ART 2200 M01: Painting I Spring 2021 - Saint Louis University
Transcript of ART 2200 M01: Painting I Spring 2021 - Saint Louis University
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ART 2200 M01: PAINTING I
Spring 2022
Credit(s): 3 Prerequisite(s): None. In-‐Person Class Time: TR, 17:00-‐19:45 pm (Madrid time, GMT+2) Classroom: SIH-‐(San Ignacio Hall) Art Studio (Calle Amapolas 3, Madrid, Spain 28003) Instructor: Emma Ferguson Instructor’s Email: [email protected] Instructor’s Phone: (+34) 91 554 58 58, ext. 255 Painting I Zoom link: https://slu.zoom.us/j/2787095290 / Meeting ID: 278 709 5290 Office: SIH Art Studio Office: SIH Art Studio Office Hours: TR, 16:30-‐17:00 pm (Madrid time, GMT+2) by appointment.
COURSE DESCRIPTION:
An introduction to the fundamentals of painting from observation: color, shape, spatial relationships, and materials related to the traditional practice of painting in oil and other mediums.
Painting, like any liberal art is a means of expression, it allows us to express moods and transmit knowledge; it develops students’ creativity and their capacity of analysis and observation.
In this Painting I course the student must produce a series of works which combine, on the one hand, a more "classical" academic training -‐ governed by some established rules, methods and techniques -‐ and on the other, creativity and the expression of each individual’s intentions which will be discussed at the beginning of each project.
The average amount of final works for this course is 5. There will also be some required sketches for these projects and as well as some videos and activities. Student’s will be selecting and choosing images for most of the projects. In others, we will be interpreting reality or directly copying people, objects, compositions and landscapes.
This syllabus provides each student with a comprehensive list of most of the materials needed to complete the course however, please email me if you have any doubts or queries on this matter. A list of both the required materials (art supplies) and the videos to watch for the course are listed below.
COURSE GOALS AND STUDENT LEARNING OUTCOMES
Course Goals practiced through the projects of the course.
• Welcome sketches. Introduction to course materials. At the end of the course, students will:
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Learn about the basic supplies needed to paint with acrylic. A brief introduction to acrylics. History of acrylic paint. Artists use in the past and present. Advantages and disadvantages when compared to other painting medium. Brief introduction to pastels, watercolors and other mediums.
• Goals for the Monochrome Composition Project. At the end of the course, students will:
1. Learn the basics on perspective, proportions, placing objects in space and creating volume. Use techniques such as measuring with a pencil/stick; grids; tracing and preliminary sketches in pencil to improve their drawing accuracy.
2. Learn the basics of painting with black and white acrylic paint to add shape, perspective and light to the objects in the composition. Focusing on drawing and painting objects in shades of grey or creating a monochrome composition.
• Goals for the Complementary Landscape project. At the end of the course, students will:
1. Focus on color and how to understand it through the Color wheel: learn about Primary, Complementary and Analogous colors. Students will learn about Primary colors and the Complementary Colors created by mixing them.
2. Choose images that could work as Landscape and paint them with their choice of complementary colors for their sketch and final.
• Analogous colors Portrait Project. At the end of the course, students will:
1. Learn the basics of how to draw a human face and a body. Draw basic sketches with help of the instructor and complementary videos.
2. Choose a portrait and 4 analogous colors from the color wheel for the sketch and final of this project. The portrait could be a self-‐portrait, a portrait of friend, family member, celebrity or of anybody.
• The Abstract Project. At the end of the course, students will:
1. Learn how to apply some techniques and texture with acrylic and different paints mediums and other materials.
2. Create an Abstract Project where the formal elements of painting, texture and further exploration of mixed media are emphasized.
• The goals for the Interpretation of a Famous Painting Project. At the end of the course, students will:
1. Research and choose a famous painting from a museum collection around the world. The idea is to look for a piece you might be able to see in a museum in the future.
2. Interpret the painting by change something of the painting. Students’ add or remove an element or give it their personal touch but still keeping features of the painting to make it recognizable.
3. Learn about some examples of inspiring contemporary artists that are influencing the international art scene nowadays to see how painting has evolved.
Learning Outcomes. At the end of the course, students will:
• Learn about techniques and materials. In the art of the 21st century, artistic disciplines combine and complement each other in the subject of painting. Artists’ are not limited to working with products that we can acquire in a fine art store; any material is potentially a tool. In this course we will be exploring acrylics and other medium, color
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theory and other materials in order to begin to understand techniques, materials and their expressive potential in painting.
• Show their ability to do research on the various projects proposed and look for their personal style. • Dedicate the necessary time to each of the works without rushing them and accepting self-‐criticism, which helps
everyone in the course improve. • Boost their creativity. By producing new and original ideas where students’ develop their own expressive world.
