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/