Course
Number: ART 335/337
Course
Title: Painting II/III
Credits:
3:1:6
Prerequisites/Corequisites: ART 232
For
Whom Planned: Painting majors
Instructor
Information: Mark Gottsegen, Rm 222 Gatewood StAB,
Telephone 336 707 3647, email mdgottsegen@earthlink.net, office hours by
appointment.
Catalog
Description: Studio course with substantial
work from the model. The emphasis will be on your development of control of the
medium for pictorial purposes.
Student
Learning Outcomes: Students will be expected to integrate
the problems of drawing from observation with those of handling paint and
color. We will progress through various
subject matters (still life, interiors, landscape) to the figure, and then will
deal with superficial anatomy and composition.
All compositions will progress from the simple to the complex.
Teaching
Strategies: Lectures, demonstrations, hands-on
studio work
Evaluation Methods and Guidelines for Assignments: Homework
assignments tied to weekly lectures, weekly quizzes on the previous week’s
content, portfolio review. Portfolio,
including progress in homework and class work, 50%; Daily Journal, 20%;
attitude and participation, 20%; attendance, 10%; See the Undergraduate Bulletin for the meaning of the letter
grades.
Portfolio: Generally, grades are based on accumulated
portfolio of studio work and homework reviewed at the end of the term. Date, sign (first and last name), and save
everything. Doing a lot of work does not guarantee a higher grade—the work must
also show improvement.
Daily
Journal: The Daily Journal will be periodically collected for evaluation, so
draw in it every day and date the drawings! If this is a writing intensive
course, written work will be collected and edited, and returned for revision,
several times during the semester; it is due at the end of the semester. In drawing classes, homework is collected and
graded.
Museum
visits: There is no substitute for
looking at art objects. Therefore,
students are required to visit the following museums during this semester: The North Carolina Museum of Art in Raleigh,
The Weatherspoon Art Museum at UNCG, and Reynolda House and the Southeastern
Center for Contemporary Art in Winston-Salem.
At each of these museums, students are required to document the
visit: In the Daiiy Journal (see the
Supply List), make an exact copy, in pencil, of a work of art containing human
figures; the copy must be to scale, and no bigger than about 6” x 8”, depending
on the proportions of the work of art.
In addition, each copy must be accompanied by a photograph of the work
and a 100 word essay describing the surface characteristics of the work; the
essay must be typed, and the work must be completely identified—artists’ name,
title of the work, date of the work, dimensions, medium, and any credit lines
(i.e., “North Carolina Museum of Art, Kress Collection Purchase, 1952”). The essays and the copies are due by the end
of the semester, and must be turned in with the portfolio.
Extra
work: Work done for this course outside
of class, on the students’ own initiative and time, will count towards a higher grade if it shows
continued improvement. If it is poor
work, it will not count against the grade.
The instructor is always willing to look at any extra work, done for
this or any class. Just bring it to the
regular class meeting or make an appointment to see the instructor outside of
class time. The instructor’s schedule is
posted outside Room 357.
Required Texts/Readings/References: No books
required. Suggested reference:
1.
“Gardner’s Art Through the Ages” (Houston TX, 1996.
Harcourt Brace College Publications), is tolerable only as a general
reference.
Topical
Outline:
Art
335/337 -01 Painting II/III
Course objectives: This is a figure-painting course, so you will
be expected to integrate the problems of drawing the figure with those of
handling paint and color. We will deal
with superficial anatomy and composition; compositions will progress from the
simple to the complex.
Course Schedule*
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Week |
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Activity |
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1 |
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Introduction and
supply-getting day. |
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2 |
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Painting Nude model |
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3 |
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Painting. Nude
model |
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4 |
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Painting. Nude
model |
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5 |
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Painting. Nude
model |
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6 |
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Painting. Nude
model |
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7 |
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Painting. Nude
model |
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8 |
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Painting. Nude model |
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9 |
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Painting. Nude model |
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10 |
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Painting. Nude
mode; |
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11 |
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Painting. Nude model |
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12 |
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Painting. Clothed model |
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13 |
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Painting. Clothed model |
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14 |
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Painting. Multiple nude models |
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15 |
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Last Day of
Classes: Portfolios and Daily Journals
due |
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Reading Day |
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No examination for
this class |
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Special notes:
Students must keep a Daily Journal
of study drawings for paintings. Draw
from hired models or situations observed outside of class. The Daily Journals will be collected
periodically. Date every drawing.
Students will not be able to work on
studio paintings outside of class time:
This is a life class and the model’s presence affects the entire
painting—its color, composition, and so on.
Therefore, the instructor will expect students to spend 6 hours a
week outside of class working on independent painting projects, such as
self-portraits, portraits, group or single figure compositions, and so forth. This work will be evaluated periodically, on
an individual basis, and will be collected at the end of the semester. It will be counted as part of the class work
and general progress. No kidding!
Sign every drawing with your full
name and date every drawing.
Draw in the Daily Journal every
day, and date every drawing.
Attendance at all visiting artist
lectures and exhibitions is required.
Academic Honor Code: Each student is
required to sign the Academic Integrity Policy on all major work submitted for
the course. Refer to the UNCG
Undergraduate Bulletin.
Attendance Policy:
The
student chooses to take the course, and thereby enters into a contract with the
instructor. This contract requires the
student to attend all classes.
1.
Unexcused absences are not allowed.
For each unexcused absence, the student may lose a letter grade from the
final grade for the course.
2. Late arrivals to class are not allowed.
Each two late arrivals will count as one
unexcused absence.
