Black Hills State University
ART 430 – WATERCOLOR
Fall 2012
MWF 11:00 – 11:50
BHW 300
3Credit Hours
Instructor:
Office location:
Office hours:
Phone:
E-mail:
Dave Wilson
Woodburn 303B
MW – 9:00 AM – 10:00 AM, TTH 11:00 AM - Noon
642-6706 david.wilson@bhsu.edu
Course Description
Generates creative experiences in developing and evaluating visual ideas expresses in watercolor through discussion and utilization of master artists’ watercolor approaches and techniques.
Course Prerequisites
ART 111: Drawing I, ART 121: Design I 2D, and ART 122: Design II Color
Description of Instructional Methods
This class will employ the instructional methods of studio practice, lectures, films, and critiques. The assignments are designed to enhance one’s knowledge of techniques, compositional arrangement, and conceptual development emphasizing the continuing development of essential drawing skills as they pertain to watercolor, and perceptual abilities enhance creativity.
COURSE REQUIREMENTS
Required Textbooks:
The Watercolor Artist’s Bible . By: Marylin Scott, Chartwell Books Inc. ISBN-13: 978-0-
7858-1943-1
Color Mixing Recipes for Watercolor. By: William F. Powell, Walter Foster Publishing,
Inc., ISBN# 13: 978-1-60058-016-1
Recommended Textbook: (OUT OF PRINT)
Watercolor Mixing Directory: A Visual Guide to More Than 2500 Mixes and Glaze
Effects . By: Moira Clinch, Walter Foster Publishing, Inc., ISBN# 1-56010-902-5
Attendance
Attendance is essential. Each student will be permitted 3 excused absences, provided they do not fall on assignment due dates.
After three absences, your grade will drop one letter grade for each day missed.
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When you are absent or late for a class, you are still responsible for the information and assignments presented. Lectures and slides are only presented once.
ZERO TOLLERANCE CELL PHONE/TEXTING POLICY: If you have a cell phone that interrupts the class, it will count as an absent for the day – no exceptions.
Students absent from a class must notify their instructor prior to or upon returning to class as to the reason for the absence(s) and be prepared to provide appropriate documentation if requested. Failure to do so will cause the absence to be considered unexcused. Furthermore, students who habitually arrive late, leave early or take extended breaks will be considered absent. Work schedules, minor illness, oversleeping, studying for other classes, etc. are not acceptable excuses. Extended absences for any reason are unacceptable.
The instructor reserves the right to review attendance problems on an individual basis.
ASSIGNMENTS
Assignments will be introduced in listed order with a new project initiated every week to week and a half. Class critique sessions will be held in conjunction with each assignment due date. Assignments are subject to change at the discretion of the instructor and are weighted equally in determining your final grade. The assignment genres are traditional however your interpretation of the subject matter will create individual uniqueness.
Important: manipulating watercolor is unlike opaque, thick applications acrylic or oil paints, utilized the translucency of the pigment against the white of the paper, and allow the water to do the work. Your paintings should exhibit a spontaneous, fresh quality that does not appear overworked.
1.
Studies (smaller paintings) assigned as needed or on a weekly basis addressing color, composition, techniques, and a component requiring on-site sketching with watercolor.
2.
Photographic visual resource file will also be assembled during the semester and used solely for reference in developing the painting for textures, color, and other formal reference needs – not for the sake of painting the photograph.
Photographs on cell phones will not be accepted.
The files will be graded as required.
3.
Still Life Portfolio (2 paintings – one mono-chromatic, one chromatic) primarily investigating color mixing, composition, surfaces and value from direct observation. A combination of translucent and opaque, organic and geometric objects will be utilized.
4.
Abstraction Portfolio (1 - 2 paintings) an exploration of the elements and principals of design with techniques to create abstract or non-objective
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compositions. Using primary, secondary, and tertiary colors on a series of shapes, create a sense of rhythmic motion.
5.
Figurative / Portraiture Portfolio (1 - 2 paintings) capturing expression from direct observation and color value mixing. The manipulation and difficulty of working from a photo-based reference will be discussed.
6.
Exterior Landscape / Interior Perspective Portfolio (1 - 2 paintings) capturing the various environments from direct observation involving light, color and depth.
7.
Series of Paintings (3+ pieces) – based upon a theme and includes an artist statement. The size of the paintings will be determined by your concept. A proposal for the series will be due at Midterm.
GRADING AND PERFORMANCE STANDARDS
Grades are not a reflection of your personal worth; they are representative of your retention and application of the information.
A Consistent excellence in all aspects of the course, and/or extraordinary and consistent development
B
C
Above average work and evidence of consistent growth in visual organization, expression, technical skill, conceptual understanding, and class participation
Average completion of all required work, quality of visual organization,
D
F expression, technical skill, conceptual understanding, and class participation
Deficient completion of all required work, quality of visual organization, expression, technical skill, conceptual understanding, and class participation
Unsatisfactory completion of all required work, quality of visual organization, expression, technical skill, conceptual understanding, and class participation
Grades have the following point values:
A+ = 12 points; A = 11 points; A- = 10 points; B + = 9; and so on.
Each portfolio and additional assignment will be graded accordingly to the 12-point grade scale. To determine a course grade at anytime during the semester, add the total points for all the class work then divide by the number of assignments. When determining a midterm or final grade, any grade deductions for excessive absenteeism must also be calculated in.

