GLENN HIRSCH MIXED MEDIA PAINTINGS

CLASS SYLLABI Spring 2015

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EXPLORING THE PORTRAIT/SELF-PORTRAIT
(click here for tuition and to enroll)
#1    Anatomy study, contour drawing. Homework: further anatomy study.
#2      Model poses in class. Homework: self-portrait in the chiaroscuro style of Rembrandt (charcoal)
#3       Model poses in class. Homework: self-portrait in a hat (charcoal).
#4       Master study in class (pastel). No homework.
#5    Self-portrait in the style of the master you studied previously (pastel). No homework.
#6      tba
#7       Model poses in class. From now on, work in any media. Homework: Self-portrait as a child
#8      Model poses in class. Homework: Self-portrait at home.
#9    Portrait of someone you know showing their hands. (This is done in class from a photo). Homework: finish portrait
#10    Model poses in class. Homework: self-portrait from a dream. 
#11    Model poses in class. Homework: portrait of someone you know (full body portrait).
#12    Final crit. All assignments due.


The language of portrait is objective -- study of the anatomical structure of the head

The language of portrait is subjective -- expression of an individual through psychological mood, symbol, costume, and through expressive line, light/dark value, color and composition.

If you’re a beginner -- focus on visual concepts & don’t worry about an exact likeness at first: anatomy, contour, gesture, modeling and shading.

If you’re experienced, then explore mood, symbol, costume, and consider these questions:

- Why do portraiture in the age of photography and mass media?

- What is the "true portrait" of an individual? Can one image capture everything?

- What is the place of simple "description" and what is of evocative "theater?"

- What part does the beauty of drawing and color -- by itself -- play in portraiture?

*  *  *  *  *  *

BOOK: Julian Bell 500 HUNDRED SELF PORTRAITS $13 (500 illustrations!)

Materials
Pencils One soft (#4b or #6b) and one hard (#2b or H) Pencil sharpener and erasers   
Charcoal Pencil (“Berol” Soft or Extra Soft)
Compressed charcoal (2 sticks)  Soft or Extra Soft
Vine charcoal (3 sticks)  Soft or Extra Soft
Sketchbook (any size) ("Aquabee" brand if possible)
Drawing Pad 18x24 size (#80 pound paper eg Strathmore Drawing Pad)
Newsprint Drawing pad 18x24
Drawing board (required !!!) with clips
Pastels (don't buy them yet - I'll review in class)   
Hard chalk pastels  (e.g., "Nu-Pastel" brand)
and/or Soft pastels (Sennelier,  Grumbacher, Rembrandt brands – NOT “Alpha Color” brand)
Spray "workable" fixative





An excellent introduction to painting (for beginners) and concept & style (for experienced artists).For all, a focus on color mixing to create ‘light’ and emotion in your art, as well as the illusion of 3-d form, space, and texture. Monochromatic color and color in contrasting layers add spice to your work. All subject matter welcome: realism, abstraction, surrealism, still life, portrait, landscape. No pre-requisite. Questions? Contact instructor:  glennhirsch@earthlink.net    (415-987-1226).
 
#1 Slide lecture: Overview of the course – color as emotion and concept; color mixing procedures; in-class assignment: mixing techniques. Homework: 2 hours continuing this procedure.
#2 Slide lecture: Monochromatic color schemes for contrasting moods; in-class assignment: still life series of objects in different color schemes Homework: 2 hours continuing this procedure.
#3 Slide lecture: Color theory for the illusion of Light; in-class assignment using expressive lighting (from still life or photo); Homework: 2 hours continuing this procedure
#4 Slide lecture: Abstract-Expressionist approaches to color with additive (fluid) and reductive (sanding or wiping) procedures; Homework: 2 hours continuing this procedure
#5 Slide lecture: Introduction of the course project – conceptual series of 3 paintings incorporating “color” as a “concept.” . (homework: sketches, ideas for project)
#6 Slide lecture:  Contemporary uses of watercolor and mixed media. Individual review of student project ideas; Homework: continue with course project
#7 Lecture: Articulating color with a “colorful language:” in-class writing assignment using symbol, language, art history and personal memory about a single color (e.g., 400 words about “Red” or “Blue”) Homework: course project
#8 tba
#9 Accidental color: achieving the integration of planning (invention) and accident (discovery); in-class demonstration; class discussion of “colorful language” essay
#10 Skin color – for figurative and portrait approaches to the human form in different light; Homework: 400 word review of a piece or an artist that uses color as a primary concept; Homework: continue with course project
#11 Review and workshop preparing for final crit; discussion of student papers about artists who use color
#12  Final crit each student’s course project, one-at-a-time.


