ART 3504C-0002 (19067): Intermediate Painting Department of Studio Art, School of Visual Arts and Design College of Arts and Humanities, University of Central Florida
COURSE SYLLABUS
Instructor: Carla Poindexter Term: Spring 2016 Office: VAB 105K Class Meeting Days: Tuesday/Thursday Phone: 407-823-2676 (Administrative Art Office) Class Meeting Hours: 11:30 – 2:15 pm E-Mail: [email protected] Class Location: VAB 216 Website: http://svad.cah.ucf.edu carlapoindexter.net Lab Location: VAB 216 Office Hours: Tuesdays/Thursdays 10:00 – 11:00 a.m. VAB 105K Monday 5 - 6 pm CEM Media Center- Downtown
Course Overview This course is an introduction to visual and conceptual problems in painting. The emphasis of study involves an investigation of materials, methods, techniques, and skill building with the goal of achieving excellence in technical proficiency, aesthetic quality, critical awareness, analytical thinking, and creative choices.
Studio work involves individual and group guided instruction and critiques. Students will explore issues designed to heighten powers of visual perception including the phenomena of color and light, form and proportion, and pictorial organization in various creative and contemporarily relevant contexts.
Course Objectives: The successful completion of this course will be measured based on the achievements of the following goals and objectives: • To develop skills in painting methods and techniques including color mixing, various paint applications and safe and effective preparation and disposal of materials. • To develop essential representational skills and spatial relationships in rendering proportional form through the interpretation of three dimensional objects and space onto a two dimensional surface. • To explore, formulate and facilitate creative solutions to visual and conceptual problems in painting • To explore issues of color theory including local, optical, arbitrary, and symbolic color systems. • To explore strategies for the articulation of light. • To develop and utilize the vocabulary necessary for the analysis of a painting. • To analyze historically or contemporarily relevant paintings in an effort to understand organizational principles, paint applications, use of color, articulation of light, and subject matter within the work’s historical or contemporary context. • To discuss historical and contemporary issues during presentations and critiques in order to develop an understanding of concepts and relevant issues that are crucial to today’s painting environment.
Course Prerequisites This course is designed for the student who is committed to advancing previously acquired knowledge and fundamental skills gained in prerequisite foundations level drawing and design coursework. Those skills include drawing proficiency in interpreting 3D space onto a 2D surface and knowledge of the principles and elements of design. Students who are not prepared for this level of studio work may be asked to complete remedial work in fundamental drawing and design. At UCF, 2000 Level Beginning Painting is not a prerequisite requirement for this course.
Required Texts and Materials There is no required textbook for this course however students are expected to take notes during class lectures, access source materials from the reading list, access the UCF library resources and the World Wide Web for supplemental research and readings.
1 This class is designed to give students a variety of opportunities to achieve a desired level of understanding through skill building demonstrations, verbal directives and formal group critiques. A comprehensive list of all assignments research sources, materials and due dates will be provided as a supplement to this syllabus, however the instructor encourages all students to take notes or keep a journal to record other pertinent information.
Optional Recommended Readings Suggested Reading List:
James Elkins. What Painting Is, Rutledge Press, NY, NY Robertson, Jean, McDaniel, Craig. Theories of Contemporary Art – Visual Art after 1980, Oxford University Press Chipp, H. Theories of Modern Art, University of California Press Mayer, R. The Artists Handbook of Materials and Techniques, Faber and Faber Itten, J. The Art of Colour, Van Nostrand Reinbold Robertson, Jean and McDaniel, Craig. Themes of Contemporary Art: Visual Art after 1980, Oxford University Press Barrett, Terry. Interpreting Art: Reflecting, Wondering and Responding, McGraw Hill Kandinsky, Wassily. Concerning the Spiritual in Art Hickey, David. The Invisible Dragon: Four Essays on Beauty Harrison, C. and Wood, P. Art in Theory: 1900 -1990, Basil Blackwell Clark, T.J. Painting and the Modern Life, Knopfe Battenfield, Jackie. The Artist’s Guide: How to Make a Living Doing What You Love.
