BEGINNING PAINTING
Lampo Leong, PhD, Professor of Art
Fall 2011 • Art 2500-02 (12780) • 3 Units • Room A212 • MoWe 11am –1:50pm
LeongL@missouri.edu • Office: A219 Fine Arts • Office Hours: MoWe 5–6pm • 573-882-9446
http://BBLearn.missouri.edu • http://ERes.missouri.edu (LampoLeong)
http://artstor.org • http://www.LampoLeong.com

COURSE DESCRIPTION:
This course introduces students to classical and contemporary painting, techniques and concepts, with emphasis on the understanding of its formal language and the fundamentals of artistic expression.  Even though previous painting experience is not a prerequisite for this course, the vigorous training provided will prepare students for going into a professional fine art career.  Painting from still-life, landscape, and life models from observation will be geared towards realism; at the same time, various other painting styles could be explored.  Color theory, linear perspective, compositional structure, figure/ground relationships, visual perception, spatial concepts, and critical thinking skills will all be emphasized extensively.  We will study and research major painting styles and movements in historical context.  The hope is that students will use this global approach to develop a “critical eye” in evaluation of contemporary painting.  Demonstrations, videos, PowerPoint lectures, group and individual critiques will be given throughout the course.  Acrylic will be the primary medium for this class.  This may seem like a lot to absorb – but always remember that our main emphasis will be to encourage and nourish individuality and creativity.

COURSE OBJECTIVES:
•  Introduce students to the fundamental processes of visual perception and artistic expression.
•  Develop students’ confidence in using painting as a primary medium for artistic expression.
•  Develop students’ ability to verbalize ideas and processes in art making.
•  Develop understanding of history, major styles and contemporary issues in painting.

REFERENCE BOOKS & REQUIRED TEXTBOOKS:
The New Artist’s Manual: A Complete Guide to Painting and Drawing Materials and Techniques By Simon Jennings, San Francisco, CA: Chronicle Books, 2006. ISBN 13: 978-0-8118-5124-4 or ISBN 10: 0-8118-5124-9 (Required text)
The Elements of Color by Johannes Itten (Translated by Ernst Van Hagen), New York: Van Nostrand Reinhold Company, 1970. ISBN 0-442-24038-4 (optional)
Alla Prima: Everything I Know about Painting by Richard Schmid,
Manchester Center, VT: Stove Prairie Press, 1999. ISBN 0966211715 (optional)

COURSE CONTENT & SCOPE:
•  Color Theory: Color wheel (primary/secondary, complementary), transparency/opacity, hue, value (intensity, brightness), chroma (saturation, purity) & temperature (warm/cold).
•  Color Contrast & Attributes: Interaction, harmony, psychology/mood, culture & expression.
•  Composition: Space, movement, balance, asymmetry, rhythm, shapes, proportion & lighting.
•  Media Characteristics & Surfaces: Acrylic, oil, paper, wood & canvas (primed/unprimed).
•  Painting Techniques: Alla prima, glazing, impasto, knife painting, scumbling & blending.
•  Acrylic & Oil Mediums: Gel medium (heavy/regular/soft, gloss/semi-gloss/matte), texture medium, linseed oil, mineral spirit, turpentine, odorless turpenoid, retouch varnish & final varnish.
•  Painting History: Major painting styles & masters in Renaissance, Realism, Impressionism, Post-impressionism, Expressionism, Modernism, Abstract Expressionism & Postmodernism.

COURSE REQUIREMENTS:
•  There will be lectures of important content – about 30 minutes – at the beginning of many classes.
•  Some lecture time will be used for critique, discussion of required reading or educational video shown, student’s presentation, and demonstration of various painting materials.
•  Required class assignments will be started in class and may be completed outside-of-class.  Additional out-of-class assignments, research and homework, may take approximately six hours per week and should be turned in for grading.
•  Students are expected to keep, and turn in for evaluation, a sketchbook for sketching, thumbnail sketching, planning, idea drafting and note.

GRADING POLICY:
•  Artistic creation is a comprehensive, developmental activity.  Grading is based on the students’ performance in several related areas:
     Evidence of students’ understanding and mastery of techniques and concepts
     Implementation of those ideas in the particular assignments
     Willingness and attitude to experiment
     Initiative demonstrated and individual effort during and after class time
     Degree of participation in class and in group-critiques
     Overall preparedness and progress through the semester
•  Students completing the basic requirements will receive a grade corresponding approximately to a “C.”
•  Students meeting the basic requirements of each assignment, who attends every class, and who contributes reasonably to the general educational environment of the group, will receive a grade of “C+.”
•  “B” work exceeds the basic requirements. “A” work is exceptional.
•  Each project, completed in or outside class, will receive a letter grade.  Your final grade will be roughly the average of all grades received; final project and class participation will be counted for approximately 25%.

