Name Jane Haimes - Pratt Institute

(As of 05/4/06)
Introduction to Painting and Drawing FAU 100S
Continuing and Professional Studies
Class Type:
Class Meetings: Location: MH
Time: classes meet in June - 3 hours per class M, T, W, Th for 19 sessions
Name Jane Haimes
E-mail [email protected] or [email protected]
This elective enhances students’ perceptual and aesthetic awareness and
expression through the creation of fine art. Instruction in drawing and painting
incorporates a variety of techniques, media and subject matter.
This course aims to provide students, who are not focused on fine art, an
introduction to the study of art through drawing and painting. Students will develop
the basic skills to create art through hands-on work and class discourse. At the
course conclusion, students will have produced at least 5 quality works suitable for a
portfolio, that reflects an imaginative use of color and content.
The teaching goals are to:
• Introduce the theoretical concepts in art
• Foster the development of basic conceptual and technical skills in art, such
as conceptualization/composition, perceptual and aesthetic awareness,
drawing, painting, skills in abstract expression
• Prepare students to apply the knowledge and skills acquired to handsprojects
• Introduce the professional practices in art
• Foster independent, critical and creative thinking, as well as constructive
critiquing for hands-on application to design problem solving.
Student goals are to demonstrate:
• An understanding of various theoretical concepts, e.g., definition and basic
principles in fine arts, through presentation of their hands-on projects
• The ability to apply the knowledge and skills acquired, such as
conceptualization/composition, perceptual and aesthetic awareness,
drawing, painting, skills in abstract expression, through presentation of their
hands-on projects
• An understanding of the professional practices in art through class critiques
and discussions.
• Demonstrate the ability to think independently, critically, and creatively for
hands-on application to design problem solving, through presentations of
individual projects and class discussions.
• Demonstrate the ability to engage in constructive critiques on their work and
that of peers.
Organization &
Structure & methods of course (Studio, Lecture or Seminar)
Student centered studio-work with guidance and lectures from the instructor will be
employed. In class demonstrations and exercises that support weekly projects and
class assignments will constitute the overall structure and methodology.
employed. In class demonstrations and exercises that support weekly projects and
class assignments will constitute the overall structure and methodology.
Governed by Pratt Community Standards. (Reference: Pratt Institute Undergraduate
or Graduate Bulletin, year of edition. Student Handbook, year of edition)
Students are expected to attend class, complete assignments, demonstrate
dedication toward completion of work, demonstrate an understanding of processes
of medium, conceptualizing, & composition; demonstrate analytical skills; and
participate in dialogue/critique.
Attendance; refer to Institute policy on attendance
Participation is required.
Required amount of time spent outside of class: Time spent outside of class
will be determined by the students’ needs in the completion of projects.
Access to resources (such as facilities, equipment and services) in addition to,
and beyond, scheduled class time; this is applicable to instructor’s and
students’ expectations
a. Projects are meant to be an introduction
b. Observe Project Requirements
Required materials & resources
Pencils, pad of newsprint, set primary colors acrylic paint, paint brushes,
exacto with blades, straight edge, chip board, sobo gule
Students will have class time to work on projects. Students will be responsible for
completing projects outside of class if needed.
Description & definition
Drawing: Still Life
Drawing from Model
Drawing: Self Portrait
Painting: Landscape
Drawing and Painting in abstraction
Revised: February 17, 2005
Academic Senate
Standards of
A statement of what assessment techniques will be used to evaluate students,
including information on grading policies.
Pratt Institute considers Academic Integrity highly important. Instances of cheating, plagiarism, and wrongful use of
intellectual property will not be tolerated.
Faculty members will report each incident to the registrar for inclusion in students’ files.
More than one report to the registrar during a student’s program of study at Pratt will result in a hearing
before the Academic Integrity Board, at which time appropriate sanctions will be decided. These may include
dismissal from the Institute.
The nature and severity of the infraction will be determined by faculty members who can: ask students to
repeat an assignment, fail students on the assignment, fail students in the course and/or refer the incident to
the Academic Integrity Board.
For more details about these procedures please see the Pratt Student Handbook, the Pratt Bulletins, and the pamphlet
entitled Judicial Procedures at Pratt.
If students use dishonest methods to fulfill course requirements, they are cheating. Examples of this include, but are not
limited to:
Obtaining or offering copies of exams or information about the content of exams in advance.
Bringing notes in any form to a closed book exam.
Looking at another student’s paper during an exam.
Receiving or communicating any information from or to another student during an exam.
Plagiarism is a bit more complicated, but the rules of documentation and citation are very specific and are tailored to
different academic disciplines. Types of plagiarism include:
Including any material from any source other than you in a paper or project without proper attribution. This
includes material from the Internet, books, papers, or projects by other students, and from any other source.
