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"A Little About Pastel Supplies"- Pastel Notes
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Supplies are available at:
Mendocino College bookstore
Rileystreet Art Supply (phone: 526-2416, 103 Maxwell Ct., Santa Rosa )
Village Art Supply (behind Rosses, Montgomery Village, Santa Rosa)
or online or by catalogue at retailers such as www.carpediemstore.com, Dick Blick, Cheap Joe's, Jerry’s Artarama or many others.
About Soft Pastels:
Soft pastels appear chalk-like and come in a variety of hardnesses and quality. Since soft pastels do not mix like traditional paints, larger sets are more advantageous. I recommend to students to buy the largest set that they can afford, such as sets of 72 sticks, 96, or larger. However, a starter set with a minimum of 24 - 36 sticks will work. Some higher end brands sell “half sticks,” making better quality sets more’ affordable to students. Pastels are sold in sets or sold by the individual stick. Though they may be individually purchased to fill in missing colors, they generally will cost more than the same sticks purchased in a set. If you buy a good starter set, such as Nu Pastel, you won’t out grow them, but you may decide to add additional sets at a later time.
Excellent Economical Starter Sets: ]
Nu Pastels, by Prismacolor (fairly hard, dustless full size stick - 60 set approx. as low as $43.10 OR the 96 set as low as $51.00. This is an excellent choice for price, quality, and color choices.)
Faber-Castel (72 set half sticks approx. $25.00)
Faber-Castell Creative Studio Half Stick Pastel 48-color Set $15.85 at Daniel Smith
Martin / Universal Mungyo Gallery Artist Semi-Hard Pastel Set
Better brands include:
Holbein (harder than average, though they make good muted, natural colors - well priced)
Rembrandt (90 color half stick around $75.00 and up. Medium hardness, Great all around pastel. I have the wood box with 250 sticks that I mostly use in any pastel painting. There are no heavy metal pigments, but pure pigment mixed with the finest quality kaolin clay binder.)
Winsor & Newton (72 full sticks $139.00 and up. Rembrandt’s are a better deal!)
Rowney
More Expensive Professional Brands:
Sennelier (80 half sticks for approx. $84.00 and up - excellent! No fillers, clays and minimal binder, rich pigments)
Schmincke (buttery! Excellent and expensive! Individual sticks around $3.99)
Unison (Excellent, expensive at $3.69 a stick. Many pro’s prefer this pastel.)
Diane Townsend (Many pros love these pastels for the purity of pigment with no chalks or fillers. $5.19 a piece at Dick Blick)
Pastel Surfaces:
Pastel needs a fibrous, toothy or an abrasive surface for pastel layers to adhere to the selected surface. There are a variety of surfaces available that will help achieve different results. Toothy papers will take minimal layers of pastel, while sanded papers or pastel boards can take several layers of pastel that allows the pastelist the opportunity to further develop their painting. Pastel boards take multiple layers of pastel with little need for fixatives. Boards can be made by ges-soing masonite and adding pumice OR marble dust (pumice maybe bought at a home supply / hardware store or you may bought marble dust or lava medium from an art supply store. Premixed mediums are available from Liquitex or Golden Pumice Gel OR Golden Pumice Gel Acrylic Medium). Individual sheets of paper and pads are available in 1/4 sheet, 1/2 sheet and full sheet sizes.
Other Boards Extra toothy surfaces, such as Art Spectrum Colourfix Supertooth Board (10 packs of 20” x 28” are $9.09 at Dick Blick. I have never used any of the Art Spectrum products for pastel. This seems to be a good buy and decent paper that can be used for some of the smaller quicker assignments. This is made with watercolor paper that has been primed with a clear acrylic primer that contains silica particles. The same company makes a “Multimedia” board (Art Spectrum Colourfix Multimedia Painting Board) that comes in a variety of colors, though limited in size to 12” x 16” art area. Though this claims to be a multimedia board, it also has a fine tooth surface. Dick Blick sells this board for $7.39, however I won’t recommend it since I haven’t used it or felt it with my hands.
Watercolor paper is a good surface for a pastel painting when a watercolor or acrylic under-painting is first painted and then pastel applied on top. Less layers of pastel are needed or doable when using this method (watercolor paper has less fiber or abrasion than traditional pastel papers in order for the application of multiple pastel layers, so much of the painting should be worked out first in the under-painting).
One last remark on summing up choosing a paper is that the student should first consider the subject and size being planned to approach, then consider the pastel set that you own. Soft pastels will vary in their consistency and how they lay down on paper. Some brands are more hard, some brands are considered medium in hardness, and some are very soft or buttery. In a painting with multiple layers the “medium” or “hard” soft pastel is applied during the first layers, while the soft buttery pastel is applied last. The reason for this is that the extra soft, creamy pastels will fill in the tooth of the surface quickly because it goes on thick. Of course to work this way, it takes having more than one brand of pastel. Which is fine if you own a smaller set (and decide you love pastel and want to continue working with it), you can add another set later on or add individual sticks or make your own. In the mean time, I recommend that you buy a medium hard set such as Rembrandt’s because they are a wonderful all around pastel. It’s okay to use the same pastel for multiple layers, but the softer the pastel the less layers can be used on a paper.
When choosing paper, pastelists should know that water cannot be applied to a vegetable made paper, so be sure to choose a correct paper if mixed medium is planned for a painting.
Here is a fantastic link to an abundance of information related to pastels. It includes making your own pastels, and reviews on pastels. It is http://www.squidoo.com/pastels#module1568060
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8 months ago
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"Soft Pastel Techniques" - Class Handout
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First we must consider the attributes of soft pastel that sets it apart from other mediums. First, soft pastels are known for color purity, also known as intensity of color. Second, pastels cannot be mixed like wet paint. Like other mediums, there are many techniques to use pastel, but the variety of available surfaces and their affects is broader.
Since pastels can’t be mixed together like wet mediums, it is ideal to have a wide range of shades (darks) or tints (lights) of a specific color in order to retain greater color purity. Typically most students have smaller pastel sets without the range of shades and tints of a color, so it is important to learn to work with what they do have first. Achieving accurate values of a subject is the greatest challenge, even when presented with more choices simply because the artist must develop their eye sensitivity to see the range of values within colors.
Since most students have limited budgets, it’s best to first fully explore the medium of pastel before investing in additional sets. "Conte's" or ‘Prismacolor NuPastels’, though somewhat hard for a soft pastel, are both wise starter sets the student will not outgrow. The choice of investing in additional sets would be determined by the student’s budget and next a medium softness, such as ‘Rembrandts’ or ‘Winsor Newton’s’. The larger the set the better, so being patient and saving money to buy a larger set will have greater dividends in the long run. Eventually, softer, more buttery pastels like ‘Sennelier,’ ‘Schminke,’ ‘Unison’ or ‘Townsend’ may also be acquired, but they are expensive and not necessary, though richer in pigment and color. The pastel’s hardness will be a determining factor in the paper and technique choices.
Next, the personal expression and style of an artist may dictate the direction for the usage of color in a pastel painting or drawing. The artist will choose to either accentuate the color purity or allow this to become secondary to the subject. The techniques that the artist chooses may do one or the other.
As we experiment with the basic techniques, we will cover advantages or disadvantages to each specific technique.
Line: Lines in a composition can be used in a variety of ways, but we won’t discuss this now. If the student is using pastel to create a line drawing, it’s best to use a harder pastel stick or a pastel pencil. The amount of hand pressure used will vary the line.
Blocking: By using the side of a pastel stick larger areas of value or color may be applied into the various shapes of the composition. This has several advantages. It not only makes for a more efficient use of time, but by blocking in larger shapes of value throughout the composition it will be easier to achieve or evaluate value accuracy or color harmony in the composition. This should be done at the early stage of a painting.
Blending color: To blend or not to blend. The pastelist has a choice. If a person chooses to blend, it’s best not to blend more than two colors since the colors will loose their intensity or purity. Blending is also best done at earlier stages since color will probably still be applied on top of a blend. Blending may be done in multiple ways; some conventional, some not. Preferably using a finger cot or wearing gloves, the fingers or hand may be used. For small areas many things may be used to blend; such as tortillons, paper stomps, leather chamois, foam makeup applicators, brushes (made from badger, horse or natural hair), rubber color shapers / nibs, even styrofoam peanuts that one student discovered!
Layering colors to create colors: The process of layering color to create color is frequently used by pastelist's due to the fact it’s a dry medium. Beautiful colors can be achieved by using broken areas of color one on top of the other. Various techniques may be applied in the different layers to create atmosphere, colors, values or textures. Regular charcoal papers limit how many layers may be applied to their surface.
Crosshatching: Hatching (use of parallel lines) or crosshatching (use of a combination of multiple parallel and NONparallel lines). This technique is great for building up color through layering, or creating form by using directional lines that follow the form in various directions.
Scumbling: To scumble with pastel use the side of the pastel with very light pressure to skim the surface of the paper over previous colors to create textures, atmosphere and new color affects. In the landscape, this could be just the right technique to use when your distant space is lacking cooler, muted, lower value contrast colors that create aerial perspective. It will work better on a surface that allows more layers. Also, with softer pastel sticks, and possibly a light spray of fixative.
Other. feathering, dusting, http://painting.about.com/od/pastelpainting/ss/pastels_techs_8.htm
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2 months ago
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Art 210 / Drawing 1
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Lorraine Brady Arthur, Instructor
Student Supply List:
1- binder & paper: to file syllabus, handouts, and take lecture notes
1- kneaded eraser
1- regular eraser
1 each-pencils- 6h,4h,2h, HB, 2b,4b, 6b
1 each-“Conte” sticks or soft pastels- 1 white and 1 bistre (sepia or umber)
1- charcoal stick
1- sketchbook: size 12” x 16” to 18” x 24”, smooth surface, neutral PH
1- 18” - 36” ruler
1- technical pen or similar type pen- size: Grumbacher “Artist Pen” set, or a size “04” Pentel Ceramicron or a size “03” Pigma Micron, or Rotring Art Pen (fine)
4-8 sheets of a colored (neutral grays or browns) charcoal paper, 11” x14” size
1- drawing board- hollow core wood (best), masonite, or make your own
1- Matt board (of a neutral color) for FINAL
1- Backing board (foam core, illustration board (Hot press), etc.) for FINAL
1- clean rag
Optional:
1-5 sheets- Strathmore bristol paper, or hot press illustration board for pen & ink paper.
1- Portfolio - paper, canvas, etc.
1- T-square and / or an angle
Suppliers:
Discount Catalog Companies:
The Jerry’s Catalog 1-800-827-8478, www.jerryscatalog.com
Dick Black (1-800-828-4548), dickblick.com
Daniel Smith 1-800-426-6740 o re-mail DSARTMTRL@AOL.COM
Cheap Joe’s
Art Supply Stores:
Mendocino College Bookstores, Lakeport & Ukiah
*MendoLake Office Supply, Willow Tree Plaza Shopping Center, Lakeport
(Michaels) Village Art Supplies, WalMart Shopping Center, south Ukiah
*RileyStreet, 103 Maxwell Court, Santa Rosa (526-2416)
*Village Art Supply, Montgomery Village, 715 Hahman Dr., S.R. (575-4501)
Aaron Brother’s or Michael's, Santa Rosa Avenue, S.R.
Beverly’s Crafts
WalMart- for some supplies
* Student discounts available with class syllabus
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8 months ago
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Art 210 Drawing 1 Class Calendar & Homework Calendar Spring 2009
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INTRODUCTION TO LINE & SHAPE pencil / eraser / paper
1/21 Class syllabus and materials. Intro to drawing: creating a pleasing composition by using line, shape, perspective, form, and values in the “picture plane,” also intro to “L-mode vs. R-mode” drawing negative & positive shapes. Also, using simplified basic shapes as a tool.
1/28 Bring photos to class. Drawing basic shapes, and negative & positive shapes. Tools: how to hold a pencil, use a viewfinder, and make angle and proportional comparisons for line drawing. Also, proper setting up tips.
2/4 Negative & positive shapes. “Using the sense of touch to see”: contour drawing.
2/11 Negative & positive shapes. Contour drawing.
2/18 Negative & positive shapes. Contour drawing.
PERSPECTIVE pencil / ruler
2/25 Sketchbook & Assignments #1 & #2 due. Aerial perspective, and Linear 1 point & 2 point perspective.
3/4 Linear 2 point perspective, equal spacing, and inclined planes.
3/11 2 Point perspective, inclined planes, 3 point perspective, shadows / light in perspective.
RENDERING LIGHT & SHADOW pencil / conte / (colored) charcoal paper / charcoal / kneaded eraser
3/18 Sketchbook due. Assign. #3 due. Understanding lighting: reflective light, direct highlights, cast shadows and core shadows; also recognizing planes. Bring charcoal, eraser and regular paper. Eraser with charcoal technique. Also, demo of value scales: 10 step value scale (pencil on regular paper) & 4 step value scale (conte on toned charcoal paper)
3/25 Identifying light on planes and rendering (shading) values as shapes in the composition. Rendering light using conte on toned paper and pencil on white paper. Draw paper bag.
4/1 “Absence of line” - Rendering with conte' on toned charcoal paper. Eggs and folds.
4/8 Rendering light as a shape: using conte' on toned charcoal paper. Eggs, folds, etc.

4/15 SPRING BREAK - No Class
4/22 Using pencil to render: rendering glass and reflective surfaces with pencil on white paper.
PEN & INK, TEXTURES & PATTERNS pencil / pen & ink / smooth surfaced white paper
4/29 Assignment #4, sketchbook due. Introduction to pen & ink techniques, also textures and patterns as shapes in composition.
5/6 Begin student portfolio reviews. Using pen & ink techniques to draw textures and patterns as negative / positive shapes in a composition
5/13 Assignment #5, sketchbook & last day of portfolio reviews
FINAL CRITIQUE
5/20 Bring matted Final Project for a class critique. (frame with glass is optional)
HOMEWORK ASSIGNMENT CALENDAR
Hour to two hours weekly. Weekly homework assignments are to be completed in the sketchbook working from the back page forward. Follow instructor’s handout for Outside Assignments.
LINE DRAWING Pencil
1/21 If you don’t have a viewfinder make one. Draw 6 (10 min.)line drawings using basic shapes. One (20 min.) line drawings focusing on negative & positive shapes.
1/28 Three (10 min.s.) silhouette drawings by shading the background only and leaving the image the white of the paper. Draw one (30 min.s) line drawing using a viewfinder.
2/4 Six (10 min.) line drawings using negative & positive shapes, one (20 min.) modified contour. Remember to make proportional and angle comparisons for line drawings.
2/11 Draw two (20 min.'s.) modified contour drawings of either a hand or a foot. Then two (10 min.) line drawings using negative & positive shapes.
2/18 Draw three (20 min.) modified contour drawings of either plants, faces, hands, or feet. Work on Outside Assignments #1 & #2 (30 min.s each) Sketchbook due 2/25
PERSPECTIVE Pencil, ruler
2/25 One (30 min.) 1 point perspective, and one (30 min.) 2 point perspective.
3/4 One (60 min.) 2 point perspective that includes equal spacing and inclined planes.
3/11 One (60 minute) 2 point perspective including inclined planes. Sketchbook due next week. Also, complete Outside Assignment #3 (60 min.) which is due next week.
PEN & INK, TEXTURES & PATTERNS Pencil / Conte / (toned) Charcoal Paper
3/18 - 25 Three (20 min.) drawing studies of light on planes, angles and spheres: tone paper with charcoal, then use an eraser to create highlights, and charcoal to create darker tones. Draw two different value scales that were demonstrated in class: pencil - 10 value steps, conte on toned paper - 4 value steps. Two (20 min.) still life renderings of a ball: one in pencil (shade the background) and one using conte on toned paper. Use the rendering handout.
3/25 One (50 min.) ‘bag’ drawing: use pencils. One (30 min.) draw a ‘fold:’ use conte / charcoal paper
4/1 One (60 min.) still life using conte' on charcoal paper of three eggs
4/8 One (60 min.) still life using conte' on charcoal paper of egg, a fold and a metal surface.
4/15 SPRING BREAK
4/22 One (30 min.) still life rendering of glass in pencil. Complete Assignment #4 or material folds
PEN & INK, PATTERNS & TEXTURES pencil / pen & ink / smooth surfaced paper white paper
4/29 Practice various pen & ink techniques shown in the handouts. Work on thumbnails for Final. Organize class portfolio to be reviewed by instructor for next week (separate class, sketchbook, and outside assignments).
5/6 Use pen & ink for (60 min.) subject with interesting textures and patterns. Complete assignment #5 and next week is the last week to turn in sketchbooks (no exceptions will be made.)
5/13 Work on FINAL project. It must be matted (framing is optional).
5/20 Final due. Only FINAL projects will be excepted for grading
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8 months ago
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CLASS CALENDAR & ASSIGNMENTS: Fall '08 Oils 1 & Acrylic 1
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Lorraine Brady Arthur, Instructor
Fall 2008 ART 218 & ART 226
WEEKLY SCHEDULE:
Paint demonstrations and lectures begin by 6:15. Students are to prepare to paint upon arrival to class at 6:00 PM.
Painting Diary: Students are required to keep a painting diary for each assignment. A diary should record colors used, techniques, why certain decisions were made, a commentary on personal expression, ideas and what you learned. Diaries will be turned in on October 21 and December 16. It is worth 5 points.
Homework: Preparation by gathering materials for painting assignments, drawing and thumbnail sketches, preparing your canvas, and completing assignments.
8/19 Discuss syllabus and supplies. Observe slides of instructor’s work, lecture on composition. Homework: In pencil use a ruler to draw a 12” x 5” grid on a canvas board with 1” squares.
8/26 Assignment 1: Mixing colors, techniques (canvas pad and canvas board). Primaries, secondaries, tertiaries, complements and muting, triads and mixing neutrals, simultaneous contrast. (5 points)
9/2 Demonstration of “negative / positive shapes drawing”. Assignment 2: Drawing / Rub off technique (use 9” x 12” canvas paper). Begin drawing in class, finish for homework. (10 points)
9/9 “The rub-off technique” (subtractive method) will be demonstrated. Complete Assignment 2 by painting in class, finishing for homework. (10 points) Assignment 1 due.
9/16 Bring canvas board with grid drawn on it. Assignment 3 Paint (grays) value / temperature scales, also mixing grays and neutrals with complementary colors and triads. Complete for homework. (12.5 points)
9/23 Assignment 4 Tonal still life focuses on value and form. (10 points)
9/30 - 10/7 Next two weeks. Lecture on lighting. Assignment 5 “ (Use canvas board with gray scales) Paint color value / temperature swatches using primary colors of yellow, red, and blue. A handout will be supplied in class. Complete for homework, along with any other unfinished assignments. (10 points) ASSIGNMENTS 2 - 5 ARE DUE 10/21.
10/14 - 10/28 Assignment 6: Paint still life setup in class for next three weeks. “Still Life Study of Form, Lighting and Color”. 16” x 20” stretched canvas (20 points) Due 11/11. Prepare for Assignment 7 Aerial Perspective / Landscape painting by choosing photos, and begin drawing thumbnail drawings.
11/4 - 12/9 Assignment 7 Painting “Aerial Perspective in the Landscape”. Stage One (11/4): Prior to beginning your painting, thumbnail; roughs must be drawn to complete design of composition. 18” x 24” or larger stretched / gessoed / toned canvas (30 points) Due 12/16. 11/25 will include a discussion on presentation (signing and framing).
12/16 “FINAL” critique and potluck dinner.
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14 months ago
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CLASS CALENDAR & ASSIGNMENTS: Fall 2008 Special Topics: Drawing with Pastels
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ART 88.6 Section Number: 1003
Mendocino College, Lake Center
Instructor: Lorraine Brady Arthur
Weekly Schedule of Assignments:
Paint demonstrations and lectures begin by 6:15. Students are to prepare to paint upon arrival to class at 6:00 PM.
Homework: You will need photos that you would like to paint of landscapes, and either an animal, bird, or person. Prepare for class by collecting photos and organizing supplies for assignments, draw thumbnail sketches, prepare surfaces, and complete class or homework assignments. Remember to prepare weeks in advance, in order to stay on schedule.
8/20 Discuss syllabus, supplies and properties of pastels, pastel surfaces and pastel techniques. How to make a pastel panel with masonite. Observe slides of instructor’s work while listening to a discussion on composition and negative and positive shapes.
8/27 Demonstration of “negative / positive shapes drawing”, shading & 5 step value scale (conte or pastel on white or toned charcoal paper). Assignment 1: (5 points) Draw line drawing portion ONLY of “Tonal Portrait” on (toned) charcoal paper. Assignment 2, part one: (5 points total) three five step value scales (on white charcoal paper or equivalent) Homework: Assignment 3: (10 points) sketch 10 ten minute sketches over next three weeks. Art size approx. 9” x 12”, paper type open, use conte, pencil or pastel. Assignments 2 - 7 may also be done using Art Spectrum Colourfix Supertooth Board purchased in the 20” x 28” ten pack.
