Instructor: Dennis Navrat, Professor of Art

COURSE DESCRIPTION

Special problems in painting incorporating transparent watercolor processes adapted to individual student developmental level and interests. Prerequisite: one course in drawing and one course in design, or by permission of the instructor.

PURPOSE

This studio course allows students opportunity to understand, explore, and practice both traditional and contemporary methods and materials utilized in transparent watercolor painting, and to combine the methods with opaque watercolor, collage, and/or other painting media or art forms on-or-of paper.

INTRODUCTION

Transparent watercolor painting has long been considered a most portable, fresh, rapid, permanent, and nontoxic painting medium.

GOALS and OBJECTIVES

Development of individual perceptual, technical, and conceptual skills are desirable goals. An important objective is to successfully orchestrate subject matter, form, and meaning within each painting assignment or project.

TEXT

None. All aquarelle texts are similar in that each covers basic information, then proceeds to reveal the author's particular technical and conceptual bias. Each student should select one text or book found to be most personally interesting.

COLLATERAL READING; Any book in I.D. Weeks Library (or a public library) relating to the basic materials, processes, and techniques of transparent watercolor painting and/or, for advanced students, a book exploring the concepts of watercolor painting.

SEQUENCE

The course involves all aspects of the creation of watercolor paintings. For beginning watercolorists basic information concerning traditional and contemporary tools and materials is given, then demonstrations are made of five basic washes and five basic stylistic variations, each repeated and practiced by students. Explanations of corrective techniques, color theory, color mixing, and warm/cool color palettes and practice of each is done. Step by step painting strategy emphasizing preplanning is outlined. Students will complete basic assignments involving a variety of subject matter, then choose painting categories that allow freedom of expression based on personal interests. (See sample painting subjects outlined on a following page)

As skills, craftsmanship and sensitivity are acquired through practice and repetition, course emphasis will shift toward personal expression and interpretation of conceptual issues which communicate aspects of the human condition. More seasoned students will begin the course dealing with painting concepts rather than perceptual and technical skills.

Assignments are designed to facilitate the exploration of various techniques and processes and to challenge understanding. After each assignment, a critical discussion or class critique is held in order to evaluate success, discuss difficulties, and offer suggestions for technical improvement and/or the evolution of ideas. The intent of the course sequence is to increase understanding from simplicity toward complexity, fostering a respect for the handling of the medium and an evolution of creative thought along the way. (See weekly Sequence of Activities)

STUDENT ACTIVITIES

Students should expect lectures/demonstrations, discussions, individual reading and research, daily painting practice and assignments, deadlines, and critiques. (See daily Sequence of Activities)

REQUIREMENTS

Beginning students are required to attend class sessions (see attendance policy) and successfully complete all class assignments.

Expectations:

1. The student will prepare an initial statement of purpose (personal goals and objectives) which will be reviewed with the instructor. Together the student and the instructor will develop a contract to include:

a. Painting Goals for the course

b. Content Objectives for the course

c. Proposed means of accomplishing objectives including specific projects and a schedule of activity (including a timeline of studio practice)

2. The instructor will require the following of all Special Problems students:

a. The students will keep a sketchbook/journal in which they will work a minimum of 2 hours a week on idea sketches and notations. The instructor will review the sketchbook on a periodic basis.

b. The students will each select an art periodical and review at least the last six months of past issues for articles related to their own contemporary painting interests. The student will share observations and information gained from this review at weekly critiques.

c. Students are encouraged to enter one competitive, juried exhibition during the semester.

3. The student will work a minimum of ten (10) hours a week on Painting: Watercolor Concepts.

4. Students will attend and participate in a weekly critique on Wednesdays between 3 and 5 PM.

5. The students will provide their own materials and supplies for all of their projects.

MEASURES OF ACHIEVEMENT

Each painting assignment will be scored by various criteria including compositional unity/gestalt, creativity/imagination/expression, craft/execution, and overall quality. Grades of "A" to "F" will be judged and designated for each grading criterion of each assignment. Quality judgements for each project or assignment will be compiled and averaged at the end of the term to determine the final grade.