Any work / portfolios turned in after the due date will have the grade lowered by one letter grade for each class day late, provided the work/portfolios is handed in during the next 2 class dates. Late work/portfolios not delivered within this time frame will be given a grade of zero.

Ultimately, your completed portfolios should reflect a professional body of work.
Outside class time or open studio time is available to complete the projects for their critiques and will be announced during the semester.
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Important: Presentation and protection of your work is important. Each drawing should have a cover sheet (that is hinged at the top with small pieces of masking tape) that neatly and legibly includes your name, date, and type of drawing, and covers the entire surface of your painting.
Class participation will also affect your grades and includes:
1.
In-class discussion during critiques , asking questions, and willingness to share any information you think would benefit other students, etc.
2.
Working on all assigned projects in class as well as outside of class.
It is important that you share your work by having it in class during the process of its making. Not only will your working methods offer input to your fellow students, but you will also receive important input that will improve your work. Without the give and take of shared studio work, you are missing half of the necessary information you need to advance your skills.
3.
If I haven’t seen you work on your project(s) in class
, the project(s) in question will not be accepted for grading.
Plagiarism
Plagiarism includes using another person’s work in any form, including published materials (in print or on computer) without citing the source (see Student Handbook). When exploring processes and media in the art classroom it is often acceptable to use examples from media as a catalyst for creativity. However, these explorations of process should not be confused with the production of original work that results from one’s own ideas, photographs or on-location sketches. Cases of willful plagiarism will receive maximum penalties. You are always free, however, to use any ideas expressed in classroom discussion or lecture.
In this course you are expected to perform to the utmost of your abilities in an honest and sincere manner. Cheating & plagiarism will not be tolerated and will result in an automatic “F” for the course.
Academic misconduct may additionally be dealt with per
BOR (Board of Regents) regulations.
Make-up Policy
Excused absences with official verification can be considered for “make up” with outside work to avoid a grade penalty.
This course has been designed to address the following standards :
1.
Identify watercolor materials and techniques (through individual projects)
2.
Identify color mixing principles (through class assignments)
3.
Explain creative composition and the importance of personalizing class assignments, with consideration for aesthetic and media (through individual projects and critiques)
4.
Identify the importance of self-reliance and initiating an independent coarse of action, while increasing familiarity with materials and techniques as they relate to watercolor (through individual projects)
5.
Identify the skills necessary in the use of watercolor techniques and sensitivity to the limitations and potential of painting materials (through individual projects)
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Alignment of this course to these standards can be found in the STEP Alignment Tool.
Significant Student Learning Outcomes
The program shall include study of philosophical aspects of the nature of art and its meaning and contributions to the individual and society.
The program shall develop the prospective teacher’s ability to describe, analyze, interpret and evaluate works of art; to work as a professional art educator with pupils of all age groups; and to develop the following capacities:

Perception – the ability and refinement of fundamental optic and haptic sensory intake

Knowledge and Understanding – the ability to absorb visual information, particularly that which is manifested in visual art
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Creativity – the ability to produce or create original expressions using a variety of media

Reflection/Action – the ability to appreciate art.
Health and Safety
Students are advised to wear proper eye and skin protection while observing or creating projects that may involve paint, solvents, vapors or potential flying pieces of material while cutting, breaking or building. It is the student’s responsibility to use the materials in the way in which they are intended, to inform the instructor(s) of behavior that is not responsible, and to inform the instructor of any mishaps or injuries.
Some materials used in the manufacturing of art products are toxic. Read carefully all warning labels on all products and follow directions. Always work in a well-ventilated area. If available, select products marked “CP Nontoxic,” “AP Nontoxic,” or “No Health
Label Required.” Any questions concerning the materials or the processes being used please ask the instructor. DO NOT USE ANY TOXIC MATERIALS (INCLUDING
SPRAY FIXATIVES) IN THE DRAWING ROOMS OR HALLWAYS OF THE
UNIVERSITY.
ADA Statement (must be used verbatim)
“Reasonable accommodations, as arranged through the Disabilities Services Coordinator, will be provided students with documented disabilities. Contact the BHSU Disabilities
Services Coordinator, Mike McNeil, at 605- 642-6099, (Student Success Center,
Woodburn 134) or via email at mikemcneil@bhsu.edu
for more information. Additional information can also be found at http://www.bhsu.edu/StudentLife/Learning/DisabilityServices/tabid/162/Default.aspx
”
Freedom in Learning (must be used verbatim)
“Under Board of Regents and University policy student academic performance may be evaluated solely on an academic basis, not on opinions or conduct in matters unrelated to academic standards. Students should be free to take reasoned exception to the data or views offered in any course of study and to reserve judgment about matters of opinion,
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but they are responsible for learning the content of any course of study for which they are enrolled. Students who believe that an academic evaluation reflects prejudiced or capricious consideration of student opinions or conduct unrelated to academic standards should contact the chair of the department in which the course is being taught to initiate a review of the evaluation.”
Attitude
***Please Read Carefully***
This course has not been designed or scheduled for your personal convenience. It is imperative that you understand and comply with the criteria regarding assignments, supplies, grading, attendance, and attitude established by the instructor for this course.
This is a university studio art course with structure and goals to cultivate visual
creativity, and is not meant for you to do whatever you want whenever you want.
This is a traditional classroom course, it is not a home study or independent study –
attendance and proper preparedness are mandatory.
Majors and non-majors take this art course. Other than any established prerequisites, you need not to have any previous art experience to enroll. Both majors and non-majors “ace” this course. Realize, however, that your final grade is semester and course specific. It is not the ultimate measure of your creative potential. Student success in studio art is not so much a result of resting upon your pre-existing technical skills as it is the ability to adapt creatively in problem solving solutions to assignments. This course is just as much about thinking as it is doing.
Get finances, transportation, and work schedules in order so that attention can be directed at the challenges of this course work. Make a commitment to this class:

Have regular attendance to every class prepared with ideas and materials

Observe and discuss work with classmates

Be creative and present personalized ideas
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Turn assignments in on time
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Listen to the instructor; keep an open mind
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Responsibility; clean-up, wipe down drawing boards, replace desks
The procedures in this course are subject to change at the discretion of the instructor.
WATERCOLOR MATERIALS LIST
Pigments
Watercolor pigments are sold in student and professional grade. The professional grade paints are more expensive, but always have more saturated color, greater tinting strength, and less binder. M. Graham (sold in the BHSU bookstore), Winsor Newton and DaVinci are the brands most recommended. If you need to save money, buy earth colors (umbers, sienna, and ochres) and secondary colors in student grade.
Reds :
Quinacridone Red (Red Rose Deep or Permanent Rose) and Cadmium Red
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Yellows:
Cadmium Yellow (medium), Cadmium Yellow pale (light)
Blues:
Cobalt Blue, Pthalo Blue, and Ultramarine Blue, Cerulean Blue
Earth tones:
Yellow Ochre, Raw Umber, Burnt Umber, and Burnt Sienna
Values:
Ivory Black (optional) because a color value can be mixed to achieve the appearance
Additional secondary colors:
Cadmium Orange, Pthalo Green, and Hooker’s Green
Paper – I will supply most of the paper for the class, however always have paper stretched (if necessary) and ready to paint on.

