2020 Winter Breadth Painting Techniques Subject Guide and Outline PDF

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Download 2020 Winter Breadth Painting Techniques Subject Guide and Outline PDF

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Breadth Subjects / School of Art / VCA Faculty of VCA & MCM The University of Melbourne VCA School of Art Breadth Subjects FINA20026 PAINTING TECHNIQUES Delivery Periods: Winter Intensive 2020

CLASS DATES

Day 1-Monday 6th July Day 2-Tuesday 7th July Day 3-Wednesday 8th July Day 4-Thursday 9th July Day 5-Friday 10th July Day 6-Saturday 11th July

ASSESSMENT DATES Please note that these details may be subject to changes; you will be notified by LMS/ CANVAS if this occurs.

Entire folio and visual diary due Friday 24th July by 11.00pm via LMS/CANVAS

Breadth, VCA Art – document prepared by Dr Laura Woodward and Colleen Ahern. Last updated by Jamie O’Connell and Colleen Ahern – January 2020 – page 1 of 11!

SUBJECT INFORMATION Credit points: 12.5 Prerequisites: Nil Subject Coordinator: [email protected] Teachers:

Amanda Marburg - [email protected] Camilla Tadich - [email protected] Tully Moore - [email protected] Ieuan Weinman [email protected] Jacqui Stockdale - [email protected] Robert McHaffie - [email protected] Moya McKenna - [email protected]

Estimated total time commitment: 136 hours Mode of subject delivery This subject is delivered through online practical sessions, regular individual discussions, and set projects throughout the subject duration. Subject description This subject introduces students to the techniques and processes used in contemporary painting. Through project-based experimentation students are guided through a range of different painting techniques and their application in the production of aesthetically and materially developed artworks. This subject aims to create an informed and critical methodology for the use of contemporary painting technology as a vehicle for imaging ideas. It is also concerned with developing skills and a visual language through a range of painting media. By the end of the subject, the aim is that you will have learnt several techniques and processes, developed and improved upon your skills, and applied these skills through both the set projects and further self-directed works. Intended Learning Outcomes This subject will enable students to: • develop a visual language and exhibit skills for basic pictorial representation; • acquire knowledge for the safe handling of painting materials and exhibit a degree of technical proficiency in the manipulation of a range of paint media through studio-based experimentation; • display an awareness of the technical possibilities of a variety of materials and practices; • exhibit evidence of skill development pictorially, technically and conceptually as a means of independent image making; • indicate evidence of individual research in the relevant area of practice. Generic Skills At the completion of the course or subject students should be able to: • display an awareness of the graphic possibilities of a variety of concepts, materials and practices; • exhibit evidence of skill development both pictorially and technically as a means of independent image making; • indicate evidence of individual research in the relevant area of practice; Breadth, VCA Art – document prepared by Dr Laura Woodward and Colleen Ahern. Last updated by Jamie O’Connell and Colleen Ahern – January 2020 – page 2 of 11!

• • •

demonstrate capacities for artistic imagination, creativity, transformation and interpretation; demonstrate practical skills in respect of critical analysis, problem solving; demonstrate an open, independent and inquiring attitude towards contemporary cultural developments and new ideas.

Assessment Ongoing feedback is provided to students through the subject’s duration via individual and group discussion.

For assessment, each student submits a folio of work and visual diary that demonstrates engagement with the subject and its Learning Outcomes (including the completion of set projects), the development of ideas and skills, appropriate application and improvement of skills, and that the folio displays an amount and quality of work that is commensurate with the subject’s total time commitment. The folio is to include: 1. A comprehensive folio that includes completed work made for set exercises/projects, paintings, experimentation and related materials, that demonstrates an appropriate level of understanding, development and application of the knowledge, skills and conceptual areas addressed in the subject (80%) 2. A comprehensively illustrated and notated visual diary, reflecting on material trials and notes on various techniques (20%)

