Final Painting Assignment

Art 116  Professor Zeggert, Fall 2015
Final Painting Assignment
Transcending Descriptive Realism:
The over arching concept of your final painting needs to convey the theme and title:
Transcending Descriptive Realism (research this)
The painting should include the elements listed below:
An aspect of portraiture

An aspect of the figure

A glass of water

A light bulb

A window or door

Visually represent a food high in Potassium, Fiber, Calcium & Vitamin D-
Fruits, Vegetables, Whole Grains, Milk, Seafood or Healthy Oils

Objectives:
Create a unified picture, (use the rule of thirds as the underlying frame work to help organize the elements)
Craft a picture that represents the theme (TDR)
Demonstrate an understanding and the use of the High and Low value keys
Demonstrate an understanding of color temperature and demonstrate a command of your palette

Deadlines:
The Concept: Due-12/2
Begin the ideation process with thumbnails. The function of ideation is to list and describe how you are going to solve the problem conceptually and visually, complete this to be reviewed and for a grade.
Final: Due-December 16

Written statement:
Min. 300 words typed, ideation list and thumbnails due 12/14 at the beginning of class
Describe how you visually translated and defined the theme plus met the criteria of the assignment.  Include specific examples of value and color use.  Explain problems and solutions, this could include physical paint problems and it could include techniques used to solve the problems.  Describe how you used classroom concepts, ideation and sources of inspiration to help create a successful picture and complete the painting.

No harm is using photo reference, as long as you shoot it and illuminate it correctly, plus make physical print outs
 Size:
24 x 36 inches

Critical element:
Interpreting and resolving the theme (TDR) is viewed as one of the primary challenges of this assignment and considered an exercise in problem solving.

Tip: Research Vasily Kandinsky

Fall 2015 updated 11.4.15

Art 116 Professor Zeggert
Fall 2015 updated 11.4.15 

Week  10
11/2- Class 1: Complete Bread and Water narrative oil sketch due at the end of class
Prep. For Bread & Water Narrative-
HW:  Develop an inventive narrative inspired by bread and water. The image of the physical bread/water still life staged in class needs to appear in the final painting (as a substantial visual element). The other aspects of the narrative for this assignment can be realized through the use of photo reference and props.
Objective: Create a unified painting based on observation and concept
Due: 11/11 at the end of class
Bring to next class (20 x 24 pregrounded canvas) .1
11/4 -Class 2: In studio, Bread & Water Narrative-

Week  11
11/09 -Class 1:  In studio, Bread & Water Narrative-
11/11 -Class 2:  In studio, Bread & Water Narrative-due for a grade at the end of class
HW: Create an oil sketch of “Pat”-Handout provided and posted on the blog.
Due for a grade 11/16 at the beginning of class (16 x 20-.5)

Week  12
11/16- Class 1: In studio, (one day) Raw umber only, paint planes of the Head (20x24.2) (http://www.planesofthehead.com/
11/18- Class 2: In studio, Half Self Portrait over Planes of the head from previous class
Remind Family and Friends of your final evaluation- giving them time to plan

Week  13
11/23-Class 1: In studio, Half Self Portrait over Planes of the head from previous class
Assign Final- Transcending Descriptive Realism (24 x 36).2

11/25-Class 2: Break, no class 

Week 14
11/30- Class 1: Figure model drape, in studio 12:30-2:30 (24 x 36).2
TDR thumbnails due
12/2- Class 2:  Figure model drape, in studio 12:30-2:30

Week  15
12/7- Class 1: Figure model drape, in studio 12:30-2:30
12/09 -Class 2: Figure model drape, in studio 12:30-2:30

Week  16
12/14- Class 1: Figure model drape, in studio 12:30-2:30
12/16- Class 2: Figure model drape, in studio 12:30-2:30

12/21- Final evaluation and party

Open Studio:
Friday, December 4 - 11am-2 pm located in room M 109

Updated schedule (9/21)

Art 116 Fall 2015 schedule Professor Zeggert
Week 5
9/28-Class 1: Complete the Skills painting in class for a grade (bring your objects to class)
-due at the end of class-
Bring to the next class, a 16 x 20 inch canvas.2  (pregrounded, review paint definitions)
9/30- Class 2:  Studio still life (drape): 30 minute lecture, (take notes)
Colors:  raw umber and white, objective is to match value
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.
Week 6
10/5-Class 1: (drape cont.): raw umber and white, objective match value, easel position or distance from still life (3 x greatest dim.) avoid level change, mark easel position, etc.
Bring all your tubed paint to next class. (must take notes)
10/7-Class 2: Palette lecture with handout, mixing exercise entire class
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 assignment:  Includes a painting and written statement to be completed for a grade, due 10/21. Statement due at the beginning of class and it must be typed, min. 300 words.  Content should include and define choice of objects, the paint process, use of color temperature, value and the physical properties of the paint.  Discuss problems, successes and failures.

