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“Maquette Painting”, Paige Julian, Painting 1 Winter 2016

Painting 1 FAS 145HS

Fall Term 2016

Art and Art History Program

Sheridan College/UTM

Professor: Moira Clark [email protected]

Monday classes: 2 - 5 pm; 6 – 9 pm Tuesday classes: 9 am – 12 pm; 6 – 9 pm

Sheridan College/UTM Art & Art History Fall Term 2016 Instructor: Moira Clark [email protected]

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Painting 1 Weekly Outline - Fall Term 2016

The following is considered to be an outline only. Full explanations of the individual projects will occur in class each week. This outline may change to reflect new directions or timelines agreed upon by the instructor, the class or individual student.

Monday Classes Tuesday Classes Sept. 6 - Introduction to Painting 1

Intro to Wood Shop, Health and Safety, Demo: stretcher making and applying gesso. Students buy materials and brush kits – due for Sept. 12

Sept. 12 Stretcher building workshop Buy Brush Kits

Sept. 13 “Introduction to Colour”: colour exercises, charts and Harmonic/Discordant compositions

Sept. 19 “Chromatic Grey Study” Review of Harmonic/Discordant compositions

Sept. 20 “Impasto Pasta” Portfolio 1: “Chromatic Grey Study” & “Impasto Pasta”

Sept. 26 “Monochromatic Landscape” – either outdoors or looking outdoors from indoor location at Sheridan. Independent Assignment: Landscape in Context

Sept. 27 “Limited Palette Landscape” - either outdoors or looking outdoors from indoor location at Sheridan.

Oct. 3 Critique: “Landscape in Context” Portfolio 2: “Three Landscapes”

Oct. 4 “Painting Things Seriously”

Oct. 10-14 – FALL READING WEEK – no classes

Gallery Visits on Tuesday October 11 and Thursday October 13

Oct. 17 “Interior Perspective”

Oct. 18 “Interior Perspective” continued Portfolio 3: Interior Perspective, Abstraction & Colour Contrast

Oct. 24 Figure Painting 1 – black & white on paper with foam brushes Independent Assignment: “Maquette Painting” Small Maquettes due October 25 or 31.

Oct. 25 Figure Painting 2 - colour Review small maquettes with students Due: First Artist Lecture Review

Oct. 31 “Figure Foreshortening & Chiaroscuro” - painting on tar paper

Nov. 1 “Clothed Figure in Environment” Music due for “The Sound of Paint” Portfolio 4: all four Figure assignments

Nov. 7 Critique: Maquette Paintings Paintings will be graded during class. Independent Assignment: “The Sound of Paint”

Nov. 8 “Portrait”

Nov. 14 “Grisaille Portrait”

Nov. 15 ““Grisaille Portrait” continued Portfolio 5: Two Portrait assignments

Nov. 21 Critique: “The Sound of Paint”

Nov. 22 Introduction: Narrative & Collage in Painting – Research Modeling paste and collage demonstration

Nov. 28 “Narrative and Collage in Painting” Part 1

Nov. 29 “Narrative and Collage in Painting” Part 2

Dec. 5 Critique: “Narrative & Collage in Painting” Final Portfolio: Narrative, Sound of Paint, Sketchbook and second Artist Lecture Review

FINAL PORTFOLIO DUE NO LATER THAN DECEMBER 5, 2016


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Painting 1 Supports Required for Fall Term 2016 This list will tell you exactly what is required for each class.

DATE

ASSIGNMENT

SUPPORT REQUIRED

Sept. 13 Introduction to Colour: Harmonic/Discordant compositions

Masonite: 2 pieces 8” x 10” - gessoed Bring sketchbooks.

Sept. 19 Chromatic Grey Study

Gesso on canvas or masonite 12 x 16” plus a tinted ground (colour mixed with white)

Sept. 20 Impasto Pasta Masonite: 16” x 16” Gesso surface.

Sept. 26 Monochromatic Landscape

Gesso canvas or masonite 12” x 16”

Sept. 26 Due Oct 3

Independent Assignment: Landscape in Context

Gesso primed canvas 16” x 20”. Use the one made in the stretcher workshop.

Sept. 27 Limited Palette Landscape

Masonite 12” x 16” – Rhoplex primed

Oct. 4 Painting Things Seriously

2 pieces 9” x 12” masonite boards + gesso 1 piece 12” x 16” masonite + gessp

Oct. 17 &18 Interior Perspective

Masonite 16” x 20” - gesso primed

Oct. 24 Due Nov. 7

Independent Assignment: Maquette Painting

Large sheet of 4’ x 5’ paper will be supplied. Prime with gesso..

Oct. 24 Figure Painting 1

Paper will be supplied

Oct. 25 Figure Painting 2

Paper will be supplied

Oct. 31 Figure Foreshortening & Chiaroscuro Tarpaper will be supplied

Nov. 1 Clothed Figure in Environment

16” x 20” gessoed Masonite.

Nov. 7 Due: Nov. 21

Independent Assignment: The Sound of Paint

Minimum size of 18” x 24” or larger; support can be stretched canvas, Masonite, ready-made canvas, plywood, found surface + choice of primer.

Nov. 8 Portrait

16” x 20” Masonite plus gesso and your choice of coloured ground.

Nov. 14-15 Grisaille Portrait 2-class project

18” x 24” gessoed Masonite.

