Update regarding Monday 03/16

As it stands now, we will meet as a class on Monday, given that there is a state of emergency, it's not mandatory to come to class, it's optional. Do what you're comfortable with, you won't be marked absent.

Art 116 will be online shortly, hopefully by Tuesday. After the 16th, we will be completely online until April 12 or otherwise noted by the college.

I've adjusted the Possessions portrait schedule to reflect the online move.

Blackboard

Update

The campus officials are meeting today following the state of emergency announcement yesterday. I'll update our Monday meeting plans later today.
thank you

Art 116 Zorn modified color scales

Color wheel

Source: www.edrawsoft.com

Art 116 Spring 2020 schedule

Professor Zeggert
Week 4
02/17-Class-1:
Review-Newer concepts: use (3 x greatest dim.) as a guide to help determine distance from the still life. Avoid pit-falls like level change and easel shift- (mark the floor to match the position of the easel).  Measure the distance from the floor to the surface of the still life and match the strength or power of your light source.
02/19-Class 2:
Start Skills painting in class for a grade, due at the end of class 02/26-
(16 x 20 inch canvas.1). Review assessment form and composition considerations.
https://www.nga.gov/collection/art-object-page.53124.html
https://www.artyfactory.com/art_appreciation/still_life/chardin.htm

Week 5
02/24 -Class 1: Full studio -Skills painting in class.

02/26- Class 2: Full studio -Skills painting due at the end of class.
(Bring to the next class a (16 x 20.2 pre-grounded or a toned grounded canvas)
Use walnut oil and Raw Umber, strive to achieve a five on the scale-allow 12 hours to dry

Review before next class.

https://en.wikipedia.org/wiki/Imprimatura
https://gamblincolors.com/oil-painting/sizes-and-grounds/

Week 6

03/02 Class 1: Drape: 60 minute lecture, (must take notes)

Review drapery
Objectives are to match value and illustrate desired folds. Subject: chair, drape and spherical object, staged to include gravity and half-lock folds. RU and White.

03/04 Class 2:

Objectives are to match value and illustrate desired folds. Subject: chair, drape and spherical object, staged to include gravity and half-lock folds. RU and White.
Preparation for next class: Bring a (16 x 20 canvas .3-for color chart plus ruler)- toned ground canvas-strive to achieve a middle value.
Research Anders Zorn before class. https://www.artrenewal.org/artists/anders-zorn/1078

Week 7

03/09-Class 1: Palette lecture, note taking and mixing exercise entire class-Create color scales of your modified Zorn palette-
http://art116painting.blogspot.com/2018/03/considerations-organize-your-palette.html
Goal: Mix the color on your palette, then opaquely paint the scale.
Mandatory attendance
Bring partially used toothpaste tube and 8 x 10.4 to next class plus drape study started on 3/4
03/11- Class 2: Complete drapery study-studio and/or begin toothpaste study-8 x10

HW: Bring to next class four Possessions, a crate size box, drape (color, size your choice) and your clamp light (optional).  (Pit-fall to avoid:  If you forget any of the items, you will be marked absent).

Four Possessions Portrait assignment:

This project includes a painting and two written statements, (typed and printed) to be completed for a grade. (each element is worth 100 points)

Due at the beginning of class on 03/16:
First statement-based on study/research of French painter, Chardin, 1699-1779.  Type a 400 word statement profiling Chardin's life and work. Investigate and describe something you discovered about the artist related to still life painting and how it could be applied to your next assignment. Be prepared to discuss in class!

Second Statement (reflective) due at the beginning of the 03/25 class , it must be typed/printed, min. 300 words. 

Content should include and define choice of objects, and how the they represent you. Describe the paint process, use of color temperature, value and the physical properties of the paint.  Discuss problems, solutions, successes and failures and what adjustments you'll consider making for your next painting.

Bring pre-grounded or toned grounded (20 x24 canvas.1) to next class 

Week 8

03/16- Class 1: Four Possessions, in studio paint day.

03/18- Class 2: Four Possessions, in studio paint day.

Prep Museum visit:

https://art116painting.blogspot.com/2019/03/the-museum-visit-paper.html
html: https://museum.cornell.edu/https://www.arnotartmuseum.org/https://www.metmuseum.org/https://www.binghamton.edu/art-museum/or suggest a museum for approval

Week 9

03/23-Class 1: Four Possessions, in studio paint day.  