Using your own work to fulfill requirements for more than one course
The extensive use of the ideas of others in your work without proper attribution.
Turning in work done by another person or a fellow student as one’s own.
Please remember that all work must be the student’s own. If it is not, the source should be cited and documented
If there are aspects of this statement that are not understood, ask faculty members for help.
Participation and Attendance (working in class, contributing to critiques) 10%
(If participation requires attendance, refer to Institute policy on attendance)
Project %
σ Responsible response to project parameters 40%
σ Clear & complete presentation/realization 35%
σ Timeliness of Submission 15%
19 Classes, 4 days per week; Semester Calendar, listing individual class
See attached.
Description of theme / subject matter
Students will engage in creating art through observation and abstraction.
Students will think about the way they perceive the world around them and the
ways it can be represented in art.
The course will use in-class studio time to work on projects with lectures,
group critiques, quick research, workshop, and review
Making: design, producing Students will have class time to work on projects.
Students will be responsible for completing projects outside of class if needed.
Revised: February 17, 2005
Academic Senate
σ Discussion
σ Online resources
σ Observation
Reference: Pratt Institute Undergraduate or Graduate Bulletin, year of edition.
Student Handbook, year of edition.
Sele Institute Policies:
Assignments, exams and tests; timeliness and make-up
Academic Integrity and Plagiarism
Computer, Network and Software use
Grading, including “incomplete”
Environmental, health and safety issues
Instructor’s Policies (suggestions):
Revised: February 17, 2005
Academic Senate
Students must be able and prepared to discuss their work
No Cell-phone use in class
Suggested reading & references. Bibliography with a short descriptive narrative
addressing the value of each entry
Use the following required format if your course requires a bibliography
Art and Visual Perception, A psychology of the Creative Eye
Arnheim, Rudolf
University of California Press
Pub. Date:
2nd Rev&En edition (November 1974)
Casts the visual process in psychological terms and describes the creative way one's eye
organizes visual material according to specific psychological premises
The Artist's Handbook of Materials and Techniques : Fifth Edition, Revised and Updated
(Artists' Handbook of Materials and Techniques)
Ralph Mayer
Hardcover: 784 pages
Publisher: Viking Adult;
Pub. Date:
5th Rv&Upd edition (May 31, 1991)
The study of artists' materials and their application to the various techniques of painting.
Revised: February 17, 2005
Academic Senate
Color Mixing Bible
Ian Sidaway
Paperback: 144 pages
Watson-Guptill Publications
Pub. Date:
(April 2002)
This book covers color theory for beginners. The book offers brief sections on the science of
color, theory, and pigments, plus numerous color-mixing charts in oils, acrylics, watercolors,
gouache, soft pastels, pencils, and inks.
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Academic Senate
Introduction to Painting and Drawing FAU 100S
Schedule of classes/projects
Class 1
♣ Describe syllabus/ materials
♣ Introduction to Line -- Still Life Drawing kinds of line—expression, contour, gesture, cross
1. Theory/practice: 2 sketchbook pencil drawings
a) Still life contour drawing,3 objects, include one organic shape. Use repetitions of line, direction,
weight, to unify composition
b) Gesture drawing –--2-3 pcs furniture in environment (walls,etc). Use speed, varied pressures
and types of expressive line, open and closed areas for emphasis.
2. Application/expression: 2 (18x24) pencil or charcoal drawings:
a) Convey ‘lyrical’ quality—through line quality, emphasis,rhythm, and arrangement of 5-7 objects
b)Express ‘ordered’ quality, with line quality, emphasis and rhythm, and choosing 5 objects.
Class 2
♣ Structure and shape in composition: Still Life Positive/negative space, sighting for
♣ Point of view, beginning perspective
1. Theory/practice: 2 sketchbook drawings:
a)1 box drawn (twice) from imagination using perspective--from (two) different eye-levels.
b)A 5”x 7” composition -- 3-5 objects--shapes should be varied in type and size, negative space
should ‘balance’ the composition and add complexity. Color all negative shapes black.
2. Application/expression: 1 18x24” pencil or charcoal:
A ‘dynamic” contour drawing composed with ‘static‘ (i.e. regular, geometric, man-made) objects
(e.g. bottles, books, etc). Must use principles of composition learned thus far that apply here, and
perspective to unify composition; must have a foreground to background overlap of objects.
Class 3
♣ Line and Proportion: The Figure
♣ Axes, gesture, volume
1. Theory/practice: sketchbook drawings:
a) Two ‘gesture’ (fast response) drawings of your hand in active or expressive positions.
b) Axial drawing of your hand—as if ‘rods’ are controlling the direction of each part before the
‘hinge’ changes direction. It might resemble wire, toothpicks, ‘sticks’. Axis must be the center of
each part or plane, and will determine how something tips or swivels.