3. Excused absences in case of illness or other
medical problems, or family emergencies, are allowed. The student must provide the excuse for the
absence the first day upon returning, following the absence: Do not telephone the Department office to
leave a message about missing class. An
excuse will not be granted unless the instructor is told about it: unreported
excuses will remain recorded as an unexcused absence.
4. The student must find out from a classmate
about missed work, make it up, and present it to the instructor for evaluation:
the instructor has already given the assignment, and will not repeat it for
individuals except in extraordinary circumstances.
5. Four cuts (or eight lates, or some
combination thereof) accumulated prior to the last day to drop courses, will
result in an administrative drop with a W.
Accumulated cuts after the drop period will result in an administrative
withdrawal recorded as a WF.
Additional Requirements:
Students
are REQUIRED to have an email address and to check it frequently for emails
from the instructor. If
you change your email address, notify the instructor.
Due
to a precipitous decline in simple courtesy, the instructor of this course must
impose the following rules for personal conduct during his classes:
1.
Students may not wear hats indoors.
2. Students
may not listen to music players of any kind.
3. Students
must turn off cell phones. The
instructor will answer any cell phone that rings during class.
4. Students who talk while others are talking
will be asked to leave the studio, and the absence will be recorded as
unexcused.
Mark Gottsegen
Room 222 Gatewood Building
email:
mdgottsegen@earthlink.net
Generic SUPPLY
LIST
All undergraduate students are required
to download and print the Art Department’s Health and Safety Policies at www.uncg.edu/art and to print, sign, and
turn in to me the Student Acknowledgement Form.
You may NOT use
printers in the Department of Art
Painting Courses
•a small newsprint pad or single sheets of newsprint for
preparatory drawings •a drawing board to
hold the newsprint •4 big clips to hold
the newsprint to the drawing board •soft
vine charcoal •a kneaded eraser •Composition Detector (to be demonstrated in
class)
• A bound
book of blank drawing paper for your Daily Journal, any size. No substitutes for the bound book will be
accepted.
Oil paint, in
150 ml tubes, in the following colors:
•flake white (lead white)—in linseed oil
Oil paint, in
37 ml tubes, in the following colors: •English red( or Spanish red, or
Venetian red, or light red oxide), raw umber, •burnt sienna, •ivory
black, •yellow ochre, cadmium red deep, ultramarine blue, cadmium yellow light,
viridian green
optional, and
highly recommended: quinacridone
crimson or alizarin crimson, pthalocyanine blue(red shade), chromium
oxide opaque, cobalt blue, phthalocyanine green(blue shade), cerulean blue,
dioxazine purple
I do
not recommend brands. The tops of each
line of oil paint are equivalent, no matter what the brand. Buy the best quality you can afford. Do not buy “student grade” or “sketching”
paints, especially the paints that have the word “hue” after the color name (in
particular, this applies to the cadmium reds and yellows, and the cobalt and
cerulean blues): you will not get the
real pigment. Quality art materials are
expensive—inexpensive art materials may also be cheap.
If you suspect or know that you are allergic to oil paint,
mediums, or thinners, see me now.
•5 or so flat bristle brushes, none smaller than a #8 a 3” wide cheap housepainting
brush
•2 or 3 round bristle brushes, none smaller than a #6
about a quart of
artists’ acrylic dispersion primer, which is erroneously called “gesso.”
enough stretcher
bars to make 5 supports, none smaller than 16” x 20”
enough raw cotton
duck (“canvas”) to cover all the supports (each piece of duck must be 4”
bigger than
the support in each dimension). No
pre-stretched canvas and no canvas boards.
a minimum of 10 8” x
10” hardboard panels. Prime them.
•a quart of odorless mineral spirits—a paint
thinner. One recommended brand: Gamblin’s Gamsol. I do not recommend hardware-store mineral
spirits. “Odorless” mineral spirits can
be as harmful as regular mineral spirits, without the annoying odor.
• a quart of ordinary cooking oil (Wesson oil will do)
•stretching pliers are optional but highly recommended
•a heavy-duty staple gun (such as Arrow T-50) or a
magnetic tack hammer
•a box of 3/8” staples or a box of blue steel #6 or
#8 carpet tacks
•a bunch of cotton rags—synthetic fabrics will work, but
badly—NO paper towels
•a palette knife
•a palette—make it or buy it—15” x 20” minimum size—Glass is
okay but must be 1/4” thick and tempered
plate glass,
with edges polished and taped: tape a piece of gray cardboard beneath the
glass. Wood
makes a better
surface, but glass is easier to clean.
•a small can (tuna)•a large can (tomatoes)NO glass jars
•a bar of cheap white soap (Ivory)
• = Get these
for the first full studio session.
Get the rest by the end of the second week.
Get something to carry what you will need each day, like a
paint box or a fishing tackle box. No
paper or canvas bags—they ruin brushes.
SOURCES
Addam’s
University Bookstore, Tate
Street. Davis Design, South Elm Street.
If It’s Paper, West Market
Street. Perhaps Michael’s, Brassfield Shopping Center. Wood: New Home Builder’s Supply, off
Industrial Drive. Canvas: Norvell
Tent Company, West Lee Street/High Point Road. Rags: Baby Diaper Service, Spring Garden
Street. A hardware or paint supply
store.
Use the telephone book and shop
around! This list is subject to change. ANY QUESTIONS?
If you do not already have one, SIGN UP FOR A LOCKER: Go
to the Art Department office!