ATTENDANCE POLICY:
•  You are expected to attend class regularly.  Excessive absences may result in a failing grade.  In this class, “excessive absences” is defined as missing more than two times.  After that, your final grade will be reduced by one-third-letter grade for each additional absence despite your performance otherwise.
•  Medical or personal problems will be excused but only with professional documentation.  This means a statement from a medical professional declaring that you have been ill enough to miss class.  A document that states that you had an appointment or that you saw a doctor is not enough.  Your illness must be documented as having kept you incapacitated.
•  All missed activities and work will need to be made-up outside the regular class.  You are responsible for the information missed as a result of an absence.  Make an appointment to see me for missed lectures.  You are responsible for what you have missed.
•  Three instances of tardiness will equal one absence.  Missing more than 30 minutes of a class at the beginning or at the end will both be considered an absence.  If you have trouble attending class, please discuss your attendance problems privately with me after class.
•  Excessive tardiness and absences will be referred to the Associate Dean of Arts and Sciences.
•  After six unexcused absences, you will be dropped from the course with a failing grade.

ACADEMIC DISHONESTY:
Academic honesty is fundamental to the activities and principles of a university.  All members of the academic community must be confident that each person’s work has been responsibly and honorably acquired, developed, and presented.  Any effort to gain an advantage not given to all students is dishonest whether or not the effort is successful.  The academic community regards academic dishonesty as an extremely serious matter, with serious consequences that range from probation to expulsion.  When in doubt about plagiarism, paraphrasing, quoting or collaboration, consult the course instructor.  Any student suspected of submitting work done by someone else will be reported to the Office of the Provost.

AMERICANS WITH DISABILITIES ACT:
If you need accommodations because of a disability, if you have emergency medical information to share with me, or if you need special arrangements in case the building must be evacuated, please inform me immediately. Please see me privately after class, or at my office. To request academic accommodations (for example, a notetaker or extended time on exams), students must also register with the Office of Disability Services, (http://disabilityservices.missouri.edu), S5 Memorial Union, 882-4696. It is the campus office responsible for reviewing documentation provided by students requesting academic accommodations, and for accommodations planning in cooperation with students and instructors, as needed and consistent with course requirements. For other MU resources for students with disabilities, click on "Disability Resources" on the MU homepage.

INTELLECTUAL PLURALISM:
The University community welcomes intellectual diversity and respects student rights. Students who have questions or concerns regarding the atmosphere in this class (including respect for diverse opinions) may contact the Departmental Chair or Divisional Director; the Director of the Office of Students Rights and Responsibilities (http://osrr.missouri.edu/); or the MU Equity Office (http://equity.missouri.edu/), or by email at equity@missouri.edu. All students will have the opportunity to submit an anonymous evaluation of the instructor(s) at the end of the course.

COURSE SYLLABUS • DAILY ACTIVITIES:

8/22 Lecture:       Introductory Slide Lecture, Overview & Course Objective; Materials
Video:          Acrylic Painting – Getting a start (0:28), Color for the Artist & Composition
Homework: Read New Artist’s Manual, Brushes, p.78-83; Acrylics, p.128-131, 203-209;
                      Composition, p.228-233;
                      Review Drawing From Observation, By Brian Curtis, (http://ERes.missouri.edu).
8/24 Exercise:     1-section Acrylic painting in Black & White, canvas board (9”x12”). Prop: Still-life (cube)
Homework: Read Artist’s Manual, Canvas, p.14-27; Color, p.211-227; Oil paint, p. 63-77;
                       Still-life, p.235-269; Review Perspective Drawing, Chapters 1, 2 & 3 @Eres.
8/29

Lecture:       Composition – Space, Movement, Balance, Direction & Rhythm; Golden Section
                       (1:1.618 or 5:8) & Proportion; Acrylic Painting Medium & Technique; Basic Color Theory
                       (Color wheel, Primary, Secondary, Complementary) & Impressionism
Video:          Vermeer: Light, Love & Silence
Exercise:     2-section Acrylic painting, canvas board (9”x12”). Prop: Still-life (cube or box)
Homework: Study Paul Cezanne’s work in books or ArtStor or on the Web;
                       Read New Artist’s Manual, Color Expression, p.224-227

8/31

Lecture:        Color Contrast & Harmony – Hue, Value (intensity, brightness), Chroma (saturation,
                        purity) & Temperature (warm & cold).
Exercise:      Complete Acrylic painting, canvas board (9”x12”). Prop: Still-life (cube or box)
Homework:  Study paintings by Lucian Freud

