Art School Curriculum 02 2012

7/31/2019 Art School Curriculum 02 2012

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3/383 2012 Studio Incamminati

As the semester proceeds,

the poses are longer. Students

exercise a certain freedom in

their manipulation of the char-

coal. Freedom, however, is not

license, and students must main-

tain their commitment to seeing

the form objectively. Their

strokes should be uid, driven

by the kinetic energy of the pose

they seek to describe utilizing

straight lines and angles. At this

juncture, students do not attend

to curves. Straight lines and

angles best describe the basic

armature of the pose, providing

the necessary foundation on

which to build complexity. Theprogressive nature of the curricu-

lum demands that students rst

master foundational concepts

including accurately drawing the basic shapes and separating light and shadow into simple masses before

continuing to the next level.

Students step back frequently to assess how well they have grasped the energy of the gesture and the major

direction or tilt of the gure. Students squint to eliminate details and see the form simplied into large

elements, or prominent masses, of the gure. This exercise helps students improve hand/eye coordination

and shapes their ability to critically observe form. Development of hand/eye coordination and observational

skill mark all phases of the cur-riculum at Studio Incamminati.

Students additionally work from

still life to develop the ability to

see graphic shapes in light and

shadow. Still life offers students

the advantage of depicting a

variety of objects, forms, shapes,

colors, surfaces, and textures,

while also addressing subjects

placement in space in relation to

the backgroundall issues rel-

evant to realism. At the founda-

tional or beginning level, still life

subjects consist of simply shaped

Sample of a charcoal gure drawing;

John Flavin, Figure Study, Charcoal on paper, 19 x 25 inches, 2009

Sample of a charcoal still life drawing;

Barbara Lewis, Value Study, Charcoal

on paper, 15 x 10 inches, 2010



objects in monochromethe cylinder, the sphere, and the cube. Still life objects increase in complexity

as skills progress. As with studies of the human gure, students strive to harness energy and movement

in their still life compositions. They use straight lines and angles when beginning a still life drawing,

to describe the form as simplied planes, using charcoal as their medium before moving onto oil paint.

Students learn about value elds, along with the ow of light across the entire subject.

level one: Second Stage

In this stage students begin to use a variety of media including charcoal, oil paint and graphite. Having

established the basic structure of the pose, students now mass in the gure by dening or chiseling shapes

of light and shadow. Here students come to see with eyes squinted the planes of the gure and how they

combine to create transitions of

value. Values are seen best with

eyes squinted. Students learn

by squinting they can eliminate

detail and see the largest shapes.

While keeping the excitement

of the gesture, students learn to

perceive the gure in the abstract

simplicity of light and dark

shapes. This blocking in is

rapid, dealing with the whole,

not details. At this stage, the

studies are developed beyond

the two values of light and

shadow. Shapes are made more

accurate, without developingdetails. Recognizable features

of the gure emerge from the

development of abstract shapes.

Students create dimensional form

by increasing the range of values

while maintaining a clear separa-

tion of light and shadow.

Following the block in of basic

light and shadow, focus shifts

from the abstract to the creationof the gure. Students develop

the gure with simplied planes,

each describing different values.

As the drawing progresses,

shapes of value become more accurate and rened leading to an in-depth understanding of how to build

form. The gure is portrayed in its environment, establishing a human form with weight and well grounded

in space.

Sample of a charcoal gure drawing: block in;

Christina Rose, David I, Charcoal on paper, 25 x 19 inches, 2009



Students are introduced to the management and handling of paint using open grisaille: the use of thinly

applied layers of brown paint, a mixture of burnt sienna, ultramarine blue, and titanium white, that serves

as a paintings rst stage.

Sample of an open grisaille;

Darren Kingsley, Open

Grisaille, Oil on canvas,

8 x 10 inches, 2008

Traditionally used as an under painting, open

grisaille is a monochromatic technique also used to

study and capture the shapes of lights and shadows.

Using a limited value scale, students build volumeand form by painting in shadow shapes and wiping

out light shapes with a soft cloth. The canvass tone

functions as the lightest value. Exercises in open

grisaille help students fully convey the energy of

the gure while introducing paint handling.

