Tuesday, April 3, 2018

Next Project!


Due on Thursday April 5th

For this assignment you will be making your own assignment, Thursday I will need you to provide me with the following.

5 thumbnail sketches that will make up or be included as part of the painting.

A detailed explanation of your project which should include the following
-Dimensions and why?
-Surface you will be working on and why?
-Type of paint you will be using and why?
-Timeline for your project and why?
-Content of your painting and why?

We will workshop the assignments in class on Thursday and you will then start collecting and working on the project.


In the meantime here are some nice links 


Monday, February 26, 2018

Collage Examples

Hey everyone here are a few collage examples. I found these by googling things such as Modernist Collage or Contemporary Collage. It doesn't have to be abstract it can have realistic elements and text, abstract is just a personal bias for me.






Thursday, February 22, 2018

3rd Assignment Collage Assignment






For your third assignment we will be painting a collage you have made from newspapers, magazines, and printed materials that you will collect.  I will be posting multiple examples on the blog so check in with that if you need any.

Tuesday(27th) bring the necessary materials to make a collage. And maybe an extra piece of hardboard or cardboard to mount the collage on since you will be using it throughout the project. The dimensions of your collage need to be 50% of your canvas, same shape just 50%

The collages will be made in class Tuesday so please use this weekend to collect those. Please no high-school content think modernist.

Because lack of large staplers I am able to obtain I will have to do the stretching demo in small groups rather than all at once and this will give you the time to create the collages.

Tuesday(27th) bring to class
-Built stretcher bars- just the wood
-Collage materials- spend some time finding these because you will be making a full size painting from it.

Thursday(29th) bring to class

-Your primed canvas
-Your completed collage
-Pencil and a ruler if you want to graph it onto your canvas.
-Three large tubes of acrylic paint in the primary colors
-Black and white acrylic
-Pallet paper- “imagine a pad of wax paper for mixing color on”
-3 different size brushes with one being the 2 inch which you can get from a hardware store but please do no buy the cheap bristle brush it will save you the headache of pulling bristles out of your painting.
-Spray bottle



Tuesday, February 13, 2018

Painting Vocabulary

VOCABULARY

Positive Space: The figure(s) or object(s) or tangible thing(s) in a composition. Sometimes an object can be both positive and negative depending on its relationship to other tangible things in the composition.

Negative Space: The “empty” areas; the space that exists between, around, and behind tangible forms and in part defines tangible forms. Negative space is as significant in a composition as positive space.

Proportion: The relative size or amount of one element to another.

Planes: Imaginary, transparent flat surfaces, infinite in size.

Picture Plane: The area the canvas takes up containing what happens in/on it

Framing: The edges that define the given space in which a work of art is composed.

Value: The relative degree of lightness or darkness given to an area by the amount of light reflected from it. High value means approaching white. Low value means approaching black.

Volume: The size of a three-dimensional space enclosed within or occupied by an object. In a drawing we create the illusion of volume in a 2-dimensional plane.

Linear: Relating to, consisting of, or using lines.

Composition: The way that the elements (formal components) are arranged in a given space.

Figure/Ground Relationship: Similar to the positive/negative space relationship, the ground represents the picture plane or the surface of the paper.

Balance: A feeling of equality in weight, attention, or attraction of the various visual elements within the pictorial field as a means of accomplishing unity.

Symmetrical Balance: A form of balance achieved by the use of identical compositional units on either side of a vertical axis within the confining pictorial space. This creates a static, formal composition.

Asymmetrical Balance: A form of balance attained when the visual units on either side of a vertical axis are identical, but are placed within the pictorial field so as to create a “felt” equilibrium. This creates a more dynamic composition.

Repetition: In repetition, some visual element(s) are repeated, providing stepping stones for our eye to follow.

Rhythm: The orderly repetition of visual elements or repetition in a marked pattern, which creates flowing movement.

Pattern: A two-dimensional application of rhythm or repetition, such as the repeated motif in a wallpaper or textile design.

Biomorphic shapes: Irregular, curvilinear shapes resembling living organisms.