MATERIALS LIST (we’ll review this on the first night)

MATERIALS
Acrylic or Oil
a "warm yellow" Cadmium Yellow Medium 
a "cool yellow" Cadmium Yellow Light or Pale or Lemon
a "warm red" Cadmium Red Medium or Light 
a "cool red" Quinacradone Crimson or Alizarin Crimson     
a "warm blue" Ultramarine Blue
a "cool blue" Cobalt Blue or Cerulean Blue or Turquoise Blue
a "warm green" Sap Green or Chromium Oxide Green or Perm Green Light 
a "cool green" Pthalocyanine Green or Viridian             
a "warm brown" Burnt Sienna or burnt umber
a "cool brown" Raw Sienna or raw umber                        
a "black" Any kind       
a white  Titanium white         
Acrylic: Polymer Medium
Oil: Gamsol brand solvent and Liquin brand oil painting medium.
 
Brushes: "Flat", "Filbert" or "Bright"  (1 large and 1 small) + one "Script" brush  
Canvas or Watercolor Paper  140 pound 11x14 pad and/or 22"x30" sheet whole or cut in halves

Other Stuff
o sketchbook (any size)o palette - disposable wax paper palettes or paper plateso palette knife o Spray bottle and Saran Wrap
o Two large plastic water containerso paper towels or rags o scissors o X-acto knife o pencil, eraser o masking tape

SAN FRANCISCO ART INSTITUTE
INTERMEDIATE AND ADVANCED PAINTING

click here for tuition and to enroll

12 sessions Wednesdays, January 28 - April 22 2015 (no class March 18)
7:30–10:30 pm | Studio 117
 

This course is designed for motivated and independent artists. Students in this course are encouraged to develop an original body of work, to engage conceptual issues in their painting, to express mood with power, and to experiment with materials – to make art with as much “ambition” as possible – however you define it.

Investigate a story or narrative through gesture & space
Evoke idea or mood through color and light
Make materials & process part of content
Reference the culture
Make it personal

WEEK BY WEEK

 

1               Slides: Series Course Project: “process and presentation”

2               Slides: Value & Concept: "light and drama"

3                Slides: Color & Concept:  "light and emotion"

4               Slides: Space & Concept: “depth”

5                Slides: Materials & Found Objects: “texture”

6             Slides: Composition & Movement

7             Slides: Gesture & Movement

8             Slides: Portraits & Identity

9              Slides: Text & Image

10             Slides: Style in Traditional Art

11             Slides: Style in Contemporary Art “Art Student Select” II

12               Final crit


ISSUES EXPLORED


Abstraction Improvisation or mathematical procedure ... blends of "real" & "abstract?"
Materials As subject matter (texture, found objects, assemblage, etc)
Art History (Europe) Art which refers to European art history in theme and composition
Art History (Not Europe) Global culture, "Third World," folk art, "outsider" art, children
The Body Allegory (figure) or Individual Identity (in portraits)
Psychology Dream, Myth, Archetype, Shamanistic traditions...
Landscape Fact, Fantasy, Utopia. Abstraction; Nature Untamed, or Nature Destroyed
Politics - society Sociology, history, war and peace
Politics - identity Gender and race
Politics - technology Science as subject or as procedure
Pop Art Low Culture and High Culture
Public Spaces Institutional art, installation, time-based, community collaboration

RECOMMENDED READING
Vitamin P: New Perspectives in Painting by Barry Schwabsky

MATERIALS
Acrylic or Oil
a "warm yellow" Cadmium Yellow Medium 
a "cool yellow" Cadmium Yellow Light or Pale or Lemon
a "warm red" Cadmium Red Medium or Light 
a "cool red" Quinacradone Crimson or Alizarin Crimson     
a "warm blue" Ultramarine Blue
a "cool blue" Cobalt Blue or Cerulean Blue or Turquoise Blue
a "warm green" Sap Green or Chromium Oxide Green or Perm Green Light 
a "cool green" Pthalocyanine Green or Viridian             
a "warm brown" Burnt Sienna or burnt umber
a "cool brown" Raw Sienna or raw umber                        
a "black" Any kind       
a white  Titanium white         
Acrylic: Polymer Medium
Oil: Gamsol brand solvent and Liquin brand oil painting medium.
 
Brushes: "Flat", "Filbert" or "Bright"  (1 large and 1 small) + one "Script" brush  
Canvas or Watercolor Paper  140 pound 11x14 pad and/or 22"x30" sheet whole or cut in halves

Other Stuff
o sketchbook (any size)o palette - disposable wax paper palettes or paper plateso palette knife o Spray bottle and Saran Wrap
o Two large plastic water containerso paper towels or rags o scissors o X-acto knife o pencil, eraser o masking tape

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