Week 1 Recap - Tues we reviewed the syllabus and some student works. Thurs we focused on Proportion, gesture and foreshortening. Students drew from quick gestures and then foreshortened long poses. Next week please bring a sheet or two of toned drawing paper.
Saturday, August 28, 2010
FA 104 Figure Drawing 2 Week 1
Week 1 Recap - Tues we reviewed the syllabus and some student works. Thurs we focused on Proportion, gesture and foreshortening. Students drew from quick gestures and then foreshortened long poses. Next week please bring a sheet or two of toned drawing paper.
Friday, August 27, 2010
FA 209 Painting 1 Week 1
Week 1 Recap - Tuesday we read the syllabus and had a demonstration for Drawing with Paint in black and white. Thursday students began making their own paintings by staining a canvas and drawing in the wet ground with paint. More images from the process will follow shortly. Next week students should bring Burnt Umber, Raw Sienna, Black and White. We will approach the painting process from a different angle.
FA 106 Color Theory Week 1
Week 1 Recap - Tuesday we covered the syllabus and looked at a few of the projects for the semester in a presentation. Thursday we watched the Gamblin Color Space video, discussed the concepts of Hue, Value, Intensity and Temperature. Then we had a demonstration on color matching. The balance of time in class was given to students to begin making their own matches. Next week we will continue to work on the same project... hopefully making more matches.
FA 211 Printmaking Relief Week 1
Week 1 Recap - Monday we discussed the syllabus and watched a video as well as looked at some of the various printmaking media. Wednesday after a brief run through of gouges and the tools of relief print creation we looked at successful student projects in the medium. Finally students were asked to create a practice print using an already carved plate. Next week we will discuss how to sign and matte a print and students should begin carving and printing their own plate based on the Revalucion/Dia de los Muertos theme. Demonstrations will be given for printing again and carving.
Monday, August 16, 2010
FA 104 Figure Drawing 2
Catalog Description: This intermediate course expands upon the technical skills and aesthetic concepts of Figure Drawing One. More complex problems including, the foreshortened figure, the figure in space, multiple figure composition, artistic anatomy, extended poses and large format drawing will be addressed. Students will explore various drawing media, settings and lighting situations, and approaches to the figure. Classroom work consists of drawing from the live model supplemented by lectures and critiques.
Course Prerequisite: Figure Drawing One Studio Hours: 6, Credit Hours: 3
Major Topics of Study: Aesthetic conceptions of the figure in contemporary art and historical art, use of measuring and sighting aids, scaling, approaches to mark making and form conception in various media, the figure in space, multi figure composition, extended poses, anatomical studies, ¾ length figure and large format drawing.
Student Learning Outcomes:
1. Through analysis of historical and contemporary art, the text, lectures, critiques, and exercises the student will create drawings in various media which utilize the following:
• Rhythm • Active vs. passive form • Foreshortening
• Structural and geometric concepts • Skeletal and muscular landmarks • Proportion
• Open and closed form construction • The figure in perspectival space
• Composition and grouping techniques (in space and on picture plane)
2. Through analysis of historical and contemporary art, the text, and lectures the student will demonstrate knowledge of the language and concepts of art criticism and the formal elements of visual art through verbal contribution to critiques and class discussions.
