Art 222 Illustration Materials and Techniques



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ART 222 Illustration Materials and Techniques

Instructor: Laurel Long Email: laurel.long@csun.edu

Office hours: Monday, Wednesday 5:00-6:30pm Office/Classroom: ACD 507


Catalog Description

Prerequisites: Art 124B. Introduction to the use of materials and techniques used in a variety of art areas and specifically in the field of Illustration. Emphasis is on understanding media potential and the development of refined technical skills required for the successful executions of illustrations. Covers wet and dry media, tools and techniques.



Course Description

This class introduces students to materials, processes and techniques used in illustration, graphic design and fine art. Black/white and color media in drawing and painting techniques will be explored. Professional illustrations require a high degree of technical skill, design ability, personal style and conceptual creativity. Illustration Materials and Techniques focuses on technical skills, rendering and design in a variety of media.



Art Department Program Goals Addressed in this Course

Acquire a basic knowledge, theories, and concepts about art; develop a foundation of art skills and a high level of craft; communicate ideas and concepts through writing, speaking and art making; acquire a competency with the tools and technologies associated with the visual arts.
Broaden knowledge of ancient through contemporary art; develop an understanding of the theoretical, cultural, and historical contexts of art.
Apply processes of generating and solving problems in art.
Develop an appreciation and tolerance of diverse perspectives dealing with art, culture, teaching and learning.
Develop a career path for an art profession or an art-related field; develop an understanding of the demands and expectations of that area of art profession or art field.

 Course Student Learning Objectives

• Demonstrate and apply knowledge of illustration techniques and skills.

• Develop and demonstrate technical craft as it applies to illustration materials and techniques

• Communicate ideas and concepts through artistic development and art making

• Acquire knowledge of contemporary and historical art and illustration techniques and movements.

• Apply processes of generating and solving problems in art within specific art assignments

• Consider the application of illustration materials and techniques into an individual art or art-related career

• Use appropriate critical vocabulary to describe and analyze works of artistic expression

• Recognize and apply illustration materials and techniques used by professional illustrators.

• Recognize personal preferences and strengths regarding art materials and techniques.

• Apply illustration materials and techniques for self-expression and effective visual communication.


Course Activities

Assignments fall into two categories: practice work and finished work. Practice works will help students gain confidence with the media. The techniques learned will be applied to a finished work. These works will be from various subject matter including still life and photography. As necessary and announced on a daily basis, in-class work will need to be continued and completed at home. There will be techniques, which may be challenging and require additional practice outside of class time.



Academic Dishonesty

Academic dishonesty is a serious offense for which a student may be expelled, suspended or awarded a failing grade to an assignment or the entire course. Academic dishonesty includes cheating, fabrication, facilitating academic dishonesty and plagiarism. A student found to be committing academic dishonesty will be reported to the Office of the Vice President for Student Affairs. The student code of conduct is on page 586 of the University Catalog or on the CSUN website:http://www.csun.edu/studentaffairs/pdfs/standards_student_conduct.pdf.


Student Conduct Code

Students are expected to "act at all times with integrity and with respect toward all members of the campus community. The University assumes that all students will conduct themselves as mature, responsible, and law-abiding citizens who will comply with University policies and regulations." See the current University catalog.


Classroom rules

• Cell phones must be turned off or put on vibrate. Phone talking or texting in class is not allowed.

• No headphones.

• No laptop use during lectures. Using your laptop to work on anything outside of this course during class time is not permitted. Violations will affect your final grade.

• You are welcome to bring food and drinks into class. However make sure that all drink containers have a tight fitting, spill proof lid. Keep all food items and drinks away from art work at all times.

Missed Class Policy

Lectures and demos cannot be repeated. Contact a classmate for missed information.

Name_____________________________________Contact info _____________________________________
Attendance Policy

Attendance is required. The following will be applied in determining the final grade in the course.

• Three absences are allowed without penalty. More than three absences will lower final course grade by one letter grade. For example and “A” grade will be lowered to a “B” grade.

• Save your three absences for emergencies or illness.

