This course introduces students to basic skills, techniques and processes of painting with water based paints and mediums. Studio projects focus on the observation and handling of tonal values, and colour systems and their application in the composition of paintings. Fundamental principles and concepts of representational and abstract painting are introduced and students are encouraged to learn from historical and contemporary examples. The projects involve working from the observation, landscape, still life, and imagination, with the focus on the colour and physical qualities of paint. Studio theory is delivered as a series of lectures.

Learning Outcomes

Upon successful completion, students will have the knowledge and skills to:

1. utilise skills relevant to Painting in response to Workshop projects;
2. explore materials used in Painting projects;
3. recognise relationships between concept and processes in painting; and
4. identify historical and theoretical contexts relevant to Painting workshop projects.

Research-Led Teaching

This course draws on basic principles and practices in historical and contemporary painting to inform practice-led research with emphasis on the use of colour and materials.

Additional Course Costs

PAINTING WORKSHOP ACCESS FEE:

A Painting Workshop Fee of $40- is paid as a one-off access fee for any student enrolled in Painting courses. This covers your access to workshop facilities outside of your specific course hours as well as incidentals. Even if you are enrolled in more than one Painting course in any semester, you only pay this fee once per semester.

PAINTING MATERIALS FEES:

There will be a materials fee (to be confirmed) for each student to order a material pack that will have the necessary materials to complete the course.

Painting Materials Fees will be charged for certain Painting courses which have specific material requirements. These fees cover the costs involved in our supplying course specific materials for use by students in demonstration sessions and during class times. These are intended to supplement your own basic materials kit. While students can elect to provide their own materials, we strongly recommend using these supplies which are purchased with bulk-order savings and ensure all students are appropriately equipped for each course every week.

Payment can be made here:

http://soad.cass.anu.edu.au/required-resources-and-incidental-fees

You may find you will need to purchase more paints or perhaps explore with some acrylics mediums especially on the last project.

Please bring your own protective clothing, such as painting shirts, disposal gloves, cotton rags. You will also need smaller plastic containers with lids such as empty yogurt etc... containers to store unused paint.

Examination Material or equipment

N/A

Required Resources

Required Resources and Incidental Fees – ANU School of Art

Student contribution amounts under the Higher Education Support Act 2003 (HESA) and tuition fees support the course described in the Course Outline and include tuition, teaching materials and student access to the workshops for the stated course hours.

Students are requested to refer to the School of Art website for information: http://soa.anu.edu.au/required-resources-and-incidental-fees.

Each workshop sources appropriate specialist materials, which are made available to students to facilitate their working effectively, efficiently and safely within our programs. The School of Art is able to supply materials that don’t compromise ANU obligations under the Work Health and Safety Act 2011 (WHS), and that have been assessed as suitable for each course. 

The Material Fee is payable for the School of Art to supply materials that become your physical property. You can choose to pay the Materials Fee and have these materials supplied to you through the School of Art, allowing you to take advantage of the GST-free bulk purchasing power of the ANU. These materials are also WHS compliant.

Students have the choice of acquiring these materials from a supplier other than the School of Art, however students should note that many materials may not be WHS compliant (and therefore are not approved for use in the workshops), or are not available for individuals to purchase because they must be supplied and stored in a particular way in order to meet WHS regulations.

Recommended Resources

References and recommended reading:

Itten, Johannes. The Art of Color: the subjective experience and objective rationale of color. New York: Van Nostrand Reinhold, 1973.

Gage, John. Color and culture practice and meaning from antiquity to abstraction. Boston: Little, Brown and Company, 1993.

Mayer, Ralph. The Artist’s Handbook of Materials and Techniques. Fifth Edition. England: Faber and Faber Ltd. 1991.

Hughes, Robert. The Shock of the New. (a 1980 documentary television series written and presented by Robert Hughes produced by the BBC in association with Time-Life Films)

Staff Feedback

Students will be given feedback in the following forms in this course:

Individual studio feedback

Group discussion and review 

Student Feedback

ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). The feedback given in these surveys is anonymous and provides the Colleges, University Education Committee and Academic Board with opportunities to recognise excellent teaching, and opportunities for improvement. The Surveys and Evaluation website provides more information on student surveys at ANU and reports on the feedback provided on ANU courses.