Sometimes manipulating and transforming images and others by creating images that are the result of intuitive and free expression. Analysis and research on the works to be created will be encouraged and developed, creating a permanent debate of the students’ individual work, in order to avoid standardizing or categorizing the paintings into just a set of established techniques.
• Produce original and personal ideas or combining existing ones that reveal students’ creativity and help them express their interests.
• Learn how to observe and synthesize. In order to understand form, plan a composition, focus on the essential and avoid the superfluous (objects to be represented) in the early stages of the working process; analyze and paint with both complementary and analogous colors.
• Correctly apply the project’s work system with preliminary sketches, learn to fill in the shapes and add details to their works.
• Acquire basic theoretical knowledge on Painting. Basic references to history of art, art movements, and color theory will be made, as well as, to artists and their different artistic phases. Additionally, understand how and why different art movements took place in history.
• Learn about volume, proportion, contrast and composition. Create works that have a three-‐dimensional and objects scaled proportionally. Create balanced compositions and ability to obtain form by creating contrast.
THE CONTENT
The content will be divided in modules which correspond to the projects and which will be posted in CANVAS. These modules contain all the project goals, assignments and deadlines. *NOTE: CANVAS has more details on the tasks and assignments than in this Syllabus. MODULE 1. The MONOCHROME COMPOSITION
Students sketch a composition displayed in the classroom with sketch paper, pencils, rulers, markers and other art supplies. They then paint the composition with B & W acrylic paint on a canvas and paint a grey-‐scale grid on the upper corner to show how many shades of grey they used.
Required art supplies:
For the Monochrome sketch: A sketchbook paper; pencils (harder HB-‐2B and softer 4B pencils); an eraser, a sharpener, a ruler, markers and tracing paper.
For the Monochrome Final: A canvas; black and white acrylic paint, brushes, a rag, brushes, and a container with water.
Assignments: Monochrome composition sketch in pencil on heavy-‐duty Sketch paper. This sketch is gridded. Monochrome still-‐life final with B&W acrylics on canvas.
MODULE 2. The Color Wheel and COMPLEMENTARY COLORS LANDSCAPE PROJECT
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In this project students paint a color wheel they will use for this and the following projects. They then choose a landscape image they wish to paint and complementary colors from the color wheel to paint it. They submit a sketch and a final for this project.
Required art supplies:
For the color wheel: a heavy duty sketchbook paper (300gr at least); a hard pencil; an eraser, a sharpener, ruler and a compass. Primary color acrylics plus black and white (optionally you can use tempera/gouache paint for better color results).
The compass and rulers will be provided for in the studio. For the Landscape sketch: sketch-‐paper, complementary color pencils, watercolor
pencils or pastels (or any other medium), an eraser, and a sharpener.
For the Landscape Final: a canvas/canvas board or heavy duty-‐paper, primary color + black and white acrylic paint, brushes, a rag, and a container with water.
Assignments: • Color Wheel on sketch paper with acrylics. Highlighting Complementary colors to be used for the
landscape project. • Complementary colors landscape sketch using acrylic and any other medium on sketch-‐paper.
• Complementary colors landscape final on canvas, canvas board or heavy-‐duty paper with acrylics.
MODULE 3. The ANALOGOUS COLORS PORTRAIT PROJECT
Students learn draw the basic proportions of a human face and body (and optionally the body in movement). They then choose a portrait they would like to paint with the analogous colors extracted from their color wheel assignment. They produce a sketch and a final Analogous Colors portrait with them.
Required art supplies: For the body and face sketches: A pencil, an eraser and a sharpener. For the Portrait sketch: Heavy-‐duty sketch-‐paper, analogous color pencils,
watercolor pencils, pastels or any other medium. For the Portrait final: a canvas or canvas-‐board, brushes, analogous color
acrylic paints, a rag and a container with water. Assignments: Portrait sketch: 1 (at least) of basic face proportions. Body sketch(es): 1 (at least) of the basic body proportions and 1 (optional) of a body in movement. Analogous colors portrait sketch: on sketch paper using analogous colors watercolor pencils or pastels (or any other medium) Analogous colors portrait final: on canvas with analogous acrylic paints.
MODULE 4. The ABSTRACT PROJECT:
Students explore techniques, materials and texture to create predominantly abstract works focusing on how to apply these techniques and combine materials. Students will look at other abstract art and artists and how to combine mixed media.
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Required art supplies: For the Abstract sketches (2 at least) Heavy-‐duty sketch-‐paper, analogous color pencils,
watercolor pencils, pastels or any other medium: material, cloth, acetate, glue, thread, gel mediums, inks. Most of these will be provided to students.
For the Abstract Final A canvas, brushes, acrylic paint, a rag, a container with water. And any other medium: material, cloth, acetate, glue, thread, gel mediums, inks, paper cardboard, sawdust, salt, etc. Most of these will be provided to students.
