syllabi


	Tyler Alpern, Art Instructor

Colleges

Lessons

Tyler

Links

	SYLLABI are current except for the dates & call numbers.

FRONT RANGE COMMUNITY COLLEGE

GENERAL SYLLABUS – Spring 2012

ART 151-101, ART 251-101,

ART 252-101, ART 253-101 PAINTING I, II, III, IV

CRN#s 65575, 65643, 65646, 65649 3 CREDIT HOURS

PREREQUISITES: ART 121, ART 131 CORE COURSE: NO COMMONLY OFFERED: YES

LOCATION Boulder County Campus, Studio: C1008

TIME 6:00 p.m. - 8:40 p.m. Tuesdays & Thursdays

Instructor Tyler Alpern, MFA FRCC phone 303 678.3851

Semester Dates 1/17 – 5/3 Last drop (refund) or audit request: 2/2

Last withdraw: 4/15. COF Polices in catalogue.

E-mail tyler.alpern@frontrange.edu Web www.tyleralpern.com/frcc.html

FRCC web http://www.frontrange.edu Dept. web www.tyleralpern.com/frccart.html

Office Hours By email or by appointment after class. Required Text NONE

Art Department Lead: Camille Rendal

Painting Lead: John Cross 303.678.3821, camille.rendal@frontrange.edu

John.Cross@Frontrange.edu

Art & Humanities Department Chair: Mary Geary mary.geary@frontrange.edu

RECOMMENDED texts:

Guide to Mixing and Using Color Ann Kingslan; self-published, 1st edition 1990. (Painting I)

New Acrylics, Reni Tauchid,Watson-Guptill, 2005.

methods of assessing and evaluating student progress:

Your grade is based on effort, attitude and attendance, not ability. I want you to take risks and not worry about beauty, success, or artistic ability of finished work. Grades are only based on fullfilling assignment instructions and requirements.

Three tardies, early departures, or excessive breaks equal one absence. Missing more than 15 minutes of a period also counts as a tardy. Your grade drops one letter every 2 unexcused absences, or 1/2 of a level with each absence. A bad attitude on a day when we try something you do not like or not following assignment directions, or safe studio practices will count as an absence. Sleeping in class or in any other way remaining inattentive will be considered an absence. Attendance is taken at the beginning of class. It is your responsibility to confirm that an absence is removed from the attendance list if you come in late. It must be done THAT day at the end of class! It is your responsibility to obtain all assignments or arrange for work to be turned in prior to class if an absence is unavoidable. I expect you to call in advance of each absence. Religious holidays can be made up at full credit if procedure is followed - please let me know your plans for them in advance. Students must complete 2/3 of course to request an incomplete.

Levels 1 & 4:

COURSE TOTAL = 100 POINTS.

Grading scale: 100-90 = A, 89-80 = B, 79-70 = C, 69-60 = D, below 60 = F

1. Written Test 10pts, Skechbook 10pts, Model sessions 15pts, Course work & Homework 65pts.

4. Model sessions 15pts, Series 60 pts, Presentation: Statement, Web, Talk 25pts.

2 points deducted for late work each period past due. Make-up classes or assignments (IF POSSIBLE) must be completed within 2 weeks and count uo to 2/3's part credit.

GRADING AND EVALUATION

Grading scale for art projects:

A full engagement in the process; use of the set parameters and suggestions

B an interesting work that does not quite fulfill the requirements

C adequate, reasonably competent; a mixture of strengths and weaknesses, partially fulfills assignment

D poor in content, form, and mechanics, does not follow assignment

F incoherent, disastrously flawed, or not turned in

Grading scale for written projects:

A excellent in form and content; clean, clear style, no mechanical errors

B a good, interesting paper with no major flaws

C adequate, reasonably competent; a mixture of strengths and weaknesses

D poor in content, form, and mechanics

F incoherent, disastrously flawed, or not turned in

Numeric grades: A = 90 - 100% points, B = 80 - 89%, C = 70 - 79%, D = 60 - 69%, F = 0 - 59%.

Levels 2 & 3:

Your grade is based on effort, attitude and attendance, not ability. You must complete 81 hours of supervised painting to earn your A.

Grading scale: 30 class periods, 3.3 pts each = 99 points. COURSE TOTAL = 99 POINTS.

99-90 = A, 89-80 = B, 79-70 = C, 69-60 = D, below 60 = F

Assignments must be completed and approved to get full credit. Not following directions in a work or incomplete work counts as absences. Students paint at different speeds and create projects at different levels of ambiton so any student that finishes all assignments before the term ends still must come to each class and paint new work.