9/3 Complete Assignment 1 (5 points) by shading values, but only after completing Assignment 2, part one.
9/10 More on technique, creating form by using and observing values Assignment 4: (5 points) Tonal still life (toned charcoal paper or equivalent) No color yet.
9/17 Hue (color)- primaries, secondaries, and tertiaries, values of color, nature of color Assignment 5: (5 points) Samplers-(2 small white sheets of charcoal paper or equivalent) Color wheel, also complements, muting, triads and mixing neutrals, simultaneous contrast. Also Assignment 2, part two: “Color value / temperature swatches using primary colors of yellow, red, and blue. (5 points) Complete for homework. Assignment 3 is due.
9/24 Lecture / Demonstration: Atmospheric perspective, using an under-painting Assignment 6: Aerial perspective landscape painting with an under-painting in a different medium, such as watercolor, acrylic or ink. Use watercolor paper or multi media board or paper. Tentative plan: we will go outside to paint on the far west side of the parking lot. Bring portable table and/or chairs and an easel and drawing board (5 points) Also begin: Assignment 7: paint two small (between 9” x 12” and 14” x 18”) landscapes on location (plein air)
10/1 Lecture on lighting and color: observing and applying values of color to develop form Assignment 8: Color still life- one session in class using 1/4 sheet to 1/2 sheet of velour paper (5 points)
10/8 - 10/15 Assignment 9: (10 points) “Aerial perspective principles in the landscape”- Landscape drawing from a photo, use sanded pastel paper. Complete for homework, along with Assignment 7 (due next week). Also, discuss framing and presentation.
10/22 - 29 Assignment 10: (10 points) “Still Life Study of Form, Lighting and Color” Paint from still life setup in class. Use a 16” x 20” pastel board panel. Begin a decisive plan for the Final - Assignment 13 that includes thumbnail roughs.
11/5 - 11/19 Assignment 11: (10 points) Crystal and floral still life on open choice for paint surface. Approx. 16” x 20” size or larger, choose your own surface. Homework: work on Final.
12/3 - 12/10 Assignment 12: (10 points) Choose your own paper type (half sheet or larger of sanded, velour, w.c., multimedia or a board) photo/ subject of either an animal, bird or person to paint. Plan composition in advance by completing thumbnail sketches.
12/17 “FINAL” critique of Assignment 13 (20 points)
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14 months ago
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CLASS CALENDAR & ASSIGNMENTS: Painting- Oils 2 & Acrylic 2
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ART 219 & ART 227
Paint demonstrations and lectures begin by 6:15. Advanced students are always welcome to observe or listen to demonstrations or lectures. Students are to prepare to paint upon arrival to class at 6:00 PM. Instructor will attempt to meet individually with advance students prior to demonstration or lecture.
Painting Diary: Students are required to keep a painting diary for each painting assignment. A diary should record colors used, techniques, why certain decisions were made, a commentary on personal expression, and what you learned.
Homework: Preparation by gathering materials for painting assignments, drawing thumbnail sketches, preparing your canvas, and completing assignments.
Two advanced student schedules are listed below for Oils 2 and Acrylics 2. The first schedule is for students that have had one to a few semesters of painting. The second schedule is for students that have had several semesters of painting and have a serious approach to growing as a painter. The instructor will review student work to approve those interested in the advanced level, but haven’t had this instructor before.
Schedule 1: Two paintings are due by 3/31. Two paintings are due 5/19.
1/28 Discuss syllabus and supplies. Observe slides of instructor’s work. You need to stay if you haven’t seen the slide show at least three times.
2/4 - 3/3 Assignment #1: “Copy an Old Master Portrait Painting.” First paint a tonal underpainting. After the underpainting is dried, color will be applied by glazing thin layers of paint on top of the tonal values. (25% each)
3/10 - 3/24 Assignment #2: A study in “FORM and LIGHTING”, but considering maximum use of color by painting a 3-D subject. Absolutely no photos will be used; students will provide own object. ( Use objects that have good dimension to them (avoid flat objects).(25% each)
3/31 - 11/8 Assignment #3: Landscape - use colors value, intensity, and temperature use to create contrast to create atmospheric perspective. Do not use more than one color in full strength in your painting. (25% each)
11/15 - 12/13 Assignment #4: Open subject that exhibits self expression. (25% each)
5/19 FINAL critique and potluck dinner.
Schedule 2: Two paintings are due by 3/31. Two paintings are due 5/19.
8/23 Discuss syllabus and supplies. Observe slides of instructor’s work. If you’ve see the slide show at least three times, you do not need to stay.
Homework: decide on a concept or subject that may be used in a series of paintings for four paintings through out the semester. You may work on more than one painting at a time, but use the calendar above to stay on track. At least two paintings will be framed.
5/19 FINAL critique and potluck dinner.
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14 months ago
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CLASS CALENDAR & ASSIGNMENTS: SPRING 2009 Painting - Watercolor 1
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ART 222 / Section # 5100
Mendocino College, Lake Center
Instructor: Lorraine Brady Arthur
Class & Homework Schedule (instructor reserves the right to make changes to the schedule)
Jan. 21 Class Orientation: Syllabus, supplies, safety and care. Instructor slides and discussion of composition and negative & positive shapes. Homework: Draw layout out for Assignment 1, Watercolor Palette Book, page 1.
Jan. 28 Watercolor techniques: wash, gradated wash, wet on wet, wet on dry. Sampler - Assignment 1. Homework: Instructions to draw layout out for Assignment 2, Watercolor Palette Book, page 2 - 10 which are the same, then pages 11 - 12 which are both different.
Feb. 4 The color wheel. Begin painting Assignment 2 Watercolor Palette Book, pages 1 - 2. Homework: Complete week’s assignment.
Feb. 11 Continue Watercolor Palette Book, pages 3 - 5. Homework: Complete week’s assignment, and draw out layout for pages 11 - 12 (need in class for two weeks).
Feb. 18 Continue Watercolor Palette Book, pages 6 - 10. Homework: Complete week’s assignment.
Feb. 25 Watercolor Palette Book, page 11. Homework: Complete week’s assignment.
Mar. 4 Watercolor Palette Book, page 12. Homework: Complete week’s assignment.
Mar. 11 Assignment 3: Paint a tonal landscape. Homework: Complete from class.
Mar. 18 Assignment 4: Light: color in light and shadow, form. Class: Tonal still life of bags and boxes; values, form. Homework: Complete from class.
Mar. 25 Assignment 5 & 6: Paint two still life’s of eggs (Assign.5) and a quick vegetable or fruit still life (Assignment 6). Homework: Continue from class.
Apr. 1 Assignment 7: Limited palette painting of a snow scene and stretching watercolor paper. Homework: Continue from class.
Apr. 8 Class demonstration of a sky sampler, a landscape, Assignments 8: Sky sampler. Homework: Assignment 9: Simple desert sunset landscape using staining colors and wet-in-wet technique.
Apr. 15 Spring Break / No Class. Assignments 1-9 due next week. Begin considering the subject of your Final project.
Apr. 22 Glazing technique (transparent pigments) used in combination with other pigment groups. Writing a ‘recipe’ plan for a painting. Assignments 10: Glazed sky and water in a landscape, ¼ sheet stretched paper.
Apr. 29 Thumbnails and using layers of paint to plan for negative shapes, then using them to create depth. Assignment 11: Flowers or grape vine. Finish for homework.
May 6 Planning for negative shapes, and wet on wet, layering and various other techniques. Assignment 12: Fence and flowers. 1/2 sheet stretched paper. Work on Final (Assignment 14). First draw thumbnail roughs.
May 13 Assignment 13: Animal or Bird portrait, focus on the eye. 1/4 sheet stretched paper. Finish for homework. Work on Final.
May 20 Final critique of Assignment 14. Class is from 2:00 - 4:00.
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8 months ago
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CLASS CALENDAR & ASSIGNMENTS: SPRING 2009 Special Topics: Drawing with Pastels
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ART 88.6 Section Number: 4059
Mendocino College, Main Campus, Room 5370
Instructor: Lorraine Brady Arthur
Weekly Schedule of Assignments:
Paint demonstrations and lectures begin by 6:15. Students are to prepare to paint upon arrival to class at 6:00 PM.
Homework: Prepare for class by collecting photos, organizing supplies for assignments, prepare surfaces, and complete class or homework assignments. Remember to prepare weeks in advance to stay on schedule.
Weekly Schedule of Class & Homework Assignments:
1/26 Instructor will discuss supplies and properties of pastels, pastel surfaces and pastel techniques, as well as review the syllabus. Observe slides of the instructor’s art while she discusses composition and negative and positive shapes.
2/2 Simple drawing basics: basic shapes, drawing the negative space, overlapping, proportions and comparisons. Use pencil on white paper. Homework: 5 drawings of objects around the house using negative & positive shapes, angle comparisons (pencil on white paper
2/9 Continue: drawing the negative space. Modified contour drawing. (pencil on white paper) Two ‘five step value scales’ as introduction to shading (conte or pastel on white and toned charcoal paper), also cross contour lines. Finish for homework, plus four 20 min. drawings: two neg./pos. shape drawings, two contours of a hand.
2/16 NO CLASS. Draw two (20 min.s) contours: a hand & a flower draw on white paper with pencil. Then draw a “tonal” landscape from a photo: Step 1 - do a line drawing, Step 2 - shade and match values to complete. (conte on toned charcoal paper)
2/23 Perspective: linear and aerial (atmospheric). Homework: One hour drawing with 1 & 2 point perspective, equal spacing and inclined planes.
3/2 Form, planes, values as shapes, and shadows in perspective. Two drawings of bags, boxes and a sphere by using two drawing methods; the tonal thumbnail and a tonal study using conte or pastel on a toned charcoal paper. Homework: 1 quick tonal thumbnail, 1 hr. drawing studying light on planes of objects. (draw from life - ideas: bags, boxes with fruit OR buildings)
3/9 “The values, properties and nature of color”. Hue (color) - primaries, secondaries, and tertiaries. Draw 1.) Color wheel 2.) mixing complements, muting colors, triads to mix neutrals, and simultaneous contrast 3.) “Color value / temperature swatches using primary colors of yellow, red, and blue. Draw next to previous value scales on white paper from the week of Feb. 5. Complete for homework, plus two 30 min. 1 tonal, 1 color drawing of a fruit.
3/16 Lighting and color: observing and applying values of color to develop form. Multi media color still life (use watercolor, acrylic or ink for underpainting) on w.c. paper or another multi-media surface. Homework: repeat the process, choose own subject beginning with a quick tonal sketch.
3/23 Developing your pastel technique, use 1/2 sheet of velour paper. Begin with a tonal thumbnail in your sketchbook. Also, how to make a pastel panel from masonite. Homework: hand or flower on velour paper, begin by contour drawing.
3/30 Aerial perspective principles in the landscape - Draw from a photo on sanded pastel paper. Begin with a quick tonal thumbnail in your sketchbook. Complete for homework. Also, discuss framing and presentation. Homework assignment: Paint two small (between 9” x 12” and 14” x 18”) landscapes on location (plein air - 5 points total) due by 4/27
4/6 Begin a still life in class from a set up still life. Begin with a quick tonal thumbnail in your sketchbook. Use a 16” x 20” or larger pastel panel. Consider bringing a camera to class, so you can continue for homework (we will continue this still life in the next class).
4/13 NO CLASS. Homework: Final plans, also one color drawing, open subject.
4/20 Complete still life from last class. Homework: work on Final 4-6 thumbnails
4/27 - 5/4 Choose your own surface (half sheet or larger of sanded, velour, w.c., multimedia or pastel board). Use a photo of either an animal, bird or person. Plan composition in advance by completing 4 quick thumbnail sketches.
5/11 “Plein-air” landscape painting on campus (choose your own surface), first draw a quick tonal sketch. Tentative plan: we will be at the far north-west side of parking lot to paint outside. Bring portable table and/or chairs, drawing board and / or easel. Meet indoors if it rains.
5/18 “FINAL” critique (20 points)
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8 months ago
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CLASS CALENDAR, HOMEWORK & ASSIGNMENTS: SPRING 2009 Painting- Watercolor 2
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ART 223 / Section # 5001
Mendocino College, Lake Center
Instructor: Lorraine Brady Arthur
Class & Homework Schedule
(instructor reserves the right to make changes to the schedule) Advanced students who are taking WC 2 for the second time will substitute Assignment 1 - Watercolor Pigment Book with a second W.C. Sketchbook filled with 12 half page landscapes recording “seasonal” colors, the rest of the book is to be filled with small studies / sketches done in watercolor. Assignment 6 & 10 maybe substituted with arrangements made with the instructor in advance.
Jan. 21 Class Orientation: Syllabus, supplies, safety and care. Instructor slides and discussion of composition and negative & positive shapes. Homework: Draw layout out for Assignment 1, paint pg.'s 1-2 (transparent pigments) in Watercolor Pigment Techniques Book, Assignment 1
Jan. 28 Assignment 1: complete pages 3 - 5 (opaque pigments).
Feb. 4 Assignment 1: complete pages 6 - 7 (staining pigments).
Feb. 11 Assignment 1: complete pages 8 - 9 (green mixtures).
Feb. 18 Assignment 1: complete pages 10 - 12 (each painting is dominated by: greens, neutrals, and an emphasis on all three pigment groups).
Feb. 25 Assign. 3: landscape, ¼ sheet of w.c. paper. Assignment 2 (Watercolor Sketchbook), page 1, Rapid direct method: ‘alla prima’ - paint 4 small plein air cloudscapes during week.
Mar. 4 Assignment 2, pages 2 - 3 of W.C. Sketchbook: Four studies for a portrait (Assignment 3).
Mar. 11 Assignment 3 Portrait, 1/4 sheet of stretched w.c. paper.
Mar. 18 Light: color in light, form. Class: Tonal still life. Assignment 2, page 2: Bags and boxes - values, form. Homework: Assign. 2, pg.’s 3 - 4 Paint compositional thumbnail studies of eggs still life.(include eggs, lace, silver, and a glass)
Mar. 25 Assignment 4: Eggs still life. Homework: complete for homework
Apr. 1 Assignment 5: Snow scene- either landscape or landscape may be secondary to a building, vehicle, etc. Thumbnails completed first in Assignment 2, page 5 W.C. Sketchbook. Assignment 2, page 6 paint 1 plein air landscape
Apr. 8 Class demonstration of a sky sampler & a landscape, also stretching watercolor paper. Assignments 8: Sky sampler. Homework: Assignment 9: Simple desert sunset landscape using staining colors and wet-in-wet technique.
Apr. 15 Spring Break / No Class. Assignments 1-9 due next week. Begin considering the subject of your Final project.
Apr. 22 Glazing technique (transparent pigments) used in combination with other pigment groups. Writing a ‘recipe’ plan for a painting. Assignments 8: Glazed sky and water in a landscape, 1/2 sheet stretched paper.
Apr. 29 Using layers of paint to design negative & positive shapes to create depth. Assignment 11: Flowers or grape vine. Finish for homework.
May 6 Negative & positive shapes, wet on wet, layering and various other techniques. Assignment 12: Fence and flowers. 1/2 sheet stretched paper. Work on Final (Assignment 14). First draw thumbnail roughs.
May 13 Assignment 13: Animal or Bird portrait, focus on the eye. 1/4 sheet stretched paper. Finish for homework. Work on Final.
May 20 Final critique of Assignment 14. Class is from 2:00 - 4:00.
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8 months ago
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FALL 2008 SYLLABUS: Art 219-Painting Oils 2 & Art 227-Painting Acrylics 2
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ART 219 SECTION #0084 & ART 227 SECTION #0090
Instructor: Lorraine Brady Arthur
Mendocino College, Ukiah Campus
E-mail: lbradyar@mendocino.edu Phone Messages: 707-479-3889
Tuesday 6:00- 9:00
Class Begins August 19
Class Ends December 16
Office Hours: Tuesday 9:00 - 9:10
Room 5360
1.5 units
Course Description: Oils 2 and Acrylics 2 will be divided into two categories depending on a students experience.
Intermediate Level: A combined academic exploration of advanced painting using contrary methods of both the classical Old Masters and Impressionist era artists, along with applied elements of design and color theory using oil or acrylic paints.
Advanced Level: An opportunity to build greater confidence for the advanced student by developing personal themes and skills through specific application and consideration of paint medium.
Course Outline:
1. The development of an idea using the elements of design (line, shape, texture, value, pattern and rhythm, space, composition, form and color)
2. Advanced techniques
3. Accurate identification of observed value, hue (including temperature changes) and chroma (intensity) in painting
4. Advanced understanding of lighting
5. Paint mediums: traditional vs. modern
6. Palette color choices of past eras and developing your own personal palette
7. Greater understanding of grounds and surface preparation
8. Safety
9. Framing, presentation and preservation of artwork
Course Outcome: Upon completion of this course students should be able to demonstrate:
1. Advancement of painting skills, including brush techniques with a basic understanding of classical vs. modern techniques
2. Identify, mix and match observed colors with paint
3. Advanced use of value, color, and composition in the painting
4. Understanding the properties and pigments of oil or acrylic paints and mediums
5. Color palette choices
6. Increased observation skills
7. Development of an idea using elements of design
8. Proper selection of brushes or knives for a technique
9. Emergence of personal style
10. Advanced students: development of a series/ portfolio
Method of Instruction: Lectures, demonstrations, instructional handouts, books, internet, slides, DVD or video
Assignments: Paintings, appropriate framing of one painting, and a painting diary
Painting Diary: All students are required to keep a painting diary for each assignment. A diary should record colors used, techniques, a commentary on personal expression, and the discovery of what you learned.
Homework: Preparation by gathering materials for painting assignments, drawing thumbnail sketches, preparing canvas with gesso or toning, etc. Also, work on class assignments.
Method of Evaluation: In order of importance as in accordance to each assignment
1. Individual skill development:
A. Proper demonstration of color and lighting
B. Use of the elements of design and composition
C. Technique
D. Use of medium
E. Individual style
2. Apply critical thinking to assignment concepts
3. Participation in class content and class objectives, critiques
4. Homework: individual exploration, development and preparedness by planning, gathering materials, designing or completing painting assignments outside of class
Grading: Assignments #1-#5 are 20% each of overall grade. One painting must be framed.
Students are expected to turn all assignments in according to the schedule. Repeated tardiness or late assignments may lower a grade one whole grade. Students who are unable to meet the mentioned criteria or feel anxiety of a letter grade, should register for a credit/no credit grade option prior to the end of the first month of the semester.
Student Responsibilities:
1. Regular attendance. Students have the first 10 minutes to set up supplies for painting. Lectures or demonstrations will follow.
2. Be prepared! Read the class calendar weekly to prepare for class assignments. Bring all necessary materials for each assignment, such as canvas vs. canvas paper, photos, or roughs, etc.
3. Active observation and note taking of all demonstrations or lectures
4. Active participation during class critiques and discussions
5. Keep a painting diary of all assignments
6. Clean up your own work area after each class! This includes sponging off tables.
Student Conduct Policy:
1. Consideration, courtesy, and non disruptive behavior are expected by all individuals in class:
A. Full concentration on instructional lectures and demonstrations
B. Withhold questions to a question & answer time after any lecture or demonstration
C. Students are asked not to leave the room during lecture or demonstrations
D. Follow all class assignments
E. An absolute no tolerance policy exists for lewd, profane, indecent, hostile or threatening behavior. If such behavior occurs the student will be permanently removed from the class and reported to College Administration. Students are asked to report any personal incidents to the instructor.
F. Talking in class is aloud during lab time with respect to those around you
2. No eating in the classroom, unless we are having a potluck
3. Drug-free campus
4. Follow Mendocino College “Academic Honesty Guidelines”
5. If you’re having problems, speak with the instructor! Please maintain an open communication with instructor regarding personal issues that may arise and affect your abilities to complete class/ work, etc.
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14 months ago
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FALL 2009 Class Schedule & Assignments for Oil 1 & Acrylics 1
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Class Schedule & Assignments
Format: Students should prepare to paint before class or during the first break. Paint demonstrations / lectures begin by 6:10. (Instructor meets with advance students before and after the demonstration or lecture, and directly after the first break.) After the first break, students will have an approximate two hour lab time to paint. If necessary, prepare appropriately for class.
Painting Diary: Students are to make notes of their paintings in a diary format. Students may record specific colors used or techniques, why certain decisions were made, a commentary on personal expression, or what they learned. This is solely for the benefit of the student to remember what works for them in their paintings or what colors were used to create specific affects that they may refer to at a later time.
Homework: Homework is minimal. Preparation of assignments by following the weekly schedule, gathering materials for paintings if necessary, or drawing thumbnail sketches, or preparing your canvas with gesso, etc. Painting on assignments for homework is generally not required, unless the schedule lists homework, it is desired by the student or if a student is behind.
Schedule:
8/17 Discuss syllabus and supplies. Observe slides of instructor’s work, lecture on composition. Homework: In pencil use a ruler to draw a 12” x 5” grid on a canvas board with 1” squares.
