to choose to paint in a digital age. We look at the ways in which painting and technology have co-existed over the years and discuss contemporary artists who choose to engage specifically with this concept. 

 

  • Painting and Technology: Painting in the digital age. For their final work, students may choose to do whatever they would like, but are encouraged to be aware of the tradition that they are working in and they are encouraged to create a painting that engages somehow with technology. It can do this through method or concept or both. Students must research artists that inspire the work and are required to meet with the professor to go over their proposal.

  • Painting size and quantity: One Large 60” x 48” or larger

  • Reading: Benjamin, Walter 1968. The work of art in the age of mechanical reproduction.— W. Benjamin, Illuminations. Edited and with an introduction by Hannah Arendt. Translated by Harry Zohn. New

  • Artistic Inspiration: Trudy Benson, Wade Guyton, Albert Ohlen, Takashi Murakami, Richard Hamilton, Martin Kippenger, Roy Lichetenstein, Sigmar Polke, Gerhard Richter, Ed Ruscha and of course Andy Warhol, Glenn Brown.

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