COURSE OF STUDY

Any student enrolled in Levels 2 - 4 who has not studied painting with me in the past will be asked to take a short written test the first day of class. The students’ performance on this exam allows me to place them in the appropriate series of assignments. It is typical and likely that even students in Level 4 will do exercizes and assignments with those students enrolled in Level 1. This is not a punishment nor is it even considered remedial work nor does it stiffle advanced levels of creativitity and skill. Students in all levels are given freedom to choose the content, style and scope of their projects as they fulfill assignments. Placing students new to me allows me to give all my students the best of what I can offer. This way, students can get the most out of my assignments which are given in a specific order based on previous learning. Any content, knowledge and experience gained in courses by other instructors is a great enhancement to a student’s artmaking abitly and skill, but may not be a substitute for the course of study I have designed.

studio policies / safety issues / MISCELLANEOUS:

You must wash and clean your working area after each class as others use the room. Follow all posted studio procedures.

To avoid ingesting hazardous materials, eating and drinking in the studio is not allowed.

FRCC art materials and supplies are for demo purposes only, not for regular student use.

No toxic chemicals or paints shall be disposed of in the sink. Fixative must be used outside, chemicals properly stored.

USE RESPECT: for yourself, your classmates, the room and materials in it. Realize that a portion of your grade is your conduct in the studio. That includes safety issues, respect for the work of others and cleaning up after yourself.

Don’t lose your work. Label the back with a) Your Name, b) This Semester, c) Teacher’s Name. Unlabeled, mislabeled and outdated work will be either discarded or appropriated by another student. Place painting in rack reserved for this class. Be careful not to smear other work drying in the racks.

Students with disabilities, language conflicts or having special circumstances during the semester should contact me early so that appropriate accommodations may be made. Requesting accommodation or allowances after the fact, or, at the end of the term, is NOT an appropriate solution.

Communication is the key to success in this class. If there is anything of concern, see me, call or e-mail.

Use of headphones allowed only if completely inaudible to others.

Use cell phones outside of classrooms. FRCC Policy: cell phones must be turned off in class.

The instructor reserves right to modify syllabus and calendar for the class. Assignments not finished in class are homework.

The policy on the nude model is that it is a part of the community college system curriculum - and has been agreed upon by Department Heads, and Chairs - and supported by the Dean of Instruction, and an attorney for the college. The policy is that this is part of the curriculum, and can not be waived by substituting other assignments for it. Students have the option of missing class that day as one of their allowed absences. Each instructor has a different policy on how absences will affect their grade.

OPEN STUDIO RULES

• Please sign in on the sign in sheet when you arrive for open studio. ( posted in each room)

• No students are allowed in the studios unless supervised by faculty or work study studio monitors, and no children allowed in any of the studios.

• During open studio sessions, the work study monitor is in charge of the studio. Please follow their requests in regards to proper studio behavior, and clean up.

• Children, family members, friends, or unregistered students are not allowed in open studio sessions.

• If you are not enrolled at FRCC, you are not allowed in the studio unless you have instructor permission.

• No food or drinks allowed in the studios.

• Please put supplies and tools away. They are for you to borrow, not to take home.

• Clean up after yourselves: desk tops, sweep floor area, put all borrowed supplies and tools away.

• When open studio is over, work study students must close up the room - all students must leave at that time.

Have a good time in our studios, but please be considerate.

Thank your work study student because without their hard work, you would not have this time to work

Open Studio hours and cancellations are now posted at www.frccart.com site.

materials:

You can choose to paint in either oil or acrylic paint. Both are wonderful and versatile. Similar effects can be made with either but one is often better choice than the other for various effects. Oil paint is thinned with an odorless solvent, a chemical, but acrylic can be thinned with water. Oil paint takes days to months to dry while acrylic can dry in minutes. If you like to blend paint or have sharp surface texture, or paint slowly oil may be a better choice. If you like to make radical changes, have flat opaque color, do collage or are adverse to chemicals, acrylic may be a better choice. Acrylic colors can be less transparent and may dry slightly darker. Acrylic comes in more unusual hi-tech colors but oil paints can be easier to mix to find the right color. Acrylic mediums are used for image transfers and collages and can be used by both acrylic and oil painters. Acrylics dry so fast that a special palette is necessary to keep paint wet. New “open” acrylics have a much longer drying and working time. Oil goes over acrylic so you can use acrylic products and techniques under an oil painting. You choose.

Minimum of ten brushes that are not too soft (#1, #4 or #6 round and flat, #12 flat) - the more the better. Supports such as heavy paper, canvas and stretcher bars will need to be bought as needed (18” x 24”). Youl’ll need something cheap to do exercises on right away. Avoid canvas board, a large canvas paper pad that you share would be the most inexpensive option for finished work.

PAINT: large tube of white (zinc or titanium), 2 oz. tubes: (ph)thalo (phthalocyanine) blue {by Golden Acrylic}, ultramarine blue {by Golden Acrylic}, rose: quindacridone or acra {that looks fuschia or magenta - Liquitex Acrylic} or thalo red rose {Oil}, cadmium red deep hue {that looks red not orange - Liquitex Basics Acrylic}, burnt umber, cadmium yellow medium hue, zinc or lemon yellow.

