ART 19B: ACRYLIC PAINTING I
Foothill College Course Outline of Record
|Hours:||3 lecture, 3 laboratory per week (72 total per quarter)|
|Advisory:||This course is included in the Painting family of activity courses.|
|Degree & Credit Status:||Degree-Applicable Credit Course|
|Grade Type:||Letter Grade Only|
Student Learning Outcomes
- A successful student will gain knowledge of the mechanics as well as concepts related to acrylic painting. Students will learn how to safely use and care for the tools for acrylic painting, including particular brushes, knives, palettes, cups, etc. They will also learn basic techniques related to the acrylic materials, including paint, mediums, gesso, and supports.
- A successful students will learn about oil painting subject matter, historical and contemporary styles and genres through videos, images, and lectures.
The student will be able to:
A. Create paintings that show evidence of a working knowledge of the physical properties of acrylic painting materials
B. Organize and apply the basic formal elements and principles of design in paintings
C. Model form from observation, using value, color and light from observation
D. Apply the principles of perceptually and theoretically based color theory to painting projects
E. Understand the preparation of acrylic painting surfaces and supports
F. Develop expressive content through manipulation of mark, color and stroke
G. Examine and describe historical and contemporary developments, trends, materials, and approaches in acrylic painting
H. Assess and critique paintings in group, individual, and written contexts, using relevant critique formats, concepts and acrylic terminology
I. Safely handle and use studio acrylic painting materials and equipment
A. Physical properties of acrylic painting materials
3. Fat over lean
4. Under-painting and layers of paint
5. Direct or alla-prima painting
B. Organize the basic formal elements and principles of design in paintings
1. Overlapping forms or shapes
2. Balance or positive and negative space
3. Proportion of objects, symmetry and asymmetry
C. Painting a still-life
1. Model form using the value or tonal under-painting
2. Model form using color
3. Model form using the logic of shadow and light-form, core and cast shadows, half tones, highlights and reflected light
D. Perceptually and theoretically based color theory to acrylic painting projects
1. Value or tonal under-painting
2. Monochromatic color
3. Warm/cool color
4. Complementary color
5. Local color
6. Tints, tones and shades
7. Saturated/desaturated color
E. Preparation of painting surfaces and supports
1. Stretching a canvas
2. Application of gesso
3. Preparation of a panel
4. Drying process of paint media
b. Acrylic paint mediums and varnishes
c. Acrylic paint colors and drying process
d. Thickness of paint application and drying process
e. Mixing paint colors
F. Content through manipulation of mark, color and stroke
1. Palette knife
2. Brush stokes
3. Directional strokes
4. Mix media or collage applications
5. Strokes borrowed from traditional and contemporary artist
G. Class dialogue of historical and contemporary developments, trends, materials, and approaches in painting
H. Critique paintings in group, individual, and written contexts, using relevant critique formats, concepts and acrylic terminology
I. Studio painting materials and equipment
1. Acrylic mix media
2. Organization of a paint palette
3. Cleaning brushes
4. Using an easel
A. Exploration of physical properties of acrylic painting materials.
B. Organization and application of the basic formal elements and principles of design as they relate to painting.
C. Safety rules and procedures related to the handling of acrylic painting materials.
D. Evaluation and application of basic principles of color theory.
E. Lecture or demonstration of the construction and preparation of acrylic painting surfaces and supports.
F. Mixing acrylic paint on a palette, mixing media.
G. Painting still-life or space projects from observation.
Special Facilities and/or Equipment
B. When taught via Foothill Global Access using Etudes, ongoing access to a computer with email address, software and hardware, and internet access.
Method(s) of Evaluation
Evaluation methods may include, but are not limited to:
A. Portfolio review: each painting will be evaluated for technical ability, craftsmanship and personal creative and conceptual approaches
B. Written or oral critiques
C. Written or participation in lectures or dialogues of historical and contemporary painting
D. Painting revisions
Method(s) of Instruction
A. Lecture presentation using the language of acrylic painting.
B. Discussion using the language of acrylic painting.
C. Demonstration of using acrylic paint, brushes, supports, techniques and methods.
D. Critique and group presentation of acrylic painting projects followed by in-class discussion and evaluation.
Representative Text(s) and Other Materials
Gury, Al. Alla Prima: A Contemporary Guide to Traditional Direct Painting. 1st ed. Watson-Guptill, 2009.
Although this text is older than the suggested "5 years or newer" standard, it remains a seminal text in this area of study.
Types and/or Examples of Required Reading, Writing, and Outside of Class Assignments
Copy of a master traditional or contemporary acrylic painting: research the artwork, the artist, the style, subject matter, content and context; write an essay or paper describing the artwork; write a self critique describing the process of making an artist copy or study.