8/24 Assignment 1: Mixing colors and techniques on canvas pad and canvas board. Primaries, secondaries, tertiaries, complements and muting, triads and mixing neutrals, simultaneous contrast. (5 points)
8/31 Demonstration of “negative / positive shapes drawing”. Assignment 2: Drawing / Rub off technique (use 9” x 12” canvas paper). Begin drawing in class, finish for homework. (10 points)
9/7 Labor Day Holiday - No class
9/14 “The rub-off technique” (subtractive method) will be demonstrated. Complete Assignment 2 by painting in class, finishing for homework. (10 points) Assignment 1 due.
9/21 Bring canvas board with grid drawn on it. Assignment 3 Paint (grays) value / temperature scales, also mixing grays and neutrals with complementary colors and triads. Complete for homework. (12.5 points)
9/28 Assignment 4 Tonal still life focuses on value and form. (10 points)
10/5 Lecture on lighting. Assignment 5 “ (Use canvas board with gray scales) Paint color value / temperature swatches using primary colors of yellow, red, and blue. A handout will be supplied in class. Complete for homework, along with any other unfinished assignments. (10 points) Assignments 2 - 5 are due 10/19.
10/12 - 10/26 Assignment 6, paint a still life setup in class for next three weeks. “Still Life Study of Form, Lighting and Color.” 16” x 20” stretched canvas (20 points) Due 11/11. Prepare for Assignment 7 Aerial Perspective / Landscape painting by choosing photos, and begin drawing thumbnail drawings.
11/2 - 12/7 Assignment 7 - Landscape Painting on 18” x 24” or larger stretched, gessoed, toned canvas: “Aerial Perspective in the Landscape”. Stage One (11/2): Begin the assignment by drawing thumbnail sketches / roughs to plan the composition. 1(30 points) Due 12/14.
11/30 will include a discussion on presentation (signing and framing).
12/14 “FINAL” critique of Assignment 7 and a potluck dinner.
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2 months ago
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FALL 2009 Class Schedule for Oils 1 & Acrylics 1- Lakeport Campus
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Art 218 & Art 226 ✵ Mendocino College, Lakeport Campus ✵ 1.5 units ✵ Room 5360
Fall 2009 Syllabus Supplement ✵ Instructor: Lorraine Brady Arthur ✵ Section #1318 & #1320
Instructor: Lorraine Brady Arthur
E-mail: lbradyar@mendocino.edu
Phone Messages: (707) 468-3000 ext 4075
Office Hours: After class until 5:05
Class Begins August 19
Class Ends December 16
Class Time: Wednesday, 2:00 - 4:50
40 min. lecture / demonstration / 2 hr. lab
Class Assignments & Format
Format: Students should prepare to paint before class or during the first break. Paint demonstrations / lectures begin by 2:05. (Instructor meets with advance students before and after the demonstration or lecture, and directly after the first break.) After the first break, students will have an approximate two hour lab time to paint. If necessary, prepare appropriately for class.
Painting Diary: Students are to make notes of their paintings in a diary format. Students may record specific colors used or techniques, why certain decisions were made, a commentary on personal expression, or what they learned. This is solely for the benefit of the student to remember what works for them in their paintings or what colors were used to create specific affects that the artist can refer to at a later date.
Homework: Homework is minimal. Preparation of assignments by following the weekly schedule, gathering materials for paintings if necessary, or drawing thumbnail sketches, or preparing your canvas with gesso, etc. Painting on assignments for homework is generally not required, unless the schedule lists homework, it is desired by the student or if a student is behind.
Class Schedule:
8/19 Discuss syllabus and supplies. Observe slides of instructor’s work, lecture on composition. Homework: In pencil use a ruler to draw a 12” x 5” grid on a canvas board with 1” squares.
8/26 Assignment 1: Mixing colors and techniques on canvas pad and canvas board. Primaries, secondaries, tertiaries, complements and muting, triads and mixing neutrals, simultaneous contrast. (5 points)
9/2 Demonstration of “negative / positive shapes drawing”. Assignment 2: Drawing and “rub off technique” demonstration (use 9” x 12” canvas paper). Begin drawing in class, finish for homework. (10 points) Assignment 1 due.
9/9 “The rub-off technique” (subtractive method) will be demonstrated again. Complete Assignment 2 by painting in class, finishing for homework. (10 points) 9/14 Bring canvas board with grid drawn on it. Assignment 3 Paint (grays) value / temperature scales, also mixing grays and neutrals with complementary colors and triads. Complete for homework. (12.5 points)
9/21 Assignment 4 Tonal still life focuses on value and form. (10 points)
9/28 - 10/5 Lecture on lighting. Assignment 5 “- Use canvas board with gray scales. Paint color value / temperature swatches using primary colors of yellow, red, and blue. A handout will be supplied in class. Complete for homework, along with any other unfinished assignments. (10 points) Assignments 2 - 5 are due 10/21.
10/12 - 10/26 Assignment 6, paint a still life setup in class for next three weeks. “Still Life Study of Form, Lighting and Color.” 16” x 20” stretched canvas (20 points) Due 11/11. Prepare for Assignment 7 Aerial Perspective / Landscape painting by choosing photos, and begin drawing thumbnail drawings.
11/2 - 12/9 Assignment 7 - Landscape Painting on 18” x 24” or larger stretched, gessoed, toned canvas: “Aerial Perspective in the Landscape”. Stage One (11/2): Begin the assignment by drawing thumbnail sketches / roughs to plan the composition. 1(30 points) Due 12/16. Dec. 2 will include a discussion on presentation (signing, varnish and framing). Thanksgiving Holiday - No class on November 25
12/16 Class will meet from 3:00 - 5:00 for “FINAL” critique and optional potluck.
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2 months ago
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FALL 2009 Class Schedule for Oils 2 & Acrylics 2- Lakeport Campus
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Art 219 & Art 227 ✵ Mendocino College, Ukiah Campus ✵ 1.5 units ✵ Room 5360
Fall 2009 Syllabus Supplement ✵ Instructor: Lorraine Brady Arthur ✵ Section #0084 & #0090
Instructor: Lorraine Brady Arthur
E-mail: lbradyar@mendocino.edu
Phone Messages: (707) 468-3000 ext 4075
Office Hours: After class until 9:15
Class Begins August 19
Class Ends December 16
Class Time: Monday 6:00 - 9:00
40 min. lecture / demonstration / 2 hr. lab
Class Schedule & Assignments
Format: Paint demonstrations / lectures begin by 6:10. Instructor may meet individually with advance students before the demonstration or lecture, and directly after the first break. Advanced students are welcome to observe or listen to demonstrations or lectures. Students should prepare to paint before class or during the first break.
Painting Diary: Students are to keep a painting diary with records of each painting. Students may record specific colors used or techniques, why certain decisions were made, a commentary on personal expression, or what you learned. This is for the benefit of the student to remember what works for them in their paintings or what colors were used to create specific affects.
Homework: Prepare for paintings by gathering materials for paintings, drawing thumbnail sketches, or preparing your canvas with gesso. Painting on assignments for homework is not required, unless desired by the student or if a student is behind.
There are two advanced student schedules for Oils 2 and Acrylics 2. The first schedule is for students that have had one to a few semesters of painting. The second schedule is for students that have had several semesters of painting and have a serious approach to growing as a painter. The instructor will review student work to approve those interested in the advanced level, but haven’t had this instructor before.
Schedule 1
Two paintings are due by 10/14. Two paintings are due 12/16.
8/19 Discuss syllabus and supplies. Observe slides of instructor’s work. You need to stay if you haven’t seen the slide show at least three times.
8/26 - 10/14 Assignment #1: “grisaille” technique. Subject choice is to be made from one of the following: copy an Old Master painting that used the grisaille technique (oils done during the Italian Renaissance or most work before the Impressionist period), or a still life (maybe as simple as an apple, but subject needs to last for at least seven weeks). First paint a tonal underpainting. After the underpainting is dried, color will be applied by glazing thin layers of paint on top of the tonal values. (25% of grade)
9/2 - 10/14 Work simultaneously on this painting within this time frame
Assignment #2: Landscape - use colors, value, intensity, and temperature to create contrast and atmospheric perspective. Do not use more than one color in full strength in your painting. (25% of grade)
10/21 - 11/11 Assignment #3: Using alla prima technique to study “FORM and LIGHTING” while considering maximum use of color by painting a 3-D subject. Absolutely no photos will be used; students will provide own object. Use objects that have good dimension to them. Avoid flat objects, unless multi planes.(25% of grade)
11/18 - 12/9 Assignment #4: Open subject that exhibits self expression. (25% of grade)
12/16 FINAL critique and potluck dinner.
Schedule 2
Two paintings are due by 3/31. Two paintings are due 5/19.
Class Time: Paint a series containing at least four paintings that will be completed through out the semester.
Homework: Decide on a concept or subject that may be used in a series of four paintings through out the semester. Plan thumbnails, painting size for specific impact, surface preparation, collect resources if any. You may work on more than one painting at a time, but use the calendar above to stay on track. At least one painting will be framed. Examples: study of light in the landscape by painting 3 plein airs and one large studio painting inspired by your plein air paintings, series on the same subject, or alla prima still life, perhaps of same subject painted four different ways / lighting directions.
8/23 Discuss syllabus and supplies. Observe slides of instructor’s work.
12/16 FINAL critique and potluck dinner.
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2 months ago
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FALL 2009 Class Syllabus for Oils 2 & Acrylics 2 - LKPT Center
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Art 219 & Art 227 ✵ Mendocino College, Lakeport Campus ✵ 1.5 units ✵ Room 5360
Fall 2009 Syllabus ✵ Instructor: Lorraine Brady Arthur ✵ Section #1319 & #1321
Instructor: Lorraine Brady Arthur
E-mail: lbradyar@mendocino.edu
Phone Messages: (707) 468-3000 ext 4075
Office Hours: Twenty minutes after class-until 5:10
Class Begins August 19
Class Ends December 16
Class Time: 2:00 - 4:50
Lecture / Demonstration 2:00 - 2:35, Lab: 2:45 - 4:50
Course Description:
Intermediate Level A combined academic exploration of advanced painting approaches using contrary methods of both the traditional, classical Old Masters and Impressionist era artists, along with applied elements of design and color theory using oil or acrylic paints.
Advanced Level: An opportunity to build greater confidence for the advanced student by developing personal themes and skills through specific application and consideration of paint medium while developing a portfolio.
Course Outline:
1. Develop ideas using elements of design: line, shape, texture, value, pattern and rhythm, space, composition, form and color
2. Advanced techniques
3. Identification of observed values, hue, temperature, and chroma (intensity) in painting
4. Advanced understanding of lighting
5. Paint mediums: traditional vs. modern
6. Palette color choices
7. Understanding of grounds and surface preparation
8. Safety
9. Framing, presentation and preservation of artwork
Course Outcome:
Upon completion of this course students should be able to demonstrate -
1. Advancement of painting skills, including brush techniques with a basic understanding of classical vs. modern techniques
2. Identify, mix and match observed colors with paint
3. Advanced use of value, color, and composition in the painting
4. Understanding the properties of oil or acrylic paints and mediums
5. Color palette choices
6. Increased observation skills
7. Development of an idea using elements of design
8. Proper selection of brushes or knives for a technique
9. Emergence of personal style
10. Advanced students: development of a series / portfolio
Method of Instruction: Lecture, demonstration, instructional handouts, books, internet, slides, or DVD
Method of Evaluation:
1. Individual skill development:
A. Proper demonstration of color and lighting
B. Use of elements of design and composition
C. Technique
D. Use of medium
E. Individual style
2. Apply critical thinking to concept’s
3. Participation in class content, objectives, critiques
4. Homework: individual exploration, development or preparedness by planning, gathering materials, designing or completing painting assignments outside of class
Grading: Assignments #1 - #4 (four paintings) will receive a letter grade. Each assignment is worth 25% of overall grade. One painting must be framed.
Students are expected to turn all assignments in according to the schedule. Repeated tardiness or late assignments may lower a grade one whole grade. Students who are unable to meet the mentioned criteria or feel anxiety of a letter grade, should register for a credit /no credit grade option within the end of the first month of the semester.
Attendance Policy: Students should regularly attend class. Make-up work should be completed and turned in after an absence. Students who miss three or more classes and have not contacted the instructor and have a legitimate excuse may be dropped from class, unless the student is registered for a Credit / Noncredit grade option.
Supplies & Reading: Student’s are responsible for providing their own supplies from the Supply List. Required reading are handouts and the Class Calendar supplied by the instructor. Students should refer to the Class Schedule 2 - 3 weeks in advance. Personal research for assignments is encouraged.
Assignments: Paintings, appropriate framing of one painting, and a painting diary. Refer to attached Class Schedule for the actual assignments.
Painting Diary: All students are required to keep a painting diary for each assignment. A diary should record such things as colors used, techniques, time spent, or commentary on personal expression, and the discovery of what you learned. There is no grade for the Painting Diary. This is purely for your own growth to help you remember what works in your paintings.
Homework: Prepare by gathering materials for painting assignments, draw thumbnail sketches, prepare canvas with gesso or toning, etc., or work on assignments.
Student Responsibilities:
1. Regular attendance. Setup supplies when you arrive at class, but not during lecture demonstration time.
2. Be prepared by reading the class calendar at least a week in advance to prepare for paintings, so you have the proper materials (such as canvas vs. canvas paper, photos, or roughs, etc.) with you in class.
3. Active observation and note taking
4. Engaged participation in critiques or discussions
5. Keep a painting diary of all assignments
6. Complete assigned work 7. Clean up your own work area after each class! This includes sponging off tables.
8. It is a students responsibility to complete a drop card should they not finish the course
Classroom Conduct Policy: As instructor, I aim to provide a pleasant, non-threatening, and fun learning environment for students of all levels. To do this, I ask everyone to abide by the following classroom policies:
1. Consideration, courtesy, and non-disruptive behavior towards everyone in class
2. Completion of assignments for homework in accordance to class schedule
3. Attempt to be on time, (though it’s better to be late than absent) and not miss class
4. If you’re having problems, speak with the instructor! Maintain communication with the instructor regarding personal issues that arise and affect your ability to complete class / work, etc.
5. Fully focus on instructional lectures & demos - Please withhold questions to a question & answer time after the lecture or demo is over.
6. Do not leave the room during instructor demos or lectures, unless it’s an emergency. There will be a break following the demonstration / lecture time. Short breaks may be taken any time during lab time.
7. Turn off cell phones, MP3 players, or other devices during lecture or demonstrations
8. Talking in class is limited to lab time, but only with sensitivity to other students.
9. No food or drinks in the classroom, other than water
10. Student’s with uncivil behavior will be reported to College Administration. This includes profanity, lewd, indecent, hostile, predatory or any other type of threatening behavior. If a student displays such behavior, the student will be asked to leave class that day, and they will also be reported to College Administration. Students are encouraged to report personal incidents to the instructor since all students and the instructor have the right to be in a safe learning environment.
11. Mendocino College is a drug-free / alcohol free campus
12. Mendocino College “Academic Honesty Guidelines” are to be followed by students
13. It is a student’s responsibility to complete a drop card should they decide not to complete a class
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2 months ago
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FALL 2009 CLASS SYLLABUS Special Topics: Drawing with Pastel
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Art 88.6
Mendocino College, Lakeport Campus
Instructor: Lorraine Brady Arthur
email: lbradyar@mendocino.edu
Phone Message: (707) 468-3000 ext 4075
Office hours: 8:50 - 9:10 PM
Class Description:
Students will develop their drawing skills while also learning to ‘paint’ with the rich medium of soft pastel. Pastel is a gorgeous opaque medium that mixes quite differently than other ‘paint’ mediums. Students will draw and paint a range of subjects while learning various pastel techniques, as well as an array of surfaces to get different results. The class includes color theory, related materials, surfaces, and combined media through a series of demonstrated skills. If you enjoy color and / or opaque paint medium, you may fall in love with pastel!
Course Objectives:
1. Develop drawing skills
2. Use of tools and other aides
3. Develop pastel techniques
4. Identify values, color temperature, hue and chroma to match pigments
5. Learn basic color theory and definitions
6. Learn through observation and lecture / demonstrations about light
7. Learn about various surfaces, and pastel board preparation
8. Design compositions for paintings that develop personal expression and style that has been improved by instruction and practice
9. To participate and articulate acquired visual skills by means of watching demonstrations, practice and in class critiques
10. Safety
11. Presentation and storage
Student Outcome:
Each student will complete a ‘portfolio’ containing class, homework, and a final painting that demonstrates their comprehension and skill in:
A. Individual skills development:
1. Acquired through practice: skill of drawing and pastel techniques
2. Knowledge of medium, papers, safety, presentation and storage
3. Grasp practical application of color theory concepts and the value of colors
4. Ability to depict value and color in light and shadows; then utilize them as shapes to create a pleasing composition
5. Individual style and originality in designs when applicable
6. Attain all other course objectives as stated above
B. Apply critical thinking to assignments, including planning of a painting
C. Participation in class content, class objectives, and critiques
Instructional Method:
Lecture, demonstrations, handouts, slides, magazines, books, internet, DVD or video
Reading Assignments:
No textbook. Class handouts are required reading, and possible internet sites.
Supplies:
See attached Supply List.
Homework:
Prepare by gathering materials for assignments, draw thumbnail sketches, prepare surfaces, and work on assignments. Refer to Class - Homework Schedule. 1 - 3 weeks in advance for planning.
Attendance Policy:
Students are expected to regularly attend class. Make-up work needs to be completed and turned in after an absence. Students who miss three or more classes and have not contacted the instructor and have a legitimate excuse will be dropped from class. The only exceptions may be students registered for Credit / Noncredit grade option.
Method of Evaluation:
Evaluation in order of importance: drawing skill, pastel technique; use of color, quality of composition; creativity, originality and expression; presentation, safety and class participation.
Grading & Assignments:
A cumulative point system of 1 - 100 will be used to determine a final grade. Points earned for each assignment are added up for a final letter grade: 90 - 100= ‘A’; 80 - 89 = ‘B’; 70 - 79 = ‘C’; 60 - 69 = ‘D’, 59 and below is an ‘F’. Students must apply for a credit / no credit grade option within the first month of the semester, if they expect not to be able to complete all assignments, will be missing multiple classes, or simply feel pressured by a grade.
1. Weekly (6 weeks) class assignments from 8/26 - 9/16, 9/30, 10/7 - up to 3 points each
2. Class assignments (5) from 9/23, 10/14 - 12/9 - up to 5 points each
3. Sketchbook (16 drawings assignments, 14-16 thumbnails) - up to 23 points
4. Homework assignment of three drawings (assigned 10/28 & 11/25) up to 3 points each
5. Final - 25 points
Students will learn in accordance to how much they apply themselves: follow the schedule, complete all work and on time, be on time for class, prepare in advance and be ready to learn. Repeated tardiness, absences and late assignments may lower a student’s grade. Students may do make-up work by following the class schedule. It is the responsibility of the student to get copies of notes or information from other students for classes they have missed due to absence. Make-up work is due within two weeks following an absence. Students need to contact the instructor of any personal issues that may affect your learning or grade.
Student Responsibilities:
1. Regular attendance. Students have the first 10 minutes to set up supplies for painting. Lectures or demonstrations will follow.
2. Be prepared! Read the class calendar at least two weeks in advance to prepare for class assignments. Bring all necessary materials such as correct paper / surfaces, photos, or roughs, etc.
3. Active observation of all demonstrations or lectures
4. Take notes during demonstrations or lectures
5. Active participation during class critiques and discussions
6. Complete assigned work
7. Clean up your own work area after each class! This includes sponging off tables.
Classroom Conduct Policy:
As instructor, I aim to create a pleasant, non-threatening, and fun learning environment for students of all levels. To maintain that environment, I expect everyone to abide by the following classroom policies:
1. Consideration, courtesy, and non-disruptive behavior towards everyone in class
2. Completion of assignments for homework in accordance to class schedule
3. Attempt to be on time, (though it’s better to be late than absent) and not miss class
4. If you’re having problems, speak with the instructor! Maintain open communication with instructor regarding personal issues that may arise and affect your abilities to complete class / work, etc.
5. Fully focus on instructional lectures & demos - Please withhold questions to a Question & Answer Time after any lecture or demo.
6. Do not leave the room during instructor demos or lectures, unless it’s an emergency. Short breaks may be taken any time during lab time.
7. Talking in class is limited to lab time
No use of cell phones, MP3 players, or other devices during lecture / demo’s
No eating / drinking in the classroom, except for water
A no tolerance policy exists for any disruptive behavior that is:
Lewd, profane, indecent, hostile or threatening in nature. If such behavior occurs a student will be permanently removed from the class and reported to College Administration. No warnings will be issued before permanent removal. Students are encouraged to report personal incidents to the instructor.