Grading will be weighted toward the last half of the term to reflect and recognize individual improvement and understanding. Attendance, effort, and interest (based upon participation in discussions and critiques) are expected of above-average students, and will be a crucial factor in determining borderline grades (i.e., whether one receives a "C" or "B," or a "B" or "A"). All of the above will be determinants of the final grade.

GRADING

ASSIGNMENT DEADLINES - All assigned work must be ready for class critiques or grading at the designated deadline for each project.

Anyone not exhibiting work at a preliminary or final critique will be downgraded. If a deadline is missed by an unexcused absence, any late project will be docked a full letter grade, and may not be redone for a better grade.

GRADING: Grades are assigned in consideration of these important factors:

Compositional Unity - the successful resolution of an artistic statement; the elements and principles of design working together in harmony to create a cohesive unit with nothing superfluous; the result is of visual interest and seems to be complete.

Gestalt - relating to unity, a sensing that the whole is greater than the sum of its parts; an instantaneous recognition that the artistic statement is meaningful; it "works" and it's

delightful or curiously interesting in many ways.

Creativity/Imagination - a sensing of the degree to which the artistic statement is uniquely resolved and visually interesting.

Expression - a sensing of the degree to which the artistic statement is uniquely personal and sensitively meaningful to its creator.

Craft/Execution - the care with which the artistic statement has been produced; a recognition of the degree of quality (discipline, patience, time, sensitivity to detail, accent, and/or interval, love, focus) and personal investment inherent in its manufacture.

Overall Quality - in consideration of the above factors, a final judgement in relation to the work of other members of the class in fair competition.

Note: It should be understood that in order to earn a grade that is better than average, a student must present resolved work on time that appears to be of equal or better quality to that presented by other members of the class. The student should also display an eagerness to learn and a willingness to be challenged, and participate intelligently and sensitively in class discussions and critiques.

REDOING PROJECTS - If you are unsatisfied with a grade earned for any project, you may rework it as many times as you desire; however, only the highest grade earned on any single assignment will be recorded (the various grades earned on each redone project will not be averaged). This policy does not apply to any project that misses a deadline.

OFFICIAL COURSE POLICIES; To avoid misunderstandings relating to attendance, deadlines, and grading, the following policies are outlined. Although they may seem unfriendly that is not the intent; instead, they reflect common areas of disagreement between students and faculty in many course situations in which intangible and subjective criteria are regularly utilized to assess degrees of excellence relating to art.

ATTENDANCE POLICY

Incomplete learning occurs when classes are not attended, therefore attendance is required and is taken during each class meeting. In case of unavoidable absence on any class day, wait until you return to class to justify your absence with the instructor. Only a medical excuse (a note from a doctor, dentist, optometrist, clinic, health center, hospital, etc.), or a personal crisis will be accepted as an excused absence. Two unjustified absences will be allowed without affecting the final grade. More than two unexcused absence may lower the final grade by one full grade. An absence from a scheduled critique must be justified. Excessive tardiness or absences will not be tolerated and the student may be dropped from the course.

INSTRUCTOR INITIATED DROPS; (quote, USD Handbook, page 1) "The instructor of a course may drop a student for non-attendance or non-participation provided the student is in violation of the official attendance or participation policy for the course. Instructor initiated drops are at the instructor's option, but they must be submitted to the Office of the Registrar by the close of the last day of classes and be approved by the dean of the college or school in which the course is offered. The student is then notified by the Office of the Registrar that he/she has been dropped from the course. The grade assigned is in accord with the policies for student initiated drops." 

INCOMPLETES

Art Department policy on "Incomplete" grades conforms to University policy specified in the USD Undergraduate Catalog. In general, an "Incomplete" grade will not be given in any art course except "for good reason," which should be interpreted as follows: a medical emergency; prolonged medical care; a family emergency requiring extended absence from class at crucial times in the learning process; or, some other situation of verifiable personal crisis.

