SHORT CATALOGUE DESCRIPTION:
Advanced Painting: Directed research and critical analysis
within the painting genre. Students are encouraged to pursue individual approaches
through a combination of studio practice integrated with study of historical
and contemporary art theory. Studio component includes further study of painting
fundamentals via the figure.
Graduate Painting: Emphasis on self-directed research and critical analysis
within the painting genre. Students are encouraged to pursue a focused personal
vision through a combination of studio practice integrated with study of historical
and contemporary art theory. Instruction is tailored to the student’s individual
investigations. Ultimate goal is development of a visually coherent and conceptually
unified body of work.
COURSE DESCRIPTION:
This advanced painting course may be considered as a capstone course –
that is an opportunity for students to utilize all the knowledge and experience
acquired in their previous art courses, in order to create a body of work that
demonstrates expertise in painting. It will further develop and refine painting
techniques and concepts, as well as understanding of figure painting for the
purpose of artistic expression. Linear perspective, compositional structure,
figure/ground integration, spatial perception, critical thinking, and analytical
skills will all be emphasized extensively. In some sections of the course, we
will lean toward a realistic approach in our work from still-life, life and
nude models; however, we will also explore other conceptual approaches, such
as surrealism or abstraction. We will study and research major painting styles
and movements in historical context. The hope is that students will use this
global approach to develop a “critical eye” in evaluation of contemporary
painting. Slide lectures, group or individual critiques and discussions will
be given throughout the course. Advanced painters and Graduate students could
work on their own projects or join the class; please discuss goals individually
with me. This may seem like a lot to absorb – but always remember that
our main emphasis in this course will be to encourage and nourish individuality
and creativity.
COURSE OBJECTIVES:
To continue the development of students’ expertise – technically,
conceptually and professionally – in the field of painting and/or figure
painting.
To formalize students’ ability to verbally articulate ideas, artistic processes,
and personal expression.
To develop students’ awareness of artistic contexts in history and theory,
and their roles in the creative processes as contemporary artists in painting.
To nurture students’ ability to establish personal focus and direction
as artists.
To help students create a body of painting that has consistency and sophistication.
REFERENCE BOOKS & REQUIRED TEXT:
Artist’s Manual: A Complete Guide to Painting/Drawing Materials/Techniques by Angela Gair. San Francisco: Chronicle Books, 1996. ISBN 0-8118-1377-0 (Required
text)
Alla Prima: Everything I Know about Painting by Richard Schmid,
Manchester Center, VT: Stove Prairie Press, 1999. ISBN 0966211715
The Painter’s Handbook by Mark D. Gottsegen,
New York: Watson-Cuptill Publications, 2000. ISBN 0-8230-3003-2
In The Making: Creative Options for contemporary Art by Linda
Weintraub,
New York: D.A.P./Distributed Art Publishers, 2003. ISBN 1-891024-59-0
Perspective Drawing by Kenneth W. Auvil,
Mountain View: Mayfield Publishing Co., 1990. ISBN 0-87484-943-8
Artistic Anatomy by Dr. Paul Richer, translated by Robert Beverly
Hale
New York: Watson Guptill Publications, 1971. ISBN 0-8230-0297-7
Drawing Lessons from the Great Masters by Robert Beverly Hale
New York: Wason-Guptill Publications, 1989. ISBN 0-8230-1401-0
Anatomy Lessons from the Great Masters by Robert Beverly Hale
and Terence Cole
New York: Watson-Guptill Publications, 1977. ISBN 0-8230-0222-5
COURSE CONTENT & SCOPE:
Color Theory: Color wheel (primary/secondary, complementary), transparency/opacity,
hue, value (intensity, brightness), chroma (saturation, purity) & temperature
(warm/cold).
Color Contrast & Attributes: Interaction, harmony, psychology/mood,
culture & expression.
Value (Dark/Light) Contrast: Side Lighting, Flat Lighting (front) &
Rim Lighting (back).
Painting Techniques: Alla prima, glazing, impasto, knife painting, scumbling
& blending.
Media Characteristics & Surfaces: Acrylic, oil, paper, wood &
canvas (primed/unprimed).
Acrylic & Oil Mediums: Gel medium (heavy/regular/soft, gloss/semi-gloss/matte),
texture medium, linseed oil, mineral spirit, turpentine, odorless turpenoid,
retouch varnish & final varnish.
Perspective: Linear Perspective (one, two & three point), Aerial
Perspective, Shifting Perspective & Overlap.
Composition:
• Space: Flat (no depth, primitive art), Illusionistic
(linear perspective) & Limited Depth (Cézanne).
• Movement, Direction & Rhythm: Horizontal, Vertical,
Diagonal, Triangular & “S” curve.
• Balance & Proportion: Symmetry, Asymmetry &
Cropping; Golden Section & Proportion.
• Shape: Positive/Negative Shapes, Figure/Ground Relationships
& Interior/Exterior Rhythms.
• Proportion: Golden Section (1:1.618 or 5:8) &
Proportion.
• Elements of Design: Square, Stage, Diamond, Circular,
Linear Pattern & Lines.
Anatomy: In-depth study of human bones, muscles and form in figure painting.
Image Interpretation: Pictography, Realism, Stylized, Cubism & Abstraction.
Painting History: Major painting styles & masters in Renaissance,
Realism, Impressionism, Post-impressionism, Expressionism, Modern, Post-modern,
Contemporary & Abstraction.