2. Application/expression:1 18x24” drawing
Three or four gestural or more ‘expressive’ line drawings in one composition of a section of your
face: eyes-nose or nose-mouth;—expressing emotion: smiling, winking, exclaiming, etc.
Compose the page with scale and emphasis changes… e.g.master drawings (DaVinci, etc)
Class 4
♣ The Figure
♣ Gesture to axial, perspective applied to the figure
♣ Working with edges and planes
1. Theory/ practice:1 sketchbook pencil drawing:
3/4 view closeup(approx 3” in either direction) of your eye or nose. Sight proportion and angles to
develop planes, volume, direction; placement . No ‘curves’. All straight sided planes.
2. Application/expression: 1 18x24” pencil or charcoal drawing
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Academic Senate
Self-portrait, head and neck. Use light ‘searching’ lines to find angles and direction. This will give
an overall quality of recognition, through posture, expression… and sensitive line quality.
Class 5
♣ Paint: Color: hue, intensity, value, temperature -- random color marks in composition
♣ Perceptual still life and landscape— time of day— alla prima (Monet)
1. Theory/ practice:painted sketch on paper—
Hue expansion –fill a 36 box (1” ea.),6” square: mix and paint 2 rows of red boxes, 2 rows of
yellow boxes, 2 rows of blues. The boxes within each primary hue must be varied in value,
intensity and temperature. You must use all of your primary paint colors to mix these variations.
2. Application/expression: 8” x 10” painting on paper This painting is an abstracted translation of what you might see at a certain time of day. Use
stripes of different thicknesses horizontally stacked. Sky and sea or land are all straight strips of
color, layered effect of different hue, intensity and value convey a feeling of light, atmosphere,
weight. Use reflected light color similarly to Monet in ‘Haystacks’ painting series.
Class 6.
♣ Pictorial space—fore, middle, and background, and atmospheric perspective—
♣ Landscape layered painting (Fairfield Porter, Ashcan painters, Corot…)
1. Theory/ practice:painted sketch on paper
6” square, simplified study of two different fruits or vegetables with one is in foreground. Paint big
areas of color, shadow and light shapes, ‘transparency’ mixtures of shadows. No surface details.
2. Application/expression: painting on canvas (paper or panel)
8x10” still life of a ‘scene’ with several objects from a distance, near window or tabletop. Use
light/shadow to unify, paint ‘masses’ and shapes of color, rather than focusing on individual
objects. The unifying elements might be shadow/light colors, repetitions of color or shapes…
Class 7.
♣ Figure study –drawing first, then painting the ‘unfamiliar’
♣ Changing scale/ point of view—(Freud, Jenny Saville), ‘alla prima’
1.Theory/ practice: painted sketch on paper—alla prima
6” square, closeup of part of your face as a ‘landscape’, light and color shifts are most important.
Light dramatically to ‘carve’ volumes, use big loose marks of color. Do not blend on the painting.
2.Application/expression: 8x10” 1-1/2 hr. dramatically lit self-portrait in a different ‘context’--with
objects, furniture, a window…natural or artificial light. This is not a picture of your face, but a
unified painting of space and light. Avoid detail—just enough information to establish light, a
‘mood’—the opposite of Lucian Freud or Jenny Saville, more like Bonnard self portraits
Class 8.
♣ Self-portraiture as objects (Thiebaud,Vanitas painting)
♣ Placement as self-description
1.Theory/ practice: painted sketches on paper—
2 different ‘schematic’ or thumbnail sketches…either paint or charcoal, of the same personal
objects arranged ‘formally’ and ‘responsively’, same distance (p.o.v.)
2.Application/expression: 16x20” painting, the objects, lighting and placement represent ‘you’.
Paint them as an ‘event’…i.e. partially eaten food, tipping …or as formal ordered
arrangement—use light and composition to aid the concept of your self.
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Academic Senate
Class 9.
♣ Master study—Cezanne–axial,color averaged analysis of perceived light and intensity
♣ Reinterpretations or from observation
1.Theory/ practice: sketchbook drawing, 2 different colors or pen and pencil.
Axial diagram of Cezanne still life; Main axes are one color (find 1 or 2), secondary are other
color—there will be several. Focus upon the shifting in ‘picture space’, tipping perspectives, etc.
2. Application/expression: Your ‘Cezanne-esque’ interpretation of space, a landscape.
—Use color and form to evoke a perceived landscape—shapes do not have to replicate Cezanne,
but the space must feel disjointed and not based in foreground to background. Use color to make
distinctions between vegetation and sky…use temperature and intensity to push space in and out.
Class 10.
♣ Midterm review / class critique. Large works, with smaller sketches/studies.