It is the responsibility of the student to complete required coursework within the framework of the semester in which the class is offered. The student has the right and the responsibility to complete the course within that time frame. Except for the crisis situations outlined above, an "Incomplete" will not be allowed by the instructor, nor should it be expected by the student.

MATERIALS FEE

There is no materials fee for this course since each student must provide their own individual materials, tools, and equipment. (See supply list)

SAFETY and HAZARDS INSTRUCTION

Instruction on potential hazards and safety precautions will be given throughout the semester.

Week 1: Wednesday, September 05, 2001: Introductions; Syllabus, Requirements, Course Policies, Supply List/ Tools & Materials; Individualized Framework of Course; Assignment for

advanced students: Completion of Undergraduate/Graduate Advanced Study Contract, sketching, first painting of choice (due Wednesday, September 12);

Week 2:

Monday, September 10: Demonstrations for beginners: Paper preparation/stretching/moistening; color mixing from warm/cool palette arrangement; exploring brush and tool marks; Fundamental Washes and Corrections: Flat Wash; Graded Wash; Streaky Wash; Very Dark Wash; Wet-In-Wet Wash; Sponge Scrub; Tissue Dab; Softbrush Lift; Bristle Brush Scrub; Eraser Rub - tricks and exercises in class, practice assignments; Short Critique of past work of advanced students, if available; Assignment, beginners: 6 practice tries of each of the five washes; Assignment, advanced: practive washes and work on Painting #1 of Choice (due Monday).

Wednesday, September 12: Watercolor papermaking session at the Hummingbird Mill and Studio, 707 Ballard Court. Making archival, internally sized paper by hand, using cotton and abaca linters, calcium carbonate, and internal sizing.

Week 3:

Monday, September 17: Review/Critique of beginners' and advanced painters' washes and Ptg. #1; Advanced assignment: work in class on #2 based on critique of #1 (individualized); Beginners work in class/demonstrations: brush manipulations, textures; special tools and effects; knife or razor blade used to lighten and detail passages; rubber cement and masking liquids used to maintain whites; masking tape used to create hard-edge separations and shapes; non-iodized salt used to create spontaneous texture; wax crayon resist used to maintain white and create texture; Painting the sphere, cone, cylinder, and cube; Beginners' assignment for Thurs.: 4 practice tries of each of the four basic geometric shapes;

Wednesday, September 19: Critique of advanced #2; Review of beginners' geometric shapes; Advanced assignment #3 - (based on critique of #2) minimum 11"x15", due Wednesday; Beginners work in class: Painting medium used to fortify painting water for adhesive strength and

distinctive brilliance: 3 parts gum arabic to 1 part glycerin to small amount of grain alcohol (substitutes for grain alcohol are vodka, beer, honey, rock candy) to water (use distilled water for greatest strength of color mixing and application); Demonstration/practice of five basic watercolor stylistic variations: (1) Oldest English Method - one wash over another with drying period between (wet-on-dry); (2) Serving-Up Technique - using loaded brush in pre-moistened areas kept apart by narrow thread of white, then "stitched" together when dry (wet-on-wet); (3) Dry Brush or Direct Method – greatest detail possible, using little water, conservative, plays it safe (dry-on-dry); (4) Wet-In-Wet Method – greatest percentage of the painting is completed while all areas are moist (greatest atmospheric effects; most forthright and directly interrelated to the nature of capillary action; the medium obeys its own laws, achieving "lovelier effects than anyone can paint"); (5) Slippery Method - painting on very smooth or "slippery" (hot-pressed) paper (great possibilities of subtlety in washes and nuances of color, as well as detail work); Beginners' Assignment #1 (due Monday) - Perceptual/Conceptual - A painting within a painting based on organic, living forms, sketched and viewed from actual objects or parts of objects (no memory work allowed); minimum image size about 8"x10," with smaller, inner geometric shaped area;

