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The Painting area offers a diverse range of courses that
explore a multiplicity of painting media and related skills, procedures, and
techniques. Courses respect and encourage personal vision as the means of
inquiry into such concepts as quality of artistic achievement, or considers the
causes of uncertainty that may arise through this inquiry.Previous Course Offerings
Below are previous course offerings for the Painting area. Students must visit mySMFA to see current offerings and register. Students in the undergraduate, graduate, Studio, and
Post-Baccalaureate certificate programs may also take Continuing Education
courses for credit.
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| Natural Color: Painting for Beginners / PAI 1015 |
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| Explore traditional hands-on oil painting techniques and the use of Photoshop as a drawing tool for pictorial composition. Weekly talks cover many topics, such as color theory and how it has been used by painters; the difference between size, scale, and, proportion; issues of illusion and perspective; the history of Western painting; and an overview of critical theory. |
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| Stealing Ideas and Images / PAI 1017 |
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| Whether as an homage or as an act of subversion, the use of appropriated images has an important place in the history of painting. We will use this tradition to expand and facilitate our understanding of painting and our personal practice as artists. Objects and ideas in the vast collections of the Museum of Fine Arts, Boston will provide the foundation for this exploration. We will capitalize on both the range and limitations of the collections as a resource for contemporary painting by sketching objects in the galleries and reproducing them in the painting studio. This engagement with the collections will provide the foundation for work that is more personal and more critical. We will examine our choices and come to understand our sensibilities as we develop relationships with objects from around the world. |
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| Core Painting Seminar / PAI 1019 |
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| What does it mean to make paintings in the twenty-first century? What is your relationship to painting's long and varied history as well as to its contemporary manifestations? This course is an introduction to the basic critical, conceptual, and historical issues of painting of the past seventy-five years. Through readings, slide presentations, videos, and occasional field trips, we examine ideologies, methodologies, and belief systems important to contemporary artists. Painting's relationship to other art forms explored. Students give a ten-minute talk relating to their own interests. We require attendance in class and at specified visiting artists' lectures. |
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| Core Painting Seminar / PAI 1019 02 |
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| What does it mean to make paintings in the twenty-first century? What is your relationship to painting's long and varied history as well as to its contemporary manifestations? This course is an introduction to the basic critical, conceptual, and historical issues of painting of the past seventy-five years. Through readings, slide presentations, videos, and occasional field trips, we examine ideologies, methodologies, and belief systems important to contemporary artists. Painting's relationship to other art forms explored. Students give a ten-minute talk relating to their own interests. We require attendance in class and at specified visiting artists' lectures. |
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| Basic Figure Painting Level One Course / PAI 1026 |
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| A course for students with some experience in drawing who would like to explore the basics of painting the figure. |
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| Beginning Painting Painting Materials & Methods / PAI 1038 |
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| Although this is listed as a beginning course, any students interested in studying painting through direct observation are welcome. Lectures and demonstrations provide practical information on a variety of materials and techniques; preparing canvases and panels, painting with oils using traditional underpainting and glazing, oil mediums, varnishes, fresco, egg tempera, and acrylics. Using a variety of still-life material students will work on sequential drawing and painting exercises designed to introduce the fundamentals of painting including basic perspective, color, and composition. The beginning of the semester emphasizes group projects; toward the end of the semester, with more familiarity with the painting process, students will set up and paint from their own still-lifes or pursue work based on personal imagery. Attendance required. |
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| Foundation Painting / PAI 1041 |
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Assuming you have no prior experience, this structured course starts with the basics of color mixing, brush handling, use of media, and stretching canvas, but quickly advances to more challenging problems. It is a broad introduction to painting, with many theories and techniques presented through specific assignments. Painting, realistic or abstract, is approached as image-making to communicate ideas visually. To know only one way to make images can limit the scope of ideas one can express and the future directions one can take. Therefore, technical methods range from the monochrome underpainting, glazing, and scumbling of the old masters to more contemporary "wet-on-wet" techniques. The theories we will explore emphasize visual thinking and the need to fully utilize, coordinate, and relate all elements (form, color, space, scale, and proportion) to one effect in order to communicate strongly and effectively and to fully realize ideas. Considerable information is given, much with historical background and illustrations. Homework is optional. Materials will be discussed at the first class.