Optional colors: thalo green, yellow ochre, orange, purple, burnt sienna, anything you like. Avoid colors described as light, anything that has titanium in it (other than white) as you can create light colors yourself by diluting dark colors yourself. Buy primarily saturated, deep, dark colors. Acrylic painters should open paint and judge color quality by the paint not the label. A bright orange described as red will only frustrate you when red is what you need. DO NOT BUY BLACK. Do have at least one cool and warm red and blue. Check Prices - DO NOT SPEND TOO MUCH - look for cheap brands but rich, dark paint.

OIL PAINTERS: Large homemade palette 15"x15" (find a piece of glass, tape the edges and tape paper on bottom), single edge razor blades to clean glass, qt. odorless turpentine substitute such as Turpenoid or Permtine (do not bring "odorless’ mineral spirits or "natural" turpeniod), at least 2 jars with lids and eyedropper but preferably 1 plastic squeeze bottle and 1 jar, stand oil, acrylic medium for collage (optional), baby oil or brush cleaner.

ACRYLIC PAINTERS: Large StayWet Palette (mandatory), Gel Medium, texture or gloss mediums (optional), water containers, retarder (optional but highly recommended).

It is NOT necessary to have new supplies if you already have anything EXACTLY THE SAME as the list. If you have budget concerns, please bring it to my attention before a problem arises. It is entirely your responsibility to have the necessary supplies for each class meeting. Work done without all required paints receives half credit.

methods of instruction:

Lecture, Demonstration & Handouts

Slide or Image Presentations

Research: Library of Images and Texts

Peer & Instructor Critiques

Class Dates: 1: 1/17, 2: 1/22, 3: 1/24 4: 1/29, 5: 1/31, 6: 2/5, 7: 2/7, 8: 2/12, 9: 2/14, 10: 2/19, 11: 2/21, 12: 2/26, 13: 2/28, 14: 3/1 15: 3/6, 16: 3/8, 17: 3/13, 18: 3/15, 19: 3/20, 20: 3/22, 21: 4/3, 22: 4/5, 23: 4/10, 24: 4/12, 25: 4/17, 26: 4/19, 27: 4/24, 28: 4/26, 29: 5/1,30: 5/3. BREAK: 3/27 - 3/29.

IMPORTANT DATES FOR 15-WEEK CLASSES Last drop (refund) or audit request, 2/1; Last withdraw: 4/16.

Jan. 9 Payment deadline.

Jan. 10 In-State Residency Petition (priority deadline) for 15 week classes.

Jan. 17 Spring semester begins.

Jan. 18-20 Textbook buyback - see note at right for campus dates.

Jan. 14 Last day waitlist in effect for 15 week classes.

Jan. 20 Weekend classes begin.

Feb. 1 Last day to use Financial Aid bookstore account.

Feb. 1 Graduation Application deadline for degree/certificate.

Feb. 16 In-State Residency Petition (final deadline) for 15 week classes.

Mar. 19-5Spring break, Boulder County Campus, Westminster Campus, Brighton Center.

Apr. 4 Summer 2010 registration begins.

Apr. 7-24 CAAP Examination, see advisor for campus dates.

May 6 Weekend classes end.

May 7 Spring semester ends.

The following actions have eligibility implications for financial aid recipients: non-attendance, dropping courses, withdrawing from courses, repeating courses, academic progress, and the number of credit hours attempted and completed. You are strongly encouraged to seek financial aid advising throughout the term if you have any questions about eligibility implications. For questions, contact: ask@frontrange.edu

E-MAIL:

FRCC provides all students a free college e-mail account. FRCC uses college e-mail as its primary form of communication; it is essential that students activate their e-mail account and check e-mail regularly. Activate your college e-mail account by logging into your student account in eWOLF.

FRONT RANGE COMMUNITY COLLEGE STUDENT SERVICES AND POLICIES

I. STUDENT CODE OF CONDUCT: Page 141 of the Front Range Community College Catalog (2005 - 06) states that “Conduct that violates students’ rights and freedoms, and is subject to disciplinary action, includes, but is not limited to:

Plagiarizing, cheating or helping someone else violate reasonable standards of academic behavior. Students who engage in such behavior are subject to both disciplinary action, as outlined in the Front Range Community College Disciplinary Process, and academic consequences as determined by the instructor.

Engaging in any disruptive behavior which negatively affects or impedes the teacher’s ability to teach or, the student’s ability to learn (regardless of the mode of educational delivery or class setting), or disrupts the general operation of the college”

Please, see pages 140-142 of the 2005-06 Catalog for the complete description of the Student Rights and Responsibilities and the Student Code of Conduct.

II. INCOMPLETE: The FRCC Catalog states that "the “Incomplete” grade is a temporary grade and is designed for students who because of documented illness or circumstances beyond their control are unable to complete the coursework within the semester, but have completed at least 75% of all course assignments and tests in a satisfactory manner with a grade of “C” or better.” (Please, see page 21 of the 2005-06 Catalog for more details)

III. TUTORING: Free tutoring is available to any student earning a “C” or below in a class. If you would like a tutor for this class, go to the Learning Center (C1560) and ask for the appropriate form. Tutors will not be assigned until the paperwork is received.