Week 4

Monday, September 24: Critique of Advanced #3 and Beginners' #1; Advanced Assignment #4, minimum 11"x15" (due Monday); Painting Strategy/Planning a Watercolor/Importance of Preplanning - Painting Sequence: (1) SKETCH; (2) SAVING WHITE AREAS; (3) SIMPLIFICATION; (4) SHAPES AND MAINTAINING TONAL CONTRAST; (5) WARM/COOL COLOR STRATEGY; (6) PAINTING BACKGROUND TO FOREGROUND WASHES AND TEXTURES; (7) PROCEEDING IN "ALL-OVER" APPROACH AS OPPOSED TO SEQUENTIAL APPROACH; (8) DETAILING COMES LAST; (9) CORRECTIONS; (10) CONTINUING EVALUATION; Beginners' Assignment #2 - try #1 again. Due Wednesday

Wednesday, September 26: Critique Advanced #4 and Beginners #2; Advanced Assignment #5 and Beginners Assignment #3 - sketching/painting outdoors in the park on the Vermillion River at the base of the bluffs on south Dakota Street. Besides scenes and nature studies, paint one composition looking down (observed or constructed by arranging objects to create shallow space). Due Monday

Week 5

Monday, October 1: Critique Advanced #5 and Beginners' #3; Advanced Assignment #6 and Beginners' Assignment #4 - Painting volumes in class. Bring your own objects. Due Wednesday

Wednesday, October 3: Critique Advanced #6 and Beginners #4; Advanced Assignment #7 and Beginners’ Assignment #5 - diptych (relating symmetrical space), any subject, development of texture or mood that relates (or greatly contrasts, or barely relates) the two spaces. Due Wednesday, October 10

Week 6

Monday, October 8 – No Class Meeting – Native American Day

Wednesday, October 10: Critique Advanced #7 and Beginners #5 (diptychs); Advanced Assignment #8 and Beginners’ Assignment #6 - A Painting with a Narrative Border. On a uniformly wide (or narrow) border, create a visual story (your own original story or a radical interpretation of another's) with symbols, personal hieroglyphics (pictorial characters or pictographs representing a personal symbolic graphic system), serial scenes (like comics), and/or a metamorphosis of a visual idea or concept. Your painting should involve a visual start panel and a finish panel. Consider how you will proportion the length of the panels (they will have a uniform height). In the large center shape enclosed by the border, create a visual mood that complements (or contrasts) the narrative. Due Wednesday.

Week 7

Monday, October 15: Preliminary critique and continue work on the Narrative Border painting in class.

Wednesday, October 17: Critique of Advanced #8 and Beginners’ #6 Border Paintings.

Advanced Assignment #9 and Beginners Assignment #7: Self Portrait with Abstract Chiaroscuro (to include some flat shapes (flat wash solid color areas). Due Wednesday.

Week 8

Monday, October22: Critique of Advanced #9 and Beginners #7 Self Portraits; Advanced Assignment #10 and Beginners #8: Triptych of Non-uniform Panels. Due Monday.

Wednesday, October 24: Continue work on Advanced #10 and Beginners’ #8 (triptychs). Due Monday.

Week 9

Monday, October 29: Critique of Advanced #10 and Beginners’ #8. Advanced Assignment #11 and Beginners’ #9: Positive and Negative Space Exploration. Subject matter: THE HERD - paint a herd of buffalo gnats (or a herd or gaggle of anything else), covering the surface in a modulating pattern that allows the negative (relatively unpainted) space to be as important and dynamically active as the herd or gaggle depicted. The percentage of painted and unpainted space should nearly equal each other. Due Wednesday.