Students begin their work with open grisaille by

painting the model, both in gestures and short poses,

similar to methods of study used during students

introduction to charcoal in the rst semester. The

exercise is repeated until the process becomes partof the students artistic nature.

Sample of an open grisaille;

John Flavin, Open Grisaille, Oil on canvas,

20 x 16 inches, 2010



Along with open grisaille using short poses, students gain basic skills in modeling form through a semester-

long cast drawing class. As a type of value study, cast drawing allows students to work longer on a single

drawing, developing artistic stamina and mastering complex tonal work. The aim is to establish a strong

foundation on which to build complexity. Students

must resist the urge to rene the cast without rst

grasping its foundation. Students strive to see the

larger shapes. They must repeatedly look from the

subject to the drawing to assess how well they have

recorded the objects lights, darks, and cast shadow.

The plaster cast gives the student the opportunity

to study the human form for a longer period of

time and under a controlled light source, while

using an object that has a uniform local color

the white cast. The student learns correct shape

analysis, how to verify proportion, how to separate

light from shadow and how to model form with

value gradations.

Sample of a cast drawing;

Adelbert Yupari, Cast Drawing, Charcoal on paper,

24 x 18 inches, 2011

Sample of a charcoal still life drawing;

Sarah Fredericks, Off Season, Charcoal on paper,

25 x 20 inches, 2009

As students are introduced to new materials, they

continue their charcoal studies in still life and in

the gure. Still life drawing in charcoal continues,

giving students the opportunity to develop further

skills in drawing, creating values, and composing

objects in the picture plane. These drawings form a

solid base for future work in color.

Students are introduced to in anatomy studies and

structural drawing, an analytical way of construct-

ing the form that promotes deeper understanding.

Anatomy instruction is incorporated in draw-

ing and painting classes and offered in a series

of lectures.



Also at this stage, students are introduced to gure drawing in graphite. The objective is to push drawing

skills, to increase ability to see relative values within the gure, and to learn to plan ahead with specic

goals to be accomplished at different times throughout the drawing process. Students address the prin-

ciples essential to transform abstract at shapes into fully dimensional forms and to create a sense of light

on the gure. They focus on drawing the gure with a full range of values and develop the ability to make

accurate relative value calibrations. Emphasis is placed on gesture, anatomical landmarks, proportion,

light direction, edges, composition, and abstract linear movements found in the gure. Emphasis is also

placed on bringing the drawing to completion.

Sample of a gure drawing in graphite;

Chris Nixon, Sitting Female, Pencil on paper, 25 x 19 inches, 2011

The second stage of Level One includes an introduction to color. Using simple still life objects such as

boxes, students analyze basic color relationships under warm articial light. Students learn about color

relationships by seeing each color in relation to the colors surrounding it. They begin to paint the effect

of light by understanding that colors are affected by the nature of the light source. Students are introduced

to the Studio Incamminati full color palette and learn to make strong color statements in order to see and



Sample of a color study;

Clair Cropper, Vase, Oil on canvas, 12 x 9 inches, 2011

understand the color. Students learn to mix and adjust colors directly on the canvas, with full immersion

in the dynamics of color coming later in Level Two.

Upon completion of Level One, students are evaluated on and are expected to gain prociency in the

following concepts:

CONCEPT: Seeing and drawing basic shapes and forms

Skills to attain:

Abstracting from nature

Gesture Block-in

Using straight lines and angles

Accuracy of gesture and proportion

Massing lights and darks

Understanding light direction

Value elds



Seeing shapes in perspective

Stepping back to assess the big picture

CONCEPT: Understanding human anatomy and other natural forms

Skills to attain:

Seeing and expressing the human gure as a whole

Learning to edit down to the bare essence to create a powerful image that is not cluttered

with unnecessary details

Further dening shapes in successive passes

CONCEPT: Applying this knowledge in monochromatic paint studies

Skills to attain:

Basic paint handling

Painting with charcoal rst

Advancing to grisaille applying the lessons learned in charcoal to painting, such asmassing in (block in) and wiping out

CONCEPT: Pure color studies

Skills to attain:

Seeing and relating basic color relationships under articial light

Learning the vocabulary of pigments and terms such as hue, value, intensity and temperature