Drug-free / alcohol free campus
12. Mendocino College “Academic Honesty Guidelines” are to be followed
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2 months ago
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Fall 2009 Oils 1 & Acrylics 1 Class Syllabus- LAKEPORT CAMPUS
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Art 218 & Art 226 ✵ Mendocino College, Lakeport Campus ✵ 1.5 units ✵ Room 7050
Fall 2009 Syllabus ✵ Instructor: Lorraine Brady Arthur ✵ Section #0083 & #0089
Instructor: Lorraine Brady Arthur
E-mail: lbradyar@mendocino.edu
Phone Messages: (707) 468-3000 ext 4075
Office Hours: After class until 9:15
Class Begins August 19
Class Ends December 16
Class Time: Wednesday 2:00 - 4:50
40 min. lecture / demonstration / 2 hr. lab
Course Description: The exploration of traditional and contemporary techniques, elements of design and color theory using oil or acrylic paints to approach various subject matter in still life, landscape or nonobjective painting.
Course Outline:
1. Elements of design: line, shape texture, value, pattern and rhythm, space, composition, form color theory (includes terminology, inspiration, and color schemes).
2. Use of color in painting
3. Painting supports and grounds: includes preparation
4. Brushes and knives: use and care
5. The properties of oil or acrylic paints and media’s
6. Techniques: brush and painting techniques
7. Safety
8. Framing / presentation of artwork
Course Outcome: Upon completion of this course students should be able to demonstrate:
1. Preparation of the paint surface
2. Proper usage of paint media’s
3. Proper selection and care of brushes or knives
4. Brush techniques
5. Identify, mix and match observed colors with paint
6. Development of an idea using the elements of design
Method of Instruction: Lectures, demonstrations, instructional handouts, books, internet, slides, DVD or video
Method of Evaluation: In order of importance
1. Individual skill development:
A. Proper demonstration of color and lighting
B. Use of elements of design and composition
C. Technique
D. Use of medium
E. Individual style
2. Apply critical thinking to concept’s
3. Participation in class content, objectives, critiques
4. Homework: individual exploration, development or preparedness by planning, gathering materials, designing or completing painting assignments outside of class
Grading: A cumulative point system total 100 points will be used for this class: 1381
86 - 100 = A
75 - 85 = B
64 - 74 = C
53 - 63 = D
under 52 = F
Students need to follow the schedule for due dates. Works in progress are acceptable for grading, but repeated tardiness, absence or late assignments may lower a grade one whole grade. Students who foresee an ability to meet the mentioned criteria or feel anxiety of a letter grade, should register for a credit/no credit grade by Sept.18. Seven total assignments, with their points listed on Class Calendar.
Attendance Policy: Students should regularly attend class. Make-up work should be completed and turned in after an absence. Students who miss three or more classes and have not contacted the instructor, and have a legitimate excuse may be dropped from class, unless the student is registered for a Credit / Noncredit grade option.
Supplies & Reading: Student’s are responsible for providing their own supplies from the Supply List. Required reading are handouts and the Class Calendar supplied by the instructor. Students should refer to the Class Schedule 2 - 3 weeks in advance. Personal research for assignments is encouraged.
Assignments: Paintings, swatches or scales, and a painting diary. Refer to attached Class Schedule for the actual assignments.
Painting Diary: All students are required to keep a painting diary for each assignment. A diary should record colors used, techniques, time spent, a commentary on personal expression, and the discovery of what you learned.
Homework: Prepare by gathering materials for painting assignments, draw thumbnail sketches, prepare canvas with gesso or toning, etc., or work on assignments. There is minimal homework.
Student Responsibilities:
1. Regular attendance. Setup supplies when you arrive at class, but not during lecture demonstration time.
2. Be prepared by reading the class calendar at least a week in advance to prepare for paintings, so you have the proper materials (such as canvas vs. canvas paper, photos, or roughs, etc.) with you in class.
3. Active observation and note taking
4. Engaged participation in critiques or discussions
5. Keep a painting diary of all assignments
6. Complete assigned work
7. Clean up your own work area after each class! This includes sponging off tables.
8. It is a students responsibility to complete a drop card should they not finish the course
Classroom Conduct Policy: As instructor, I aim to provide a pleasant, non-threatening, and fun learning environment for students of all levels. To do this, I ask everyone to abide by the following classroom policies:
1. Consideration, courtesy, and non-disruptive behavior towards everyone in class
2. Completion of assignments for homework in accordance to class schedule
3. Attempt to be on time, (though it’s better to be late than absent) and not miss class
4. If you’re having problems, speak with the instructor! Maintain communication with the instructor regarding personal issues that arise and affect your ability to complete class / work, etc.
5. Fully focus on instructional lectures & demos - Please withhold questions to a question & answer time after the lecture or demo is over.
6. Do not leave the room during instructor demos or lectures, unless it’s an emergency. There will be a break following the demonstration / lecture time. Short breaks may be taken any time during lab time.
7. Turn off cell phones, MP3 players, or other devices during lecture or demonstrations
8. Talking in class is limited to lab time, but only with sensitivity to other students.
9. No food or drinks in the classroom, other than water
10. Student’s with uncivil behavior will be reported to College Administration. This includes lewd, profane, indecent, hostile, predatory or any other threatening in nature type of behavior. If a student displays such behavior, the student will be asked to leave class that day, and they will also be reported to College Administration. Students are encouraged to report personal incidents to the instructor since all students and the instructor have the right to be in a safe learning environment.
11. Mendocino College is a drug-free / alcohol free campus
12. Mendocino College “Academic Honesty Guidelines” are to be followed by students
13. It is a student’s responsibility to complete a drop card should they decide not to complete a class
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2 months ago
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FALL 2009 Syllabus for Oils 2 & Acrylics 2- UK
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Art 219 & Art 227 ✵ Mendocino College, Ukiah Campus ✵ 1.5 units ✵ Room 5360
Instructor: Lorraine Brady Arthur
E-mail: lbradyar@mendocino.edu
Phone Messages: (707) 468-3000 ext 4075
Office Hours: After class until 9:20 PM
Class Begins August 17
Class Ends December 14
Class Time: Monday 6:00 - 8:50
50 min. lecture / demonstration / 2 hr. lab
Course Description:
Intermediate level is a combined academic exploration of advanced painting approaches using contrary methods of both the traditional, classical Old Masters and Impressionist era artists, along with applied elements of design and color theory using oil or acrylic paints.
Advanced level is an opportunity to build greater confidence for the advanced student by developing personal themes and skills through specific application and consideration of paint medium while developing a portfolio.
Course Outline:
1. Develop ideas using elements of design: line, shape, texture, value, pattern and rhythm, space, composition, form and color
2. Advanced techniques
3. Identification of observed values, hue, temperature, and chroma (intensity) in painting
4. Advanced understanding of lighting
5. Paint mediums: traditional vs. modern
6. Palette color choices
7. Understanding of grounds and surface preparation
8. Safety
9. Framing, presentation and preservation of artwork
Course Outcome:
Upon completion of this course students should be able to demonstrate:
1. Advancement of painting skills, including brush techniques with a basic understanding of classical vs. modern techniques
2. Identify, mix and match observed colors with paint
3. Advanced use of value, color, and composition in the painting
4. Understanding the properties of oil or acrylic paints and mediums
5. Color palette choices
6. Increased observation skills
7. Development of an idea using elements of design
8. Proper selection of brushes or knives for a technique
9. Emergence of personal style
10. Advanced students: development of a series / portfolio
Method of Instruction: Lecture, demonstration, instructional handouts, books, internet, slides, or DVD
Method of Evaluation:
1. Individual skill development:
A. Proper demonstration of color and lighting
B. Use of elements of design and composition
C. Technique
D. Use of medium
E. Individual style
2. Apply critical thinking to concept’s
3. Participation in class content, objectives, critiques
4. Homework: individual exploration, development or preparedness by planning, gathering materials, designing or completing painting assignments outside of class
Grading: Assignments #1 - #5 (five paintings) will receive a letter grade. Each assignment is worth 20% of overall grade. One painting must be framed.
Students are expected to turn all assignments in according to the schedule. Repeated tardiness or late assignments may lower a grade one whole grade. Students who are unable to meet the mentioned criteria or feel anxiety of a letter grade, should register for a credit /no credit grade option within the end of the first month of the semester.
Attendance Policy: Students should regularly attend class. Make-up work should be completed and turned in after an absence. Students who miss three or more classes and have not contacted the instructor and have a legitimate excuse may be dropped from class, unless the student is registered for a Credit / Noncredit grade option.
Supplies & Reading: Student’s are responsible for providing their own supplies from
the Supply List. Required reading are handouts and the Class Calendar supplied by the instructor. Students should refer to the Class Schedule 2 - 3 weeks in advance. Personal research for assignments is encouraged.
Assignments: Paintings, appropriate framing of one painting, and a painting diary. Refer to attached Class Schedule for the actual assignments.
Painting Diary: All students are required to keep a painting diary for each assignment. A diary should record such things as colors used, techniques, time spent, or commentary on personal expression, and the discovery of what you learned. There is no grade for the Painting Diary. This is purely for your own growth to help you remember what works in your paintings.
Homework: Prepare by gathering materials for painting assignments, draw thumbnail sketches, prepare canvas with gesso or toning, etc., or work on assignments.
Student Responsibilities:
1. Regular attendance. Setup supplies when you arrive at class, but not during lecture demonstration time.
2. Be prepared by reading the class calendar at least a week in advance to prepare for paintings, so you have the proper materials (such as canvas vs. canvas paper, photos, or roughs, etc.) with you in class.
3. Active observation and note taking
4. Engaged participation in critiques or discussions
5. Keep a painting diary of all assignments
6. Complete assigned work
7. Clean up your own work area after each class! This includes sponging off tables.
8. It is a students responsibility to complete a drop card should they not finish the course
Classroom Conduct Policy: As instructor, I aim to provide a pleasant, non-threatening, and fun learning environment for students of all levels. To do this, I ask everyone to abide by the following classroom policies:
1. Consideration, courtesy, and non-disruptive behavior towards everyone in class
2. Completion of assignments for homework in accordance to class schedule
3. Attempt to be on time, (though it’s better to be late than absent) and not miss class
4. If you’re having problems, speak with the instructor! Maintain communication with the instructor regarding personal issues that arise and affect your ability to complete class / work, etc.
5. Fully focus on instructional lectures & demos - Please withhold questions to a question & answer time after the lecture or demo is over.
6. Do not leave the room during instructor demos or lectures, unless it’s an emergency. There will be a break following the demonstration / lecture time. Short breaks may be taken any time during lab time.
7. Turn off cell phones, MP3 players, or other devices during lecture or demonstrations
8. Talking in class is limited to lab time, but only with sensitivity to other students.
9. No food or drinks in the classroom, other than water
10. Student’s with uncivil behavior will be reported to College Administration. This includes lewd, profane, indecent, hostile, predatory or any other threatening in nature type of behavior. If a student displays such behavior, the student will be asked to leave class that day, and they will also be reported to College Administration. Students are encouraged to report personal incidents to the instructor since all students and the instructor have the right to be in a safe learning environment.
11. Mendocino College is a drug-free / alcohol free campus
12. Mendocino College “Academic Honesty Guidelines” are to be followed by students
13. It is a student’s responsibility to complete a drop card should they decide not to complete a class
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2 months ago
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Fall 2009 SYLLABUS Oils 1 & Acylics 1 UKIAH Campus
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Art 218 & Art 226 ✵ Mendocino College, Ukiah Campus ✵ 1.5 units ✵ Room 5360
Fall 2009 Syllabus ✵ Instructor: Lorraine Brady Arthur ✵ Section #0083 & #0089
Instructor: Lorraine Brady Arthur
E-mail: lbradyar@mendocino.edu
Phone Messages: (707) 468-3000 ext 4075
Office Hours: After class until 9:15
Class Begins August 17
Class Ends December 14
Class Time: Monday 6:00 - 8:50
40 min. lecture / demonstration / 2 hr. lab
Course Description: The exploration of traditional and contemporary techniques, elements of design and color theory using oil or acrylic paints to approach various subject matter in still life, landscape or nonobjective painting.
Course Outline:
1. Elements of design: line, shape texture, value, pattern and rhythm, space, composition, form color theory (includes terminology, inspiration, and color schemes).
2. Use of color in painting
3. Painting supports and grounds: includes preparation
4. Brushes and knives: use and care
5. The properties of oil or acrylic paints and media’s 6. Techniques: brush and painting techniques
7. Safety
8. Framing / presentation of artwork
Course Outcome: Upon completion of this course students should be able to demonstrate:
1. Preparation of the paint surface
2. Proper usage of paint media’s
3. Proper selection and care of brushes or knives
4. Brush techniques
5. Identify, mix and match observed colors with paint
6. Development of an idea using the elements of design
Method of Instruction: Lectures, demonstrations, instructional handouts, books, internet, slides, DVD or video
Method of Evaluation: In order of importance
1. Individual skill development:
A. Proper demonstration of color and lighting
B. Use of elements of design and composition
C. Technique
D. Use of medium
E. Individual style
2. Apply critical thinking to concept’s
3. Participation in class content, objectives, critiques
4. Homework: individual exploration, development or preparedness by planning, gathering materials, designing or completing painting assignments outside of class
Grading: A cumulative point system total 100 points will be used for this class:
86 - 100 = A, 75 - 85 = B, 64 - 74 = C, 53 - 63 = D, under 52 = F Students need to follow the schedule for due dates. Works in progress are acceptable for grading, but repeated tardiness, absence or late assignments may lower a grade one whole grade. Students who foresee an ability to meet the mentioned criteria or feel anxiety of a letter grade, should register for a credit/no credit grade by September 18. Seven total assignments, with points listed on Class Calendar.
Attendance Policy: Students should regularly attend class. Make-up work should be completed and turned in after an absence. Students who miss three or more classes and have not contacted the instructor, and have a legitimate excuse may be dropped from class, unless the student is registered for a Credit / Noncredit grade option.
Supplies & Reading: Student’s are responsible for providing their own supplies from the Supply List. Required reading are handouts and the Class Calendar supplied by the instructor. Students should refer to the Class Schedule 2 - 3 weeks in advance. Personal research for assignments is encouraged.
Assignments: Paintings, swatches or scales, and a painting diary. Refer to attached Class Schedule for the actual assignments.
Painting Diary: All students are required to keep a painting diary for each assignment. A diary should record colors used, techniques, time spent, a commentary on personal expression, and the discovery of what you learned.
Homework: Prepare by gathering materials for painting assignments, draw thumbnail sketches, prepare canvas with gesso or toning, etc., or work on assignments. There is minimal homework.
Student Responsibilities:
1. Regular attendance. Setup supplies when you arrive at class, but not during lecture demonstration time.
2. Be prepared by reading the class calendar at least a week in advance to prepare for paintings, so you have the proper materials (such as canvas vs. canvas paper, photos, or roughs, etc.) with you in class.
3. Active observation and note taking
4. Engaged participation in critiques or discussions
5. Keep a painting diary of all assignments
6. Complete assigned work
7. Clean up your own work area after each class! This includes sponging off tables.
8. It is a students responsibility to complete a drop card should they not finish the course
Classroom Conduct Policy: As instructor, I aim to provide a pleasant, non-threatening, and fun learning environment for students of all levels. To do this, I ask everyone to abide by the following classroom policies:
1. Consideration, courtesy, and non-disruptive behavior towards everyone in class
2. Completion of assignments for homework in accordance to class schedule
3. Attempt to be on time, (though it’s better to be late than absent) and not miss class
4. If you’re having problems, speak with the instructor! Maintain communication with the instructor regarding personal issues that arise and affect your ability to complete class / work, etc.
5. Fully focus on instructional lectures & demos - Please withhold questions to a question & answer time after the lecture or demo is over.
6. Do not leave the room during instructor demos or lectures, unless it’s an emergency. There will be a break following the demonstration / lecture time. Short breaks may be taken any time during lab time.
7. Turn off cell phones, MP3 players, or other devices during lecture or demonstrations
8. Talking in class is limited to lab time, but only with sensitivity to other students.
9. No food or drinks in the classroom, other than water
10. Student’s with uncivil behavior will be reported to College Administration. This includes lewd, profane, indecent, hostile, predatory or any other threatening in nature type of behavior. If a student displays such behavior, the student will be asked to leave class that day, and they will also be reported to College Administration. Students are encouraged to report personal incidents to the instructor since all students and the instructor have the right to be in a safe learning environment.
11. Mendocino College is a drug-free / alcohol free campus
12. Mendocino College “Academic Honesty Guidelines” are to be followed by students
13. It is a student’s responsibility to complete a drop card should they decide not to complete a class
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2 months ago
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Fall 2009 Weekly Class Calendar & Homework Schedule for Special Topics: Drawing with Pastel
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Art 88.6 * Sect. # 1003 * 1.5 units
Mendocino College, Lakeport Campus, Room 7050
Wednesdays: Lec. 6:00 - 6:35, Lab 6:45 - 8:50 PM
Begins August 19 / Ends December 16
Instructor: Lorraine Brady Arthur
email: lbradyar@mendocino.edu
Phone Message: (707) 468-3000 ext 4075
Office hours: 8:50 - 9:10 PM
Paint demonstrations and lectures begin by 6:05. Students are to prepare to paint upon arrival to class at 6:00 PM.
Homework: Prepare for class by collecting photos, organizing supplies for assignments, prepare surfaces, and complete class or homework assignments. Remember to prepare weeks in advance to stay on schedule.
Weekly Schedule of Class & Homework Assignments:
8/19 Instructor will discuss supplies and properties of pastels, pastel surfaces and pastel techniques, as well as review the syllabus. Observe slides of the instructor’s art while she discusses composition and negative and positive shapes.
8/26 Drawing basics: identifying basic shapes, drawing the negative space, overlapping, proportions and comparisons. Use pencil on white paper. Homework: 5 line drawings of objects around the house or plants using negative & positive shapes, angle comparisons (pencil on white paper)
9/2 Continue drawing the negative space. Modified contour drawing. (pencil on white paper). Homework: four 20 min. drawings; two neg./pos. shape drawings, two contours of a hand.
9/9 Draw two (20 min.s) contours on white paper with pencil. Also two separate projects of ‘five step value scales’ (five 1” squares next to one another) as an introduction to shading. One will use a brown and a white pastel on a 2” x 6” strip of toned charcoal paper, the second set of scales will be done on a white sheet of toned charcoal paper using white, gray, Black, yellow & blue pastel. This set of scales will contain twelve 1” x 5” rows. The first three will be values: warm gray, regular gray, cool gray, the last 9 rows will be done in two weeks.) Homework: finish class work, then draw a “tonal” (grays, browns or neutrals) landscape from a photo: Step 1 - do a line drawing, Step 2 - shade and match values to complete. (conte or pastel in sketchbook)
9/16 Form, planes, values as shapes, and shadows in perspective. Two drawings of bags, boxes and a sphere by using two drawing methods; the tonal thumbnail (using a white and a brown or black on toned charcoal paper to draw a tonal study) and conte or pastel on a white charcoal paper. Homework: is two drawings- 1 quick tonal thumbnail, 1 hr. drawing studying light on planes of objects. Draw from life - ideas: bags, boxes with fruit, such as we did in class
9/23 Lecture: “The values, properties and nature of color.” Hue (color): primaries, secondaries, and tertiaries. Also: blending vs. layering demo Lab: On white charcoal paper draw: 1.) Color wheel 2.) mix complements to achieve grays & muted colors, triads to mix neutrals, and simultaneous contrast 3.) “Color value & temperature swatches using primary colors of yellow, red, and blue
(continue on value scale assignment from two weeks ago. Draw next to previous value scales on white paper from the week of Sept. 9) Homework: Complete classwork, plus 1 color drawing of a fruit.
9/30 Pastel technique: using cross contour lines to create form. Color on toned charcoal paper. Homework: 1 color drawing of something roundish that develops form using cross contour lines
10/7 Lighting and color: observing and applying values of color to develop form. Color on toned charcoal paper from a setup still life in class. Begin with a few quick tonal thumbnail in your sketchbook. Homework: draw out next week’s assignment. Turn in sketchbook next week.
10/14 - 21 Multi media surfaces & an underpainting. Paint a color floral close up from a photo using watercolor, acrylic or ink for an underpainting on w.c. paper or another multi media surface. Also, how to make a pastel panel from masonite.
10/28 - 11/4 Developing your pastel technique, use 1/2 sheet of velour paper. Begin with a scaled tonal thumbnail in your sketchbook of a still life set up in class. Also, discuss framing and presentation. Homework: draw an eye and nose (have someone pose for you) on velour paper
11/11 - 11/18 The landscape: Aerial perspective principles in the landscape - Creating aerial perspective with color and lighting, glazing with pastel. Draw from a photo on sanded pastel paper. Begin with a quick tonal thumbnail in your sketchbook.
11/25 NO CLASS. Work on plans for your Final Project, 4 - 6 thumbnail sketches. Two color paintings / sketches of landscapes on sanded paper.
12/2 - 12/9 Pastel board. Use a photo of your choice of either an animal, bird or person. Plan composition in advance by completing 4 quick thumbnail sketches. Use a 16” x 20” or larger pastel panel.
