ART 220 (83264) Watercolor Painting Fall 2011

This introductory course in watercolor is designed for both the art and non-art major. There is no prerequisite designated for this course. This course is open to anyone who has ever had the desire to work with or improve his or her skills working with watercolor. In addition to developing painting skills we will also explore and employ many fundamental art concepts dealing with design, color and concept development. At the end of this course you will have a greater understanding for and appreciation of watercolor as a medium for creative expression. You will have developed a basic understanding of color theory and it’s application to your work. You will be able to recognize and employ various principles of design. You will be able to produce images using a number of popular watercolor techniques such as:

Flat washes, blended washes, broken washes, graduated washes and wet and dry-brush techniques. You will be able to critique and analyze your work and the artworks of others based upon strength of imagery, concept, creative use of process, materials and craftsmanship.

I hope you have an enjoyable, successful and productive semester. Remember, I am here to facilitate that. Feel free to contact me if you have any questions or concerns. You are invited to visit me in M-310 during my office hours: 11:30AM-12:30PM on Tuesdays and Thursdays. You can also request to schedule an appointment for some other time or leave a message by phone at 661-259-7800 ex 3077. If you would like to meet with me briefly you can find me on campus on Mondays and Wednesdays in room MENT-234 from 7:30AM-11:00AM. On Tuesdays and Thursdays you will find me in room MENH-241 from 7:30AM-11:00AM. You can also reach me or leave a message on my studio phone: 714-836-5410. My studio e-mail address: jameslorigan@sbcglobal.net.

Note: If you need additional time to complete a project or report or if you require any special accommodations, please notify me in a timely manner so that I can assist you. Otherwise, you will be expected to adhere to the information included on this course syllabus.

LAB: 1.Students will be able to develop and sustain a watercolor painting from compositional planning to suggestion of volume, value and depth, effectively integrating watercolor painting techniques, craftsmanship, content and inventiveness in a composition.

LECTURE: 2. Students will be able to analyze and make aesthetic judgments about their own work, the work of their peers and notable artists using correct terminology.

Evaluation and grades will be determined by:

I cannot assist you if you are absent. Excessive absences or tardiness will affect the quality of your work and may affect your final grade. Remember Please be on time and be ready to work.

Grading elements:	Excellent 90%-100%	Good 80%-89%	Average 70%-79%	Poor 60%-69%	Not college level 0%-59%
Effort and responsible use of class time
Creativity: critical thinking and problem solving
Creativity: effective use of media
Craftsmanship
Completion. Artwork feels complete.
Overall project grade

Lab and Critique schedule

On Monday 8/22/2011 we will go over the syllabus, student responsibilities and the supply list.

On Wednesday 8/24/2011 I will demonstrate paper preparation for watercolor painting. We will then be ready to explore color mixing, brush handling and color testing.

On Monday 8/29/2011 I will be discussing basic color theory. We will develop a color wheel using a limited palette; three or six colors. If time permits we will begin creating a series of three paintings that utilize a limited pallet (a palette restricted to the primary colors: red, yellow and blue). You will create secondary colors (orange, green and purple) by overlapping primary color glazes. Each individual painting upon completion should be dominated by an individual secondary color for instance; one painting should have an orange theme, another a green theme and finally a painting with a purple theme.

Wednesday 8/31/2011 and Wednesday 9/7/2011 will be a painting lab days for the secondary color paintings. Monday 9/5/2011 is my birthday as well as a holiday.

On Monday 9/12/2011 we will look at and discuss as a group the secondary color theme paintings. After the group critique we will be creating neutral colors using a limited primary palette then we will create two nine step value scales one of cool grays and one of warm grays.

Wednesday 9/14/2011 after a short lecture on light logic we will start 3 small studies of a simple object or abstract design in neutral colors. The studies will be produced using three separate value keys: high-key, low-key and full value using a glazing technique. Followed by your first major project that will consist of producing an image that relies on mood as a central element, a mood created by utilizing value as the essential element. Consider the high-key, full value and low-key value solutions produced in your studies and how those value solutions might influence the mood of the viewers of your painting.

We will also start looking at color in terms of temperature and start a project that utilizes a warm and a cool palette. We will create two paintings that are linked thematically for instance: of the same subject or content. One of your paintings will employ primarily a warm color palette or include a dominate warm colored element while your other painting will employ a predominately cool color palette or include a dominate cool colored element.

Wednesday 10/12/2011 will be a painting lab day. On Monday 10/17/2011 we will critique the “warm and cool” paintings. After the critique I will give a lecture and demonstration of one and two point perspective and then I will introduce the next project. We will be looking at ways to manipulate the illusion of depth in a painting by incorporating aspects of both warm and cool palettes. I would like you to create a painting that will include a distinct transition of temperature from warm to cool or cool to warm.

Monday 10/31/2011we will critique your transitional (warm to cool or cool to warm) depth paintings and begin working on a split complimentary color study as well as developing ways to create the illusion of texture.

On Wednesday 11/9/2011 we will critique your split complimentary color/texture studies and begin working with flat, graded and blended washes. I will also introduce three approaches to developing an image. First a light to dark build-up of color washes then a dark to light build-up of washes and finally a local color approach to painting in watercolor. After you have created three separate studies utilizing the three glazing techniques you will begin working on a single painting that incorporates all three glazing approaches. I would like you to consider “reflection” as a theme of your painting literally or figuratively. This will be your final project.