Suggested Periodicals and Journals: Art News, Art in America, Art Forum, Art Issues, Juxtapose Magazine, New York Times, Washington Post, New York Magazine on line, Village Voice and LA Times Reviews.
Grading Policies:
Assessment Percentage of Final Grade Assignment One: Color Theory Exercises 10% Assignments Two – Five: - Four paintings on canvas exploring the four basic color-theory systems 10% each (40%) Assignment Six: Five in-class human figure studies on paper 10% Assignment Seven: Self-portrait on canvas and several self-portrait studies on paper: 15% Assignment Eight: Final painting – Appropriation and Synthesis 15% Other: Progress of work, participation during critiques, and written assignments/artist statements 10%
Grading Scale (%) and rubric 94-100 A Excellent work, exceeds objectives, highly original, extremely well conceived and executed. 90-93 A- 87-89 B+ 84-86 B Good work, meets objectives, is original, well conceived and executed. 80-83 B- 77-79 C+ 74-76 C Average work, exhibits effort to meet objectives, fairly well conceived and executed 70-73 C- 67-69 D+ 64-66 D Inferior work, basically complete but fails to meet objectives, needs work in terms of ideas and execution 60-63 D- 0-59 F Failing work, significantly incomplete, does not meet objectives and is poorly executed and conceived. Incomplete I An incomplete grade must reflect extraordinary circumstances. (See Incomplete grade policy)
Please Note SVAD Grading Policy: C- (minus) is generally not a passing grade for courses in the School of Visual Arts and Design, and although a C- (minus) grade will earn University credit, it might not count in your program of study. If you are pursuing a degree in the BFA Studio Track program, a C- grade will also put you in danger of falling below the 3.0 average requirements for graduation. It is your responsibility to keep up with your degree plan and University audit.
2 Course Policies: Student Expectations
Grade Dissemination: All assignments will be graded on the above numerical scale in a timely manner. Assessments will be based on achieving the objectives of each specific project with an emphasis on technical and conceptual excellence. Students will not be judged on improvement or strength of effort. Those qualities are expected to successfully fulfill the requirements of this class.
Late Work Policy: All assignments must be completed by the due date and formal critique. Late assignments will lose one letter grade (10 pts.) for each late class.
Attendance Policy: Attendance is strict for this course, especially in the first half of the semester when the first five assignments are cumulative. More than three absences may result in the reduction of your final grade by one full letter unless the instructor approves the absences. Attendance is strictly required for all formal critiques.
Participation Policy: Participation involves developing and utilizing the vocabulary necessary for the verbal and written analysis of a painting during individual and formal group critiques. Critical thinking and discussion of ideas is expected and will be an important factor in your grade.
Extra Credit Policy: There are no opportunities to earn extra credit in this course.
Grades of "Incomplete": The current university policy concerning incomplete grades will be followed in this course. Incomplete grades are given only in situations where unexpected emergencies prevent a student from completing the course and the remaining work can be completed the next semester. Your instructor is the final authority on whether you qualify for an incomplete. Incomplete work must be finished by the end of the subsequent semester or the “I” will automatically be recorded as an “F” on your transcript.
Revision of Assignments Policy: Revising or reworking a completed painting is entirely optional but is encouraged directly after the formal group critique to give a student the opportunity to learn from critical commentary of the work. Revised work is due for grading at the beginning of the next class period. Assignments that are not completed by the due date and formal critique are not illegible to be revised. Unfinished work will be graded “as is”.
Group Work Policy: Students will be given the opportunity to collaborate with one another on the final project if both students can provide an informed and creative reason in defense of the technical or conceptual necessity of the collaboration. Both members of any group collaboration will receive the same score; that is, the project is assessed and both students receive this score.
Course Media Policies: From time to time the instructor will communicate with individuals or the group as a whole through your designated UCF knights or other UCF email account. Please check your email accounts regularly for faculty notices. All email communications between faculty and students should occur using UCF accounts. Social Media: Do not post images of the instructor or other students or their work without direct permission from the individual.
