ART 327 – Painting II: Representational Imagery
Prerequisites: ART 227 (Painting I) and ART 200 (Introduction to Visual Technology) – Art Majors
Victoria Reynolds – E-mail: [email protected]; office phone (818) 677-7914
Tuesdays and Thursdays 2:00 – 4:45 p.m., Room AC 606
Office Hours: Tues./Thurs. 5:30-6:00pm, Room AC 600 or by appointment
Catalog Description
Emphasis on individuality of response to contemporary problems in painting, incorporating a variety of media, techniques, and content related to
representational imagery. 5 hours per week.
Course Description
Projects focus on the integration of artistic concept, painting technique, and proficiency in the creation of individual works of art. Effective use of
color, texture, and pictorial composition will be explored along with various painting techniques (underpainting, glazing, impasto, etc.). Color mixing,
warm/cool interaction, and the effective use of value in relation to color will be emphasized. Canvas and panel painting will be compared.
Vocabulary specific to contemporary painting will be introduced and applied, and the relationship between form and content will be explored.
Historical and contemporary artworks will be discussed in relation to projects.
Utilizing specific methods and techniques, up to six projects will be produced and presented for group critique. Attendance is mandatory for all
critique days. Slide lectures will feature historical and contemporary examples and student work. We will take field trips which count as class time.
Each student is required to view two off-campus art gallery exhibitions and submit two written gallery reports (following handout criteria). Up to five
in-class “progress checks” will include previously unscheduled photo-documentation of work in progress due on same day (with no make-ups on
progress checks and pop quizzes). Both ‘scheduled’ and ‘pop’ quizzes and painting exercises will be based on material presented in class and on
reserve at CSUN Oviatt Library.
Recommended Texts
Vitamin P2 by Peio Aguirre and Negar Azimi (latest edition) or Vitamin P: New Perspectives in Painting by Barry Schwabsky
Painting as a Language: Material, Technique, Form, Content by Jean Robertson and Craig McDaniel. (ISBN-10: 015505600X)
The Critique Handbook: The Art Student’s Sourcebook and Survival Guide (2nd Edition) by Kendall Buster and Paula Crawford
Launching the Imagination: A Comprehensive Guide to Basic Design, 5th Edition, by Mary Stewart
Art Department Program Goals Addressed in This Course
Acquire basic knowledge, theories, and concepts about art;
Develop a foundation of art skills and a high level of craftspersonship;
Communicate ideas and concepts through writing, speaking, and art making;
Acquire a competency with the tools and technologies associated with the visual arts;
Apply processes of generating and solving problems in art, and analyze, interpret, and question traditional methodologies
and preconceived notions of art and art making;
Develop an appreciation and tolerance of diverse perspectives dealing with art, culture, teaching, and learning;
Become involved in both individual and collaborative art experiences with other students, faculty, and community;
Develop a career path for an art profession or an art-related field and develop an understanding of the demands and expectations of that area of art
profession or field.
Student Learning Outcomes
Gain experience and competence in generating ideas into effective visual form;
Increase artistic proficiency through exploration and experimentation with techniques and media;
Develop effective use and mixing of color through applying and demonstrating knowledge of color theory;
Explore and utilize methods for visual problem-solving;
Acquire and demonstrate conceptual knowledge of a diversity of 2-D forms, purposes, media, and functions of art while
analyzing, interpreting, and critiquing artworks;
Learn and apply vocabulary specific to painting and the visual arts to analyze works of art in class, art venues, and everyday media;
Communicate ideas and concepts visually;
Apply the elements and principles of design, using value, color, structure, texture, and pictorial space for expressive and
communicative purposes;
Produce works of art that communicate individual, social, and/or cultural ideas;
Examine paintings in historical and contemporary contexts;
Develop skills that lead to professional artistic practice through the refinement of technique;
Gain an increased understanding of art currently being exhibited.
Assessment and Evaluation (Grading)
Project grades are based on mastery of the material and visible results—not effort. Practice prior to achieving mastery is typical and to be expected.