Extension of Time to Submit Work: Applications for extensions of up to 10 days can be made by emailing the Subject Coordinator directly (see Subject Coordinator details in earlier pages of this document or in the Handbook). Extension applications must be submitted before the submission deadline. Extensions can only be granted for unforeseen circumstances which impact on a student during the time allocated for the preparation of an item of assessment. Any requests that are made after the submission deadline must be made through the Special Consideration process. Applications for extensions of longer than 10 days must be made through the Special Consideration process. For further information regarding extensions, please see https://policy.unimelb.edu.au/MPF1326#section-4.35 Special Consideration Application: Please refer to relevant information including processes and policy here: http://students.unimelb.edu.au/admin/special Student Grievance Procedures: Please refer to the University Policy: https://policy.unimelb.edu.au/MPF1066 Supplementary assessment: Supplementary assessment is not available for this subject otherwise than under University Statute 12.4.6 (unless a special consideration application has been lodged) http://policy.unimelb.edu.au/MPF1026#section-3.13

! Breadth, VCA Art – document prepared by Dr Laura Woodward and Colleen Ahern. Last updated by Jamie O’Connell and Colleen Ahern – January 2020 – page 3 of 11!

Breadth, VCA Art – document prepared by Dr Laura Woodward and Colleen Ahern. Last updated by Jamie O’Connell and Colleen Ahern – January 2020 – page 4 of 11!

SUBJECT OUTLINE Projects: There are five projects undertaken throughout this subject. These are: Project 1: Visual diary Project 2: Tonal oil painting Project 3: Colour and Geometric abstraction Project 4: Alla Prima with oil paint Project 5: Self-directed oil painting on canvas A description of each of the projects follows below.

Project 1: Visual diary Throughout this subject you are required to keep a visual diary (you may also know this as a “workbook” or a “visual journal”). The visual diary is to be developed and added to throughout the subject. Think of your visual diary as a tool for your artistic development. It should be a space in which you can think in and think through; tracing your artistic developments and experiences and expanding your modes of expression, whilst giving your lecturers insight into your working processes and progresses. To give a sense of how much work you should do in your visual diary, it should be either full or very close to full by the time it is submitted. Your visual diary should include the following: • A glossary of relevant terminology in the back of the visual diary: • This glossary should contain all relevant terminology used/learnt/heard throughout the subject. • Each entry in the glossary should include at minimum a definition. However, you may wish to develop your glossary further by adding images of artworks as examples of specific terms, samples/sketches that you do yourself to illustrate the terms, and so on. • Make sure that you reference all sources appropriately, including images used. Use Chicago referencing. • The glossary should contain a minimum of 5 terms relevant to each of the set projects – so a minimum of 30 terms overall. • Notes, illustrations, relevant reference artworks, photographs etc, relevant to each of the other set projects. • Experiments, tests and samples (or photographs of these) undertaken for each of the other projects. • Annotated photographs of the final works that you developed for each of the other projects. • Any other sketches, notes, photographs, photocopies and so on that are relevant to Painting Techniques. • In relation to the visual diary, and the glossary in particular, the permanent collection of the National Gallery of Victoria (NGV) will be used as an on-site resource to inform and provide the basis for discussion on the history and application of painting techniques, including the use of supports, grounds, binders and media specific applications. • A minimum of six paintings spoken about from the NGV will be needed in the visual diary. Make sure that you refer to the techniques and materials used.

Breadth, VCA Art – document prepared by Dr Laura Woodward and Colleen Ahern. Last updated by Jamie O’Connell and Colleen Ahern – January 2020 – page 5 of 11!

