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LA MISSION COLLEGE INTRO TO PAINTING, Art 300 Barbara Kerwin, Professor of Art. CAC 1— T: 5:50-10 PM; or F: 9 am-2:10. 818 364 7735 Barbara@Barbarakerwin.com; Office Hours: CAI 221 or CAC 1: M, T, Th 4:30-5:50, F: 2:10-3:40 COURSE DESCRIPTION The emphasis in Art 300 will be on learning the basic techniques of painting, composition and color theory. Students explore the history of styles: Value Blending Portrait, Hard Edge, Abstract Expressionism, realism, still life, and Renaissance atmospheric perspective in landscape. Students will apply techniques such as glazing, scumbling and the use of additives, extenders and mediums to create visually balanced and exciting compositions. Attention will be given to students on an individual basis, depending on their particular level and needs. (Students must write a Field Trip Paper, comparing & contrasting 2 works of art. See below, “Field Trip”) COURSE OBJECTIVES 1) Demonstrate knowledge of historical and contemporary techniques with paint. 2) Demonstrate mixing color and use color in different color schemes 3) Demonstrate balancing a composition with color and the other formal elements. CLASS PROCEEDURE Studio lab sessions will be accompanied by lectures, slides and demonstrations. The teacher will confer with each student daily and give progress points at the end of class. Class discussions and critiques of completed works will assist students in evaluating their own work and in communication of their observations of classmates' work in a supportive and critical manner. (Students may later improve their grade and resubmit after employing critique corrects.) Disabled Students: There are no concessions made for disabled students unless arranged through the Center for Students with Disabilities. FIELD TRIP(s) will be assigned to expose the painting student to important exhibitions in the Los Angeles area and encourage a contemporary dialogue within the class experience. TBA. Select two works and 1) Describe: artist, title, media, date. 2) Compare both. 3) Contrast both. 4) Draw a conclusion. (4 paragraphs) 4 points. LACMA: Van Gogh to Kandinsky through September 14, 2014, or Getty: James Ensor through September 7 may be substituted for TBA. EVALUATIONS AND GRADING Late work drops one point per session late, beginning at critique.

[ART 300 students must have teacher's approval to complete a work prior to critiques.] 15 Pts. Progress Points. = 1 per day.

Solutions to class projects and tests that demonstrate an understanding of course content for that day will be applied to the project grade. (Students must complete 5 paintings minimum per term.)

15 Pts. Homework. (Four hours of homework per week). 5 Pts. CRITIQUES = 1 point per critique.

(Solutions that show evidence of initiative and a creative response to assignments will be considered more advanced than those without this response.) Projects are weighted on number of weeks working on a project @ 5 points per week (inclusive of homework and progresss points).

GRADES: 110-101=A+, 100-90=A, 89-80=B, 79-70=C, 69-60=C-, 59-50=D, 49-40=D- >39=F ****** USE the GRADE RECORD SHEET to record each project score upon return.

TEXTBOOKAS RECOMMENDED: ART 300, Color by Paul Zelanski and Mary Pat Fisher, Prentice Hall; or, Intermediate Drawing, Color, by Barbara Kerwin, Drawing From the Inside Out. [If you need help paying for books and other college expenses, call the Financial Aid Office.(818) 364-7648 http://www.lamission.edu/financialaid

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Kerwin 2—INTRO TO PAINTING, ART 300 WEEK 1—INTRODUCTION 3 pts.

SYLLABUS discussion (KEEP as a weekly calendar). Supply list. Lecture: COLOR; Quiz. 3pts.

*HW: Bring black and white portrait with graduated values, black & white paint and matte medium. WEEK 2—BLACK & WHITE PORTRAIT Painting #1. Blending Technique. Realism.

1) Lecture & Demo: Blending & Glazing techniques of graduated values practice test 1 pt. Water, Matte, Scumble & Gloss Glazes 2) Grid Portrait and use same Grid on canvas. Transfer drawing into gridded canvas (line only). Use black and white paint and matte medium to copy darks and lights in portrait with blended technique.

3) Copy values in portrait with black and white values only. WEEK 3—Finish Black & White Portrait, Painting #1, 10 pts. Finish painting #1. WEEK 4— COLOR WHEEL & COLOR CHART. Hard Edge Technique. 5 pts. 1) Color Wheel= 3pts. & Color Wheel (Paints, paper plates, brush, matte medium, 18x24 paper.)