You are expected to work/rework assignments until criteria are achieved before submitting projects for grading. Deadline compliance; active and
verbal contribution in class activities and critiques; attendance with necessary materials and project preparation; personal challenge and effort in
project development; effective visual and verbal presentation skills; and careful attention to execution, technique, and completion of projects are
factored into your final grade. Grades are in the form of points for each project, painting exercise, quiz, and gallery report. These points are
synonymous with letter grades, which are divided into the percentages below. For example, a project receiving 36 points out of 40 is 90% or A–. For
coursework and final semester grades, the plus/minus grade system will be used:
A (92.55-100%) and A– (89.55-92.54%); B+ (85.55-89.54); B (82.55-85.54); B– (79.55-82.54); C+ (75.55-79.54); C (72.55-75.54); C– (69.55-72.54);
D+ (65.55-69.54); D (62.55-65.54); D– (60.-62.54); F: Failure.
Final course grades will consist of painting projects and painting exercises (70%), 2 written gallery reports (10%), quizzes and “progress checks”
(in-class photo-documentation of works in progress often previously unannounced and unscheduled) (10%), and demonstrated in-class work habits
and meaningful critique contribution on peers’ work (10%) – WITH final letter grade deductions for 3 or more absences (as described below in
‘Attendance, Participation, Work Habits in Class, and Critique Contribution’). ALSO, each missed critique drops the final grade by one letter.
Attendance is mandatory on critique days. Final grades are based on these percentages:
Portrait – 10%
2 Plein air paintings – 10%
Contemporary Realism Project – 25%
Realism + Abstraction Project – 20%
2 Gallery Reports – 10%
Painting exercises on glazing, transparency/opacity, mixing, and textures – 5%
Quizzes and “progress checks” (in-class photo-documentation of work in progress, often previously unannounced, with no make-ups) – 10%
Demonstrated in-class work habits and meaningful critique contribution on peers’ work – 10%
Criteria are specified for each project on each written project handout. Optimum points for projects occur from:
Following project criteria and guidelines: Your ideas—and their clear expression—should never be limited by lack of experience in methods and
techniques, so each project requires demonstrated and visible mastery of those specific criteria to receive an ‘A’ or ‘B’ grade. Following these
criteria gives you experience in various techniques, media, approaches, and contemporary concepts.
Project preparation and development: Come to class ready to paint with required supplies and printed visual resource material. Take time to
develop your concepts outside class, since you’ll be creating work that can outlive you! Lack of painting during class substantially reduces your
grade—and your work suffers. As you design your projects, please keep in mind that with any 3-credit hour studio/lab class, in addition to time
spent in class, at least 5 hours of work per week outside scheduled class time is considered part of the course load. (The painting room has open
lab hours posted on whiteboard.) Since university credit is given for this course, evaluation of projects is based on mastery of material, visible
results, and craftsmanship—not effort. (For example, a novice does not expect to get an ‘A’ in ballet.)
Questions to consider:
- Do your colors, values, and types of brushstrokes help visually communicate and support your idea? What’s the relationship of form (formal
attributes) to content in your painting?
- What do your friends/colleagues think your painting is about? How do they “read” your color choices, types of brushstrokes and shapes, chosen
scale, and perspective in this painting?
- Is your image unified, cohesive, and resolved?
- Is the work conceptually inventive? Did you grapple with the project’s criteria?
- Is your painting’s scale based on your content?
- How many ideas and solutions do you initially invent? How many thumbnails do you come up with in your decision-making process? Allow yourself
time to brainstorm—and don’t edit ideas too soon!
- Does textural work on your painting describe a surface, enhance pictorial space, or attempt to communicate an emotion—or does it function as
“filler” or meaningless special effects?
- Do you ever practice a specific technique off-canvas before applying it to your painting?
- Do you come prepared to paint and then use class time effectively? Do you find yourself apt to procrastinate during the idea phase; the visual
resource-gathering phase; or finishing up the actual painting?
Proficiency with techniques, methods, and media (craftsmanship): University standards for excellence require that artworks receiving an ‘A’ grade
be of superior craftsmanship. Work must demonstrate strong painting and design skills and a clear relationship of form to content to receive an ‘A’.
Practice prior to achieving mastery is the rule (rather than the exception) to make art. (Let’s remember Leonardo and his notebooks!) Students are
expected to work/rework projects until criteria are achieved prior to submitting projects for grading. This portion of the grade also includes
presentation (correct/specified type of support, square corners, correct application of fat over lean paint layer [with no surface cracking or seeping],
tight canvas, etc.).
