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JOHN CABOT UNIVERSITY
COURSE CODE: "AS 204"
COURSE NAME: "Beginning Painting"
SEMESTER & YEAR:
Spring 2017
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SYLLABUS
INSTRUCTOR:
Roberto Caracciolo
EMAIL: [email protected]
HOURS:
T12:30 PM 3:15 PM
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
This class requires a materials fee of €75/$85 to cover all basic art supplies.
OFFICE HOURS:
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COURSE DESCRIPTION:
This course introduces the basic issues of oil painting through a series of classic problems: the still life, figure study, portrait and others. Emphasis is on control of color and light and dark value, while building form in a coherent pictorial space. Oil is the preferred medium, and students buy their own materials. The course introduces connections between studio work and the history of painting.
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SUMMARY OF COURSE CONTENT:
The beginning of the course is devoted to a study of the perceptual aspects and material manipulation of color. Subsequent painting assignments are based on working from direct observation. Visits to art exhibitions may be scheduled. Students will create paintings in such genres as the still life, figure study, interior study, landscape or cityscape, portrait or self-portrait.
The class is characterized by an atmosphere of study and experimentation, while working patiently in front of an objective reality. Students are encouraged to find their own, individual approaches, and no particular style is promoted. Much of the actual painting activity takes place outside of class time. Group critiques help students develop a language for discussing their own paintings and those of others.
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LEARNING OUTCOMES:
Students should leave the course with a new understanding of traditions and problems in painting, with increased skill in representing form in space, and with the basic tools to discover personal approaches and solutions. Students will execute paintings from such genres as the still life, figure study, interior study, landscape or cityscape, portrait or self-portrait.
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TEXTBOOK:
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REQUIRED RESERVED READING:
RECOMMENDED RESERVED READING:
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GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
| Four paintings | Grading is based on an evaluation of the paintings created over the semester and the amount of work that has gone into them. The amount of work done counts heavily. Commitment, range of experimentation, improvement, and artistic quality are also strongly considered.
| 100 |
-ASSESSMENT CRITERIA:
AWork of this quality shows excellent mastery of the course content along with exceptional levels of technical skill, artistic awareness, originality, resourcefulness, commitment, quantity of work and improvement. There has been excellent collaboration and leadership in group projects, and there have been no attendance problems.
B
A highly competent level of performance with work that directly addresses the content of the course, with a good quantity of work produced.
CAn acceptable level of performance: the work shows awareness of the course content, but is very limited in quantity, quality, commitment and skill.
DThe student lacks a coherent grasp of the course material and has failed to produce much work.
FNegligent in attendance, academic honesty, engagement with the course content, or production of work.
-ATTENDANCE REQUIREMENTS:
Attendance is required.
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ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic
dishonesty will receive a failing grade on the work in which the dishonesty occurred.
In addition, acts of academic dishonesty, irrespective of the weight of the assignment,
may result in the student receiving a failing grade in the course. Instances of
academic dishonesty will be reported to the Dean of Academic Affairs. A student
who is reported twice for academic dishonesty is subject to summary dismissal from
the University. In such a case, the Academic Council will then make a recommendation
to the President, who will make the final decision.
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STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap.
Students with approved accommodations must inform their professors at the beginning
of the term. Please see the website for the complete policy.
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SCHEDULE
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Week 1 (January 17): Introduction, explanation of materials needed, explanation of attendance and grading policies.
Week 2 (January 24): Discussion of all painting materials, introduction to studio rules and procedures. Explanation of use of preliminary drawings to plan painting. Sketching and drawing with pencils then oils on paper using a light tone (grey, grey-blue or brown). Fast oil sketches on paper from still life.
Assignment: Two more sketches in oil on paper.
Week 3 (January 31): Demonstration of how to stretch a canvas. Preparation of first canvas. Simple paint mixing exercises, starting with black and white.
Assignment: A still life in black and white on paper.
Week 4 (February 7): Examination of reproductions of master painting in the still life genre. Color exercises regarding value, hue and intensity, introduction to theoretical and formal problems in still life. At first fast painting sketches on paper of still life in class, then beginning of painting on canvas. Demonstration by painting an egg (first on a white ground then on a colored one). Color saturation, reflection and influence of one colored shape on the others.
Assignment: More still life.
Week 5 (February 14): Group critique of still life paintings, lecture presentation on figure painting.
Assignment: Finishing the still life on canvas.
Week 6 (February 21): Figure painting in class. Further discussion of techniques for spatial depiction (perspective).
Assignment: Painting the space around the figure on canvas.
Week 7 (February 28): Visit to art exhibition (“Il Museo Universale” at the Scuderie del Quirinale. Bring money for entrance).
Assignment: Sketches of figures from books.
Week 8 (March 3, a Friday make up class): Figure painting in class. Demonstration of possible skin tones.
Week 9 (March 7): Group critique of figure paintings; lecture presentation on interior paintings and landscape, light and color.
Assignment: Painting the art studio (on paper).
Week 10 (March 14): Figure painting continued.
Assignment: Finish figure painting.
Week 11 (March 21): Group critique of recent work and introduction to portrait painting.
Assignment: Pair up with a class mate and sketch each other’s portraits on paper.
Week 12 (March 28): In-class painting. Demonstration of glazes on the portrait.
Assignment: Finish portrait started in class.
Week 13 (April 11): Last opportunity to paint in class.
Week 14 (April 18): Final group critique; preparation of final exhibition; appointments made for individual critiques and evaluations.
Week 15 (May2): Individual critiques
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