A. Practice Hard-Edge style: Use fluid/cream-like consistency of paint, add matte medium, no streaks/no strokes. B. Mix color, add matte medium, paint into wheel. 3 pts. 2) Prepare Value Chart and Intensity Chart. Modify Values: 10 variations of values (tints, tones and shades of main hue). Add the main hue + varying amounts of black or white. (Hue + W1, +W2, +W3…. Hue + Blk 1, + Blk 2, + Blk 3….) 3) Prepare the Intensity chart five steps. Modify Intensity (saturation) by adding a tiny amount of the color complement to the main hue. *Warning: Too much complement takes you to opposite color. Stay in your chosen color family. 4) Modify values of the intensity by adding black or white to create neutral tints and shades. 7 pts. *HW: Finish, due at beginning of next class.

WEEK 5—Complementary Portrait, using Simultaneous Contrast. Painting # 3, 10 pts. 1) Use the same photo as before, or bring a new portrait. In this portrait use both the color and it’s complement to create the portrait. Use cool color for the shadows; warm color for highlights and lights.

2) Over lap the warm and cool complements to create neutral middle tones. 3) Use same glazing techniques as practiced in B & W portrait. Critique with B& W portrait. * HW: Bring 18 x 24 drawing paper, charcoal, kneaded eraser and fixative to class next week. WEEK 6—STILL LIFE. PREPARATORY DRAWING. Realism & Composition 5 points

1) Draw a Still Life Composition (Charcoal on 18 x 24”Paper)—4 HOURS.. 2) Select a split-complement color scheme (the color + the colors on either side of complement, but, NOT the complement) Write color scheme on back of canvas. *HW: Grid to scale, and insert drawing onto canvas. Finish for class next week.

WEEK 7—SPLIT COMPLEMENT STILL LIFE, Painting #3, 10 pts. Value Matching and Blending. 4) Match values within the still life drawing into Split-Complement color scheme. 5) PAINT. [REMEMBER: black and white makes values: Tints, Tones & Shades.

Color + complement neutralizes hues— Process: Build darks, then lights to create volume or rounding to form. *HW: Bring printed color image of master AB EX artist from list provided, 1 pt.]

WEEK 8—CRITIQUE Painting #3, Analysis Method. 10 Pts. [Match the drawing values to painting; split complement colors only.] BEGIN ABSTRACT EXPRESSIONISM, Painting #4. 5 pts. Lecture: De Kooning, Pollack, Kline and others DEMO: GEL EXTENDER Technique: 1) BUILD 5-10 layers of gel technique by end of class, Gel Extender Technique--build layers of Gel by applying heavy gloss gel to each paint stroke (do not pre-mix the gel and the paint for this technique. Build 10 layers with gel extender—add one layer after another.

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Kerwin 3—INTRO TO PAINTING, ART 300 2) Analyze what the first color layer the master used, mix that as the 10th layer of gel application.

*HW: Finish the 10 layers as homework. Begin Copying the Master AB EX ARTWORK* WEEK 8—AB EX Painting #4. 5 pts.

3) Copy the Abstract Expressionist master painting as exact as possible. 4) The Final version is a “perfectly copied” composition with thick translucent gel extending the surface of the paint on canvas.

WEEK 9—FINISH & CRITIQUE #4: Comparative Method: Compare Master printed image to painted copy. *HW: Bring distant landscape photo with 4 zones of color recession. No sunsets/no water. 1 pt. WEEK 10—ATMOSPHERIC PERSPECTIVE, Painting # 5, 5 points

Lecture: DA Vinci, Canaletto, etc. Utilizing Leonardo da Vinci's classical treatise for atmospheric perspective, choose a photograph YOU have taken with a diminishing landscape (approval of instructor). 1. GRID canvas from photograph 2. Demo: Pre-Mix 4 zone colors for sky from one large mass of blue tint, divide into 4 sections and add