Deadline compliance, level of project completion, artistic merit, and critique: Projects must be finished before critique so we can fully analyze and
discuss them. Attendance for critiques is mandatory. If you and/or your work miss a critique, that project’s grade is docked 25% (approx. 2 letter
grades). If you and/or your work are late or absent from any part of a critique, that project receives only partial (or no) critique credit. Critique is an
intrinsic part of a project’s “lesson time” and learning process. Analysis and group feedback of your work helps you see it objectively and is vital for
your development. Before critique/due date, you will often need to finish projects outside class. Unfinished work receives a reduced grade. Artistic
merit includes visual and conceptual interest; cultural, social, or personal content; awareness of cultural context; theoretical substance; and
creativity and innovation with the concept and media. Note: ‘Scheduled’ quizzes receive a 20% late penalty for each day taken late, but ‘pop’
quizzes and progress checks cannot be made up. (You can arrange to take a quiz early if you know you’ll be absent that day.) Late paintings and
gallery reports receive a 15% (approx. 1 1/2 letter grade) penalty for each class session they are late, in addition to the 25% penalty for missing a
critique. The instructor will accept late or resubmitted work up to two weeks after its due date, with the exception that no coursework will be
accepted after our last critique. If you must miss class on a due date, finish and submit the work early or have a friend deliver it at the beginning of
class.
Attendance, Participation, Work Habits in Class, and Critique Contribution: Since this is a studio/lab class, ATTENDANCE IS MANDATORY and
necessary for your development. Three (3) absences will lower a student’s final grade for the course by one full letter grade. Each additional
absence will drop a student’s final grade another letter grade. (Four absences = final grade of C or C– IF student’s coursework has an A or A–
average. Five absences = D or lower.) Missing 30 minutes of class counts as one absence. Three late arrivals and/or early departures equal 1
absence – which includes missing class time due to school meetings or activities. There are no “excused” absences whether for illness or the
beach, since either way class time and material are missed. A doctor’s note will not excuse absences, and a medical withdrawal from the course is
recommended for illnesses and matters totaling 3 class sessions. Absences for medical, family, emergencies, travel, and any other reasons count
as absences since class material is missed. After excessive absences due to any reason, it is the student’s responsibility to drop the course. There
is no substitute for working in class with peers and instructor, viewing slide lectures and demonstrations, participating in critiques, and discussing
tips, techniques, ideas, and art, so attendance, actively painting in class, and participating is required of every student with no exceptions. Lack of
painting on our projects in class substantially reduces your progress, quality of work, and final semester grade. Coming to class without supplies,
printed visual resource material, photos, still life objects, or project ideas due that day for discussion results in an absence and final grade reduction,
since it prevents you from working and moving forward. (Class time is not used to buy supplies.)
Break time is the time to check messages or run errands—information or future assignments can be missed otherwise. Leaving the classroom at
any other time is recorded as absence which reduces your grade. Cell phones should be turned off (or to “vibrate,” if for instance you’re a parent).
No texting, phone calls, or headphones in class.
Contribution, participation, and full attendance in critiques are required and computed into your final semester grade. This includes your contributing
pertinent and meaningful feedback on your peers’ work. Since we have a limited number of critiques, each missed critique drops your final course
grade by one letter grade, in addition to 25% penalty on the project at hand. Frequent and insightful critique contributions are conducive to a high
final grade, while low attendance and limited critique participation reduce it. If you and/or your project miss any part of critique (from lateness,
absence, etc.), substantial reduction of your critique points/credit will result.
Quizzes, painting exercises, and progress checks: Both ‘scheduled’ and ‘pop’ quiz material will be announced and/or distributed in class.
Supplementary material on vocabulary and concepts is found in Launching the Imagination: A Comprehensive Guide to Basic Design by Mary
Stewart, Fifth Edition, and is on reserve at the CSUN library (Reserves, Periodicals, and Microform area) under instructor name and course number.
Both ‘scheduled’ and ‘pop’ quizzes will count toward your final grade, as well as in-class progress checks. (Late ‘scheduled’ quizzes receive 20%
reduction for each day they are taken late, but ‘pop’ quizzes cannot be made up.) In-class exercises on glazing, opacity/transparency, mixing,
textures, etc. will also count toward your final grade. You must turn these exercises during the same class period as assigned and presented. If you
are absent or tardy, these exercises cannot be made up outside their assigned class period, since you did not learn and view the material as
presented in class.