IV. SPECIAL SERVICES: Any student who requires special accommodations must contact the Special Services Office (303-404-5302) at the beginning of the semester. After you have completed the required documentation with Special Services, please make an appointment with your instructor to discuss your accommodations.

V. Adding Classes after Census Dates

The add/drop date is the last day to drop classes, with refund. Students enrolling in a class after the add/drop date are responsible for their share of tuition and the state COF stipend granted by the state, in the amount of $92.00 per credit hour. Students are responsible for checking add/drop dates for 15, 12, 10 and 5-week courses. This information is located on page 1 of the current published FRCC schedule. No exceptions will be made for students who add classes after census dates.

VI. Drop for Non-Payment

It is the student’s responsibility to make sure he/she is registered for class and that their name appears on the instructor’s roster. If the student’s name does not appear on the roster, it is the student’s responsibility to check with Admissions & Records to determine why their name does not appear on the roster. Students who register for classes after the add/drop dates are responsible for payment of their tuition and the state’s portion of the COF stipend. No exceptions will be made for students who add classes after posted census dates.

PLAGIARISM: “In an instructional setting, plagiarism occurs when a writer deliberately uses someone else’s language, ideas, or other original (not common-knowledge) material without acknowledging its source.” It is the student’s responsibility to understand and avoid plagiarism. There are many, many sources available to assist the student in producing a properly-documented written assignment. In addition to many resource books available at the library, there are excellent online resources, as well. Once such resource is

http://abacus.bates.edu/cbb. This site contains tutorials and examples. No credit will be given to painting deemed too close to the orginial source. Copying of photos, even the students own, is not considered creative work. Original compositions are required.

COURSE REQUIREMENTS AND EXPECTATIONS

Show up. Regular attendance is vital for success in this course. If you know you’re going to miss class, call or e-mail your instructor and let them know as soon as you can. Missing class on a regular basis will put you in a hole that gets deeper with each unexcused absence.

Get involved. Come to class prepared. Do all the assigned reading, assignments, participate in discussions, ask questions learn ─ that’s why you’re here.

Do the work on time. You are 100 percent responsible for all the work in this class ─ including any assignments you miss because you were absent. Read assigned pages; complete in-class assignments on time. Checking your syllabus for due dates once a week can prevent problems.

RESPECT: Respect yourself, classmates, the studio, materials and the instructor. That includes safety issues, respect for the work of others and cleaning up after yourself. Student housekeeping rules are posted. All Art students are expected to follow them (That means everybody cleans!) At the end of each session ( in class and during open studio) wipe off tables at the end of your work session and sweep floor .

Storage is extremely limited so please take your work with you unless it is too fragile to carry.

*There are limited hall lockers – If you are assigned one, you are responsible for locking it and clearing it out at the end of the semester.

Please turn off your cell phones in class, or keep them on vibrate.

Disruptive Behavior: Engaging in any disruptive behavior which negatively affects or impedes the teacher’s ability to teach or the student’s ability to learn (regardless of the mode of educational delivery or class setting), or disrupts the general operation of the college is considered a violation of the Student Code of Conduct and will result in disciplinary action by the Dean of Student Services.

Examples of Disrupting the Learning Environment include but are not limited to the following:

• Cell Phone/PDA use (calls, texting, surfing, etc.)

• Unauthorized laptop or computer usage

• Making any noise or gesture to the instructor or students that is disruptive

• Sleeping in class

• Dominating the instructor’s time (asking too many questions/talking too much)

• Guests attending class without prior instructor approval

• Children are not allowed in the studio classrooms at any time due to safety issues.

• Attending class under the influence of alcohol or drugs

• Inappropriate dress

• Lack of respect for others or the classroom community

• Aggressive or threatening behaviors such as talking loudly or throwing any materials

See the 2008 Student Handbook for a complete description of the Student Rights and Responsibilities and the Student Code of Conduct.

Five Rules for Classroom Harmony:

• Turn your cell phones and pagers off

• One person talks at a time/respect other people’s opinions (even if you disagree)

• No eating in class

• Please be considerate other students. They have opinions too, so do not dominate all of the class discussions. We learn by hearing what others have to say, more than listening to ourselves.

• Please respect the instructor. All of the students need assistance and instruction as well, and have paid the same as you have to take this course. Do not dominate the instructors time – this is disrespectful to the instructor and to the other students.

• Clean up after yourselves during class, and during open studio hours; follow posted studio proceedures such as keep excess paint and any chemicals out of the sink. No chemicals poured down the drain.

*** INCIDENT REPORTS WILL BE FILED WITH STUDENT SERVICES FOR DISRUPTIVE BEHAVIORS, PLAGERISIM, OR ANY OTHER ISSUES THAT THE INSTRUCTOR FEELS ARE DISRUPTIVE TO THE LEARNING ENVIRONMENT, CLASSROOM EXPERIENCE, TEACHING ENVIRONMENT, OR TO THE INSTRUCTOR.