complement. (Glazing Technique and Blending demonstrated, do not be late). (Blue + W; divide into four sections. Add 1 pinprick of complement C+ W; progressively lighter and duller into each section. Last section is almost white at horizon). Paint Sky First: 5 points. ZONE 1-–Sky zone is divided into four parts, (The TOP of the canvas is the darkest & brightest, the horizon lightest/greyest). Zone 2: 1 tiny prick of color complement added to each of the other 3 tints of blue divided out (and lighten w/White) H+C1, +W1 Zone 3: Blue tint has 2 parts white, plus 2 tiny pinpricks of color complement added. H+C2 +W2 Zone 4: has 3 tiny pinpricks of color complement, and 3 parts white.[ H+C3+W3] …. After premixing 4 sky zones as above: 1) Paint pure matte medium across ¼ sky, then apply zone 1 color at top in horizontal strokes. Work wet in wet, smooth with pure matte medium before moving to next zone. 2) Repeat with Matte medium next lower ¼ of sky with the mixture for Zone 2 3) Repeat with Matte medium next lower ¼ of sky with the mixture for Zone 3 4) Repeat with Matte medium next lower ¼ of sky with the mixture for Zone IF a very great distance exists, glaze with an even lighter blue tint to create more atmospheric perspective at Zone 5…. 5) Repeat steps 1-4 until sky is perfectly blended.

WEEK 12-14—EARTH ZONES, Painting #5, 15 pts. (color techniques +progress points + critique point). Next, identify the four earth zones by these identifying factors: ZONE 1—Earth is divided into four parts. The BOTTOM of the canvas has the brightest color (the horizon lightest/greyest); most detail (crisply painted), darkest (blackest) shadows. Zone 2: has 1 part color complement + W added to each hue used. Here, details blur and shadows lighten. Color is lighter and duller than in zone 1 at bottom of canvas. H+C1+W1 Zone 3: has merged shapes, no detail. Hues have 2 parts white, plus 2 pin pricks of color complement added to each hue. H+C2 +W2 Zone 4: has 3 parts color complement, and 3 parts white.[ H+C3+W3]. Show earths volume (highlights and shadows) at horizon, no flat hard edges on earth. 1) Use a watercolor thin layer of paint to “block in color base of the 4 zones of earth, starting at most distant (horizon) first. When dry, add the distinguishing characteristics, color matching your photo or with details as described above through the four zones (results will be the same). 2) Define Zone 4 with volume.

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Kerwin 4—INTRO TO PAINTING, ART 300 3) Define Zone 3 with dabs of merging shapes.

4) Define Zone 4 with Blurry detail, each color one-part neutralized, shadows lighten. WEEK 15—Finish & Critique: Technical method,

[see rubric on grade sheet for accuracy points of zones and blending techniques] 15 points earth rubric. POTLUCK!

WEEK 16—Field Trip FINAL PAPER, 5 pts. TBA MATERIALS ART 300 SUPPLIES LIST— Charcoal, Kneaded Eraser, & Chamois Cloth, 2 sheets--18 x 24 drawing paper, scissors 9x12 type sketchbook. 4-Stretched and gesso-primed canvases (or sanded, gesso-primed masonite). Size 20 x 24 or larger --NOT smaller (or receive a point deduction if smaller). ACRYLIC PAINTS: (Do NOT buy paint marked “HUES”, i.e. “Cobalt Blue Hue”; doesn’t mix well for our purposes.)

Mars Black Acra Red (other name: Quinacridone Red) Titanium White Cadmium Red Medium Cobalt Blue Cadmium Yellow light or Hansa Yellow. Cerulean Blue

Heavy gloss GEL, stiff (Quart+). Matte Medium (small, 4 oz). or Satin Medium BLUE PAINTERS TAPE, or Frog Tape or 1 roll of clear, non-stick tape, or 3M car Detailing tape Palette (purchased plastic with cover, or old cookie sheet, plate, paper plates, etc.) 2 paper plates Brushes: nylon Bristle-style Flat appx.1/2-1" wide;

detail medium-small round, approximately 1/8th inch. Flat, angled nylon bristle brush approximately. 1/4” Rags and Paper Towels plastic containers (sauce or yogurt containers with lids.) Apron or Old Paint Shirt One-gallon plastic milk carton (with top half of one side cut out, your name in marker) cleaning tank. *Freeze unused paint mixes, remove when ready to paint again.

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Kerwin on Color Theory Color can be thought of optically for the artist. We speak of it in its components first: Hue (the name of a color; primary colors and their combinations) Value is the lightness or darkness of a given color.