12/16 “FINAL” critique (20 points) Open subject pastel on either a multimedia surface, pastel board, sanded pastel paper or velour paper. Half sheet size or larger
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2 months ago
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FALL 2009: Class Schedule & Assignments for Oil 2 & Acrylics 2
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Art 219 & Art 227 ✵ Mendocino College, Ukiah Campus ✵ 1.5 units ✵ Room 5360
Fall 2009 Syllabus Supplement ✵ Instructor: Lorraine Brady Arthur ✵ Section #0084 & #0090
Instructor: Lorraine Brady Arthur
E-mail: lbradyar@mendocino.edu
Phone Messages: (707) 468-3000 ext 4075
Office Hours: After class until 9:15
Class Begins August 17
Class Ends December 14
Class Time: Monday 6:00 - 9:00
40 min. lecture / demonstration / 2 hr. lab
Class Schedule & Assignments
Format: Paint demonstrations / lectures begin by 6:10. Instructor may meet individually with advance students before the demonstration or lecture, and directly after the first break. Advanced students are welcome to observe or listen to demonstrations or lectures. Students should prepare to paint before class or during the first break.
Painting Diary: Students are to keep a painting diary with records of each painting. Students may record specific colors used or techniques, why certain decisions were made, a commentary on personal expression, or what you learned. This is for the benefit of the student to remember what works for them in their paintings or what colors were used to create specific affects.
Homework: Prepare for paintings by gathering materials for paintings, drawing thumbnail sketches, or preparing your canvas with gesso. Painting on assignments for homework is not required, unless desired by the student or if a student is behind.
There are two advanced student schedules for Oils 2 and Acrylics 2. The first schedule is for students that have had one to a few semesters of painting. The second schedule is for students that have had several semesters of painting and have a serious approach to growing as a painter. The instructor will review student work to approve those interested in the advanced level, but haven’t had this instructor before.
Schedule 1: Two paintings are due by 11/2. Two paintings are due 12/14.
8/17 Discuss syllabus and supplies. Observe slides of instructor’s work. You need to stay if you haven’t seen the slide show at least three times.
8/24 - 10/26 Assignment #1: “Grisaille” technique - Subject choice is to be made from one of the following: copy an Old Master painting that used the grisaille technique (oils done during the Italian Renaissance or most work before the Impressionist period), or a still life (maybe as simple as an apple, but subject needs to last for at least seven weeks). First paint a tonal underpainting. After the underpainting is dried, color will be applied by glazing thin layers of paint on top of the tonal values. (25% of grade)
9/7 - 10/26 Work simultaneously on the first painting following this time frame.
Assignment #2: Landscape - use colors, value, intensity, and temperature to create contrast and atmospheric perspective. Do not use more than one color in full strength in your painting. (25% of grade)
11/2 - 11/9 Assignment #3: Using alla prima technique to study “FORM and LIGHTING” while considering maximum use of color by painting a 3-D subject. Absolutely no photos will be used; students will provide own object. Use objects that have good dimension to them. Avoid flat objects, unless multi planes.(25% of grade)
11/16 - 12/7 Assignment #4: Open subject that exhibits self expression. (25% of grade)
12/14 FINAL critique and potluck dinner.
Schedule 2: Two paintings are due by 10/12. Two paintings are due 12/14.
Class Time: Paint a series containing at least four paintings that will be completed through out the semester.
Homework: Decide on a concept or subject that may be used in a series of four paintings through out the semester. Plan thumbnails, painting size for specific impact, surface preparation, collect resources if any. You may work on more than one painting at a time, but use the calendar above to stay on track. At least one painting will be framed. Examples: study of light in the landscape by painting 3 plein airs and one large studio painting inspired by your plein air paintings, series on the same subject, or alla prima still life, perhaps of same subject painted four different ways / lighting directions.
8/17 Discuss syllabus and supplies. Observe slides of instructor’s work.
12/14 FINAL critique and potluck dinner.
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2 months ago
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FINAL PROJECT For Special Topics: Drawing with Pastels
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2 months ago
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Inactive Syllabuses
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14 months ago
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Instructional Handout for Special Topics: Drawing in Pastels- Pastel Papers & Surfaces
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Instructor: Lorraine Brady Arthur
Mendocino College / Art 88.6
Charcoal or Pastel Papers There are a few colored or white papers available that are available in sheets or pads that are only good for single layers of pastel. Brands include Strathmore 500 Series Charcoal Papers around a $1.00 a sheet, Canson Mi-Teintes drawing paper around $1.60 - over $2.00 a sheet. Both are available in packs or pads. Sheets are 19” x 25”. Because single layers can only be applied, this paper is only good for quicker studies or drawings. It will not work for most of our assignments that are considered paintings and need multiple layers of pastel.
Sand Paper a fine grit sand paper may be used for a cheap substitute of sanded pastel paper. Size and quality of paper has tremendous limitations.
Sanded Pastel Paper a great pastel surface with a grainy texture that holds pastel well. “Ersta” makes a 400 grit paper that is 21.25” x 27” available in a few colors. Ersta’s paper costs between $5.50 - $7.50 a sheet.
Wallis Sanded Pastel Paper this is a strong, non-buckling paper that's advantage is it is designed to first take an under-painting in oils, acrylic, or watercolors. This paper can also take tough reworking with a stiff brush. Both a museum and professional grade are available in a few sizes. The best price is for a single sheet of 24” x 36” paper that can be cut to four sheets of 12” x 18” for $16.00 (professional grade) or $22.00 (museum grade) otherwise pads of 9” x 12” are around $24.50.
Sennelier La Carte a thick paper that is slightly abrasive with a perfectly smooth uniform tooth in a range of colors of 19” x 25” size. This paper is not intended to use wet media with it. Around $9.99 a sheet.
Pastel Velour Paper is a great velvety surface that holds soft pastel to it’s surface. Artists that prefer to paint with blending in their work may find this their paper of choice. It can’t take too many layers though. “Hahnemuhle” is a manufacture of pastel velour paper. They sell a ten sheet 9” x 12” pad with a variety of colors between $18.00 and $35.00. Single full sheets of 19” x 27” are available for around $6.89 a sheet in a variety of colors.
Pastelboard (by Ampersand) is an excellent firm pastel surface that comes in a few color choices and sizes. Soft pastel adheres well to the pastelboard, and does not need much fixative. An 18” x 24” board costs between $14.00 - $19.89 a board.
Pastel board may be made by applying gesso to a sanded masonite board. Two to three coats will be applied with the top layer having pumice OR powdered marble dust Or Micaceous iron oxide or a few other mediums (such as Goldens Pumice Gel, etc. Must read labels) added to the gesso.
Other Boards Extra toothy surfaces, such as Art Spectrum Colourfix Supertooth Board (10 packs of 20” x 28” are $9.09 at Dick Blick. I have never used any of the Art Spectrum products for pastel.This seems to be a good buy and decent paper that can be used for some of the smaller quicker assignments. This is made with watercolor paper that has been primed with a clear acrylic primer that contains silica particles. The same company makes a “Multi-media” board (Art Spectrum Colourfix Multi-media Painting Board) that comes in a variety of colors, though limited in size to 12” x 16” art area. Though this claims to be a multi-media board, it also has a fine tooth surface. Dick Blick sells this board for $7.39, however I won’t recommend it since I haven’t used it or felt it with my hands.
Watercolor paper is a good surface for a pastel painting when a watercolor or acrylic under-painting is first painted and then pastel applied on top. Less layers of pastel are needed or doable when using this method (watercolor paper has less fiber or abrasion than traditional pastel papers in order for the application of multiple pastel layers, so much of the painting should be worked out first in the under-painting.)
One last remark on summing up choosing a paper is that the student should first consider the subject and size being planned to approach, then consider the pastel set that you own. Soft pastels will vary in their consistency and how they lay down on paper. Some brands are more hard, some brands are considered medium in hardness, and some are very soft or buttery. In a painting with multiple layers the “medium” or “hard” soft pastel is applied during the first layers, while the soft buttery pastel is applied last. The reason for this is that the extra soft, creamy pastels will fill in the tooth of the surface quickly because it goes on thick. Of course to work this way, it takes having more than one brand of pastel. Which is fine if you own a smaller set (and decide you love pastel and want to continue working with it), you can add another set later on or add individual sticks or make yur own. In the mean time, I recommend that you purchase a medium hard set such as Rembrandts because they are a wonderful all around pastel. It’s okay to use the same pastel for multiple layers, but the softer the pastel the less layers can be used on a paper.
Here is a fantastic link to an abundance of informaation related to pastels. It includes making your own pastels, and reviews on pastels. It is http://www.squidoo.com/pastels#module1568060
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14 months ago
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Oils 1 & Acrylic 1 Weekly Class Schedule & Assignments:
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Weekly Class Schedule & Assignments:
Paint demonstrations and lectures begin by 6:15. Students are to prepare to paint upon arrival to class at 6:00 PM.
Painting Diary: Students are required to keep a painting diary for each assignment. A diary should record colors used, techniques, why certain decisions were made, a commentary on personal expression, ideas and what you learned. Diaries will be turned in on March 17 and May 12. It is worth 5 points.
Homework: Preparation by gathering materials for painting assignments, drawing and thumbnail sketches, preparing your canvas, and completing assignments.
1/28 Discuss syllabus and supplies. Observe slides of instructor’s work, lecture on composition. Homework: In pencil use a ruler to draw a 12” x 5” grid (canvas board) of 1” squares.
2/4 Assignment 1: Mixing colors, techniques (canvas pad and canvas board). Primaries, secondaries, tertiaries, complements and muting, triads and mixing neutrals, simultaneous contrast. (5 points)
2/11 Demonstration of “negative / positive shapes drawing”. Assignment 2: Tonal Portrait.(use 9” x 12” canvas paper). Begin in class, finish for homework. (10 points)
2/25 “The rub-off technique” (subtractive method) will be demonstrated. Complete Assignment 2 by painting in class, finishing for homework. (10 points) Assignment 1 due.
3/3 Assignment 3 Paint (grays) value / temperature scales, also mixing grays and neutrals with complementary colors and triads. Complete for homework. (12.5 points)
3/10 Assignment 4 Tonal still life focuses on value and form. (10 points)
3/17 Lecture on lighting. Assignment 5 “ (Use canvas board with gray scales) Paint color value / temperature swatches using primary colors of yellow, red, and blue. A handout will be supplied in class. Complete for homework, along with any other unfinished assignments. (10 points)
3/24 SPRING BREAK. Prepare for Landscape painting by choosing photos, and begin drawing thumbnail drawings. ASSIGNMENTS 2 - 5 ARE DUE 3/31.
3/31 - 4/7 Assignment 6: Paint still life setup in class for next two weeks. “Still Life Study of Form, Lighting and Color”. 16” x 20” stretched canvas (20 points) Due 4/14.
4/14 - 5/12 Assignment 7 Painting “Aerial Perspective in the Landscape”. Stage One: Prior to beginning your painting, thumbnail; roughs must be drawn to complete design of composition. 18” x 24” or larger stretched canvas (30 points) Due 5/19.
5/19 “FINAL” critique and potluck dinner.
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2 years ago
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OILS 1 & ACRYLICS 1 SYLLABUS
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FALL 2008
ART 218 SECTION #0083 (OILS)
ART 226 SECTION #0089 (ACRYLICS)
Mendocino College, Ukiah Campus
Instructor: Lorraine Brady Arthur
E-mail: lbradyar@mendocino.edu
Phone Message: 707-479-3889
Tuesday 6:00 - 9:00 PM
Class Begins August 19
Class Ends December 16
Office Hours: Tuesday 9:00 - 9:10
Room 5360
1.5 units
Course Description: The exploration of traditional and contemporary techniques, elements of design and color theory using oil or acrylic paints to approach various subject matter in still life, landscape or nonobjective painting.
Course Outline:
1. Elements of design: line, shape texture, value, pattern and rhythm, space, composition, form color theory (includes terminology, inspiration, and color schemes.)
2. Use of color in painting
3. Painting supports and grounds: includes preparation
4. Brushes and knives: use and care
5. The properties of oil or acrylic paints and media’s
6. Techniques: brush and painting techniques
7. Safety
8. Framing / presentation of artwork
Course Outcome: Upon completion of this course students should be able to demonstrate:
1. Preparation of the paint surface
2. Proper usage of paint media’s
3. Proper selection and care of brushes or knives
4. Brush techniques
5. Identify, mix and match observed colors with paint
6. Development of an idea using the elements of design
Method of Instruction: Lectures, demonstrations, instructional handouts, books, internet, slides, DVD or video
Assignments: Paintings, swatches or scales, and a painting diary
Painting Diary: All students are required to keep a painting diary for each assignment. A diary should record colors used, techniques, a commentary on personal expression, and the discovery of what you learned.
Homework: Preparation by gathering materials for painting assignments, drawing thumbnail sketches, preparing canvas with gesso or toning, etc. Also, work on class assignments.
Method of Evaluation: In order of importance as in accordance to each assignment
A. Individual skill development:
1. Use of color, values and lighting to create form
2. Use of the elements of design and composition
3. Technique
4. Use of medium
5. Individual style
B. Apply critical thinking to assignment concepts
C. Participation in class content and class objectives, critiques
D. Homework: individual exploration, development and preparedness by planning, gathering materials, designing or painting outside of class (approx. 1 1/2 hours per week)
Grading: A cumulative point system total 100 points will be used for this class:
86 - 100 = A, 75 - 85 = B, 64 - 74 = C, 53 - 63 = D, under 52 = F
Students are expected to turn all assignments in according to the schedule. Repeated tardiness or late assignments may lower a grade one whole grade. Students who are unable to meet the mentioned criteria or feel anxiety of a letter grade, should register for a credit/no credit grade option before the end of the first month of the semester.
Student Responsibilities:
1. Regular attendance. Students have the first 10 minutes to set up supplies for painting. Lectures or demonstrations will follow.
2. Be prepared! Read the class calendar weekly to prepare for class assignments. Bring all necessary materials for each assignment, such as canvas vs. canvas paper, photos, or roughs, etc.
3. Active observation and note taking of all demonstrations or lectures
4. Active participation during class critiques and discussions
5. Keep a painting diary of all assignments
6. Clean up your own work area after each class! This includes sponging off tables.
Student Conduct Policy:
1. Consideration, courtesy, and non- disruptive behavior are expected by all individuals in class:
A. Students should be fully focused on instructional lectures and demonstrations.
B. Withhold questions to a question & answer time after any lecture or demonstration
C. No leaving the room during lecture or demonstrations. At other times, enter / leave quietly.
D. Students are expected to follow all class assignments.
E. A no tolerance policy exists for:
Lewd, profane, indecent, hostile or threatening behavior. If such behavior occurs the student will be permanently removed from the class and reported to College Administration. Students are asked to report any incidents to the instructor.
F. Talking in class is aloud during lab time, but not loud or excessive talking
2. No eating in the classroom, except during a potluck
3. Drug-free campus
4. Mendocino College “Academic Honesty Guidelines” are to be followed
5. If you’re having problems, speak with the instructor! Maintain open communication with instructor regarding personal issues that may arise and affect your abilities to complete class/ work, etc.
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2 years ago
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Painting Lesson for Oils 2 & Acrylics 2: Old Masters Technique- Grisaille
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The Old Masters’ Technique of Grisaille
Mendocino College
Instructor: Lorraine Brady Arthur
A common technique that was used from the early 1400’s, Renaissance period, is a process of painting (7) multiple layers of paint. The first layers began the process of establishing a paintings “values”, so color was not applied at this stage. This technique became known as the grisaille technique. The grisaille technique, which is pronounced of grizz-eye, is French for gray. As the industrial revolution brought along many changes to society, by the mid 1800’s, the development of both new pigments and tubes for paint came along that completely changed the way artists worked. Eventually the Impressionists, as they strayed out doors to paint by exploring light first hand, abandoned this method of working.
The grisaille method has a unique twist by about everyone that used it. Some artists used only shades of gray, others used shades of brown, even green or earthy reds. Some used no white, while other used white.
Today, many artists work in this method because of the rich luminous affect that can be achieved or perhaps out of “academic pride”. Many art schools that strayed from teaching academic processes for much of the 20th century have today come full circle in teaching their students the historical process of grisaille painting.
At the very least, the student learns the importance of developing accurate value representation in their chosen subject. The success of a painting needs a proper portrayal of the values of it’s subject to express light and form; space and dimension.
For this first assignment, you may choose to paint a still life subject of your own choosing OR to copy a painting of an old master that used the grisaille technique. I want you to do your own research on the artist, and what palette they used in their paintings. The internet provides an abundance of information regarding many of the more famous painters of that time, such as: Rembrandt, Leonardo Da Vinci, Caravaggio, and many others.
Here are some links to get you started:
http://artpapa.net/content/view/27/53/
http://painting.about.com/od/oldmastertechniques/a/LeonardodaVinci.htm
http://painting.about.com/od/oilpainting/a/Glazing_Tips.htm
http://www.gamblincolors.com/oil.painting.techniques/palettes.old.masters.html
You should also start Assignment 2 during this time, since some layers of paint may not require a whole class for you to work on them.
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14 months ago
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Painting Tips: Watercolor
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By Lorraine Brady Arthur
Colors become lighter by adding more water.
Colors become darker by adding less water.
You will get different paint reactions depending on whether you’re working on wet paper or dry paper. Experiment with using the tip of the brush to float paint into the water of a wet area to get a fresh look.
DO NOT over work your paint! Learn to leave it alone, or you will lose the freshness of the paint. Instead it will look “dead” and dull.
Avoid mixing more than two to three opaque pigments together (when using little water) or your paint may dry dull.
Learn your three pigment groups: transparent, opaque, and (transparent) staining colors. Learn to use each of the three pigment groups.
Transparents are great for washes and glazing, or when you need a lighter value color. Layer upon dry layer can be laid on top of the other and still see the white of the paper. This is part of the great beauty of watercolor.
Opaques can be thinned down to a wash, but they have a more coarse pigment that does not share the same fineness of transparent pigments. Because they do not share the same transparency, they are darker in value than transparent pigments. They make good halftone values, since they start to block out the white of the paper. They are wonderful to use in creating interesting textures or contrast with transparents.
Staining colors are transparent, but they stain the white of the paper or any other color underneath them! When rewet they can run. However, since they stain the white of the paper, they are valuable in creating darker values to create contrast in a painting.
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14 months ago
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Special Topics: Drawing with Pastel "Notes About Pastel Supplies"
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Supplies are available at:
Mendocino College bookstore
Rileystreet Art Supply (phone: 526-2416, 103 Maxwell Ct., Santa Rosa)
Village Art Supply (behind Ross at Montgomery Village, Santa Rosa)
or online or by catalogue at retailers such as www.carpediemstore.com, Dick Blick, Cheap Joe's, Jerry’s Artarama or many others.
About Soft Pastels:
Soft pastels appear chalk-like and come in a variety of hardnesses and quality. Since soft pastels do not mix like traditional paints, larger sets are more advantageous. I recommend to students to buy the largest set that they can afford, such as sets of 72 sticks, 96, or larger. However, a starter set with a minimum of 24 - 36 sticks will work. Some higher end brands sell “half sticks,” making better quality sets more’ affordable to students. Pastels are sold in sets or sold by the individual stick. Individually purchased colors help to fill in missing colors, but generally cost more than the same sticks purchased in a set. If you purchase a good starter set, such as Nu Pastel, you won’t out grow them, but you may decide to add additional sets at a later time.
Excellent Economical Starter Sets:
Nu Pastels, by Prismacolor (fairly hard, dustless full size stick - 60 set approx. as low as $43.10 OR the 96 set as low as $51.00. This is an excellent choice for price, quality, and color choices.)
Faber-Castel (72 set half sticks approx. $25.00)
Faber-Castell Creative Studio Half Stick Pastel 48-color Set $15.85 at Daniel Smith
Martin / Universal Mungyo Gallery Artist Semi-Hard Pastel Set
Better brands include:
Holbein (harder than average, though they make nice muted, natural colors - well priced)
Rembrandt (90 color half stick around $75.00 and up. Medium hardness, Great all around pastel. I have the wood box with 250 sticks that I mostly use in any pastel painting. There are no heavy metal pigments, but pure pigment mixed with the finest quality kaolin clay binder.)
Winsor & Newton (72 full sticks $139.00 and up. Rembrandt’s are a better deal!)
Rowney
More Expensive Professional Brands:
Sennelier (80 half sticks for approx. $84.00 and up - excellent! No fillers, clays and minimal binder, rich pigments)
Schmincke (buttery! Excellent and expensive! individual sticks around $3.99)
Unison (Excellent, expensive at $3.69 a stick. Many pro’s prefer this pastel.)
Diane Townsend (Many pros love these pastels for the purity of pigment with no chalks or fillers. $5.19 a piece at Dick Blick)
Most pastel artists use a variety of brands to complete a pastel because harder pastels work best for lower layers, while the more expensive softer, buttery pastels with the purest pigments work best on the top layers.
