SRJC Course Outlines

5/25/2024 12:43:29 AMART 14A Course Outline as of Spring 2012

Changed Course

Discipline and Nbr:  ART 14ATitle:  BEGINNING PAINTING  
Full Title:  Beginning Painting
Last Reviewed:1/9/2024

UnitsCourse Hours per Week Nbr of WeeksCourse Hours Total
Maximum3.00Lecture Scheduled2.0017.5 max.Lecture Scheduled35.00
Minimum3.00Lab Scheduled4.006 min.Lab Scheduled70.00
 Contact DHR0 Contact DHR0
 Contact Total6.00 Contact Total105.00
 Non-contact DHR0 Non-contact DHR Total0

 Total Out of Class Hours:  70.00Total 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: 

Catalog Description:
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An introductory course in painting involving acrylics and oils the basic elements and dynamics of art such as value, color, texture and space, as well as compositional factors and an introduction to the various problems and potentials of painting.


Recommended Preparation:
Course Completion of ART 7A

Limits on Enrollment:

Schedule of Classes Information
Description: Untitled document
An introductory course in painting acrylics or oils  involving the basic elements and dynamics of art such as value, color, texture and space, as well as compositional factors and an introduction to the various problems and potentials of painting.
(Grade or P/NP)

Recommended:Course Completion of ART 7A
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:22 - 4 Times in any Comb of Levels


Associate Degree:Effective:Inactive:
CSU GE:Transfer Area Effective:Inactive:
IGETC:Transfer Area Effective:Inactive:
CSU Transfer:TransferableEffective:Fall 1981Inactive:
UC Transfer:TransferableEffective:Fall 1981Inactive:
 CID Descriptor: ARTS 210 Introduction to Painting  SRJC Equivalent Course(s): ART14A

Certificate/Major Applicable: Both Certificate and Major Applicable


Outcomes and Objectives:
At the conclusion of this course, the student should be able to:
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Upon completion of this course, students will be able to:
1. Analyze complex problems of shape, value, color, line, proportion, and surface.
2. Plan and execute paintings in stages.
3  Improvise during the painting process.
4. Employ a variety of tools and painting techniques.
5. Create a range of hues, tints, tones and shades using double primary colors and earth tones.
6. Interpret the ideas of Old and Modern Masters, as well as major contemporary artists, as a point of departure for painting.
7. Define health and safety issues that can arise from the use of paints, solvents, and mediums.

Topics and Scope
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1. Shape: Analyzing the essential shape of forms before focusing on surface detail, using positive and negative shape relationships to strengthen compositional drama or unity.
2. Value: Employing tonal contrasts and gradients to develop volume and depth.
3. Color: Mixing hues and demonstrating an understanding of contrasts of hue, temperature and saturation.
4. Line: Assessing the role of line versus edge in paintings.
5. Positive and Negative Space: Analyzing the role of the space that surrounds the major forms or shapes.
6. Scale: Considering how scale shifts influence the impact of a painting.
7. Technique: Employing and caring for brushes, palette knives, rags, solvents, paintings mediums, grounds, supports, and palettes.
8. Surface: Developing paintings from thin to thick, from lean to fat, and the role of texture in painting.
9. Pacing: Working from the general to the specific.
10. Experimentation: Introduce elements of improvisation, spontaneity, and chance into the painting process.
11. Content: Develop other-than aesthetic aspects of painting through the study of master artists' paintings.

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1. Black and white still life of basic cubic, cylindrical, and conical forms with an emphasis on proportion, negative and positive space relationships, and tonal variation.
2. Earth palette still life paintings, one painted using only a palette knife, one using brushes and rags.  
3. Primary color still life painting with a directional light source exploring hues, tones, tints, and cast shadows.
4. Complex color study based on another artist's work, abstract or representational, emphasizing complementary color relationships or triadic color relationships.
5. Cropped copy of a master painting as the basis for study of content, scale, and composition.
6. Alla prima landscape composition painted within the three-hour class session.
7. Alla prima figure paintings from the model.
8. Thematic painting based on personal interest, an Art Gallery exhibition, library, or museum research.

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%
This is a degree applicable course but assessment tools based on writing are not included because 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
0 - 0%
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.Skill Demonstrations
40 - 60%
Class performances, paintings and sketchbooks
Exams: All forms of formal testing, other than skill performance exams.Exams
0 - 0%
Other: Includes any assessment tools that do not logically fit into the above categories.Other Category
40 - 60%
Attendance, effort, growth, and participation in group critique.

Representative Textbooks and Materials:
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The Artist's Handbook of Materials and Techniques, Fifth Edition.  Mayer, Ralph.  Viking Penguin, New York:  1991. (Classic)
Hawthorne on Painting. Hawthorne, Charles W.  Dover, New York:  1960. (Classic)
Matisse on Art, Revised Edition (Documents of Twentieth-Century Art).  Flamm, Jack.  University of California Press: 1995 (Classic)
Theories of Modern Art.  Chipp, Herschel B.  University of California Press, Berkeley: 1989. (Classic)

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