MATERIALS LIST

9” x 12” sketchbook (ringed binder)
Art pencil for sketch book, (2B)
Vine Charcoal: 1 piece or a small box of soft / thin
Small metal pencil sharpener.
Tackle box or Art box to hold materials.
Brush cleaner container: clear container with the metal coil works well
Basic Palette knife
Medium:
Grumbacher’s (copal medium) or Windsor Newton’s (Liquin) are great mediums for quick drying and easy to transport.
Artists tape (1 roll,1-inch wide)
Disposable Palette (purchase the larger size-11x14inches)
Old rags / towels to clean brushes (A MUST HAVE)
Paint: Purchase student grade paint:
-Titanium White, Large Tube
-Ivory Black, Small
-Raw Sienna, small
-Burnt Umber, small
-Ultramarine Blue, small
-Pthalo Blue, small
-Yellow Ochre, small
-Alizarin Crimson, small
-Viridian Green, small
-Cadmium Yellow Light, small
-Cadmium Red Medium, small
Brushes: Hogs hair, oil and/or acrylic brushes (long handles)
#12 Filbert Brush description page: http://en.wikipedia.org/wiki/Brush
#12 Bright
#10 Bright
#8 Filbert
#6 Bright
#2 Bright
In the future you may purchase a MOP and a RIGGER brush.
Canvas: (2) 12 x 16 inches. I will announce when to purchase the others.
-Canvas paper, one pack (11 x 14 inches)
All Items are needed for the first day of class:

14 Week Schedule: (syllabus is subject to change)

Week 1: Re-introduction to painting / drawing fundamentals. MSP: (Measuring, Sighting, and Perspective). Back to basics: (simple geometric form studies; value: black and white). Homework: Begin copy of old-master painting using magazine paper and glue on illustration board (must include a figure). This project will continue for 4-5 weeks.

Week 2: Re-introduction to color theory: Hue, Value, and Intensity. Simple form studies with colored light transparency. Recognize complementary color within the shadows. Palettes will be determined by the colored light source. Homework: Continue old master collage.

Week 3: Discuss various geometric applications to plan a composition: Early renaissance to Russian constructivism. Construct geometric based composition (palette: primary palette, canvas: 20 x 24 or larger) Homework: reading: Malevich-Mondrian (geometric form as the expression of the absolute). Continue old-master-collage.

Weeks 4-7: Continue composition painting (full-palette). Discuss glazing / scumbling techniques. . Methods to manipulate paint (pulling, blending, glazing and scumbling) Random quick oil studies focusing on spontaneity and immediacy on gessoed cardboard. Homework(s): 1) Begin flat color painting (de-construct still-life into flat colors). 2) Copy Mark Rothko, Cy Twombly, among others (manipulate paint: mark making, push / pull, and layering using a variety of methods/tools)

Week: 8, 9 Cast hall. Painting the figure (emphasize planes and proportion to achieve volume and solidity). Use under-painting palette. (Burnt Sienna and Titanium White)
Homework: Read Cubism handout. Re-paint your composition painting based on the concepts of cubism (altering space and perspective).

Week 10, 11: Cast hall: Painting the portrait. Combine contour lines (showing structure) with full shapes of color. Study Alberto Giacometti up to Matthias Weisher.
Homework: Using your old-master-copy collage assignment, copy a version (from your collage) in paint on canvas. Notice the shapes of flat color and how they describe shape, space, mass, volume and depth.

Week 12-14: Figure within an interior. Utilize all techniques learned and develop a plan concerning the direction of the painting. Begin to paint with intent and conviction at the same time allowing the painting to evolve on its own terms (negotiate). Initiate dialogue with your work.

There is an art store here at PAFA on the 6th floor, but for your convenience I have listed
Additional stores below.