On Wednesday 11/16/2011 we will critique the three glaze studies. I will demonstrate various wet into wet techniques if time permits.

Monday 11/21/2011, Wednesday 11/23/2011 and Monday 11/28/2011 will be a painting lab days. On Monday 12/5/2010 you may bring in any work that may have missed the original critique date

We will take some time to talk about presentation and preservation of your artworks and conduct a mat cutting demonstration. You may wish to bring a sheet of acid free mat board or rag board to class so that I can assist you if you wish to cut a mat at that time.

On, Wednesday 12/7/2011 at 11:15AM we will have our final critique.

There are many brands of watercolor paints available and they vary in quality as well as price.

“Winsor & Newton” are very high quality yet not as expensive as “Schminke”

“Cotman Watercolors” are a student grade Winsor & Newton product that is user and pocketbook friendly. Other watercolor brand names you might consider: Blick Artist watercolors, Rembrandt, Yarka St. Petersburg, Holbein, M. Graham, Daler Rowney and Blockx to name a few. Watercolor sets are often available and could save you some money. I would like you to have two yellows a warm and a cool, two reds a warm and a cool, and two blues a warm and a cool in your palette. With a little practice you will be able to use these six colors to mix just about any color you desire.

The following colors are not necessary for this course. You may want them for your personal color palette:

Additional colors: (these colors will fill out your palette but are not necessary)

You will need a palette for paint mixing. Watercolor palettes come in a wide variety of configurations.

Ample color mixing areas would be a desirable feature of any watercolor palette.

Ox gall liquid or flow aid wetting agents used in washes to reduce surface tension.

A liquid frisket: such as Incredible White Mask, Winsor and Newton Art Masking Fluid or Art Maskoid.

A paper stretching board such as a drawing board, 1/4” ply wood, sheet of masonite or a sheet of 1/2” gator board. An acoustic ceiling tile will work fine they are lightweight and inexpensive.

You may need a staple gun and staples (easyshot brand can be found at home depot for about $9.00 I like to use 1/4” staples for wood 3/8ths for stapling into acoustic ceiling tiles.). You can always use the stapler that I have on my art cart.

Water container. I like to have two; one for cool colors and one for warm colors. We have numerous cans and jars available in the studio for your use.

Watercolor paper. 140lb Arches brand cold press watercolor paper is an industry standard however there are many other excellent choices. The paper is available by the sheet, in block form pre-stretched or in a pad. You may want to get an inexpensive small watercolor pad for class exercises and testing your colors and a higher quality paper for your extended projects.

You may also want to pick up a white Prismacolor pencil to use for masking fine lines.

A watercolor pencil would be nice to have in your drawing kit. These can be purchased as a set or individually. If you choose to use just one select a neutral color. You can use this pencil for a layout drawing that will dissolve under your watercolor painting. Less expensive brands such as Crayola dissolve more completely.

You may consider keeping a watercolor sketchbook and painting diary. Your sketchbook is a tool for recording the things you see as well as the things you think about. It is a place for developing concepts and visual ideas. It is a place for scribbling, doodling, visual experimentation and notes. Your sketchbook is a place for, thumbnail sketches and design modifications. It is also a great place for written ideas. You can cut and paste images and text source material into your sketchbook from a variety of magazines, newspapers and web sites. A painting diary specifically is the assembly of materials and thoughts that went into the creation of a particular artwork or artworks and can be included as part of a sketchbook. Revisiting a painting diary or sketchbook can often inspire the creation of new work. Keep it with you and bring it to class. You never know when your musing will inspire you.

1. Using a self-directed theme produce a large-scale watercolor 18”x24” or larger. Anything can be a subject or theme for art. A few examples of art subject matter or themes could be: your pet, a garden full of flowers, a pond, a holiday such as Halloween or Arbor Day, a trip, a journey, a dream, social justice, ageing, growth and many more.

2. Produce a multi panel content linking painting in the form of a diptych or triptych. You are free to create an artwork upon a multi faceted form such as a cube.

3. Produce an artist book that uses watercolor as the predominant medium and has a unifying theme.

4. Produce a watercolor painting on alternative surfaces that have been gessoed such as: Masonite, wood, mat board etc keeping in mind how the use of materials effects and supports the content of your artwork.

5. Produce a painting over and into a collage. The collage could be made up of exotic papers, gessoed surfaces, reconfigured scraps of discarded watercolors, fabric, exotic papers etc.

6. Create a watercolor that deals with a reflection either physical or metaphorical.

8. Produce a watercolor painting that includes a grid or employs grid technique.

10. Inside out. Outside in. Produce two watercolor paintings. One that takes an interior view through a window, door or other opening and one where you reverse the view. You may consider producing a single artwork by painting both the exterior and interior of a three dimensional form. What about producing a painting that simultaneously represents the inner and outer mind?

12. Produce a painting that takes a close look at a utilitarian object or machine part or parts.

13. A painting that depicts something that has been used, abused, worn, rusted and busted.

15. You may wish to produce a painting that uses a shadow as the dominant subject

If you would like to work independently from the class you may choose to produce three paintings from the selections listed above.