Nov. 22 Narrative and Collage in Painting 2-class project

24” x 30” stretched canvas or Masonite with choice of ground i.e. gesso, Rhoplex, coloured ground, etc.

At least one (1) support must be a stretched canvas that you build yourself. Please come to class prepared to paint by having the appropriate support primed and ready to go. Don’t use class time to gesso your canvases – you will have less time to paint.


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BASIC PAINTING MATERIALS LIST

Acrylic paint only will be used in Painting 1

Acrylic Paint Recommended Brands: Artist Grade: Golden (best quality); Liquitex: Stevenson; Winsor & Newton Student Grade: these are all very good - Liquitex Basics; Mantegna; Demco; TriArt Not recommended: Pebeo or any cheap craft paint, pigments are thin and weak, not good for colour mixing. Do not buy liquid acrylic paint in squeeze bottles.

Required Colours: must have these colours Alizarin crimson or Quinacridone red or rose Cadmium red

Cadmium orange Cadmium yellow light or Hansa Yellow Thalo Green (also called Pthalocyanine or Pthlao Green) Cobalt blue

Dioxazine Violet (Purple) Ivory Black or Mars Black (small tube)

Titanium White - large tube, 2 or more Optional Colours: these are not substitutes for the required colours, they are extras Sap Green Hookers Green Thalo Blue Ultramarine blue

Raw Umber Yellow Ochre or Raw Sienna

Burnt Sienna Burnt Umber

Gesso

Minimum 470ml (i.e. a large container) - Mantegna, Golden, Liquitex

Palette Use a disposable paper palette or use Masonite that you can purchase from John McCartney in the Woodshop of the Annie Smith Building. Take note that masonite/cardboard palette must be sealed with gesso. Do not purchase the palette with cups these are for watercolour use. Your palette should be a flat surface. Recommended size 11” x 14”.

Palette Knives Trowel type, 4" blade long, 1/4" wide tip – recognizable by its cranked handle and more flexible blade. Plastic knives are fine; buy 3 to 4 knives in different sizes and shapes and one metal knife. Palette knives are used to apply paint to the picture surface and to scrape it off. They are essential tools for scraping areas of paint from the picture surface so the surface can be reworked if necessary. They are also necessary for mixing colours and cleaning the palette.


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Brushes: All students are required to purchase a Brush Kit for $15. The A&AH Program subsidizes these Brush Kits and students are only paying half the price. These brushes are of the best quality and have long handles (short handles are for gouache or watercolour painting). Synthetic bristles are for acrylics – do not use hair bristle brushes. If looked after properly brushes will last for years and keep their shape. The Brush Kits contain 8 brushes in various sizes plus 1 plastic palette knife, so buy a few more knives (see Palette Knives). Buy a 4” house painting brush for applying gesso. See the Painters’ Handbook for more information on brushes. Mediums: Mediums are used to thin and/or to modify the paint — to improve its consistency for impasto. Buy the following: Rhoplex gloss medium (from John McCartney in Wood Shop) – a free jar at the start and refills for 25 cents. Acrylic retarder or Slow-dry Medium Sketchbook Suggested size 8 ½ x 11" spiral bound, slightly smaller is okay and easier to carry. Acrylic users will have in their paint box:

Black Sharpie marker Pencils HB, 2B, 4B Plastic containers (yoghurt type, 750 g)

Spray bottle — mist bottle Empty shampoo bottle — easy to add water to paint Good provision of rags (cotton) – try to not to use paper towels Viewfinder – Two L-shaped corners made of grey illustration board.

1” roll of masking tape

IMPORTANT: Buy a package of sponge brushes of 3 different sizes, available in most hardware or dollar stores.

Optional: Plastic tool box to carry paints and other materials – it’s a good idea to have a carrying case. NOTE: Please wear appropriate clothing. Fabric stained with dried acrylic paint is almost impossible to clean totally. *******TAKE YOUR SHERIDAN OR UTM STUDENT CARD WHEN YOU BUY SUPPLIES AT ART SUPPLIES STORES and you will get at discount of 5 - 10% - Sheridan Book Store does not give a student discount. Sources for Supplies – Mississauga and Oakville

1. Visual Arts Workshop (Annie Smith Centre): cost prices on hardboard panels and palettes, stretcher kits, Rhoplex, and canvas, see John McCartney, Art and Art History Technologist

2. Sheridan College Bookstore: brushes, acrylic paint, general art supplies. Reasonable and good when you run out

of paint or gesso.

3. DeSerres - 2501 Hyde Park Gate, Oakville, Ontario L6H 6G6; Tel: (905) 829-9181

4. Curry’s Art Store a) 353 Iroquois Shore Road, Oakville, ON L6H 1M3 - (905) 842-0733 ( close by: South of Sheridan, east of

Trafalgar Rd.) b) 755 Queensway East, Units 106-108, Mississauga, ON L4Y 4C5

Tel: 905-272-4460

5. D.L. Stevenson and Son Ltd. Artist's Materials (phone - 416 261 0053) 1420 Warden Avenue (S of Ellesmere & 401), Toronto Producer of Stevenson's acrylic and oil paint, linen, brushes and general art supplies


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TORONTO ART SUPPLIES STORES Above Ground Art Supplies: 74 McCaul Street, Tel.: 416 5911601 Supplies OCAD students; a wide range of papers, brushes, and general art supplies and blue latex glove, very reasonable prices.