Class Schedule

Week/Session	Summary of Activities	Assessment
1	February 23 - 24 : 9am Introduction. Induction to workshop. Light and Dark: Exploring light and shadows Volume: making 3D on a 2D surface believable.	Visual Diary (**All Visual Diary assignments are part of Assessment TASK: 5**) Gouache studies painting objects from life using only white and black gouache. No colour.
2	March 2- 3 : *Seminar 09:00—10:00, Tuesday, March 2nd, SOA&D Lecture theatre 1.42 and online Greyscale ‘Value Problem Painting’	Greyscale on oil sketch Begin tonal still life painting on same oil sketch Visual Diary: 4 pages of tonal studies in
3	March 9-10: ‘Value Problem Painting’ continued Emphasis on controlling contrast	Value Problem Painting—(Assessment TASK 1) Visual Diary: 2 tonal gouaches of ‘Fruit’ in Visual Diary
4	March 16-17 : *Seminar 09:00—10:00, Tuesday, March 16th, SOA&D Lecture theatre 1.42 and online ‘Colour Problem Painting’ Colour mixing / Colour theory exercises Small study of one object from Colour Problem Painting	Small study of 1 object from the Colour still-life on oil sketch Visual Diary: Find 10 colours in magazines or paint samples etc and try to match those 10 colours. setup a few pieces of fruit and create volume.
5	March 23-24 : ‘Colour Problem Painting’ Underpainting Order of composing	Visual Diary: The area(s) in your painting that is causing the most problems, work up two studies for how to solve it in your visual diary.
6	March 30-31: Class Critique of Colour Problem Paintings Introduction to critiquing/evaluation Final session for Colour Problem Painting Online quiz ‘Pictorial Forces’	Colour Problem Painting—(Assessment TASK 2) Visual Diary: Research for Landscape/Mood in visual diary. Go outdoors and do at least 3 different landscapes in gouache. Be sure to not copy a picture.
7	April 20-21: *Seminar 09:00—10:00, Tuesday , April 20th, SOA&D Lecture theatre 1.42 and online Landscape/Mood Project Discussion of what your strongest study is and how to scale that up into a painting. Decide on scale and format of painting and buy stretchers and canvas for next week	Visual Diary: At least 5 pages in your visual diary experimenting with ways to describe the various elements (tree bark, water, rocks,...) in your landscape. Experiment!
8	April 27-28 : Landscape/ Mood Project continued Stretching a canvas demonstration Stretch your own canvas and gesso it. Online quiz ‘Pictorial Forces’ due and discussed	Pictorial Forces Quiz—(Assessment TASK 5) Visual Diary: At least 3 observational and/or alla prima studies of your chosen landscape scene trying to enhance the sense of mood.
9	May 4-5 : Class Critique of Landscape/Mood Project Using feedback and make necessary moves/changes in your painting	Landscape/Mood painting on self stretched canvas—(Assessment TASK 3) Visual Diary: make at least 3 self-portraits using a mirror (not a phone or a picture).
10	May 11-12: *Seminar 09:00—10:00, Tuesday, May 11th, SOA&D Lecture theatre 1.42 and online The Unorthodox Self-Portrait Getting past the cliches	Visual Diary: 3 Explorative sketches and alla prima studies. In particular make sure you are thinking of the background of your Unorthodox Self-Portrait. Trouble painting eyes? lips? Try them from different angles and make sure to consider the LIGHTING.
11	May 18-19 : The Unorthodox Self-portrait continued. Feedback on any painting	Visual Diary: 3 Explorative sketches and/or alla prima studies Independent research in visual workbook
12	May 25- 26 : Critique of Unorthodox Self-Portrait The unorthodox self-portrait final session. How turning in the Folio and Visual Diary will work Feedback on any painting	Unorthodox Self-Portrait— (Assessment TASK 4) Visual Diary: Independent research in visual workbook

Assessment Summary

Assessment task	Value	Due Date	Return of assessment	Learning Outcomes
Value Problem Still-life	20 %	06/03/2021	07/01/2021	1, 2, 3
Colour Problem Still-life	20 %	06/03/2021	07/01/2021	1, 2, 3
Landscape/Mood Painting	20 %	06/03/2021	07/01/2021	1, 2, 3,
The Unorthodox Self-portrait	20 %	06/03/2021	07/01/2021	1, 2, 3,4
Visual Diary and Research / Attendance	20 %	06/03/2021	07/01/2021	1, 2, 3,

* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details

Policies

ANU has educational policies, procedures and guidelines, which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Misconduct Rule before the commencement of their course. Other key policies and guidelines include:

• Student Assessment (Coursework) Policy and Procedure
• Special Assessment Consideration Policy and General Information 
• Student Surveys and Evaluations
• Deferred Examinations
• Student Complaint Resolution Policy and Procedure

Assessment Requirements

The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the ANU Online website. Students may choose not to submit assessment items through Turnitin. In this instance you will be required to submit, alongside the assessment item itself, hard copies of all references included in the assessment item.

Moderation of Assessment

Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.

Participation

Students are required to attend scheduled lectures and to participate in studio workshops, local excursions, class discussions and critiques. You are required to devote at least 10 hours per week to this coursework - 4 hours in class and 6 hours towards independent research and homework. 

Examination(s)

Students will be given a scheduled time to present their works to be assessed in the examination period.  This date is subject to change.