Required Textbook: Artist’s Guide to Human Anatomy by Gottfreid Bammes
Supplies
Pastel colored paper pad Biggie sketch paper pad Drawing board Vine charcoal Medium
Charcoal pencils Medium Creata-color lead holder set Ink pens Bic etc. Erasers: kneaded or plastic
Canson Edition Paper Hardbound sketchbook 8”x11” or 11”x14” Cachet Brown craft Chamois Blending stumps
Recommended Text: Classic Drawing Atelier by Juliette Aristedes, Drawing Human Anatomy by Giovanni Civardi, Draftman’s Handbook by Dean Keller
Class and Homework Schedule:
Unit Topic Homework
1 Information, syllabus and the joints gather supplies
2 Foreshortening and proportion Bammes 1 Torso
3 Figure in space Bammes 2 Leg
4 Light and Form Bammes 3 Arm
5 Anatomy Bammes 4 Hands and Feet
6 Portrait Features of the Face
7 Large format long pose Renaissance Copy
8 Final Drawing
Course Prerequisite: Figure Drawing One Studio Hours: 6, Credit Hours: 3
Major Topics of Study: Aesthetic conceptions of the figure in contemporary art and historical art, use of measuring and sighting aids, scaling, approaches to mark making and form conception in various media, the figure in space, multi figure composition, extended poses, anatomical studies, ¾ length figure and large format drawing.
Student Learning Outcomes:
1. Through analysis of historical and contemporary art, the text, lectures, critiques, and exercises the student will create drawings in various media which utilize the following:
• Rhythm • Active vs. passive form • Foreshortening
• Structural and geometric concepts • Skeletal and muscular landmarks • Proportion
• Open and closed form construction • The figure in perspectival space
• Composition and grouping techniques (in space and on picture plane)
2. Through analysis of historical and contemporary art, the text, and lectures the student will demonstrate knowledge of the language and concepts of art criticism and the formal elements of visual art through verbal contribution to critiques and class discussions.
Required Textbook: Artist’s Guide to Human Anatomy by Gottfreid Bammes
Supplies
Pastel colored paper pad Biggie sketch paper pad Drawing board Vine charcoal Medium
Charcoal pencils Medium Creata-color lead holder set Ink pens Bic etc. Erasers: kneaded or plastic
Canson Edition Paper Hardbound sketchbook 8”x11” or 11”x14” Cachet Brown craft Chamois Blending stumps
Recommended Text: Classic Drawing Atelier by Juliette Aristedes, Drawing Human Anatomy by Giovanni Civardi, Draftman’s Handbook by Dean Keller
Class and Homework Schedule:
Unit Topic Homework
1 Information, syllabus and the joints gather supplies
2 Foreshortening and proportion Bammes 1 Torso
3 Figure in space Bammes 2 Leg
4 Light and Form Bammes 3 Arm
5 Anatomy Bammes 4 Hands and Feet
6 Portrait Features of the Face
7 Large format long pose Renaissance Copy
8 Final Drawing
Saturday, August 14, 2010
History of Painting Technique syllabus and materials
Objective of Course: This Independent Study is designed to provide the student with a survey of different approaches to painting styles through the various periods of art history.
Student Outcomes: Through review, analysis and research of historical painting styles and techniques the student will:
a. Create works which reflect a knowledge of historical and contemporary approaches to painting technique
b. Create works which demonstrate a relationship between formal and thematic content
c. Use art terminology in discussions and critiques
d. Verbalize and discuss aesthetic and technical concepts during critiques such as application and effectiveness of basic elements of design, visual interest, emotive qualities, and thematic concerns
e. Demonstrate mastery of a variety of techniques and painting media
f. Demonstrate a knowledge of how student work relates to topics and ideas in the historical art world
Students will create a series of sketches and finished works. This will include four pieces and various sketchbook and folio studies.
Outline of Content: this is a basic schedule for course units
Week 1-4 Tempura and early painting media (Botticelli)
Week 5-8 Renaissance painting techniques and themes (Leonardo, Titian and Rafael)
Week 9-12 Baroque painting (Rubens and Rembrandt)
Week 13-15 Moderns and Isms (French Academy and Van Gogh, Matisse)
Each two weeks will have a minimum of 4hrs of contact with instructor
Grading Policy:
Project Rubrics: success of design 25pts, success of media use 25pts, success of technical craft and execution 25pts, effort and presentation 25pts = 100pts ea Student progress will be measured through weekly participation and work ethic evaluation as well as review of completed pieces and plaster cast. This will done through critiques (20pts) in progress and with fellow students
Supplies:
Paint -(acrylic, oil and likely tempra, panels or canvas, Canson Edition paper, graphite or charcoal, palette, brushes and sketchbook.