The Tuesday portion of Foundation Painting, PAI 1041-C3 (see full course description above). This course is designed for students who wish to work and learn from natural subject matter, such as still life, nude figure, and portrait. The emphasis is on varied techniques and working methods, although some theory is given. Materials will be discussed at the first Tuesday class.
The Thursday portion of Foundation Painting, PAI 1041-C3 (see full course description above). This course is designed for students who wish to continue to explore and enhance their foundation painting techniques and skills. It is suited for beginning students as well as for intermediate-level students who may want a more thorough, structured foundation before pursuing work on their own. You may work figuratively or abstractly and will be encouraged to develop and pursue personal imagery. |
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| Water, Color and Paper / PAI 1080 |
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| Transparent, fluid, and direct or opaque, dry, and layered-the uses and expressions of watercolor, gouache, and inks on paper or other surfaces are as varied as the individual or the era that creates them. After pop art, the spontaneous and analytical qualities of water media combined with a renewed appreciation for paper was evident from global conceptualism, to neo-expressionism, to minimalism, and art in general, in works by Bleckner, Beuys, Bourgeois, Clemente, Cucci, Kiefer, Kapoor, Martin, Mardin, Merz, Polke, Rauschenberg, Salle, Smith, Le Witt, Tuttle, and Warhol. Explore new and traditional approaches to image making, materials, and painting by thinking through watercolor, gouache, and inks. Beginning with the basic skills of water, color, and paper, students develop and focus their expressive/conceptual vision and intuitive working method. Later, students are encouraged to work independently in a self-chosen direction. Basic skills include watercolor and gouache techniques, image development, color, scale, rhythm, and light. We work from observation, found images, photographs, and the imagination. Visiting artists and slide lectures, suggested readings, critiques, and field trips to museums when appropriate. |
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| Observational Painting / PAI 1114 |
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| Our emphasis will be on basic skills in observational painting to help beginning and intermediate students strengthen those techniques. Still life and the figure will provide the subject matter for observing color, light, form, and space. We will explore the power and energy of composition and investigate the many painterly properties of oil paint. Through slide presentations and visits to local museums and galleries, you will extend your knowledge of historical and contemporary art based on observation. Consistent attendance is mandatory |
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| Taletelling / PAI 1122 |
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| Historically, paintings have told a story, ranging from direct illustration of the Bible to subtle allusion via juxtaposition of imagery, and everything in between. Taletelling is a course for beginners who find themselves drawn to narrative artworks and would like to explore narrative as inspiration for painting. Basic skills such as canvas stretching, surface preparation, panel building, and oil painting techniques will be taught to help us learn how to use materials to express what we want to say. We will also learn how discussing our thoughts about what narrative means and using various sources for narrative work can be a useful tool for clarifying vague ideas into a thoughtful and thought-provoking painting. The course will consist of studio work, demos, slide lectures, and class discussion/critiques. You will be assigned projects to make use of newly learned skills and to explore different ways of creating meaning. Considerable work outside of class will be expected. |
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| Contents Under Pressure: / PAI 2013 T1 |
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| Graffiti is at once familiar and unfamiliar territory. It is so widespread that we all have had some experience with it on the sides of buildings, on bathroom walls or carved into the side of a tree. However, because it is illegal, many times its artistic merit and messages are overlooked. Graffiti brings up questions about the state of our world and the changes within it, not the least of which continues to be, what compels us to write it? This unique urban art form is used to morn, to honor, to assert one's identity, to beautify, to communicate with others, to expose injustices and to make art available to everyone. Beginning and advanced students will explore the intersection of formal painting language, drawing and design. In addition to graffiti's influence on contemporary art and culture. The use of diverse drawing materials and spray paint allows for a vibrant and dynamic art practice. This studio course will also include an investigation into the historical and social issues of graffiti; slide lectures, group discussion, material safety instruction, films and a field trip to explore Boston's own graffiti styles. |