22” x 30” Arches 140 lb. or greater weight Cold Press watercolor paper
 22” x 30” Pentalic 140lb. or greater weight unsized professional grade paper
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Water color paper in block form – no stretching required

A sketchbook that contains paper suitable for both watercolor and drawing materials
Brushes

Round watercolor brush # 12
 Mop brush with ¾ inch wide ferrule
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Hake brush or wide oriental brush with multiple bamboos bonded together
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Variety of sizes - flats and rounds
Mediums – I will supply for the class up until they are depleted
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Water Color Medium
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Gum Arabic
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Ox Gall Liquid
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Masking fluid with dipping stick
Wood Boards
¼ inch Plywood board(s) for stretching paper (must be at least 25 x 33 inches)
Framing
For framing and matting: Museum board and Foam board – will notify when needed for presentation purposes. American Frame, www.americanframe.com
Miscellaneous

Large watercolor palette with cover
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Water spray bottle
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Hair dryer
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Scissors
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Roll of white paper towels – the classroom towels do not absorb properly
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Water containers
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
Masking or Artists tape
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Pencils - 2H or 4H
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Kneeded and soft gum erasers
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If stretching on wood - Pack of Stanley ¼ inch 6.3mm Standard heavy duty staples for the staple gun (sold in the BHSU bookstore)
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If stretching on wood with tape - Kraft Paper tape (I will supply)
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White wax resist crayon
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Sponges
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Color Wheel
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Portfolio to transport and turn in your projects
Art Supply Stores
Black Hills State University Bookstore
Utrecht, www.utrecht.com
Dick Blick Art Supplies, www.dickblick.com
The Art Supply Warehouse, www.aswexpress.com
Tentative Course Outline
Weeks 1-4: Still-Life Portfolio and abstraction projects with critiques.
We will investigate various studies in and out of class and begin to assemble our visual resource file. We will also investigate the initial techniques necessary to complete future watercolor paintings such as flat washes, graded washes, wet-into-wet, wet-on-dry, preservation of highlights, dry brushing, glazing, granulation, and color intensities.
Weeks 5-8: Figurative / Portraiture Portfolio projects with critiques.
We will continue to investigate various studies in and out of class and continue to assemble our visual resource file. Proposals due for the series of watercolor paintings
Weeks 9-12: Exterior Landscape / Interior Perspective Portfolio projects with critiques.
We will continue to investigate various studies in and out of class and continue to assemble our visual resource file.
Weeks 13-16: Exterior Landscape / Interior Perspective Portfolio with critiques.
We will continue to investigate various studies in and out of class and continue to assemble our visual resource file. Series of watercolors due
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QUICK REFERENCE GUIDE
SEVEN PRINCIPALS of ORGANIZATION
Harmony, Variety, Balance, Movement, Proportion, Dominance, Economy
They further imply the use of Space to produce Unity .
ELEMENTS OF ART
Line, Shape, Value, Texture, and Color
PAPER STRECHING METHODS
Watercolor paper needs to be stretched before use to prevent buckling when washes of watercolor are applied to it. Ideally, this is done by first soaking the sheet and then stapling it to a sturdy board to dry. When the paper dries, it will shrink and tighten.
Weight and size of the paper should be taken into consideration. Heavy paper, such as
300-lb, is usually stiff enough to prevent buckling. Even very heavy paper may buckle if it is frequently saturated during painting. The heavier the paper, the more it must be soaked to stretch. Lighter papers can be soaked with a brush or sponge and attached to your board.
Paper Tape method – ( Paper up to 140lb weight can be stretched with paper tape)
1.
Dampen both sides of the paper and lay it on Masonite or Plywood.
2.