Assignments Abstract sketch: on sketch paper using acrylics and any other medium. See above. Analogous final: on canvas with acrylic paint and any other medium. See above.
MODULE 5. THE INTERPRETATION OF MY FAVORTITE PAINTING OF A MUSEUM COLLECTION PROJECT
Students research and choose their favorite Painting of a Museum Collection around the world. They then produce an interpretation of it. First a sketch and then a final.
Required art supplies: For the Famous sketch: Heavy-‐duty sketch-‐paper, acrylics, watercolor pencils,
pastels or any other medium. For the Abstract Final: A canvas or, brushes, acrylic paint and any other.
medium, a rag, a container with water.
Assignments: Famous Sketch: On sketch paper using acrylics and any other medium. Famous Final: On canvas with acrylic paint and any other medium. Text: Write a brief text about your interpretation piece.
TECHNOLOGY REQUIREMENTS: You will need regular access to a computer with an internet connection. High speed broadband access (LAN, Cable or DSL) is highly recommended for the optimal learning experience. Additional requirements include: a camera (phone camera or other types of cameras) to take pictures of all the works of your projects for submission.
All work should be submitted in Word or PDF documents, and students should make use of Spelling and Grammar Check. Students should preferably use a computer, NOT a telephone or tablet to complete assignments and work
§ Communication Norms: List detailed expectations about how students should communicate with the instructor. Be sure to include: “Check your “@slu.edu” email daily. Campus and course announcements will often be handled by e-‐mail.” Include norms on email response time, deadlines, instructor feedback, office hours, and other expectations related to communications for the course.
§ Email reply times • I will aim to reply to your emails within 12 hours Monday through Friday. If you don’t hear back from me after 24
hours, please resend the email so that it will be bumped up to the top of my inbox. Try to contact me about any issue you may be anticipating weekly.
• I cannot guarantee that emails sent after 6:00 p.m., Madrid time on Fridays, will receive replies until the following Monday morning.
• Students are expected to respond to my emails within the same time frame.
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NETIQUETTE: As in any learning environment, certain behavioral codes are expected when you communicate with both your peers and your instructors. These codes are referred to as netiquette. For further information, refer to the PDF document, Netiquette Guide for Online Courses, posted on Canvas.
ASSESSMENT OF STUDENT LEARNING: To maintain quality academic offerings and to conform to accreditation requirements, SLU-‐Madrid regularly assesses its teaching, services and programs for evidence of student learning. For this purpose, SLU-‐Madrid keeps representative examples of student work from all courses and programs on file, including assignments, papers, exams, portfolios and results from student surveys, focus groups and reflective exercises. Copies of your work for this course may be kept on file for institutional research, assessment and accreditation purposes. If you prefer SLU-‐Madrid not to retain your work for this purpose, you must communicate this decision in writing to your professor.
Grades and Feedback
• All tasks must be completed before their corresponding deadline and submitted according to the instructions of that task. Extensions to the project will be granted if necessary.
• Feedback will be provided throughout the course both face to face and by email (if necessary) of every assignment.
• Studio assessment: I will be looking at the work in progress daily at the studio and will be doing demos, group critiques and individual critiques of the works and projects on site in every session.
• I also give students some sketches as homework so that they can bring them to class and be assessed. This will help them progress in their projects.
ENGAGEMENT & ATTENDANCE POLICIES: Detailed information on expectations.
Engagement Policy: • Students should estimate to dedicate from 5 to 9 hours of work per week during the semester to complete each
module. They should attend class and inform the instructor by email when they cannot attend. • The course is divided into 5 modules and it is suggested that you follow the pace of the rest of the class to be able
to feel the progression and also to profit from the group teacher feedback and to understand the concepts being instructed and developed in the course. Students can work on several projects at the same time as long as they finish them all by the end of the course.
• Attendance will be taken during the semester and will count towards the final class grade. More importantly, a considerable amount of work will be done in the classroom, and students who miss these grades will have difficulties in passing the course. In cases of excessive absenteeism (over 50%), students may be directly expelled from the program. Good attendance by itself, however, is no guarantee of passing the class since the aim of this course is academic improvement.
OTHER INFORMATION ON COURSE ASSIGNMENTS & ACTIVITIES: Any other information on course assignments & activities will be notified by email and posted in Canvas.
GRADING RATIONALE/SYSTEM: Your final grade is calculated as follows:
Preliminary Project sketches: 20%
Final Project works: 45%
Research and creativity: 5%
Attendance: 10%
Engagement & Participation: 20% (which includes behavior in class, active participation
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and engagement in the course, good relationship with classmates and listening to the professor)
Grading System:
At the end of the semester, al points obtained throughout the semester will be added together to produce a final grade of 100 points (1 point = 1 percent).