9/7 Lecture:        Various Styles of Still-life Painting and Lucian Freud’s work; Acrylic & Oil Mediums -
                        Gel medium (heavy/regular/soft, gloss/semi-gloss/matte), texture, turpentine, linseed oil,
                        retouch varnish & final varnish.
Exercise:      Start a 4-section Acrylic painting, canvas (16”x20”). Prop: Still-life (bird house)
9/12 Exercise:      Continue Acrylic painting. Prop: Still-life (bird house, column, book & etc.)
Homework:  Read New Artist’s Manual, Some oil painting techniques, p. 161-179;
                        Sizing supports for painting, p.18-27; Varnishing painting, p.348-355
9/14 Lecture:        Acrylic (& Oil) Painting Techniques: Underpainting, Alla Prima, Glazing, Impasto,
                        Knife Painting, Scumbling, Drybrush & Blending The Still-life by Lucian Freud
Exercise:      Continue Acrylic painting. Prop: Still-life (bird house, column, book & etc.)
Video:           Color & Texture
9/19 Exercise:      Complete Acrylic painting. Prop: Still-life (bird house, column, book & etc.)
9/21 Exercise:      Start a 4-section Acrylic painting, canvas (16”x20”). Prop: fruit, bottle & basket
Video:           Van Gogh’s Van Goghs (56:46)
9/26 Exercise:      Continue Acrylic painting. Prop: Still-life (fruit, bottle & basket)
9/28 Exercise:      Continue Acrylic painting. Prop: Still-life (fruit, bottle, bone & basket)
Homework:  Study Pissarro or Monet’s landscape painting, bring the book to next class
10/3  Exercise:      Complete Acrylic painting. Prop: Still-life (fruit, bottle, bone & basket)
Homework:  Study Pissarro or Monet’s landscape painting, bring the book to next class
10/5 Lecture:        Aerial (Atmospheric) Perspective & Landscape Painting
Exercise:      Start the copy of Pissarro or Monet’s landscape painting, canvas (14”x18”)
Homework:  Read Artist’s Manual, Depth & Distance, p.204-213
10/10 Video:           Cezanne: The Man and the Mountain & French Impressionists
Exercise:      Continue the copy of Pissarro or Monet’s landscape painting
Homework:  Writing assignment based on videos seen in class
10/12 Exercise:      Continue the copy of Pissarro or Monet’s landscape painting
Homework:  Study paintings by Vincent van Gogh
10/17  Exercise:      Complete the copy of Pissarro or Monet’s landscape painting
HW Due:       Writing assignment based on videos seen in class is due today
10/19 

Exercise:     1-section landscape painting sketch from nature, canvas board (9”x12”)

10/24 Exercise:      Start a 4-section landscape painting from nature on canvas (16”x20”)
10/26 Exercise:      Continue the landscape painting from nature on canvas
Homework:  Sketch of sunset sky in acrylic on canvas board (9”x12”)
10/31 Exercise:      Continue the landscape painting from nature (or photo) on canvas
Homkewor:  Look for good photos of portrait, lion, tiger or dog for your painting
11/2  Exercise:      Complete the landscape painting from nature (or photo) on canvas
Homework:  Look for good photos of portrait, lion, tiger or dog for your painting
                       Study paintings by Johannes Vermeer (Dutch, 1632-1675) & Andrew Wyeth
11/7 Lecture:       Various Styles of Portrait and Animal Painting, and the works of Lucian Freud and
                       Odd Nerdrum; Proportion of the Human Head
Exercise:     Start Acrylic painting, 5-section, canvas (16”x20”). Subject: Portrait from photo
11/9 Exercise:     Continue Acrylic painting of portrait (or lion, tiger & dog) from photo
Video:           European Art School: Color
11/14  Exercise:      Continue Acrylic painting of portrait (or lion, tiger or dog) from photo
Video:           The Training of Painters
11/16 Exercise:      Continue Acrylic painting of portrait (or lion, tiger & dog) from photo
Homework:  Read New Artist’s Manual, The Human Form, p.306-341
Video:           Michelangelo: Self Portrait
11/28

Exercise:      Start portrait painting from life model, 3-section, canvas (16”x20”). Subject: model
Homework:  Study portrait paintings by Leonardo da Vinci & Rembrandt (1606-1669)

11/30 Exercise:      Continue portrait painting from life model, Subject: Life model, male or female
12/5 Exercise:      Continue portrait painting from life model, Subject: Life model, male or female
12/7

Exercise:      Complete portrait painting from life model, Subject: Life model, male or female
Exercise:      Complete Acrylic painting of portrait (or lion, tiger & dog) from photo

12/14

Final Critique & Exam: Wednesday, 7:30 am - 9:30 am

           This is the general pace of the class and is not intended to be a complete list of assignments & exams.  Special assignments or slight modifications of this plan may occur in order to accommodate students’ needs and to solve specific painting problems that arise.

Copyright © 2011 Lampo Leong • All Rights Reserved