• A doctor’s note will not excuse absences beyond the three allowed. If illness requires more than three absences, a medical withdrawal from the course is recommended.

• Roll is taken every class. Two late arrivals and/or early departures over 15 minutes will be counted as one absence.

• You may ask at any time for your attendance and grade information.
Grading

Final Grading is based on: Projects grades, effort and attendance (see above).

• Projects are graded on the basis of demonstrated knowledge of course content, effective and ambitious solutions to problems, technique and presentation

• Projects and exercises not completed on deadline will not be accepted.

• Unpreparedness and projects not worked on during class time will lower the final project grade.

• Assignments that have met the deadline requirements can be revised and resubmitted for a higher grade.


Grade Point Scale

Grading is in accordance with university policy: A, A-, B+, B, B-, C+, C, C-, D+, D, D-, and F

A= outstanding, B= good, C= average, D= unsatisfactory, F= failure

A = 95 – 100, A- = 90 – 94, B+ = 87 – 89, B = 83 – 86, B- = 80 – 82, C = 73 – 76, C+ = 77 – 79 C- = 70 – 72, D+ = 67 – 69, D = 63 – 66, D- = 60 – 62, F = 0 –



Supplies

Continental Art Supply (7041 Reseda Blvd, 818-345-1044) has all the supplies you need. If you shop there, tell them you are in Laurel Long’s Art 222 class and they will know exactly what you need. Many of the supplies can also be purchased at Michael’s. Register online or download Michael’s app to receive 20-50% off weekly coupons. Do not buy new supplies if you already have supplies from other classes. If you are not sure about supplies please ask me.



Surfaces

• One 20x30” Strathmore 500 Series Heavyweight Illustration Board, cold pressed cut into

four 10 x 15” pieces. ($10.99 per 20 x 30 “ board- available at Continental Art Supply, some Michael’s)

• One 6 x 8” or 8 x 10” stretched canvas, smooth or medium surface

• One 11 x 14” stretched canvas, smooth or medium surface

• One 11x14” Strathmore 400 Series Vellum Bristol pad

• Calque CansonTracing paper pad 11 x 14“

Paint Media

-Small Liquitex gesso

-Oil paints: Grumbacher Academy 12 Collegiate set or Gamblin Art Sketching Oils, Van Gogh or Graham are recommended student grade paints. Avoid Winton and Blick oils.

• Alizarin crimson or Permanent Rose (any cool red)

• Cadmium red light (any warm orange red)

• Cadmium yellow medium (any warm yellow)

• Hansa Yellow Light or Lemon Yellow (any cool yellow)

• Ultramarine blue

• Pthalo blue (green shade)

• Titanium white

• Burnt umber

-Acrylic paints: Golden Heavy Body Acrylics Classic Theory Color Mixing Set or the following colors: (if you already have student grade acrylics, get Golden Heavy Body Acrylic titanium white)

• Alizarin crimson hue

• Cadmium red light CP

• Cadmium yellow medium CP

• Hansa Yellow Light

• Ultramarine blue

• Pthalo blue (green shade)

• Titanium white

• Burnt umber

- Folk Art, Americana or Craft Smart Acrylic paint (at Michael’s)- 2 mat, opaque colors, a dark and a light

Brushes • Soft brushes only, not bristle brushes, Simply Simmons Studio white nylon acrylic and oil 6 brush set E

or Artist Loft Necessities white or golden 10 brush set recommended

• One medium eye shadow brush: Target up & up brand ($2.49)

• One 3x0 detail brush

• 1 or 1 ½” hardware store bristle brush



Tips: Make sure that: the brushes come to a fine point, the bristles are soft synthetic, pull on the brush hairs to make sure none of them come out

Drawing Media • Waterproof black India ink (Winsor Newton, Sumi or Bombay not Higgins)

• Pens: individual or sets (Sakura Pigma Micron or Prismacolor Premier illustration pen- 005, 01, 03, 05, or Staedtler Pigment Liner .1 to.7mm)

• Optional: Ballpoint fine point pen- (Staedtler 924, Pilot G tech C3 or other), #104 fine point dip pen

•.5mm mechanical pencil (H)