Tint= lights, white added. Shades= darks (extremes create loss of chroma), black added. Tones= black + white added.. Darkest- B, P; Lightest Y

Intensity (Saturation) is the brightness or dullness of a color. Purity of a color is full chroma. Change intensity by adding the color’s complement, which is opposite on the color wheel. Green-Red, if red placed next to green+red, the red looks redder. Bright moves forward, dull recedes.

Local Color- The true color, (grass green etc.). Consumer Color (Colonial Yellow, Mediterranean Blue, Canary Yellow, Patriot Blue) Artist Pigment (Yellow Ochre, Gamboage, Cadmium yellow, Cobalt Blue….) not changing. Color Physics: ROYGBIV. Wavelengths at the end of the color spectrum are stronger than those of b-v, and ultra-violet can't be seen at all. Red is the first to be seen by the brain…. COLOR WHEEL: Artists have placed color on the wheel for centuries to study it more completely: DRAW: PRIMARY COLORS: R, Y, B --Can't be mixed. SECONDARY COLORS: G, O, V-- Combination of two primaries TERTIARY COLORS: R-V, B-V, B-G, Y-G, Y-O, R-O = [Primary+ Secondary] COLOR SCHEMES: Contrasting or Harmonious

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CONTRASTING: WARM - COOL Color Theory: Warm advances, Cool recedes. Color is affected by relative placement (y-g is cool next to orange but warm next to blue). TRIAD- Equidistant; Bold: Bonnard,, Mondrian, Kandinsky. COMPLEMENTARY- are colors opposite on the wheel. These have punch (Gauguin, Matisse, Fauves). HARMONIUS: MONOCHROMATIC-- Harmonious, peaceful, unified, restful. (Kerwin, Minimalist Art) TONALITY-- Akin to Monochromatic: overall tone of "green"; but may have many colored “accents”. (Rousseau). ANALAGOUS-- Colors next to one another on the wheel; soothing and related. SPLIT-COMPLEMENT—Possibly the most beautiful scheme: The two colors on either side of the color's complement (opposite the main hue) on the color wheel. (Rothko, John Singer Sargent). Psychology of Color: Quantity of Color Shape of Color Meaning and Emotion Warm/Cool: Albers of the Bauhaus, analytical color studies = Simultaneous Contrast. Analogous: Ad Reinhardt, Georgia O’Keefe, De Kooning, Romare Beardon, etc. (Subjective Color): Derain - Transitional figure of the Fauve movemet; bridged Impressionism to Fauve: Not real or local color, rather personal or subjective color used. Jawlensky-No attempt to draw or use color as accurate. Choice of colors that could directly express feeling. Anticipated Matisse, De Kooning, Expressionism. Kandinsky - Metaphysical sense of color choices, based on his feelings while listening to music. Mark Rothko- 1905-1970. Mystic light. Active 40s and 50s with Ad Reinhardt and Barnett Newman. Tried to "change the viewer's consciousness through use of color and it's affects on viewer. Influencing thoughts and feelings, and human consciousness through paint rather than drugs or mystic discipline. Explores effects on the nervous system. Revolutionary use of color; often the split-complement was used. OPEN NOTES:

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ACRYLIC PAINTING GRADE RECORD Name____________________ /3 color Lecture /3 color Wheel /4 Field Trip, Paper [TBA] /10 Total COLOR CHART, HARD-EDGE PAINTING /2 Technique, no streaks, no strokes, no etched off edges /1 Values 5 or more /2 Intensity 5 + 3 or more Intensity value shifts. /5 Total BLACK AND WHITE PORTRAIT& COMPLEMENTARY PORTRAIT (10 each) /1 BLACK AND WHITE PHOTO /1 Photo for Complementary Portrait /2 Composition /2 Composition /4 Blending Values Technique /4 Blending Values and Intensities /4 Realism /3 Realism /20 Total /10 + /10 STILL LIFE PAINTING; GLAZES, SPLIT-COMPLEMENT /5 Charcoal Drawing; evidence of drawing and blending in paint /5 Split-Complement balance /5 Blending & Glazes; water, matte medium, gel medium; scumble (includes pre-test) /15 Total ABSTRACT EXPRESSIONISM: /5 Does it match the original Master work in Abstraction? /5 Does it have 10 layers built of gel method? /3 Same style as the master? /2 HAVE COLOR PHOTO for critique of the work copied)