ART STORE LIST: Local stores:

Merion Art & Repro Center Pearl Paint
17 West Lancaster 417 South Street
Avenue. Ardmore, PA 9003 Philadelphia, PA 19147
61 0-896-61 61 215 238-1900

Rubinstein's Utrecht Art Supply
250 East Market Street 301 South Broad Street
West Chester, PA 9380 Philadelphia, PA 19107
6 10 696- 1150 215 546-5600

Village Art Shop Utrecht Art Supply
23 E. State Street 2020 Chestnut Street
Media, PA 9063 Philadelphia, PA 19103
6 10 566-6242 215 563 5600

Local craft stores:
AC Moore Michaels
Broomall Plaza 601 West Baltimore Pike

Helpful Vocabulary

Contour Line: A line that represents the shared edges of a form, a group of forms, or forms and spaces.
Line weight: Varying line thickness achieved from applied pressure to the drawing tool.
Linear perspective: A Mathematical system for creating the illusion of space and distance on a flat surface
One point perspective: Uses one perspective point; all parallel lines converge to one point. That point is called the vanishing point.
Two point perspective: Uses two perspective points or vanishing points. In two point perspective the sides of the object vanish to one of the two vanishing points on the horizon line. Vertical lines in the object have no perspective applied to them.
Three point perspective: All lines go to a vanishing point. Two vanishing points on the horizon line; one above or below.
Atmospheric perspective: Using value to create the illusion of depth and space. As objects recede into space their value becomes lighter.
Vanishing Point: Is where all parallel lines (convergence lines) that run towards the horizon line appear to come together like train tracks in the distance.
Eye level: In perspective drawing, a horizontal line on which lines above and below it in the horizontal plane appear to converge.
Horizon line: Runs across the canvas at the eye level of the viewer. The horizon line is where the sky appears to meet the ground.
Convergence lines: “Visual rays” helping the viewer’s eye to connect points around the edges of the canvas to the vanishing point (also known as orthogonal lines).
Value: In art, the darkness or lightness of tones or colors. White is the lightest, or highest, value; black is the darkest, or lowest, value.
Composition: An ordered relationship among parts or elements of a work of art. The arrangement of forms and spaces: (the design of the page).
Medium: Material used by the artist. e.g. Charcoal, graphite, conte crayon, oil paint, welded metal, terra cotta, etc. These are all different mediums.
Gesture drawing: A quick simple translation of an organic shape; usually associated with the human figure.
Texture: The visual or tactile surface characteristics and appearance of something.
Mass: Refers to the effect and degree of bulk, density, and weight of….
Volume: Refers to the solidity of a form.
Negative space: Empty space.
Positive space: Opposite of negative space; filled with something. Both spaces have equal importance.
Figure / ground relationship: The depth ambiguity between the positive and negative shapes / space.

Shape: An enclosed space defined and determined by other information. e.g. A donut has two shapes.
Edge: The place where two things meet (e.g. where the sky meets the ground); the line of separation between two shapes or a space and a shape.
Picture Plane: An Imaginary construct of a transparent plane, like a framed window, that always remains parallel to the vertical plane of the artist’s face. The artist draws on paper what he or she sees beyond the plane as though the view were flattened on the plane.
Crosshatching: A series of intersecting sets of parallel lines used to indicate value change or volume in a drawing.
Symmetry: Equal balance on both sides. The parts of an image or object organized so that one side duplicates, or mirrors, the other.
Asymmetry: Opposite of Symmetry. Both sides do not mirror each other.
Balance: Equal distribution of elements on both sides of a drawing.
Rendering: To represent in a drawing or painting, especially in perspective. Also, to create an interpretation of another artist’s work.
Sighting: Also known as “Rule of thumb”, Measuring relative sizes by means of a constant measure ( the pencil held at arm’s length is the most usual measuring device); determining relative points in a drawing—the location of one part relative to some other part. Also, determining angles relative to the constant’s vertical and horizontal.
Foreshortening: A way to portray forms on a two-dimensional surface so that they appear to project from or recede behind a flat surface; a means of creating the illusion of spatial depth in figures or forms.
Chiaroscuro: Italian (light and shade or dark) High contrast; the use of light and dark to achieve a heightened illusion of depth. Can be used to heighten drama or feeling as used in the theater.
Figurative: Describes artwork representing the form of a human, an animal, or a thing;
Abstraction: Imagery which departs from representational accuracy, to a variable range of possible degrees; to exaggerate or simplify surrounding forms. Picasso / Braque

Painting Relevant Vocabulary:

Achromatic: Literally, without color. In art, a composition in shades of black, white, or gray.
Additive: Colors made by light, the additive primaries are red, green, and yellow
After-image: The illusion of a visual complementary color image that occurs after staring at a hue, then shifting the gaze to a plain white surface.
Analogous hues: Colors that lie next to each other on the color wheel.
Attributes of Color: The three main description or properties of colors, namely, hue, value, and intensity.
Balanced Color: Colors that are balanced by their complements and carried across theory values and intensities.
Binocular Vision: Two retinal images, one from each eye, melded by the brain’s visual system into a single image that appears three-dimensional.
Chroma: The degree of purity or brilliance of a color.
Chromaticity: A term interchangeable with chroma, saturation, and intensity.
Color constancy: The psychological tendency to see colors we expect to see even when the actual colors are different.
Color harmony: The pleasing result of balanced color relationships.
Color scheme: A set of colors chosen to combine within a composition.
Color wheel: A two-dimensional circular arrangement of colors that reveals color relationships of spectral hues.
Complement, complementary: Colors that lie opposite each other on the color wheel. Placing them side enhances the brilliance of both;
Composition: The arrangement of shapes, spaces, lights, darks, and colors within the format of an artwork.
Cool colors: Colors that connote the coolness of water, dusk and vegetation: usually violets, blues, and greens.
Crosshatching: A method of shading by using short parallel lines, often in superimposed sets of lines crossed at various angles to darken an area.
Double complementary: A color combination of four hues: two sets of complements such as red/green and blue/violet/yellow-orange.
Dyad: A color scheme based on two colors
Glaze: A transparent film of color painted over another color.
Grisaille: A method of painting that uses shades of gray in an underpainting to establish the value structure of a composition.
Hue: The name of a color.
Intensity: The brightness or dullness of a color; also called chroma, chromaticity, and saturation.
Line: A narrow mark that defines the edges of spaces and shapes in a composition. Line can also be used for shading, as in crosshatching.
L-mode: The language mode of the brain usually located in the brain’s left hemisphere and characterized as a verbal, analytic, and sequential mode of thought.
Local color: The actual color seen on objects or persons.
Luminosity: In painting, the illusion of radiance or glow.
Monochromatic: In painting, a work based on variations of one color
Monocular vision: By closing or covering one eye, the brain receives a single image, which appears to be flat like a photograph.
Negative spaces: In art, the shapes that surround the objects; sometimes considered background shapes.
Palette: A surface for holding pigments and providing space for mixing paints.
Perceptual color: The actual colors of objects and persons.
Pictorial color: The adjustments to perceptual color needed to bring a color composition into unity balance, and harmony.
Pigment: Dry color ground to a fine powder and mixed with a liquid for use as a painting medium.
Primary colors: Colors that cannot be mixed from any other colors—for example, red, yellow, and blue.
Reflected color: Color reflected from one surface to another.
R-mode: The visual mode of the brain usually located in the brain’s right hemisphere and characterized as a visual, perceptual, and global mode of thought.
Saturation: A term signifying the brightness or dullness of a color: used interchangeably with intensity, chroma, and chromaticity.
Secondary Colors: Colors that are mixtures of two primaries—for example, mixing yellow and red (the oretically) makes orange.
Shade, shading: In Ostwald’s model, color changes made by adding black, thus decreasing the proportion of the original color.
Simultaneous contrast: The effect of one color on an adjacent color.
Spectrum, spectral hues: The sequence of colors seen in a rainbow or in the colors created by passing light through a prism.
Style: An artist’s personal, usually recognizable, manner of working with images and art materials.
Subtractive color: Pigments and pigment mixtures used in painting that absorb all wavelengths except those of the color or colors apparent to the eye.
Successive contrast: Interchangeable with after-image.
Tertiary colors: Colors made by mixing a primary and its adjacent secondary—for example, the tertiary yellow-orange results from mixing the primary yellow and the secondary orange.
Tetrad: A color scheme based on four hues equidistant on the color wheel—for example, green, yellow-orange, red, and blue-violet.
Tint: A light value of the color
Toned ground: A thin wash of a neutral color on a surface to prepare it for painting.
Triad: A color scheme based on three colors equally spaced from each other on the color wheel—for example, yellow, red, and blue.
Underpainting: A preliminary toning of the surface to be painted, often somewhat more detailed than a toned ground.
Unity: The ruling principle of art and design, which all parts of an artwork contribute to the harmonious unity of the whole.
Value: The degree of lightness or darkness of a color.
Warm colors: Colors associated with heat or fire, such as red, orange, and yellow.