The mid-‐term grade will be based on the points obtained up until that moment and on the professor’s assessment of the students’ progress. The final grade may quite be different to the midterm if the student strives to improve.
The relationship between the final grades and the points / percent is as follows:
A = 93 or 100 %. Students who expect to get an A should complete all 5 projects and complementary assignments and show interest in the subject, creativity and willingness to accept constructive criticism and be open to explore and try out new techniques ideas or suggestions posed by either the teacher or other peers. They are also expected to attend and participate to all the classes except if they notify the teacher their absence via email in advance.
A-‐ = 90-‐93 %
B+ = 87-‐89 %
B = 83-‐86 %
B-‐ = 80-‐82 %
C+= 77 -‐79 %
C= 73-‐76 %
C-‐= 70-‐72 %
D= 50-‐69 %
F= 0-‐49 %
REQUIRED ART SUPPLIES AND ART SUPPLY STORES:
• There are some shared materials at the studio which I will give you to work on but the idea is that you have your own set of art supplies in these times of pandemic.
• Please remember to bring clothes that you may get messy with. • Below is a list of required materials that you need to purchase for Painting I. • All the art supplies marked with an asterisk* will be necessary to work on all the modules/projects of the
course and so students can take home and work on any of the sketches.
Pencils*:
1 soft 4B Pencil and 1 2B pencil. An eraser* and a sharpener*. Lapicero (dureza 4B) y goma de borrar
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Sketchbook*:
Bloc Canson XL, A3, mix media 300gr paper // Cuaderno o bloc de papel DIN3 1 Sketchbook* or at least 25 single sheets (minimum format DIN-‐3, 29,7 x 42cm or 29 12” x 16”), non-‐squared paper. I recommend it to be 250gr at least. You can purchase Sketchbook for Watercolor, Acrylic paint or mixed media that is heavy-‐duty and can be used with acrylic paint any other medium. Bloc Canson XL mix media (image) is a good quality/price deal but it is sometimes out of stock so students can purchase a sketchbook of similar quality of any brand that is at least 250gr around DIN-‐3 29,7 x 42cm or 29 12” x 16” at least if possible or any other kind of larger paper you can find.
Ruler:
(optional) 1 transparent plastic ruler, una regla transparente, if possible a 40cm or 15 inches ruler (both metrics or otherwise just use an online converter).
Watercolor / color pencils*:
A set of 12 watercolor pencils*. Lápices acuarelables. The ones in this image are Faber Castell and they are a good quality/price deal. These will be needed from the start and for all the sketches of your assignments.
Soft or oil pastels:
(optional if you have the watercolor or color pencils) A set of 12 soft or oil pastels*. Pasteles. The ones in this image are Faber Castell and they are a good quality/price deal. These will be needed from the start and for all the sketches of your assignments.
Acrylic paint*:
Acrylic paint (5 color set)*, acríclicos. 250-‐500 ml (Primary colors: yellow, magenta and cyan blue, black and white. The set in the image is Rembrandt and it is a good quality/price deal. There are other good quality/price brands like Talens or Phoenix.
Brushes*:
A large brush* (4 to 6cm 2-‐2.5 inches) Palletina or brocha de 3.5-‐5cm) Used for priming all your canvas and for the backgrounds and large areas of your works… If they ask you about its softness try to get the softer kind, Milano is a classic brand and their not expensive, we’ll be using them to prime the canvases with a base color so try to get something at least between 3.5cm or 5cm /
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A set of round and flat brushes* (see photo on the right above) Pinceles planos y redondos de mango largo Different sizes: thinner and smaller, medium and wider brushes. Flat and round brushes have different uses because they are used to create different effects. I prefer flatter brushes in general… Aprox sizes 0.4mm and 2mm. E.g.: 4, 14, 18. Pinceles planos y redondos de mango largo (for ex.: “Lengua de gato”: números 4, 14 y 18). Also you don’t have to buy expensive brushes, just average quality for acrylics. If they have a long handle better, don’t buy them too short. Paint Palette:
Grounds*:
A hard plastic Palette (for mixing paint) paleta de plástico: any size but the bigger the better. They come in circular or square form; the ones with circular cavities are very practical for separating the different colors mixes while working.
Canvases 5 canvases for the 5 projects. The color wheel is done on the heavy-‐duty sketch paper pad. 55x 46cm) or Size 10 Figure / (55x 46cm) MEDIDA 10 FIGURA
Other art supplies: Note: If you wish to bring any other art supplies of your own you are welcome, such as, felt pens, markers, wax crayons, oil-‐bars, inks, liquid watercolors, etc. Art supplies in the Studio: § Different types of pencils, harder pencils, erasers and sharpeners, scissors, string, masking tape, white glue, translucent paper for tracing, clear film (for wrapping used paint) and plastic containers and giant plastics to work on different surfaces. § Gouache paint. Brushes. Acrylic glossy medium to add transparency and glossiness, paint fixer and charcoal. § Rags, paper towels and clothes for painting, such as coats or clothes to get messy in. § Different types of pencils, harder pencils, erasers and sharpeners, scissors, string, masking tape, white glue, translucent paper for tracing, clear film (for wrapping used paint) and plastic containers and giant plastics to work on different surfaces. § Materials to add texture for the ABSTRACT PROJECT. § Soap for brushes and hands. Note: it is important to wash your hands upon arrival to the studio and sanitize any of the shared materials after use to keep a safe environment during times of pandemic in the studio.
