San José State University
Department of Art & Art History
Art 162 Watercolor -01
Spring 2014
Instructor:
Gale Antokal
Office Location:
A315
Telephone:
408-924-4404
Email:
[email protected]
Office Hours:
Monday-Wednesday 10:30-11:30am &
Monday 6:00-7:00pm
Class Days/Time:
MW 3:00-5:50pm
Classroom:
A337
Course Fees:
NA
Prerequisites:
ART 12, ART 24
COURSE DESCRIPTION
This will be an introduction to both traditional and contemporary approaches to
watercolor media. We will attempt to master many skills, beginning with terminology and
equipment, color index names, learning the different characteristics of transparent,
opaque and staining pigments, and how to form a palette. Unlike oils or acrylic paints,
watercolors are never fully controllable or predictable, and the artist must allow for
unexpected movement, blending and mixing effects.
We will learn to recognize two very different ways of achieving luminosity. Luminosity is
the radiance or brilliance of light emitted by the white surface of the watercolor paper.
How does watercolor react on paper? We will primarily be working with "aquarelle", a
transparent water base paint, but we will also become familiar with the opaque water
base media: gouache, tempera and casein. The opaque media uses white pigment to
create luminosity, rather than rely on the purity of the white paper.
Basic techniques and materials will be presented to achieve controlled representations
of what one sees. Equal time will be devoted to taking an experimental stance towards
the media. Students will also be encouraged to develop a "notational" painting skill
(painterly realism) apropos to Asian tradition, and one that we see in the work of the
artists John Singer Sargeant, Winslow Homer, Paul Cezanne, Charles Demuth, John
Marin, to name a few.
We will observe the quality of “edges,” develop control of gravity, gradated, granulated
and flat washes, glazing, building in dry surface techniques, wet on wet washes, the use
of controlled edges in combination with wet on wet and the dry brush. We will gradually
be sensitized to viscosity (thickness, stickiness), density (heaviness) of earth pigments
and minerals, how they behave when mixed, and what happens to edges at different
stages of drying. We will continue to examine the theoretical use of color and how to
apply it to watercolor problems. We will also learn to clearly see the direction of light
and understand how to compose a system of clear values, relate these values to
equivalent hues, and create depth of space using color and concentration of pigment.
In the beginning, we will work from a variety of still life problems, and landscape. As we
become more confident in our techniques, there will be a shift of emphasis to our own
personal imagery, content and appropriate applications for our particular major. A fine
arts major may want to ultimately experiment and take chances, while a student in
Illustration or Interior design might need to focus on more traditional aspects of realism.
Therefore, students will be encouraged to explore the form in whatever their major
dictates. We will generally work on 140 lb. cold press paper (full or half sheet). We will
learn how to make our own watercolor boards and learn the traditional methods to
stretch paper. Students who wish to work larger will be encouraged to do so. We will
also learn how to make a small inexpensive pocket pan boxes, accessible when you are
traveling, or watercolor sketching locally. Lectures will include a wide range of
information about the theory and practice of watercolor painting. Examples of work by
selected artists will be used to illustrate the ideas and techniques presented.
There is no website better for a comprehensive investigation on “Watercolor” than Bruce
McEvoy’s http://www.handprint.com/HP/WCL/water.html
He describes his site as the “world’s finest guide to watercolor painting. I agree. It is a
work of art in itself. He is an unflagging researcher, highly opinionated, and passionate
about the medium. This site will engross you for hours and hours. There is much color
theory here, too.
Bruce McEvoy is also the author of the Wikipedia Watercolor entry and is unparalleled
as well.
http://en.wikipedia.org/wiki/Watercolor_painting
STUDENT LEARNING OUTCOMES
By the end of the semester, students will be able to:
CLO#1 Develop basic Watercolor skills by completing classroom still-life exercises and
homework assignments.
CLO#2 Learn the basics of brushwork, and techniques such as layering, flat and
gradated washes, wet on wet technique and Asian traditional approach (notational
style).
CLO#3 Learn to control and understand color mixing with both transparent and opaque
applications.
CLO#4 Demonstrate creative problem-solving skills.
CLO#5 Stretching watercolor paper using several methods 1) staple 2) paper tapes 3)
stretcher bars
CLO#6 Develop the ability to evaluate critically one’s own artwork and the work of
others.
