Description:

This compulsory core subject is fundamentally conceived as an experimental introduction to the set of theoretical-practical contents that define the area of Knowledge of Painting. The course is organised around a series of knowledge, tasks and experiences with the aim of introducing students to Painting, understood as a specific procedural field of plastic configuration and expression; facilitating experimentation in processes of observation, evaluation and reflection of pictorial resources; and its transversal links with other disciplines.



Contextualisation:

Students entering the Faculty must have an interest in Art and Culture, an interest in developing their own aesthetic sensitivity, a predisposition for learning that requires tenacity, flexibility, permeability and motivation. From its introductory nature, Painting 1st proposes an initiation to the dynamics of pictorial creation, to the knowledge of its basic theoretical notions and their verification through practical experimentation. It maintains a horizontal relationship with the subjects Art and Technology I, Drawing I, Introduction to the History of 20th Century Art, Image Laboratory, Materials Laboratory and Sculpture I, with which it shares the basic training for the three degrees of Art, Creation and Design and Conservation and Restoration. On the other hand, the subjects Painting II and Painting III, which in the 2nd and 3rd years will give continuity to the basic training for the three degrees in Art, Creation and Design and Conservation and Restoration, are the ones that will give continuity to the basic training for the three degrees in Art, Creation and Design.

Specific competences:

Nº1E Critically understand the theoretical concepts of Colour as a visual and expressive phenomenon, in order to interpret them in the practice of Painting and in its relationship with other artistic disciplines.

Nº 2E Experiment with the materials and procedures of Painting to produce and relate ideas and develop them in artistic projects and pictorial works.

Nº 3E Develop pictorial skills and sensibilities in the representation of formal aspects and content.

Nº 4E Employ basic notions of analysis and representation using the critical reference of contemporary pictorial languages.



Transversal Competences:

Nº 1T Discover in the observation of reality, the possibility of rethinking it through visual and plastic creations.

Nº 2T Distinguish between the structural and the anecdotal in the observation of reality and detect different modes of relationship between parts on the basis of different perceptible aspects that participate in artistic configurations.

Nº 3T Detect and revise preconceived ideas about the materials, images and senses of art in order to experiment and articulate new sensitive and intellectual associations.

Nº 4T Begin to learn about, experiment with and relate processes, procedures and materials in the different areas of art.



Course competences to be worked on:

Nº 1C Detect and revise preconceived ideas about matter, image and the meaning of art.

Nº 2C Recognise the potential of matter as a substratum of the work of art.

Nº 3C Experiment in the field of the material and the image, producing new sensitive and intellectual articulations.

Nº 4C Initiate in the critical understanding of the theory and history of art and recognise the anthropological and social condition and value of artistic activity and production.

Learning outcomes:

Nº 1R Understand and reflexively handle the concepts and experimental contents of chromaticism, its morphology and syntax in the personal development of pictorial projects.

Nº 2R Experiment with procedures and materials in the pictorial representation of formal and spatial values.

Nº 3R Manage a vocabulary, concepts and basic references in painting for a better critical understanding of the history and theory of Art.

Nº 4R Develop skills for the study of relevant notions, the design of personal projects in pictorial languages, linking them to different fields of contemporary art.

No. 5R Work autonomously and in teams to develop initiative and decision-making skills, both individually and in teams.

THEME I

The Nature of Colour. Colour, Light and Matter.

The electromagnetic and chromatic spectrum. Visual apparatus and colour perception. The chromatic circle. Chromatic morphology and synthesis: additive, subtractive and partitive. Chromatic representations. Fundamental dimensions of colour: Hue(Tonality), Value (Brightness) and Purity (Saturation).



Tasks and activities:

Study of the physical process and perception of colour.

Study and experimentation of the natures and differences of chromatic, luminous and pigmentary mixtures.

The pictorial representation of the chromatic circle in its fundamental colours and its modulations of Tonality, Luminosity and Saturation.

Competences: N1E, N2E, N3E, N1T, N2T, N3T, N4T.



THEME II

Syntax and dynamics of colour.

Chromatic harmonies and contrasts. Chromatic structures and interactions. Blends and harmonic principles. Local colour, tonal, atmospheric, reflection. Chromatic texture.



Tasks and activities:

Experimental development of harmonic possibilities in pictorial compositions for their expressive evaluation.

Experimental development of the fundamental contrasts in pictorial compositions for their expressive evaluation.