Wednesday, October 31: Critique of Advanced #11 and Beginners’ #9. Advanced Assignment #12 - a painting of free choice. Due Monday. Beginners Assignment #10 - A Collage/Painting that makes a statement about light and shadow and depth and space. You may use cut and torn segments of magazine photographs and text, other types of papers or bits of previous watercolor practice sheets). Include portions of photographs (although the parts you use must not remain totally recognizable as a person, place, or thing). You may include portions of text (although the text pieces you use must not remain readable) as visual texture, shape, and tone ingredients.

You may use painted pieces of white tissue paper as well, to create areas of transparency. Due Monday.

Week 10

Monday, November 5: Critique of Advanced Assignment #12 and Beginners’ Assignment #10.

Advanced Assignment #13 and Beginners’ Assignment #11: Choice of subject matter. Due Wednesday.

Wednesday, November 7: Critique of Advanced Assignment # 13 and Beginners’ Assignment #11. Advanced Assignment #14 and Beginners’ Assignment #12: Choice of subject matter. It is suggested that you paint some subjects from among those suggested on the last page of this handout. Between now and the end of semester two paintings of your choice are to be completed each week. Plan to paint several images that emphasize light and shadow, illumination of water and reflective objects. Also plan to explore mixed media painting techniques. Due Wednesday, November 14.

Week 11

Monday, November 12: No Class Meeting. Veterans Day Observance Holiday.

Wednesday, November 14: Critique of Advanced #14 and Beginners’ #12. Advanced Assignment # 15 and Beginners’ #13: Choice of subject matter. Due Monday.

Week 12

Monday, November 19: Critique of Advanced #15 and Beginners’ #13. Advanced Assignment #16 and Beginners’ #13. Due Wednesday.

Wednesday, November 21: Critique of Advanced #16 and Beginners’ #14. Advanced Assignment #17 and Beginners’ #15. Due Monday. 

Week 13

Monday, November 26: Critique of Advanced #17 and Beginners’ #15. Advanced Assignment #18 and Beginners’ #16. Due Wednesday.

Wednesday, November 28: Critique of Advanced #18 and Beginners’ #16. Advanced Assignment #19 and Beginners’ #17. Due Monday.

Week 14

Monday, December 3: Critique of Advanced #19 and Beginners’ #17. Advanced Assignment #20 and Beginners’ #18. Due Wednesday.

Wednesday, December 5: Critique of Advanced #20 and Beginners’ #18. Advanced Assignment #21 and Beginners’ #19. Due Monday.

Week 15

Monday, December 10: Critique of Advanced #21 and Beginners’ #19. Advanced Assignment #22 and Beginners’ #20. Due Wednesday.

Wednesday, December 12: Critique of Advanced #21 and Beginners’ #19.

Last Day of Class

Final discussion, question and answer session.

Week 16

Monday, December 17: Final day to turn in your portfolio of the semester’s paintings. 

Art 431/ Art 721Painting: Special Problems/Watercolor Fall, 2001

STUDENT SURVEY QUESTIONS

Your Name (optional) Date:

TRUE FALSE

___ ___ This term I am enrolled in courses other than this.

___ ___ The amount of work and time required for WTRCLR was about the same in comparison with my other course(s). This course was more/less (circle one) work.

___ ___ The course emphasized quality over quantity.

___ ___ The course emphasis was about balanced between quality and quantity.

___ ___ The instructor challenged my way of thinking about art.

___ ___ The instructor challenged my way of thinking about painting.

___ ___ The instructor helped me think more creatively about composition and subject matter.

___ ___ Emphasis on the creative process was nearly balanced by emphasis on the creative product throughout the course.

___ ___ My artistic skills improved throughout the course.

___ ___ By taking the course I think I can draw better.

___ ___ By taking the course I think I can paint better.

___ ___ By taking the course I think I can design and compose better.

___ ___ By taking the course I think I better understand the use of color in art.

___ ___ By taking the course I am now better at creative problem-solving.

___ ___ By taking the course I better understand art concepts.

___ ___ The course fulfilled my expectations of a basic study of watercolor techniques and the process of painting.

___ ___ I learned more about the theory and practice of watercolor painting than I had expected to learn.

___ ___ If my schedule would allow, I would enroll in another watercolor painting course with this instructor.

___ ___ I would recommend this course to other painters I know.

I think I have earned a grade of _____ in this course because . .