CLO#7 Further develop skills in composition, value, color.
CLO#8 Gain a working knowledge of historical and contemporary watercolor painting.
GRADE EVALUATION AND EXPECTATIONS
You will have 12-14 completed paintings by the end of the semester. There will be
critiques after every major assignment, and homework assignments every week. These
will either be:
1. A small representational study done in your field book no smaller than 11 x 14
2. A color system investigation (color wheel, grid, value chart, etc) to be done in a
ring binder. For this book, you will need to quarter several sheets of imperial size
paper and use a hole punch.
I will view these books every week and record grades.
Classroom and assignments:
60%
Homework Assignments:
20%
Final Assignments:
20%
Individuals who wish to work more independently should see me to make
arrangements. No work done in any other class may be submitted for credit in this
class.
A+ = 100-97%
B+ = 89-87%
C+ = 79-77%
D+ = 69-67%
F = 59-0%
Unsatisfactory
A = 96-93%
B = 86-83%
C = 76-73%
D = 66-63%
A- = 92-90%
B- = 82-80%
C- = 72-70%
D- = 62-60%
ATTENDANCE
Regular attendance is required. Plan to be in class on time and remain the entire
period. I take attendance at the beginning of every session. If there are any problems,
please contact me by telephone, or during office hours. Late and make-up assignments
are allowed only if the circumstances are real and beyond your control. Please arrange
to have others to pick up family members from airports, car repair and medical
appointments. Plan to attend every session, arrive on time, and leave at the appointed
time. Work will be accepted up to a week late, with a ½ point grade deduction.
EVALUATION/CRITERIA
Predominantly, the overall quality of work, and the satisfactory completion of all
assigned projects showing evidence of mastery of concepts covered. Craftsmanship of
presentation is encouraged, as well as participation during slide shows and critiques
UNIVERSITY, COLLEGE, OR DEPARTMENT POLICY INFORMATION
For full assignment details, requirements and due dates see course on-line
syllabus.
Criteria for assignments:
• Demonstrated visual understanding of the specific assigned objectives
• Quality of presentation: finished, clean, professional
• Creative risk: It is always important to go the extra step and chance beyond the
expected
• Active verbal participation in critiques
• All classwork and homework assignments turned in on time (Late work drops
10% per class day)
University policy F69-24, “Students should attend all meetings of their classes,
not only because they are responsible for material discussed therein, but
because active participation is frequently essential to insure maximum benefit for
all members of the class. Attendance per se shall not be used as a criterion for
grading.”
Grading Policy and grade breakdown:
 Studio Assignments: 70%
 Reading Assignment Comments: 10%
 Color Terminology Quiz: 10%
 Class Participation – active involvement in studio and discussions: 10%
 No extra credit option available
A+ = 100-97%
B+ = 89-87%
C+ = 79-77%
D+ = 69-67%
F = 59-0% Unsatisfactory
A = 96-93%
B = 86-83%
C = 76-73%
D = 66-63%
A- = 92-90%
B- = 82-80%
C- = 72-70%
D- = 62-60%
“Success in this course is based on the expectation that students will spend, for
each unit of credit, a minimum of forty- five hours over the length of the course
(normally 3 hours per unit per week with 1 of the hours used for lecture) for
instruction or preparation/studying or course related activities including but not
limited to internships, labs, clinical practica. Other course structures will have
equivalent workload expectations as described in the syllabus.”
Classroom Protocol
Curiosity, an interest in the world around you and in “getting your hands dirty” is
a critical trait for any artist. Students are expected to arrive in class on time and
prepared with all necessary materials, participate actively, and to be curious.
Absences, late arrivals, and early departures will hamper your ability to
participate fully in the class. Class participation plays an important roll in the
learning process and ultimately affects your grade. If an absence is absolutely
necessary, it is the student’s responsibility to obtain any missed material
(lectures, reading and class assignments). Check the on-line Syllabus and
exchange emails with a fellow student. Email me if you are having difficulty but
please always check the on-line syllabus before emailing me with questions.
Include “Art 14” in your subject line. Students are welcome to drop-in any time
during my office hours to discuss course material, questions about your major
and any other issues – or just to chat about art.