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| Hybrid Forms / PAI 2014 |
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| This is an intermediate level course aimed at artists working in alternative mediums. The main objective is to help students operating between the realms of drawing, painting, and sculpture build a context in which to think about their own art. This class will give these students a chnace to place their medium in a contemporary discourse. The primary focus of this class is on the students work. By looking at other artists, doing reading about alternative mediums, and participating in group critiques, students may gain better understanding of both their materials and concepts. This is a class for students who are looking for ways to advance their vocabulary. This class is not based on technical proficiency but rather grounded in contemporary concepts. Prerequisites: Anatomy of Drawing (DRW 1014), Basic Figure Painting (PAI 1026), or Basic Painting Techniques (PAI 1048). |
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| AdLab: Developing an Abstract / PAI 2016 |
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| This course will focus on developing a personally meaningful approach to abstraction via visual source material, concept, process, medium, and formal considerations. Contemporary and historical works will serve as a springboard to help students formulate their own abstract painting vocabulary. Each week, there will be slides and a discussion of a selected group of painters who share an idea or approach to abstraction; students are then asked to "curate" themselves into the group via works that they will produce both in and outside of the classroom. Some prior painting experience is required before taking this course. |
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| AbLab: Developing an Abstract / PAI 2016 01 |
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| This course will focus on developing a personally meaningful approach to abstraction via visual source material, concept, process, medium, and formal considerations. Contemporary and historical works will serve as a springboard to help students formulate their own abstract painting vocabulary. Each week, there will be slides and a discussion of a selected group of painters who share an idea or approach to abstraction; students are then asked to "curate" themselves into the group via works that they will produce both in and outside of the classroom. Some prior painting experience is required before taking this course. |
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| Painting as Metaphor- / PAI 2022 |
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| Each of the extremely motivated painting students in this course is assigned a cubicle, sometimes shared, where they are expected to work well beyond class hours. Admission into this class is by instructor selection after the student proves enthusiastic self-motivation. We emphasize poetic, open-ended narrative rather than constructs for didactic information. Interests in figuration or abstraction are welcome, as well as an adventurous use of "painting" materials and processes. Attendance is mandatory; a student may be asked to leave the class after one warning. Signature required. |
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| Painting the Model from Life / PAI 2023 |
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| This yearlong course is designed for students who want to expand their representational drawing skills and learn the fundamental techniques of painting a traditionally rendered human figure from observation. We stress closely observed color mixing, careful, descriptive brushwork, and proficiency in describing the figure as a form occupying space. Students develop the ability to sensitively describe light, convincing tonal progressions, warm and cool color variations, and the textural complexities of flesh. Both historical and contemporary concepts regarding the representation of the figure are addressed. This intermediate to advanced course includes slide lectures, assigned readings, trips to galleries and museums, as well as group and one-on-one critiques. Please bring examples of your work to registration. (Connection courses: SCP 4030-01, Figure Modeling in Clay, with D'Alvia, (Fa & Sp) F, 9-12, 2-5, see Sculpture section for description; DRW 4121-01, Elemental Lines: Seeing and Depicting Human Form, Wynne, (Fa) Th, 2-5; and DRW 2017-01, Multiple Figure Compositions: The Long Pose, Wynne, (Sp) Th, 2-5, see Drawing section for description.) |
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| Figuring Paint / PAI 2048 01 |
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Contemporary figuration makes renewed demands on the conceptual and theoretical tools of the painter as well as on execution skills. This course is shaped to challenge students to refine and amplify their painting competence in these areas.