Textbooks Referenced: Classical Painting Atilier by Juliette Aristides, Traditional Oil Painting by Virgil Elliott, How To Paint Like the Old Masters by Joseph Sheppard, Methods and Materials of Painting of the Great Schools and Masters by Sir Charles Lock Eastlake, The Practice of Tempera Painting by Daniel V Thompson, Luminous Brush: Painting with Egg Tempera by Altoon Sultan
Student Outcomes: Through review, analysis and research of historical painting styles and techniques the student will:
a. Create works which reflect a knowledge of historical and contemporary approaches to painting technique
b. Create works which demonstrate a relationship between formal and thematic content
c. Use art terminology in discussions and critiques
d. Verbalize and discuss aesthetic and technical concepts during critiques such as application and effectiveness of basic elements of design, visual interest, emotive qualities, and thematic concerns
e. Demonstrate mastery of a variety of techniques and painting media
f. Demonstrate a knowledge of how student work relates to topics and ideas in the historical art world
Students will create a series of sketches and finished works. This will include four pieces and various sketchbook and folio studies.
Outline of Content: this is a basic schedule for course units
Week 1-4 Tempura and early painting media (Botticelli)
Week 5-8 Renaissance painting techniques and themes (Leonardo, Titian and Rafael)
Week 9-12 Baroque painting (Rubens and Rembrandt)
Week 13-15 Moderns and Isms (French Academy and Van Gogh, Matisse)
Each two weeks will have a minimum of 4hrs of contact with instructor
Grading Policy:
Project Rubrics: success of design 25pts, success of media use 25pts, success of technical craft and execution 25pts, effort and presentation 25pts = 100pts ea Student progress will be measured through weekly participation and work ethic evaluation as well as review of completed pieces and plaster cast. This will done through critiques (20pts) in progress and with fellow students
Supplies:
Paint -(acrylic, oil and likely tempra, panels or canvas, Canson Edition paper, graphite or charcoal, palette, brushes and sketchbook.
Textbooks Referenced: Classical Painting Atilier by Juliette Aristides, Traditional Oil Painting by Virgil Elliott, How To Paint Like the Old Masters by Joseph Sheppard, Methods and Materials of Painting of the Great Schools and Masters by Sir Charles Lock Eastlake, The Practice of Tempera Painting by Daniel V Thompson, Luminous Brush: Painting with Egg Tempera by Altoon Sultan
Painting 1 syllabus and materials
Catalog Description: This course provides an introduction to the techniques of the oil painting medium and approaches to color mixing. Emphasis is given to the painting from the observed subject and then expanded to content and theory. A variety of subjects and techniques will be explored through projects that reference historical and contemporary approaches. Lectures, critiques and demonstrations are frequently given to evaluate student progress. Studio Laboratory Fee: $20
Major Topics of Study: The use of oil paint as a medium for artistic visual expression.
Student Learning Outcomes: The student will execute finished pieces in the following techniques:
Direct painting Indirect painting Impasto Linear representation
Tonal representation Imprimatura Imprimatura with fully developed painting
Units of Study- Materials and techniques Simple Objects Warm vs. Cool Color Box
Mixed Method Palette Shellac Glazing Method Abstraction Portrait/Cast
Materials: Students will be expected to bring all required materials to each class. Please note that being prepared is part of your grade and students will be awarded points each day for attendance and preparedness. etchbook and three ring binders are required.