Documentation of student work
Periodically I document student work to use in lectures and on my course
website for educational purposes. My practice is to give credit to the student who
made the work. If any student would prefer I not use her/his work, please let me
know. This has no bearing on the course. If at any later date you would like me
to take down your image from the course site, please email me at
[email protected]
Information about Majors and Minors
For information about majors and minors in Art & Art History, for change of
major/minor forms and a list of advisors: http://www.sjsu.edu/art/ or the Art & Art
History department office in ART 116, 408- 924-4320, [email protected]
Dropping and Adding
Students are responsible for understanding the policies and procedures about
add/drop, grade forgiveness, etc. Refer to the current semester’s Catalog
Policies section at http://info.sjsu.edu/static/catalog/policies.html Add/drop
deadlines can be found on the current academic year calendars document on
the Academic Calendars webpage at
http://www.sjsu.edu/provost/services/academic_calendars/The Late Drop Policy
is available at http://www.sjsu.edu/aars/policies/latedrops/policy/ Students should
be aware of the current deadlines and penalties for dropping classes.
Information about the latest changes and news is available at the Advising Hub
at http://www.sjsu.edu/advising/.
Academic integrity
Your commitment as a student to learning is evidenced by your enrollment at
San Jose State University. The University Academic Integrity Policy S07-2 at
http://www.sjsu.edu/senate/docs/S07-2.pdf requires you to be honest in all your
academic course work. Faculty members are required to report all infractions to
the office of Student Conduct and Ethical Development. The Student Conduct
and Ethical Development website is available at
http://www.sjsu.edu/studentconduct/.
Instances of academic dishonesty will not be tolerated. Cheating on exams or
plagiarism (presenting the work of another as your own, or the use of another
person’s ideas without giving proper credit) will result in a failing grade and
sanctions by the University. For this class, all assignments are to be completed
by the individual student unless otherwise specified. If you would like to include
your assignment or any material you have submitted, or plan to submit for
another class, please note that SJSU’s Academic Integrity Policy S07-2 requires
approval of instructors.
Campus Policy in Compliance with the American Disabilities Act
If you need course adaptations or accommodations because of a disability, or if you
need to make special arrangements in case the building must be evacuated, please
make an appointment with me as soon as possible, or see me during office hours.
Presidential Directive 97-03 at http://www.sjsu.edu/president/docs/directives/PD_199703.pdf requires that students with disabilities requesting accommodations must register
with the Accessible Education Center (AEC) at http://www.sjsu.edu/aec/ to establish a
record of their disability.
SJSU Counseling Services
The SJSU Counseling Services is located on the corner of 7th Street and San Fernando
Street, in Room 201, Administration Building. Professional psychologists, social
workers, and counselors are available to provide consultations on issues of student
mental health, campus climate or psychological and academic issues on an individual,
couple, or group basis. To schedule an appointment or learn more information, visit
Counseling Services website at http://www.sjsu.edu/counseling.
“You are responsible for understanding the policies and procedures about
add/drops, academic renewal, withdrawal, etc. found at
http://sa.sjsu.edu/judicial_affairs/students/student_code_of_conduct.html
Expectations about classroom behavior; see Academic Senate Policy S90-5 on
Student Rights and Responsibilities at http://www.sjsu.edu/senate/S90-5.pdf
LIST OF MATERIALS
I recommend the following list of watercolors in tubes, and I encourage selection
of Artist quality paint over student brands. At some point in the semester, we will
create our own “field boxes” for half or full pans, so that you have the
convenience of working outside.
Watercolor paints are a basic emulsion of pigment suspended in a binder.
Pigments are usually some sorts of dry ingredient that gives the paint its color.
Binders are substances added to the paint to maintain even consistency,
plasticize and preserve the paint. Examples are glycerin, gum arabic, and honey,
which are used to keep the paint from drying and cracking. These pigments are
ground into fine powders and are then milled with the binder. With a student
grade watercolor paint you will find a ratio of less pigment to binder than you
would find in a comparable color of professional paint.
Put simply, for not much more cost, you get watercolor paints that are of higher
quality than even the old masters used. However, since student grade
watercolors do have lower ratios of pigment to binder than professional grade
colors, you will find that your paint is less intense in color when it comes out of
the tube. Also, in student watercolors you will see colors that are called “hues”. A
hue is a word that is used to let you know that specific paints are different in
some way. For instance, in Winsor Newton’s Cotman Watercolor line, Cobalt
Blue and Cobalt Blue Hue are going to be different. The “hue” lets you know that
there is some pigment that has been substituted in the formulation to keep the
price down. The other important fact to keep in mind is that there is little to no
difference in the transparency of student grade watercolors and professional
grade watercolors. Since essentially the same pigments are used, just smaller
proportions the transparent properties of the paints are the same.