This course takes students beyond the reductive modernist approach to figure painting and provokes an in depth exploration of new possibilities. You will be working with rigor and precision toward acquiring skills in painting the figure from observation. You are expected to already have a level of proficiency in drawing from observation and be actively engaged in improvement of those skills.
During the semester the setup and the pose will remain constant and the process will be labor intensive. Students are expected to arrive on time and to be fully engaged in the refinement of their skills.
Students will learn to distinguish the descriptive and structural elements of an image, explore what their work says about the body and their experience, and examine the formal and conceptual roots of observation and mimesis. Painters will acquire skills in creating form, space and light. We will look critically at received ideas about paint, including the value of gesture and spontaneity. Attention and energy will be given to every aspect of the painting process including care in preparing grounds and mediums and students will be encouraged to develop organized methods in their practice and execution. We will look at the history of figurative painting from a critical perspective and students will be encouraged to energetically explore the lineage of artists who have developed the language of the practice and explore the singularities and ruptures in the practice including the impact of contemporary technologies. There will be no default assumptions about this practice. No default grounds, no default techniques...look forward to intense and serious investigation. |
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| Intermediate - Advanced Painting / PAI 2053 |
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| This class is predicated upon a delight in and a fascination with painting. You are expected to have already achieved some mastery of basic painting skills, which will be built upon throughout the semester. The class allows both for an individualized, workshop-type situation and for group projects for students who need more structure. You will be free to pursue your own interests and modes of expression. Emphasis will be on developing your taste and sensibility as a painter so that you can achieve an increasingly sophisticated level of mastery. Models will be available for students who desire to work from the figure, although any mode of expression is acceptable. Individual and group critiques will be conducted throughout the semester. We will explore work by other artists, and we will engage in dialogue about what it means to be a painter in the 21st century. |
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| Landscape Painting / PAI 2082 |
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| The world outside continues to be a relevant, vital source for artists. Locations can be urban or rural, natural or unnatural, real or imagined, earth-bound or cosmic. During September and October we are a plein air class gathering acorns (painting sketches, drawings, and photographs) from our field trips for use during the long, inhospitable New England winter. For the rest of the year most student work is produced in the studio. We want to get beyond or subvert the ubiquitous landscape iconic images that are deeply embedded in the Western visual cortex. This is an intermediate/advanced class. Some reading is expected as well as active participation in the regularly scheduled class discussions. |
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| Death of Painting / PAI 2094 |
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| Explore the range of conventions used in representation and confront directly, in paint, the anxiety painters have about contemporary challenges to the sense of authenticity and validity of painting by new technologies and modes of representation. We pay attention to the intersection of multiple modes of seeing and production due to the impact of new technologies and how this alters the meaning and practice of painting from imagination, film, video, photographic, and digital materials. We discuss history and theories of representation and students develop a deeper understanding of the conventions they use and the immense power and possibilities in the act of painting. We engage in extensive readings in theory, including examinations of visual content, the spectacle, surveillance, embodiment, the impact of digital technologies on photography as well as painting, and the media languages of manipulation and control. Students acquire skills in the taking and editing of photographic information with particular attention to the use of digital cameras. At lunch we regularly and critically watch videos and films relevant to theoretical discussion. Expect an intense semester of painting, discussions, critiques, and more painting. Students are encouraged to bring ideas and resources including photographs, clippings, memories, fantasies, enthusiasms, gripes, and anxieties. For intermediate and advanced students. Signature required. |
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| Studio for Advanced Painters / PAI 3020 |
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| For intermediate and advanced painters in search of personal vocabulary and corresponding technique. Individual and group critiques emphasize process and its relationship to interests and influences. Occasional slide lectures and field trips, when appropriate. Class attendance is mandatory. Studio space allocation is based upon interviews and portfolio review. Signature required. |
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| Studio Concepts / PAI 3021 |
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| This is a working forum for selected intermediate and advanced undergraduate full-time painting students. Accepted applicants are given a workspace with others in the course. Group discussions, individual critiques, and slide lectures center on current relevant ideas. Concepts regarding the work of those in the studio are investigated and explored. Relationships to other students and outside stimuli force you to question what informs your work. This course requires serious involvement and commitment. Instructor consent only. |
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| Personal Image / PAI 3030 |
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This studio course explores the struggle/marriage between form and content-between images, the processes that render them and the visual languages that represent them. We assume that expressivity, surprise, and discovery through painting and related media are possible and valuable but difficult to achieve in a culture that is glutted with images. We work toward synthesizing subject matter, formal representation, concept historical reference, and often use varied materials and media. Students work toward representations of their ideas, which become experiential rather than clichés or flash cards of easily recognizable styles or theories. You will be required to make one twenty-minute presentation per semester. This is an advanced class with individual studio spaces given. Signature required.