Due next  class: study/research French painter, Chardin, 1699-1779.  Type a 300 word statement explaining who Chardin was and describe something you discovered about him related to still life painting and how you could apply it to your next assignment.   Due at the beginning of class 10/14
Bring pregrounded (16 x 20 canvas.3) to next class
Week 7
10/12-Class 1: Happy Columbus day!!! No school
10/14- Class 2: Four Possessions, in studio Paint day 
Week 8
10/19- Class 1: Four Possessions, in studio Paint day.
10/21- Class 1: Four Possessions, in studio Paint day. Due at end of class
Bring pregrounded canvas to the next class (16 x 20 canvas.4)
Week 9
10/26- Class 1: One day bread study, In studio Paint day.
Use Burnt Sienna and Ultramarine Blue plus white
HW:  Develop an inventive narrative inspired by bread and water. The image of the physical bread/water still life staged in class needs to appear in the final painting. The other aspects of the narrative for this assignment can be realized through the use of photo reference and props.
Objective: Create a unified painting based on observation and concept
Bring to next class (20 x 24 canvas) .1

Hat - Art 115

Assignment Art 115
Professor Zeggert
Broome Community College
Spring 15

Hat:
Create a narrative style drawing of someone in a hat. Your investigation and statement of the subject should be more than just a person in a hat. The hat should explain and help define the subject’s character and/or persona. Keep in mind, when putting on the hat; the subject should reveal a new or different identity all together and it’s this identity or persona that should come through in the finished drawing.

Objectives:
The drawing should consist of visual information and environmental elements
that support and inform the idea.
Correct use of photo reference.
Create a complete picture dealing with the entire composition.

Requirements:
18 x 24 paper
Illuminate your subject with a single light source, (turn off the flash on the camera)
Must use 8.5 x 11 paper format photo reference, B&W,
Work life-size

Deadlines:
Photo reference-due next class for a grade
Final due at the end of class on 4/15, 4/16

Concepts covered in class that should be applied to the drawing:
Realize the entire value range
Achieve sculptural weight
When constructing the drawing, work in terms of general to specific
Remember, the finished drawing is the result successive sittings; this coincides with the concept of general to specific
When shooting the photo reference, your subject should fill the majority of the camera view-finder
Examine and consider an unusual point of view
Make sure you have a clear understanding of the concept you’re trying to achieve with the finished drawing
Let the drawing live as a drawn image
Confirm that the composition reflects the point of the picture

Self Portrait: You as an artist

Credits: from top
Burton Silverman
Sir Stanley Spence
Chuck Close
Gustave Coubet
Elizabeth Nourse
Philip Leslie Hale
Rembrandt in studio
Norman Rockwell
Avigdor-Arikha
Diego Velazquez
Johannes Vermeeer
Jeremy Lipking
Ceasor Santos
Rembrandt 1663

An American in London Paintings by MARC DENNIS

https://gallery.mailchimp.com/0f5226af8156a3db20b368997/files/London_Borchure_Attachment_PUB3g_w_prices_021715.pdf

Create an allegorical painting

The assignment:

Create an allegorical painting based a theme(s) below:
Industry/Environment
Beauty/Vanity
Abundance/Waste
Justice
Envy

.......or pitch an idea

Allegory defined: (Webster)

The expression by means of symbolic fictional figures and actions of truths or generalizations about human existence; also :  an instance (as in a story or painting) of such expression.

Allegories are similar to metaphors: in both the author/artist uses one subject to represent another, seemingly unrelated, subject. However, unlike metaphors, which are generally short and contained within a few lines or visual statements, an allegory extends its representation over the course of an entire story, novel, or poem or painting. (sourced)

Allegory National Gallery (London)

An allegory is the description of a subject in the guise of another subject. An allegorical painting might include figures emblematic of different emotional states of mind – for example envy or love – or personifying other abstract concepts, such as sight, glory, beauty, Revolution, or France. These are called allegorical figures. The interpretation of an allegory therefore depends first on the identification of such figures, but even then the meaning can remain elusive.

Allegorical subjects were frequently painted from the Renaissance until around 1800, although they were probably most often used in medals and engraved frontispieces to books. Single allegorical figures were also painted, sometimes in series, each figure representing, for example, one of the Liberal Arts or the Virtues.

http://www.artlex.com/ArtLex/a/allegory.html

Examples:

http://www.metmuseum.org/search-results?ft=allegory&x=0&y=0

http://www.nationalgallery.org.uk/search/allegory/3

http://www.nationalgallery.org.uk/paintings/harmen-steenwyck-still-life-an-allegory-of-the-vanities-of-human-life

Composition:
Use a defined compositional model such as, pyramid, rule of thirds, symmetrical, asymmetrical or a combination of several models. The model should advance the idea of the picture.

Thumbnails:
Due next class complete five solid thumbnails in the scale and proportion of the finished painting.

Size:
Use a large scale canvas.

Additional info.:
http://www.getty.edu/education/teachers/trippack/center_selfguides/downloads/allegory_comparison.pdf