FINE ART SUPPLY STORES IN MADRID
You will find most art supplies in Jeco (calle Pelayo)* however Jeco Arte Urbano* (specialized in pencils and markers). Sometimes these stores run out of stock so please call in advance to make sure that the supplies are
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available.
JECO*: Address: Calle Pelayo, 38. Phone: 913 19 96 90/ Store hours: M-‐F: 10am-‐2pm & 5pm-‐8.30pm / Sat: 10am-‐2pm / Sun: closed. Email: [email protected] (Chueca area. It has most of the art supplies listed)
JECO ARTE URBANO*:
Address: Calle Hortaleza 82. Phone: 917 72 99 43/ Store hours: M-‐F: 10am-‐2pm & 5pm-‐8.30pm / Sat: 10am-‐2pm / Sun: closed. Email: [email protected] (Chueca area. It specializes in pencils and markers)
JER: Address: Calle de Hortaleza, 72. Phone: 915 32 17 65/ http://www.tiendabellasartesjer.com (Chueca area)
CORONADO: Address: Calle de Santa Engracia 158, 28003, Madrid (Cuatro Caminos area) SANCER: Address: Fernández de los Ríos, 93. Phone: 915 445 539/ https://sancer.com (Moncloa area. It
specializes in pencils, paper & rulers) LA RIVA: Address: Plaza de San Ildefonso, 4. Phone: 915 22 41 01/ http://www.lariva.com (Tribunal area. It
specializes in paper and graphic art supplies) TODO ART: Address: Calle de Vallehermoso, 14. Phone: 917 05 48 89/ https://www.todoart.com/ ARTETRES: Address: Calle Pintor El Greco nº2. Phone: 915 445 539/ https://artetres.es/
REQUIRED TEXTS, READINGS AND VIDEOS:
For the MONOCHROME PROJECT
·∙ Still-‐Life drawing. Scaling and proportion of objects: https://www.youtube.com/watch?v=HQgjZbGK8Yc
·∙ Complementary Colors Portrait_former student projects_for reference.pdf
ON MEDIUM TECHNIQUES
·∙ Brief video on soft pastel: https://www.youtube.com/watch?v=ROPbUTN7miU
·∙ Stephen Quiller – on acrylics: https://www.youtube.com/watch?v=PKqvXomMJHA
·∙ Wet-‐on-‐Dry ' WATERCOLOR Technique: https://www.youtube.com/watch?v=Gk7obYQt0Ww
For the COMPLEMENTARY & ANALOGOUS COLORS PROJECTS
ON THE COLOR WHEEL
The color wheel D. D. Kressler's Color Wheel (image)
The Color Wheel_Fall 2019 students' projects_for reference.pdf
·∙ Stephen Quiller – Color Foundation: https://www.youtube.com/watch?v=bDBo8P4TWmw
·∙ Complementary Colors Portrait_former student projects_for reference.pdf
For the ANALOGOUS COLORS PORTRAIT PROJECT
·∙ Basic Face Proportions_Video: https://www.youtube.com/watch?v=lUN0rSv2cgE&t=88s
·∙ Human Body _Basic Anatomy_Video: https://www.youtube.com/watch?v=GzaJS-‐udeDk
·∙ Human Body _Basic Proportions Video: https://www.youtube.com/watch?v=TtfYb5zS2Pw
·∙ Body Movement drawing video: https://www.youtube.com/watch?v=D2gOtDcb8sc
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·∙ Analogous Colors Portrait_former student projects_for reference.pdf
For the ABSTRACT PROJECT
·∙ Sol Lewitt. Working process: https://www.youtube.com/watch?v=c4cgB4vJ2XY
·∙ Gerhard Richter Painting: watch the master artist at work: https://www.youtube.com/watch?v=yF6EluMNR14
·∙ Miquel Barceló (UN Dome Project): https://www.youtube.com/watch?v=-‐bblWBdMAN8
·∙ Jackson Pollock in action: https://www.youtube.com/watch?v=eycL8JMaxRw
·∙ Antoni Tapies. Working process: https://www.youtube.com/watch?v=PeNPxlGvdQQ
·∙ Abstract Colors Portrait_former student projects_for reference.pdf
For the INTERPRETATION OF MY FAVORITE PAINTING PROJECT
CONTEMPORARY ARTISTS STRETCHING THE BOUNDARIES OF PAINTING:
·∙ Inside @Large: Ai Weiwei on Alcatraz: https://www.youtube.com/watch?reload=9&v=Tp_rZOMZBBs
·∙ Cai Guo-‐Qiang -‐ Drawing with Gunpowder: https://www.youtube.com/watch?v=c-‐QIj7E6CR8
·∙ Gerhard Richter in the studio: https://www.youtube.com/watch?v=ExfNJDh4K1g
·∙ Interpretation of favorite famous painting_former students projects_for reference.pdf
OPTIONAL TEXTS AND READINGS FOR REFERENCE:
TECHNIQUES AND MATERIALS
·∙ Adams K. Oil & Acrylic Workshop: Classic and contemporary techniques for painting expressive works of art. Walter Foster Publishing, 2017.