Project 2: Tonal oil painting For this project you will consider light, angles and composition by developing a tonal oil painting. Colour mixing will be demonstrated and then undertaken to produce scales of warm, cool and neutral greys. You will be asked to construct a paper model from which you will develop - through photography and drawing compositional studies. From this source material you will create one finished tonal painting of the resolved composition. You will be guided in the choice of brushes appropriate to these tasks and techniques. Remember to put any relevant notes, photographs, working sketches etc in your visual diary, and add relevant terms to your glossary. Project 3: Colour This project will explore colour theory. You will be introduced to the vocabulary of colour. You will be shown how to read a colour wheel and the qualities and use of pigments. We will consider colour in relation to both traditional and contemporary artists. Students will create a colour wheel in order to explore the possibilities and capabilities of colour relationships. You will then have the opportunity to expand upon this knowledge by completing an abstract geometric painting using complimentary colours. The painting will be completed in acrylic paint. This part of the colour project will explore the qualities of acrylic paint and associated application techniques. You will be introduced to the use of fast drying media in historic and contemporary paintings. Remember to put any relevant notes, trials, photographs, sketches etc in your visual diary, and add relevant terms to your glossary. Project 4: “Alla prima” using oil paint This project will explore oil paint, and the application of “Alla prima” techniques. You will be introduced to the properties of oil paint including solvents and mediums, and you will be shown how to appropriately prepare a panel to facilitate oil painting. You will be guided in the choice of methods and brushes appropriate to these tasks and techniques. You will need to complete at least one finished painting which considers more than one object, with the objects having varying colours and textures, using “Alla prima”, where the painting is completed in one sitting. We encourage you to use your first finished painting as a learning experience to then apply your skills to a second or third painting to really push your skills further. Remember to put any relevant notes, photographs, sketches etc in your visual diary, and add relevant terms to your glossary. Project 5: Self-directed painting project - oil paint on canvas In this project you will complete a significant oil painting on canvas. Those students without a canvas can discuss options with their teacher.

The completion of this painting should show your use of the appropriate information and development of technical skills gleaned from Projects 1 to 4.

The painting’s subject matter must be inspired by or appropriated from at least two paintings in the NGV collection. It should show your ability to apply the skills you are learning throughout the subject to the production of a finished work executed in oil paint.

Breadth, VCA Art – document prepared by Dr Laura Woodward and Colleen Ahern. Last updated by Jamie O’Connell and Colleen Ahern – January 2020 – page 6 of 11!

You should consider the content/conceptualisation of the painting, and how this relates to the skills and techniques that you have selected and applied. Research should be undertaken as necessary to your technical and conceptual direction. You should discuss your plans or thoughts around your self-directed painting project with your teacher. Remember to put any relevant notes, photographs, sketches etc in your visual diary, and add relevant terms to your glossary. Evidence of the development of this project must be shown in your visual diary. This should include: • Research notes • Development of ideas/sketches/compositions/thoughts and so on • Test pieces/scraps where you tried out different approaches/experiments/colours and so on • Photographs of the work in progress at various stages, accompanied by notes discussing the decisions you are making as you make them Please note: assessors need to be able to see these stages to ascertain the process you have gone through to arrive at your finished work, the improvements that you have made, and how you are developing your critical reflection in relation to painting techniques. For this reason, you must document the work as it progresses and include this in your visual diary.

FURTHER SUGGESTED READING Mayer, Ralph. The artist's handbook of materials and techniques. New York: Viking Press, 1945. Finlay, Victoria. Color : a natural history of the palette. New York : Ballantine Books, 2003. Read, Herbert Edward, Sir, and Nikos Stangos, eds. 1994. The Thames and Hudson dictionary of art and artists. n.p.: New York : Thames and Hudson, 1994. “The Tate Glossary”, The Tate Gallery, http://webarchive.nationalarchives.gov.uk/20120203094030/http:/www.tate.org.uk/collections/ Wilcox, Michael. Blue and yellow don't make green. Irvine, California: School of Color Publications; Cincinnati, Ohio: Distributed to the trade and art markets in the USA by F & W Publications, 2001.! !

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Breadth, VCA Art – document prepared by Dr Laura Woodward and Colleen Ahern. Last updated by Jamie O’Connell and Colleen Ahern – January 2020 – page 7 of 11!