For a complete light fastness evaluation of various paint brands, see these
informative links
WATERCOLOR MANUFACTURERS FROM AROUND THE WORLD
Art Spectrum
(Australia)
Schmincke
(Germany)
Blockx
(Belgium)
Sennelier
(France)
Daler-Rowney
(England)
Utrecht
(US)
Daniel Smith (US)
Rembrandt
(Netherlands)
Da Vinci
(US)
Winsor & Newton (England)
Holbein
(Germany)
Yarka/St. Petersburg (Russia)
Kremer
(Germany) Lukas
(Germany)
Maimeriblu
(Italy)
M. Graham & Co.
(US)
Old Holland (Netherlands)
WATERCOLOR LINKS:
http://www.handprint.com/HP/WCL/waterfs.html
http://en.wikipedia.org/wiki/Watercolor_painting
http://www.watercolorpainting.com/
http://www.paintmaking.com/grinding_watercolor_gouache.htm
http://www.hilarypage.com/
http://artezan.blogspot.com/2007/04/home-made-watercolour-bijou-box.html
http://www.artsupplies.co.uk/index.php
http://www.goldenpaints.com/justpaint/jpindex.php
http://www.jacksonsart.com/
http://www.dickblick.com
http://www.aswexpress.com/
http://www.jerrysartarama.com/
http://www.pearlpaint.com/
http://www.misterart.com/
http://www.naturalpigments.com/
http://www.winsornewton.com/datasheets/UKSafetyDataSheets/UKColours/ukaw
cgeneral.pdf
REQUIRED COLORS: (please note that Manufacturer names vary for each hue)
LEMON YELLOW or WINSOR LEMON or AUREOLIN
CADMIUM YELLOW (MEDIUM) or WINDSOR YELLOW
CADMIUM RED SCARLET or CADMIUM RED LIGHT
PERMANENT ALIZARIN CRIMSON, OR PERYLENE MAROON
ULTRAMARINE BLUE
WINDSOR BLUE (red shade)
CERULEAN BLUE
COBALT BLUE
VIRIDIAN GREEN
SAP GREEN
WINSOR GREEN (blue shade)
SEPIA
BURNT SIENA
PAYNES GRAY
YELLOW OCHRE or QUINACRIDONE GOLD or RAW SIENA
IVORY BLACK or NEUTRAL TINT
BRUSHES:
There are a wide variety of brushes to consider. The highest quality brushes are
Kolinsky Sable; next best is Sable, then Sable synthetic mix the cheapest being
all-synthetic. The difference between the brushes is the cost, the amount of
water they hold, the ability to maintain a sharp point and the effects that can be
created with them. There are round brushes, flat brushes, riggers (for
producing long fine lines) fan brushes (for special effects) and wash brushes
(for applying large amounts of color). Be sure to get brushes made specifically
for watercolor. The
size of the paintings you intend to do will have an influence on the sizes of
brushes used. Buy the best you can afford. If you are using lots of different
colors in a painting you need a lot of brushes, and often many in the same size.
To offset this cost, I recommend the Winsor-Newton Scepter series.