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A syllabus is a contract between the instructor and the students. By signing this document, you accept the terms and conditions of this painting course as they are stated in this document ─ including the grading, attendance, plagiarism, and on-time assignment policies. If you have not already, please take a minute to read the syllabus carefully before signing.

I ____________________________________________________ (print your name) have read the syllabus for Tyler Alpern’s painting course and fully understand the course requirements, rules, and expectations.

_____________________________________________________ _______________

(Student Signature) (date)

Painting 1 Art 151-101 Spring 2012 FRCC 3 credit

Tyler Alpern, MFA Email: Tyler.Alpern@frontrange.edu

www.tyleralpern.com/frcc.html

Course Description: Explores basic techniques, materials, and concepts used in opaque painting processes in oil or acrylic painting to depict form and space on a two-dimensional surface. Catalogue: ART 211 PAINTING I (3) This course explores the fundamental techniques, composition, materials, and procedures of studio painting. Note: Includes color theory and experimentation with brushes and other methods of applying paint to a variety of surfaces. 90 Contact Hours. Prerequisite: ART 121 or ART 131 or permission of instructor.

Competencies View (referred to by capitol letters throughout syllabus):

A. Create paintings using a variety of painting processes and techniques.

B. Identify and apply the visual elements.

C. Identify and apply the principles of composition.

D. Explore a variety of painting genres.

E. Research and apply major historical and contemporary concepts in painting.

F. Analyze and critically evaluate paintings.

G. Assemble and assess a presentation of your work that demonstrates basic professionalism.

Topical Outline:

Media and Processes: Traditional & Experimental painting media and processes.

Visual Elements: Line, Shape, Value, Color, Texture, Space, Linear and Spatial Perspective.

Principles of Composition: Balance, Scale, Proportion, Movement, Dominance, Harmony – Rhythm & Repetition, Unity & Variety.

Subject Matter: Representational, Abstract, Non-representational, Historical Perspective, Narrative.

Professionalism: Criticism and evaluation, Presentation

Objectives: Students will start to develop and experiment with their own styles and content while learning and practicing technical skills and color theory. Students will learn to take risks and challenge themselves to make better paintings. Because of this, experimentation and risk taking occasional awful looking work is inevitable, expected and a part of the learning process. This class is an exercise and experience as well as a product oriented class. My goal is help you to learn how to paint and understand color. Just as a musician practices his or her craft for countless hours; to learn to paint, you must make paintings, heaps of them to become good. You may make some really bad paintings. That is expected as part of the learning process. Learning how to cope with and work with frustration is essential. If you do not make some bad paintings I will suspect that you are allowing yourself to experiment and take risks. What is valued in this class is effort, discovery, experimentation, innovation, and moving beyond expectations. This class will focus on creative exploration, color theory and mixing, development of technical skills. We will do both exercises and finished work.

Course Projects: We will try a variety of exercises, some traditional and concrete, and others that are rather unusual and abstract. Some you will relate to and others you may struggle with or hate. Topics will include: Color, Value, Palettes, Mixing, Transparency vs. Opacity, Atmospheric Perspective, Layering, Expressiveness, Emphasis, Human Form, Creativity, Composition, Style, Imagination (A-C, E). We will look at paintings from many different eras and cultures (D,E).

I want you to draw every week outside of class (at least 20 minutes), so get a sketch book for this purpose and date each drawing. You are free to draw what you want in it. Develop ideas for paintings in your sketchbook. You will have to complete projects in class based on your own ideas that you formulate outside of class in your sketchbook. You will use your sketchbook for: 1.) Drawing and formulating ideas, 2.) Collecting a minimum of 20 painted images that inspire you from at least 15 different 3.) developing your ideas and compositions and making thumbnail studies, 4.) taking notes. Bring your sketch book to class every day. There will be some assignments that you complete outside of class. Explanations are given at the start of each class so please BE ON TIME.

Required Materials: See General Syllabus. Work without all required paints receives half credit.

Schedule - Subject to Change:

Every assigned painting must have at least 20 idea proposals & 10 compositional sketches for the chosen idea completed before image is put on canvas (C). Doing so helps you find the best ideas and most dynamic way to graphically present your ideas. Assignments not completed in class are homework. Demos and instructions: http://www.tyleralpern.com/paint1.html

Class 1: Introduction to Class, Artists Lecture Read: 6 - 8, 11, 16 - 17. (Kingslan book - optional)

Class 2 - 3: Color Mixing - Value Charts (B) Read: 55 - 57, 26. 10 pts.

Purpose: To learn how to see value, temperature and saturation in color, to understand color theory, to learn how colors mix, how to darken, lighten and neutralize them.

Class 4: Simultaneous Contrast (B) Read: 52. 3 pts.

Purpose: To learn how to change a color’s value and intensity with different surroundings.

Class 4 - 6: Value Matching / Complement Mixing (B) Read: 14-15, 20. 5 pts.

To fully understand complementary colors and seeing value. To develop brush technique.

Class 7 - 8: Shading / Optical Mixing (A - D) Read: 57 - 61, 72 - 76. 5 pts.