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| Advanced Studio Painting Figuration / PAI 3032 |
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| This studio course will cover multiple aspects of what it means to be a figurative (loosely speaking) painter in the 21st century. It will include technical instruction in new and old methodologies as well as an investigation of the critical, historical, and cultural implications of each students work. |
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| Advanced Seminar: 4 Painters / PAI 3033 |
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| This advanced seminar class is designed for advanced undergraduates and graduate students, and will include extensive readings and in depth critical discourse. Visiting artists lectures, critiques and discussions will focus on varying modes of contemporary practice and thought. Students will be exposed to a wide variety of approaches to being a committed artist in the early 21st century. |
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| Terra Incognita Landscape Painting / PAI 3037 |
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The world outside continues to be a relevant, vital source for artists. Locations can be urban or rural, natural or unnatural, real or imagined. The western visual cortex is deeply embedded with templates - iconic images of the landscape which students should identify, question, subvert, or even celebrate. This year long class uses September and October as a plein air experience gathering information for the long, dark, inhospitable New England winter. This winter work is done in studio utilizing any medium. Some reading is expected as well as active participation in class discussions. Note - Although offered in the painting area, this class welcomes adventurous students from other media who are interested in the subject matter - e.g. sculptors, photographers, video artist, etc. Related Courses: Oil Painting the First Step; Plastic Fantastic, Natural Color Painting, Observational Painting, Beginning Painting. Signature required.
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| Painting Critiques and Seminar / PAI 3056 01 |
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| Monday and Tuesday noontime periods are used for students who want thirty- to forty-minute critiques in their own space in other studios, and/or in B307. We hold longer meetings, when needed, on Tuesday afternoons. The class meets as a group every other week to discuss each other's work and important issues concerning their lives as painters. We take field trips to galleries and museums here and in New York, and require frequent readings and discussions of current articles against the backdrop of modern and postmodern theory. We provide exposure to what young, established artists are doing and encourage each student's personal vision. Signature required. |
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| Portrait Painting / PAI 3068 |
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| Pursue portrait painting through traditional and contemporary exercises: the use of color, value, and the idea of "building" light to establish form and create pictorial drama and emphasis. Preliminary portrait drawing precedes each painting and will greatly influence the portrait's basic design. This class is for students who have moved beyond a working understanding of basic oil-painting skills and the understanding of figure-drawing issues, including figurative and facial proportion and structure. All traditional technical methods covered in this class are meant to join with existent expressive language the student brings to the class; this ensures more relevance to the painted interpretation the student makes of his/her model. Required daily critical dialogue of student work takes place each class period. Slides and other visual examples accompany the techniques and concepts covered in class. We assign regular homework. Admission with instructor's permission. |
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| Studio Practice / PAI 3106 |
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| Intermediate and advanced students examine how we use our time in the studio and focus on developing and expanding our potential and commitment. Students investigate not only their personal relationship to art making but their ideas about authorship, subjectivity, and notions of the unitary self. There are extensive readings and explorations of current thinking about art production in film, video, literature, and science, and their impact on painting. Group critique, seminars, and individual meetings provide insight into different approaches to creativity and help students find the working methods that best suit them. Diverse painting practices are welcome, but experience in execution and conceptual exploration is required. We expect a rigorous approach to production. Studio space is offered based on interviews and portfolio reviews by the instructor. Signature required. |
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| For Painters Program / PAI 3155 |