Above Ground West (The Junction): 2868 Dundas St. W Above Ground East (The Beach): 1842 Queen St. E

Curry’s Art Store 1153 Queen St. W., Toronto; Tel: 416-260-2633

490 Yonge Street, Toronto, 283 Dundas Street West, Toronto

610 King St. West, Hamilton, ON

DeSerres 130 Spadina Avenue, Toronto Tel: 416 366-4748 Acklands Safety Supply (Tel: 905 731 5555) 90 West Beaver Creek Road, Richmond Hill - Protective gloves and clothing, respirators

STUDIOS The Annie Smith Centre Studios are available for student use over the lunch hour and in the evenings until midnight. If you do not use your swipe access card to enter the Annie Smith Centre (the access card may be obtained from A125), you must sign a security list at the Security Desk beside the bookstore in order to use the studios from between 6 p.m. and midnight, or on weekends. Please exercise prudence when working late at night: do not work alone. In exceptional circumstances, students may stay in the studios until 2:00 a.m. for one evening or for a specified number of evenings provided that a faculty member has sent a written memo to security. When working in the studios after hours, insure that you have your student card with you at all times to present to security. If you have any questions about working after hours or require security's assistance call 4044 from any college phone. UTM residence students may use the studio set aside for their use on the second floor in Colman house.


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COURSE OF STUDY Sheridan College/UTM Course Name and Code FAS 145H Painting 1 Program Name Art and Art History Number of Weeks 12 Weeks Course Prerequisite(s) Exclusion: FAS 230Y (G) Course Description An exploration of painting's formal elements, media, and subject matter Course Objectives To acquaint the student with contemporary approaches to the medium through: 1. an exploration of the formal properties of colour, tone, and composition 2. an exploration of traditional and non-traditional painting materials 3. experimentation in deriving imagery from both an observed motif – such as landscape, the figure, still life, a mechanical reproduction and from processes of collage and abstraction 4. the development of an understanding of certain codes of painting; how they have shifted historically and how this knowledge may be applied to the student’s own work Class Structure Almost every week students will complete in-class studio and home assignments augmented by technical demonstrations and brief slide presentations. Approximately every three to four weeks, a brief or extensive group critique is held in order to view and discuss projects. The projects are designed to encourage an individual approach to content and sources. Students are also expected to attend Guest Artist Lectures and exhibitions on their own. The Visiting Artist Lecture series occurs at irregular intervals throughout the year at 12:30 – 1:30 pm in the Annie Smith Mezzanine.

• Each term students must write two reviews of Guest Artists Lectures. Students may substitute one

exhibition review for an artist lecture if need be, but it must be of an actual show seen in a gallery, not on the Internet. One review is due on October 25 and the other at the end of the term on December 5.

Students are introduced to the following techniques and skills:

• painting techniques, such as drybrush, glazing, staining, impasto, wet-into-wet, palette knife paint application

• working on a variety of formats and supports, such as hardboard, canvas, paper • colour mixing and use of chromatic greys • use of acrylic painting and various mediums, such as Rhoplex, acrylic and gel medium • analysis of form and light using analytical techniques such as divided brushstroke, interlocking

geometrical planes, continuous modeling On completion of the course students should have achieved the following:

• followed current health and safety practices in the studio and when handling painting materials • assured use of paint as a descriptive and expressive tool • accept and understand a number of expressive and interpretive approaches to painting • a heightened awareness of historical and contemporary artists and art practices


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Student Course Load Class time:

· this class meets twice a week for 2 three-hour sessions Prep time:

· students should expect an average of 6 hours per week completing work and doing assignments outside class time

Students are expected to do the following: · attend class, attend the Visiting Artists Lecture Series and to participate in critiques · maintain a sketchbook/notebook. Quick notations of possible solutions to problems given in any studio

should be made in the sketchbook. This will assist in clarifying your ideas, and making links between your various courses

· write reviews of 2 Visiting Artist Lectures

Studio Ethics • Due to the relatively short time period allocated to studio courses it is advised to arrive early to set up. You are

expected to come to each class with all your painting materials, sketchbook, pencils and viewfinder. Class will start on time.

• Students who are absent are responsible for getting the information they missed in class from a colleague and for making up the work. They may also discuss this with the instructor.

• Mobile telephones are not allowed in class - no texting during class time • No photographing of the models is allowed • No general or loud conversation while the model is posing • Personal listening devices are not permitted during class • Students are required to clean up after their studio time and to abide by the Sheridan Health & Safety

Policy Students that need to reach their instructor outside of class time may do so by leaving a message via the instructor’s e-mail. E-mail is checked daily so it is easy to contact the instructor and the addresses are at the top of each page of the Syllabus. If you are sending e-mail include your full name and the group you are in. Please check your e-mail regularly for updates, reminders and other class information. Attendance Policy and Handing in Assignments

• Full attendance and professional conduct is expected in being prepared for the class assignments. • In case of absence or anticipated lateness, Students must declare their absence on ACORN and also

inform their instructor by e-mail. Declaring your absences on ROSI is essential if you should later request any sort of academic accommodation for missed deadlines, etc.

• If a student wishes to request special consideration (i.e. extension of deadlines) it will only be considered if a request is received via email at least 7 days in advance.