Painting supplies:
Oil Paint (Artist Quality is required/Gamblin) Titanium White100ml Ivory Black
Cadmium Yellow light Cadmium Orange light Cadmium Red Medium Raw Sienna
Burnt Umber Alizarin Crimson Cobalt or Cerulean Blue Cadmium Green
Odorless Turpentine (Turpenoid or Gamsol) Liquin or Gamblin Neo Meglip (Galkyd Lite)
Brushes Bristle Filbert #10 & #4 Flat # 6 Soft Hair Round #8 or 6, Bright # 4 Palette cups Rags or old cut up tee shirt 6- canvas panels 11”x14”
one canvas 16”x 20”,one canvas 18”x24” and illustration board 20”x30”
(boards or wood panels may be used instead of canvases)
Text: The Complete Oil Painter by Brian Gorst (required)
Oils in 10 Steps by Ian Sidaway (recommended)
Each daily project will be accompanied by a hand out and a demonstration each explaining the grading criteria for the project and the expected student outcomes
Major Topics of Study: The use of oil paint as a medium for artistic visual expression.
Student Learning Outcomes: The student will execute finished pieces in the following techniques:
Direct painting Indirect painting Impasto Linear representation
Tonal representation Imprimatura Imprimatura with fully developed painting
Units of Study- Materials and techniques Simple Objects Warm vs. Cool Color Box
Mixed Method Palette Shellac Glazing Method Abstraction Portrait/Cast
Materials: Students will be expected to bring all required materials to each class. Please note that being prepared is part of your grade and students will be awarded points each day for attendance and preparedness. etchbook and three ring binders are required.
Painting supplies:
Oil Paint (Artist Quality is required/Gamblin) Titanium White100ml Ivory Black
Cadmium Yellow light Cadmium Orange light Cadmium Red Medium Raw Sienna
Burnt Umber Alizarin Crimson Cobalt or Cerulean Blue Cadmium Green
Odorless Turpentine (Turpenoid or Gamsol) Liquin or Gamblin Neo Meglip (Galkyd Lite)
Brushes Bristle Filbert #10 & #4 Flat # 6 Soft Hair Round #8 or 6, Bright # 4 Palette cups Rags or old cut up tee shirt 6- canvas panels 11”x14”
one canvas 16”x 20”,one canvas 18”x24” and illustration board 20”x30”
(boards or wood panels may be used instead of canvases)
Text: The Complete Oil Painter by Brian Gorst (required)
Oils in 10 Steps by Ian Sidaway (recommended)
Each daily project will be accompanied by a hand out and a demonstration each explaining the grading criteria for the project and the expected student outcomes
Color Theory syllabus and materials
Catalog Description: This course investigates the role of color in the organization of the two-dimensional surface, as well as its practical use in our visual environment. Various aspects of color usage, such as physical and optical mixture, spatial and transparency illusions, and color relativity are explored then applied to projects concerned with practical design issues.
Major Topics of Study: Color and its indigenous properties. Color for design, color for artistic expression, and color for rendering. Student Learning Outcomes: Will be able to match color swatches with paint. Hue, Value, Saturation/Neutralization, Temperature, Color wheel, Relativity, Transparency, Spatial misconceptions, Optic Vibration, Objective and Subjective expression
Required Textbook: None Attendance policy: 8 or more absences will result in automatic failure of the course.
Objective:
This course is designed to introduce students to the properties and methods of mixing color as well as concepts and techniques in digital media. We will address the various ways color has been used throughout art history, while demonstrating the methods of matching color as they relate to the figure, still life and other subject material. Learning to see color and interpret the correct value, chroma and intensity will be a large part of class exercises. It is my experience that the more time spent practicing mixing color the more knowledge one may attain. Students will gain the most through these exercises where they will practice color mixing in various applications. Students will learn how to execute and identify traditional color theory using various digital imaging and painting applications. At the end of the course the student should be able to choose a technique and or style introduced in class and then create a well crafted final project, digital exploration will culminate with the creation of a digital portfolio of the semester’s works.