Other Supplies

• Disposable poly-coated palette pad: 9 x 12 inches • Sandpaper 100, 320 grit

• #11 x-acto blade with replacement blades • 2-3 small plastic or glass containers

• Magic tape, drafting tape • Small spray bottle

• Natural sponge

• Small bottle of linseed oil

• 10” triangle any angle

• Metal not plastic palette knife: Michael’s- Artist Loft, Trowel #102 or similar


Art Supply Stores (take student ID as most stores give student discounts)

Carter Sexton M – F 9 – 6 Continental Art Store M – F 10 – 7

5308 Laurel Cyn. Blvd. Sat 9 – 5:30 7041 Reseda Blvd. Sat 10 – 6

N. Hollywood Reseda

818-763-5050 818-345-1044



Dick Blick M - F 9 – 8 Pearl Art Supplies Inc. M – S 9:30 - 8:30

44 S. Raymond Ave. Sat 9 – 7 1250 S. La Cienega Blvd. Sun 11 – 6

Pasadena Sun 10 – 6 Los Angeles

626-795-4985 310-854-4900



Utrecht Art Supply M – S 9 – 8 San Clemente Art Supply M – F 10 – 6

11677 Santa Monica Bl. Sun 10 – 7 1531 N. El Camino Real W 10 – 7

Los Angeles San Clemente Sat 10 – 6

310-478-5775 949-369-6603



Swain’s M - F 9 – 7 Blue Rooster Art Supplies M – Sat 10 - 8

537 N. Glendale Ave. Sat 9 - 5:30 1718 N. Vermont Ave. Sun 10 - 7

Glendale Sun 10 - 5 Los Angeles, CA 90027

818-243-3129 323-661-9471


There are several good catalog art supply companies.

www.danielsmith.com www.aswexpress.com www.jerrysartarama.com www.DickBlick.com



www.UtrechtArt.com www.RexArt.com www.cheapjoes.com



Assignments: Format

1" minimum margins- Do not draw or paint up to the trim edges of the illustration board or bristol. Both sides of the Strathmore 500 Series Heavyweight Illustration Board can used. Canvas and panels can be painted to edges.


Presentation

Clean, squarely cut board and Bristol flapped with tracing paper that is neatly taped with magic tape and trimmed to paper size. Continental will cut the illustration board for you. Canvas and Masonite do not need to be flapped.




Assignments
#1 Ink
Objective:

-To use ink and a variety of tools to create linear and tonal drawings.

-To use lines to create values, textures, contours and patterns.

-To develop drawing skills.



Techniques: Image transfer, pen and ink techniques

Materials: pens, brushes, india ink, straw

Subject: must have texture and mass

Assignment: - Create two black and white, illustrations that must each have a different design and technique.

Recommended subjects:

Plants anatomy Flowers human face

Dogs wild animals Machinery farm animals

Birds Vegetables shells Fruit rodents Reptiles zodiac animals Insects mythological creatures marine life Architecture

A. Ink: Textural and Three Dimensional

Media/Tools: fine tip ink pen, ballpoint pen or fine point dip pen, Bristol pad, tracing paper

Techniques: hatching, crosshatching, stippling, transferring

Format: 11 x 14 inch Bristol, 1 inch margins minimum

Criteria for Grading: Your drawing must have:

-convincing textures

-three-dimensional rendering- the subject must look dimensional

-clarity- the subject and all aspects of the subject must be clear to the viewer

-value gradations that clearly define 3D volume of forms and surfaces

-a full range of values from light to dark and contrast

-the techniques used must accomplish the above

Subject: Research and print out a variety of visual reference of your subject. You may also use still life objects.

Photos must be in focus, have contrast and textures must be clear



Exercises:

1. Practice drawing a variety of small lines and hatchings: straight, curved, scribble etc. Draw quickly and lightly. Use the pen like a brush. Do not press hard. Lift up on the pen so that the lines taper away at the end.

2. Draw a 2” sphere. Include highlight, ¼ tone, ½ tone, core shadow, reflected light and cast shadow.

3. Draw a feather from photo reference, work out technique on tracing paper over photo



Assignment: Draw in ink on tracing paper over a photo or drawing of your subject to work out the technique, the organization of the lines, the textures and volumes Transfer your design to Bristol paper. Draw the subject in ink.

