I. CATALOG DESCRIPTION:II. NUMBER OF TIMES COURSE MAY BE TAKEN FOR CREDIT: OneIII. PREREQUISITE AND/OR ADVISORY SKILLS:A. prepare support surfaces and control the fundamentals of both direct and indirect painting techniques including glazing whether working in acrylics or oils;B. show understanding of the dynamics of composition;C. express knowledge of the principles of color theory and practical color mixing;D. explain the interrelations of the various elements of form whether working in acrylics or oils;E. verbally express an appreciation of the value of artistic assumptions in deciding the ultimate character of a painting;F. begin to interpret the various ways that art has been a vehicle of expression.IV. EXPECTED OUTCOMES FOR STUDENTS:A. implement an array of surfaces and supports;B. use somewhat sophisticated direct and indirect painting techniques including glazing, alla prima, and/or broken color, whether working in oils or acrylics;C. express an understanding of some of the less obvious dynamics of composition;D. demonstrate a practical understanding of color relations beyond simple theoretical models;E. explain some of the many interrelations of the various elements of form whether working in acrylics or oils;F. verbally express an appreciation of the value of artistic assumptions in deciding the ultimate character of a painting;G. interpret the various ways that art has been a vehicle of expression.V. CONTENT:A. Development of skills in preparing supports and grounds for oils and/or acrylicsB. Continued investigation of the physical characteristics of oil and acrylic paints and the tools and techniques used to apply themC. Integration of value based painting and color based paintingD. Introduction to traditional color harmonies, continued study of color theoryE. Integration of drawing and painting skillsF. Study of the effects of format size and/or scale relations within a paintingG. Study of the effects of texture on color and spaceH. Still life, landscape, figure and non-representational painting as appropriateI. Painting terminologyVI. METHODS OF INSTRUCTION:A. Studio lectures, discussion and demonstrationsB. Examples of student and professional workC. Slides, PowerPoint and videosD. Museum and/or a gallery visit with an appropriate exhibitionE. Individual and group critiquesF. Self critiqueG. Written critiques on appropriate exhibitionsVII. TYPICAL ASSIGNMENTS:A. Projects1. Portray motion. Paint a composition that expresses the vitality of motion or dynamic movement. As a motif, select an event, or a physical subject in movement. For example, it can be a recollection or a photographed image from a track and field event, a dance performance, a football game, a circus event, a sports car rally, a machine in motion, etc. The subject, in fact, can be human, animal, or mechanical.a. In planning your composition, consider the spectator’s point of view: Is he or she active or passive? The futurists, for example, were the first to advocate the concept of a pictorial space wherein the viewer would be “situated in the center of the picture.”b. Use paint liberally and boldly; rather than draw every single detail and end up with a static picture, suggest rather than explain the shapes and forms. Consider leaving part of the painting unfinished, or partially blurred to exaggerate the effect of the movement. Another way to emphasize the quality of transition is by using color that changes in progressive steps from light to dark, warm to cold, or with the abstraction of the image.c. Apply the futurists; idea: “Bring the spectator into the center of the picture; make him/her participate in the action, the lines of force must envelop and draw them in.” Francis Picabia’s “Danses à la Source I “ (painted in 1912) admirably applies this “lines of force” idea, as does the famous “Nude Descending the Staircase” by Marcel Duchamp.2. Extruded Color. Color extrusion, defined for the purpose of this experiment, is simply the process of squeezing acrylic paint out an ordinary plastic squeeze bottle. This technique requires no brushes; instead “drawing” and “painting” is done entirely with squeeze containers, each one loaded with a different color or value, according to the required color scheme.a. Properly mixed with acrylic polymer medium, the paint will ooze out of the plastic squeeze bottle thick and viscous, like toothpaste out of a tube; with a little finesse, you’ll be able to squeeze out a variety of shapes in the forms of dots, dollops, squiggly lines, straight lines, or calligraphic designs.b. Bold rhythmic gestures can be created with a broad arm stroke, while more detailed configurations and allover textures are made with shorter wrist strokes.c. Acrylic extrusion is like drawing and painting simultaneously. Used more like a pencil than a paintbrush, the flexible squeeze bottle can be easily manipulated to dispense paint in either a spontaneous or deliberate manner.d. To get started, try some preliminary experiments on a test surface. Load the squeeze bottles with acrylic color mixed with polymer medium and practice extruding a variety of dots, dollops, and squiggles. Experiment with free gesture as well as with precise control.e. Juxtapose lines close to each other to create textural fields. Try building up layers of spaghetti-like extrusions – one over the other – to create lacy relief textures. Also, use the technique to create “embroidered patterns,” graffiti, calligraphic designs, or glorified “doodles.”f. Look at work done by Mark Tobey, Jean Dubuffet and Jackson Pollock.B. Written1. Define the following terms:tint underpainting styletone focal point shadeVIII. EVALUATION:A. Review and evaluate student’s assigned projects, their comprehension and applications of the terms and concepts of each projectB. Observation during class as students paintC. Evidence reflecting art productivityD. Development of craftsmanshipE. Overall presentation and professionalism in presenting completed oil/acrylic art projectsIX. TYPICAL TEXTS:A. Philip W. Metzger and Phil Metzger, Artists Illustrated Encyclopedia: Techniques, Materials and Terms. Northlight Books, 2001.B. Ralph Mayer, Artist’s Handbook of Materials and Techniques. New York: Viking Press, 1991.C. Artweek, Monthly Local Art Magazine. Kitty Spaulding, Publisher. Palo Alto, CA.X. OTHER MATERIALS REQUIRED OF STUDENTS:A. Acrylics or oil paintsB. Canvases & stretcher barsC. Brushes &