ASSESSMENT CHECKLIST Please ensure that, at a minimum, the following items are in your final folio for assessment: Visual Diary – 20% • Project 1: Visual diary o Glossary, including minimum of 30 terms o Notes, illustrations, printouts, photographs etc, relevant to each of the other set projects, and reflection and critique of own work o Experiments, tests and samples (or photographs of these) o Photographs of the final works that you developed for each of the other projects. o Other research, sketches, notes, photographs and so on that are relevant to the subject Folio – 80% • Project 2: Tonal painting– o Exercises/trials o One finished painting • Project 3: Colour– o Exercises/trials o Colour wheel o Exercises/trials o Two finished paintings for geometric abstraction using complementary colours. • Project 4: Working “alla prima” using oil paint – o Exercises/trials o Two finished paintings for Alla Prima • Project 5: Self-directed painting project – o Exercises/trials o One finished painting on canvas, or alternative (directed by teacher) o Evidence of the development of this project must be shown in your visual diary. This should include: § Research notes § Development of ideas/sketches/thoughts § Test pieces/scraps where you tried out different approaches/experiments § Photographs of the work in progress at various stages, accompanied by notes discussing the decisions you are making as you make them § Please note: assessors need to be able to see these stages to ascertain the process you’ve gone through to arrive at your finished work, the improvements you’ve made, and how you are developing your critical faculties in relation to painting techniques.

Breadth, VCA Art – document prepared by Dr Laura Woodward and Colleen Ahern. Last updated by Jamie O’Connell and Colleen Ahern – January 2020 – page 8 of 11!

ASSESSMENT CRITERIA ASSESSMENT CRITERIA

0-49%

50-64%

65-69%

70-74%

75-79%

80-100%

PAINTING FOLIO - 80% of final % mark

Unacceptable

Sufficient

Satisfactory

Good

Very Good

Outstanding

Technical application

0 to 19

20 to 25

26 to 27

28 to 29

30 to 31

32 to 40

Most projects are complete. Limited demonstration of Few projects are qualities and complete characteristics of Artwork appears various media, to be in progress techniques and with little or no processes. Artwork purpose. appears to be in progress with little or no purpose.

Most projects are complete. Demonstrates some qualities and characteristics of various media, techniques and processes. Artwork reflects limited but developing skill.

All projects are complete. Demonstrates some qualities and characteristics of various media, techniques and processes. Artwork reflects adequate control and skill.

All projects are complete and All projects are effectively complete and demonstrate the demonstrate qualities qualities and and characteristics of characteristics of various media, various media, techniques and techniques and processes. Artwork processes to a high reflects proficient standard. Artwork control, purpose and reflects highly skill. proficient control, purpose and skill.

0 to 14

20

21 to 22

23

24 to 30

Work appears Acceptable quality unresolved or results in final incomplete. and paintings, limited but it is difficult to sufficient evidence of identify experimentation, planning, trials and research construction and undertaken. experimentation.

Satisfactory results in final paintings developed from evaluating results from experimentation, trials and research undertaken.

Good quality results in final paintings developed from evaluating results from experimentation, trials and research undertaken.

Generally high quality occasionally innovative results in final paintings. developed from evaluating results from experimentation, trials and research undertaken.

High quality innovative results in final paintings. Images are resolved pictorially through evaluating results from sketches, painting trials and research undertaken.

0 to 14

20

21 to 22

23

24 to 30

Generally good development across some aspects of the subject content, including painting skills and conceptual understanding. Transfers some knowledge and techniques examined in course.

Generally good development across most aspects of the subject content, including painting skills and conceptual understanding. Transfers most knowledge and techniques examined in course.

Very good development across most aspects of the subject content, including painting skills and conceptual understanding. Successfully transfers knowledge and techniques examined in course.

Comprehensive development across all aspects of the subject content, including painting skills and conceptual understanding. Successfully transfers knowledge and techniques examined in course.

40

Pictorial construction and 30 experimentation

Overall development

30

15 to 19

15 to 19

Development across Folio is some aspects of the undeveloped and subject content, shows little or no including painting progression. skills and conceptual Little evidence of understanding. realising Transfers some techniques knowledge and ...