Watercolor Rounds:
#3
#6
#12
#20
$3.50
$6.00
$16.00
$50.00
Winsor Newton Series 7 Kolinsky Sable
#3
$13.50
#5
$23.00
#7
$45.00
#10
$120.00
Winsor Newton Cotman Synthetic Brushes
#3
$2.75
#6
$3.75
#8
$4.75
#12
$7.75
#14
$10.85
A Flat Brush: 1 inch (Cotman $15.75 or Scepter $20.00)
Oval Wash or Mop Brush or Squirrel Mop (Isabey or Harmony)
Robert Simmons White Sable Goliath Wash Series 789 #36
http://www.cheapjoes.com/art-supplies/5765_white-sable-goliath-rounds.asp
Squirrel Mop (#4,5, or 6, 8)
http://www.aswexpress.com/discount-art-supplies/online/2055/art-supplies/4
“Incredible Nib” (for correcting, lifting, blending, softening)
http://www.dickblick.com/zz029/02/
Waterbrushes
http://www.willsquills.com.au/AquaBrush.html#anchor60370
Pentel Aquash
http://www.hiromipaper.com/store/product.php?productid=16727&cat=332&page
=1
“Niji” Waterbrush
http://www.dickblick.com/zz051/33/
The Ackerman Pump Pen” http://www.ackermanpens.com/
Here is a great price PDF for NY Central Supply’s Watercolor Brushes
http://www.nycentralart.com/pdf/3-brushes.pdf
Inexpensive foam brushes
WATERCOLOR BOARD:
Gatorfoam Board http://www.dickblick.com/products/gatorfoam-board/
16” x 23” x ½” thickness $11.99 OR 23” x 31” x ½” thickness $19.99
1/4" birch plywood no smaller than 23" x 31". You can make this yourself.
A Small can of Varathane seal to waterproof the board (use a cheap house paint
brush)
Stretching Paper:
Quick and easy method: A large celluloid sponge fully saturated. Wipe the board,
and lightly wipe both sides of your paper. Lay the paper down on the board and
staple. Use lightweight staples only!
Traditional method: When using 140 lb. paper, stretch it by soaking it first for 510 minutes in cool water in the bathtub (make sure your tub is CLEAN - no bath
oil/bubble bath residue!), or if it's small enough holding it under running water in
the kitchen sink, flipping it so both sides get evenly wet - 2-3 minutes is usually
enough. Then lay it wet on the varnished wood drawing board and then stapling
the wet paper all around the edges at 1" intervals to the board. As it dries, it
shrinks and pulls very tight and flat, and remains that way, even when re-wet
during the painting process. When the painting is finished and thoroughly dry,
remove the staples with a flat staple remover. When framing the piece, either
use the mat to cover the staple holes, or, if you wish to "float" the painting, handtear the edges of the paper back beyond the staple holes to create a new
"deckle" type edge.
WATERCOLOR TAPES: LUKAS WET ADHESIVE TAPE This acid-free white
adhesive tape is activated by wetting the back. Adhere to the edges of the paper
and affix to Gator board, Watercolor Mounting Boards or any paper or wood
board for painting indoors and out. Eliminates (300lb) and reduces the buckling
of paper while wetting paper or doing watercolor washes.
http://www.jerrysartarama.com/discount-art-supplies/tapes-andadhesives/tape/lukas-wet-adhesive-tape.htm
WATERCOLOR WASHOUT TAPE Holds watercolor paper to board while
painting. It won't lift up even when totally saturated. Best of all you can remove
this tape without harming your work after painting. Use as a friskit too. Just apply
(no burnishing required), lay down wash and lift. Holds a great hard edge. 36
yard rolls. Do not burnish.
http://www.jerrysartarama.com/discount-art-supplies/tapes-andadhesives/tape/watercolor-wash-out-tape.htm
PAPER:
You will need 20 sheets of 22” x 30” 140lb cold press paper (we will work on half
sheets at times)
A Field Watercolor Sketchbook 11” x 14” 140 lb cold press
Aquabee Super Deluxe Sketchbook, 11” x 14” $17.00-$18.00
http://www.dickblick.com/zz100/10a/
Canson Montval Field Watercolor Book (for homework assignments)
http://www.dickblick.com/zz101/23/
Molskine Watercolor field book (sketchbook) for spontaneous site work. 5’
X 8” $17.00
http://www.dickblick.com/zz101/59/
Arches 140 lb $28.00
(10 sheets) http://www.jerrysartarama.com
Lanaquarelle
$33.00
(10 sheets)
Canson Montval
$25.00
(25 sheets)
Strathmore Gemini
$30.00
(10 sheets)
Fabriano Artistico
$30.00
(10 sheets)
Armatruda 320 gr 16 x 20" cold press watercolor paper $4.99
Kilimanjaro (Cheap Joe’s)
$34.99
(10 sheets)
MISCELLANEOUS REQUIRED ITEMS:
An Art Box for your materials
Large clear plastic Container for clear water
Small plastic containers for cleaning (cool whip or margarine tubs)
Portfolio for your work
LARGE PLASTIC PALETTE WITH LID 11" x 16"
There are many different types and shapes of palette available made from
metal, plastic and porcelain. The only essentials are that it should be white, so
that the colors can be seen clearly and it should have a number of mixing wells
with sufficient depth to allow mixing of a number of separate washes. The
palette should preferably have flat rather than slanted wells. Palettes with slanted
wells make it difficult to gauge the intensity of color in a wash and also prevent
the formation of variegated mixes (mixtures which allow the component colors to
form a marbled appearance by not completely mixing them together). Many
people use ordinary white dinner plates.