• Unexcused absences must be accompanied by supporting documentation (i.e. doctors certificate, U of T medical certificate, death certificate, etc.)

• A student with three or more unexcused absences may be assigned a failing grade. Late arrival to class will be reflected in your participation grade. Students who are more than 15 minutes late for a class shall be marked absent.

• Failure to attend scheduled critique period and to submit the discussed assignment will result in a 0% mark for Class Participation. It is better to show up to critique with an unfinished piece than not at all. You have the opportunity to re-work and re-submit any of your pieces in the subsequent weeks up to the portfolio submission. The most obvious benefit of the critique is the response the artist receives from others and of equal importance is the experience gained through auditing and criticizing the work of the other participants. This experience helps you to become your own best critic.


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Penalties for Lateness Late Assignments

Term work must be submitted by the assigned date. The instructor will apply a penalty of 10% per week of lateness, up to and including work submitted on the last day of the term.

Procedures and Rules

Missed Term Work, Tests and Extensions

· Extensions or deferred tests (including the final exam) can only be granted because of dire circumstances (severe illness, death of a loved one, etc.). We cannot make allowances because of work schedules, pre-arranged holidays, and so on.

· Student absences (missed classes) must be declared on ROSI. Supporting documentation is required (e.g. U of T medical certificate, death certificate, etc.).

· Students who missed a test due to circumstances beyond their control (e.g. illness, or an accident), can request that the Department grant them special consideration.

All requests for make-up tests and for extended time to submit term work beyond the last day of classes, must be completed on a special form obtained from the DVS Office or www.utm.utoronto.ca/dvs and submitted to the Program Administrative Officer in the Sheridan School of Animation, Arts and Design (A100) within 48 hours from the date of the missed test or assignment. If you submit medical documentation make sure it contains the statement "This student was unable to write the test (or submit term work by the last day of classes, if applicable) on (date) for medical reasons". You MUST see your physician on the day of the missed test or the day later or your request will be denied. A statement merely acknowledging a report of illness made by the student to the physician is NOT acceptable. For further information on this procedure visit www.utm.utoronto.ca/dvs Should an illness prevent you from submitting your form to the office in person within 48 hours, emailing your documents will be accepted. This is on the understanding that the original copy will be submitted within one week from the date of the missed test or assignment. Late submissions will NOT be considered.

In case of emergencies (medical or other) contact Tracy Smith, the Program Administrative Officer, at 905 845 9430 ext. 2571 or email [email protected] within 24hrs of the due date of an assignment or test.

No penalty will be assigned if your request for special consideration, described above, was successful.

Evaluation Criteria To obtain pass standing in a course, a student must complete required and assigned course work, as described in the course outline. Grades will be assigned on the basis of completion of work on time, the ability to deal with the course material technically and conceptually, and for the level of exploration with regard to the painting medium.


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Grading Scheme Grades for this course shall be broken down as follows

• Assignments 80% • Artist Lecture Reviews (2) 10% • Participation 10%

Total 100% Participation will account for 10% of the final mark. Participation includes the following: arriving on time, listening to lectures and instruction, being prepared and working in class time, sharing ideas, concepts and creative exploration and conceptual development with other students and cooperating in group projects, analyzing and offering opinions about work in progress and listening to and being an active participant in critique and discussions. Fall Session 2016 Portfolio 1: Supervised assignments (2) Due Sept. 20 10% Portfolio 2: Landscape paintings (3) Due Oct. 3 15% Portfolio 3: Supervised assignments (2) Due Oct. 18 10% Portfolio 4: Supervised Assignments (4) Due Nov. 1 20% Portfolio 5: Maquette Painting Due Nov. 7 5% Portfolio 6: Supervised assignments (2) Due Nov. 15 10% Portfolio 7: Final 2 assignments + Sketchbook Due Dec. 5 10% Class participation – attendance, sketchbook and critiques 10% vb Artist Lecture Reviews (2) Due Oct. 25 & Dec. 5 10% 12-Week Term Total 100% Paintings on canvas or board should be placed in order of execution in a portfolio or heavy cardboard folder. Please do not hand in your work in a green garbage bag. Hand in your figure paintings on paper in the assigned paper drawers in the hallway. All work should be clearly labeled with your name on the back of the painting plus the title of the project. It is your responsibility to show me your sketchbook in class towards the end of term, or to place it in your portfolio.


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Recommended Reading: Suggested Reading: Painting Materials, Techniques and Safety

1. Gottsegen, Mark D. A Manual of Painting Materials and Techniques. New York: Harper and Row Publishers Inc., 1987.

2. Chaet, Bernard. An Artist's Notebook: Techniques and Materials. New York: Holt, Rinehart and Winston, 1979.

3. McCann, Michael. Artist Beware. New York: Watson-Guptill Publications, 1979. Suggested Reading: Discussion of Approaches to Contemporary Painting

1. Schwabsky, Barry, Vitamin P: New Perspectives in Painting, London: Phaidon Press, 2004. 2. Ferguson, Russell. The Undiscovered Country. Los Angeles: Armand Hammer Museum, 2005. 3. Godfrey, Tony, Painting Today, London: Phaidon Press, 2009. 4. Aguirre, Peio and Negar Azimi, Vitamin P2: New Perspectives in Painting, London: Phaidon Press,

2011.