Study and experimentation of pictorial procedures for their use in the programmed practices.

Competences: N1E, N2E, N3E, N1T, N2T, N3T, N4T.

THEME III

Pictorial materials and procedures.

Supports, pigments, binders, thinners and tools for painting. Composition and plastic organisation of the pictorial work. Formal criteria and harmonisation in pictorial composition.



Tasks and activities:

Experimental development of compositional possibilities in pictorial discourses and in different graphic fields.

Study and experimentation of pictorial procedures for use in the programmed practices.

Competences: No. 1E, No. 2E, No. 3E, No. 1T, No. 2T, No. 3T, No. 4T, No. 1C, No. 2C.



THEME IV

Reality and its representation. Colour and the representation of plastic space and natural space. The Chiaroscuro and the keys of depth.



Tasks and activities:

Experimental development of the expressive possibilities of colour and its modulation in the representation of natural space.

Study and experimentation of pictorial procedures for use in the programmed practices.

Competences: No. 4E, No. 1T, No. 2T, No. 3T, No. 4T, No. 3C, No. 4C.

THEME V

Painting and contemporary processes.

Development and evolution of pictorial experiences based on contemporary languages and processes. Psychology and Symbology of colours. Evolution and history of the chromatic sense.



Tasks and activities:

Experimental development of the expressive possibilities of contemporary procedures in their link with Painting, from a transversal perspective of artistic languages.

Competences: No. 2E, No. 3E, No. 4E, No. 1T, No. 2T, No. 3T, No. 4T, No. 3C, No. 4C.

Seminars: (0.5 hours per week x 30 weeks): work will be done with a small group of students. This type of teaching facilitates assistance in the individualised process of incorporating content and skills into the students' curricula. These will be the appropriate spaces for sharing the results of the work, debating the problems that arise in the dynamics of the course, debating in small groups on the tasks assigned and establishing conclusions on the work processes.

Workshops: (2.5 h/week x 30 weeks): At the beginning of each module, the fundamental concepts of the theory relevant to each case will be presented, the tasks to be carried out will be set out and the students' doubts will be clarified. Once the work module has been presented, each student in the group will work personally in the presence of the teaching staff, who will guide them with regard to the suitability of the task to the proposed problem, resolving individual doubts or difficulties. The work carried out by the students in the Workshops is spread over successive sessions. During the completion of each proposal, at the easel and/or at the end of the work in a session of conclusions, there is time for debates and discussions on the work, individually or in groups.



Tutoring (6 h/week x 30 weeks): they offer personalised support and advice to consult and contrast the results of the non-face-to-face tasks entrusted to the students. Study, collection of information and status of the projects and/or dossiers are contrasted in the tutorials.

• Continuous Assessment System
• Final Assessment System
• Tools and qualification percentages:
  • Written test to be taken (%): 20
  • Realization of Practical Work (exercises, cases or problems) (%): 80

The course is based on continuous assessment, of a fully formative nature. Throughout the course, students will be informed of their learning progress after completing the exercises, and will be given feedback and guidance on their results and improvement. The mark for continuous assessment is the one that will appear in the ordinary exam. For each subject competence and in the development of the individual and/or cooperative tasks and activities carried out, the following assessment criteria will be established: the correctness and relevance of the answers provided. Clarity in the conceptual development. Appropriate reasoning and correct argumentation and interpretation. As well as the originality and creativity of the work carried out, and the richness and control of expressive resources. Aesthetic sensitivity. To achieve a critical and participative evaluation of the level of achievement of the training objectives (conceptual and experimental) of each thematic block.

Students who waive the continuous assessment system, by the procedure explained below, may sit a final exam. This test will consist of a theoretical part and a practical part, both of which must be passed in order to obtain an average between them, the result of which will be obtained on the basis of an approximate value of 20% of the theoretical part and 80% of the practical part, which will be weighted by each assigned teacher. Due to the nature and content of the subject, the student will have to present to the final exam, the complement of the appropriate completion of different practices that accredit their level of understanding and overcoming of the subject, within the programme taught and developed in the corresponding group of the subject.

Regarding the waiver of the continuous assessment system:

Students will have the right to be assessed using the final assessment system. To do so, they must submit a written waiver of the continuous assessment system to the corresponding teacher of the subject and will have a period of 9 weeks to do so for four-monthly subjects and 18 weeks for annual subjects, counting from the beginning of the four-month period or the course respectively (chapter II, art.3).