Gallery Reports: You will submit two written gallery reports on contemporary representational painting shows (use the handout’s specific criteria). At
this class level, we want you to view artwork that takes part in contemporary painting’s international dialog, so if your choice of venue is not listed on
the handout, ask me before writing your review. Analysis of the artwork is the emphasis—not the artist’s biography! Take notes as you view the
work. These gallery reports must be written exclusively for our class (no duplicate submissions to other classes). There is a 15% reduction for every
day your report is late. Please do not use plastic folders or covers; 2 to 3 pages of printed, double-spaced material is best.
Changes in content, activities, and scheduling may occur at instructor’s discretion based on class or project needs. Throughout the course, there
will be presentations, demonstrations, discussions, handouts, attending campus shows, walking and painting on-site on campus, ‘pop’ and
‘scheduled’ quizzes, progress checks, and exercises which are not indicated in the syllabus. Students are responsible for all information missed due
to absence or tardiness. Since ours is not an online class and has a substantial number of students, the instructor does not have the resources and
time to respond to emails on missed material and information presented and discussed at length in class. The class schedule is occasionally
adjusted, so get names and contact info of 3 partners to contact about upcoming critiques, due dates, and missed information:
__________________________________________________________ _________________________________________________________
__________________________________________________________ _________________________________________________________
__________________________________________________________ _________________________________________________________
Coursework not turned in receives a ‘0’ and is averaged in with the rest for the final grade. Work must be completed and submitted, whether you
were absent or not, for inclusion in your final grade. Make up missed paintings applying their criteria. Working on another class’s projects in our
class is not permitted. All work submitted for credit must be made by you exclusively for our class in this semester. Do not submit the same work to
separate classes or copy/plagiarize ideas from the Internet or other sources. Coursework involving cheating as defined in the CSUN Student
Conduct Code does not receive credit and results in substantial course grade reduction and action with the Student Affairs Office. Also, it cannot be
made up. Please save all your work until you receive a final course grade—the burden of proof for missing work rests on you.
Final grades are described as follows:
A = Outstanding. Expansive investigation of concepts, technique, and project criteria; flawless craft and excellent compositions. Project parameters
are met entirely and without exception. Work demonstrates a high level of skill and control. Coursework goes substantially beyond minimum
requirements and meets deadlines. Materials are correctly selected and skillfully applied. Rendering demonstrates a vast range of hues and values
applied skillfully, and a range of textures is clearly visible and described expertly. Form is distinguished from shape and is thoroughly described.
Color mixing and matching are accurate and application of basic color theory is visible. Paint layer is consistently applied. Student offers frequent
and insightful contribution on peers’ work in all group critiques. All coursework is completed and submitted on time and receiving 93% of points or
higher. Strong active work habits are consistently applied and demonstrated in class. Student fully utilizes class time to work on current project.
Gallery reports’ criteria on handout are followed and expanded upon. Student frequently paints on projects outside of class (during studio/lab hours
or at home). Zero to 2 equivalent absences only, with no tardies or absence on critique days. (Reminder: Medical, family, travel, and emergency
absences count as absences and are not excused.)
B = Accomplished/above average. Substantial investigation of concepts and criteria; excellent craft and compositions. Project parameters are visibly
and clearly met. Materials are correctly selected and skillfully applied. Rendering demonstrates a broad range of hues and values applied with skill,
and a range of textures is visible and described. Form is distinguished from shape. Color mixing and matching are accurate and application of color
theory is visible. Paint layer is consistently applied. Student offers frequent and insightful contributions on peers’ work in all critiques. All coursework
is completed and submitted on time and receiving 85% of points or higher. Strong active work habits are consistently applied and demonstrated in
class. Student fully utilizes class time to work on the current project. Coursework goes beyond minimum requirements and meets deadlines. Zero to
2 equivalent absences only, with no tardies or absence on critique days.
C = Average. Concepts and criteria adequately applied and visibly demonstrated. Project parameters are met. Materials are correctly selected and
applied. Rendered work demonstrates a visible range of hues and values applied with care, and a range of textures is visible and described
somewhat. All coursework finished competently and submitted in a timely manner. Student offers contributions on peers’ work in 2 or more
critiques. May include limited investigation of ideas, minimal practice of techniques, or one or more late projects, or minimal work done outside of
class. 4 equivalent absences = C IF coursework received an ‘A’.