Suggested Reading: Colour 1. Hornung, David. Colour: a workshop for artists and designers, Laurence King Publishing, 2005, U.K. 2. Itten, Johannes. The Elements of Colour, Wiley; Revised edition (Jan. 1 1970.

Canadian Periodicals European Periodicals American Periodicals

Canadian Art Parkett (Switzerland) Artforum

BorderCrossings Frieze (UK) Art in America

C International Contemporary Art Flash Art (Italy) Artnews

Public Art Papers

Cabinet

Websites Sheridan Assignments: http://www.sheridanassignments.com/ Use the Sheridan Assignments site to download the Painting 1 Syllabus, image presentations, class handouts and other information. Akimbo http://akimbo.biz Centre for Contemporary Canadian Art: http://www.ccca.ca Canadian Art Magazine: http://canadianart.ca/ Moira Clark: http://moiraclark.weebly.com/ Mark Bell: http://www.markcroftonbell.com


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PAINTING 1 ASSIGNMENTS Tuesday Sept. 6 – INTRODUCTION to Painting 1 This first class will be an overview of what we plan to cover in Painting 1. We’ll also have a demonstration from Technologist John McCartney in the woodshop on how to use the shop equipment, build a stretcher and apply canvas, which will introduce you the second class’s assignment. Monday Sept. 12 – STRETCHER BUILDING AND GESSOING WORKSHOP. Guided by John McCartney, all students will build a 16” x 20” wooden stretcher in the wood shop. We will then learn how to stretch canvas and staple it in place. These canvases are free and will be used later on for the Landscape in Context project. There will be a demo on priming masonite panels and canvas and student will gesso their own canvases. Tuesday Sept. 13 – INTRODUCTION TO COLOUR This class will look at some of the fundamental aspects of colour in both the subtractive theory (pigment) and the additive theory (light). We’ll discuss colour terminology and we’ll execute a chromatic grey scale and practice colour mixing by making Harmonic and Discordant paintings. COLOUR ASSIGNMENT 1. Chromatic Grey Scales. (You’ll find two scales at the back of your Handbook of Painting Techniques.) As the name suggests, Chromatic greys are greys that have colour (chroma) in them. They are achieved by mixing any two complementary colours in near equal proportion. COLOUR ASSIGNMENT 2. Harmonic and Discordant Colours Due: for class discussion Sept. 20 Support: Two 8”x10” Masonite panels, gessoed. Produce 2 compositions on 8” x 10” masonite panels. Compose your studies using ONLY level bands of colour – no diagonals. You may vary the thickness of each band depending on how much colour you wish to use. Use about 5 to 10 different colours. Composiition #1 is what you believe is a HARMONIC colour combination. Harmonic colours are colours that go well together, not always soothingly or pleasantly. Try to make this painting very “beautiful”. Composition #2 is what you believe to be a DISCORDANT colour combination. Discordant colours are those that do NOT go well together. Try to make this painting as outrageously repulsive as possible. You may use tape to get an edge between colours or may work freehand in a more gestural style. Try not to allow any gesso to show in the finished painting. There will likely be a lot of trial and error in this exercise. Feel free to paint over areas or make changes to the width of any given band. Try to keep the colours in each band solid. Keep it personal, there are no wrong choices. Mix your own colours and avoid using too many colours straight from the tube but use highly saturated colours too. Discussion of these paintings on Sept. 19. N.B.: For more terms definition for colour please refer to “A Concise Handbook of Materials and Techniques for Painters”.


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Monday Sept. 19 - CHROMATIC GREY STUDY Due: include in your portfolio submission on Sept. 20 (at the end of class). Support: stretched canvas or masonite 12” x 16”, gessoed and tinted with a colour of your choice. (white + orange, Raw Sienna, Cobalt Blue) Note: this does not have to be a solid layer of colour. A thin, mottled wash is fine. The class will have two tables set up with arrangements of various white and grey objects on a white ground. Your task is to create a composition from these that fills the painting’s space – use viewfinders to help compose and crop. Use only chromatic greys to execute this painting – no black paint.

• Observe the subtle differences between the various shades of white. • Notice the difference between a warm white and a cool white. • What colour are the shadows? Do not use black to render them. • Observe the surfaces and think about how best to render what is glossy, matt or transparent. • Think about perspective when rendering your composition. • Most of the coloured ground will be covered up, but it will still have an effect on the final painting. • You have only the class time to complete this painting - work quickly and use your time well.

Tuesday Sept. 20 – IMPASTO PASTA Due with Portfolio submission on Sept. 20 Supports: masonite boards, 16” x 16” primed with gesso Materials: all painting materials. Students will be painting a large, tangled pile of wires, ropes and long, stringy things. The objective is to paint from thin to thick, gradually building up the surface of the painting, emphasizing the directions and shapes seen in the mass of spahetti-like cords. Eventually paint may even be squeezed right out of the tube onto the painting surface. Any and all colours EXCEPT BLACK may be used to mix the actual colours of the objects or you can invent more interesting colours to paint the object.

1. Stage 1: at the beginning everyone will cover their painting surface with a thin ground, which will be mixed with a lot of water or Rhoplex. Use Foam Brushes.

2. Stage 2: use large brushes to make broad strokes in different colour using slightly thicker paint to set up the composition of the painting. Don’t worry about details.