·∙ Campbell Smith R., New Artist’s Handbook, DK, 2003.
·∙ Collins, J. Techniques of the Modern Artists, Published by Booksales, 1997.
·∙ Foster, W. Painting tools and materials: A practical guide to paints, brushes, palettes and more. Artist’s Toolbox. 2017
·∙ Hogarth, P. The Artist’s manual-‐Equipment, Materials, Techniques, New Burlington Books (1987)
·∙ Mayer, R. The Artist's Handbook of Materials and Techniques, Fifth Edition, Revised and Updated, 1991
ON COLOR THEORY
·∙ Albers, J Interaction of Color. Yale University. (1963)
·∙ Cuasante JM. & Fernández Quesada B. Teoría del Color. Editorial ediciones AKAL, 2005
·∙ Itten, J. The Elements of Color. Van Nostrand Reinhold. (1970)
·∙ Itten, J. The Art of Color: the subjective experience and objective rationale of color. Van Nostrand Reinhold, (1973)
·∙ Maxwell J.C. XXII -‐ On the Theory of Three Primary Colours. Publisher: Cambridge University Press, 2011.
GENERAL TEXTS ON ART, COMUNICATION AND CREATIVITY
·∙ Berger J, Ways of seeing, Published by Penguin, 1990.
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TEXTS ON ARTISTS. DESCRIPITON OF THEIR WORK (This category is so comprehensive that a selection of just a few artists was made)
·∙ Baticle J. Francisco de Goya, Painter of Terrible Splendor. Abrams Discoveries series. New York: Harry N. Abrams, 1994.
·∙ Bryson N, Sanchez Cotán, J. Looking at the Overlooked: Four Essays on Still Life Painting. London: Reaktion Books (2012).
·∙ Da Vinci, L., Leonardo da Vinci: The Complete Paintings and Drawings, Frank Zollner & Johannes Nathan, Taschen, 2003
·∙ Rosa G. Caravaggio: Master of light and dark – his life in paintings. Dorling Kindersley (1999)
·∙ Golding J. Paths to the Absolute, Princeton University Press, 2000
·∙ Hockney D. Hockney Pictures by David Hockney, Thames & Hudson, 2017
·∙ Temkin A. Abstract Expressionism at the Museum of Modern Art, The MOMA, 2010,
·∙ Wolf, N. Diego Velázquez, 1599–1660: the face of Spain. Taschen (1998)
·∙ Wolf, N. Expressionism (Basic Art Series 2.0). Taschen 2019
Academic Honesty: Academic integrity is honest, truthful and responsible conduct in all academic endeavors. The mission of Saint Louis University is “the pursuit of truth for the greater glory of God and for the service of humanity.” Accordingly, all acts of falsehood demean and compromise the corporate endeavors of teaching, research, health care, and community service through which SLU fulfills its mission. The University strives to prepare students for lives of personal and professional integrity, and therefore regards all breaches of academic integrity as matters of serious concern.
The full University-‐level Academic Integrity Policy can be found on the Provost's Office website. Additionally, SLU-‐Madrid has posted its academic integrity policy online. As a member of the University community, you are expected to know and abide by these policies, which detail definitions of violations, processes for reporting violations, sanctions and appeals.
Your instructor will review these matters during the first weeks of the term. Please direct questions about any facet of academic integrity to the instructor, the chair of the department of your academic program or the Academic Dean of the Madrid Campus.
Diversity and Inclusion: Saint Louis University is committed to fostering a positive, inclusive and welcoming learning and working environment. SLU-‐Madrid's policies prohibit discrimination based on race, color, national origin, ancestry, religion, sex, gender, gender identity, gender expression, sexual orientation, pregnancy, age, disability, physical appearance, financial or socio-‐economic status, immigration status, parental or marital status, veteran status or any other protected classification of identity. Discrimination includes any form of unequal treatment such as denial of opportunities, harassment, and violence. Sex-‐based violence includes rape, sexual assault, unwanted touching, stalking, dating/interpersonal violence, and sexual exploitation.