Research artists: Ben Tolman, Jack Unruh, Edel Rodriguez, Alan E. Cober, Lars Henkel, Bagram Ibatoulline, Peter Sis, Murray Tinkelman, Henrik Drescher, Geoffrey Moss, Edward Gorey, James Jean, Rembrandt, Albrecht Durer, Van Gogh, Da Vinci, Michaelangelo, Thomas Nast, Sir John Tenniel, Gustave Dore, Aubrey Beardsley, Henry Ford
B. Ink: Graphic

Media/Tools: ink pens, small round brush, straw, ink, Bristol board, tracing paper

Techniques: Designing and drawing graphic lines, patterns and shapes to create textures and volume line variety.

(Splatter, spray, hatching, crosshatching, stippling is optional)



Format: 11 x 14 inch Bristol, 1 inch margins minimum

Criteria for Grading: Your drawing must have:

-a graphic style

-lines and shapes that describe textures and three dimensional forms

-clarity- the subject and all aspects of the subject must be clear to the viewer



Subject: Research and print out a variety of visual reference of your subject. Photos must be in focus, have contrast and textures must be clear.

Exercises:

1. Using brushes and pens draw a variety of lines: thick to thin, flowing, angular etc.

2. Draw in pen on tracing paper over your feather photo. Work out the design of the lines and shapes.

3. Draw with a small round brush on tracing paper over four photos of faces



Assignment: Draw in ink on tracing paper over your photo subject to work out the design of the lines, textures, patterns and shapes. Transfer your design to Bristol paper. Draw the subject graphically in ink.

Research artists: Jeffrey Decoster, Aaron Horkey, Cathie Bleck, Melinda Beck, Edel Rodriguez, Yuko Shimizu, Ralph Steadman, Jonathon Wayshack, Joe Morse, David Hughes, Marcos Chin, Fernanda Cohen, Jillian Tamaki, Josh Cochran, Andy Friedman, Philip Burke, Jeffrey Fisher, John Hendrix, Dushan Milic, Kako, Kagan McLeod, Dominic Bugatto, Jared Purrington, Michael Sloan, Mark Todd, Ward Schumaker, Karen Davison, Patrick Arrasmith, Scott McKowen, Nate Williams, Aaron Hogg, James Jean
C. Ink and Acrylic

Media/Tools: ink pens, small round brush, acrylic paint, illustration board, tracing paper

Techniques: flat acrylic painting, paint layering, mixed media

Format: 10 x 15 inch Illustration Board, 1 inch margins minimum

Criteria for Grading: Your drawing must have:

-a graphic style

-overlapping shapes and lines

-color scheme that contrasts with the drawing

-clarity- the subject and all aspects of the subject must be clear to the viewer

Subject: One of your face drawings from B. Ink: Graphic, Exercise #3.

Assignment: Select an illustration color scheme from online or from one of the books provided in class. Using acrylic paint paint swatches that duplicate each color. Using the color scheme, design the color shapes that will be behind your face drawing and paint them. The color does not have to register with the drawing. Work out your design in sketches first. Over the color shapes transfer your face drawing. Draw or paint the face in ink or paint.
#2 Mixed Media Collage
Objective:

-To use a variety of media and collage in a spontaneous layering technique that creates fresh, unexpected results.

-To develop design and composition skills.

Techniques: mixed media technique: painting, drawing, collage. Have all your tools and materials ready.

Materials: 11x14” cardboard, collage stuff: photographs, downloaded prints of archival art and etchings, newspapers, magazines, 1 ½ inch inexpensive hardware store brush, acrylic paints, or inexpensive craft paint

pens/markers- variety: broad and brush tip markers, gel pens, milky pens, paint pens, art materials you already have: wet and dry media, graphite stick, oil pastels, drawing tools, India ink etc. etc., glue stick



Format: 11 x 14 inches

Assignment: This is a mixed media exercise completed during class.

