Students will expand their knowledge and understanding of visual language, materials, methods
and skills used to construct paintings. Especially appropriate for students working above the
beginning level who are interested in building a portfolio and/or transitioning to an independent
practice, this course allows extensive experimentation with materials and techniques through
individual painting problems. The organization of ideas and development of personal imagery are
addressed through assignments, which encourage self-directed work. This painting studio will
assist students in enhancing foundational painting skills and develop conceptual approaches to
content. By combining art history and the work of contemporary painters, students will be exposed
to the rich lineage of painting along with fresh ideas to better understand their future studio work.
The study of various painting genres will be included as well as individual and group critiques
providing constructive criticism. Slide lectures, artists’ presentations, and critiques supplement
the studio curriculum. Students work with their choice of water-based media. Recommended
prerequisites: Painting Fundamentals (Acrylic or Oil) and Painting Materials and Techniques or
equivalent experience.
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Schedule
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| Day 1 |
introduction, still life, abstract and representational forms and shapes
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| Day 2 |
interior, representational forms and shapes, viewfinder, pos-neg space
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| Day 3 |
figure, abstract/analogous forms and shapes
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| Day 4 |
figure in environment, ground plane mapping, atmospheric ground plane
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| Day 5 |
still life as environment, value scale, subtractive drawing
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| Day 6 |
imaginary landscape, representational gesture and texture, brush and ink
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| Day 7 |
abstraction, field, abstract/analogous texture, past/present/future
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| Day 8 |
abstraction, gesture, monochrome and analogous color representation
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| Day 9 |
synthesize, split complement representation
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| Day 10 |
representation and context, last day, abstract/analogous complementary
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Agenda |
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Develop subjects (1) through drawing in values or limited color harmony. Classify work done (2) and finish rounding out the modes (3). Continue exploring the most interesting with further elaboration and color (4). You can do more than one style/mode exploration. |
| 1- Subjects; |
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portrait
figure in space
landscape
interior
still life
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| 2- Approaches; |
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self in space, classical
self in moment, romantic
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| 3- Modes of representation; |
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photo realism
realism
naturalism
idealism
fantasy
stylization
abstraction
non objective
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4- Synthesize from previous work into a new set then develop in different techniques.
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| COMPOSITION EXPERIMENTS |
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Use Geometrical Abstraction
Compose with a Grid
Use Selective Cropping
Employ “Designed Realism"
Overlap to Create Depth
Paint Stripes
Use Transparency to Flatten Space
Compose a Symmetrical Motif
Use Isometric Drawing to Delineate Solid Shapes
Maintain the Outline
Use Analogous Color Progression
Use Value Contrast to Emphasize Form
Omit Detail
Use Serialized Images
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CONCEPT EXPERIMENTS |
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Shape the Canvas
Portray Motion
Create an Allover Energy Field
Emphasize Texture
Use Only Black and White
Let One Color Dominate
Emphasize Achromatic Hues
Let Color Flow
Emphasize High-Key Color
Reduce the Subject to A Simple Pattern
Make Disparities Work Together
Abstract a Living Form
Compose from an Artifact
Work Big: Paint a Mural
Paraphrase an Old Masterpiece
Hybridize the Subject
Use a Comic Idiom
Objectify a Fantasy
Use an Assemblage as a Subject
Use Sharp Focus Realism
Combine Abstract and Figurative Motifs
Create Ambiguous Space
Symbolize a Sensation
Make Shapes Levitate
Combine Words and Images
Use a Stage Set Format
Assemble and Paint Found Materials
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TECHNIQUE EXPERIMENTS |
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Let the Brushwork Produce the Drawing
Stain the Canvas
Paint with a Knife
Paint with Stencils
Blend with the Airbrush
Spray Crumpled Surfaces
Reveal Stratified Color
Use Transparent Impasto
Work with Opaque Impasto
Extrude Color
Laminate with Acrylic Medium
Mold Shapes and Textures with Fabric
Experiment with Resist Effects
Print Textures
Paint Oils over Acrylics
Use Graffito
Combine Acrylic and Graphite
Use Acrylic-Coated Paper for Collage
Explore Canvas Collage
Integrate Transfer Images
Create a Polychromatic Wood Relief
Use Mixed Media
Paint over Papier-Mache
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MATERIALS LIST |
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vine charcoal, medium and white chalk or pastel
5 stretched and primed canvasses or canvas boards
no dimension should be less than 12” or longer than 24”
examples are 24” x 24”, 20”x 12”, 24”x 16”, 18”x 18”, 20”x 22”, etc.
or stretcher bars for 5 canvasses;
10 of one length such as 20” and 16 of another length such as 18”
unprimed canvas #10 or #12
staple gun
box of 1/4” staples
canvas pliers
quart or gallon of gesso
large disposable palette, 30 - 50 sheet pad, 12” x 16” or a palette of comparable size
2” wide brush
natural or synthetic bristle brushes:
round #4, #6, #10
filbert #6, #8, #10
flat #4, #6, #10
and any other brush you’d like
2” to 2.5” trowel shape palette knife, 1/2 wide
half pint of stand oil (4 fl.oz./118ml)
pint of linseed oil (8.4 fl.oz./250ml or 16.9fl.oz./500ml)
pint or quart of odorless turpenoid (16.9fl.oz./500ml or 32 fl.oz./946ml)
smock or old shirt
small reseal able jars
small painting cups
3 small plastic squeeze bottles
Master’s Brush Cleaner or small container of liquid dish soap
roll of paper towels
roll of Saran or Glad wrap
1” masking tape
large tube of titanium white oil paint (6.75 fl. oz./200ml)
small tubes of oil paint color (1.25 fl.oz./37ml)
ivory black
cadmium yellow light
cadmium yellow medium
cadmium red light
quinacridone red, permanent rose or cadmium red medium deep
alizarin crimson
dioxanine purple
ultramarine blue
pthalocyanine blue
viridian or pthalocyanine green
permanent green
burnt sienna
raw umber
yellow ochre
or any other color that attracts your fancy
desire, commitment, and perseverance. Talent optional |