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| The original Four Painters program brought national and international painters to the Museum School every year. Artists lectured at night and visited student studios the next day. This course, new as of fall 2002 and based on the original program, expands upon that energy through discussion and research prior to, during, and after the artist's appearance. The painters chosen to visit will be early- to mid-career artists currently contributing to the vitality of contemporary art. While the entire School benefits from the night lecture, only this class will have access to the morning discussion and studio visits. The class utilizes the resources that a visiting artist brings to the Museum School, while also taking advantage of a classroom atmosphere that offers more to the individual. We fill the periods between artist visits with preparative discussion, readings, and research. You can use this valuable hands-on information to further your own work and ideas, and as an arena to contemplate the dichotomy between the ivory tower of the School setting and the reality of being an artist in the twenty-first century. Class participation is the paramount requirement. Attendance is required. Students should expect to participate in class critiques and have their work become part of the course dialogue. The course is open to graduate and advanced undergraduate painters. Prerequisite: Individual portfolio and the discretion of the instructor. |
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| Expressive Gesture / PAI 4001 |
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| Working from the figure in poses that emphasize gesture has dynamic possibilities. We will use a range of wet and dry media, such as crayon, ink, watercolor, and gouache, to explore the expressive means of drawing with line, value, color, volume, spatial depth, cast shadow, viewpoint, rhythm, texture, and composition. We will experiment with color washes, linear brushwork, paint quality, and pen and ink to facilitate problem solving connected with the depiction of the human form. The length of poses will range from one to twenty minutes, giving you the opportunity to produce a large number of multimedia drawings and paintings. This course is invaluable for building a portfolio, as well as extending your drawing and painting skills while you are developing a versatile response to materials. We will hold group discussions, a slide lecture, and museum field trips to study examples of work by other artists. |
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| Individual Critiques / PAI 4038 |
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| These thirty-minute individual critiques to undergraduate students offered anywhere within the School. Students sign up during registration or during the semester (if time is available) by appointment with instructor. No sign-up sheet is provided. |
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| Individual Critiques / PAI 4038 02 |
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| These thirty-minute individual critiques to undergraduate students offered anywhere within the School. Students sign up during registration or during the semester (if time is available) by appointment with instructor. No sign-up sheet is provided. |
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| The Contemporary Icon / PAI 4039 |
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| An introduction to painting on small wood panels using some of the materials and methods of traditional fourteenth-century Italian painting. We cover panel preparation, gesso relief, silverpoint drawing, working with gold leaf, mixing pigments, and egg tempera painting techniques. Subject matter can revolve around a variety of themes such as autobiography, landscape/nature, or other personal imagery. Students are expected to complete one major project as well as smaller experiments. Format can be the traditional single panel, or experimentation using assemblage in boxes to contain your images. Frequent demonstrations supplement class work. Students find this very traditional process has many contemporary applications. Some materials are provided. Attendance is required. |
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| Painting in the 21st Century: A Course for Beginners / PAI 4046 |
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| Pop Art fused art and life. This satiric expression of popular culture blended painting with preexisting images or sample imagery and reproductive processes (photography, printmaking, etc.). Beginning to paint, after Pop Art, requires an understanding of the tools and inspirations of the past while discovering those of the present. This course is for beginning painters or for artists who want to acquire not only fundamental painting skills but also a conceptual understanding of contemporary approaches to painting. You will gain basic skills along with an openness to new ways of seeing and working. Using primarily water-based paints, we will focus, discuss, and develop your work. You will explore a variety of painting surfaces and materials while making paintings from life or from preexisting imagery (collages, photos, cartoons, digital or print media). Projects will be developed from your own content, imagery, and materials. There will be suggested readings, visiting artists, discussions, critiques, and visits to the Museum of Fine Arts, Boston. |
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| Realist Painting / PAI 4062 |