If you experience or witness any kind of discrimination, you are encouraged (but not required) to report the incident to the SLU-‐Madrid's Department of Student Life, whose office is located in Padre Rubio Hall ([email protected]; +34 915 54 58 58, ext, 213. You can also report the incident to the University's Hotline (900-‐99-‐0011; then enter 877-‐525-‐5669 when asked for the hotline number).
Please know that instructors have a responsibility to inform SLU-‐Madrid when made aware of incidents of discrimination, harassment sexual misconduct, and/or related retaliation, to ensure that individuals impacted receive information about options for reporting and support resources. If you wish to speak with confidential resources are available on campus and off campus:
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• Counselors at SLU-‐Madrid's Wellness Center, located on the third floor of San Ignacio Hall (wellness-‐[email protected]; 915 54 58 58, ext. 230).
• Counselors at Sinews Multilingual Therapy Institute, SLU-‐Madrid's off-‐campus counseling and mental health services provider (www.sinews.es; 917 00 19 79).
• SLU-‐Madrid's Campus Minister, Fr. James O'Leary, S.J. ([email protected]; 915 54 58 58, ext. 279).
Additional information and resources are posted on our Safety and Security and Community Standards webpages.
Disability Accommodations and Learning Resources: In recognition that people learn in a variety of ways and that learning is influenced by multiple factors (e.g., prior experience, study skills, learning disability), resources to support student success are available on campus. Students who think they might benefit from these resources can find out more about:
• Course-‐level support (e.g., faculty member, departmental resources, etc.) by asking or emailing your course instructor.
• University-‐level support (e.g., tutoring/writing services, the Center for Accessibility and Disability Resources (CADR) by contacting the Academic Dean's Office (advising-‐[email protected]) or by reviewing the Academic Resources website online.
Students with a documented disability who wish to request academic accommodations must contact the Center for Accessibility and Disability Resources (CADR) to discuss accommodation requests and eligibility requirements. Once successfully registered, the student also must notify the course instructor that they wish to access accommodations in the course. Please contact disabilityservices-‐[email protected] or +34 915 54 58 58, extension 242 or 249. Confidentiality will be observed in all inquiries. Once approved, information about the student’s eligibility for academic accommodations will be shared with course instructors via email from Disability Services. Note: Students who do not have a documented disability but who think they may have one are encouraged to contact Disability Services.
For more information about academic accommodations, see the SLU-‐Madrid Center for Accessibility and Disability Resources (CADR) webpage.
Needs Security Statement: Students in personal or academic distress and/or who may be specifically experiencing challenges such as securing food or difficulty navigating campus resources, and who believe this may affect their performance in the course, are encouraged to contact Marta Maruri, SLU-‐Madrid’s Director of Student Life ([email protected] or +34 915 54 58 58, ext. 213) for support. Furthermore, please notify the instructor if you are comfortable in doing so, as this will enable them to assist you with finding the resources you may need.
Use of Posted Course Content: SLU-‐Madrid prohibits recording and transmission of classroom lectures and discussions by students unless written permission from the class instructor has been obtained and all students in the class as well as guest speakers have been informed that audio/video recording may occur. Recordings, course materials, and lecture notes may not be exchanged or distributed for commercial purposes, for compensation, or for any other purpose other than study by students enrolled in the class. Public distribution of such materials may constitute copyright infringement in violation of Spanish law. Violation of this policy may subject a student to disciplinary action in accordance with SLU-‐Madrid policies on Student Rights and Responsibilities and Community Standards.
Spring 2022 Course Outline and Important Dates:
Week 1 Thursday January 13
First day of classes. WELCOME TO PAINTING I. Introduction to the Course: the syllabus, the course on CANVAS and the art supplies required. Students introduce themselves. Studio set up. Start Welcome Sketches Module.
Week 2 Tuesday January 18 Students bring their art supplies and store them. Concepts about acrylics and arts supplies of the course. Module 1. Intro of The Monochrome composition project (1). Sketching foundations.
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Week 2 Thursday January 20. Sunday January 23 Module 1. The Monochrome composition project (1) Sketching foundations. Last day to drop a class without a W and/or add another class. Last day to choose Audit (AU) or Pass/No Pass (P/NP) options. Application deadline for spring semester degree candidates.
Week 3 Tuesday January 25 Module 1. The Monochrome composition project (2) Sketch on gridded paper with markers.
Week 3 Thursday January 27 Module 1. The Monochrome composition project (3) Acrylic paint demo. Lighting foundations. Start working on Monochrome Final.
Week 4 Tuesday February 1 Module 1. The Monochrome composition project (4). Monochrome Final.
Week 4 Thursday February 3 Introduction of Module 2. The color wheel (1) Painting Demo.