Assessment Task 1

Value Problem Still-life

First Project is titled VALUE PROBLEM'. It is a monochromatic still-life. The goal is to learn how to create 3-d illusion on a 2-d support.   Students will begin this project by mixing eleven values of grey from white to black. From there students will only use these values in their paintings.  Strong emphasis is on simplification of form and ignoring details to create uniformity and believable 3-d illusion.   Emphasis is also placed on seeing and understanding positive and negative space, proper scale, and correcting. Formal language nomenclature will be used as a basis to understand and talk about composing. Thereby instilling critical distance from which to evaluate works of art.    Art historical precedent is given in the lecture.

Assessed:

• Value Problem Still-life finished painting
• Greyscale
• Students need to be able to clearly articulate how the works presented explore the concepts and technical aims of the project.

Students need to be able to clearly articulate how the works presented explore the concepts and technical aims of each given project.

Value: 20%

Presentation requirements: Presented for class critic sessions and exam period

Assessment rubric: See rubric for Independent Painting Projects

Rubric

CRITERIA	HD	D	C	P	F
Utilisation of skills	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials	Utilises a very high level of exploratory and inventive material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation of material and processes
Recognise relationship between materials and processes	Insightful and independent thinking evident in work and  articulated in discussion	Clear relationships demonstration in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding  between concept and process
Identify and evaluate historical and contemporary painting contexts	High level of critical awareness evident in work and/or through discussion	Significant level of critical awareness evident in  work and/or through discussion	A competent level of critical awareness evident in work and/or through discussion	Not clearly revealed through work or in discussion	Work shows no research or critical evaluation

Assessment Task 2

Colour Problem Still-life

Create an illusionistic and balanced colour still-life painting by controlling colour contrast, colour intensity, colour balance, and texture.

Assessed:

• Colour Problem Still-life finished painting
• extension works carried out as part of problem solving (most likely on oil sketch paper)
• Students need to be able to clearly articulate how the works presented explore the concepts and technical aims of the project.

Value: 20%

Presentation requirements: Presented for class critic sessions and exam period

Assessment rubric: See rubric for Independent Painting Projects

Rubric

CRITERIA	HD	D	C	P	F
Utilisation of skills	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials	Utilises a very high level of exploratory and inventive material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation of material and processes
Recognise relationship between materials and processes	Insightful and independent thinking evident in work and  articulated in discussion	Clear relationships demonstration in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding  between concept and process
Identify and evaluate historical and contemporary painting contexts	High level of critical awareness evident in work and/or through discussion	Significant level of critical awareness evident in  work and/or through discussion	A competent level of critical awareness evident in work and/or through discussion	Not clearly revealed through work or in discussion	Work shows no research or critical evaluation

Assessment Task 3

Landscape/Mood Painting

For this project the students will head outdoors and will not be allowed to use photographs or electronic devices. Students instead will make a series of sketches and alla prima studies in the landscape which will inform a final landscape painting with a mood. The alla prima studies need to incorporate at least one of the following:

• Additives: substances such as powder marble, fine sand that may be added to acrylic colours to alter stiffness and texture.
• Medium: substance such as gel, moulding paste etc... that change the properties of the paint.  

The final painting will need to demonstrate; a convincing illusion of landscape elements in a space using linear and atmospheric perspective. Furthermore textures will need be considered and show observational colour use which are all explained in the Landscape/Mood lecture.

Assessed:

• 3 or more alla prima studies
• Landscape/Mood Painting finished painting
•  Students need to be able to clearly articulate how the works presented explore the concepts and technical aims of the project.

Value: 20%

Presentation requirements: Presented for class critic sessions and exam period

Assessment rubric: See rubric for Independent Painting Projects

Rubric

CRITERIA	HD	D	C	P	F
Utilisation of skills	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials	Utilises a very high level of exploratory and inventive material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation of material and processes
Recognise relationship between materials and processes	Insightful and independent thinking evident in work and  articulated in discussion	Clear relationships demonstration in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding  between concept and process
Identify and evaluate historical and contemporary painting contexts	High level of critical awareness evident in work and/or through discussion	Significant level of critical awareness evident in  work and/or through discussion	A competent level of critical awareness evident in work and/or through discussion	Not clearly revealed through work or in discussion	Work shows no research or critical evaluation

Assessment Task 4

The Unorthodox Self-portrait

Details of task: This task requires students expand upon concepts explored from the previous 3 paintings(tasks). Emphasis is placed on producing an original work showing exploration of colour and the use of conventional and non-conventional painting materials and paint handling methods.

Students will need to be able to articulate how they have developed their knowledge of colour, composition, paint-handling, and materials in painting through their independent work.

Assessed:

• The Unorthodox Self-portrait finished painting
• Students need to be able to clearly articulate how the works presented explore the concepts and technical aims of the project.