To test knowledge of color theory, develop color choices, understand optical mixing, gain confidence with the brush and finding imagery.

Class 9 - 14: Layering and Transparency (A - F) Read: 83.

To learn how to craft a painting using an under painting, to begin to find an artistic voice.

And

Beyond Local Color (A - E) Read: 54. 15 pts.

To learn how value is more important than hue in crafting an image. To find expressive, personal color.

Class 15 - 21: Depth / Atmospheric Perspective Read: 68 - 71. (A - F) 15 pts.

To learn how to craft a deep three dimensional sense of space on a flat surface.

Present/Discuss 20 inspirational paintings starting class 17.

Class 22 - 24: Figurative Study (A, D) 15 pts.

To learn to paint quickly, to begin to address the challenges of painting people. Make ups.

Class 25 - 29: Final Project (A - D) 12 pts.

Purpose: To build a canvas and use what you have learned to craft an image of your own design and style with instructor’s help. Written Test in class 25, Turn in Sketchbooks class 25.

Class 30: Final Critique (F, G)

It is the nature of art that some painters are quicker than others, some artists take on more ambitious projects than others. Simply completing all assignments early does not excuse students from attending classes. Students must work on projects and be present every week. Should a student finish all assignments early, new projects will be negotiated with each student as needed.

Painting 2 Art 252-101 Spring 2012 FRCC 3 credit

Tyler Alpern, MFA Email: Tyler.Alpern@frontrange.edu

www.tyleralpern.com/frcc.html

Course Description:

This course further explores techniques, materials and concepts used in opaque painting processes in oil or acrylic painting, with emphasis on composition and content development. Catalogue: ART 212 PAINTING II (3) This course emphasizes experimentation with materials, composition, and color. 90 Contact Hours. Prerequisite: ART 211 or permission of instructor.

Competencies View (referred to by capitol letters throughout syllabus):

A. Create paintings using a variety of painting processes and techniques.

B. Identify and apply the visual elements.

C. Identify and apply the principles of composition.

D. Explore a variety of painting genres.

E. Research and apply major historical and contemporary concepts in painting.

F. Analyze and critically evaluate paintings.

G. Assemble and assess a presentation of your work that demonstrates basic professionalism.

Topical Outline:

Media and Processes:

Traditional & Experimental painting media and processes.

Visual Elements:

Line, Shape, Value, Color, Texture, Space, Linear and Spatial Perspective.

Principles of Composition:

Balance, Scale, Proportion, Movement, Dominance, Harmony – Rhythm & Repetition, Unity & Variety.

Subject Matter:

Representational, Abstract, Non-representational, Historical Perspective, Narrative.

Professionalism

Criticism and evaluation, Presentation

Objectives: Students will continue to develop and experiment with their own styles and content while learning and practicing technical skills and color theory. Students will learn to take risks and challenge themselves to make better paintings. Because of this, experimentation and risk taking occasional awful looking work is inevitable, expected and a part of the learning process. This class is an exercise and experience as well as a product oriented class. My goal is help you to learn how to paint and understand color. Just as a musician practices his or her craft for countless hours; to learn to paint, you must make paintings, heaps of them to become good. You may make some really bad paintings. That is expected. That is expected as part of the learning process. Learning to cope with and work with frustration is essential. This class will focus on creative exploration, color theory and mixing, development of technical skills. We will do both exercises and finished work.

Course Projects and Format: There are 2 options. The first, which I recommend if you have not painted or had a formal class in a while, is to merely repeat with the rest of the class Painting One. In the past, you may have been introduced to the fundamentals but you may not have mastered them all. Learning and practicing them again will reinforce your knowledge and the practice will only make you a better painter. If you took painting a long time ago, or are self taught and may be missing some skills, I assure you that you will still be challenged and have many creative opportunities.

Option 2 is to follow the plan outlined below. You may choose this option only if you can get a solid A on the written placement exam. The class is designed for you to develop your style and voice as an artist while you continue to build your technical skill. You will be able to express your own ideas within the assignments parameters and need to come to class prepared with ideas.

We will try a variety of approaches as we experiment with the diverse possibilities of applying paint. Some techniques traditional and concrete, and others that are rather unusual and abstract. Some you will relate to and others you may struggle with or hate. Topics will include: Rendering, Subtractive and Additive Painting, Brush Work, Flatness, Master Painter Study, Expressiveness, Emphasis, Human Form, Creativity, Composition, Style, Imagination (A-C,E). We will look at paintings from many different eras and cultures (D,E).

I want you to draw 3 days a week outside of class (at least 20 minutes), so get a sketch book for this purpose and date each drawing. You are free to draw what you want in it. Develop ideas for paintings in your sketchbook. You will have to complete projects in class based on your own ideas that you formulate outside of class in your sketchbook. Bring your sketch book to class every day. There will be some assignments that you complete outside of class.

Required Materials: See General Syllabus.

Schedule - Subject to Change:

Every assigned painting must have at least 20 ideas 10 compositional sketches completed before image is put on canvas (C). Doing so helps you find the most dynamic way to graphically present your ideas. Assignments not completed in class are homework.