Robert Wood: http://www.jerrysartarama.com/artsupply/catalogs/0013406000000
Aqua Pro: https://www.aswexpress.com/artsupply/catalogs/0062986000000
Skip Lawrence: http://www.cheapjoes.com/art-supplies/4636_skip-lawrencepalette.asp
Plastic mixing tubs (Cool whip tubs, or anything similar, and white plastic)
Clear Plastic Water Containers: Use 2: One for the lights and one for the cools
and dark colors.
Soft rubber erasers
A 6-scale “Black to White” Paint chip strip (from your local Hardware store)
Hole puncher (for your above-mentioned paint chip strip, and color grid study
notebook)
2” White Masking tape
Postal Packing tape (paper)
Carpenter’s Glue
Staple Gun
Bamboo roll up brush holder (or placemat) to protect brushes
Q-tips
Sponges (natural and synthetic) one to be left in your covered palette for
hydration.
Spray bottle (new or re-cycled)
Pencils
Drawing sketchbook for your thumbnail compositions
paper towels and soft tissues (no toilet paper, please)
White caran d'ache wax crayon (neocolor I)
RECOMMEMDED BUT NOT REQUIRED:
Hand atomizer
Natural sponges
Ox gall Liquid
Mask-oid liquid (liquid friskit)
Japanese Hake brushes
PORTABLE WATERCOLOR TOOLS “TO GO”
Watercolor journal (like Moleskin) 5” X 8” (approx)
Moleskine Watercolor Notebook paper can be tricky. It soaks the water in
quickly, and as a result, the pigment is “stuck” on the surface almost
immediately. Heavy washes of mixed colors sometimes separate a bit. To
remedy, layer lighter washes so the grainy effect is eliminated.
The paper does “bend” as it becomes saturated, but it never really “buckles” or
“puckers” like a thin bond paper would. And once it’s dry, it pretty well flattens
out; certainly flat enough for framing as long as there is sufficient backing to
press against the painting. Each leaf is perforated so you can remove a sketch
easily for framing. There is no “bleed-through” to the back side, so long as you
let the first one dry.
(2) ALTOID MINT BOXES
10 empty plastic ½ pans. (I will provide)
Plastic U Channel molding, or double stick foam tape,
Niji or Pentel “Aquash” waterbrush
Magnetized Plastic film canister with lid
Pencils, Waterproof pens
Suggested Pans:
(1) BENZIMIDA YELLOW, (WINSOR YELLOW)
(12) COBALT
TURQUOISE
(2) NICKEL DIOXINE YELLOW, (NEW GAMBOGE) (13) PHTHALOCYANINE
GREEN BS
(3) PYRROLE ORANGE,
(14) SAP GREEN
(4) CADMIUM RED DEEP
(15) CHINESE WHITE,
(5) QUINACRIDONE MAGENTA,
(16) RAW UMBER,
(6) QUINACRIDONE VIOLET,
(17) GOLD OCHRE,
(7) MANGANESE VIOLET;
(18) BURNT SIENNA,
(8) ULTRAMARINE BLUE
(19) VENETIAN RED,
(9) COBALT BLUE
(20) BURNT UMBER,
(10) PHTHALOCYANINE BLUE
(21) IVORY BLACK.