3. Stage 3: using a large brush and even thicker paint begin to make the shapes and directions of the mass of “spaghetti”. Also use smaller brushes here.

4. Stage 4: even thicker paint to define the spaghetti shapes – use palette knives here. 5. Stage 5: no water added to paint – very thick – you may add gel medium or modeling paste. Squeeze

paint straight out of the tube onto the painting if you like.

One of the objectives here is to paint fast. Learn to rely on some of the exciting mistakes that will be inevitable when you try to complete a painting in the class time. Don’t try to make a “perfect” painting, it can be loose and energetic – expressionistic. This system of layering your paint and covering the entire surface within the first few minutes of starting a painting is an excellent model for how you should proceed with most of your paintings in this class. When you are doing any painting, start them the same way: using broad, simple strokes, thinner paint first and worry about adding the details and thicker paint later.


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Monday Sept. 26 - MONOCHROMATIC LANDSCAPE (J Wing or outdoors) Due: for Critique October 3 and portfolio the same day. Support 12” x 16” Masonite primed with Gesso or Rhoplex, Materials: sketchbook, pencils, paint supplies. On your support you will execute a simple landscape painting using black and white and various tones in between. Find an interesting view to make a good painting (don’t just find the most comfortable place to sit and hope for a good composition.) Start by doing a few sketches in your sketchbook. Choose a composition. Begin painting with a washy medium grey using it to sketch the key elements and determine the composition. Don’t worry about the details yet. Next use a darker grey (a bit thicker) to fill in some main areas – tree shapes, grass, etc. Use a light grey to fill where light areas are – sky. Mix different tones to fill in the major shapes. Squinting will help you to see where the light and dark areas are. Begin to layer brushwork to make textures – foliage, clouds, etc. Don’t get caught up in the details, think of the big picture. Don’t worry about painting individual leaves or small twigs. Concentrate on the areas of dark and light. Use as large a brush as you dare.

LANDSCAPE PAINTING LOCATIONS The two in-class Landscape paintings will be done from the observation of an outdoor area. These classes will paint in J and D Wings, while looking out of large windows - if it is warm enough the daytime classes will paint outdoors during the Fall Term. However, due to early sunset, the evening classes will go to the location and make quick sketches and take a cell phone photo. We will return to the class to paint from the sketches and photos. Monday Sept. 26 – INDEPENDENT ASSIGNMENT – LANDSCAPE IN CONTEXT Due for Critique October 3 and portfolio the same day. Support: stretched canvas 16 x 20”; use the canvas made in the wood shop during second class. Painting is a way of communicating. A landscape doesn’t have to be just a depiction of trees. Landscape painting also speaks of who we are as well as describing our environment. In this painting, in relation to the landscape site you choose, emphasize one of the following aspects:

1) the sublime (fear, gloom, majesty) 2) the technological sublime 3) the populated landscape 4) the destroyed landscape; social significance in the landscape 5) the political in the landscape 6) solitude, silence, desolation – emotions symbolized by landscape 7) You may wish to find your own way of using the landscape as a framework for other ideas. You can rely

on techniques of blurring, smearing, transformation of colour, or dramatic light effects.

For your preparatory sketches try different approaches such as compositions that emphasize what is at the centre of your site of observation or at the edge of your canvas. Please use an actual landscape that you see while you paint, or find one to use and take pictures of it. Do not use magazine or calendar pictures for this project.


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Tuesday Sept. 27 – LIMITED PALETTE LANDSCAPE (G Wing or outdoors) Due for Critique October 3 and portfolio submission. Support: Masonite, primed with gesso, 12 x 16”. Bring sketchbooks and pencils. Materials: Use only these colours: alizarin crimson, cadmium yellow light, black and white. Mix them to make a variety of colours and tones. Application: Start with brushes and then use a variety of palette knives to apply the paint. First draw your composition with the diluted paint and a round brush. Second, apply with large brushes a layer of dark and light tones. Third, incorporate your mid-tones and the detailed information. Use palette knives to create textures in foliage, skies, etc. Palette knife: use a trowel-shaped knife because the bend in the blade keeps your knuckles off the canvas. Use the flat underside of the blade to pick up paint. Make big, broad strokes with the flat side and smaller strokes with the tip. Work with the minimum number of strokes. Don’t move the knife back and forth, set it down firmly and spread the paint with a single decisive movement. You aim at covering each area with a minimum number of knife strokes. Monday Oct. 3 - CRITIQUE OF LANDSCAPE IN CONTEXT Bring all three Landscape paintings to class and be prepared to present and discuss your work with your peers. At the end of the class you will hand in your 3 Landscape Paintings. Make sure all your work is clearly labeled with your name and project title. Tuesday Oct. 4 – PAINTING THINGS SERIOUSLY Due: Portfolio submission Oct. 18 Support: 9” x12” masonite panels (2) and one 12” x 16” masonite – all primed with gesso. Materials: all painting supplies In their book Taking Things Seriously, Joshua Glenn and Carol Hayes interview 75 different people about an object that has personal significance to them alone. Seemingly irrelevant objects can take on a special significance when seen in a specific context. Is it possible to paint things seriously? Choose an object that has a strong personal meaning to you but that is small enough for you to bring to class. This object will be painted in class using the formal aspects of painting (colour, composition, lighting, contrast, brushwork etc), to convey what it means to you. Write a paragraph on what the object’s significance to you or why you have chosen it – about 200 words is fine. Hand it in with your painting on Oct 18. You will complete a total of 3 paintings in class. The first 2 paintings will be quick studies on 9” x12” masonite boards using each of the colour schemes below. Try to think about how colour can be used to create mood or meaning. The 3rd painting will be 12” x 16” and may use any colours that enhance the meaning of the piece. The 2 studies will each be comprised of ONLY the following colours: Study 1: Saturated Colours Study 2: Chromatic Greys Final Painting 3: any combination of colours or the actual colours of the object.


