Advanced Studio Visual Problems
Unit 1: Getting Acquainted with Paint & Color
Some of you may have had paint/color experience in the past, others may not. Either way, we're going to review and get comfortable with the medium before we begin any big paintings.
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UNIT 2: Watercolor Painting from Observation
We will learn several Watercolor techniques and how to draw from observation. A series of observational watercolor paintings will be submitted by the end of this unit.
Trinity "En Plein Air"
We will be talking a walk down to trinity to begin our watercolor unit. This will be a "get to know watercolors" as well as a "get to know observational drawing" activity. We will spend a long block at Trinity sketching and observing colors, and complete the work during another shorter block in the studio. This will count as a "Sketchbook" assignment as it is a practice/warm up. ![]()
Watercolor Still Life
Choose a SINGLE object to replicate in watercolors. Shoot for one with depth (you're iPhone would make a pretty boring painting).
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Watercolor Technique Mini:
to practice, on a small scrap of watercolor paper please experiment with the following watercolor techniques:
Autumnal "En Plein Air"
We will be creating Aumnal "En Plein Air" paintings from observations down at Trinity College as the leaves turn. En Plein Air directly translates to "In the open air" in French. This expression is often used to describe the act of painting outdoors which is also called peinture sur le motif (painting on the ground) in French. Painting outdoors is a long artistic tradition, but it became of particular importance because of the natural lighting during the mid-19th century with the Barbizon School and Impressionism. Several innovations led to this new trend of paintings outdoors.
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Unit 3: Getting Technical
Let's Get Technical with Acrylics
We've done an introduction to color with our color wheels and our color field paintings. We've also explored basic observational skills with our outdoor adventures (Trinity Landscape, fall leaves) and our watercolor still lives. Now it's time to get down to some technique development before we begin any large scale paintings. Each of these technique development exercises is designed to get you comfortable with the medium (acrylic paint) and further build on your observational skills. Larger projects will follow where you will need to apply these skills. Please use 100% effort on these and do the best that you can, push yourself! At the end of this week, I expect the following from you: Grisaille Light Study: (Monday & Wednesday) October 7th-9th This will be a value study of simple forms. Be careful not to choose objects that are overly complicated. Using a GRISAILLE (grays, black to white) color scheme, choose 2-5 relatively smooth objects to paint and really capture the lighting (use a lamp to light). Where is the darkest place? What does the shadow look like? How does that fade from light to dark change? Is your highlight intense or subtle? |
Warm & Cool Tones: (Wednesday & Thursday) October 9th-10th
Set up a “still life” with warm and cool colors using relatively smooth objects. (Warm: red-browns, red, oranges, yellows, pinks... Cool: blue, violet, green...). Note the value differences with color as opposed to grays. This is as much about value as the last- where are the lights? Darks? In betweens? Texture & Space Study: (Thursday & Friday) October 10th-11th Arrange several items with texture. Now that you've got value down let’s\ focus on texture. How can you create texture with a smooth 2Dimensional piece of art? Continue showing the value of the scene, but create the illusion of feeling as well. In this study, try to also grasp an understanding of figure/ground relationship. This is the relationship between the foreground and background, objects in front of each other, farther away and closer up, as well as an actual background. How can you create the illusion of space? *Be sure to use your class time efficiently. You will need all of it to these to the best of your ability. Treat these as learning opportunities, not as something to just get done. Done? Plan for next week's activity. Ask me for the handout when you've completed all 3 exercises. AND I’VE APPROVED THE FINAL PRODUCTS. Hand in all 3 exercises Friday 10/11 |
Unit 4: Subconscious Realities
Artist to look at for this assignment:
•Pablo Picasso - especially look at real work to see the brush strokes and blending of paint to create a rich and lively surface. •Hung Liu •Georg Immendorf •Georg Baselitz •Sandro Chia •Francesco Clemente •Francis Bacon Considerations for this assignment: •surface treatment •brush selection •visual color mixing •blended color mixing •edges of the figure •clarity of vision Questions for the assignment: 1.How is the image presented dealing with subconscious realities? 2.How have you dealt with the plastic part of painting to create a strong image? 3.Where is there rhythm in the brush strokes that tie the work together? 4.How has your mark-making improved the artistic quality of this image? 5.How have you pushed yourself outside of your comfort zone for this assignment? |
For many artists the figure's external appearance is a metaphor for expressing what is inside the human psyche. For years we have painted paintings to try to tap into this wild and primal part of our personality. This year we will expand upon this theme by combining the rational with irrational to get at an essential truth about who you are. Yes, this is going to be a self-portrait. We will be working in the representational mode for this work but we will have virtually unlimited possibilities for creativity as the subconscious is one of the inspirations for this assignment.