Option 1:

Class 1: Intro to class & Color Read: 6 - 8, 11 - 13, 16 - 17. (Kingslan book - optional)

Class 2 - 3: Color Mixing - Value Charts Read: 55 - 56, 26.

Class 4: Simultaneous Contrast Read: 52.

Class 4 - 6: Value Matching / Complement Mixing Read: 14 - 15, 20, 21- 25.

Class 7 - 8: Palettes / Optical Mixing Read: 57 - 63, 72 - 76.

Class 9 - 10: Layering and Transparency Read: 83.

Class 11-14: Beyond Local Color Read: 54.

Class 15 - 21: Depth / Atmospheric Perspective Read: 68 - 71.

Class 18 - 20: Figurative Study

Class 22 - 24: Working from selected artist’s techniques. Read: 80 - 82.

Class 25 - 29: Final Project. Class 30: Final Critique

Option 2 - Should build a canvas during term!

Class 1: Intro, Placement Exam

Class 2 - 10 Surface & Mark: Subtractive (emphasis thru detail) (A-F)

Surface & Mark: Additive (emphasis thru contrast) (A-F)

Class 11 - 16: Flat Color & Text (A-F)

Class 17 - 21: Non - Traditional Support (A-F)

Class 18 - 20: Figurative (A-D)

Class 22 - 24: Edges and Overlap for depth & clarity (A-F)

Class 25 - 29: Final Project (A-F)

Class 30: Final Critique (G)

Demos and instructions: http://www.tyleralpern.com/paint1.html

and: http://www.tyleralpern.com/paint2.html

Painting 3 Art 252-101 Spring 2012 FRCC 3 credit

Tyler Alpern, MFA Email: Tyler.Alpern@frontrange.edu

www.tyleralpern.com/frcc.html

Course Description: Provides continued exploration of techniques, materials and concepts used in opaque painting processes in oil or acrylic painting, with emphasis on composition and content development.

FRCC Catalogue: ART 213 PAINTING III (3) In this course the investigation of subject, color, composition and individual forms of expression continue. 90 Contact Hours. Prerequisite: ART 212 or permission of instructor.

Competencies View (referred to by capitol letters throughout syllabus):

A. Create paintings using selected painting processes and techniques.

B. Explore non-traditional painting media and processes.

C. Solve intermediate visual problems in painting using a variety of visual elements and principles of composition.

D. Utilize the fundamentals of painting to demonstrate advanced perception.

E. Select, analyze and compose subject matter that communicates ideas and sensibilities.

F. Explore personal expression in painting.

G. Research and apply major historical and contemporary concepts to painting.

H. Assemble and assess a presentation of your work that demonstrates professionalism.

Topical Outline:

Media and Processes:

Traditional & Experimental painting media and processes.

Visual Elements:

Line, Shape, Value, Color, Texture, Space, Linear and Spatial Perspective.

Principles of Composition:

Balance, Scale, Proportion, Movement, Dominance, Harmony – Rhythm & Repetition, Unity & Variety.

Subject Matter:

Representational, Abstract, Non-representational, Historical Perspective, Narrative.

Professionalism

Criticism and evaluation, Exhibition and Presentation, Portfolio Development.

Objectives: Students will continue to develop and experiment with their own styles and content while learning and practicing technical skills and color theory. Students will learn to take risks and challenge themselves to make better paintings. Because of this, experimentation and risk taking occasional awful looking work is inevitable, expected and a part of the learning process. This class is an exercise and experience as well as a product oriented class. My goal is help you to learn how to paint and understand color. Just as a musician practices his or her craft for countless hours; to learn to paint, you must make paintings, heaps of them to become good. You may make some really bad paintings. That is expected. In fact, if you do not make some bad paintings I will suspect that you are not giving much effort to the class. This class will focus on creative exploration, color theory and mixing, development of technical skills. We will do both exercises and finished work.

Course Projects: First you may be asked to take a written placement test and complete with the rest of the class assignments that cover any areas you did not understand on the test. In earlier courses you may have been introduced to the fundamentals but you may not have mastered them all. Learning and practicing them again will reinforce your knowledge and the practice will only make you a better painter. If you took painting a long time ago, or are self taught and may be missing some skills, I assure you that you will still be challenged. The class is designed for you to develop your style and voice as an artist while you continue to build your technical skill. You will have mostly independent work and need to come to class prepared with ideas.

Topics will include: Color, Value, Realism, Space, Surface, Expressiveness, Emphasis, Rhythm, Human Form, Creativity, Composition, Style, Imagination (A - F). We will look at paintings from many different eras and cultures (D,E).

Required Materials: See General Syllabus.

Schedule - Subject to Change: Every assigned painting must have at least 10 compositional sketches completed before image is put on canvas (C). Doing so helps you find the most dynamic way to graphically present your ideas. Assignments not completed in class are homework.

Class 1: Introduction to Class, Artist Lecture.