Geometric shapes: Triangle, rectangle, circle, or composites thereof.

Texture: the surface quality or “feel” of an object, its smoothness, roughness, softness, etc. Textures can be actual or simulated. Actual textures can be felt with the fingers, while simulated textures are visually suggested by an artist when drawing things like drapery, metal, rocks, hair, etc.

Surface: the outside part or uppermost layer of something (often used when describing its texture, form, or extent)
Installation:  the way art is installed: the way it alters the way a space is experienced, as a gallery; an exhibition of such artworks: An art installation means taking a large interior and loading it with disparate items that evoke complex and multiple associations and thoughts, longings, and moods.
Media: materials used to make the work- the ground and the mark making materials
2D: having the dimensions of height and width only: shape

Shape: the external form or appearance characteristic of someone or something; the outline of an area or figure.

3D: having, or seeming to have, the dimension of depth as well as width and height. Form

Form: at its most basic, a form is a three-dimensional geometrical figure (i.e.: sphere, cube, cylinder, cone, etc.), as opposed to ashape, which is two-dimensional, or flat.

Formal: form refers to the visible elements of a piece, independent of their meaning. For example, when viewing Leonardo'sMona Lisa, the formal elements therein are: color, dimension, lines, mass, shape, etc

Focal Point: Area of highest visual interest in a composition. Composition lines lead the viewer’s eye toward the focal point. It usually consists of a shape with the greatest meaning, greatest or smallest size, greatest controlled central position.

Subjective: existing in the mind; belonging to the thinking subject rather than to the object of thought (opposed to objective ).

ObjectiveExisting independent of or external to the mind; actual or real: objective reality. Based on observable phenomena; empirical: Uninfluenced by emotions or personal prejudices

Abstract: simplification and alteration of forms to present the essence of objects, people, or places

Analogous Colors: colors that are side by side on the color wheel and have a common hue

Color Scheme: plan for organizing colors (monochromatic, analogous, complementary, triad, split complementary, warm, and cool)

Color Wash or Glaze: to apply a thin second color on top of a first, allowing the undercoat to show through

Color Wheel: radial diagram of colors in which primary and secondary, and sometimes intermediate colors are displayed as an aid to color identification, choosing, and mixing

Complements: colors opposite each other on the color wheel

Composition: the organization or arrangement of a work of art

Cool colors: violets, blue-greens and blues (colors that recede)

Earth colors: colors including yellow ochre, burnt umber, raw sienna, and burnt sienna

Focal point: portion of an artwork's composition on which interest or attention centers

Gesso: white mixture of chalky pigment combined with glue used to prepare a canvas for painting

Hard Edge: edges of shapes are crisp and sharp, not blurred

Impasto: thick textured build up of a picture's surface which is created through the repeated applications of paint

Intensity: brightness or dullness of a color

Intermediate color: color made by mixing a primary color with a secondary color (ie: red orange) tertiary colors

Juxtaposition: in painting, the close placement of colors on forms side by side, often oppositional

Limited Palette: a palette of just three paints such as blue, yellow and an earth color

Local Color: Natural color of a subject

Luminocity: exceptional brightness and clarity

Matte: Lacking highlights or gloss

Monochromatic: consisting of one color and it’s tints and shades

Neutral Colors: Neutral colors include browns, blacks, grays, and whites. A color can be neutralized by adding some of its complement to it.

Opaque: opposite of transparent. Pigment does not allow underneath colors to show through

Primary Colors: (blue, red, yellow) cannot be made from mixtures of other colors 

Prime: to prepare a canvas, usually with gesso

Saturation: intensity of a color

Secondary Colors: colors obtained by mixing equal amounts of two primary colors

Solvent: liquid that controls the thickness, or thinness of paint

Medium: Material you mix with paint to extend the paint and make it easier to work with, thicker or thinner

Split complements: one color and the colors on each side of its complement on the color wheel (ie: red, yellow green and blue green)

Subjective color: colors that have no connection with object reality

Tertiary colors: colors made by mixing a primary color with its adjacent secondary color (ie: red and orange = red orange)