D = Marginal work. May include late coursework; a missed quiz, progress check, or exercise; excessive absences; or lack of bringing needed
materials on time. Demonstrated in-class work habits may be inconsistent, or student may not fully utilize class time to paint on current project. Two
or more late projects, limited investigation of ideas, poor craft, or unresolved or incoherent compositions. Limited contribution in critiques or lack of
working in class, or tardies or leaving early. Minimal work done outside class. May include missed coursework, quizzes, photo-documented
“progress checks,” exercises, or projects. 5 equivalent absences = D IF coursework received an ‘A’.
F = Unsatisfactory work. Failure due to late, unfinished, or missing paintings, poor craft, disjointed compositions, minimal project and concept
development, lack of participation or critique contribution, missed critiques, or excessive absences. May include missed quizzes, photo-documented
“progress checks,” exercises, or projects. 6 equivalent absences = F.
Emails concerning the class will be sent to your CSUN email address. If a class is cancelled, the instructor will try to email you in advance. If it’s due
to illness or weather, there may be short notice. You might want to check your CSUN email before coming to school if you have a significant
commute.
If you have a condition that will affect your performance in class, if you let me know, it will be kept confidential.
Center on Disabilities: http://www.csun.edu/cod/studentservices.htm, 818.677.2684, Bayramian Hall 110. The Center on Disabilities serves students
with a wide range of visible and hidden disabilities, in a confidential environment. Students are encouraged to meet with the professional staff and
explore the services available to support their academic, career and personal goals. Discover accommodations and strategies for help with
disabilities in an academic setting.
University Counseling Services: http://www.csun.edu/counseling/, 818.677.2366, Bayramian Hall 520. UCS provides resources and information to
assist students in dealing with a variety of large and small psychological obstacles that may interfere with academic progress and/or relationship
satisfaction. Services include individual, group and crisis counseling.
Tentative Schedule – Subject to Change Due to Class and Project Needs
Aug. 30
Sept. 1
Intro to class and discussion of supplies and studio safety
Intro lecture and gather supplies
Sept. 6
Project 1 (Portrait from Life with No Paintbrush) (handout) – Bring 18” x 24” min. size prestretched canvas, painting supplies, fastdrying impasto medium, and alternative tools as discussed
Project 2: Two plein air paintings (handout) – Begin first plein air painting (on first of two 12” x 16” min. size prestretched canvases)
Sept. 8
Sept. 13
Sept. 15
Finish first plein air painting
Begin second plein air painting (on second 12” x 16” min. size prestretched canvas). Progress Check of work in progress:
In-class photo-documentation by instructor is required of all 3 paintings (portrait and 2 plein air paintings)
Handout on photographing scenes for Project 3
Sept. 20
Sept. 22
Finish second plein air painting + begin planning and photographing scenes for Project 3 (see handout)
Continue photographing scenes for Project 3 (see handout), and resolve and complete Projects 1 and 2 as needed
Sept. 27
Sept. 29
Critique and due date of Projects 1 and 2 – bring all 3 paintings: 1 portrait + 2 plein air paintings
Project 3 – Contemporary Realism lecture and handouts – 30” x 40” min. size canvas
Oct. 4
Due: Bring 3 to 5 printed photographs for Project 3 (see handouts) and 30” x 40” min. size canvas. After class discussion of your
ideas and composition, grid or project your basic composition onto your canvas. (Charcoal or thin paint is recommended.)
Continue gridding or projecting composition onto canvas and begin underpainting on Project 3.
Oct. 6
Oct. 11
Oct. 13
Due: Your entire first layer/underpainting on Project 3 must be complete. By this date, a thin paint layer must cover your entire
canvas, including “white” areas of image. Progress Check of work in progress: In-class photo-documentation required of Project 3 –
submit by end of this class.
Continue painting on Project 3
Oct. 18
Oct. 20
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+ outside class, research and choose galleries to visit for Gallery Report #1 due Oct. 27
Oct. 25
Oct. 27
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+ Quiz
Nov. 1
Nov. 3
Due at beginning of class: Gallery Report #1. Continue painting on Project 3.
