Abstract Painting: Representation to Abstraction (10 credit points)

Special Information

This course will include a limited supply of basic papers and cards. However please do acquire the materials recommended for this course.

Materials you will need to bring to the first class:

• Range of Acrylic paints: Cadmium Red, Crimson, Cadmium Yellow, Lemon, Ultramarine Blue, Cerulean or Cobalt Blue, Viridian, Black, White, Yellow Ochre or raw Sienna, Burnt or Raw Umber, (other colours as required during the course). Do not bring cheap paints from supermarkets/ The Works or craft paints. Get a reasonable student range, like Daler Rowney System 3.

• Mixing Palette

• A range of brushes, both flat and round, soft and stiff in a range of sizes. Get a reasonable quality.

• Palette knife

• Masking tape

In addition to the course fee, students are expected to provide the following list of indicative tools, materials and equipment:

• Graphite Stick 4B

• Eraser

• Craft knife

• Sketchbook A4

• Chalk or Oil Pastels

• Newsprint & Cartridge paper (as required)

• Other painting surfaces (as required)

• Indian and/or Quink ink

• Sponge and rags

• A digital camera

• Collage materials

Content of Course

Over the class sessions the course will cover:

1. Introduction to the use of the sketchbook for recording, researching and evidencing work.

2. Develop a series of works derived through studio, point of reference, location-based and personal references.

3. Working with a palette knife.

4. Working on various scales.

5. Employ the use of collage.

6. Exploration of colour palettes, exploring atmosphere and mood.

7. Exploration of composition, formats and editing.

8. Employing the use of mono-prints to aid the development of ideas.

9. Exploration of working on various painting surfaces and grounds.

10. Experimentation with non-traditional painting tools.

11. Use photographic references to support ideas and project themes.

12. A series of demonstrations and discussion relating to each of the exercises.

13. Introduction to a range of relevant artists.

14. Keep a log/blog during the period of the course to record learning, achievements and challenges.

Teaching method(s)

The teaching will be based and delivered in specialist art and design studios or workshops and will typically include a range of practical exercises, introductions to techniques, processes and concepts, and set projects which lead to more focused and personal exploration. Over the course, students’ progress will be monitored and supported by the tutor.  Teaching will include practical demonstrations, one to one tuition, group discussions and critiques.

For work required to be undertaken after the class hours are complete, the course tutor will set students a ‘directed study plan’ which can be undertaken without the need for specialist workshops or access to models.

Directed study will include research into a range of suggested artists and their associated movements to engender a contextual awareness. Students are expected to demonstrate how their research has informed their work through annotated sketchbooks, a visual digital journal and practical outcomes. 

The Directed Study Plan will include preparing evidence of research and practical work to form an appropriate presentation for assessment.

Learning outcomes

On completion of this course, the student will be able to:

• Use a range of drawing and painting strategies to routinely record, research, making visual enquiries through the use of the sketchbook.

• Demonstrate a practical knowledge in employing a range of painting methods and approaches, appropriate to creating a range of expressive studies and resolved pieces of artwork.

• Demonstrate an awareness of how to document, select and edit a range of paintings for presentation.

Sources

Core Readings

Recommended:

• BANCROFT, S.C. & DEVANEY, E. 2015. Richard Diebenkorn. Royal Academy of Arts, London.
• LAMPERT, C. 2015. Frank Auerbach. Tate Gallery Publishing Ltd.
• SCHAMA, S. 2005, John Virtue London Paintings, National Gallery, London.
• DAVEY. R. 2014. Anselm Kiefer. Royal Academy of Arts, London.
• ALLTHORPE-GUYTON, A., TUCKER, M., LAMPERT, C. 2009. Ian McKeever (Histories of Vision S.). Lund Humphries
• BERGER, J., 1972, Ways of seeing, London: BBC Books.
• BAYRLE, T. 2002. Vitamin P: New Perspectives in Painting. Phaidon Publishing.
• KHOROCHE, P. 1989. Ivon Hitchens forty-five paintings. Serpentine Gallery.
• HAMMER, M. 1999. Graham Sutherland: Landscapes, War Scenes, Portraits 1924-1950. Scala Publishers Ltd.
• DOIG, P. 207. Peter Doig (Contemporary Artists). Phaidon Press.
• BERNSTOCK, J. E, 1988. Joan Mitchell, Hudson Hills Press, New York
• HOBBS, ROBERT, 1999. Lee Krasner, New York
• MALBOROUGH FINE ART, 1997. Therese Oulton Recent Paintings, Malborough Fine Art, London

Web Sources

https://www.youtube.com/watch?v=Hh6QbJNvWZE

www.artforum.com

www.balticmill.com

www.tate.org.uk

www.frieze.com

http://www.turpsbanana.com

www.nationalgalleries.org

Assessment

Details of the Art and Design assessment requirements can be found on the short course website. Please click on the following link for more information: Submission and Assessment Information

Studying for Credit

If you choose to study for credit you will need to allocate significant time outwith classes for coursework and assessment preparation. Credit points gained from this course can count towards the Certificate of Higher Education.

Queries

If you have questions regarding the course or enrolment, please contact COL Reception at Paterson's Land by email COL@ed.ac.uk or by phone 0131 650 4400.

Student support

If you have a disability, learning difficulty or health condition which may affect your studies, please let us know by ticking the 'specific support needs' box on your course application form. This will allow us to make appropriate adjustments in advance and in accordance with your rights under the Equality Act 2010. For more information please visit the Student Support section of our website.