Tint: light value of a color, made by mixing the color with white 
Triad: three colors equally spaced on the color wheel (red, yellow and blue form a triad) do (orange, green and violet form a triad)

Trompe L’oiel: to paint a subject on a wall or furniture so realistically it “fools the eye” 

Warm Colors: (red, orange, and yellow) warm colors seems to move toward the viewer 

Stretcher: wooden strips of varying lengths fitted together to make a support frame for canvas

Critique: reflection or discussion when dealing with works of art

Dyptic: a work of art in two sections or parts

Craftsmanship: quality of what a person does 

Tuesday, February 6, 2018

Acrylic Paint Option

I went to Artisans today looking for acrylic paint and I ended up getting Abstract Innovative Acrylic. It is really inexpensive for the variety of colors they offer and also the quality. It runs about $6 per color. Just an idea for the second and third project if you are looking for materials. 

Tuesday, January 23, 2018

More artist for inspiration for assignment #2


More artist for inspiration for assignment #2

Monday, January 22, 2018

Assemblage - Assignment #2

Assemblage - Assignment #2


For your second assignment you will be finding multiple surfaces or objects to paint on.I wanted to give you ample time to find it as you will be also writing a 200 word double spaced document explaining how you made your decision. You may use the latex paint from the first assignment and also acrylic paint that you purchase and any other approved non traditional material. I want your application of paint to align conceptually with the surface or object. You will have three weeks for this project and I expect everyone to show up with a portion of your project ready to paint in class on January 30th and it will be due February 20th

Assemblage-Assemblage is an artistic form or medium usually created on a defined substrate that consists of three-dimensional elements projecting out of or from the substrate. It is similar to collage, a two-dimensional medium. It is part of the visual arts, and it typically uses found objects, but is not limited to these materials





Marilyn Jolly

Mick Burson

Sarah Cain


Thursday, January 18, 2018

Stretcher Building Demo!!

The set date for the stretcher building demo is going to be next Tuesday January 23rd at 5:30, you must show up on time! It will last about 30 minutes and then from there you have to return during open shop hours to build one for yourself. It will be great!

Sunday, January 14, 2018

Gradient Assignment #1

The first assignment we will be using latex paint (house paint) and cardboard.

You will need a quart of white and a quart of black in a flat finish. (please no semi-gloss, eggshell, high-gloss etc.) You will also need a piece of cardboard at least 24 x24, it doesn’t have to be perfectly square it can be shaped and have holes or pieces missing just make sure the working area is at least 24x24.

We are going to be  gridding the cardboard and then we will create hard edge gradients as well as blended gradients from white to black with at least 4 colors in between. Not every gradient must contain all 6 colors but some must. You are required to make an interesting composition while fulfilling the gradient section of the assignment.(Size, shape, overlap. varying line weights, etc.) 

You may use tape on this project to achieve straight lines.
This painting is due January 25th. All materials for this project must be brought with you to class Thursday (18th), show up ready to work!

Think geometric hard lines!


Syllabus Spring 2018

PAINTING I  (ART 207)
Instructor Name: Mick Burson
Semester/Year:  Spring 2018
Class location: Art 245                                  

Class Meeting time(s):TR 5:30-8:15
Individual Meetings: By appointment only




The goal for this class is to learn how to use most paints and medium thoroughly while also learning paint application and patience. My aim is for you to become comfortable with the idea of painting and also discover and develop a better understanding of what painting means to you on a personal level. We will have projects that require patience and attention to detail which will help overall in the acceptance of paint and its properties. We will have projects that challenge you conceptually in decision making as far as materials used and the application of paint. We will also integrate painting and drawing in completed works and not just use drawing in preparation for paintings.

Your environment, your life, your daily experiences – are a significant part of context in which we work. You will be mining your own life when exploring the content of your work. Looking at art directly in the area’s museums, like the UNM museum, the Albuquerque museum, Folk art museum, New Mexico Museum (and more); various galleries like Central features, 516, Levy, 208, CFA (and more), and on campus in the grad studios and John Sommers and via Library, slide/ image presentations, in books, magazines, on blogs is expected and encouraged. Some selected readings, class discussions and critiques of completed paintings will supplement the required studio work and research. 