(11) CERULEAN BLUE, GS
cadmium lemon
cadmium scarlet
cobalt violet deep
manganese blue,
phthalo green YS
green gold,
quinacridone gold
cadmium yellow deep
quinacridone carmine
indanthrone blue,
cobalt teal blue,
chromium oxide green,
raw sienna,
sepia or neutral tint)
COMPLEMENTARY PAIRINGS:
(8) ultramarine blue = (16) raw umber, (17) gold ochre or *quinacridone gold,
(18) burnt sienna, (20) burnt umber
(9) cobalt blue = (16) raw umber, (17) gold ochre, (18) burnt sienna, (20) burnt
umber
(10) phthalo blue GS = (3) cadmium scarlet or pyrole orange, (17) *gold ochre,
(19) *venetian red, (20) burnt umber
(11) cerulean blue or manganese blue = (3) cadmium scarlet or pyrole orange,
(19) *venetian red
(12) cobalt turquoise or cobalt teal blue = (3) cadmium scarlet or *pyrrole
orange, (4) *cadmium red deep, (19) venetian red
(13) phthalo green BS or YS = (4) cadmium red deep or quinacridone carmine,
(5) *quinacridone rose
(14) sap green hue or chromium oxide green = (7) manganese violet, cobalt
violet deep or *dioxazine violet
Palette Layout: Although this is circular, if using a rectangular system, the rule of thumb
is to organize your pigments like a color wheel, keeping your lights away from your
darks, warms away from cools, so the waters don’t run into each other and neutralize or
get muddy.
BIBLIOGRAPHY
There are many monographs the focus on the watercolor painting of
individual artists. check the library, or online sources. I will also share my
collection of books with you.
Applications
Barber, John
Winsor Newton Mixing Guide
Search Press
Clarke, Michael
Watercolor
Dorling Kindersley
Crespo, Michael
Watercolor Class
Watson Gupthill
Dewey, David
The Watercolor Book
Watson Gupthill
Le Claire, Charles The Art of Watercolor
Watson Gupthill
Morelle, Jean-Louis Watercolour Painting
New Holland
Moyer, Linda
Light Up Your Watersolors
North Light Books
Page, Hilary
Guide to Watercolor Paints
Watson
Gupthill
Parramon, Jose
The Big Book of Watercolor
Watson Gupthill
Wade, Robert
Watercolor Workshop
International Artist Pub.
Wilcox, Michael
Blue and Yellow Don’t Make Green
School of Color
Wilcox, Michael
Color mixing Swatch Book
School of Color
Wilcox, Michael
Guide to Finest Watercolor Paints
School of Color
Art History
Met Museum of Art American Watercolors from the MMA
Harry Abrams
Hargraves, Matthew British Watercolors/Mellon Collection
Yale University Press
Finch, Christopher Twentieth Century Watercolors
Finch, Christopher American Watercolors
Brett, Bernard
A History of Watercolor
Abbeville Press
Abbeville Press
Excalibur
Reynolds, Graham
Watercolours A Concise History
Thames and Hudson
Smith, Allison
Watercolour
Tate Gallery
GLOSSARY OF WATERCOLOR TERMS:
AQUARELLE
The French term for the process and product of painting in transparent watercolor
ASTM
American Society for Testing and Materials developed testing methods and a
classification according to the reaction of the pigment to a standard exposure to
light, called a lightfastness test, and published its standards and reports in 1984.
These define industry minimum standards for commercial paints — the best
quality paints should easily exceed them.
BACK RUNS:
When a fresh brush stroke hits a still damp wash it will force the original wash
out in a irregular, often fractal manner. Problematic, unless you done
intentionally. (also known as back wash)
BLENDING:
Merging two color planes together so no discernable sharp divisions are
apparent
BLOTTING:
using an absorbent material such as tissues or paper towels, or a squeezed out
brush, to pick up and lighten a wet or damp wash. Can be used to lighten large
areas or pick out fine details
COCKLING
the wrinkling and bending which occurs with watercolor paper when wet
COOL COLORS
colors which are blue or tend towards blue
COLD PRESSED a semi rough paper surface texture also called NOT (from
NOT hot pressed) the most popular surface
DROPPING IN COLOR the application of paint by letting it flow from the brush,
usually on to wet paper, rather than painting it on.
DRY BRUSH: Any application of paint where the brush is fairly dry (thin or thick
paint) relying on the hairs of your brush, the angle of your stroke, and the paper's
surface texture to create broken areas of paint.
EARTH COLORS stable colors made from earth materials, sienas, umbers and
ochres
FLAT WASH: any area of a painting where a wash of single color and value is
painted in a series of multiple, overlapping stokes following the flow of the paint.
A slightly tilted surface (30) aids the flow of your washes. Paper can be dry or
damp.