Class 6 - 9: Rhythm, Repetition, Pattern. (A - G):

Oil: Collage & Multimedia, Acrylic: New Techniques and Materials.

Class 10 - 13: Surface: Projected Collage & Painterly Rendering.

Shadow/Light temperatures. (A, C-G)

Class 14 - 17: Cubist Space - Multiple views, passage of time or movement (A, C-G)

Class 18 - 20: Figurative - Traditional Approach/study (A, C-G)

Class 21 - 24: Metaphoric content, Juxtaposition Opposite Shadow/Light temperatures (A, C-G)

Class 25 - 29: Final Project, with Artist’s Statement (A, C-H)

Class 30: Final Critique (H)

Painting 4 Art 253-101 Spring 2012 FRCC 3 credit

Tyler Alpern, MFA Email: Tyler.Alpern@frontrange.edu

www.tyleralpern.com/frcc.html

Course Description: Explores advanced techniques, materials and concepts used in opaque painting processes, with emphasis on the development of themes and a cohesive body of work. FRCC Catalogue: ART 214 PAINTING IV (3) In this course students complete advanced work in the development of theme, sophisticated color relationships, experimentation with conceptual forms, and the consistent progression of subject matter. 90 Contact Hours. Prerequisite: ART 213 or permission of instructor

Competencies View (referred to by capitol letters throughout syllabus):

A. Create paintings using advanced painting processes and techniques.

B. Explore non-traditional painting media and process.

C. Demonstrate advanced competency with selected painting materials.

D. Solve advanced visual problems in painting using a variety of visual elements and principles of composition.

E. Utilize the fundamentals of painting to demonstrate advanced perception.

F. Select, analyze and compose advanced visual problems that communicate ideas & sensibilities.

G. Research and apply major historical and contemporary concepts in painting.

H. Analyze and critically evaluate paintings.

I. Assemble and assess a cohesive presentation of your work for professional exhibition.

Topical Outline:

Media and Processes:

Traditional & Experimental painting media and processes.

Visual Elements:

Line, Shape,Value, Color, Texture, Space, Linear and Spatial Perspective.

Principles of Composition:

Balance, Scale, Proportion, Movement, Dominance, Harmony – Rhythm & Repetition, Unity & Variety.

Subject Matter:

Representational, Abstract, Non-representational, Historical Perspective, Narrative.

Professionalism

Criticism and evaluation, Exhibition and Presentation, Portfolio Development, Exhibition Experience.

Objectives

Students will work towards developing a body of work and a digital presentation portfolio including a comprehensive artist statement that are suitable for gallery or grad school presentation. They will also create a web presence.

Format

First you may be asked to take a written placement test and complete with the rest of the class assignments that cover any areas you did not understand on the test. In earlier courses you may have been introduced to many of the fundamentals but you may not have mastered them all. Learning and practicing them again will reinforce your knowledge and the practice will only make you a better painter. If you took painting a long time ago, or are self taught and may be missing some skills, I assure you that you will still be challenged.

The class is designed for you to develop your style and voice as an artist while you continue to build your technical skill. You will produce independent work and need to come to class prepared with ideas.

Topics of critiques will include: Content, Craftsmanship, Color, Value, Space, Surface, Expressiveness, Emphasis, Human Form, Creativity, Composition, Style, Imagination, and technical issues such as Materials, Brushwork, Rendering, etc. (A - F). We will look at paintings from many different eras and cultures (D, E).

Students will work very independently completing the assignments listed below at their own pace. The student will develop 2 distinct and different series of related works (minimum of 3 works in each series). Working in series allows students to explore and develop ideas in depth and become more invested in their work as they develop vision and voice as an artist. The process can lead to works that otherwise might never have been considered or developed. Artwork does not have to be 100 percent different from anything done before to be creative. Within the series some repeated elements must unify the body of work. Students must be willing to take risks and explore tangents to find nuance, variation and depth. Series can be related formally by color, size, technique, or by subject matter, mood or theme. Should these be completed before the end of the term the student will have a written contract describing what additional work will be executed.

Students’ final projects will be a 15-20 minute presentation of his or her own creative work including work completed during this term, turn in a one page artist statement, and email a link to a student created portfolio website. A working draft of that statement will be presented at the end of each month. Student will also participate in each life drawing session and any class that covers a technical aspect not passed on test or at request of instructor. Attendance for these classes is mandatory.

Required Materials: See General Syllabus.

Schedule - Subject to Change:

Every painting must have at least 10 compositional sketches completed before image is put on canvas (A-G). Doing so helps you find the most dynamic way to graphically present your ideas.

Class 1: Introduction to Class, Artist Lecture.

Class 2 - 29: 2 Distinct Series: clear, conscious choices in each series in the use/emphasis of the elements & principles of design (A - I) 60 pts.

Class 18 - 20: Figurative Study (A) 15 pts.

Class 29: Final Artist’s Statement, Website Due (A -I) 25 pts.

See http://www.tyleralpern.com/web.html to find links to build your website and upload work.

Class 30: Final Critique and Presentation (H, I)