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Monday Oct. 17 & Tuesday Oct. 18 - INTERIOR PERSPECTIVE Support: 16 x 20” gessoed Due: Portfolio Submission on October 18

This painting of an architectural space will be done during class time. At the beginning of the class the basic principles of perspective will be covered. This is a two-class assignment and you will have the time to be able to work out the problems of depicting 3-dimentional perspective in your preliminary sketches to help you resolve the final painting. Please come to both classes to finish the work.

• In the first 30 minutes make 3 sketches of various compositions of the interior space in the Annie Smith Building – hallway, classroom/studio, stairway, etc.

• Select views that you think might make an interesting painting but try to make your composition so that you are taking in a large area. Feel free to move around the space and find the point of view that works best for you.

• After finishing 3 sketches select the one that has the best composition and begin your painting. • Study the perspective in the space and translate that perspective into your painting. • Observe eye-level in relation to the scene you are painting. Find any vanishing points that might help you plot

the composition. • Rendering architectural forms does not mean that they have to be constructed with flawless, straight lines.

This is art not geometry so don’t worry if your lines are wavy and try to follow the general principles of perspective.

• Paint the scene as you see it using real (“local”) colours and tones. Important Note: make sure your sketches have the same proportions as the support, otherwise your composition will not be the same when you start painting it on the support. Presentation Monday Oct. 24 – INDEPENDENT ASSIGNMENT – MAQUETTE PAINTING Part 1: Construction of a Maquette (3-D Model) A maquette is a small model, which serves as a “sketch” for a sculpture. In this case you are going to use a maquette as the subject for a large painting on paper. Using found or purchased materials (i.e. toys, plastic objects, metal things, toothpicks, wood scraps, paper (folded, crumpled), broken stuff, etc.) construct a small three-dimensional object. Your construction could either be a combination of different materials or objects, joined with hot glue, string, wire, etc. or, it could be a single seamless object made out of one or two materials. Try to avoid conventional sculptural materials. Scale: It should be something that you can hold in your hand. Due: Tuesday Oct. 25 for review in class. Part 2 – Maquette Painting Due for Critique on Monday November 7 and for grading during the class. Materials: One full sheet of Mediacom paper (free). Gesso the paper prior to beginning your painting. Sketch some small compositions of the maquette first, then start the painting. Render the maquette as large as possible. Think about proportion, composition and transforming a small object to a large scale.


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Monday Oct. 24 - FIGURE PAINTING 1 - WITH FOAM BRUSHES Support and materials: Media-com paper will be supplied - bring foam brushes, black & white paint Due: November 1 – Place paintings in assigned paper drawers in the hallway. Using your foam brushes and large sheets of media-com paper, paint four quick paintings. The model will pose for two short and two longer poses. We will use black and white paint to create tones and shading. Try to use the larger (2” or 3”) foam brushes as much as possible. Tuesday Oct. 25 – FIGURE PAINTING 2 - WITH FOAM BRUSHES REVIEW OF MAQUETTES FOR MAQUETTE PAINTINGS – at the beginning of class Support and materials: Media-com paper will be supplied - bring foam brushes, coloured paint. Due: November 1 - Place paintings in assigned paper drawers in the hallway. Again using foam brushes but with different mixings of colour to create skin hues and tones. The model will do four different long poses approximately ½ hour each. Due: First Artist Lecture Review Monday Oct. 31 – FIGURE FORSHORTENING and CHIAROSCURO Support: Tarpaper will be supplied Due: November 1 - Place paintings in assigned paper drawers in the hallway. Students will paint two figure studies on tarpaper working from two different, long poses. Start by sketching the figure with chalk onto the tarpaper. The chalk can be easily wiped off to make changes in the sketch. Then apply light paint to create hightlights, making use of the dark colour of the tarpaper for the shadowed areas. Demo on using dry brush and scumbling effects to create shading and texture. Tuesday Nov. 1 – CLOTHED FIGURE IN ENVIRONMENT Support: 16" x 20" gessoed, stretched canvas or board (Masonite)

• This will be a one-week pose with a female model and must be finished in class. • Model will be clothed in a colourful, patterned outfit and in a seated pose. • Two grids to assist in proportions and the coloured background will be part of the painting. • Try to make a great composition and not use just the middle of the painting. Crop a bit.

DUE: November 1 portfolio submission – hand in at the end of class. Monday Nov. 7 – Critique: MAQUETTE PAINTINGS Paintings will be graded during the critique.