Grievance Procedure: If you need to discuss a problem relating to this class please visit the instructor during office hours. If the problem has not been resolved after the meeting you may schedule an appointment with the School of Visual Art and Design assistant director, Professor Kevin Haran or with a SVAD student advisor. Personal grievance issues should not be discussed during class unless it impairs your ability to work.
Professionalism Policy: All students are expected to assist in maintaining a classroom environment, which is clean and conducive to learning. New SVAD policy forbids eating in the Studio Classrooms. PLEASE dispose of all unconsumed perishables and litter in the trash bins OUTSIDE THE CLASSROOM. Janitorial services involve emptying wastebaskets at night, rarely nothing more. Keep sinks clean, dispose of all paint and materials refuge in the trash receptacles each day.
Student Behavior: Per university policy and classroom etiquette; mobile phones, iPods, etc. must be silenced during all classroom and lab lectures. Those not heeding this rule will be asked to leave the classroom/lab immediately so as to not disrupt the learning environment. Talking too much, making offensive remarks, sleeping or engaging in any other form of
3 distraction, including inappropriate and disruptive behavior in the classroom shall result in, minimally, a request to leave the class. Please arrive on time for all class meetings. Students who habitually disturb the class by arriving late, etc., and have been warned may suffer a reduction in their final class grade.
Breaks: During long, formal group critiques and discussions we will take formal 10-15 minute breaks, however please feel free to leave the room for short, 5 minute breaks, as necessary. During studio hours, please feel free to take short, 5-10 minute breaks as needed.
Safe Practices: Be watchful for unusual behavior of unknown persons in the studio spaces. Report unusual behavior to the Instructor or Office Personal. Please do not give the combination code to VAB 220 to strangers, friends or family.
Toxic and Caustic liquids, glues and solvents must be kept in sealed containers when not used and must be disposed of in containers designated for their proper disposal. Clean up all spills immediately. Unused paint materials should be scraped from the glass palette and disposed of in the trash container. (Always strive to dispose of paint materials in the trash containers rather than down the drain.) CLEAN UP your workspace thoroughly after each use at the end of each class. All students are expected to maintain a safe work environment.
Students with Disabilities: The University of Central Florida is committed to providing reasonable accommodations for all persons with disabilities. Students with disabilities who need accommodations in this course must contact the professor at the beginning of the semester to discuss needed accommodations. No accommodations will be provided until the student has met with the professor to request accommodations. Students who need accommodations must be registered with Student Disability Services, Student Resource Center Room 132, phone (407) 823-2371, TTY/TDD only phone (407) 823-2116, before requesting accommodations from the professor.
Religious Observances: Students are expected to notify their instructor in advance if they intend to miss class to observe a holy day of their religious faith. For a current schedule of major religious holidays, see the Faculty Center’s main web page under “Calendars,” and for additional information, contact the Office of Diversity Initiatives at 407-823-6479.
Academic Honesty: Academic integrity is the pursuit of scholarly activity free from fraud and deception and is an educational objective of this institution. Academic dishonesty includes, but is not limited to, cheating, plagiarizing, fabricating of information or citations, facilitating acts of academic dishonesty by others, have unauthorized possession of examinations, submitting works of another person or work previously used without informing the instructor, or tampering with the academic work of other students. Academic Dishonesty will not be tolerated in this class. *Plagiarism and cheating of any kind on an examination, quiz, or assignment will result at least in an "F" for that assignment (and may, depending on the severity of the case, lead to an "F" for the entire course) and may be subject to appropriate referral to the Office of Student Conduct for further action. See the UCF Golden Rule for further information.
University Writing Center: The University Writing Center (UWC) is a free resource for UCF undergraduates and graduates. At the UWC, a trained writing consultant will work individually with you on anything you're writing (in or out of class), at any point in the writing process from brainstorming to editing. Appointments are recommended, but not required. For more information or to make an appointment, visit the UWC website at http://www.uwc.ucf.edu, stop by MOD 608, or call 407.823.2197.