Over the semester, the work you complete for this course should demonstrate:

      - Technical and conceptual progress and development in given projects and exercises in the studio.
      - Progress and investment in outside assignments; development of individual vision, and thoughtful investment in your self and your work as a whole.
      - Independent thinking and progress in speaking about your work and that of others in the class, in individual and group discussions, critiques, and any written assignments.

Requirements for the course:

Keep a notebook / folder for this course to collate your project assignments and notes. Use this folder to keep track of drawings, magazine clippings, color swatches etc.

Use a sketchbook to collect, record and brainstorm with drawings or other preparatory work; allow this sketchbook to become an integral part of the development of each assigned painting project.

Stretch and build a minimum of 2 canvases yourself and prepare the surface/ground. P and D woodshop demo’s will be scheduled and once you are certified you may use the shop during dedicated open hours.

 Active participation is required for studio time, group discussions and informal or scheduled critiques. If you don’t participate, this will be reflected in your grade.

 Plan to arrive at least 10 minutes before class, as we will begin on time.

Bring ALL materials and supplies EVERY DAY.

      Work the full class period. If you don’t-- and you are not prepared to work in class, you will need to get your supplies during class time, and this will count as an unexcused absence.

·     You may be expected to type, print, and hand in grammatically correct short synopsis and/or essays on specific paintings.

   ***Late work is docked a half letter grade for every day late. That is one full grade lower to start for every week late (unless you have an approved excuse.)

Submit works when requested; keep all of your work, even if you think that something is not successful! No work can be thrown away. 


In terms of percentage, your final grade will be measured this way:

- 45%   Active class participation, work ethic and rigor of engagement in projects, - discussion and critiques

- 45%   Successful completion and timely presentation of all assigned projects

- 10%   **THAT EXTRA SOMETHING! (meaning- care, engagement, determination, flexibility, curiosity, openness, courage, fearlessness) ** = 100%

Mid-term grades will be discussed in individual meetings most likely the 8th or 9th week of the term.





Attendance policy:

UNM policy states that a professor may drop a student from a class without warning if the expectations of the class are not being met. I have done this.

You are required to come to class on time, prepared. Attendance is mandatory. Maximum of  2 unexcused absences before grade drops a letter per each additional absence. 5 unexcused absences is an automatic fail. An excused absence comes with a note or some kind of documentation and explanation preferably beforehand and must be approved. Two tardies equals 1 unexcused absence. As many as 6 approved absences could lead to an automatic drop. Come to class.


Studio and space-use Policies:

NO SMOKING at any time in this or any building or directly outside of the building.
NO FOOD in this studio (for health reasons, eating in the studio is discouraged.)  
PLEASE use gloves and handle your supplies intelligently. 
Wear appropriate clothing. 
Store your supplies intelligently. 
Gamsol in metal glass containers are ok for studio use---No Turpentine or paint thinner—it is too hazardous. 
No thinners, oils, or any paint can go down the sink
Remember: Paints, acrylic and oil, and their respective accouterments ARE POISON.
NO CELL PHONE USE during class. I will let you know when and if you can turn on your personal music, and you can use your phone during your break
Clean your work area THOROUGHLY before leaving class 
Return your work to storage; 
Relocate easels and studio furniture. 
Remove your supplies and store them in your locker. Whatever does not fit it your locker you will need to carry away with you. leave the studio NICER than you found it!!** The painting/drawing rooms can get very dirty, very quickly, and there are many students who need to use them.
No work can be left on studio walls:  you must work on a moveable support / surface. Sorry, no extended installations or painting directly on the wall. 
No spray paint in the studio or anywhere

Maintain clean wall surfaces & respect the facilities • 
 
Be alert to your personal security at all times!

At the end of semester, all work must be removed from the studios & lockers cleared.