03/25-Class 2: Four Possessions painting due at the end of class.
Bring to next class (16 x 20 canvas .4)- toned ground optional
Also, bring your (16 x 20.3) color scales to be used to complete limited value color scales.

Week 10
03/30-Class 1: Water bread oil sketch study-Ultramarine Blue and Burnt Sienna plus White- Begin exercise in adapting colors.
Objectives: Limited palette color scales
Paint opaquely
Push the development of color options, examine warm vs cool, light vs dark.
Be aware of your mixture, devise a recipe-quarters, thirds, etc.-you decide- just know how to get to a color if requested.
04/01- Class 2: Bread and water oil sketch, in studio exercise.

Achromatic value scale for review:

Achromatic value scale:

The study of value can be elusive and impacted by relevant but subjective factors
(i.e.; strength of illumination, medium, pigment, experience and application).
Establishing a standard tool such as a value scale is useful in the pursuit of understanding value and the study of light and shadow.  The achromatic scale is a great tool for the beginning artists as well as experienced ones. Often experienced painters use the scale as a way to sort out color and value questions as a result of picture making. 
In our case, understanding and applying the concepts of the value scale is considered a foundational tool when establishing sculptural weight, also defined as the primary goal of the class.

http://tinkelmanstudio.com/
https://www.metmuseum.org/toah/works-of-art/29.100.1/
http://www.mbartists.com/cgi-bin/iowa/artists.html?artist=53
https://www.nga.gov/collection/highlights/rembrandt-self-portrait.html

Our standard will be an eleven step achromatic value scale modeled after Albert Munsell’s color system.
(more on Munsell, see link)

Transitional steps and form:
Evaluate the degree of lightness and darkness in both scales but be cognizant of the value shift between the
transitional steps in both keys, this should underscore the subjective nature of value.

As noted, value is elusive and subjective but we need to be able to discuss it using common visual language.  The format of the the scale consists of 11 transitional steps and two keys; high and low.
The low key consists of transitional steps labeled 1-4 and the high key consists of steps 6-9.
Zero is black, 10 is white and five is viewed as the middle value.

Elements of the value scale: 

• 11 total steps or squares
• Low key values: 1-4
• High key values: 6-9
• Middle value: 5
• Black: 0
• White: 10
   

Practical value application and theory:
The pursuit of understanding value requires you to see and record degrees of light and dark. The artist must learn to see value relationships, rather than be influenced by what is known as local value, which can be perceived only when seen free of illumination (the effect of light and shadow).
Source: The Guide to Drawing

When Using Rembrandt style lighting to illuminate your object, the object will reveal to you its value structure. You should be able to see the low key values on the dark side of the object or in the shadow area and the high key values on the illuminated side.

Black will be visible where the object comes into contact with its surface and your brightest highlight will be white.

Pit-falls:

Avoid recording the color instead of the value, however color has inherent value

Control illumination, remember additional light sources will make it difficult to record value

Don't lose sight of the primary goal of the class

Determine the real mass or volume of the subject and be mindful of its value structure

About Munsell

http://munsell.com/about-munsell-color/

Art 116-Painting- Spring 2020

ART 116 01 CRN 51045 Painting
Professor David Zeggert

LOCATION: Room 205 Old Science Building

EMAIL: Zeggertdp@sunybroome.edu

607 768 3868 call until 9 pm, excluding Sundays

Monday and Wednesday 1:00-3:50

Office hours will be posted at room 205 Old Science Building

Course description:

This course is designed to investigate painting as an expressive medium rooted in both traditional and contemporary views of fine art painting.  It also serves to expand student’s knowledge regarding the role of fine art painting within today’s art world.  The emphasis is on the tradition of observational painting (painting from life) achieved through regular painting assignments, text and critiques. Personal approaches to specific problems are encouraged and explored through classroom projects. Areas of study include still life, figure and portrait. Discovery is at the core of and defines this class.

Learning Outcomes:

Investigate paint through the investigation of a subject.

Apply the nature of painting to the creation of individual artwork. Use the creative process to explore ideas and the development of an idea.

Implement the principles and tools of visual representation

(Composition, drawing, value contrast, value transitions, tone, and color use)

Utilize the elements and principles of design.

(line, shape, value, texture, color / light, text, balance, unity, rhythm, repetition, variation, pattern).