Pastel Surfaces:
Pastel needs a fibrous, toothy or an abrasive surface for pastel layers to adhere to the selected surface. There are a variety of surfaces available that will help achieve different results. Toothy papers will take minimal layers of pastel, while sanded papers or pastel boards can take several layers of pastel that allows the pastelist the opportunity to further develop their painting. Pastel boards take multiple layers of pastel with little need for fixatives. Boards can be made by ges-soing masonite and adding pumice OR marble dust (pumice maybe purchased at a home supply / hardware store or you may purchase marble dust or lava medium from an art supply store. Premixed mediums are available from Liquitex or Golden Pumice Gel OR Golden Pumice Gel Acrylic Medium). Individual sheets of paper and pads are available in 1/4 sheet, 1/2 sheet and full sheet sizes.
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14 months ago
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Spring 2009 SYLLABUS: Painting - Watercolor 1
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ART 222 / Section # 5100 / 1.5 Units
Mendocino College, Lake Center, Rm. 7050
Instructor: Lorraine Brady Arthur
e-mail: lbradyar@mendocino.edu
Phone Messages: 707-479-3889
Class Begins January 21
Class Ends May 20
Class Time Wed. 2:00 - 5:00 pm
Office Hours: Wed. 4:50 - 5:10
1 hr. lecture, demonstration/ 2 hr. lab
Class Description:
Watercolor is an exciting transparent medium! It has unique challenges that students will be taught to control and balance through a variety of techniques, as well as learning to understand the three pigment groups, and when to leave your painting alone. If you enjoy color or a challenge and want to learn to paint, watercolor is a great medium! Students will create a useful reference book (Pigment Palette Book), as well as explore watercolor techniques by painting still life, landscapes, or nonobjective painting. The class includes color theory and mixing, related materials, surfaces, and combined media through a series of demonstrated skills.
Course Objectives:
1. Develop watercolor techniques
2. Demonstrate use of tools and other aides
3. Develop an understanding of purpose and variations of three pigment groups
4. Identify, mix, and match pigments; describe pigment properties
5. Comprehend basic color theory and definitions
6. Demonstrate paper preparation and care of paper
7. Design compositions for paintings that develop personal expression and style that has been improved by instruction and practice
8. To participate and articulate acquired visual skills by means of watching demonstrations, practice and in class critiques
9. Storage and presentation
Student Outcome: Each student will complete a ‘portfolio’ of work during the semester that demonstrates their comprehension and skill:
A. Individual skills development:
1. Acquire through practice: techniques, use of medium and care / stretching of paper
2. Understand the use of the three w.c. pigment groups
3. Grasp practical application of color theory concepts and the value of colors
4. Ability to depict value and color in light and shadows; then utilize them as shapes to create a pleasing composition
5. Individual style and originality in designs when applicable
6. Attain all other course objectives as stated above
B. Apply critical thinking to assignments, including planning of a painting
C. Participation in class content, class objectives, and critique
Instructional Method:
Lectures, demonstrations, instructional handouts, books, internet, slides, DVD or video
Method of Evaluation:
Evaluation in order of importance: technique; drawing and composition; creativity, originality and expression; presentation and class participation.
Grading & Assignments:
A cumulative point system of 1 - 100 will be used to determine a final grade. Points earned for each assignment are added up for a final letter grade: 90 - 100= ‘A’; 80 - 89 = ‘B’; 70 - 79 = ‘C’; 60 - 69 = ‘D’, 59 and below is an ‘F’. Students may apply for a credit /no credit grade option by Feb. 20 at the registration office.
1. 2.5 points each Assignments 1, 3 - 6, 8
2. 5 points Assignments 7, 9
3. 10 points each Assignment 10 - 13
4. 15 points each Assignment 14 FINAL
5. 20 points each Assignment 2
Students learn in accordance to how much they apply themselves: follow the schedule, complete all work and on time, be on time for class, prepare in advance and be ready to learn. Repeated tardiness, absences and late assignments may lower a student’s grade. Students may do make-up work by following the class schedule. It is the responsibility of the student to get copies of notes or information from other students for classes they have missed due to absence (find a student to exchange phone numbers or e-mails with). Make-up work is due within two weeks following an absence. Contact the instructor of any personal issues that may affect your learning or grade.
Attendance Policy:
Students are expected to regularly attend class. Make-up work must be completed and turned in after an absence in order for your grade not to be lowered. Students missing three or more classes and not having had contacted the instructor or having a legitimate excuse maybe dropped from class. The responsibility to be sure you’ve been dropped is the students! The only exceptions maybe students registered for Credit / Noncredit grade option.
Homework:
Prepare by gathering materials for assignments, draw thumbnail sketches, prepare surfaces, and work on assignments. Refer to Class - Homework Schedule 1-3 weeks in advance for planning. There’s an average of two to three hours of homework a week, and those that are consistent will learn faster!
Reading Assignments:
No textbook. Class handouts are required reading, and possible internet sites.
Supplies:
See attached Supply List. Cost will vary from about $100. - $200. and up
depending on where supplies are purchased and brand names. Know that supplies will last for years while only needing to purchase additional paper, and perhaps a brush. If you can not afford the supplies, contact the financial aide office for assistance because you may very well be eligible for resources.
Student Responsibilities:
1. Regular attendance. Students have the first 10 minutes to set up supplies for painting. Lectures or demonstrations will follow.
2. Be prepared! Read the class calendar weekly to prepare for class assignments. Bring all necessary materials for each assignment.
3. Active observation and note taking of all demonstrations or lectures
4. Active participation during class critiques and discussions
5. Keep a painting diary of all assignments
6. Complete assigned work
7. Clean up your own work area after each class! This includes sponging off tables.
Classroom Conduct Policy: As instructor, I aim to create a pleasant, non-threatening, and fun learning environment for students of all levels. To maintain that environment, I expect everyone to abide by the following classroom policies:
1. Consideration, courtesy, and non-disruptive behavior towards everyone in class
2. Completion of assignments for homework in accordance to class schedule
3. Attempt to be on time, (though it’s better to be late than absent) and not miss class
4. If you’re having problems, speak with the instructor! Maintain open communication with instructor regarding personal issues that may arise and affect your abilities to complete class / work, etc.
5. Fully focus on instructional lectures & demos - Please withhold questions to a Question & Answer Time after any lecture or demo.
6. Do not leave the room during instructor demos or lectures, unless it’s an emergency. Short breaks may be taken any time during lab time.
7. Talking in class is limited to lab time
8. No use of cell phones, MP3 players, or other devices during lecture / demo’s
9. No eating / drinking in the classroom, except for water
10. Disruptive behavior is unacceptable. This includes lewd, profane, indecent, hostile, threatening or illegal solicitations. If such behavior occurs the student will be not be allowed to attend for the next two classes and will be reported to the College Administration. Students are encouraged to report personal incidents to the instructor.
11. Drug-free / alcohol free campus
12. Mendocino College “Academic Honesty Guidelines” are to be followed
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8 months ago
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Spring 2009 SYLLABUS: Painting- Watercolor 2
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ART 223 / Section # 5101
Mendocino College, Lake Center
Instructor: Lorraine Brady Arthur
e-mail: lbradyar@mendocino.edu
Phone Messages: 707 - 479 - 3889
Class Begins January 21, 2009
Class Ends May 20, 2009
Class Time: Wed. 2:00 - 5:00 pm
Lakeport Office Hours: Wed. 5:00 - 5:15
1 hr. lecture, demonstration/ 2 hr. lab
Rm. 7050
1.5 units
Instructor Comments: Students in Art 223 continue to develop confident watercolor technique and knowledge of the paint pigment groups. The W.C. 2 class is designed to take the student to a whole new level of painting. Students will create and work from there own designs, take there own photos, and continue developing their technique and style while gaining the confidence to aptly express themselves.
Class Description: Emphasis on developing an understanding and appreciation of form, composition, and personal expression while simultaneously skills in the use of watercolor paints and related media, tools and supplies. There is an opportunity for continuing students to explore advance techniques in resists, wet wash control, and combining media to create unique textures and images while developing personal themes and responses.
Course Objectives:
1. Develop watercolor techniques
2. Demonstrate use of tools and other aides
3. Develop an understanding of purpose and variations of three pigment groups
4. Identify, mix,and match pigments; describe pigment properties
5. Comprehend basic color theory and definitions
6. Demonstrate paper preparation and care of paper
7. Design compositions for paintings that develop personal expression and style that has been improved by instruction and practice
8. To participate and articulate acquired visual skills by means of watching demonstrations, practice and in class critiques
9. Storage and presentation
Student Outcome: Each student will complete a ‘portfolio’ of work during the semester that demonstrates their comprehension and skill:
A. Individual skills development:
1. Acquire through practice: techniques, use of medium and care / stretching of paper
2. Understand the use of the three w.c. pigment groups
3. Grasp practical application of color theory concepts and the value of colors
4. Ability to depict value and color in light and shadows; then utilize them as shapes to create a pleasing composition
5. Individual style and originality in designs when applicable
6. Attain all other course objectives as stated above
B. Apply critical thinking to assignments, including planning of a painting
C. Participation in class content, class objectives, and critiques
Instructional Method: Lectures, demonstrations, instructional handouts, books, internet, slides, DVD or video
Method of Evaluation: Evaluation in order of importance: technique; drawing and composition; creativity, originality and expression; presentation and class participation.
Grading & Assignments: A cumulative point system of 1- 100 will be used to determine a final grade. Points earned for each assignment are added up for a final letter grade: 90 - 100= ‘A’; 80 - 89 = ‘B’; 70 - 79 = ‘C’; 60 - 69 = ‘D’, 59 and below is an ‘F’. Students may apply for a credit/no credit grade option within the first month of the semester at the registration office.
1. 5 points each Assignments 3 - 6, 8, 9
2. 10 points Assignments 7, 10
3. 15 points each Assignment 1 - 2
4. 20 points each Assignment 11 “The Final” framed
Students learn in accordance to how much they apply themselves: follow the schedule, complete all work and on time, be on time for class, prepare in advance and be ready to learn. Repeated tardiness, absences and late assignments may lower a student’s grade. Students may do make-up work by following the class schedule. It is the responsibility of the student to get copies of notes or information from other students for classes they have missed due to absence (find a student to exchange phone numbers or e-mails with). Make-up work is due within two weeks following an absence. Contact the instructor of any personal issues that may affect your learning or grade.
Attendance Policy: Students are expected to regularly attend class. Make-up work needs to be completed and turned in after an absence. Students who miss three or more classes and have not contacted the instructor and have a legitimate excuse will be dropped from class. The only exceptions may be students registered for Credit/ Noncredit grade option.
Homework: Prepare by gathering materials for assignments, draw thumbnail sketches, prepare surfaces, and work on assignments. Refer to Class - Homework Schedule 1-3 weeks in advance for planning.
Reading Assignments: No textbook. Class handouts are required reading, and possible internet sites.
Supplies: See attached Supply List. Cost will vary from about $100. - $200. and up depending on where they are purchased and brands. However your supplies will last for years while only needing to purchase additional paper and maybe an occasional brush.
Student Responsibilities:
1. Regular attendance. Students have the first 10 minutes to set up supplies for painting. Lectures or demonstrations will follow.
2. Be prepared! Read the class calendar weekly to prepare for class assignments. Bring all necessary materials for each assignment, such as canvas vs. canvas paper, photos, or roughs, etc.
3. Active observation and note taking of all demonstrations or lectures
4. Active participation during class critiques and discussions
5. Keep a painting diary of all assignments
6. Complete assigned work
7. Clean up your own work area after each class! This includes sponging off tables.
Classroom Conduct Policy: As instructor, I aim to create a pleasant, non-threatening, and fun learning environment for students of all levels. In order to do so, I expect everyone to abide by the the following classroom policies:
1. Consideration, courtesy, and non-disruptive behavior towards everyone in class
2. Completion of assignments for homework in accordance to class schedule
3. Attempt to be on time, (though it’s better to be late than absent) and not miss class
4. If you’re having problems, speak with the instructor! Maintain open communication with instructor regarding personal issues that may arise and affect your abilities to complete class/ work, etc.
5. Fully focus on instructional lectures & demos - Please withhold questions to a Question & Answer Time after any lecture or demo.
6. Do not leave the room during instructor demos or lectures, unless it’s an emergency. Short breaks may be taken any time during lab time.
7. Talking in class is limited to lab time
8. No use of cell phones, MP3 players, or other devices during lecture / demo’s
9. No eating / drinking in the classroom, except for water
10. Disruptive behavior is unacceptable. This includes lewd, profane, indecent, hostile, threatening or illegal solicitations. If such behavior occurs the student will be not be allowed to attend for the next two classes and will be reported to the College Administration. Students are encouraged to report personal incidents to the instructor.
11. Drug-free / alcohol free campus
12. Mendocino College “Academic Honesty Guidelines” are to be followed
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8 months ago
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SUPPLY LIST - Fall 2009 Special Topics: Drawing with Pastels
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At least one set of soft pastels. Buy the largest set you can afford- NuPastel Prismacolors make sets from 24 - 96 pc. Refer to my handout on "A Little On Pastels" for information on postel, papers, and other pastel related materials.
Sketch pad 11” x 14” or a little larger
2 Charcoal paper full sheets,1 white, 1 neutral tone such as (Canson Mi-Teintes or Strathmore 500 Series, or Art Spectrum Colourfix Supertooth Board 10 pack of 20” x 28”
may be cut or torn in quarters (which can be used for mixed medium as well).
1 - Velour Pastel paper (Hahnemuhle) neutral tone, such as tan or beige, not black
1 - 3 Large sanded pastel paper, such as, Wallis (which may be used with a watercolor as an underpainting), Ersta, or Sennelier La Carte Pastel Card)
1 Multi media paper or board, such as: Watercolor paper, Wallis Sanded Paper, Art Spectrum Colourfix Supertooth or Multimedia Board
1 or more 16” x 20” Pastel board, either Ampersand Pastelbord OR *make your own pastel board
Drawing board and clips or tape: either masonite, hollow core wood, cardboard or foam core
(optional) Paper Towels
Mat Knife or Single Edge Razor Blade (for sharpening)
Pencils: 6B or 4B, HB or 2B, 2H, and a 4H or 6H
Erasers: Kneaded Eraser, Magic Rub
Artist Tape
Paints and Brush(es): Acrylic or Small Watercolor Set or India Ink
Vines charcoal stick
Conte crayon sticks or Conte
(optional) pencils
(optional) Framing Supplies - mat board, foam core, framing tapes, glass, frame molding
Safety, Storage & Cleanliness Supplies:
Latex gloves or cots (fingertips) (drug store, home supply, hardware or art store)
(optional) Small nose / mouth mask (hardware store)
Smock
(optional) Workable Fixative
Glassine or tracing paper or waxed paper (economical)
Shallow large cardboard box with lid or a photography paper box
Foam core (use scrap pieces)
Optional Blending and Color Shapers:
Paper Stomps or Tortillons
Q-tips
Soft foam brush (may use makeup applicators)
Peanut packaging material
Soft, flat rubber chiseled ‘brushes’
Small chamois, facial tissue and / or rags
Flat, oval or fan pastel brushes (old oil, acrylic, or even some makeup brushes are okay)
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8 months ago
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SUPPLY LIST- Art 219 Painting Oils 2 & Art 227 Painting Acrylics 2
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Oil Pigments: Recommend either Gamblin (excellent), Grumbacher (good), or Winton (lower student grade)
Required Colors:
Titanium white - large tube
French Ultramarine (Blue)
Cerulean Blue
Cadmium-barium yellow light (prefer) or pale
Cadmium yellow medium
Yellow ochre
Cadmium orange
Cadmium red light, cadm. (prefer) vermillion, or vermillion hue
Cadmium red medium
Permenant Alizarin or Alizarin Crimson (small tube)
Thalo Green (blue shade) (small tube) or Viridian Hue
Terra vert or chromium oxide green
Burnt umber or Van dyke brown
Burnt sienna
Recommended optional colors:
Cadmium yellow dark, a violet (ultramarine, dioxazine or permenant)
*Chinese Orange by Sennelier (awesome for landscape painters)
Mediums: (choose one group)
1. Gamblin: Gamsol (an excellent pure odorless mineral spirits), Galkyd Lite (alkyd resin), and optional poppy seed oil, and / or Neo Megalip
2. Either Weber Turpenoid or Winsor & Newton Sansodor, (Winsor & Newton) Liquin Original and / or Liquin Light Gel and either Liquin Impasto or Liquin Fine Detail, *Linseed oil
* Linseed oil (may be used for ‘oiling out’, instead of varnish OR an excellent picture varnish is GAMVAR by Gamblin
Brushes:
5 or 7 approx.- (approx sizes only) 1 inch wide or larger “flat“ natural bristles
1 package of assorted nylon brushes and sizes (must contain flats, filberts or brights) and should include a nylon “round” brush, size 00 to 1 OR an assortment of sable, sablene, nylon, etc. asortment
2 painting knife, prefer palette knife
Painting Supports:
1- 16" x 20" minimum
2- 18" x 24" and a 15” x 30” or 18" x 24" format
1- larger canvas between 24" x 30" and 30" x 40"
Palette: Nonporous surface- Masonite, wood, disposable paper palette pads, enamel tray, or porcelain plate, glass, plexi or even aluminum foil (in a pinch.)
Other:
Sketching supplies (paper, pencil, eraser)
A box or tote to carry paint
Empty bottles with lids (for odorless M.S.)
Cotton rags
Baby oil (for cleaning brushes)
Gesso / primer (usually have in the classroom)
Smock
Ruler
Frame(s)
* Optional supplies
SUPPLY LIST, Acrylics 2
Acrylic Pigments (Recommend Liquitex, W.N. Galleria, Grumbacher, or W.N. Finity)
Required Colors:
Titanium white - large tube
French Ultramarine (Blue)
Cerulean Blue
Cadmium-barium yellow light (prefer) or pale
Cadmium yellow medium
Yellow ochre
Cadmium orange
Cadmium red light, cadm. (prefer) vermillion, or vermillion hue
Cadmium red medium
Permenant Alizarin or Alizarin Crimson (small tube)
Thalo Green (blue shade) (small tube) or Viridian Hue
Terra vert or chromium oxide green
Burnt umber or Van dyke brown
Burnt sienna
Recommended pigments: (In order of recommendation)
Cadmium yellow dark, a violet (ultramarine, dioxazine or permenant)
*Cobalt blue
Add as you like
Mediums: (Galeria or other Winsor & Newton line, Liquitex, Golden to name a few)
Extender and / or Retarder (optional)
*Flow improver and / or *a heavy gel to thicken paint
* Additional acrylics painting mediums: matte, gel, or gloss medium; pumice texture gel; acrylic varnish or an excellent GAMVAR by Gamblin
Brushes:
5 or 7 approx.- (approx sizes only) 1 inch wide or larger “flat“ natural bristles
1 package of assorted nylon brushes and sizes (must contain flats, filberts or brights) and should include a nylon “round” brush, size 00 to 1 OR an assortment of sable, sablene, nylon, etc. asortment
2 painting knife, prefer palette knife
Painting Supports: Four painting supports of either canvas or masonite
1- 16" x 20" minimum
2- 18" x 24" and 15” x 30” or 18" x 24" format
1- larger canvas between 24" x 30" and 30" x 40"
Palette: Plastic (recommend the “Stay-wet” palette system to conserve on paint consumption), or an acrylic, masonite, disposable paper palette pads, or styrofoam plates / trays
Other Supplies:
Sketching supplies (paper, pencil, eraser)
Box or tote to carry paint
Tin cans or plastic containers Cotton rags
Spray bottle
* Tape, scissors, or exacto knife
Acrylics Gesso / primer
Smock
Ruler
* Optional supplies, except where noted for advanced students
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14 months ago
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SUPPLY LIST for Art 210 / Drawing 1
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Student Supply List:
1 - binder & paper: to file syllabus, handouts, and take lecture notes
1 - kneaded eraser
1 - regular eraser
1 each-pencils- 6h,4h,2h, HB, 2b,4b, 6b
1 each-“Conte” sticks or soft pastels- 1 white and 1 bistre (sepia or umber)
1 - charcoal stick
1 - sketchbook: size 12” x 16” to 18” x 24”, smooth surface, neutral PH
1 - 18” - 36” ruler
1 - pen: technical pen or similar type pen- size: Grumbacher “Artist Pen” set, or a size “04” Pentel Ceramicron or a size “03” Pigma Micron, or Rotring Art Pen (fine)
4 - 8 sheets of a colored (neutral grays or browns) charcoal paper, 11” x14” size
1 - drawing board- hollow core wood (best), masonite, or make your own
1 - Matt board (of a neutral color) for FINAL
1 - Backing board (foam core, illustration board (Hot press), etc.) for FINAL
1 - clean rag
Optional:
1 - 5 sheets- Strathmore bristol paper, or hot press illustration board for pen & ink paper.
1 - Portfolio - paper, canvas, etc.