Lockers: Lockers to store your palette and painting materials are provided for registered painting students only in VAB 216. Please purchase a combination lock and identify your locker with your name and semester written on masking tape. Please remove all items from the locker at the end of the semester. Locks and the contents of the lockers are subject to removal at the end of the semester if not removed by the student.
Students’ Academic Activity: As of Fall 2014, all faculty members are required to document students’ academic activity at the beginning of each course. Failure to do so will result in a delay in the disbursement of your financial aid. In order to document that you began this course and attended the first week of school, please read the syllabus by the 2nd day of class, or as soon as possible after adding the course. You will be required to sign a contract stating that you have read and agree to the syllabus for this course by the end of the week.
4 SPRING 2016 ASSIGNMENT LIST with explanations and objectives: (See calendar of due dates after this listing.)
Semester Projects Include: Color theory exercise on paper, six paintings on canvas, and five in-class figure studies on paper. Written assignments will involve brief artist statements and critical essays.
Objectives: This course emphasizes a rigorous exploration of the interdependency between form and content in painting. Students focus on paint processes, skill building and aesthetic issues using advanced principles of design, drawing and color as they relate to representation and meaning.
Overview: Students will explore a variety of opaque and transparent paint applications throughout the semester in varying degrees of complexity. All canvases, including purchased canvases, must be prepared with at least two extra coats of gesso prior to painting. Canvases must be dry and ready to work on prior to class. Other surfaces may include prepared paper (for figure painting) or prepared wood for projects during the second half of the semester as applicable. No canvas boards –they are too difficult to hang on the critique walls and lack the materiality of canvas cloth.
Color Emphasis: The following cumulative assignments are all constructed to build knowledge of various Color Systems including Arbitrary* Color (Theoretical), Local (Actual), Optical (Value and Saturation) and Symbolic (Imaginative, conceptual, emotional, universal, iconic, etc.).
Supplies for Thursday 1/14: Purchase a sheet of 22” x 30” smooth white paper, (Arches or Rives), one mid-size round or flat brush, a flexible metal palette knife (required), a writing pen or pencil, bull dog clips or masking tape to adhere paper to drawing board and rags for clean up. Wear suitable clothes or bring a smock to protect clothing.
Assignment One: “Arbitrary” Color Theory Exercise Arbitrary Color Project: The term “Arbitrary” color was used to describe Henry Matisse’s color theory relationships. It specifically relates to color that has no realistic or natural relation to the object that is depicted, as in a blue horse, or a purple cow, but which may have emotional or expressive significance. We use so-called “Arbitrary” color systems to construct imaginative uses for color. By working with the complex color wheel we can examine and utilize color relationships, as both the eye and the mind perceive them. A. Part one: Students mix primary colors to create secondary colors. Primaries and Secondaries are mixed to create Intermediates. Tertiary color hues and neutrals are created combining various percentages of opposing primaries, secondaries and intermediate colors on the color wheel. Tertiaries make up the bulk of colors in the middle of the color wheel. B. Part two: Exercises with color relationships involving both value (light and dark) and saturation/intensity (dullness and brightness) in various combinations using opaque color. C. Part three: A small imaginative painting of a spherical object in space on paper utilizing the above principals to create a work that conjures expressive or emotional significance through color usage.
Assignment Two: Arbitrary Color System –Painting #1 on Canvas: Students will utilize the above color system on canvas with an emphasis on non-linear form to suggest relationships of objects to each other and to their surroundings in an implied time and space. Still Life using Paper Sacks Prepare a 9” x 12” or 11” x 14” canvas one day prior to class. Emphasis is on the use of opaque paint applications to create strong figure-ground relationships using shape rather than line. Attempt to create subtle suggestions of human interactions through the placement and handling of form, color and light to enhance implied subject. Other emphasis includes overall composition, scale relationships, point of view and thoughtful handling of negative space to suggest weight. (Research artists: Giorgio Morandi, Paul Cezanne, Pablo Picasso and George Braque for subtle use of color and composition in still life paintings.)