On a scale of 1 (least important) to 10 (most important), I would rate the importance of this course to me in relation to other art courses I have taken as a .

On a scale of 1 (least effective) to 10 (most effective), I would rate the effectiveness of the instructor on me in relation to other instructors I have had as a .

COMMENTS OR SUGGESTIONS FOR IMPROVING THE COURSE:

(Please use the space on the flip side if needed) 

Paper Preparation stretching, moistening

Color Mixing from Warm/Cool palette

Brush Marks exploring, manipulating

Basic Processes for delineating shape and volume:

Dry Brush/Direct (dry-on-dry)

Olde English Method (wet-on-dry)

Serving-Up Technique (wet-on-wet)

Wet-In-Wet

Slippery Method

Basic Washes: Flat

Gradated

Streaky

Very Dark

Basic Stylistic Variations:

When Wet: soft brush lift; tissue dab; sponge lift

When Dry: sponge scrub; bristle brush scrub; eraser rub; spattering

Texture Variations: direct; indirect; transfer

Special Tools and FX: rubber cement/masking liquids; masking tape; non-iodized salt; wax crayon/resists, freezing a wet painting; texture-lift painting from tissue or plastic-wrap

Painting Strategy: preplanning; light sketching; saving white areas; painting background-to-foreground; simplifying; establishing shapes and tonal contrast; regulating warm/cool color balance; "all-over approach"; detailing; correcting; evaluating 

Basic Volumes: cube - flat wash on each plane

dry-on-dry or serving-up technique

cylinder - gradated wash and flat wash

dry-on-dry or serving-up technique

cone - gradated wash

sphere - gradated wash

Flat Shape Painting from still-life (flat washes)

Flat Shape Painting reproduction from original family photograph

(flat washes)

Sketch Painting abstract shapes (wet-in-wet)

Sketch Painting blow-up enlargement of a few shapes from a photo

Sketch Painting abstract figures

Sketch Painting Self Portrait (wet-in-wet)

Sketch Painting Self Portrait (wet-in-wet, wet-on-dry, dry-on-dry)

Sketch Painting Figure in an environment

Sketch Painting Figures in raked light

Sketch Painting still life, raked light and shadow

Mixed Media Painting texture collage with spattering

Mixed Media Painting intuitive abstract exploration painting with texture transfer

Mixed Media Painting sketch portrait from photo, with India ink emphasis

Landscape Painting Plant studies. Find an area along a river or stream where sunlight casts shadows beneath trees and onto a variety of plant life. Begin by quickly tracing shadows of plants onto your blank paper.

Landscape Painting outdoor painting on location/environmental painting (wet-in-wet washes; dry-on-dry detail)

Landscape Painting landscape parts, sketch painting; Sky only: use masking liquid; wet-in-wet and salt technique

Landscape Painting landscape parts, sketch painting; Land only: use masking liquid, wet-in-wet and salt technique

Landscape Painting using raked light and shadow

Painting Reflections chrome surfaces

Painting Reflections body of water from photo or illustration

Painting Reflections waves or ripples

Painting Reflections body of water on location

Landscape Painting with figures, animal or human

Figure Painting figures in environment, using raked light and shadow

Still Life Painting objects and their reflections in a mirror

Mixed Media Painting shape painting on handmade paper

Mixed Media Painting imaginary mask using washes and India ink

Mixed Media Painting India ink monoprint, then collage, and painted shapes

Other suggested topics special plants, insects, birds, animals, or natural objects, singly or in multiples; anything out-of-context, anything in an unexpected setting or environment; anything exaggerated; anything historical, futuristic, or imaginary; multiples - sequences and series paintings