1 - T-square and / or an angle
Suppliers:
Discount Catalog Companies:
The Jerry’s Catalog 1-800-827-8478, www.jerryscatalog.com
Dick Black (1-800-828-4548), dickblick.com
Daniel Smith 1-800-426-6740 o re-mail DSARTMTRL@AOL.COM
Cheap Joe’s
Art Supply Stores:
Mendocino College Bookstores, Lakeport & Ukiah
*MendoLake Office Supply, Willow Tree Plaza Shopping Center, Lakeport
(Michaels) Village Art Supplies, WalMart Shopping Center, south Ukiah
*RileyStreet, 103 Maxwell Court, Santa Rosa (526-2416)
*Village Art Supply, Montgomery Village, 715 Hahman Dr., S.R. (575-4501)
Aaron Brother’s or Michael's, Santa Rosa Avenue, S.R.
Beverly’s Crafts
WalMart- for some supplies
* Student discounts available with class syllabus
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2 months ago
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SUPPLY LIST For Art 218 Painting Oils 1, Art 226 Painting Acrylics 1
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Oil Pigments: Recommend either Gamblin (excellent), Grumbacher (good), or Winton (okay lower student grade) Required Colors:
White: Titanium white, either Gamblin Titanium Zinc White or Flake White Repl., or Permabella white- large tube
French Ultramarine (prefer) or Ultramarine blue
Cerulean Blue
Cadmium-barium yellow light (prefer) or pale
Yellow ochre
Cadmium red light., vermillion, or verm. hue
Permanent Alizarin or Alizarin Crimson (small tube)
Thalo Green (blue shade) (prefer) or viridian hue (small tube)
Burnt Umber or Van dyke brown
Black (small tube)
Recommended optional colors:
*Cadmium red medium
Cadmium orange
Terra vert or chromium oxide green
Burnt sienna
*Cobalt blue
Cadmium yellow medium and / or * dark
Mediums: (choose one group)
1. Gamblin: Gamsol (an excellent pure odorless mineral spirits), Galkyd Lite (alkyd resin), and optional poppy seed oil, and / or Neo Megalip
2. Either Weber Turpenoid or Winsor & Newton Sansodor, (Winsor & Newton) Liquin Original and / or Liquin Light Gel and either Liquin Impasto or Liquin Fine Detail, *Linseed oil
Brushes:
3 or 4 approx. 1 inch wide or larger “flat“ natural bristle brushes (approximate sizes only)
1 a package of assorted nylon brushes and sizes (must contain flats, filberts or brights) and should include a nylon “round” brush, size 00 to 1
1 or 2 painting knife, prefer palette knife
Painting Supports:
9” X 12” canvas pad;
9” X 12” to 12” x 16” canvas board
2 stretched canvases: 18” x 24” (or larger), and 16” x 20” (smallest 12” x 16”)
Palette: Nonporous surface: Masonite, wood, disposable paper palette pads, enamel tray, or porcelain plate, glass, plexi or even aluminum foil.
Sketching supplies (paper, pencil, eraser)
A box or tote to carry paint
Empty bottles with lids (for odorless M.S.) Cotton rags
Baby oil (for cleaning brushes) Gesso / primer (usually have in the classroom)
Smock
Ruler
* Optional supplies, except where noted for advanced students
ACRYLICS 1 SUPPLY LIST
Acrylic Pigments (Recommend Liquitex, W.N. Galleria, Grumbacher, or W.N. Finity) Required Colors:
Titanium white - large tube French Ultramarine (Blue)
Cerulean Blue
Cadmium-barium yellow light or pale Yellow ochre
Cadmium red light, cadm. vermillion, or vermillion hue
Permenant Alizarin or Alizarin Crimson (small tube)
Thalo Green (blue shade) (small tube) or Viridian Hue
Burnt umber or Van dyke brown
Black - (small tube)
Recommended pigments: (In order of recommendation)
Cadmium red medium
Cadmium orange Terra vert or chromium oxide green
Burnt sienna
*Cobalt blue
Cadmium yellow medium and / or *dark
Mediums: (Galeria or other Winsor & Newton line, Liquitex, Golden to name a few)
An extender and a retarder, (optional) *flow improver and / or *a heavy gel to thicken paint
* Additional acrylics painting mediums: matte, gel, or gloss medium; pumice texture gel; acrylic varnish
Brushes:
3 or 4 (approximate sizes only) 1 inch wide or larger “flat“ natural or nylon bristle brushes- buy at least one natural
1 a package of assorted nylon brushes and sizes (must contain flats, filberts or brights) and should include a nylon “round” brush, size 00 to 1
1 - 2 painting knife, palette knife is optional
Painting Supports:
9” X 12” canvas pad;
one 9” X 12” or 12” x 16” canvas board;
2 stretched canvases: 16” x 20”(or 12” x 16”), 18” x 24” (or larger)
Palette: Plastic (recommend the “Stay-wet” palette system to conserve on paint consumption), or an acrylic, masonite, disposable paper palette pads, or styrofoam plates / trays
Other Supplies:
Sketching supplies (paper, pencil, eraser)
Box or tote to carry paint
Tin cans or plastic containers Cotton rags
Spray bottle
* Tape, scissors, or exacto knife Gesso / primer
Smock
Ruler
* Optional supplies, except where noted for advanced students
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14 months ago
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SUPPLY LIST for Oils 1 & Acrylics 1
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Oil Color Pigment Supply List: Recommended products are Gamblin (excellent), Grumbacher (good), or Winton (adequate student grade)
Required Colors:
White: Titanium white, either Gamblin Titanium Zinc White or Flake White Repl., or Permabella white - large tube
French Ultramarine (prefer) or Ultramarine blue
Cerulean Blue
Cadmium-barium yellow light (prefer) or pale
Yellow ochre
Cadmium red light, vermillion, or vermillion hue
(small tube) Permanent Alizarin or Alizarin Crimson
(small tube) Thalo Green (blue shade) (prefer) or viridian hue
(small tube) Burnt Umber or Van dyke brown
(small tube) Black
Recommended optional colors:
Cadmium orange
Cadmium yellow medium and / or * dark
Cadmium red medium
Terra vert or chromium oxide green
Burnt sienna
Mediums: (choose one group)
1. Gamblin: Gamsol (an excellent pure odorless mineral spirits), Galkyd Lite (alkyd resin), and optional poppy seed oil, and / or Neo Megalip
2. Either Weber Turpenoid or Winsor & Newton Sansodor, (Winsor & Newton) Liquin Original and / or Liquin Light Gel and either Liquin Impasto or Liquin Fine Detail, *Linseed oil
Brushes:
3 or more flat and filbert brushes to start - (approx sizes only) 1 inch wide or larger“flat“ natural bristles
1 package of assorted nylon brushes and sizes (must contain flats, filberts or brights) and should include a nylon “round” brush, size 00 to 1
2 palette knives - one long pointed, one short round
Painting Supports:
1 9” X 12” canvas pad;
1 9” X 12” to 12” x 16” canvas board
2 stretched canvases: 18” x 24” (or larger), and 16” x 20” (smallest 12” x 16”)
Palette: Nonporous surface - masonite, wood, disposable paper palette pads, enamel tray, or porcelain plate, glass, plexi or even aluminum foil.
Other:
Sketching supplies (paper, pencil, eraser)
A box or tote to carry paint
Empty bottles with lids (for odorless M.S.)
Cotton rags
Baby oil (for cleaning brushes)
Gesso / primer (usually have in the classroom)
Smock
Ruler
* Optional supplies, except where noted for advanced students
Acrylics 1 SUPPLY LIST:
Acrylic Color Pigments (Recommend Liquitex, W.N. Galleria, Grumbacher, or W.N. Finity) Required Colors:
Titanium white - large tube
French Ultramarine (Blue)
Cerulean Blue
Cadmium-barium yellow light (prefer) or pale
Yellow ochre
Cadmium red light, cadm. (prefer) vermillion, or vermillion hue
(small tube) Permenant Alizarin or Alizarin Crimson
(small tube) Thalo Green (blue shade) or Viridian Hue
(small tube) Burnt umber or Van dyke brown
(small tube) Black
Recommended pigments: (In order of recommendation)
Cadmium orange
Cadmium red medium
Cadmium yellow medium and / or *dark
Terra vert or chromium oxide green
Burnt sienna
Mediums: (Galeria or other Winsor & Newton line, Liquitex, Golden to name a few)
Extender and / or Retarder (optional)
*Flow improver and / or *a heavy gel to thicken paint
* Additional acrylics painting mediums: matte, gel, or gloss medium; pumice texture gel; acrylic varnish
Brushes:
3 or more (approx. sizes only) 1 inch wide or larger “flat“ and “filbert” natural or nylon bristles, at least one natural
1 package of assorted nylon brushes and sizes (must contain flats, filberts or brights) and should include a nylon “round” brush, size 00 to 1
2 palette knives, one longer and pointed knife, one short and round knife
Painting Supports:
1 9” X 12” canvas pad;
1 9” X 12” or 12” x 16” canvas board;
2 Stretched canvases: 16” x 20”(or 12” x 16”), 18” x 24” (or larger)
Palette: Plastic (recommend the “Stay-wet” palette system to conserve on paint consumption), or an acrylic, masonite, disposable paper palette pads, or styrofoam plates / trays
Other Supplies:
Sketching supplies (paper, pencil, eraser)
Box or tote to carry paint
Tin cans or plastic containers
Cotton rags
Spray bottle
* Tape, scissors, or exacto knife
Acrylics gesso / primer
Smock
Ruler
* Optional supplies, except where noted for advanced students
Updated July 17, 2009
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8 months ago
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SUPPLY LIST for Oils 2 & Acrylics 2
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Art 218 & Art 226 ✵ Mendocino College ✵ 1.5 units
Syllabus Supplement ✵ Instructor: Lorraine Brady Arthur
Instructor: Lorraine Brady Arthur
E-mail: lbradyar@mendocino.edu
Phone Messages: 707-479-3889
Oils Supply List
Required Oil Color Pigments: Recommended products are Gamblin (excellent), Grumbacher (good), or Winton (adequate student grade)
White: Titanium white, either Gamblin Titanium Zinc White or Flake White Repl., or Permabella white - large tube
French Ultramarine (prefer) or Ultramarine blue
Cerulean Blue
Cadmium orange
Cadmium yellow medium and / or * dark
Cadmium-barium yellow light (prefer) or pale
Yellow ochre
Cadmium red light, vermillion, or vermillion hue
Cadmium red medium
(small tube) Permanent Alizarin or Alizarin Crimson
Burnt sienna
(small tube) Burnt Umber or Van Dyke brown
(small tube) Thalo Green (blue shade) (prefer) or viridian hue
Terra vert or chromium oxide green
Recommended optional colors:
Cadmium yellow dark, a violet (ultramarine, dioxazine or permenant)
*Chinese Orange by Sennelier (awesome for landscape painters)
Mediums: (choose one group)
1. Gamblin: Gamsol (an excellent pure odorless mineral spirits), Galkyd Lite (alkyd resin), and optional poppy seed oil, and / or Neo Megalip
2. Either Weber Turpenoid or Winsor & Newton Sansodor, (Winsor & Newton) and Liquin Original and / or Liquin Light Gel and either Liquin Impasto or Liquin Fine Detail, and a *Linseed oil (I like Stand Oil, but I encourage experimenting for yourself)
Brushes:
5 - 7 or more flat and filbert brushes to start - (approx sizes only) 1 inch wide or larger“flat“ natural bristles
1 package of assorted nylon brushes and sizes (must contain flats, filberts or brights) and should include a nylon “round” brush, size 00 to 1
2 palette knives - one long pointed, one short round
Painting Supports:
1 16" x 20" minimum
2 18" x 24" and a 15” x 30” or 18" x 24" format
1 larger canvas between 24" x 30" and 30" x 40"
Palette: Nonporous surface- masonite, wood, disposable paper palette pads, enamel tray, or porcelain plate, glass, plexi or even aluminum foil.
Other:
Sketching supplies (paper, pencil, eraser)
Ruler
Frame(s)
A box or tote to carry paint
Smock
Empty bottles with lids (for odorless M.S.)
Cotton rags
Gesso / primer (usually have in the classroom)
Baby oil (for cleaning brushes)
* Optional supplies, except where noted for advanced students
Supply List for Acrylics 1
Required Acrylic Colors Pigments: Recommend Liquitex, W.N. Galleria, Grumbacher, or W.N. Finity)
(Recommend Liquitex, W.N. Galleria, Grumbacher, or W.N. Finity)
Titanium white - large tube
French Ultramarine (Blue)
Cerulean Blue
Cadmium-barium yellow light (prefer) or pale
Cadmium yellow medium
Yellow ochre
Cadmium orange
Cadmium red light, cadm. (prefer) vermillion, or vermillion hue
Cadmium red medium
(small tube) Permenant Alizarin or Alizarin Crimson
(small tube) Thalo Green (blue shade) or Viridian Hue
Terra vert or chromium oxide green
Burnt umber or Van dyke brown
Burnt sienna
Recommended Pigments: (In order of recommendation)
Cadmium yellow dark, a violet (ultramarine, dioxazine or permenant)
*Cobalt blue (expensive & optional)
Add as you like (some choices will depend on the direction you take with your art)
Mediums: (Galeria or other Winsor & Newton line, Liquitex, Golden to name a few)
Extender and / or Retarder (optional)
*Flow improver and / or *a heavy gel to thicken paint
* Additional acrylics painting mediums: matte, gel, or gloss medium; pumice texture gel; acrylic varnish
Brushes:
5-7 or more (approx. sizes only) 1 inch wide or larger “flat“ and “filbert” natural or
nylon bristles, at least one natural
1 package of assorted nylon brushes and sizes (must contain flats, filberts or brights) and brights) and should include a nylon “round” brush, size 00 to 1
2 palette knives, one longer and pointed knife, one short and round knife
Painting Supports:
1 16” X 20” canvas pad;
2 18" x 24" and 15” x 30” or 18" x 24" format
1 larger canvas between 24" x 30" and 30" x 40"
Palette: Plastic (recommend the “Stay-wet” palette system to conserve on paint consumption), or an acrylic, masonite, disposable paper palette pads, or styrofoam plates / trays
Other Supplies:
Sketching supplies (paper, pencil, eraser) box or tote to carry paint
Tin cans or plastic containers
Cotton rags
Spray bottle
* Tape, scissors, or exacto knife
Acrylics gesso / primer
Smock
Ruler
Frame(s)
* Optional supplies, except where noted for advanced students
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2 months ago
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SUPPLY LIST for Portrait Painting
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The supply list will be soon modified for greater specifics, but for those purchasing ahead of time we will use: (class supply lists are currently posted for Pastels, Watercolor, Acrylic and Oils for greater detail of what continuing students already have or may need)
DRAWING MEDIUMS: pencils (6b, 4b, 2b, 2h,4h, 6h), charcoal (optional), one dark (sepia or black) and one white conte pastel
PAPER: A drawing pad that is around 9" x 12" to 16" x 20" in size, AND colored charcoal paper in sheets or pad (prefer neutral colors)
COLOR MEDIUM: Oil, acrylic, watercolor, or pastel painters will already have most colors. Be sure to have YELLOW OCHRE, CADMIUM RED LIGHT, CHROMIUM OXIDE GREEN (prefer) or TERRE VERT, and plenty of WHITE, CERULEAN BLUE, and a NAPLES YELLOW. RAW SIENNA may also be a helpful color, specially for watercolorists.
Since you already work in one of the above mediums you know what mediums and supplies are needed to work in them.
BRUSHES: Painters be sure to have at least three round brushes in addition to what ever brushes you already have. Sizes should include a small (0-1 size), a medium size (depends on the medium) and a larger size.
Pastelists may want to include blenders, tortillions, stomps, chamois, styrofoam peanuts, or anything else you may enjoy blending with. If you are prone to use your fingers, it's best to use latex finger cots or gloves.
OTHER SURFACES: For Oils & Acrylics, or Oil Pastel- Canvas paper pad, and a canvas board, canvas or masonite or wood panel.
Watercolors: Watercolor paper and watercolor pad or block pad
Soft Pastels: Sanded pastel paper and/or mixed medium paper and/or velour paper
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2 months ago
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SUPPLY LIST for Special Topics: Drawing with Pastel
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Art 88.6
Mendocino College: Main Campus
Instructor: Lorraine Brady Arthur
Phone Message: (707) 468-3000 ext 4075
Supply List:
At least one set of soft pastels.Refer to Handout "A Little On Pastels". Best to purchase a set of 40 - 96. NuPastel Prismacolors are a great little starter set.
Sketch pad 11” x 14” or a little larger
2 Charcoal paper full sheets,1 white, 1 neutral tone such as (Canson Mi-Teintes or Strathmore 500 Series, or Art Spectrum Colourfix Supertooth Board 10 pack of 20” x 28”
may be cut or torn in quarters (which can be used for mixed medium as well).
1 - Velour Pastel paper (Hahnemuhle) neutral tone, such as tan or beige, not black
1 - 3 Large sanded pastel paper, such as, Wallis (which may be used with a watercolor as an underpainting), Ersta, or Sennelier La Carte Pastel Card)
1 Multi media paper or board, such as: Watercolor paper, Wallis Sanded Paper, Art Spectrum Colourfix Supertooth or Multimedia Board
1 or more 16” x 20” Pastel board, either Ampersand Pastelbord OR *make your own pastel board
Drawing board and clips or tape: either masonite, hollow core wood, cardboard or foam core
Paper Towels (optional)
Mat Knife or Single Edge Razor Blade (for sharpening)
Pencils: 6B or 4B, HB or 2B, 2H, and a 4H or 6H
Erasers: Kneaded Eraser, Magic Rub
Artist Tape
Paints and Brush(es): Acrylic or Small Watercolor Set or India Ink
Vines charcoal stick
Conte crayon sticks or Conte pencils (optional)
(optional) Framing Supplies - mat board, foam core, framing tapes, glass, frame molding
Safety, Storage & Cleanliness Supplies:
Latex gloves or cots (fingertips) (drug store, home supply, hardware or art store)
(optional) Small nose / mouth mask (hardware store)
Smock
(optional) Workable Fixative
Glassine or tracing paper or waxed paper (economical)
Shallow large cardboard box with lid or a photography paper box
Foam core (use scrap pieces)
Optional Blending and Color Shapers:
Paper Stomps or Tortillons
Q-tips
Soft foam brush (may use makeup applicators)
Peanut packaging material (optional)
Soft, flat rubber chiseled ‘brushes’
Small Chamois, Facial Tissue and / or Rags
Flat, oval or fan pastel brushes (old oil, acrylic, or even some makeup brushes are okay)
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2 months ago
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SUPPLY LIST Watercolor 1 Class / Art 222
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Lorraine Brady Arthur, Instructor
Transparent Paint Pigments:
Aureolin Yellow- AY (buy Winsor Newton) Viridian Green- VG
Cobalt Blue- CB
Burnt Sienna- BS
Rose Madder Genuine- RMG (buy Winsor Newton)
Staining (Transparent) Paint Pigments:
Alizarin Crimson- AC
Winsor Yellow-WY OR Thalo Yell.
Winsor Blue- WB OR Thalo Blue
Winsor Red- WR OR Thalo Red
Winsor Green- WG OR Thalo Green
Opaque Paint Pigments:
Cadmium Yellow- CY
Yellow Ochre- YO
Cadmium Orange- CO
Indian Red- IR
Cadmium Red- CR
Naples Yellow- NY
French Ultramarine Blue- FUB
*Burnt Umber- BU
Cerulean Blue- Cer B * optional colors
Palette:
Robert E. Wood or large plastic palette with wells and cover.
Paper:
1 - spiral bound 9“ x 12” Canson or Winsor & Newton w.c. paper pad, 140 lb. cold press (12 sheets)
1 - Strathmore cold press watercolor paper block - 9” x 12” or 11” x 14”
2 - sheets of 140 lb paper - Arches or Winsor & Newton by individual sheet
Brushes:
1 - 1" Flat nylon brush - beveled end (Aquarelle or Winsor Newton)
3 total: 1 size each of round synthetic or natural sable brushes: sizes 0 or 1, either a 3, 5 or 6, and a 8, 10 or 12
Accessories:
2 water containers
2b pencil and clean eraser
natural sponges
salt (rock- best)
staples / stapler
brown (gum backed) packing tape
paper towels toilet or tissue paper
spray bottle
hair dryer
liquid Frisket (Maskoid)
toothbrush
exacto knife or blade
1/4" primed plywood board (24" x 32" or / and 14" x 18")
(eye ) dropper
Frame (optional), matting, and foam core for your Final Project:
Do not purchase until you have planned, and preferably painted your Final Project
Suggested Reading:
"Painting Weathered Textures in Watercolor," Richard Bolton;
any books by Christopher Schink; J. Dobie, “Making Color Sing”;
art publications, such as “The Artist Magazine”
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2 months ago
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SUPPLY LIST Watercolor 2 Class/ Art 223
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Lorraine Brady Arthur, Instructor
(asterisks (*) are for optional colors)
Transparent Paint Pigments:
Aureolin Yellow- AY (buy Winsor Newton) Viridian Green- VG
Cobalt Blue- CB Burnt Sienna- BS
Rose Madder Genuine- RMG (buy Winsor Newton)
Staining (Transparent) Paint Pigments:
Winsor Blue- WB OR Thalo Blue
Winsor Red- WR OR Thalo Red
Alizarin Crimson- AC
Winsor Yellow-WY OR Thalo Yell.