Mix colors and tones that reflect the understanding of the following color theories: achromatic, primary, secondary, complimentary and temperature.

Explore compositional problems (appropriately compose a picture so that it advances the idea of the painting).

Implement various painting techniques, including various methodologies of paint application, and color usages.

Recognize notable contemporary and historical artists that work with the medium paint.

Be introduced to various professions relating to painting.

Apply knowledge acquired in relation to painting to other art forms.

Course Objectives:

To learn through exploration, application, analysis of text/online sources (blog) and application of the concepts presented.  Learning to see, visualize and create with tools/skills acquired in class.  In short, hone your skills and become a better painter.

Assignments could include reading text, discussion and a critique.  We will use a creative process to solve each assignment.

Most classes will be divided into several parts; studio-time, assignments and critique. Painting and creating will be at the core of the class.  With a strong emphasis on mastering the tools of the trade (listed on the supply list).

Introduce and/or refine rendering skills, understanding and stating value, shape, form, achieving this through the use of paint and painting devices.

I expect you to venture from your safe zone, both in ideas and technique.  We will critique in class and revisions will be part of the process.

When you have completed the course you will:

Understand painting as a medium that communicates, and can be expressive, have completed a strong drawing and paint foundation, explored various approaches, be familiar with past and present artists/painters/drawers, become a member of a very prestigious painting and drawing tree.

Expectations:

You are expected to positively participate in the class, improve your skill level, and apply yourself.  You are expected to be creative thinkers, problem solvers and resourceful.

Grading:

The bulk of your grade will be based on the major assignments (see projects). I expect improvement this semester, no matter what your skill level is at the beginning of the course. You will be evaluated on your skill, attitude and effort as well. The process is as valuable as the idea and technique. Your growth as an artist can be measured very broadly. I will be available for continuous advice, either by email phone or office hours. Call no later than 9 pm or on Sunday. Email and office hours are preferred.

If you need to discuss your grade, see me during office hours or send me an email. I will not use classroom time to discuss your grade.

Evaluation of Paintings:

The areas outlined above represent broad areas of evaluation.

Instructor will convey specific criteria for individual projects and exercises when appropriate.

Your paintings must show evidence of GROWTH, including an understanding of the–

Elements of Art and Principles of Design (line, shape, value, texture, color/light, text, form, balance, unity, rhythm, repetition, variation, pattern)

Principles of Visual Representation: (establishing form, depth, composition, drawing, value contrast, value transitions, textural variation, tone, and color harmony)

Basic Color Theory and Facility of Paint Mixing:  (color theory model will vary according to individual painting exercise)

Method of Paint Application: (i.e., type of brushstroke used)

In addition credit will be given towards evidence of growth from one project to the next

Classroom grade:

The classroom grade equals four categories based on expectations. The categories are 25 points each. It will be factored with your project grades at the midterm and/or the end of the semester. You will complete four or five projects so this grade does carry weight, (i.e., if your facilities are not as developed as others the classroom grade may help boost your overall grade).

Midterm:

At the instructor’s discretion, we will review your progress, areas to improve and attendance.

Plagiarism:
Please review the link below, 3.14 Academic Honesty policy applies to the unauthorized use of visual elements in the context of this class.  Simply put, create all your work.
https://www.sunybroome.edu/web/www/search-results?q=plagiarism

Projects:

Each assignment will have different expectations and aspects to it. Some assignments will be written; some will be articulated, requiring you to take notes, some will have conceptual demands. Others might have skill demands and others may have a deadline demand. You’ll be graded on the aspects of each assignment as it applies, similar to the point system mentioned above. The project grade and classroom grades will equally

factor in to make up your final grade.

Lateness:

This is critical, simply put, if you miss a deadline, you could lose 50 points off the final grade. Defined, the project needs to be complete at the start of the class the day it’s due, no exceptions, unless noted.

Attendance:

I will give you two unexcused absences. The third miss is an automatic failure. The attendance policy is a no tolerance policy. Chronic lateness may add up to an unexcused absence.

­­If you have perfect attendance you will be curved up to the next letter grade.

If you miss a class it becomes your responsibility to get the information from that class. I suggest you make arrangements with another student. I’m not going to use class time to bring you up to date.

If life interrupts your school schedule, let me know and we can make arrangements. You must complete all assignments to pass this course. Don’t abuse this privilege. We will go over absences at the mid-term meeting but,

YOU ARE RESPONSIBLE FOR KEEPING TRACK OF the classes you missed.