Supplies:
1-Bristol board pad 11x14 smooth (can be shared) 1- Roll of artist tape 4- Sheets of 20x30 Illustration board white Crescent 300 cold press Rubber cement (optional) Water container (glass or plastic) X-acto blades and Knife Thumb drive Paper towels (optional) Mixing palette (rectangular glass) Palette knife (optional) Glass Scrapper (optional) Clear Plastic Ruler Graphite or charcoal pencils Kneaded and white plastic Erasers Sketchbook for thumbnails
Acrylic Paint Liquitex Brand
Ivory Black 50ml Titanium White 50ml Cadmium yellow medium 50ml Raw sienna 50ml
Cadmium orange light 50ml Cadmium red medium 50ml Quinadocidrone crimson 50ml Dioxazine purple 50ml Cobalt or cerulean blue 50ml Permanent green 50ml The aim is to have bright colors in each chroma
Brushes (watercolor brushes NO BRISTLE) Flats soft hair or synthetic 2,4,8 (small medium and large)
Rounds soft hair or synthetic 2,4,6,10
Major Topics of Study: Color and its indigenous properties. Color for design, color for artistic expression, and color for rendering. Student Learning Outcomes: Will be able to match color swatches with paint. Hue, Value, Saturation/Neutralization, Temperature, Color wheel, Relativity, Transparency, Spatial misconceptions, Optic Vibration, Objective and Subjective expression
Required Textbook: None Attendance policy: 8 or more absences will result in automatic failure of the course.
Objective:
This course is designed to introduce students to the properties and methods of mixing color as well as concepts and techniques in digital media. We will address the various ways color has been used throughout art history, while demonstrating the methods of matching color as they relate to the figure, still life and other subject material. Learning to see color and interpret the correct value, chroma and intensity will be a large part of class exercises. It is my experience that the more time spent practicing mixing color the more knowledge one may attain. Students will gain the most through these exercises where they will practice color mixing in various applications. Students will learn how to execute and identify traditional color theory using various digital imaging and painting applications. At the end of the course the student should be able to choose a technique and or style introduced in class and then create a well crafted final project, digital exploration will culminate with the creation of a digital portfolio of the semester’s works.
Supplies:
1-Bristol board pad 11x14 smooth (can be shared) 1- Roll of artist tape 4- Sheets of 20x30 Illustration board white Crescent 300 cold press Rubber cement (optional) Water container (glass or plastic) X-acto blades and Knife Thumb drive Paper towels (optional) Mixing palette (rectangular glass) Palette knife (optional) Glass Scrapper (optional) Clear Plastic Ruler Graphite or charcoal pencils Kneaded and white plastic Erasers Sketchbook for thumbnails
Acrylic Paint Liquitex Brand
Ivory Black 50ml Titanium White 50ml Cadmium yellow medium 50ml Raw sienna 50ml
Cadmium orange light 50ml Cadmium red medium 50ml Quinadocidrone crimson 50ml Dioxazine purple 50ml Cobalt or cerulean blue 50ml Permanent green 50ml The aim is to have bright colors in each chroma
Brushes (watercolor brushes NO BRISTLE) Flats soft hair or synthetic 2,4,8 (small medium and large)
Rounds soft hair or synthetic 2,4,6,10
Printmaking:Relief syllabus and materials
Catalog Description:
This course introduces traditional relief printmaking techniques such as wood engraving, wood cut, color reduction and multiple plate relief printing. Other printmaking processes like intaglio and monotype will also be studied during the course. Emphasis is placed on learning techniques and then expanded to subject matter and content. The traditional approach of making multiple originals is required for each course project. Lectures, critiques and demonstrations will supplement studio work. Course Prerequisite[s]: None Studio Laboratory Fee: $35
Major Topics of Study: Linoleum block, wood cut, intaglio, serigraphy and monotype printmaking techniques. Relief techniques for: Single color print, color reduction prints and multiple block printing.