Remove excess water from top with Hake brush or a sponge. Paper should have a dull sheen when it is ready to apply tape.
3.
Moisten tape with sprayer and apply it to all four sides of the paper, ½” – 1” from each edge. Do not rub or brush the surface of the tape or you will remove the glue. Burnish tape onto the paper to make sure it makes contact with the paper.
4.
Allow board with paper to dry flat.
Heavy or light paper may be stretched with a stapling method
1.
Dampen both sides of the paper and lay it on Plywood.
2.
Remove excess water from top with Hake brush or a sponge. Paper should have a dull sheen when it is ready to staple. Staple about every three inches.
3.
Allow board with paper to dry flat.
WATER COLOR TECHNIQUES and EXERCISES
Basic flat washes
The goal is to achieve a wash that is of an even value and seamless without evidence of individual brushstrokes.
Wet on Wet Flat Wash
This is the easiest method of applying a flat wash.
● First, wet the paper with clear water where the wash will be applied. The surface should be moist, but not shiny.
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● Using an oval brush (mop brush) pick up the diluted color and apply it to the paper moving the brush smoothly back and forth from top to bottom to get an even tone.
● Tilt the board to let the paint bleed evenly.
Wet on Dry Flat Wash
When you lay down a wash on Dry paper, individual brushstrokes may be apparent, but may give your work a lively appearance.
● Tilt the painting board and apply a stroke of color across the top of the paper. The brush should be loaded with enough paint to leave a bead across the bottom of the stroke.
●Apply paint across the page, each time picking up the previous bead to create an even tone
●Apply paint with a light touch. After you paint the bottom stroke, pick up excess bead of paint with a clean damp brush.
Graded Washes
A graded wash is one that goes from dark to light. It starts out the same as a flat wash.
Add water to your paint mixture after each brushstroke, to lighten the color. Tilt the board to let the wet paint run downward.
Variegated Washes
In a variegated wash, two or more colors are blended together on very wet watercolor paper.
●First wet the area to be painted. Apply the lightest color first, letting it flow downward toward the middle of the paper.
●Tilt the board in the opposite direction and let the second color run down and bleed into the first.
●The colors will blend as long as the paper is wet. The colors will also mix more the steeper the angle of the board.
Glazing
Glazing is application of transparent paint over another layer of color. It gives a painting a greater sense of light and depth, and richer surface interest. Make sure the paper is dry before applying a glaze layer.
Layering— Layering is basically a glazing technique that is used to add depth and give the illusion of 3-dimensional form. It is done in stages-larger shapes are washed in first, allowed to dry. Then the smaller shapes are layered over them. In the last stages, descriptive details are added.
Graphic brushstrokes— Besides applying watercolor paint in the form of washes, you can use a more graphic approach by building a series of strokes in layers. Try dots, lines, hatching strokes. Always use lightest marks first, then middle values and end with dark values.
Textural effects— May be achieved in a number of ways.
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● May be achieved by using paint that gives a granular effect (for example-Ultramarine blue or Burnt Sienna). A granular medium is available to increase this effect.
● Spattering - done by flicking paint off the stiff hairs of a paintbrush or toothbrush
● Wet-on wet - done by dropping color into very wet areas, dropping clear water into wet areas, or dropping paint onto an area wet with clear water and letting it bleed out
● Dry Brush - Use very little paint-wipe excess onto paper towel, then quickly drag the brush over the paper. You can get effects like weathered barn siding, or sparkling light on water. Different effects may also be achieved depending on the surface of the paper
(cold pressed, rough, or hot pressed)
● Salt - sprinkling salt on a damp wash will give a starry, frosty, or flowery type texture depending on color of paint, amount and coarseness of salt
● Plastic wrap - may be laid over the surface of a damp wash to create texture. It is even more effective if done over a glazed area or area with variegated washes
● Scratching the surface—lines drawn on the paper with a knife, razor blade, toothpick or sandpaper will cause the paint to gather in the scratched surface and appear darker
Lifting color ---tools such as razor blades and sponges may be used to remove paint from areas where it is not desired. You may also lighten areas with these tools or a dampened paintbrush, paper towel, or cotton swab by picking up some of the pigment. This works best while the paint is still damp. Unwanted spots of paint may be removed (or at least lightened) by putting clear water on the spot then blotting it up with a paper towel.