Winsor Green- WG OR Thalo Green
Opaque Paint Pigments:
Cadmium Yellow- CY
Yellow Ochre- YO
Cadmium Orange- CO
Indian Red- IR
Cadmium Red- CR
Naples Yellow- NY
French Ultramarine Blue- FUB
Cerulean Blue- Cer B
Chineese White
*Burnt Umber- BU
Palette: Robert E. Wood or large plastic palette with wells and cover
Arrange colors on palette by placing all transparent together, or staining, or opaque.
Paper: 7 - 8 sheets of 140 lb paper - Arches or Winsor & Newton by individual sheet (experiment with cold press, hot press, and rough papers to learn your preference)
Brushes:
1 - 1" Flat nylon brush - beveled end (Aquarelle or Winsor Newton)
3 total: 1 size each of round synthetic or natural sable brushes: sizes 0 or 1, either a 3, 5 or 6, and a 8, 10 or 12
Accessories:
2 water containers
sponges
staples / stapler
2b pencil and clean eraser
salt
brown (gum backed) packing tape
paper towels
spray bottle
toilet or tissue paper
bottles with lids
camera
*liquid watercolor paper
liquid Frisket (Maskoid)
hair dryer
tracing paper, 18” x 24” pad
exacto knife or blade
toothbrush
two 1/4" primed plywood boards (24" x 32")
drawing paper for thumbnails, 8” x 10” 0r 9” x 12”
A camera for taking your own photos
Frame, matting, and foam core for your Final Project:
Do not purchase until you have planned, and preferably painted your Final Project
Suggested Reading: "Painting Weathered Textures in Watercolor," Richard Bolton; books by Christopher Schink; J. Dobie, “Making Color Sing”; art publications, such as “The Artist Magazine”.
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8 months ago
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SYLLABUS Art 218 Painting Oils 1 / Art 226 Painting Acrylics 1
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FALL 2008
ART 218 SECTION #0083 & ART 226 SECTION #0089
Instructor: Lorraine Brady Arthur Mendocino College, Ukiah Campus
E-mail: lbradyar@mendocino.edu
Phone Message: 707 - 479 - 3889
Tuesday 6:00 - 9:00 PM
Class Begins August 19
Class Ends December 16
Office Hours: Tuesday 9:00 - 9:10
Room 5360
1.5 units
Course Description: The exploration of traditional and contemporary techniques, elements of design and color theory using oil or acrylic paints to approach various subject matter in still life, landscape or nonobjective painting.
Course Outline:
1. Elements of design: line, shape texture, value, pattern and rhythm, space, composition, form color theory (includes terminology, inspiration, and color schemes.)
2. Use of color in painting
3. Painting supports and grounds: includes preparation
4. Brushes and knives: use and care
5. The properties of oil or acrylic paints and media’s
6. Techniques: brush and painting techniques
7. Safety
8. Framing / presentation of artwork
Course Outcome: Upon completion of this course students should be able to demonstrate:
1. Preparation of the paint surface
2. Proper usage of paint media’s
3. Proper selection and care of brushes or knives
4. Brush techniques
5. Identify, mix and match observed colors with paint
6. Development of an idea using the elements of design
Method of Instruction: Lectures, demonstrations, instructional handouts, books, internet, slides, DVD or video
Assignments: Paintings, swatches or scales, and a painting diary
Painting Diary: All students are required to keep a painting diary for each assignment. A diary should record colors used, techniques, a commentary on personal expression, and the discovery of what you learned.
Homework: Preparation by gathering materials for painting assignments, drawing thumbnail sketches, preparing canvas with gesso or toning, etc. Also, work on class assignments.
Method of Evaluation: In order of importance as in accordance to each assignment
A. Individual skill development:
1. Use of color, values and lighting to create form
2. Use of the elements of design and composition
3. Technique
4. Use of medium
5. Individual style
B. Apply critical thinking to assignment concepts
C. Participation in class content and class objectives, critiques
D. Homework: individual exploration, development and preparedness by planning, gathering materials, designing or painting outside of class (approx. 1 1/2 hours per week)
Grading: A cumulative point system total 100 points will be used for this class:
86 - 100 = A, 75 - 85 = B, 64 - 74 = C, 53 - 63 = D, under 52 = F
Students are expected to turn all assignments in according to the schedule. Repeated tardiness or late assignments may lower a grade one whole grade. Students who are unable to meet the mentioned criteria or feel anxiety of a letter grade, should register for a credit/no credit grade option before the end of the first month of the semester.
Student Responsibilities:
1. Regular attendance. Students have the first 10 minutes to set up supplies for painting. Lectures or demonstrations will follow.
2. Be prepared! Read the class calendar weekly to prepare for class assignments. Bring all necessary materials for each assignment, such as canvas vs. canvas paper, photos, or roughs, etc.
3. Active observation and note taking of all demonstrations or lectures
4. Active participation during class critiques and discussions
5. Keep a painting diary of all assignments
6. Clean up your own work area after each class! This includes sponging off tables.
Student Conduct Policy:
1. Consideration, courtesy, and non- disruptive behavior are expected by all individuals in class:
A. Students should be fully focused on instructional lectures and demonstrations.
B. Withhold questions to a question & answer time after any lecture or demonstration
C. No leaving the room during lecture or demonstrations. At other times, enter / leave quietly.
D. Students are expected to follow all class assignments.
E. A no tolerance policy exists for:
Lewd, profane, indecent, hostile or threatening behavior. If such behavior occurs the student will be permanently removed from the class and reported to College Administration. Students are asked to report any incidents to the instructor.
F. Talking in class is aloud during lab time, but not loud or excessive talking
2. No eating in the classroom, except during a potluck
3. Drug-free campus
4. Mendocino College “Academic Honesty Guidelines” are to be followed
5. If you’re having problems, speak with the instructor! Maintain open communication with instructor regarding personal issues that may arise and affect your abilities to complete class/ work, etc.
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14 months ago
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SYLLABUS, Spring 2009, Art 210-Drawing 1
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Lorraine Brady Arthur, Instructor
E-mail address: lbradyar@mendocino.edu
Phone messages: 707-479-3889
Class Meets: Wednesday, 6:00 - 9:00 PM
Office hours: Wednesday, 9:00 - 9:15 PM
Class Section Number: 5096
Room: 7050
Units: 1.5
Course Prerequisite: None
Class Description: The class will experience simple exercises that teach students to "see" using the right-side-of-the-brain. While learning to use the drawing tools and how to tap into “R-mode,” students will quickly learn to draw. Students will learn basic drawing methods by studying light; design concepts of shape, line, value, texture, volume, light and shadow, proportions, pictorial composition, perspective. Students will also learn to capture a “likeness” on paper while exploring a variety of traditional and contemporary techniques that include pencil, pen and ink, conte and charcoal. Subjects will include still life, buildings, photos and more. Personal expression will be explored, while personal style will develop naturally.
Course Objectives: The primary emphasis of Drawing 1 is learning to draw to achieve a 3-d likeness. Next is learning technique and medium. Other objectives include developing a greater appreciation and growth in the knowledge of art, and developing “an artist eye.”
Course Outcome: Students who successfully complete this course will be able to:
1. Use line to create a 3-D likeness
2. Demonstrate the use and understanding of negative a positive shapes
3. Demonstrate the ability to recognize, compare, and verify, proportions
4. Demonstrate how line, shape, value, space, texture, patterns and composition interact to by using these design elements in drawing
5. Demonstrate an ability to recognize and represent observed values in various media
6. Demonstrate proper use and selection of drawing tools and surfaces
7. Demonstrate proper use of perspective
8. Development of personal expression in drawing that has improved through application of instruction and conscious effort.
Method of Evaluation: (in order of importance)
A. Individual skill development:
1. structural accuracy
2. technique
3. use of medium
4. individual style
B. Apply critical thinking to assignments
C. Participation in class content and class objectives
Grading:
25% Class assignments
25% Sketchbook homework (approx. 10 - 12 hours total)
25% Five special outside assignments (Minimum of 4 hours total)
25% Final project (done as homework to be presented at last class)
Method of Instruction: Lecture, demonstration, observation, handouts, publications, and slide show Demonstrations and lectures will begin at 6:10 pm. Set up upon 6:00pm arrival.
Attendance Policy: Since a considerable amount of work is done in class, one absence is allowed per student without a penalty to their grade. After one absence, students must do make-up work in order for their grade not to be affected. This is in addition to the weekly homework schedule. (Refer to Class Schedule assignment sheet for make-up assignment.) It is the responsibility of the absent student to seek out information from other students for information they may have missed while absent. If you ‘re having problems, contact the instructor! Two absences are allowed, unless arrangements have been made with the instructor.
Students are asked to be on time for class, and turn all assignments in according to the schedule. Repeated tardiness or late assignments will lower a students grade. Students that are unable to meet the above criteria or that feel anxiety of a letter grade, should register for a credit / no credit grade option before the end of the first month
Student Conduct Policy:
As instructor, I aim to create a pleasant, non-threatening, and fun learning environment for students of all levels. To maintain that environment, I expect everyone to abide by the following classroom policies:
1. Consideration, courtesy, and non-disruptive behavior towards everyone in class
2. Completion of assignments for homework in accordance to class schedule
3. Attempt to be on time, (though it’s better to be late than absent) and not miss class
4. Please communicate any personal issues with the instructor that affect your ability to learn or complete your course work
5. Fully focus on instructional lectures & demos:
A. Please withhold questions to a Question & Answer Time after any lecture or demo
B. Do not leave the room during instructor demos or lectures, unless it’s an emergency.
C. No cell phones, MP3 players, or other devices allowed on during lecture / demo’s
6. Talking should not be excessive or loud, and is limited to lab time ONLY
7. Ipods or MP3 players are allowed during lab time
8. No eating / drinking in the classroom, except for water
9. No lewd, indecent behavior, or profane conduct will be tolerated!
Students displaying or initiating any such outbursts may be permanently removed from class and reported to College administration without warning. Students are encouraged to report personal incidents to the instructor.
11. Drug-free / alcohol free campus
12. Mendocino College “Academic Honesty Guidelines” are to be followed
Supplies: Refer to Drawing 1 Supply List
Reading Assignments: No textbook. Class handouts are required reading.
Recommended Reading: Drawing on the Right Side of the Brain, Dr. Betty Edwards
Drawing the Natural Way, Kim Nicolaides
Supplemental Instructor Handouts:
line drawing / drawing shapes perspective: 1 pt., 2 pt., inclined planes, equal spacing
rendering / light and shadows
textures and patterns / pen & ink
matting
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8 months ago
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Class Pictures
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A Past Portrait Painting Class
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3 years ago
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Limantour Estuary, Pastel
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4
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2 months ago
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Lorraine Brady Arthur - Art work
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Oils, Pastels & Watercolor
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18
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18 months ago
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Student Artwork
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Mixture of Drawing 1, Oils & Acrylics, Portrait Painting, Watercolor, Color & Comp classes
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3 years ago
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Watercolor 1 Fall 2007
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Beginning Watercolor class
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6
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2 years ago
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Watercolor 2, Fall 2007
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2 years ago
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"Notes About Pastel Supplies" For New Pastel Students
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Instructor: Lorraine Brady Arthur
Mendocino College / Art 88.6
New pastel students registered in Special Topics: Drawing with Pastel may want to read "Notes About Pastel Supplies". It's informative and discusses various types of pastel, pastel surfaces, and even how to make pastel panels or where to purchase supplies.
Charcoal or Pastel Papers There are a few colored or white papers available that are available in sheets or pads that are only good for single layers of pastel. Brands include Strathmore 500 Series Charcoal Papers around a $1.00 a sheet, Canson Mi-Teintes drawing paper around $1.60 - over $2.00 a sheet. Both are available in packs or pads. Sheets are 19” x 25”. Because single layers can only be applied, this paper is only good for quicker studies or drawings. It will not work for most of our assignments that are considered paintings and need multiple layers of pastel.
Sand Paper a fine grit sand paper may be used for a cheap substitute of sanded pastel paper. Size and quality of paper has tremendous limitations.
Sanded Pastel Paper a great pastel surface with a grainy texture that holds pastel well. “Ersta” makes a 400 grit paper that is 21.25” x 27” available in a few colors. Ersta’s paper costs between $5.50 - $7.50 a sheet.
Wallis Sanded Pastel Paper this is a strong, non-buckling paper that's advantage is it is designed to first take an under-painting in oils, acrylic, or watercolors. This paper can also take tough reworking with a stiff brush. Both a museum and professional grade are available in a few sizes. The best price is for a single sheet of 24” x 36” paper that can be cut to four sheets of 12” x 18” for $16.00 (professional grade) or $22.00 (museum grade) otherwise pads of 9” x 12” are around $24.50.
Sennelier La Carte a thick paper that is slightly abrasive with a perfectly smooth uniform tooth in a range of colors of 19” x 25” size. This paper is not intended to use wet media with it. Around $9.99 a sheet.
Pastel Velour Paper is a great velvety surface that holds soft pastel to it’s surface. Artists that prefer to paint with blending in their work may find this their paper of choice. It can’t take too many layers though. “Hahnemuhle” is a manufacture of pastel velour paper. They sell a ten sheet 9” x 12” pad with a variety of colors between $18.00 and $35.00. Single full sheets of 19” x 27” are available for around $6.89 a sheet in a variety of colors.
Pastelboard (by Ampersand) is an excellent firm pastel surface that comes in a few color choices and sizes. Soft pastel adheres well to the pastelboard, and does not need much fixative. An 18” x 24” board costs between $14.00 - $19.89 a board.
Pastel board may be made by applying gesso to a sanded masonite board. Two to three coats will be applied with the top layer having pumice OR powdered marble dust Or Micaceous iron oxide or a few other mediums (such as Goldens Pumice Gel, etc. Must read labels) added to the gesso.
Other Boards Extra toothy surfaces, such as Art Spectrum Colourfix Supertooth Board (10 packs of 20” x 28” are $9.09 at Dick Blick. I have never used any of the Art Spectrum products for pastel.This seems to be a good buy and decent paper that can be used for some of the smaller quicker assignments. This is made with watercolor paper that has been primed with a clear acrylic primer that contains silica particles. The same company makes a “Multi-media” board (Art Spectrum Colourfix Multi-media Painting Board) that comes in a variety of colors, though limited in size to 12” x 16” art area. Though this claims to be a multi-media board, it also has a fine tooth surface. Dick Blick sells this board for $7.39, however I won’t recommend it since I haven’t used it or felt it with my hands.
Watercolor paper is a good surface for a pastel painting when a watercolor or acrylic under-painting is first painted and then pastel applied on top. Less layers of pastel are needed or doable when using this method (watercolor paper has less fiber or abrasion than traditional pastel papers in order for the application of multiple pastel layers, so much of the painting should be worked out first in the under-painting.)
One last remark on summing up choosing a paper is that the student should first consider the subject and size being planned to approach, then consider the pastel set that you own. Soft pastels will vary in their consistency and how they lay down on paper. Some brands are more hard, some brands are considered medium in hardness, and some are very soft or buttery. In a painting with multiple layers the “medium” or “hard” soft pastel is applied during the first layers, while the soft buttery pastel is applied last. The reason for this is that the extra soft, creamy pastels will fill in the tooth of the surface quickly because it goes on thick. Of course to work this way, it takes having more than one brand of pastel. Which is fine if you own a smaller set (and decide you love pastel and want to continue working with it), you can add another set later on or add individual sticks or make yur own. In the mean time, I recommend that you purchase a medium hard set such as Rembrandts because they are a wonderful all around pastel. It’s okay to use the same pastel for multiple layers, but the softer the pastel the less layers can be used on a paper.
Here is a fantastic link to an abundance of informaation related to pastels. It includes making your own pastels, and reviews on pastels. It is http://www.squidoo.com/pastels#module1568060
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14 months ago
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Announcements
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Use the Announcements list to post messages on the home page of your site.
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7
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2 months ago
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Drawing 1 Students:
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For the week of Feb 25:
Last class we drew mostly contour drawing of dried leaves, and a few other natural objects. Students also did regular line drawings in which you could look at the paper using neg./pos. shapes, comparing angles and relationships, etc.
Students have double duty for homework this week. Assignments 1 & 2 are additional to regular homework schedule. Assignments 1 & 2 are drawings of the exact same subject drawn twice using two different methods:
Assign. 1- modified contour
Assign. 2- neg. / pos. shapes line drawing by making angle and relationship comparisons, etc.
Both are line drawings with no shading! Both are of the same subject of your choice, however it's wisdom to choose a subject that lends well to both techniques. Both drawings should be at least a half hour long each.
Sketchbooks are also due this week. We are beginning a new topic of study that will last the next three weeks, perspective. Be sure to bring a ruler to class, and a right angle or T-square if you have one.
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13 months ago
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Events
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Use the Events list to keep informed of upcoming meetings, deadlines, and other important events.
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1
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3 years ago
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GAMBLIN's- Awesome Informational Flyer.pdf
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8 months ago
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GAMBLIN's- Awesome Informational Flyers
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Go to the Gamblin Color website for loads of great information!
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6 months ago
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OIL PAINTING: The Old Masters’ Technique of Grisaille
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The Old Masters’ Technique of Grisaille
Mendocino College
Instructor: Lorraine Brady Arthur
A common technique that was used from the early 1400’s, Renaissance period, is a process of painting (7) multiple layers of paint. The first layers began the process of establishing a paintings “values”, so color was not applied at this stage. This technique became known as the grisaille technique. The grisaille technique, which is pronounced of grizz-eye, is French for gray. As the industrial revolution brought along many changes to society, by the mid 1800’s, the development of both new pigments and tubes for paint came along that completely changed the way artists worked. Eventually the Impressionists, as they strayed out doors to paint by exploring light first hand, abandoned this method of working.
The grisaille method has a unique twist by about everyone that used it. Some artists used only shades of gray, others used shades of brown, even green or earthy reds. Some used no white, while other used white.
Today, many artists work in this method because of the rich luminous affect that can be achieved or perhaps out of “academic pride”. Many art schools that strayed from teaching academic processes for much of the 20th century have today come full circle in teaching their students the historical process of grisaille painting.
At the very least, the student learns the importance of developing accurate value representation in their chosen subject. The success of a painting needs a proper portrayal of the values of it’s subject to express light and form; space and dimension.
For this first assignment, you may choose to paint a still life subject of your own choosing OR to copy a painting of an old master that used the grisaille technique. I want you to do your own research on the artist, and what palette they used in their paintings. The internet provides an abundance of information regarding many of the more famous painters of that time, such as: Rembrandt, Leonardo Da Vinci, Caravaggio, and many others.
Here are some links to get you started:
http://artpapa.net/content/view/27/53/
http://painting.about.com/od/oldmastertechniques/a/LeonardodaVinci.htm
http://painting.about.com/od/oilpainting/a/Glazing_Tips.htm
http://www.gamblincolors.com/oil.painting.techniques/palettes.old.masters.html
You should also start Assignment 2 during this time, since some layers of paint may not require a whole class for you to work on them.
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14 months ago
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PORTRAIT PAINTING OFFERED SPRING 2010
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This Spring I am delighted to once again teach the Portrait Painting class. Since this class is generally offered once in a two year period and it meets a requirement for art majors, if you fall in that category, I recommend that you sign up ASAP if you haven't already. It's a great class to take! We will work from both live models and photos both. Monday evening from 6:00 - 9:00 is the time slot at the Ukiah campus.
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2 months ago
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Simple Watercolor Painting Tips
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By Lorraine Brady Arthur
Colors become lighter by adding more water.
Colors become darker by adding less water.
You will get different paint reactions depending on whether you’re working on wet paper or dry paper. Experiment with using the tip of the brush to float paint into the water of a wet area to get a fresh look.
DO NOT over work your paint! Learn to leave it alone, or you will lose the freshness of the paint. Instead it will look “dead” and dull.
Avoid mixing more than two to three opaque pigments together (when using little water) or your paint may dry dull.
Learn your three pigment groups: transparent, opaque, and (transparent) staining colors. Learn to use each of the three pigment groups.
Transparents are great for washes and glazing, or when you need a lighter value color. Layer upon dry layer can be laid on top of the other and still see the white of the paper. This is part of the great beauty of watercolor.
Opaques can be thinned down to a wash, but they have a more coarse pigment that does not share the same fineness of transparent pigments. Because they do not share the same transparency, they are darker in value than transparent pigments. They make good halftone values, since they start to block out the white of the paper. They are wonderful to use in creating interesting textures or contrast with transparents.
Staining colors are transparent, but they stain the white of the paper or any other color underneath them! When rewet they can run. However, since they stain the white of the paper, they are valuable in creating darker values to create contrast in a painting.
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14 months ago
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