9th and last day of painting in class on Project 3
Nov. 8
Nov. 10
Painting exercise (11 x 14” gessoed panel) – glazing, opacity/transparency, mediums, and textures – due and submitted on date of
assignment only. (If you are absent, this cannot be made up since you did not learn and view the material as presented in class.)
Critique of Project 3. Material on Project 4 will be available online as announced in class.
Nov. 15
Nov. 17
Begin painting on Project 4 (30” x 24” min. size canvas or gessoed panel)
Continue painting on Project 4 + outside class, research/choose galleries to visit for Gallery Report #2 due on Dec. 1
Nov. 22
Nov. 24
“ + Progress Check: In-class photo-documentation of Project 4 is required of Project 4 – submit by end of this class.
Thanksgiving holiday – campus closed; no classes
Nov. 29
Dec. 1
Continue painting on Project 4 + Quiz
Due: Gallery Report #2; continue painting on Project 4
Dec. 6
Dec. 8
Continue painting on Project 4
Last day of formal instruction for this class – critique of Project 4
Take home paintings, projects, and paints and clear out lockers. (Any materials remaining in painting racks, lockers,
and painting room will be disposed of after December 17.)
Studio Safety
Always read product labels. The labeling standard for Chronic Health Hazards in Art materials (ASTM D-4236) has been codified
into U.S. law as part of the Federal Hazardous Substances Act 15 USC S 1277. In cooperation with the Art & Creative Materials
Institute (ACMI), all art and creative products marketed in the U.S.A. include labeling that details any currently identified
precautions that should be taken. So, if there’s a concern, you’ll see it on the label. Also, the American Society for Testing and
Materials (ASTM) has prepared standards for the safe use of artist’s materials. These have been published as a booklet, “ASTM
Standards for the Performance, Quality, and Health Labeling of Artists’ Paints and Related Materials,” ISBN 0-8031-1838-4.
When working:
• Always make sure there’s plenty of fresh air and ventilation, particularly when working with solvents.
• If spray-applying any products, wear an approved mask. Use a spray booth, or better, an extraction system vented to the outside.
• If working with powdered pigment, the above provisions for ventilation are equally important.
• Always keep all materials, especially solvents, tightly sealed. This means keeping threads on lids and jars wiped clean to
ensure a better seal when closed.
• Art materials should never be exposed to heat sources or to naked flame.
• Do not eat, drink or smoke when working. You never know what may end up on your fingers, your food, or your cigarette and
then get swallowed inadvertently.
• Avoid skin contact, particularly with solvents. Don’t paint directly with your fingers.
• Whenever possible, use a low-aromatic solvent, such as Gamsol.
• Avoid turpentine whenever possible. Turpentine is a proven health hazard for many and can be absorbed directly through skin.
This means any pigment on your hands, if combined with turpentine, will be carried through your skin and into your system.
• Don’t wash or rinse brushes in the palm of your hand. Doing so, particularly with brushes laden with solvent, is an efficient
method for driving pigment into and through your skin.
• When washing brushes or palettes or other tools:
• First, wipe them free of color with a paper towel. If using stiff brushes with thick paint, an old toothbrush can help scrape free
excess paint. Allow the product on the towel to dry completely before disposal.
• Rinse brush or tool free of paint with a minimum amount of low-aromatic solvent. If working in watercolor or acrylic, rinse
with water.
• Wash the brush with a conditioning soap.
• Never store brushes in a container head (or tuft) down.
• Do not point your brushes in your mouth. Swirl the brush in a cup of water, or solvent, to check the point.
• If using solvent, pour out only as much as needed for your current painting session. Too much open solvent means too much
vapor in your immediate environment.
• SMALL AMOUNTS of LOW-AROMATIC solvent can be allowed to evaporate in a well-ventilated area rather than being
disposed of down the sink. NOTE: “low aromatic” means solvents with a high TLV (such as Gamsol) (TLV at 300 ppm). This
does NOT include more heavily aromatic solvents like turpentine.
• Excess solvents can be disposed of at your local recycling center.
• As a safeguard for groundwater, do not dispose of excess oil or acrylic color or solvent down the sink. Use following guidelines:
• When finished painting with acrylic colors, allow waste paint and paper towels to fully dry before disposal, so the dried polymer
vehicle will provide some containment for the included pigment, minimizing the risk of solubility in landfills and wastewater.