Communicate by e-mail:
If you miss a class for any reason, need clarification about an assignment, or would like to make an appointment to discuss any issue of concern that is more involved, notify me by email! 
Expect email updates of changes in the schedule & follow up on projects. When you get them, update your current syllabus and handouts by altering them or printing new copies. Always keep up with the online blog which can be found at


Academic Integrity:
Students at UNM enjoy significant freedom of artistic expression and are encouraged to stretch their scholarly and artistic boundaries. However, the school prohibits all forms of academic dishonesty. For present purposes “ academic dishonesty” understood as the appropriation and representation of another’s work as one’s own, whether such appropriation includes all or part of the other’s work or whether it comprises all or part of what is represented as one’s own work (plagiarism). Appropriate citation avoids this sort of dishonesty. In addition, “ academic dishonesty” includes cheating in any form, the falsification of academic documents or the falsification of works or references for use in class or other academic circumstances. When such dishonesty is discovered, the consequences to the student can be severe.

ADA Compliance:
In accordance with University Policy 2310 and the Americans with Disabilities Act, academic accommodations may be made for any student who notifies their instructor of the need for assistance. It is important that the student bring any such issues to the
attention of the instructor, as they are not legally permitted to inquire. If a student requires assistance in an emergency situation, they should inform the instructor as to the
most appropriate procedures to follow. Contact the Accessibility Resource Center for additional information (277-3506).

In an effort to meet obligations under Title IX, UNM faculty, Teaching Assistants, and Graduate Assistants are considered “responsible employees” by the Department of Education (see pg 15 - http://www2.ed.gov/about/offices/list/ocr/docs/qa-201404-title-ix.pdf).   This designation requires that any report of gender discrimination which includes sexual harassment, sexual misconduct and sexual violence made to a faculty member, TA, or GA must be reported to the Title IX Coordinator at the Office of Equal Opportunity (oeo.unm.edu). For more information on the campus policy regarding sexual misconduct, see:https://policy.unm.edu/university-policies/2000/2740.html



Materials:

The P and D woodshop will supply you with items to build at least 2 painting supports. The items below are provided:

     To build a stretcher ( demonstration will be scheduled- supplies provided )
     2 1x2 8 foot lengths of wood
     2 quarter round 8 foot lengths of wood
     3 yards of unbleached unwashed cotton duck canvas ( provided )
     staple-gun and staples (provided)
     canvas pliers (optional)       
     Sand paper (provided)
     Gesso (provided)

You will need to purchase:
-       A supply of cotton rags, also your own paper towels.
-       A bar of ivory soap for cleaning brushes
-       Gloves
-       A variety of glass jars with lids
-       Sketchbook, notebook, something to hold loose leaf papers
-       Drawing tools of your choice
-       Spray/mist bottle
-       Palette knives minimum 3 separate sizes, I suggest plastic ones at first.
-       2 quarts of FLAT finish latex paint one black and one white. (House paint so Lowes, Home Depot any hardware store)
-       Cardboard of various sizes, just find this please don’t buy it.
-       A quart of gesso
-       Paper pallete
-        12 x 16 canvas pad
-       Nylon filbert flat and mixed brushes
-       Mixed bristle brushes 
-       2 inch brush
-       Mesh bag or something equivalent to carry and store your brushes
-       Assorted acrylic paints as the semester continues and oil at the end if you choose
-       Surfaces such as wood or canvas. Everyone gets one free pass on store bought canvases, but only one. All other surfaces should be built or found and bought if it’s a wood panel.
-       Hammer, nails, measuring tape, and level. You can share these materials however you decide just be prepared to hang the work professionally for critique. I will cover the requirements for this.

Resources for materials:
-       UNM Bookstore
-       Artisans Albuquerque/Santa Fe
-       Home Depot
-       Lowes
-       Thrift Stores
-       Habitat for Humanity
-       Garage sales/flea markets



Online:
-       www.misterart.com
-       www.dickblick.com
-       www.joann.com
-       www.jerrysartarama.com
-       www.utrechtart.com

-       www.pearlpaint.com

Next Project!

Due on Thursday April 5th For this assignment you will be making your own assignment, Thursday I will need you to provi...