STEP 1:

- 5 minutes. Cover board with paint. Quick coverage. Scratch into surface.

- 5 minutes. Add writing to board. You can wipe the paint with a rag to dry. Use markers or whatever will work. Write whatever comes to mind. Write in cursive large and write over your writing to keep going.

- 10 minutes. Randomly grab 10 magazine glossy clippings or photographs-rip, tear and glue down. Place five images on each board. All collage items can go over the edge of the board. You can trim later. Don’t care what it is or what it looks like just grab and glue with glue stick or acrylic medium.

- 10 minutes. Select 10 non-glossy collage items (book pages, newspapers, copies). Adhere five of them to board.

- 5 minutes. Stamp a repeating pattern. Pour out a little paint and find something to print with that will make a consistent repeated pattern (eraser, bottle cap, not something soft or sponge-like). Be selective where you put the patterns. Make sure at this point that both boards have something on them. If one has little or nothing on it then fill it

- 5 minutes. Add marks with crayons. Hold it in your fist with your non-writing hand. Just doodle all kinds of lines: thick, thin, scribbly etc.. Outline some of the stuff that is already there.

- 15 minutes. Finally, look at the board. If there are large empty areas or a lack of unity then add paint, an image or pattern. Some board showing through is okay just not large gaps. Make sure that the board has at least one thing going off the edge.

STEP 2: Selecting a composition for your oil painting.

- You can choose one of your whole board or a section. Cut a 5.5 x 7” rectangle window out of a piece of your sketchbook paper and isolate 5.5x7” areas of one of your collages. Consider the composition: balance, unity, rhythm, unity, variety and focal point. When you arrive at a good 5.5x7” compositions, outline them and cut them out. Use your drafting tools.

#3 Oil Painting
Objective: To learn oil painting techniques

Techniques: priming, surface preparation, under painting, palette organization, color mixing, blending, glazing, Format: 11 x 14 inch canvas, smooth or medium texture

Media/Tools: oil paint, gesso, brushes, hardware store bristle brush, 320 sandpaper, palette, palette knife

Exercise: 6 x 8” or 8 x 10” canvas

1.Using a compass draw a 2.5” circle with 2H pencil. Using 5 values of a neutral color, paint a sphere with cast shadow. Paint around the edges of the sphere blending to achieve different degrees of hard/soft edges

2. Let sphere dry. Glaze the sphere to add color.

Assignment: Choose one of your 11 x 14” or one of your 5.5x7” mixed media/collage compositions to paint in oils. Select one that has a recognizable image and is not too complicated. Make two copies of it at 200% if it is 5.5 x 7”, or 100% if it is 11 x 14”. Transfer image to primed and tinted 11 x 14 inch canvas. Transfer the major shapes and images only. Small shapes, details and transparent effects will be painted in layers. You may add or delete other images. Try to match colors accurately. Prime the canvas, complete under painting and finish in oils.

Research: Chris Buzelli, Kinuko Craft, Michael Hussar, David Bowers, Chris Mars, Loren Long, John Whipple, James Jean, Braldt Bralds, Michael Deas, Rob Day, Lori Early, Alex Gross, Brom, Mark Bender, Chris Buzelli, Alex Gross, Tim O’Brien, Lori Early, Mark Ryden, Marion Peck, Christine Wu, any Old Master
#4 Acrylic Painting
Objective: To use acrylic paint to create gradations, values, textures, lines, shapes and surface textures.

Techniques: layering, dry brushing, flat painting, rendering, collage

Media/Tools: acrylic paint, craft paint, gesso, brushes, hardware store bristle brush, sandpaper, sponge, palette, palette knife

Format: 10 x 15 inches, 1 inch margins minimum

Exercises:

Tape the edges of four 4x4” squares, gesso each square

1. Paint one square with modeling paste to create a textured surface, let dry. Paint a dark color first over the entire square, let dry. On one half of the square, use sandpaper to reveal the texture. On the other half of the square, dry brush a slightly lighter color, let dry, repeat layers with increasingly lighter colors to create a gradation.