Remember not to make appointments during class time.

You are expected to remain in the classroom for the entire class period, unless other instruction is given, leaving early is considered being absent.

Studio Rules / Cleaning Brushes and Oil Paint:

Students must clean their work areas before leaving the studio. That includes putting away easels, palettes, and other equipment.

Students should clean the mixing areas of their palettes and tables at the end of a class or work session.

Brush Cleaning and Care:

Wash your brushes thoroughly with soap and water at the end of each session.  However, prior to washing your brushes with soap and water, remove all excess oil paint from the bristles with paper towels or a rag.  When you proceed to actually clean your bristle brushes with the soap and water there should be very little oil paint remaining in the bristles. 

Make sure that you have cleaned your brushes in the mineral oil before you give them a final wash at the sinks.

Paint Clothes:

Protective clothing may be worn to avoid getting paint on your good clothes or designate paint clothes.

Oil saturated rags and towels: (could be a fire hazard):

Place oil saturated rags and paper towels in the firebox, next to the sink.
https://www.nfpa.org/-/media/Files/Public-Education/Resources/Safety-tip-sheets/OilyRagsSafetyTips.ashx

Cleaning tip: use toothpaste to help remove paint from clothing

DO NOT TOUCH THE STILL LIFE SET UPS!

No work or personal property may be left behind after the term is over with the expectation that it will be stored or kept by the department. We do not have the room 

Online component:  Links of interest

This is required.  Students are required to email me at:  Zeggertdp@sunybroome.edu-
By sending me your email address, if needed, it allows me to develop an email group of the class members to be used for updates and/or inform of a class cancellation.

Email should include biographical information.

Listed below are several sites of interest, during the semester, I’ll email you more links relative to what we are studying at the time.

Students will be required to visit the following web sites below.

http://www.gamblincolors.com/

http://www.gamblincolors.com/newsletters/studionotes13.html         

http://www.artchive.com/

http://artrenewal.org/

http://art116painting.blogspot.com/

Your success is my goal!!!

Supplies:

http://www.dickblick.com/lists/blicku/3CAHLID5DKOU1/publicview/

Light source:

Clamp light   can be purchased at Lowes

Natural light bulb, 60 watt or above

(consider a variety pack including various wattage bulbs)

Clean up:

Mineral Oil: CVS, Wegmans, Walmart, dollar store

Folder and traditional paper notebook:

Used to organize handouts and notes

Other:

Other Required No cost supplies 

Paper Towels, dish soap (provided)

DATE week 1 CONTENT
Class 1

Introduction, cover syllabus, complete bios., course overview

HW:

Send me your email address with bio. info. noting Spring Art 116 in the subject line

Order supplies immediately.

Select a painting from http://www.artchive.com/   print the image (in color) and be prepared to discuss the work and painter.  Include what you discovered from the painting such as paint quality, aesthetic, composition and light source, and/or describe your initial response to the work and why you selected the work. Summarize your thoughts in a typed statement, at least 300 words, the image needs to be in color

READ THROUGHOUT THE SEMESTER:

Painting Definitions: (Cut and paste url)

https://gamblincolors.com/tips-and-techniques/

Week 1 CONTENT

Class 2

Crit., hand in statement and color proof for a grade

Week 2 CONTENT

Class 1
Continued-hand in statement and color proof for a grade
Also, Begin Value, lighting & general concepts and definitions discussed. Must take notes.
Bring to next class: (8 x 10).1 canvas, Raw Umber and White paint, Walnut oil, palette knife
palette and palette paper, plus your brushes. Plus a paint stick.

Class 2
(Supplies due today, 02/05 for a grade)

Begin Value, lighting & general concepts and definitions discussed.

Value sphere exercise, painted in studio and/or value string, cool temp. as scale 0-11 and build form.

Week 3 CONTENT

Class 1
Value sphere exercise, painted in studio and value scale paint stick, cool temp., as scale 0-11
Bring to next class: (8 x 10).2 canvas, Raw Umber and White paint, Walnut oil, palette knife
palette and palette paper, plus your brushes.

Studio exercise: small still life, establish form

Continue to read research and investigate links
Class 2
TBA

Week 4 CONTENT

Class1

TBA

Read: Color

http://char.txa.cornell.edu/language/element/color/color.htm