Waiver of the call:

students may waive the continuous assessment system at least one month before the end of the teaching period by submitting a letter to the lecturer responsible for the subject, which will result in the grade of not having taken the course in the ordinary assessment period. In the final assessment systems, the mere failure of the student to present himself/herself will mean a waiver of the exam and the qualification of no-show. (art.12).

The final assessment of this call will consist of a test. This test will consist of a theoretical part and a practical part, both of which must be passed in order to obtain an average between them, the result of which will be obtained on the basis of an approximate value of 20% of the theoretical part and 80% of the practical part, which will be weighted by each assigned teacher or examining board. Due to the nature and content of the subject, the student will have to present to the final exam, the complement of the appropriate completion of different practices that accredit their level of understanding and overcoming of the subject, within the programme taught and developed in the corresponding group of the subject.



With regard to the waiver of the evaluation system:

It will be enough that the student does not attend the test to evaluate him/her as a non-submitter, which means an automatic resignation. (art.12).

Oil and acrylic paintings.

Basic bibliography

ARHEIM, R. Arte y percepción visual. Alianza Ed., Madrid,1979.

FABRIS-GERMANI. Color, proyecto y estética en las artes gráficas. D.Bosco,B.,1973.

DERIBERÉ, M. El color en las actividades humanas. Tecnos, Madrid, 1964.

DOERNER, M. Los materiales de la pintura y su empleo en el arte. Reverte, 8.,1975.

GERRITSEN, F. Color, Blume, Barcelona,1976.

HAYES, C. Guía completa de pintura y dibujo. Blume, Barcelona. 1980.

JENNIGS, S. Manual del color para el artista. Blume. Barcelona.

KUPPERS, H. Fundamentos de la teoría de los colores. G.Gili. Barcelona., 1980.

MAIER, M. Procesos elementales de proyección y configuración. G. Gili Barcelona,

MORENO, T. El color, Historia teoría y aplicaciones. Ariel, Barcelona, 1996.

TRUAN LAKA, M., Introducción a la Pintura a través del Color, S.E. UPV-EHU, Bilbao,2013

In-depth bibliography

A.A.V.V. Manual del artista, equipo, materiales y técnicas. Blume, Barcelona, 1982.
El gran libro del Color. Blume, Barcelona 1982.
La práctica de la pintura. G.Gili. Barcelona, 1978.
ALBERS, J. La interacción del color. Alianza ed., Madrid,1979.
ARGAN, J.C. El arte moderno. Akal, Madrid, 1991.
BERGER, R. Bl conocimiento de la pintura, 3 vols. Noguer, Barcelona,1979.
BERMEJO PIZARRO, S.G. Código Forma/Color. Oriens, Madrid, 1980.
BERRY, S. y MARTIN, J. Diseño y color. Blume, Barcelona, 1994.
BRUSATIN,M. Historia de los colores. Paidós estética. Barcelona 1987.
GARAU, A. Las armonías del color. Paidós, Barcelona, 1982.
GONZÁLEZ CUASANTE, J.M., et alt., Introducción al Color, Akal, Madrid, 2005.
ITTEN, J. Couleur. Dessain et Tolra. Paris,I97l.
KOBAYASHI, S. Color. Image Scale. Kodansha, 1991.
LUSCHER,M. Test de los colores. Paidós. Buenos Aires 1974,(reed. Barcelona 1986.)
MARX, ELLEN. Les contrastes de la couleur. Dessain et Tolra, París,19J2.
PAWLIK, J. Teoría del Color. Paidós, (Colección Estética, n'23) Barcelona, 1996.
PEDROLA, A. Materiales, procedimientos y técnicas pictóricas. Ariel, Barcelona, 1998.
RANDILLAC, B. Ver y comprender la pintura. Ed. Del Prado, Madrid 1992.
SANZ, J.C. El lenguaje del color. Blume, Barcelona, 1985'
Et libro del Color. Alianza (bolsillo), Madrid, 1993.
SUREDA, J La trama de lo moderno. Akal/Arte y estética. Madrid, 1987.
VALERY.H.EI Gran libro del Color. Blume, Barcelona, 1982.
VILLAFAÑE, J. Principios de Teoría General de la Imagen. Pirámide, Madrid, 1996.

Web addresses

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