ART230 –Evening Painting
II
Mercer County Community College
Kyle M. Stevenson, professor
Office hours: TBA
Blog: http://www.professorkylestevensonpaintingtwo.blogspot.com/
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This class works primarily on the
following logic: if all the great masters up to and including those of the
modern and contemporary era were grounded in the craft of perceptual/observational
painting, and if the human figure is the most perceptually complex subject in
the universe, then we can conclude that if one masters the perceptual painting
of the figure, then one can master any visual subject. And, if one can control paint well enough to
paint perceptually, one can control the paint to do anything.
Course goals and objectives:
The student will continue to formulate
his/her conceptual direction in painting.
The student will develop a greater understanding of painting as it
relates to art history and criticism, and build the skills needed to contribute
to the same art history.
Evaluation
During each class we will have a nude
model posing. Regardless of the
direction of your work outside of class, I will expect everyone to work
realistically from the figure during class time, at least during the first half
of the semester. Throughout the term I will
paint with you and show you different approaches and techniques to painting
that will, as you build painting experience, demystify the craft of realistic
painting. At the end of the semester
you will be required to show a folio of a number of in-class figure paintings,
plus several out-of-class paintings at our Final Critique. This allows the several bad painting days
that we can all expect over the course of the semester.
Throughout the term you will be required
to make five works outside of class.
These works will be designed to introduce you to a variety of approaches
to art-making so that you may begin to formulate your own artistic
direction. They will be given as
assignments with some leeway, but narrow enough to be graded using a common
rubric (the first criterion on the rubric will ask: did this painter follow
directions?). I will make a post
detailing each project at least two weeks before it is due. Some of the projects are more involved than
others, and I will therefore post as early as three weeks before their
respective due dates, so you will have plenty of time to finish.
Late Projects
My policy for late projects is as
follows: you are allowed to hand in one
project after it is due without penalty.
After that, any more late projects will simply not be accepted. However, the time window to hand in those that
is not infinite. You have two class
periods from the date and time it is due to hand it in; after that it will not
be accepted.
50% of your final grade will be the
average of the five outside of class project grades. 30% of your final grade will come from your
folio of in-class paintings from the model (remember that I will be there to
help you through each one). 10% of your
final grade will come from your improvement throughout the course, your
attitude to painting and class participation, and the remaining 10% will come
from your art movement presentation. If
you take this class seriously and exhibit genuine effort, you will do just
fine.
Attendance
You MUST come to class. This class will meet 15 times throughout the
term. In order to get the most out of
this course, you need to be in class for all of them. Class is your time to work in an environment
where you have access to me and your classmates. Take advantage of this as it will greatly
inform the time spent painting outside of class. If you don’t, it will certainly be reflected
in the quality of your work.
Because I’m a realist, I understand
that there might be a time where you might not be able to attend class, whether
from sickness or car trouble or family emergency. Therefore you’ll get one freebie absence
before your final grade is adversely affected.
If you have 2 or more absences, your final grade will drop an entire
letter grade after all other calculations have been determined, and an
additional third of a letter grade for every absence beyond the third one. Arriving to class more than 20 minutes late
or leaving more than 20 minutes early will count for half an absence each time,
as will taking more than a 20 minute (total) break in the middle of class.
Required Materials
This course is nominally taught as an
oil painting class, as I know oils best.
However, many if not most of the principles that I teach can be
transposed to other painting media as well.
So, though I can help you best with oils, you may use other painting
media that you can apply the same principles to. Beyond that, the only specific
materials you will need are:
-White and gray toned paper and backing
to be used in the first class period
-black, white and red/brown (sanguine)
conte crayon
- a number of appropriately primed
supports on which to paint in class (this could be a canvas paper pad [also
called canvasette], sized paper of similar dimensions, panels, stretched
canvases, etc.) At least three of these
must be pre-toned medium green gray, and at least three of them must be
pre-toned medium reddish brown (“pre-toned” means dry!) Size is completely up
to you, However, the last couple of poses in class will be over a period of
days and I’ll encourage you to paint much larger than you might be used to! You are also responsible for any support
materials for said supports.
-a delectable dish to pass at Final Critique
At the beginning of each class ALWAYS have at least one
support ready on which to paint.
As
you are already experienced painters, it is up to you decide exactly what
materials you will need for your paintings.
I will certainly have suggestions and input regarding tools and
technique. Painting is potentially very
expensive. That being said, to make the
best work you must be willing to invest in quality tools and materials, though
“quality” does not necessarily mean “expensive.” We’ll certainly talk about this in class. The outside of class paintings will have one common
requirement: they will have to be on a non-commercially produced support. Here are also a few indispensable oil colors:
titanium or flake white, ivory black, yellow ochre, and cadmium
orange (plus a cobalt blue and a cadmium red). All other colors are welcome, but you should
have at least those listed.
You must have a serious attitude toward
drawing and painting throughout the course.
Finally, as we all come to this class
with different experience, ability, and confidence, it is essential that you
treat me, each other, this course and studio with respect. Failing to do so will result in your dismissal
from class.