CONCEPT: Synthesis

Skills to attain: Setting up and composing still life

Developing still life and gure drawings

CONCEPT: Rening preceding stages by focusing on personal expression, selection of subject

matter, and careful examination of why one paints the subject matter selected

Skills to attain:

Applying principles learned in still life to gure work and vice versa

Attending lectures on art history

Touring major exhibitions and collections in New York, Philadelphia and Washington, DC

(all levels)

CONCEPT: Working Independently

Skills to attain:

Completion of assigned homework such as Bargue drawings, Old Master copies,

anatomical studies



level two: firSt Stage

To aid students in mastering more complex depictions of the human form, further studies in anatomy are

offered during class sessions, and in the form of lectures. Students continue to attend lectures in art history.


Erin McGrath, Charcoal Study, Charcoal on paper, 13 x 11 inches, 2006

The nal stage of charcoal drawing occurs during this semester. Students aim to build upon the draw-

ing exercises of Level One. Students are taught skills that will allow them to develop drawings toward

completion. Emphasis is placed on concepts such

as accuracy of proportion, anatomical structure,

perspective, value relationships, edge development,

and generally working from simple to complex.

Students use open grisaille to train in basic construc-

tion of the gure in paint, just as they have done

in charcoal. At this stage, students build upon their

foundational understanding of the gure. Longerposes gradually lengthen to three hours. Students

move beyond the foundation of relating angles,

anatomical landmarks, and shapes of light and

shadow, and study value relationships and building

form with value.


Anne E. Hall, Donovan, Charcoal on paper,

27 x 26 inches, 2008



In addition to continued study of the gure, Level Two students are introduced to cast painting. The goal

is to understand how to develop form with value, painting a cast that appears to emerge from the surface

of the canvas. Cast painting is a monochromatic exercise, using black and white paint with no color

variation. The casts themselves are white in color and are placed against black backdrops. Students benet

from these studies, as consistency in lighting and the casts position, along with its monochromatic color,

simplies the painting process. These conditions aid students as they continuously revise proportions

and further understand values and form. Concepts of gesture and proportion are of primary importance.

Students strive to capture the character of the cast, just as they do with the gure. Principles of form

and accurate relative values are stressed. In cast painting, students learn to convey subtle plane changes,

modeling and carving out form with careful edge work and delineation of value shifts. Paint handling is

very important at this stage and paint is applied in controlled, thin layers. The principles studied here are

directly applied to gure and still life painting.

Sample of a cast painting;

Vanessa Fenton, Hand,

Oil on canvas, 14 x 14 inches, 2011

Sample of a cast painting;

Diane Rappisi, Eye, Oil on canvas,

11 x 12 inches, 2008



With these studies in charcoal drawing, open grisaille, and cast painting, Level Two students are expected

to gain basic prociency in depicting accurate proportions and values, along with basic skills in paint

handling and an understanding of how to build three dimensional form with values. Students strive to

seamlessly incorporate the concepts they have learned throughout Level One and the rst stage of Level

Two, such as abstracting the

subject with angles and straight

lines, blocking in simple shapes

of light and shadow, and remain-

ing sensitive to edges. Through

these fundamental studies,

students learn the essential

skills needed to create powerful,

nished paintings. These studies

also help students considerably

as they learn how to accurately

paint color.

This level of Studio Incamminatiscurriculum introduces the transi-

tion from open grisaille to the

increased tonal and value spec-

trum of closed grisaille. In ad-

dition to pigments found in the

grisaille mixture, students add

white and other colors to repre-

sent light. Areas that were wiped

out in open grisaille are now lled

with this paint mixture, allowing

the student to paint the light masson the gure. Generally speaking

however, students are asked to

keep this tone fairly unied in

color in order to simplify the ex-

ercise. Students gain sensitivity to

subtle changes in value. Edges are

further explored as students learn

to articulate edge variations from

soft to hard. Textures are likewise

explored as students learn tobuild certain areas of paint while

keeping others thin. Brushwork,

while remaining uid, becomes

increasingly subtle in recording

light and shadow.