Week 5 Tuesday February 8 Module 2: The Color wheel (3) Introduction to the Complementary colors landscape project (2) Demo on painting with acrylics in color.
Week 5 Thursday February 10 Module 2: The complementary colors landscape project (3)
Week 6 Tuesday February 15 Module 2: The complementary colors landscape project (4)
Week 6 Tuesday February 17 Module 2: The complementary colors landscape project (5) Brief survey of the course so far.
Module 3: Introduction to the Analogous colors portrait project (1) Basic face proportions (1)
Week 7 Tuesday February 22. Wednesday, February 23
Module 3: Analogous colors portrait project (2) Basic body proportions (2) Registration for Summer Sessions begins.
Thursday-‐Friday, Feb 24-‐25 Winter Break Week 8 Tuesday March 1 Module 3: Analogous colors portrait project (3)
Optional: body proportions or in movement. Week 8 Thursday March 3. Sunday, March 6
Module 3: Analogous colors portrait project sketch and final (4). Professors' deadline to submit midterm grades.
Week 8 Tuesday March 8 Module 3: Analogous colors portrait project (5) Week 9 Thursday March 10 Module 4. Introduction to the Abstract Project (1). Acrylic
techniques & texture demo. Examples of abstract works and artists.
Week 10 Tuesday March 15 Module 4. The Abstract Project (2). How to add texture.
Week 10 Thursday March 17
Sunday, March 20
Module 4. The Abstract Project (3) Last day to drop a class and receive a grade of W.
Week 11 Tuesday March 22 Module 4. The Abstract Project (4)
Week 11 Thursday March 24 Module 4. The Abstract Project (5)
Week 12 Tuesday March 29 Module 5. Intro to Interpretation of an interpretation of a
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painting of a museum collection project (1) Week 12 Thursday March 31 Module 5. Interpretation of painting museum collection
project (2) Week 13 Tuesday April 5 Module 5. Interpretation of painting museum collection
project (3) Week 13 Thursday April 7 Module 5. Interpretation of painting museum collection
project (4) Week 14 Monday-‐Sunday, April 11-‐17 Easter Holidays (Semana Santa)–Madrid Campus
Week 15 Tuesday April 19 Module 5. Interpretation of painting museum collection project (5) Write text on the piece students have chosen.
Week 15 Thursday April 21 Last day to finish all projects (Modules 1-‐5). Current trends in painting. Some examples.
Week 16 Tuesday April 26.
Wednesday, April 27
Finish all projects (Modules 1-‐5)
Registration for fall semester begins
Week 16 Thursday April 28. Finish all projects (Modules 1-‐5)
Sunday, May 1
Week 17 Monday, May 2
Holiday: Madrid Campus Closed
Holiday: Madrid Campus Closed
Week 17 Tuesday May 3
Thursday, May 5-‐11
Finish all projects (Modules 1-‐5) Last day of classes.
Last opportunity to submit all works
Week 18 Thursday May 13 Commencement.
Week 18 Saturday, May 14 Professors’ deadline to submit final grades
Spring 2022 – _Final Exam Schedule
Mondays 8:30, 9 and 9:30 a.m. Friday, May 6, 8:30 to 11:30 a.m.
Mondays 10 a.m. Monday, May 9, 8:30 to 11:30 a.m.
Mondays 11 and 11:30 a.m. Tuesday, May 10, 8:30 to 11:30 a.m. Mondays 12 and 12:30 p.m. Thursday, May 5, 12 to 3 p.m.
Mondays 1 p.m. Monday, May 9, 12 to 3 p.m.
Mondays 2 p.m. Friday, May 6, 3:30 to 6:30 p.m.
Mondays 3:30 p.m. Tuesday, May 10, 3:30 to 6:30 p.m.
Mondays 5 p.m. Wednesday, May 11, 3:30 to 6:30 p.m.
Mondays 6:30 and 7 p.m. Monday, May 9, 7 to 10 p.m.
Tuesdays 8 a.m. Wednesday, May 11, 8:30 to 11:30 a.m.
Tuesdays 9:30 and 10 a.m. Thursday, May 5, 8:30 to 11:30 a.m.
Tuesdays 11 a.m. Friday, May 6, 12 to 3 p.m.
Tuesdays 12:30 p.m. Wednesday, May 11, 12 to 3 p.m.
Tuesdays 2 p.m. Tuesday, May 10, 12 to 3 p.m.
Tuesdays 3:30 and 4 p.m. Thursday, May 5, 3:30 to 6:30 p.m. Tuesdays 5 and 5:30 p.m. Monday, May 9, 3:30 to 6:30 p.m.
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Tuesdays 6:30 p.m. Tuesday, May 10, 7 to 10 p.m.
*For courses meeting only on Wednesdays or Fridays, follow the Monday schedule. For courses meeting only on Thursdays, follow the Tuesday schedule.