Resist techniques— may be used to maintain a white area. Painters tape, masking fluid
(frisket, rubber cement), paraffin wax, and crayons may be used. Waxed areas can then be scrapped and manipulated to create textural effects or highlights.
WATERCOLOR VOCABULARY
Achromatic— Lacking color; black, gray and white
Adjacent colors— colors next to each other on the color wheel.
Aerial perspective (also called Atmospheric perspective)— Making things seem farther away by painting them with less contrast and color
Analogous colors— 3 or 4 colors that are adjacent on the color wheel, so they are closely related such as red, red-orange and orange
Archival— refers to painting materials and papers that are high quality and therefore have permanence, such as acid-free paper
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Bead— a pool of color that forms at the bottom of a watercolor wash applied to a slanted sheet
Binder— adhesive used to hold pigments together in paint. Gum Arabic is the binder in watercolor paint
Bleed
—Paint that runs into an adjoining area creating a fuzzy edge
Blossom, Bloom or Back Run— The feathered edge that occurs when a wash creeps into a damp surface
Chiaroscuro— Strong contrast of dark and light values in a painting
Chromatic— Having color or hue
Complimentary colors— colors opposite each other on the color wheel
Cool Colors— the hues which contain blue or green
Dry Brush —a technique for creating texture in which very little color or water is on the brush
Edges, hard— Sharp lines and shapes that do not blend into nearby areas
Edges, soft— Allowing a value or color to blend and blur into nearby areas
Emotional color— A personal color choice used for its emotional or expressionistic effect rather than realism
Feather— to blend an edge so that it softens or fades off
Flat wash— to apply paint without variations in value or color, without brush strokes showing
Glaze— A transparent wash of color over another color modifying the underlying color
Gouache— opaque watercolors
Graded wash, Gradation, or Gradated wash— Any gradual change in value or hue of a wash
Granular wash— a wash made with pigments that settle out creating a textural pattern.
Ultramarine Blue and Burnt Sienna are two examples that will create a granular effect.
Gum Arabic— material used as binder in transparent watercolor paints.
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Hue— the name of a color
Intensity— The strength, brightness or purity of a color
Intermediate colors— colors made by mixing a neighboring primary color and secondary color, for example red and orange to get red-orange.
Lift— To take out or remove unwanted pigment
Liquid Mask— a liquid frisket used to block out areas in watercolor painting; can be easily removed by rubbing with fingers or an eraser
Local color— the color of an object seen in natural light
Negative Space— the space in a painting not occupied by subject matter, but still part of the overall design.
Palette— 1) the colors an artist chooses to work with. 2) The surface on which colors are mixed.
Paper textures— Rough, Cold pressed, hot pressed-from most textured to smoothest.
Pigment— Coloring matter
Primary colors— The hues from which all other colors can be mixed. Red, Yellow, &
Blue
Properties of colors— Hue, value, intensity, and temperature
Quire-25 sheets of paper
Rag— Archival quality watercolor papers made only from cloth fragments
Receding colors— Cool colors in a painting which seem to move back in a painting.
Warm colors seem to move forward
Resist— A painting technique that relies on the fact that wax or oil will resist water causing color washes to puddle into clean areas
Scrubbing— Applying paint with a back and forth rubbing motion of the brush. Also a technique for lifting dry watercolor from a paper surface
Scumbling— A technique for applying paint in thin layers with a pushing movement of the brush
Secondary colors— Orange, Green, Violet , made by mixing two of the primaries
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Shade— low valued color mixture made by adding black to a hue.
Temperature— In painting refers to the relative warmth or coolness of a color
Tertiary colors— Originally a color created by mixing two secondary colors, now refers to a color made by mixing a primary with an adjacent hue
Tint— the light or high value of a color made by adding water or white to the original color
Value— the lightness or darkness of a color or tone
Warm colors— colors in which red, yellow or orange predominate
Wash— A thin liquid application of watercolor
Wet-in-wet-A watercolor effect in which color is applied to a wet surface creating a soft effect
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