Sample of a closed grisaille;

Clair Cropper, Liz, Oil on canvas, 9 x 12 inches, 2011


Diane Rappisi, Figure Study-Back,




The study of color continues in the beginning of Level Two. Similar to the Studio Incamminati approach to

shapes and values, students are taught to observe color simply at the start of a painting. Students approach

color directly and broadly, avoiding the depiction of small color nuances, and instead portraying large

patches, or notes, of pure color for each major plane change. Students paint subjects under warm, articial

light, which creates bold colors, making it easier to see basic color relationships. When beginning a color

study, students are taught to start with the most easily seen color. This color should be easy to detect and

usually represents a plane of the subject that is saturated by the light source. After establishing the rst

color note, students continue to paint strong, simplied color shapes, scanning their eyes back and forth

between each color shape in order to see them in relationship to each other. By depicting the most easily

seen colors rst, students begin to create basic color relationships that they can build upon. Students are

encouraged to exaggerate their initial color statements, in order to help them to see clear color differences.

However, it is vital that students maintain accurate value relationships in the process of depicting colors.

If color relationships are correct, value relationships are correct.


Kerry Dunn, Apple with White Jug, Oil on canvas, 16 x 12 inches, 2005




Josh Breslin, Color Study, Oil on canvas, 15 x 10 inches, 2011

Committing to a rigorous study of learning to see color relationships, students do hundreds of short color

studies of simple objects. The use of a full color palette familiarizes students with various pigments, theirintensity, and how they interact. Students learn to understand color as the effect of light on form. For

example, articial light is warm, and affects local color differently than natural light. Natural light is

generally cool, and usually creates subtle color changes and constantly changes with the time of day and

seasons. Similarly, studio conditions affect colors very differently than those of plein air painting.




Richelle Shelton, Color Study, Oil on canvas,

15 x 10 inches, 2011


Katya Held, Nude in Articial Light,




Sample of a graphite drawing;

Vanessa Fenton, Untitled, Graphite on paper, 24 x 19 inches, 2010

level two: Second Stage

In the second semester of Level Two, students continue to develop their drawing skills using charcoal,

graphite and other related media. From the study of color with simple still life objects, students move to

more sophisticated compositions, capturing the effect of light, rst with value studies, then in color studies.



Color studies of the human gure involve new challenges. Students come to appreciate the relationships

between colors under different light conditions. Students test their observational skills by stepping back

from the easel, and observing

color relationships. They become

sensitive to the color complexi-

ties of the human gure as it is

juxtaposed to other color masses

and subject to different light con-

ditions. Students are able to push

studies further, and now start to

break the gure into smaller color

shapes. They are now applying

the concept of plane change as

a color change to the gure, and

they are able to draw on the skills

they learned in closed grisaille.


Snehal Rajeev Page, Still Life, Oil on canvas, 12 x 16 inches, 2010


Natalie Italiano, Color Study: Lauren, Oil on canvas, 20 x 16 inches, 2008



Closed grisaille continues in this level, addressing the principles that are essential to transforming abstract

at shapes into three dimensional form and creating a sense of light on the gure. Students focus on the

full range of values and develop the ability to make accurate value calibrations.

There is a focus on structure, anatomy, proportion, light direction, edge conditions and abstract movements

through the gure and composition. Students place an emphasis on paint handling through an application

of semi-opaque and opaque paint in the light and shadow areas of the gure. Poses range from 6-30 hours

of full-gure value studies.


Vanessa Fenton, Untitled, Oil on canvas, 20 x 18 inches, 2011




Caroline Weitzman, Emma (Back Study), Oil on canvas, 20 x 16 inches, 2010

Upon the completion of Level Two, students are evaluated on and are expected to gain further prociency

in all concepts from prior levels with the addition of the following:


Skills to attain:

Maintaining basic shapes and forms as new disciplines are introduced

Stating relative values with accuracy

Creating value systems/ value relationships

Developing edges and textures

Building structure and form




Skills to attain:

Studying values of the gure in its environment

Relating gesture, angles, anatomical landmarks, and shapes of light and shadow

Transforming at shapes into fully dimensional form

Seeing and expressing abstract linear movements through the gure

Studying anatomy

Using various resources to analyze and understand the anatomy of model


Skills to attain:

Prociency in paint handling

Controlling paint in thin layers

Rhythmically integrating edges

Advancing to the full tonal and value spectrum with closed grisaille


Skills to attain:

Advancing to more complex figure studies

Understanding color relationships under different light conditions

Seeing and expressing complex color set-ups

CONCEPT: Synthesis

Skills to attain:

A long pose gure drawing in charcoal

A long pose gure drawing in graphite to see relative values and to plan ahead with

specic goals for stages of a long pose gure drawing



Skills to attain:

Determining what the goal of the painting exercise is and when it is reached


Skills to attain:

Completion of homework such as self-portrait in charcoal and grisaille, copying

Old Master paintings for structure, composition, abstract value elds, anatomy studies



Sample of an open and closed grisaille;

Katya Held, Untitled, Oil in canvas, 20 x 16 inches, 2011

level three: firSt Stage

In this stage, closed grisaille/duotone into color is offered as a bridge from monochromatic to full-color

painting. Students focus on beginning through the middle stages of the painting process. Basic value re-

lationships are also explored within the duotone monochromatic palette. With this foundation, the student

can introduce subsequent values while remaining organized. Additional colors are slowly introduced to

the palette and students learn how to identify which colors are most signicant.



Sample of a duotone into color;

Peter Kelsey, Seated Nude, Oil on canvas, 20 x 16 inches, 2009

Students learn how to develop more nished gure paintings, marrying their skills in drawing with their

skills in values and color. The result of this is an in-depth understanding of the different skills that go into

a painting, and the process of developing a painting to completion. Poses get longer over the semester,

short poses last three hours and longer poses go from four to eight days, or longer. At times, students are

instructed to do value studies in charcoal or pencil drawings and color studies before starting a painting.

Sample of a duotone into color;

Leona Shanks, Portrait of Rob Goodman, Oil on canvas, 16 x 20 inches, 2009



Sample of an alla prima painting;

Ning Hu, Sitting Figure, Oil on canvas, 18 x 24 inches, 2009

Instruction in gure painting now guides students through the opening stages of full color painting and

provides them with a foundational process. Students bring to Level Three competency in drawing, color

study and value awareness learned earlier, and these skills will now be brought together to inform full

color paintings. The poses are in both natural and articial light. Paint handling, form building in color,

atmosphere and spatial composition are addressed. Poses begin with twelve, three hour sessions moving

to ten, six hour painting sessions as the semester progresses. There are long poses from thirty-six to sixty

hours. Students are encouraged to execute studies to investigate both composition and color before begin-

ning their paintings and to refer to their studies during the painting process. The alla prima technique of

completing multiple studies, one after another, helps students foster good painting habits through repeti-

tive practice.



Sample of a gure drawing in charcoal;

Diane Rappisi, Amy, Charcoal on paper,

24.5 x 19 inches, 2008

Instruction in structural drawing con-

tinues to train students to see the planes

inside of forms while drawing the exte-

rior. Students create convincing outward

representations of the gure throughobservation of the positions of muscles

and boney landmarks of the interior.

Sample of a gure drawing in charcoal;

Jason Espey, Kayti Looking Away, Charcoal on

paper, 24 x 18 inches, 2009



Sample from mentorship cycle;

Sakiko Shinkai, Small World, Oil on canvas, 12 x 9 inches, 2011

Level Three students are mentored by on-site faculty one day a week in his or her private studio. In

mentorship, students learn how to take control of completing a painting. Students learn what informationis necessary in each stage of a painting and how each step is preparation for the subsequent step. Students

also learn in mentorship the steps to be considered when preparing for public exhibitions. At the end of six

weeks, students and faculty meet for a group critique in each studio to discuss work produced during that

period. Students are also required to complete a mentorship self-evaluation form designed to discuss their

challenges experienced creating the painting.



Sample from mentorship cycle;

Alisyn Kuntz, The Grass is Greener, Oil on canvas, 12 x 9 inches, 2010

At this stage, students may apply for entry into the Teacher Training Program. This optional two-year

program begins with an introduction in teaching the Studio Incamminati curriculum, and is designed

to prepare students to teach the concepts and methods taught at the school. Upon successfully complet-

ing the rst year of this program (continues through Level four), students are provided with the nec-

essary resources and training to be eligible to teach in other Studio Incamminati programs including:

outreach programs, artist demonstrations, artist-in-residencies, and assisting with workshops. Completion

of the two-year Teacher Training program is required for application to the Studio Incamminati

Fellowship Program.

level three: Second Stage

At this stage, Level Three students focus on longer model poses. The poses now range from three hours

to their maximum curricular length of 60 hours. This provides students the opportunity to address indi-

vidual needs while exploring the stages necessary to complete a fully developed painting. Students begin

each painting with the necessary studies, which may include preparatory compositional sketches and a

color study.