• When finished painting with oil colors, gather up all solvent and paint-laden rags and discarded palettes. Allow rags and waste
material to dry in a well-ventilated area. (Outdoors is a good place if protected from wind, pets, and children.) Dispose in an
airtight, solvent-proof container.
• Lead-based colors, or any solvents used with them, should never be disposed of in household trash or down the drain.
• For disposal recommendations and regulations pertaining to all art materials, as well as more toxic solvents, aerosol cans, and
highly toxic pigments (like lead-based colors), write the Center for Safety in the Arts at NYFA, at: 155 Avenue of the Americas,
14th Floor, New York, NY 10013.
• If paint or solvent is somehow splashed in your eyes, flush immediately and thoroughly with cold water.
• Clean up all spills immediately.
• Unless specifically labeled as safe for children’s use, keep artists’ materials away from children. Because of lesser size and body
weight, youngsters are subject to greater risk with these products than adults. Better to limit their exposure altogether.
• Give things away. If left with products or paints you won’t use anymore, give them to a friend. Throw away as little as possible.
• Spray cans should never be thrown away unless fully emptied. Before disposing in the trash, spray adhesives, spray fixatives,
spray paints, or spray varnishes should be emptied by spraying (outside or in a spray booth) until no residue remains.
• Wash your hands when you’re done! Again, don’t use solvent. Wipe any color or excess materials from your hands with a paper
towel. A good soap or hand cleaner should be perfectly adequate for a thorough cleansing.
• A word on gloves: There are times when impermeable gloves are clearly worth using. But, because of potential allergic
reactions and other serious toxicity considerations, it’s wise to eschew the use of gloves made from latex. Latex gloves
powdered for easy donning and removal should be avoided. (Snapping those gloves off and on can result in the latex-laden
powder ending up in the air and being breathable.) A better choice may be a more inert nitrile glove called “Ambri-dex.”
Notice that there are no special precautions listed here for colors containing cadmium or chromium. That’s because, if you follow the above procedures, you’ll be
insulating yourself and others from exposure to all potentially hazardous materials, not just the few that have been presently identified as being of concern. And, to be
safe, all materials should be treated with the same degree of care. Prescribing different levels of precaution, for different colors, is a sure route to confusion and
eventual exposure. It’s better to establish safe practices with all materials!
Required Supplies – Bring school I.D. and supply list to art supply store for possible discount. Replenish supplies as needed.
Local stores:
Continental Art Supplies, 7041 Reseda Boulevard, Reseda, (818) 345-1044; continentalart.com. From CSUN, go south on Reseda. Continental is just past Sherman Way and then Gault.
To park in back, turn right onto Gault, then left into lot. (From CSUN, the DASH or other buses may help.)
Utrechtart.com, dickblick.com, pearlpaint.com, shopgraphaids.com, jerrysartarama.com
Blick, West Los Angeles, 11531 Santa Monica Blvd. (cross street is Colby), (310) 479-1416 or Blick Santa Monica, 2602 Lincoln Blvd., (310) 450-7015
Graphaids, 12400 Santa Monica Blvd., West Los Angeles, (310) 820-0445; or 3030 S. La Cienega Blvd., Culver City, (310) 204-1212; or 30135-A Agoura Road, Agoura Hills, (818) 575-9565
Swain’s, 537 N. Glendale Avenue, Glendale (818) 243-3129; swainsart.com
Paints – oil or acrylic (or water-miscible oils)
Oil brands: Winsor & Newton, Gamblin, Utrecht, or M. Graham. (Georgian = barely OK. No ‘Winton’.)
Acrylic brands: Golden, Winsor & Newton, Utrecht, M. Graham, Liquitex (but NO ‘Liquitex Basics’). System 3 = OK.
Large tube (150 ml. or 5.07 fl. oz.) titanium white
37 ml. (1.25 fl. oz.) medium size tubes: cadmium red medium (hue = OK); cadmium yellow medium (hue = OK); yellow ochre; alizarin crimson;
sap green; phthalocyanine green; phthalocyanine blue; ultramarine blue; burnt sienna; burnt umber. (Dioxazine purple = optional.)
Brushes for oils and acrylics – Choose ones with spring, firmness, and unfrayed edges:
3 to 4 brights and flats (square and rectangular shapes), 1 inch wide required; 3/4, 1/2, and 1/4 inch wide.