Value: 20%

Presentation requirements: Presented for class critic sessions and exam period

Assessment rubric: See rubric for Independent Painting Projects

Rubric

CRITERIA	HD	D	C	P	F
Utilisation of skills	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials	Utilises a very high level of exploratory and inventive material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation of material and processes
Recognise relationship between materials and processes	Insightful and independent thinking evident in work and  articulated in discussion	Clear relationships demonstration in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding  between concept and process
Identify and evaluate historical and contemporary painting contexts	High level of critical awareness evident in work and/or through discussion	Significant level of critical awareness evident in  work and/or through discussion	A competent level of critical awareness evident in work and/or through discussion	Not clearly revealed through work or in discussion	Work shows no research or critical evaluation

Assessment Task 5

Visual Diary and Research / Attendance

Presentation requirements: The Visual Diary needs to be a separate book, specifically for this course and is to be presented at examine period. Contribution to the workshop and engagement in critiques is part of an ongoing class assessment.

This task will be assessed according to the following criteria:

• Homework activities
• Your ability to undertake basic contextual research relevant to your project and discipline.
• Evidence of a basic knowledge of the technical, historical and/ or theoretical context for your work.
• Your engagement with relevant developments in the broader context of visual arts and design. 

Your visual diary should demonstrate your curiosity, initiative and engagement with this course- you need a separate visual diary for each course you are enrolled in. It is a place to make weekly drawings and technical notes, lecture & seminar notes, research and your own thoughts and to paste in images related to the course, images from shows you’ve seen etc . At least half your diary should be taken up with drawings. These can be sketches, diagrams or studies from life, from art history or from your imagination and can incorporate collage elements, mixed media etc. Add some new material every week. Bringing all this together helps focus and extend your experience of the course in a personalised way, it also helps your lecturer develop insight into your sensibility and interests.

Value: 20%

Rubric

CRITERIA	HD	D	C	P	F
Utilisation of skills	Consistently applies all skills to an exceptionally high level	Consistently applies all skills to a high level	Applies broad range of skills at a competent level	Applies limited range of skills at an adequate level	Technical skills below standard
Explore materials	Utilises a very high level of exploratory and inventive material processes.	Demonstrates a thorough exploration of material processes	Developing attempts to explore materials	Satisfactory knowledge of materials and processes	Unsatisfactory knowledge and implementation of material and processes
Recognise relationship between materials and processes	Insightful and independent thinking evident in work and  articulated in discussion	Clear relationships demonstration in work and well articulated in discussion	Competent accounting for concepts and process	Basic grasp of concepts and processes	Lack of understanding  between concept and process
Identify and evaluate historical and contemporary painting contexts	High level of critical awareness evident in work and/or through discussion	Significant level of critical awareness evident in  work and/or through discussion	A competent level of critical awareness evident in work and/or through discussion	Not clearly revealed through work or in discussion	Work shows no research or critical evaluation

Academic Integrity

Academic integrity is a core part of our culture as a community of scholars. At its heart, academic integrity is about behaving ethically. This means that all members of the community commit to honest and responsible scholarly practice and to upholding these values with respect and fairness. The Australian National University commits to embedding the values of academic integrity in our teaching and learning. We ensure that all members of our community understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. The ANU expects staff and students to uphold high standards of academic integrity and act ethically and honestly, to ensure the quality and value of the qualification that you will graduate with. The University has policies and procedures in place to promote academic integrity and manage academic misconduct. Visit the following Academic honesty & plagiarism website for more information about academic integrity and what the ANU considers academic misconduct. The ANU offers a number of services to assist students with their assignments, examinations, and other learning activities. The Academic Skills and Learning Centre offers a number of workshops and seminars that you may find useful for your studies.

Online Submission

You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) as submission must be through Turnitin.

Hardcopy Submission

For some forms of assessment (hand written assignments, quizzes, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.

Late Submission

Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.

Referencing Requirements

Accepted academic practice for referencing sources that you use in presentations can be found via the links on the Wattle site, under the file named “ANU and College Policies, Program Information, Student Support Services and Assessment”. Alternatively, you can seek help through the Students Learning Development website.

Returning Assignments

Folio will be available to be picked up after the exam period.

Extensions and Penalties

Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. The Course Convener may grant extensions for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.

Resubmission of Assignments

An assignment may be resubmitted on medical grounds.

Privacy Notice

The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.
In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.

Distribution of grades policy

Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.

Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.

Support for students

The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).

• ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
• ANU Diversity and inclusion for students with a disability or ongoing or chronic illness
• ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
• ANU Academic Skills and Learning Centre supports you make your own decisions about how you learn and manage your workload.
• ANU Counselling Centre promotes, supports and enhances mental health and wellbeing within the University student community.
• ANUSA supports and represents undergraduate and ANU College students
• PARSA supports and represents postgraduate and research students