Student Learning Outcomes: The student will:
a. Create multiple edition of identical originals
b. Create works which reflect a knowledge of historical printmaking processes through application of historical methods
c. Create works which demonstrate good craftsmanship through properly inking and wiping plates, proper use of tools, proper registration as demonstrated by instructor
d. Use art terminology in class discussions and critique
e. Verbalize and discuss aesthetic and technical concepts during critiques such as application and effectiveness of basic elements of design (composition, line quality, texture, shape, space, value, color) , visual interest, and emotive qualities
f. Investigate the relationship of technique and process in relation to making print editions
Required Textbook: Woodcut Artist’s Handbook by George A Walker
Supplies:
3- 8”x10” Linoleum sheets Cachet Recycled Sketchbook 3 ring binder (for Handouts and Assignment sheets) Woodcut tools (optional) Plexiglass sheet 4”x8” up to 10”x 16” Speedball Linocut tool set
2’x2’ birch ply wood ½” thick Pencils, pens and drawing tools as needed
Assignment and Demonstration Schedule:
Week 1-3 Syllabus, Introduction, One color Relief
Week 4-6 Color Reduction
Week 6-8 Multi block print
Week 9-11 Intaglio Stages Print
Week 12-14 Serigraphy or Monoprint
Week 15 Multiple Print Series Portfolio
This course introduces traditional relief printmaking techniques such as wood engraving, wood cut, color reduction and multiple plate relief printing. Other printmaking processes like intaglio and monotype will also be studied during the course. Emphasis is placed on learning techniques and then expanded to subject matter and content. The traditional approach of making multiple originals is required for each course project. Lectures, critiques and demonstrations will supplement studio work. Course Prerequisite[s]: None Studio Laboratory Fee: $35
Major Topics of Study: Linoleum block, wood cut, intaglio, serigraphy and monotype printmaking techniques. Relief techniques for: Single color print, color reduction prints and multiple block printing.
Student Learning Outcomes: The student will:
a. Create multiple edition of identical originals
b. Create works which reflect a knowledge of historical printmaking processes through application of historical methods
c. Create works which demonstrate good craftsmanship through properly inking and wiping plates, proper use of tools, proper registration as demonstrated by instructor
d. Use art terminology in class discussions and critique
e. Verbalize and discuss aesthetic and technical concepts during critiques such as application and effectiveness of basic elements of design (composition, line quality, texture, shape, space, value, color) , visual interest, and emotive qualities
f. Investigate the relationship of technique and process in relation to making print editions
Required Textbook: Woodcut Artist’s Handbook by George A Walker
Supplies:
3- 8”x10” Linoleum sheets Cachet Recycled Sketchbook 3 ring binder (for Handouts and Assignment sheets) Woodcut tools (optional) Plexiglass sheet 4”x8” up to 10”x 16” Speedball Linocut tool set
2’x2’ birch ply wood ½” thick Pencils, pens and drawing tools as needed
Assignment and Demonstration Schedule:
Week 1-3 Syllabus, Introduction, One color Relief
Week 4-6 Color Reduction
Week 6-8 Multi block print
Week 9-11 Intaglio Stages Print
Week 12-14 Serigraphy or Monoprint
Week 15 Multiple Print Series Portfolio
2D Design syllabus and materials
Catalog Description: This course explores the basic principles of two-dimensional design: unity, variety, contrast, movement, rhythm, visual emphasis and subordination. Studio projects approach these principles through the study and practice of space relationships, proportion, scale, value relationships, pattern, texture and color. Slide lectures are given periodically in association with various studio projects.
Course Prerequisites: NONE Class Period: 3 Practicum Period: 6 Credit Hours: 3
Major Topics of Study: Composition & the formal elements of designing in a two-dimensional format.