Supplies: Bring paint, one medium-soft charcoal pencil, brushes, palette knife, water container, and rags to class. Bring constructed glass palette to class. (See instructions). This painting must be created on a well-prepared small canvas surface, prepared with gesso three times until relatively smooth. The canvas must be dry and ready to work on prior to class.
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Assignment Three: Local Color – Recording what the eye perceives from observation Second Painting on Canvas: Still Life Subject matter: Fruits and Vegetables or Confections– attempt to transcend the subject matter by developing compositions to suggest meaning through metaphor. Objective: You will create a painting with heightened local color using pastries and colorful objects as subject matter. This painting involves opaque color applications with tertiary values to create shadows. (Research artist Wayne Thiebaud’s confection paintings for reference material. Note the blue-violet shadows and direct application of paint. Note landscape-like sensation of space and how negative space is carefully composed and thoughtfully developed. Space should appear to have as much “weight” as objects.)
Assignment Four: Optical Color: The emphasis is on light and shadow to create mood or atmosphere and to articulate form. Third Painting on Canvas: A combination of Bones, Fabric and other off-white materials. Students will work with both opaque color application and surface glazes to develop depth through light and shadow with human bones as subject matter. Careful planning of figure/ground relationships and composition should suggest metaphor. This painting involves applications of colors involving tertiary neutrals and delicate applications of complementary tertiary’s to create shadows and highlights. (See Italian Renaissance Master works to develop fabric and light including Titian, Di Vinci, Raphael, and Michelangelo)
Assignment Five: Symbolic Color: The use of color to symbolically imply/support meaning. Forth Painting on Canvas: Symbolic Still Life from Found Objects (Dadaist). Symbolic meaning can be implied through color choices. Students will work from a random object, large still-life using 3-D forms and architectural objects and structures to imply space and form in an imaginative Dadaist interior-scape or landscape with the use of both transparent and opaque paint applications. (See Dadaist and Surrealist Artists in particular Giorgio Di Chirico and Rene Magritte.) . MID-TERM – all remaining semester projects focus on your understanding of and focus on color and formal choices as they reflect overall form and concept. Begin planning and researching the Self-Portrait and Final Project now.
Assignment Six: Five Figure Paintings/Studies on paper.
Figure Studies on five separate pieces of gesso-prepared 22 x 30” paper: This assignment involves five in-class sessions working with the human model using monochromatic, analogous, and complementary and local color systems on prepared paper, one painting per day. Although these paintings are studies, the negative space and overall development of the figure-ground relationship must be addressed. (The student for the project grade must tag three figure studies but all five must be handed in.)
The following assignment is a concurrent outside assignment with Assignment 6, the in-class figure studies. It involves several self-portrait studies on paper and/or one significant self-portrait on canvas. I will show former student’s self- portraits.
Assignment Seven: Self Portraiture – a series of formal studies on paper and a single self-portrait painting or diptych on canvas to be created outside of class during the time you are working on the in-class figure assignments.
Research historical and contemporary artists for reference. In no particular order, please look at the following artists: Thomas Eakins, John Singer Sargent, James McNeil Whistler, Mary Cassatt, Anna Klumpke, Lucian Freud, George Bellows, Robert Henry, Gilbert Stewart, Phillip Perlstein, Edward Hopper, Alice Neel, David Hockney (Portrait Series), Raphael Soyer, Richard Diebenkorn, Jenny Saville, Eric Fischl, Robert Colescott, Jim Dine (Women Series), Kehinde Wiley, Max Beckman, Alex Katz, Chuck Close, Jim Nutt, John Currin, Elizabeth Peyton, Gregory Gillespie, David Salle, April Gornik, Jane Freilicher, Fairfield Porter, Pablo Picasso (particularly the portrait of Gertrude Stein), Vincent Van Gogh, George Inness, Paul Cezanne, Edvard Munch, Gustav Klimt.
