5/9/2025 8:45:49 AM	ART 14B Course Outline as of Fall 2008	Changed Course
CATALOG INFORMATION
Discipline and Nbr:  ART 14B	Title:  INTERMEDIATE PAINTING
Full Title:  Intermediate Painting
Last Reviewed:12/10/2018

Units		Course Hours per Week			Nbr of Weeks	Course Hours Total
Maximum	3.00	Lecture Scheduled	2.00		17.5 max.	Lecture Scheduled	35.00
Minimum	3.00	Lab Scheduled	4.00		3 min.	Lab Scheduled	70.00
		Contact DHR	0			Contact DHR	0
		Contact Total	6.00			Contact Total	105.00
		Non-contact DHR	0			Non-contact DHR Total	0

Total Out of Class Hours:  70.00

Total Student Learning Hours: 175.00

Title 5 Category:  AA Degree Applicable
Grading:  Grade or P/NP
Repeatability:  22 - 4 Times in any Comb of Levels
Also Listed As: 
Formerly: 

Catalog Description:

A continuation of the basic pictorial problems and challenges begun in Art 14A, introducing a greater variety of subject matter, concepts, and processes.  

Prerequisites/Corequisites:
Art 14A or equivalent

Recommended Preparation:
Course Completion of ART 7A

Limits on Enrollment:

Schedule of Classes Information
Description:

Continuation of the basic pictorial problems & challenges begun in Art 14A, introducing a greater variety of subject matter, concepts & processes.  

(Grade or P/NP)
Prerequisites:Art 14A or equivalent
Recommended:Course Completion of ART 7A
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:22 - 4 Times in any Comb of Levels

ARTICULATION, MAJOR, and CERTIFICATION INFORMATION

Associate Degree:		Effective:		Inactive:
Area:
CSU GE:	Transfer Area			Effective:	Inactive:
IGETC:	Transfer Area			Effective:	Inactive:
CSU Transfer:	Transferable	Effective:	Fall 1981	Inactive:
UC Transfer:	Transferable	Effective:	Fall 1981	Inactive:
C-ID:

Certificate/Major Applicable: Certificate Applicable Course

COURSE CONTENT

Outcomes and Objectives:
At the conclusion of this course, the student should be able to:

Students will be able to:

1.  Paint at a level that examines complex problems of shape, value, color, line, proportion, and abstraction.

2.  Employ a wide variety of media, tools, and painting techniques.

3. Utilize the ideas of old and modern masters, as well as major contemporary artists, as a point of departure for personalizing their own painting.

4. Translate the skills they have developed onto a larger format or canvas.

5.  Critique the work of others while also accepting the suggestions of their peers.  

Topics and Scope

Placing student work within an art historical context.

Proper use of materials and techniques.

Learning to discuss one's artwork and the work of others.

1.  Shape: recognizing the essential shape of forms first, then focusing

on surface detail, using positive and negative shape relationsips to

strengthen compositional drama or unity.

2.  Value: Employing tonal contrasts and gradients to develop volume,

depth, drama and movement.

3.  Color: Distinguishing basic and subtle differentiations of color and

understanding the basics of the color wheel.

4.  Line: using line to define contour and as an expressive element in

itself.

5.  Proportion: anayzing the proportions of a single object and analyzing

the proportional relationships between objects.

6.  Scale: considering how size, scale and shape of format influence a

painting.  Considering how the size and scale of what is painted

influences the impact of a composition on the viewer.

7.  Texture: using textural contrasts and pattern to describe surfaces

and to enrich or give visual weight to painting.

8.  Edge: The edge as a different way to achieve contrast than line.

Varying soft and hard edges to create differing contrasts between figure

and ground.

9.  Abstraction: Introduce the concept of abstraction through various

means: extreme simplification of the elements of painting (form, value,

and color), alteration, and/or distortion.  Show examples of 20th c.

painting to demonstrate various expressions in this mode.

10. Content: recognize other-than aesthetic aspects of painting, such as

metaphor, symbol, narrative, etc.

11. Process: Introduce elements of improvization, spontaneity, chance,

and the mixing of media, drawing upon 20th c. precedents for inspiration.  

Assignments:

1.  Extend the focus on still life objects to include elements in the

   immediate environment, interior or exterior.

2.  Begin and complete a still life painting within the limits of the

   three-hour class period using wet-in-wet ("alla prima") method.

3.  Work with a set-up which includes a draped or undraped model with

   props and surround.

4.  Paint a life-size self portrait.

5.  Choose a style such as Impressionism or Cubism for a painting in

   its terms, using appropriate subject matter.

6.  Choose a theme for a small series of variations, altering size, scale,

   cropping, color, paint handling, etc.

7.  Use an old or modern master painting as a point of departure and

   expound upon it by additions and/or alterations.  

Methods of Evaluation/Basis of Grade.

Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.		Writing 0 - 0%
None
This is a degree applicable course but assessment tools based on writing are not included because problem solving assessments and skill demonstrations are more appropriate for this course.
Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.		Problem Solving 40 - 60%
Homework problems
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.		Skill Demonstrations 10 - 30%
Class performances, PAINTINGS, SKETCHBOOKS
Exams: All forms of formal testing, other than skill performance exams.		Exams 0 - 0%
None
Other: Includes any assessment tools that do not logically fit into the above categories.		Other Category 10 - 30%
A BODY OF WORK INVOLVING PAINTINGS AND SKETCHES WILL BE THE MAJOR BASIS FO COURSE GRADE.OTHER FACTORS:ATTENDANCE,EFFORT,GROWTH,PART.IN GROUP CRITIQUE

Representative Textbooks and Materials:

Hawthorne on Painting, Hawthorne, Dover, New York, 1960

Art and Fear, Bayles and Orland, Capra Press, Santa Barbara, Consortium

Book Sales and Dist.; 4/1/2001

An Artists' Notebook: Techniqus and Materials, Bernard Caet; Holt,

Rhinehard and Winston, New York, 1979.

Theories of Modern Art, Chipp; U of CA Press, Berkeley, 1989.  

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