/15 pts. ATMOSPHERIC PERSPECTIVE, LANDSCAPE RECESSION /1 Receding photograph of distant landscape, printed in color SKY: /2 Zone 1—brightest hue with values adjusted at top of painting; H+W /2 Zone 2—H+ Complement (C ) one part slightly duller+ W1 /2 Zone 3—H+C (two part) + W 2, duller and lighter /2 Zone 4—H+C (three part) +W 3 parts; lightest and dullest at horizon /1 blended and glazed no bands showing. /10 Sky EARTH: /5 Zone1—brightest hues & tints and shades; 2 most detail; darkest shadows [at bottom] /3 Zone2—H+C 1 part +W; colors dull slightly, detail blurs; shadows lighten /3 Zone3—H+C 2 part +W; shapes merge no details; lighter & duller,shapes have contour /3 Zone4—H+C 3 part +W; lightest and dullest at horizon, light contours, not flat. /1 unified, graduated depth of field, zones recede well /15 Earth /25 = Total Atmospheric Perspective Final Project /10 Daily Progress Points (sustained projects) /5 Critiques.

/100 GRAND TOTAL FOR COURSE 110-101=A+, 100-90=A, 89-80=B, 79-70=C, 69-60=C-, 59-50=D, 49-40=D- >39=F

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ABSTRACT EXPRESSIONIST PAINTERS FOR MASTER COPY Classic AB EX: Willem DeKooning Jackson Pollack Mark Tobey Joan Mitchell Gerhard Richter (Ab Ex works only) Early Jasper Johns AB EX works by Phillip Guston Franz Kline Robert Motherwell Wassily Kandinsky. Richard Diebenkorn ; ab ex period only Cy Twombly Arshile Gorky Antoni Tàpies Robert Rauschenberg Antoni Tàpies Alberto Burri Jean Dubuffet (art Brut, sand, straw, art of the insane) Hans Hoffman (German-American, 1880-1966), Adolph Gottlieb (American, 1903- 1974), Mark Rothko (American, 1903-1970), Willem De Kooning (Dutch-American, 1904-1997), Clyfford Still (American, 1904-1980), Franz Kline (American, 1910-1962), William Baziotes (American, 1912-1963), Jackson Pollock (American, 1912-1956), Philip Guston (American, 1913-1980; ab ex period), Ad Reinhardt (American, 1913-1967), Robert Motherwell (American, 1915-1991), and Helen Frankenthaler (American, 1928-). Abstract Expressionism originated in the 1940s, and became popular in the 1950s. Contemporary AB EX Painters: Francesca DiMattio Mark Bradford Kristin Baker | John Bauer (NOT the illustrator!) Kelley McLane Cecily Brown Kevin Appel

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INTRO TO PAINTING—Art 300 Images (Kerwin)

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Los Angeles Mission College—Drawing and Painting SLOs DISCIPLINE LEARNING OUTCOMES Students earning an Associate Degree in Art will:  1)  create  works  of  art  and  design  using  problem  solving  methodologies  and  intuitive  processes.  2)   apply   the   elements   and  principles   of   design  with   competent   skill   and   technique  with   two  and  three  dimensional  media,  including  technology.    3)  use  discipline  specific  terminology  in  oral  and  written  communication.  4)  demonstrate  aesthetic  responsiveness  by  taking  a  position  on  and  communicating  the  merits  of  specific  works  of   art   and  how   those  works  of   art   reflect  human  values  within  historical,   cultural,  political,  and  philosophical  contexts.   Students earning an Associates Degree in Drawing & Painting will (all of the above AND):  5)  demonstrate  proficiency  in  rendering  objects  in  perspective.  6)  show  competence  drawing  the  human  form.    Students  earning  an  Associates  Degree  in  Painting  will  (all  of  the  above)  AND  7)  apply  color  theory  in  a  variety  of  historical  styles.  8)develop  a  personal  dialog  in  painting  demonstrated  by  a  cohesive  group  of  5  original  paintings.     ART 300 Student Learning Outcomes: 1)  Demonstrate  knowledge  of  historical  and  contemporary  techniques  with  paint.  2)  Demonstrate  mixing  color  and  use  color  in  different  color  schemes  3)  Demonstrate  balancing  a  composition  with  color  and  the  other  formal  elements.