Assignment Eight: Final Project: Appropriation and Synthesis
6 Look at the above list of historical and contemporary painters for inspiration. Students will research and select a historical or contemporary painting of relevance to study issues of representation, illusion and meaning. The objective is to create a “significant”* painting that appropriates the formal and contextual aspects of the work while inserting elements of your own experiences or perceptions into the painting to create a synthesis of your unique visual knowledge and interests in combination with elements of the master work.
*”Significant”: This word suggests a large effort in scope. Students are allotted several in-class sessions for the project. This together with the formula of 10+ hours minimum for approximately 2 weeks outside-class + weekends work may constitute approximately 30-40 hours work on this project depending on your skill level and speed.
An artist statement is required for this assignment. A hard copy color image of the appropriated works must also accompany this assignment.
INTERMEDIATE PAINTING Spring 2016 Class Calendar
Week One 1/12 Tuesday – Introductions, Syllabi, Course overview and materials 1/14 Thursday – Begin Color Theory Exercises
Week Two 1/19 Tuesday - Work in class on assignment 1/21 Thursday – Color Theory Exercises due for critique
Week Three 1/26 Tuesday – Begin Assignment 1 Color Theory - Paper Sacks 1/28 Thursday - Work in class on Assignment 1
Week Four 2/2 Tuesday – Assignment 1 Color Theory - Paper Sacks due for critique 2/4 Thursday – Begin Assignment 2 Local Color – Vegetables or Confections
Week Five 2/9 Tuesday - Work in class on Assignment 2 2/11 Thursday - Assignment 2 Local Color Vegetables/Confections due for critique
Week Six 2/16 Tuesday – Begin Assignment 3 Optical Color - Skeleton 2/18 Thursday - Work in class on assignment
Week Seven 2/23 Tuesday – Assignment 3 Optical Color – Skeleton due for critique 2/25 Thursday – Begin Assignment 4 Symbolic Color – “Neo DADA” Large Still life
Week Eight Midterm grades distributed 3/1 Tuesday – Work in class on assignment 3/3 Thursday – Assignment 4 Symbolic Color – “Neo DADA” Large Still life Due for critique
Week Nine NO CLASSES MARCH BREAK March 7 - 12 3/8 Tuesday - no class 3/10 Thursday - no class
Week Ten 3/15 Tuesday – Visit VAB Gallery to review MFA Exhibition and Review of past student figurative work and review of contemporary and historical portrait artists 3/17 Thursday - Assignment 5 - Begin human figure painting with live models
7 Outside of class: Assignment 6 - Begin self-portrait studies and self-portrait on canvas
Week Eleven 3/22 Tuesday – Assignment 5 Human figure painting with live models 3/24 Thursday - Assignment 5 Human figure painting with live models
Easter Falls on Sunday March 27th NO UCF HOLIDAY Announced
Week Twelve 3/29 Tuesday - Assignment 5 Human figure painting with live models 3/31 Thursday - Assignment 5 Human figure painting with live models
Week Thirteen 4/5 Tuesday – Assignment 5 Human figure paintings Due for Critique Turn in all 5 paintings on paper, but tag 3 for grading 4/7 Thursday – All Assignment 6 Self Portraits Due for Critique
Week Fourteen 4/12 Tuesday – Begin Assignment 8 Appropriation and Synthesis 4/14 Thursday - Work on Assignment 8 Appropriation and Synthesis
Week Fifteen 4/19 Tuesday - Work on Assignment 8 Appropriation and Synthesis 4/21 Thursday - Work on Assignment 8 Appropriation and Synthesis
Week Sixteen - FINALS WEEK
Be ready for final critiques – although the critique will be held over a two-day period, the order of students will be selected randomly on Tuesday at the beginning of class. Complete your work by 4/26.
4/26 Tuesday Final class day – Begin Final critique 1st half of class – regular class period 4/28 Thursday Final Critique 10:00 am – 12:50 Appropriation and Synthesis 2nd half of class
A FORMAL WRITTEN ARTIST’S STATEMENT AND A HARD COPY COLOR VERSION OF THE APPROPRIATED IMAGES MUST ACCOMPANY ALL FINAL ASSIGNMENTS.
Important Dates:
5/4 FINAL Grades Available on or before this date
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