You images can deal with issues like frustrations you experience, disappointments, or urges. Working with what is there in your external self melded with the subconscious can get to a truer you than a mere photographic portrait. You can have fun with this image and you should learn something about yourself. The process for this assignment: 1. Record your dreams. Jot them down or draw a quick sketch about them in your sketchbook. 2. Clearly define what your artistic intent is for this work for yourself. It may change as you paint but start with a strong understanding for clarity and solid compositional considerations. 3. Work with a camera and shoot a series of images of yourself (someone else could be using the camera for this part or use a self timer) that are non-traditional poses. 4. Work up three highly imaginative 8.5"x 11"composition and color studies for this work (sketchbook). This could be use of color, eliminating parts of the figure, or adding layers like the Hung Liu above. 5. Review your compositions with the class and choose one or a combination of them for your final image. 6. Lay out the sketch for the image on the board or canvas. You will be working on a 18" x 24" surface for this image. 7. Work the acrylic paint in the surface. I should see brush strokes on this image. 8. Paint in the figure and ground. Then become more dynamic in the way you paint. Now turn this image into a painting from the illustration. Worry about edges, blending surfaces, defining surfaces, and creating deep space in your work. Timeline Nov 1st- Weekend homework is to record your dreams, take photos Monday 11/4, W 11/6 – brainstorming. Dream interpretation, photo examination, sketching Thursday 11/7- 3 full page composition sketches (finished ideas to translate to paint) Friday 11/8- Informal “critique” discussion with class to finalize ideas Thursday 11/14- begin working on canvas! Tuesday 11/26- Have painting finished before you leave for Thanksgiving break There is a lot more creativity involved here, you may find that this will take you longer than observational painting.
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Unit 5: COMPLEX SPACE & CULTURE
At this point, you have knowledge of a wide variety of drawing and painting techniques and rules. The goal from here on out will be to build on this prior knowledge and allow for more personal freedom at the same time. The directions will be vague, and the end products will be vastly different and unique.
Include:
· Complex space: this could be interesting points of view (aerial perspective, very low perspective) or multiple point perspective. Hint: 1 pt perspective looking straight down a road or hallway is NOT complex. · Fill the picture plane: Take your subject matter all the way to the edges of the painting. Think about how you crop and frame this picture! · Culture: You may have to do a little digging or research here! Find something you think is interesting or important about your heritage and incorporate it into your painting. Medium & size: · You decide- WATERCOLOR paint or ACRYLIC paint. · Size will be at least 16” x 20.” |
Visual Problem:
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Process & due dates: (tentative)
· Sketches: 3 sketches, of 3 different possible ideas. These should be completed in class Weds 12/4 or for homework Weds night.
· Idea Sharing: We will share your thoughts & sketches on Thursday 12/5.
· Drafting: by Friday 12/6 you should begin sketching on your canvas/watercolor paper, be sure to fill in the whole space. Check your perspective.
· Painting: You should be done drafting and moving on you painting by Thursday 12/12.
· Completion: Before you leave for Winter break, your paintings should be finished!
· Critique: 12/20 (estimate)
· Sketches: 3 sketches, of 3 different possible ideas. These should be completed in class Weds 12/4 or for homework Weds night.
· Idea Sharing: We will share your thoughts & sketches on Thursday 12/5.
· Drafting: by Friday 12/6 you should begin sketching on your canvas/watercolor paper, be sure to fill in the whole space. Check your perspective.
· Painting: You should be done drafting and moving on you painting by Thursday 12/12.
· Completion: Before you leave for Winter break, your paintings should be finished!
· Critique: 12/20 (estimate)
Alternative Canvases.
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