This course covers the fundamentals of color harmony and theory by painting from still life,
photographs and the imagination. Students explore the use of analytical and expressive color
techniques through various painting traditions, from realism through abstraction. Emphasis is on
the use of light and color in painting to realistically create form, space and atmospheric effects.
Through the use of oil paints students will learn to organize the palette to develop complex color
harmonies. Techniques to be studied include chiaroscuro, reflections, and transparencies as well
as differing painterly styles. Historical and contemporary uses of color will be presented through
slide lectures. The course includes a review of the elements of drawing and the principles of
design.
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SCHEDULE |
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| Day 1 |
introduction, value study/drawing
HW: get supplies |
| Day 2 |
value scale and painting with middle color (3,5,7)
HW: 7-10 photographs for collage, must include 2 or 3 of food |
| Day 3 |
value painting, light emphasis
photographs for collage due
HW: collage compositions on tracing paper |
| Day 4 |
monochrome and saturation scale painting
collage compositions on tracing paper due
HW: imprimatura for collage composition |
| Day 5 |
monochrome and saturation scale painting
1st. primary triadic glaze over value painting
preview of collage composition imprimatura
HW: fantasy/dream or nightmare monochrome drawing |
| Day 6 |
monochrome and split analogous painting
2nd. primary triadic glaze over value painting
fantasy, dream or nightmare drawing due
HW: fantasy, dream or nightmare analogous painting |
| Day 7 |
complementary color harmony, (3,5,7)
preview of fantasy, dream or nightmare analogous painting
HW: self portrait value and complementary color drawing |
| Day 8 |
complementary color harmony
3rd. primary triadic glaze over value painting
self portrait value and complementary color drawing due
HW: self portrait painting |
| Day 9 |
complementary color harmony and split complements
preview of self portrait painting
HW: underpainting for collage composition painting |
| Day 10 |
quadratic color harmony
preview of underpainting for collage composition painting
HW: collage composition painting |
| Day 11 |
quadratic color harmony
preview of collage composition painting
HW: self portrait, fantasy, dream or nightmare, and collage paintings |
| Day 12 |
quadratic color harmony
HW: work on paintings |
| Day 13 |
triadic “alla prima” memory painting
4th. high contrast glaze elaboration over value painting
HW: work on paintings |
| Day 14 |
last day critique and review of all work
self portrait, fantasy, dream or nightmare, and collage paintings due
HW: keep on painting
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PARTIAL BIBLIOGRAPHY |
| Artist’s Color Manual |
Simon Jennings |
Chronicle Books |
| The Painters Handbook |
Mark David Gottsegen |
Watson-Guptill |
The Encyclopedia
of Oil Painting Techniques |
Jeremy Galton |
Quarto Publishing |
| Art Fundamentals: Theory and Practice |
Ocvirk, Stinson, et al |
Brown & Benchmark |
| Interaction of Color |
Josef Albers |
Yale University Press |
| Principles of Color Design |
Wucius Wong |
Van Nostrand Reinhold |
| Color Manual |
Stephen J. Sidelinger |
Prentice-Hall |
| Color Basics |
Pentak & Roth |
Thompson-Wadsworth |
| Color and Human Response |
Faber Birren |
Van Nostrand Reinhold |
| Color |
Zelanski & Fisher |
Prentice-Hall |
| The Artist’s Guide to Selecting Colors |
Michael Wilcox |
School of Color Publishing |
| Color Theory Made Easy |
Jim Ames |
Watson-Guptill |
| Color: A Natural History of the Palette |
Victoria Finlay |
Ballantine Books |
| Color And Culture |
John Gage |
University of California Press
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| MATERIALS LIST: |
sketchbook
vine charcoal, medium
8 stretched and primed canvasses or canvas boards
no dimension should be less than 18” or longer than 26”
examples are 26” x 24”, 20”x 18”, 24”x 18”, 18”x 18”, 20”x 22”, etc.
or stretcher bars for 8 canvasses;
16 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
all-purpose 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, #8
filbert #6
flat #4, #6, #8
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 |
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