2. Paint dark color, let dry, dry brush light color over with bristle brush, apply wet paint, slant/drip

3. Mix 5 values of a color, paint half of the box with the light color, let dry, paint overlapping shapes and lines in the next value, let dry, repeat layers brush. Repeat in other half of box reverse the value sequence.

4. Use a natural sponge to apply paint in layers of colors that have similar value.



Assignment: Pick an assortment of visual reference and imagery that interests you.

Your painting must include the following:




  1. Layer one: A painted background

  2. Tape edges of the board and gesso. If using Masonite panel you can paint to the edges. Paint a background using one or a combination of techniques used in the exercises, let dry. Paint your images in layers over the background.

  3. An organic subject painted dimensionally and realistically. For example, a vegetable, fruit, flower, plant, insect, human or animal. You may work from the actual object and/or from a photograph. Paint convincing values and textures. It should look realistic.

  4. Overlapping flat shapes

  5. An image or object painted in a graphic way using flat color shapes (think paint by number)

  6. An image or object painted in contour lines over other shapes.

  7. A collage element

  8. Option: you may include previous media- ink and oil paint

Research: Nathan Ota, Tim Biskup, Ted McGrath, Haoto Nattori, Jason Holley, Clayton Bros., A. Richard Allen, Mark Bender, Olaf Hajek, Genevieve Simms, Anthony Freda, Anna Balbusso, Steve Adams, Pol Turgeon, Jody Hewgill, Curtis Parker, Dan Page, Rafal Olbinski, Brad Holland, Esther Pearl Watson, Gizelle Potter, Monika Aichele, Aaron Meshon, Yosh Ito, John S. Dykes, Nate Williams, Juliette Borda, Caleb Brown, Donna Ingemanso, C.F. Payne, Gary Kelly, Marco Ventura, Mark Summers, Daniel Craig, Cathleen Toelke, Andrea Ventura, Joe Morse, Anita Kunz, Olaf Hajek, Jody Hewgill, Rob Day, Scott Laumann, Shino Arihara, Lane Aaardwolf, Lara Tomlin, Mike Benny, Stephen Savage, Christian Northeast, Brian Cronin, Kristian Olson, Jordan Isip, Jeffrey Fisher, Martha Rich, Robert Meganck, Lasse Skarbovik, Marina Sagona, Harriet Russell, Brian Cairns, Greg Spalenka, Philip Burke, Olaf Hajek, Genevieve Simms, Anthony Freda, Shag, Kill Pixie, Mark Reihill, Jeff Nichol, Nick Spanos, Ken Taylor, Tracie Ching, John Vogl, Laurent Derieux, Johan Jaccob, Rhys Cooper, Mishka Westell

Art 222 Calendar (Dates are subject to change ___________________________________________________________________________________
Mon, Aug 25 • Review syllabus and materials

• Supplies for Wednesday: fine tip ink pen or ballpoint pen or fine point crow quill pen/ink, bristol board, feather photo reference, minimum two subject photo references, tracing paper



Wed, Aug 27 A. Ink: Textural and Three Dimensional

• PowerPoint: Ink Textural and Three Dimensional

• Demo and Exercises 1-3, and transferring • Homework: finish exercises
Mon, Sept 1 Labor Day- no class
Wed, Sept 3 • A. Ink: Textural and Three Dimensional

Mon, Sept 8 • A. Ink: Textural and Three Dimensional • Homework: bring materials for B. Ink: Graphic



Wed, Sept 10B. Ink: Graphic

• PowerPoint: Ink: Graphic • Demo and Exercises 1-3

• Homework: finish exercises, bring in subject photo reference and materials

Mon, Sept 15 • B. Ink: Graphic

Wed, Sept 17 • B. Ink: Graphic • Homework: bring materials for C. Ink and Acrylic,
Mon, Sept 22 C. Ink and Acrylic

• PowerPoint: C. Ink and Acrylic • Demo and Color Exercise

• Homework: finish exercise, and materials

Wed, Sept 24 • C. Ink and Acrylic

Mon, Sept 29 • C. Ink and Acrylic

Wed, Oct 1 #1 Ink catch up day



Mon, Oct 6 Ink assignments A, B and C due for critique

• Homework: bring materials for #2 Mixed Media Collage


Wed, Oct 8 • #2 Mixed Media Collage – completed in class
Mon, Oct 13#3 Oil Painting