♣ Discussion / individual evaluation.
1. Theory/practice: Choose 1 painting that could be improved, do a small simple study, revising
color—composition. No detail: shape changes and proportional color redistribution.
2. Application/expression: Short written essay on strengths /weaknesses; new goals
Class 11
♣ Introduction to “Modern Space’—Tipping, layering, conjoining, ignoring perspective
♣ Using color to advance/recede space (Cezanne, Picasso, Braque)
1.Theory/practice: a painted study/sketch of a cup as ‘fractured’ merged with its background
2. Application/expression: 9x12” still life painting using intensity plus value to create fractured
and tonal/planar shifts, background not distinguishable but fully integrated with foreground.
Class 12.
♣ Self-portrait as a planar (head) study—the figure
1.Theory/practice: use one color /values; tonal sketch of planar volumes--mouth, eyes or nose.
2. Application/expression: 9x12” self-portrait study –non-perceptual color—i.e. complements,
warm/cool, bright/dull. Planar divisions and color used to balance the composition. Must have a
context..—whether just your head or more…the planar spatial shifts must be evident throughout.
Class 13.
♣ Modern space—axial -- mapping structure; (Giacometti)— self-portrait in larger context
1.Theory/practice: 18x24 sketch for a painting. Compose where you will be—the space, all axes
‘mapped’ with axes
2. Application/expression: 9x12” self-portrait study. A neutral toned ground, with a contrasting
color (e.g. ‘tan’ and blue, or grey, black and red, etc)-- show the process of locating your features
and your environment…keep the painting line-driven and more like a painted drawing. The color
should be limited but can have ‘accents’ of bright or value change.
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Academic Senate
Class 14.
♣ Non-objective painting-- Negative space color painting, alternating schemes (Kelly)
♣ Transition from observation to non-objective painting
1. Theory/practice: 5” square geometric ‘abstracted’ painting --a window, doorway, other
architectural element—color divisions represent main planar changes, no more than 3 or 4—flat
areas. Color can vibrate or have figure and ground reversal.
2. Application/expression: 2 small paintings—6” square each. One a simple still life, landscape
or interior space painting—few indications of light/intensity, and few identifying shapes, no detail.
The second is a ‘distillation’ --a generalized geometricized, design which lacks detail and even
much identification of form. Adjust color to heighten the ‘atmosphere’—whether it is
spaciousness, density, light, depth… This painting while derived from the first must be its own
compelling painting without requiring the reference to the first one; therefore color is ‘key’.
Class 15.
♣ Inventing geometric form in space—, overlaps, diagonals (Al Held)
♣ Using color to describe volume as ‘theory’
1. Theory/practice: (5x7” max) drawing in pencil, composition of geometric volumes, using
believable perspective but not a common point of view …different eye levels, ‘discrete’ objects in
a context. Objects may intersect or overlap, be transparent and must differ in size.
2. Application/expression: Enlarge the drawing or build on it to 8x10” painting.
Use high intensity or saturated color. No more than 5 volumes- varied color but the painting must
hold together. Each form can have more than one hue (different planes or inside/outside), can
intersect other planes or reverse as an optical illusion. The goal is ‘enigmatic’ or ‘theoretical’
space. … perspective/foreshortening can be exaggerated or ‘impossible’ to heighten complexity.
Class 16.
♣ Non-objective painting expressing weight or light (Rothko)
1. Theory/practice: painted sketch - ‘fat’ brush marks or blobs. Stack or attach the marks… vary
weight and light through differences of intensity—compose with color and contrasts.
2.Application/expression: 8x10” painting which uses Rothko’s approach to ‘glow’. Use your own
‘indistinct’ or generalized forms; may face any direction. Only 1 or 2 types of shape--—and
repeated but can be varied in scale.. E.g. lozenge shapes…’bubbles’, curving boomerangs etc.
Color must have overlaps. Focus is on the forms and their weight, rising and falling,
Class 17.
♣ Narrative painting—using the figure/still life, or interior space…begin in class, longer
project. Painting should have perceptual characteristics
♣ Figure study with model (half-session of class).
1. Theory/practice: work out some palette studies—what kind of light? Atmosphere? Will you
use pattern? (e.g.Vuillard, Bonnard)
2.Application/expression:begin 18x 24” painting; block in the values or hue changes as big
areas. Use accompanying sketches for research but draw using perspective to unify final
composition.You may use any distance, must use ‘props’ and surrounding context to create an
‘event’. Light is a main ‘character’, time of day or mood a focus. Also: Sargent, Bellows for ideas.
Class 18. Continued narrative painting for final review.
Homework: Continue and finish painting.
Class 19. Final critique
Fill out short class evaluation form
Revised: February 17, 2005
Academic Senate