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Presentation Monday Nov. 7 – INDEPENDENT ASSIGNMENT – THE SOUND OF PAINT Size: Your choice, but minimum size 18” x 24” – bigger is better! Support: Masonite, canvas, or any found surface that you think might be appropriate. Research due: November 14 - bring in your choice of music. Submit in digital form: MP3’s, USB key. Due for Critique on November 21 – music will be played while discussing paintings. For this assignment join in groups of 3 or 4 and select a piece of music that you all find interesting. The music could be with lyrics or instrumental. Each group will paint from the same piece of music but each person will interpret it in their own way, responding to the music Individually. Think about developing your own colour associations using rhythms, patterns and brush marks that reflect what you are hearing. Use the music as a starting point for your painting. Allow the music to determine outcomes in your painting especially composition. Your work should be abstract and definitely should not be an illustration of the lyrics. Symbols and shapes may come into the work or be things to start with. Try to keep it a personal response to the music. Music and painting have long been associated with one another, but it was Wassily Kandinsky who first attempted to apply the language of music directly to his paintings in the early 20th Century. He mainly thought that composition is similarly as essential to painting as it is to music. Synesthesia refers to an involuntary blending of the senses. It derives from the Greek syn (together) and aesthesis (perception). The condition manifests itself as a crossing of the senses resulting in for example, colours being associated with flavors, certain words having a texture, or musical notes having specific colours. Whether Kandinsky had the condition of synesthesia is open to debate. Tuesday Nov. 8 – PORTRAIT Support: 16" x 20"; Masonite with gesso and coloured ground. Two models, male and female, will be available and students will choose which model they want to work from for their portrait. You will use a support with a coloured ground - your choice of colour. The face, including the neck and shoulders, can be painted full-face or in a 3/4 view. Concentrate on proportions and emphasize the planes of the face. Natural flesh colours should be used but with some use of primary and secondary colours in the initial layers of painting of the face. Due: November 16 Portfolio Submission Monday Nov. 14 & Tuesday Nov. 15 – GRISAILLE PORTRAIT Support: 18 x 24” Masonite and gesso ground. For more details on this process see the “Grisaille” item in the Handbook of Painting Techniques This two-class assignment will incorporate the traditional glazing technique known as “grisaille”. You will focus on painting the head and chest of the model including some of the clothing. This painting has two stages: first is the foundation layer to be executed entirely in gray and white, taking up all of the first class. In the second stage you will glaze your portrait with a series of transparent layers of colour. By adding a large proportion of gloss medium or Rhoplex to your colours they will become very transparent. With these glazes you will build layers to create skin colour. Build up areas to create a rich, luminous painting. Due: November 15 Portfolio Submission


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Monday Nov. 21 – Critique of THE SOUND OF PAINT Tuesday Nov. 22 – NARRATIVE and COLLAGE IN PAINTING Support: 24" x 30" stretched canvas or Masonite - ground of your choice i.e. gesso, Rhoplex, coloured ground. Introduction Traditionally, narrative has played an important role in the history of painting. For the majority of citizens who could not read in Renaissance Italy, for instance, paintings and murals provided the key to understanding stories from the Bible, history and mythology. To this day a representational painting always contains some element of either an obvious or a suggested narrative. This assignment will be a painting from your own idea that presents a narrative (story) expressing a social, political or philosophical point of view or describing a personal experience. The painting will also include collage to enhance the narrative. Collage works very well with acrylics because the paint and mediums can act like glue to adhere items such as paper, photographic images, and other materials directly into the painting Demonstration of Collage and Photo Transfer Techniques and Materials Research: Collect an assortment of images and materials before the first class. This research can be in the form of photographs, photocopies, computer printouts and other materials and is intended to help you paint as well as for use in collage. Some suggestions of items to gather for your research are: a) images of people engaged in an activity. b) photographic or painted portraits. c) historical images or ones from media such as advertising, newspapers, film or television stills. c) images of environments such as landscape or urban scenes, architecture, interiors, outer space, etc. d) textures, fabrics, patterns (wallpaper, wrapping paper), packaging (labels, logos, food wrappers). Try to collect at least 5 items in each category but it’s a good idea to have more. The images must be printed out (not just be on your computer or iPhone). Put the unused research into your sketchbook. Think about various narrative ideas for your painting and make preparatory sketches or mock-ups in your sketchbook. Make photo transfers ahead of time and bring all the research and sketches to class. Monday Nov. 28: Today you will come with your prepared support and research. Begin your painting and start to apply collage materials. You do not have to have a fully-formed idea for your narrative at the beginning and may let it evolve as the painting progresses. Tuesday Nov. 29: Continue working on your narrative collage. You do not have to represent “real” space in your piece and could present your narrative as a montage using painting, images and materials. Due Date: Critique Monday December 5 and Final Portfolio. Monday Dec. 5 – LAST DAY OF CLASSES CRITIQUE: NARRATIVE & COLLAGE IN PAINTING” MONDAY DECEMBER 5: Absolute final day to hand in your portfolios containing The Sound of Paint, Narrative & Collage in Painting + Second Artist Lecture Review and your Sketchbook.


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Gallery Tours during Reading Week: It is highly recommended that all first year students attend these field trips.

1. Tuesday October 11: Albright Knox, Buffalo U.S.A – need passports, visa if required, lunch. Bus trip leaves Sheridan and UTM at around 9:30 am and returns around 5:30 to both places.

2. Thursday October 13: Downtown Toronto Gallery Tours – students may participate in any of three or four offered tours to various art gallery districts or museums. Lunch afterwards.

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