• PowerPoint: #3 Oil • Demo and Exercise

• Homework: finish exercise, bring materials for #3 Oil Painting

Wed, Oct 15 • #3 Oil Painting

Mon, Oct 20 • #3 Oil Painting

Wed, Oct 22 • #3 Oil Painting

Mon, Oct 27 • #3 Oil Painting

Wed, Oct 29 • #3 Oil Painting

Mon, Nov 3 • #3 Oil Painting

Wed, Nov 5 • #3 Oil due for critique • Homework: bring materials for #4 Acrylic Painting
Mon, Nov 10 • #4 Acrylic Painting

• PowerPoint: #4 Acrylic • Demo and Exercises 1-4

Wed, Nov 12 • #4 Acrylic Painting

Mon, Nov 17 • #4 Acrylic Painting

Wed, Nov 19 • #4 Acrylic Painting

Mon, Nov 24 • #4 Acrylic Painting

Wed, Nov 26 • #4 Acrylic Painting

Mon, Dec 1 • #4 Acrylic Painting



Wed, Dec 3 • #4 Acrylic Painting due for critique

Mon, Dec 8 • #4 Acrylic Painting due for grading

Wed, Dec 10 10:15am – 12:15pm Exam time- last project returned

MEDIA GUIDE
Pen & Ink

•Techniques Demonstrated: Hatching, crosshatching, stippling in a variety of line weights to create convincing value gradations, textures and three-dimensional rendering. Use of brush, pen, straw to create calligraphic, flowing, angular, straight, curved lines, splatters to create accidental effects.

•Craftsmanship: Confident, expressive line with variety in thick and thins. No bleeding into paper. Consistency in style…if using hatching, be consistent with how you apply it throughout the piece. Contours more bold than less dominant details. Any mistakes must be incorporated into the drawing, no corrections. Create depth with value, hard/soft, dark/light lines.

Acrylic Opaque

•Techniques Demonstrated: Brushwork to create rendered textures and gradations, layering, dry brushing, accidental effects, textures, distressing, flat painting. If brush strokes are visible, let them be appealing to look at and consistently applied to the whole piece. Create depth with thick/thin, Hard/soft, Dark/light.

Oil

•Techniques Demonstrated: Surface priming, imprimatura, under layer, glazing, ala prima painting, blending, palette organization and color mixing. Brushwork to create rendered textures and gradations.

•Craftsmanship: Clean rendering, Clean and harmonious color. If brush strokes are visible, let them be appealing to look at and consistently applied to the whole piece. Create depth with color, hard/soft, dark/light. Blended, smooth edges required.

Mixed Ink Line and Acrylic or Watercolor Wash

•Techniques Demonstrated: Washes: wet-to-wet, wet to dry to create convincing value gradations, textures and three-dimensional rendering. Brushwork to create rendered textures and gradations, layering, dry brushing, stippling, accidental effects. Color theory and layering.

•Craftsmanship: Readability; Don't let the washes become so busy that the line drawing is lost. Lost and found edges are ok, but don't let the drawing disappear completely into the washes. If ink is applied with brush, brush marks and lines flow together well. Clean, not muddy color. Washes and textures that are interesting to look at. Create depth with thick/thin, Hard/soft, Dark/light.
STYLE GUIDE
For all styles:

•Composition: Create an interesting arrangement of positive and negative shapes avoiding uncomfortable tangents.

Use repetition with variation in shape and size (big, medium, small), rhythm, focal point, unity and balance.



•Communication: Clarity and readability.

Realism

•Draftsmanship: Accurate and precise rendering and realistic representation of three-dimensional shapes, forms, textures and proportions.

•Craftsmanship: Precise, controlled enough for accurate representation of the subject.

•Communication: Clear, convincing and readable.

Graphic

•Draftsmanship: Use of a variety of values and shapes. Realistic or stylized flat shapes informed by strong foundational drawing.

•Craftsmanship: Precise, clean edges.




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