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Rob Goodman, Ellen with Green Scarf,


At the end of Level Three students begin to plan their Level Four schedule with advisement from their

newly chosen mentors who coordinate a development plan to address the next phase of their work. This

development plan includes a portfolio review of the students work by the artistic director and faculty, withinput from the student.

Sample of a developed painting;

Penelope Harris, Taped Bottle,

Oil on canvas, 11 x 16 inches,

2011


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Progressing on the path to self discovery and self-reliance

Planning Level Four schedule


Skills to attain:

Completion of assigned homework, such as creating painting from gure studies

Mentorship

Skills to attain:

Completion of ve nished still life paintings

Completion of a master copy

Learn to prepare work for exhibition

Offer meaningful critiques to other mentorship students

Teacher Training Program (optional)

Skills to attain:

Demonstrate prociency in working with students at their easels

Demonstrate prociency in giving demonstrations

Demonstrate prociency in giving critiques and writing evaluation

Demonstrate classroom management skills




Alisyn Kuntz, Alyssa, Oil on canvas, 13 x 13 inches, 2011

level four: firStand Second Stage

With a focus on students individual needs, Level Fours curriculum prepares students to work indepen-

dently. Instruction focuses on technical development, the individual process, and creativity in concept

and composition. Students strive to combine skills they have already learned in order to create nished

still life, portrait, and gure paintings. The curriculum includes one weekly, full-day class in portraiture

and fteen hours a week in gure painting. Students progress even further in the process of completingpaintings. During a minimum of nine hours a week, students compose and create paintings independently,

with the guidance of studio mentors.


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Students work with four different mentors throughout the school year for approximately ten weeks each.

At the start of the school year, mentors meet with students to discuss list of strengths and challenges,

portfolio review and group critiques discussed the end of the previous year. These tools are used to focus

on students individual needs for continued learning and professional development. They are also used in

the development of the students Independent Visual Thesis. The thesis is a series of paintings built upon a

theme of gurative work, still life or both. Based on the thesis, students develop a body of work for public

exhibition. Mentors monitor their progress through weekly consultations and help them create personal

career development plans. Students attend lectures, presentations, and demonstrations which facilitate

students learning and career development.


Snehal Rajeev Page, Lauren, Oil on canvas,

16 x 12 inches, 2011


Snehal Rajeev Page, Still Life, Oil on canvas,

16 x 12 inches, 2009


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Upon the completion of Level Four, students are evaluated on and are expected to gain further prociency

in all concepts from prior levels with the addition of the following.


Skills to attain:

Maintaining a consistent level of uid drawing that properly prioritizes the order of

macro to micro


Skills to attain:

Mastering the ability to abstract from nature, rather than drawing the literal line


Skills to attain:

Calibrating values while keeping each value note harmonic with the whole


Skills to attain:

Painting with color that captures the beauty of light bathing form

Keying the color temperature determined by the light source

CONCEPT: Synthesis

Skills to attain:

Advanced gure studies incorporating all the fundamental concepts at the core of

the program

Still life



Skills to attain:

Preparing for specic exhibition opportunities such as auctions and Studio Incamminati

exhibitions

Choosing between painting still life or strengthening skills by classes in other levels


Skills to attain:

Developing creativity in concept and composition in consultation with assigned mentors

Preparing for independent work at Studio Incamminati or elsewhere


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on exhibitionS...

Studio Incamminati sponsors at least two exhibitions throughout the school year and collaborates with

other organizations for additional exhibitions. Participation in these shows is contingent on a review

process by the faculty.

The annual end-of-year Artists of Studio Incamminati exhibition proles the work of students in Level

Two and up. As part of these events, students receive instruction on the elements of developing a success-

ful exhibition. Among these are promotion, staging, framing, funding, sales, and building relationships

with buyers and patrons.

Documents

Art School Curriculum 02 2012