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.
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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 –
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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)
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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
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
San Clemente
Sat
10 – 6
626-795-4985
310-854-4900
Los Angeles
310-478-5775
949-369-6603
Swain’s
M-F
9–7
Blue Rooster Art Supplies
537 N. Glendale Ave.
Sat
9 - 5:30
1718 N. Vermont Ave.
Glendale
Sun
10 - 5
Los Angeles, CA 90027
818-243-3129
M – Sat 10 - 8
Sun
10 - 7
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.
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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
Dogs
Birds
rodents
mythological creatures
anatomy
wild animals
Vegetables
Reptiles
marine life
Flowers
Machinery
shells
zodiac animals
Architecture
human face
farm animals
Fruit
Insects
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
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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
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- 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:
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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
3.
4.
5.
6.
7.
8.
in layers over the background.
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.
Overlapping flat shapes
An image or object painted in a graphic way using flat color shapes (think paint by number)
An image or object painted in contour lines over other shapes.
A collage element
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
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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
Mon, Sept 8
• A. Ink: Textural and Three Dimensional
• A. Ink: Textural and Three Dimensional • Homework: bring materials for B. Ink: Graphic
Wed, Sept 10
• B. Ink: Graphic
• PowerPoint: Ink: Graphic • Demo and Exercises 1-3
• Homework: finish exercises, bring in subject photo reference and materials
• B. Ink: Graphic
• B. Ink: Graphic • Homework: bring materials for C. Ink and Acrylic,
Mon, Sept 15
Wed, Sept 17
Mon, Sept 22
• C. Ink and Acrylic
• PowerPoint: C. Ink and Acrylic • Demo and Color Exercise
• Homework: finish exercise, and materials
Wed, Sept 24
Mon, Sept 29
Wed, Oct 1
Mon, Oct 6
• C. Ink and Acrylic
• C. Ink and Acrylic
#1 Ink catch up day
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
• #3 Oil Painting
• #3 Oil Painting
• #3 Oil Painting
• #3 Oil Painting
• #3 Oil Painting
• #3 Oil Painting
• #3 Oil due for critique • Homework: bring materials for #4 Acrylic Painting
Wed, Oct 15
Mon, Oct 20
Wed, Oct 22
Mon, Oct 27
Wed, Oct 29
Mon, Nov 3
Wed, Nov 5
Wed, Nov 12
Mon, Nov 17
Wed, Nov 19
Mon, Nov 24
Wed, Nov 26
Mon, Dec 1
Wed, Dec 3
Mon, Dec 8
• #4 Acrylic Painting
• PowerPoint: #4 Acrylic • Demo and Exercises 1-4
• #4 Acrylic Painting
• #4 Acrylic Painting
• #4 Acrylic Painting
• #4 Acrylic Painting
• #4 Acrylic Painting
• #4 Acrylic Painting
• #4 Acrylic Painting due for critique
• #4 Acrylic Painting due for grading
Wed, Dec 10
10:15am – 12:15pm Exam time- last project returned
Mon, Nov 10
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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 threedimensional 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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