FUGITIVE COLORS colors which fade when exposed to light
GLAZE a transparent color laid over another dry color
GRADUATED WASH a wash with changes in intensity of color (also called
gradated wash)
GRANULATION the effect given by some pigments when granules of the
pigment settle in indentations in the paper to produce a 'grainy' effect
GUM ARABIC: Gum arabic is produced from the sap of the African acacia tree
and is available in crystalline form or an already prepared solution. It binds
watercolor pigments when used with water and glycerine or honey.
HOT PRESSED PAPER a paper surface which has a smooth texture - used
mainly for detailed work
HUE 1) the name of a color - blue, red, yellow etc. 2) a term used with paints to
denote that a synthetic pigment has been used in place of a natural pigment in
the production of a color e.g. Lemon Yellow Hue
IMPERIAL The size of a normal full sheet of watercolor paper, approximately 30"
X 22"
KNEADED ERASER the sofest type of eraser for watercolor paper
LIGHT FASTNESS A pigment’s resistance to fading on long exposure to
sunlight. Watercolors are rated lightfast on a scale of I-IV. I and II ratings are the
most permanent..see ASTM)
NON-STAINING COLORS: Pigments that can be lifted cleanly (wet or re-wet)
with little or no discoloration of the underlying paper fibers
OPAQUE a non transparent or partially transparent pigment
OX GALL LIQUID: Derived from the bile of domestic cows or other bovines, ox
gall is added to paint as a surfactant or wetting agent to allow paint to flow more
freely
RESIST:Any material, usually wax or grease crayon or friskit mask, that repels
paint or dyes.
ROUGH a paper with a rough texture, roughness and texture varies considerably
between different makes.
STAINING COLOR: Color that cannot be fully removed from your paper.
Staining colors permeate the fiber of the paper and leave a permanent tint.
Check your hands after painting, the hardest colors to wash off are usually the
staining colors. Sap Green is an example
STRETCHING the process of pre-stretching watercolor paper prior to painting on
it to ensure that it does not cockle when water is applied. Usually done with
papers of 140lb and less.The paper is stretched by soaking in water to allow it to
expand and fastening its edges to a board so that it is stretched like a drum as it
dries.
UNDERPAINTING: The first, thin transparent laying in of color in a painting
VARIEGATED WASH a wash with changes in color
WARM COLORS colors which are red or tend towards red
WATERCOLOR: Pigments suspended in water and a binder such as gum
arabic. Traditionally used in a light to dark manner, using the white of the paper
to determine values.
WASH a thin broadly applied layer of transparent paint
WEIGHT a measure of the thickness of watercolor paper, traditionally the weight
of 500 sheets of imperial 23 x 30” size paper - the heavier the paper the less
prone it is to cockling when wet. Common weights are 90lbs. 140 lbs. 280 lbs.
and 300 lbs.
WET IN WET the application of paint usually of a different color into wet paint
Art 162 Watercolor Spring 2014
This schedule is subject to change with fair notice and notice will be made
available in class and on the Yahoogroup. FINAL EXAM SCHEDULE:
http://artic.sjsu.edu/web-dbgen/narr/catalog/rec-1207.html
Table 1 Course Schedule
Week Date
Topics, Readings, Assignments, Deadlines
1
1/27/1/29
2
2/3-2/5
3
2/10-2/12
Meet class. Outline expectations. Watercolor material
demonstrations. Stretching paper
Still life Monochrome paintings. Paper stretching Demo.
Palette Organization. Materials demonstration
Still Life Value studies. Powerpoint Lecture
4
2/17-2/19
Still Life Value studies.
5
2/24-2/26
Still Life Warm color palette with minimal cool color.
6
3/3-3/5
Still Life Primary overlays
7
3/10-3/12
Still Life Flat Washes Still Life Gradated Washes
Demonstrations
8
3/17-3/19
Wet on Wet Technique exercises Powerpoint lecture
9
10
3/24-3/31
4/2
4/7-4/9
11
4/14-4/16
Spring Recess and Cesar Chavez Day (3/31)
Lyz Leach demonstration
Notational Style
Powerpoint Lecture
Outdoor Notational Style (Tower Hall environment)
12
4/21-4/23
Masterpiece Painting and Portfolio Consultation
13
4/28-4/30
Masterpiece Painting Complete Final Project begins
14
5/5-5/7
Final Project
15
5/11
Final Project Last Day of Instruction
16
5/20
Final Critique