Course Title: Apply techniques to produce paintings
Part B: Course Detail
Teaching Period: Term1 2010
Course Code: VART5988C
Course Title: Apply techniques to produce paintings
School: 340T Art
Campus: City Campus
Program: C5234 - Diploma of Visual Art
Course Contact : Ninna Cikoja
Course Contact Phone: +61 3 9925 4472
Course Contact Email:TAFEArt@rmit.edu.au
Name and Contact Details of All Other Relevant Staff
Julia Powles julia.powles@rmit.edu.au
Nominal Hours: 50
Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.
Pre-requisites and Co-requisites
It is highly recommended that this unit be assessed in conjunction with:
• CUVCOR01B Source concept for own work, or
• CUVCOR02B Develop and articulate concept for own work
• CUVCOR07B Use drawing techniques to represent the object or idea, or
• CUVCOR08B Produce drawings to represent and communicate the concept.
It could also be assessed in conjunction with:
• CUVCOR11B Source information on history and theory and apply to own area of work.
Depending on the context, combined assessment and/or training with a range of other units would also be appropriate, e.g.:
• CUVCRS13B Store finished work.
Course Description
This course develops the skills and knowledge to use techniques, materials and equipment for the production of paintings. It covers general knowledge and the application of basic techniques. It is a specialisation unit and refers to a specific art form.
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title: |
CUVVSP34B Apply techniques to produce paintings |
Element: |
Prepare and maintain physical resources for painting. |
Performance Criteria: |
1.1 correctly identify and select tools, equipment and materials for the production of paintings. |
Element: |
Produce the paintings. |
Performance Criteria: |
2.1 safely use techniques for the production of paintings |
Element: |
Use and test painting techniques. |
Performance Criteria: |
3.1 Draw concept for the proposed paintings |
Learning Outcomes
On completion of this unit you will be able to:
• Prepare and maintain physical resources for the production of paintings
• Use and test painting techniques
• Produce paintings.
You will also have an understanding of:
• Occupational health and safety procedures
• Physical properties and capabilities of the most commonly used materials, tools and equipment
• Techniques, materials and tools and the way they can be adapted and extended in painting work
• Approaches to painting and the work of key practitioners
• Elements and principles of design (introductory level)
• Historical and theoretical contexts (introductory level)
• Copyright, moral rights and intellectual property issues.
Details of Learning Activities
STUDIO PRACTICE
• Structured group tuition – primarily studio based.
• During this module students are required to undertake seven (7) painting workshops and two (2) major project works.
• Painting studio workshops are generally defined by an emphasis on particular skills and techniques, and are designed to assist students to develop skills that are relevant to an understanding of historical and contemporary painting practice. Workshops are linked to projects and are seen as a necessary preparation to project work.
• Projects are generally defined by visual concepts or ideas developed through a process of research and critical evaluation. Projects should place an emphasis on the integral relationship between ideas, materials and techniques.
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• A project may involve more than one piece of work and will involve ‘back up’ studies, process pieces and/or evidence of research undertaken. Evidence of the use of some of the techniques explored in painting studio workshops should be apparent in the execution of each project.
• Visual arts diary while containing work for other subject areas should be utilised for painting studies and drawings related to painting works. This should be used consistently and is an excellent vehicle for considering images and ideas across subjects.
THEORETICAL REQUIREMENTS
Students develop a research informed approach to producing paintings and are required to identify and review the work of key practitioners.
Teaching Schedule
Week 1: Orientation
Week 2: Introduction to the painting program including an overview for the year and explanation of the aims and outcomes expected. Students view a Power point presentation about painting in both an historical and contemporary context. Time is allocated for questions and answers. Handouts outlining course structure, learning objectives and assessment requirements are given out.
Week 3: Oil painting workshops begin. OH&S information, safety and cleanup procedure in the painting room are explained in detail and discussed. Basic chemistry of oil paint and its history is outlined. Brushes, mediums and supports for oil paint are explained. 2 sheets of paper are prepared.
Week 4: Limited palette study working on a coloured ground. Students are introduced to the idea of working on a coloured ground and understand how to mix neutrals. The concept of warm and cool tones is introduced. Composition and basic formal elements are emphasised.
Week 5: Introduction to colour. Colour is explained in terms of pigments with a particular emphasis on understanding complimentary colour. Composition and basic formal elements are emphasised.
Week 6: Colour ratio and balance. Expanding upon last week, students learn how to mix shadows using complimentary colours. Colour balance is discussed.
Week 7: Shadows and Pattern. Emphasis for this class is on negative space and pattern.
Week 8: Process to Content Project notes are handed out. The requirements for the first painting project are discussed in detail. A power point presentation on the artist Luc Tymans is shown in order to further illustrate some of the ways an artist might express a particular idea through paint.
Week 9- 13: Process to Content Project. This project is to be completed in class and at home.
Week 14: Group Tutorial. The work produced through the painting project is discussed.
Week 15-16: Self Portrait Project. Students conclude the semester with a two week self portrait project.
Week 17-18: Assessment
Learning Resources
Prescribed Texts
References
Other Resources
Vitamin P: New Perspectives in Painting
Phaidon Press (September 14, 2004
Godfrey, T. Painting Today
Phaidon Press 2009
Nickas, B. Painting Abstraction: New Elements In Abstract Painting
Phaidon Press 2009
Holzwarth, H.W. 100 Contemporary Artists
TASCHEN 2009
Janson’s A Short History of Art: Eighth Edition
Davies, P., Fox Hofrichter, F., Jacobs, J., Roberts, A., L Simon, D.L.
Prentice Hall Art 2008
Barnet, S. A Short Guide to Writing About Art
Prentice Hall; 9th edition 2009
Overview of Assessment
Students’ ability to apply techniques to produce paintings will be assessed by the following:
• Observation (with questions and answers) of safe and healthy preparation & maintenance of equipment, materials and work spaces. This is conducted three times per semester.
• Review of visual journal by teacher/assessor against specified criteria
• Review of portfolio of paintings by a group of teachers/assessors.
Assessment Tasks
ASSESSMENT:
Students will be assessed on three criteria- written review of the work of a key practitioner, folio presentation and OH&S compliance.
KNOWLEDGE OF KEY PRACTITIONERS
Students will choose the work of a key practitioner and review in writing that work. Students wil be expected to show an understanding of the historical/contemporary context of the painting being reviewed, and will explain in their own words how and why they think this artist/artwork is successful.
OH&S COMPLIANCE
There will be ongoing monitoring for OH&S compliance throughout the semester. Students will be assessed against an OH&S checklist. No student will be able to complete the Unit of Competency unless they are deemed OH&S compliant.
FOLIO REQUIREMENTS
Based on student learning experiences:
Folio presentation – journal, working studies, painting.
Participants will need to establish the ability to make confident and appropriate decisions. This should reflect development based on prior knowledge, inter–subject knowledge and current information. The establishment of a solid technical base is essential in this unit.
• Two (2) major project works (each may involve more than one work).
• A series of works from the painting workshops, which have been produced under studio supervision.
• At least one (1) visual arts journal (also utilised for other subjects) containing work relevant to painting.
• Presentation of any research materials
NB: Projects must reflect consistent interaction with tutors in the studio in order to be considered for assessment. All works must be sighted before assessment.
Assessment Matrix
Course Overview: Access Course Overview