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| The issues and techniques of realist painting have been central to artistic practice for centuries. This course will explore the techniques and concerns of realist painting, focusing primarily on figure painting. We will explore the relationship of the perception of values and color to palette arrangement and technique, and the relationship of design and color harmony to the clear structuring of space. We will seek appropriate stylistic models, past and contemporary, and attempt to adapt traditional types of paintings to modern situations. |
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| Portrait Painting and Drawing / PAI 4067 |
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| Portraiture is specific and general, timely and timeless. It tells us about a specific individual while telling us something about us all. The portrait, whether a painting or drawing, involves technical, organizational, spiritual, and philosophical concerns basic to any work of art. The initial objective is to produce a physical resemblance to the model, but it is even more important to progress toward the elusive "other" inner life (sometimes at the expense of physical likeness). Several approaches will be introduced to help you discover a natural and personal direction. You will use such drawing and painting materials as charcoal, graphite, acrylics, ink washes, water-based paint, and oil-based media. |
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| Painting Today:The Narrative The Techniques / PAI 4097 |
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This class proposes an analytical approximation to contemporaries' practices in painting. It combines hands-on process, viewing, reading, and discussing the body of work of artists whose practices have commanded a level of recognition in the local, national, and international scene. Discuss such practices along with students' motivations for their body of work. We visit studios and exhibitions, and host a visiting artist.
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| Portrait and Figure Painting / PAI 4116 |
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| Strengthen your painting skills by working with the human face and figure. No matter what your approach to painting may be, the discipline of working from the model strengthens your eye and hand and sharpens visual perceptions. We will begin with portrait exercises designed to teach you the fundamentals of creating "a likeness." Working with the model, we will apply those fundamentals to translating the figure onto the canvas, completing one study each session. Later, we will extend the sittings to two- or three-day poses. By tackling issues of draftsmanship, design, and composition, you will build, strengthen, and broaden the foundation of your artistic skills. Occasional slide and library talks and a scheduled field trip to an area museum will augment the studio experience and deepen your understanding of other artists' solutions to the problems of figure and portrait painting. Please do not miss the first class. Come with drawing supplies only. |
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| Precision Watercolor Painting / PAI 4190 |
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| Watercolor is often regarded as a medium requiring spontaneity, quick action, and instinct. This course, however, will emphasize precision, control, and technical mastery of the watercolor medium. Precision and control will allow you to take full advantage of the fluidity and transparency of watercolor. Rather than working on studies and sketches (except as exercises), we will emphasize watercolor paintings as finished works. Students may choose any subject, but the recommended approach is a carefully designed abstraction. All levels are welcome. |
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| Figurative Abstraction / PAI 4200 |
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| Using a live model as subject, we will explore the abstraction process by developing paintings that include both representative and abstract images derived from the figure. We will use a variety of traditional materials and techniques in conceptually innovative ways, including both wet and dry media (paint, inks, water-soluble crayons and pencils, graphite sticks, charcoal, and more). As your work develops, personal expression is strongly emphasized. Group critiques will be held each class session and individual critiques will occur throughout the course. We will also emphasize the development of a more critical eye as well as the verbal skills necessary to discuss figurative and abstract painting in an articulate manner. Students of all levels and abilities, including beginners and continuing students, are welcome. |
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| Figurative Abstraction Intensive / PAI 4201 |
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| Using a live model as subject, you will explore the abstraction process by developing paintings that progress from representative to abstract images. We will use a variety of traditional materials and techniques in conceptually innovative ways, including wet and dry media (paint, inks, graphite sticks, charcoal, and more). As your work progresses from representation of the figure to abstraction, personal expression is strongly emphasized. Group critiques will be held each class and individual critiques will occur throughout the workshop. We will also emphasize the development of a more critical eye as well as the verbal skills necessary to discuss figurative and abstract painting in an articulate manner. Students of all levels and abilities are welcome. |
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