Project Goal: Create an original painting that embodies qualities defined within the Fauvism movement.

Directions:
1. Referencing an original photograph of a (a) landscape, (b) Portrait, (c) Animal(s), (d) Objects, or (e) other, create an acrylic painting based on the principles of Fauvism.
2. Use colors that come directly from the tube!  Consider use of (a) Complimentary Colors, (2) Primary and Secondary, (3) Analogous Colors and (4) Tinting and Shading of Color.
3. Demonstrate Glazing techniques by overlapping semi-transparent layers of paint to establish optical blending.
4. Simplify photographic reference so as to create stylized representations. 

Rubrics: 
1. Use of Original Photographic Reference. 
2. Evidence of interpreting photograph into simplistic forms.
3. Use of bright colors that demonstrates (a) Complimentary Color Relationships, (b) Primary and Secondary Color Relationships, and (c) Analogous Color Relationships. 
​4. Glazing: Evidence of multiple layers of semi-transparent layers of paint overlapping and interacting with one another to create optical blending. 

Vocabulary:
​
1. Complimentary Color: Colors opposite one another on the color wheel that create visual energy when placed next to one another.  Turn grey or neutralize when blended together.

2. Primary Color: any of a group of colors from which all other colors can be obtained by mixing.

3. Secondary Color: any of a group of colors from which all other colors can be obtained by mixing.

4. Analogous Color: Analogous colors are groups of three colors that are next to each other on the color wheel, sharing a common color, with one being the dominant color, which tends to be a primary or secondary color, and a tertiary. Red, orange, and red-orange are examples.

Directions  (Part 1):

1. Stretch watercolor paper.
2. Establish color pallet.  For the first study we will use 1 primary, 1 complimentary and the color black.  For the second study our color pallet will be open ended.  Meaning you are free to experiment with a range of colors. 
3. Begin your painting with the Wet on Wet technique.  Establish a soft focus blurring effect of blending colors while using a flat brush.  Your initial application of color should be light in value.
4. Allow the first application of color to fully dry.  Next, glaze a new application of color over the previous.  Each consecutive glaze should get darker while gradually establishing contrast. 
5. Towards the end of the project start using your round brush for smaller details such as water ripples, tree branches, etc.  The final application of color should be at its strongest range of vaule.

Rubrics:

1. Glazing: Final product should demonstrate multiple applications of glazing.
2. Atmospheric Perspective: Final product should demonstrate a range of values/contrast to establish the illusion of space.
3. Overlapping Shapes: Demonstrate multiple layers of overlapping forms.
4. Hue/Saturation: Hue and Saturation should be greyed out in the background and gradually strengthened as forms approach the foreground.
5. Diminishing size: Shapes such as trees should gradually get smaller as they reach into the background.

Directions:

1. Begin by establishing an underpainting. A similar color pallet should be used by all students for the underpainting, though the value of the color may vary.
2. Students join canvases on a flat surface to determine the shape of the final mural.
3. Once an order has been established, students should write their names and a sequential number on the back of the their panels.
4. While the panels are still sitting side by side, Students should collaborate by rolling out masking tape across the surface and connecting edges of panels. Creating random geometrical shapes.
5. Using an exacto blade, carefully cut the connecting edges of tape so as to free the canvas panels (while keeping the tape on the surface of panel).
6. Students paint their individual canvas panels. When painting, students should consider tinting an shading of color, mixing down colors to create neutral tones along with bright jewel effects. 
7. Carefully  pull of masking tape to reveal stenciled unerpainting and apply final glaze to canvas panel.
8. Hang work based on the numerical order and enjoy!
   

Rubrics:

1. Group participation.
2. Evidence of tinting and shading of color.
3. Use of augmented and jewel effect colors.
4. Evidence of original thinking / use of imagination.
   

Project Goal:  Combine acrylic paint and transfered black & white printed images onto a canvas panel. 

Directions:

1. Explore the internet for a variety of visual information to be used as transfers within your painting study. 
2. If needed, use Photoshop to scale information to size and/or apply filters to achieve specific visual effects.
3. Apply a skim coat of acrylic gel medium directly on the canvas.  Apply a skim coat of gel medium onto the face of the printed image (be careful not to get any acrylic gel on the back side of the paper). Place the printed imaged face down onto the acrylic gel surface. Take a clean sheet of paper and place it directly over the top of the printed paper surface and firmly rub the surface flat.  There should be no bubbles or elevated surfaces between the canvas and the printed image.
4. Once dried, dip a textured cloth such as burlap in water.  Apply this over the top of the dried paper surface.  Gently rub away at the damp paper until all of the paper remnants are rubbed off.
5. Once you have applied the transfers, incorporate paint into and around the printed
6. forms.
7. These steps are interchangeable.  For example, you can start with an underpainting, then transfer images, paint, more transfers, etc...
8. Once project is completed, apply a final varnish over the surface of the painting. 
   

Glossary of terms for Acrylic Painting
Painting Class with Mr. Dressler

1. Underpainting: In art, an underpainting is an initial layer of paint applied to a ground, which serves as a base for subsequent layers of paint. Underpaintings are often monochromatic and help to define color values for later painting.
   
2. Hue: a color or shade that is independent of intensity or lightness.
   
3. Saturation: refers to the intensity of color in an image.
   
4. Tinting and Shading Color: In color theory, a tint is the mixture of a color with white, which increases lightness, and a shade is the mixture of a color with black, which reduces lightness. A tone is produced either by the mixture of a color with grey, or by both tinting and shading.
   
5. Complimentary Color: colors directly opposite each other in the color spectrum, such as red and green or blue and orange, that when combined in the right proportions, produce white light or neutralized tones.
   
6. Analogous Colors: are groups of three colors that are next to each other on the color wheel, sharing a common color, with one being the dominant color, which tends to be a primary or secondary color, and a tertiary. Red, orange, and red-orange are examples. ... An analogous color scheme creates a rich, monochromatic look.
   
7. Glazing: A GLAZE is a thin TRANSPARENT color used over another dry color to create a third color.
   
8. Opacity vs Transparency: Transparency in 2D design is simply the quality of being able to see through (or partially see through) one or more layers in an artwork. Opacity is a similar term but refers to the inability to see through a layer.
   
9. Acrylic Transfer: Apply the acrylic gel or paint to the surface receiving the image. While it is still wet, place the image face down into the wet medium and allow to dry thoroughly. When the application is completely dry, dampen the paper with a wet sponge. Give it a few minutes to allow the water to penetrate the paper pulp.
   
10. Acrylic Varnish: Non-removable. Gloss Varnish — This water-resistant varnish delivers permanent, highly-durable protection that is flexible and non-yellowing when dry. A 100% acrylic polymer varnish, Liquitex Gloss Varnish is water-soluble when wet and can be thinned.
    Acrylic Gel Medium: Acrylic Gel medium is acrylic polymer minus the pigment.  It is used as an extender to make acrylic paint translucent.  Acrylic gel medium comes in a range of thicknesses, sheens and textures. 
    

Rubrics:

1. Utilize a variety of transfers.  Consider size variety, variety of visual subject matter, variety of textures, etc
2. Demonstrate tinting and shading with color.
3. Demonstrate use of analogous colors.
4. Demonstrate use of glazing.

In Progress.  By Dan Dressler

By Watertown Art Student

By Watertown Art Student