IMPORTANT ELEMENTS IN FIGURE DRAWING (SOME
MAY APPLY TO PAINTING):
Why Study Figure Drawing:
• Foundation of visual arts, and as tools of expression
Brief History of Drawing:
• Great masters of High Renaissance: to capture the beauty from models
in an idealized form
• Impressionists as a turning point: to emphasize personal expressions
and abstract quality
Artistic Anatomy:
• Proportion of figure
• Weight and gravity line of figure
• Seeing the figure in large forms & geometric shapes: blocks, spheres,
columns & their combinations
• Finding the gesture, thrust and the rotation point
• Perspective, foreshortening and capturing corresponding points of symmetrical
forms in space
• Visualizing a figure and each part in cross-section
• Understanding the bone structure
• Understanding muscle: shape, beginnings, endings, insertion and relationships
• Imaginative resolution: rhythm and spirit of drawing
Techniques:
• Lines: contour & structure lines
• Shadows (tone, shading): indicate meeting point of planes
• Line and shading combinations
COURSE REQUIREMENTS:
• There will be lectures of important content – about 30 minutes –
at the beginning of many classes. Some lecture time will be used for critique,
discussion of required reading or educational video shown, student’s presentation
and material demonstration.
• Required class assignments will be started in class and may be completed
outside-of-class. Additional out-of-class assignments, research and homework,
may take approximately six hours per week, should be turned in for grading.
• Students are expected to keep, and turn in for evaluation, a sketchbook
for sketching, thumbnail sketching, planning, idea drafting and note.
• Research and class presentation are important parts of this course. The
class will be divided into teams to research on specific artists, styles and
art movements. Each team needs to organize their findings and thoughts and then
present (with images of artwork) to the whole class. This assignment measures
students’ research ability, comprehension of materials, depth of study,
organization, presentation, as well as effectiveness of social interaction for
the sake of achieving group goals.
GRADING POLICY:
• Artistic creation is a comprehensive, developmental activity. Grading
is based on the students’ performance in several related areas:
• Evidence of students’ understanding and mastery
of techniques and concepts
• Implementation of those
ideas in the particular assignments
• Degree of participation
in class and in group-critiques
• Willingness and attitude
to experiment
• Initiative demonstrated
and individual effort during and after class time
• Overall preparedness
and progress through the semester
• Students completing the basic requirements will receive a grade corresponding
approximately to a “C”.
• Students meeting the basic requirements of each assignment, who attends
every class and contributes reasonably to the general educational environment
of the group, will receive a grade of “C+”.
• “B” work exceeds the basic requirements. “A” work
is exceptional.
• Each project, in or outside class, will receive a letter grade. Your
final grade will be roughly the average of all grades received, plus the 25%
final project and class participation.
ATTENDANCE POLICY:
• You are expected to attend class regularly. Excessive absences may result
in a failing grade. In this class, “excessive absences” is defined
as missing more than two times. After that, your final grade will be reduced
by one-third-letter grade for each additional absence despite your performance
otherwise.
• Medical or personal problems will be excused but only with professional
documentation. This means a statement from a medical professional declaring
that you have been ill enough to miss class. A document that states that you
had an appointment or that you saw a doctor is not enough. Your illness must
be documented as having kept you incapacitated.
• All missed activities and work will need to be made-up outside the regular
class. You are responsible for the information missed by an absence. Make an
appointment to see me for missed lectures. You are responsible for what you
have missed.
• Three times of tardiness will equal one absence. Missing more than 30
minutes of a class at the beginning or at the end will both be considered an
absence. If you have trouble attending class, please discuss your attendance
problems privately with me after class.
• Excessive tardiness and absences will be referred to the Dean of Arts
and Sciences.
• After six unexcused absences, you will be dropped from the course with
a failing grade.
ACADEMIC DISHONESTY:
Academic honesty is fundamental to the activities and principles of a university.
All members of the academic community must be confident that each person’s
work has been responsibly and honorably acquired, developed, and presented.
Any effort to gain an advantage not given to all students is dishonest whether
or not the effort is successful. The academic community regards academic dishonesty
as an extremely serious matter, with serious consequences that range from probation
to expulsion. When in doubt about plagiarism, paraphrasing, quoting or collaboration,
consult the course instructor. Any student suspected of submitting work done
by someone else will be reported to the Office of the Provost.
AMERICANS WITH DISABILITIES ACT:
If you have special needs as addressed by the Americans with Disabilities Act
(ADA) and need assistance, please notify the Office of Disability Services,
A048 Brady Commons, 882-4696, or the course instructor immediately. Reasonable
efforts will be made to accommodate your special needs.
MATERIAL HANDLING, STORAGE & DISPOSAL:
• Be sure to store solvents (paint thinner) in the yellow fire cabinet
located in the painting studio. Do not store solvents in your locker or storage
bin.
• Label all containers with:
• Your name
• Your instructor's name
(Lampo Leong)
• The solvent name (Mineral Spirits or SK150)
• Semester (Fall 2003)
• The word "Flammable"
if it is appropriate
• Pour unwanted paint thinner into red containers by the sink. Do not pour
solvents down the sink. Run hot water continually while you clean your brushes.
• Place all unwanted soiled rags and paper towel with paints into the covered
container by the sink. Please don’t put them into the regular trashcan.
MATERIAL LIST FOR THIS PAINTING CLASS:
Materials needed for this class vary from students to students and projects
to projects. Since we are all advanced painters, I will leave that up to your
own choice. However, if you need suggestions, please refer to the material list
provided on separate pages as well as the list online: http://www.missouri.edu/~artwh/177/177materials/mat.html.
Please discuss your plan with the professor and obtain approval.
COURSE DAILY ACTIVITIES: |