(Examples: Escoda Natural Bristle 7043 Flat #20 and #16 and Silver Brush Ruby Satin 2502 Bright #4 and #2.)
(1-inch chip or housepainting brush may sub in a pinch for the above 1-inch wide brush.)
2 filberts (rounded top edge), 1/4” and 1/2” wide.
(Examples: Escoda Natural Bristle 7040 Filbert #8 and #10 or Silver Brush Ruby Satin 2503 Filberts #4 and #8.)
1 to 3 rounds ranging from small detail brush to large.
(Examples: Silver Brush Ruby Satin 2500 Round #6 and #1.)
3-inch housepainting brush for gessoing canvas – can be shared
Stretched and primed canvases (regular or ‘gallery wrap’ depth):
One 18 x 24 inch minimum size (portrait project);
Two 12 x 16 inch MINIMUM size stretched canvases (or cradled gessoed panels – NOT canvas boards) (plein air project)
Cradled gessoed panels may be Masonite, hardboard, quality plywood, MDF core with hardwood veneer, or ‘Gessobord’;
One 11 x 14 uncradled gessoed panel (glazing, opacity/transparency, mixing, and textures exercise;
One 30 x 40 inch min. size (contemporary realism project);
One 30 x 24 inch min. size (this one can be cradled gessoed panel instead of stretched canvas) (representational + abstraction project)
Note: NO canvas boards made of cardboard and covered with pre-primed canvas.
Palette knife for mixing paint (it has a less pointed blade than a painting knife, for faster mixing)
Alternative tools and mixed media for Portrait project
Access to a camera (4MP minimum) and printer (can print photos near student union or at drugstore)
Cardboard window – 3” x 4”
Tackle box
Combo lock for locker – share 2 to 1. (See locker sign-up sheet. Place your lock on locker before signing sheet.)
12” x 16” palette required min. size – disposable paper palette pad – white or gray (or sheet of taped thick glass backed with white paper,
or wooden palette oiled prior to use)
16 oz. acrylic gesso (brands such as Winsor & Newton, Daler-Rowney, Utrecht, Liquitex, Modern Masters, or Georgian)
1 sheet of sandpaper – 120-grit
Rags or paper towels
Dish or bar soap – Ivory brand, Bright Green dishwashing liquid, or Master’s Brush Cleaner (some soap is occasionally in classroom)
Optional: 12” x 16” Masterson airtight plastic palette container
Additional Supplies for Traditional Oil Paints
Liquin Original or M. Graham non-toxic alkyd medium
2 shallow tuna or cat food cans (or palette cups) + 2 short glass jars with metal lids
Vine charcoal for drawing on canvas and signing on back
16 oz. Gamsol OR Eco-House Extra-Mild Citrus Thinner to paint with and clean brushes. You might need more. (NO turpentine or Turpenoid in
classroom.)
Fast-drying impasto medium – 200 ml tube (for example, Liquin Impasto or Oleopasto medium)
Optional: Refined linseed oil (2.5 oz. or larger) – or stand oil. Used in prepared oil painting mediums as discussed.
Additional Supplies for Acrylic Paints
2 containers for water (one dirty/one clean while painting)
Acrylic impasto medium (or modeling paste or texture gel) – 200 ml jar (for example, Winsor & Newton Acrylic Impasto Medium)
4 oz. gloss and matte medium (Golden, M. Graham, Liquitex, etc. brands)
Optional: Sta-Wet Sponge with Sta-Wet paper packet placed inside 12” x 16” Masterson airtight palette container
Optional: Butcher tray with Saran Wrap or 12” x 16” sheet of Plexiglass instead of 12” x 16” paper palette pad
Optional: Drying extender (or ‘retarder’ – extends drying time for blending)
Optional: Small lidded jars or plastic cups with Saran Wrap and rubber bands – for saving your mixed colors
Wait on the following supplies until later in semester:
1 - 2 yards raw unprimed cotton duck canvas, 50” wide minimum – $1 to $2 per yard at Continental Art Supplies, depending on width. (Pre-primed
canvas is not recommended since it’s difficult to stretch tightly onto your stretcher, especially at corners.)
Heavy-duty stretcher strips (or pine strips and 3/4- or 1/2-inch quarter round strips) – sizes to be discussed
Optional: Staple gun, 5/16” or 1/4” staples, and canvas stretcher pliers (available in classroom – some wait time)