Student Learning Outcomes: Students will demonstrate the ability to arrange compositions by properly employing the use of the following concepts:
• Gestalt Grouping Principles • Repetition with and without Anomaly
• Rhythm and movement • Symmetry
• Asymmetry • Cropping
• Illusion of space • Textural augmentation
• Spatial relationships Required Textbook: Discretion of the Instructor
Units of Study
Course syllabus, Critical Process and Problem Solving Process
Value scale Color wheel, discussion and lecture
Intensity and saturation Color temperature
Figure – ground relationships Symmetry v. Asymmetry
Proportion and scale Similarity and movement. Mid-term
Shape and pattern Symbol Design
Space introduction 1 point perspective
2 point perspective 3 point perspective/ atmospheric perspective
Line quality Visual texture
Narrative and content
Supplies
1-Bristol board pad 11x14 smooth vellum 1- Roll of artist tape
4- Sheets of 20x30 Illustration board white smooth finish Rubber cement (optional)
Water container X-acto blades Paper towels
Mixing palette (glass) Palette knife (optional) Ruler clear plastic
Graphite or charcoal pencils Kneaded and white plastic Erasers
Acrylic Paint
Ivory Black 50ml Titanium White 50ml Cadmium yellow medium 50ml Raw sienna 50ml
Cadmium orange light 50ml Cadmium red medium 50ml Quindocidrone crimson 50ml
Dioxazine purple 50ml cobalt or cerulean blue 50ml Permanent green 50ml Neutral gray #6 50ml The aim is to have bright colors in each chroma
2GB Thumb Drive Three Ring Binder (handouts) Cachet Recycled Sketchbook
Brushes (watercolor brushes no bristle)
Flats soft hair or synthetic 2,4,8 (small medium and large) Rounds soft hair or synthetic 2,4,6,10
Three different Colored Markers
Course Prerequisites: NONE Class Period: 3 Practicum Period: 6 Credit Hours: 3
Major Topics of Study: Composition & the formal elements of designing in a two-dimensional format.
Student Learning Outcomes: Students will demonstrate the ability to arrange compositions by properly employing the use of the following concepts:
• Gestalt Grouping Principles • Repetition with and without Anomaly
• Rhythm and movement • Symmetry
• Asymmetry • Cropping
• Illusion of space • Textural augmentation
• Spatial relationships Required Textbook: Discretion of the Instructor
Units of Study
Course syllabus, Critical Process and Problem Solving Process
Value scale Color wheel, discussion and lecture
Intensity and saturation Color temperature
Figure – ground relationships Symmetry v. Asymmetry
Proportion and scale Similarity and movement. Mid-term
Shape and pattern Symbol Design
Space introduction 1 point perspective
2 point perspective 3 point perspective/ atmospheric perspective
Line quality Visual texture
Narrative and content
Supplies
1-Bristol board pad 11x14 smooth vellum 1- Roll of artist tape
4- Sheets of 20x30 Illustration board white smooth finish Rubber cement (optional)
Water container X-acto blades Paper towels
Mixing palette (glass) Palette knife (optional) Ruler clear plastic
Graphite or charcoal pencils Kneaded and white plastic Erasers
Acrylic Paint
Ivory Black 50ml Titanium White 50ml Cadmium yellow medium 50ml Raw sienna 50ml
Cadmium orange light 50ml Cadmium red medium 50ml Quindocidrone crimson 50ml
Dioxazine purple 50ml cobalt or cerulean blue 50ml Permanent green 50ml Neutral gray #6 50ml The aim is to have bright colors in each chroma
2GB Thumb Drive Three Ring Binder (handouts) Cachet Recycled Sketchbook
Brushes (watercolor brushes no bristle)
Flats soft hair or synthetic 2,4,8 (small medium and large) Rounds soft hair or synthetic 2,4,6,10
Three different Colored Markers
Friday, August 13, 2010
Fall 2010
Welcome back!!! For students, please follow the projects and exercises during the semester here. These posts should have images, demonstrations and a spot for your comments and/or questions. Please look shortly and find your materials lists for your course posted under your course title. I am looking forward to seeing your great work this semester!Jed
Wednesday, August 4, 2010
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