SYLLABUS / SPRING 2013

MIXED MEDIA: PAINTING, DRAWING,

PRINT
MEETING TIME: T-TH ROOM 246
INSTRUCTOR: MICHAEL VALLONE
[email protected]

COURSE DESCRIPTION AND OBJECTIVES

The goal of mixed media is to dissolve the normal
boundaries between painting, drawing and printed
content. The first thing that you will be asked to do is
identify a core idea or sensibility that is the essence
of who you are as an artist. We will be exploring a
variety of media through collage, drawing,
printmaking, photography, and painting (If you want
to add others, that is encouraged.) Students will
learn to layer, re-contextualize, and combine
materials while creating meaningful works of art. The
important thing to remember is that you will come to
think of your art as being an integration of all of the
above. This concept is radically different than
working within the boundaries of one medium.
Hopefully this will lead to an expanded notion of
what you are able to express as an artist.

PROJECTS
1) The first project (two weeks) is a series of
sketches that are typical of what you would
normally do if you were making one of your art
works. These sketches should be done in whatever
medium you consider your primary medium. If its
drawing; do drawing sketches, if its painting; do
painting sketches, if its photography do photography
sketches etc.
When you are working on this first body of work try
to develop your idea as far as you can in the given
amount of time. You are not trying to create a
finished major piece of art, but rather a small body of
work that gets to the essence of what your work is
about. This is a typical work method often used by
artists as they begin a new body of work. Think of it
as the foundation of what your major concerns are.
1B First Critique You are required to do a
statement that is an analysis of your sketches which
explores the primary content of your work. You
should also describe why you started to work in this
medium in the first place. Ask yourself the question
as to why you are primarily a painter, drawer or
photographer. Try to remember what it was about
your primary medium that compelled you to choose
it. Also think about how deep your understanding is
of that particular medium. Also in your paper,
speculate how your project would look in another
medium. This statement must be typed and well
thought out.

2) The second project (2-3 weeks) is a new work

of art that is not in your primary medium. This will
be your first major project. Pick a medium that you
might even feel uncomfortable with. A painter might
want to explore photography, or a photographer
might want to explore drawing. The important thing
 is that you express something that is the essence of
your normal studio practice. You should be very
conscience of what your subject matter is and be
able to articulate that. This project should take
approximately two weeks.
2B Second Critique You are required to do a
collaborative critique of your new project, ideally with
someone whose primary art form is in the medium of
your new work. I realize that this might not be
possible and in that case, just find a classmate who
has an interest in your new medium. Its important
that you find someone who is willing to help you with
this collaborative critique. One of the best ways to
learn about another medium is to have a dialogue
with someone who works in or is interested in that
medium. This is an important critique and your work
will not be reviewed unless you have found someone
else in the class to collaborate with in writing your
statement.
. 3) The third project (3 weeks) February is the
first project where you will combine two or
more mediums into a single work of art. The
subject matter of this new work of art is completely
open, but most likely it will have some aspect of your
primary medium or subject matter. Hopefully there
will be something new that emerges as you combine
different mediums. This is in essence an exploration
of the collage aesthetic. It should also be an
exploration into a layered form of visual complexity.
This project is one of your major projects and you
should give it the appropriate amount of time. 3B
Third Critique You are required to explore in a
statement what new intellectual or visual element
 has emerged for you. Sometimes this is very subtle
and you may not in fact even know what it is. Usually
these subtleties become apparent during the studio
critique.
. 4) The fourth project (2-3 weeks) March will
investigate how your art will translate into the
printed digital realm. You will be asked to submit
three to five digital images (photo, scan or abstract
digital image) that will be printed on canvas or high
quality art paper. You will then use these images to
create a new piece. Hopefully this will give you an
introduction into hard copy digital imaging. Due to
technical limitations there we can only print up to
17in wide. The length can vary. 4B Fourth Critique
In this critique you should explore what takes place
when your work is translated into the hard copy
digital realm. You should think about how concepts of
space and dimensionality are challenged in this new
medium.
5) The fifth project (3 weeks) April will consist of
working in your primary medium, but with the
addition of a quality from another medium of your
choice. You should add a quality that is easily
identifiable as something that you discovered as the
result of the work that you did during the semester.
5B Fifth Critique You are required to explore in a
statement what quality was added or taken away
from your primary medium as you have worked on
your various projects during the semester. Also how
did this addition or subtraction gave you insights into
the essence of your vision.
GRADING PROJECT PERCENTAGESProject 1:
Sketches 10%Project 2: New piece outside of
primary medium & statements 20% Project 3:
Two mediums combined & statements 20%
Project 4: Digital project & statements 20%
Project 5: Primary medium + new medium &
statements 20% Participation in classroom and
critiques and art dept lectures 10%
SUGGESTED READINGS:Art in Theory 1900-
1990: An Anthology of Changing Ideas, by Charles
Harrison and Paul Wood, ISBN 0-631-16575-4
Modernism in Dispute: Art Since the Forties, by
Paul Wood, Francis Frasvina, Jonathan Hassis and
Charrison, ISBN 0-300-05521-8The Artists Way by
Julia Cameron and Mark Bayan, pub. G>P> Putnams
Sons, New York, ISBN 0-87477-694-5The History of
Bourgeois Perception by Donald M Lowe, ISBN 0-
226-49428

PAINTING & DRAWING AREA POLICIES

All of the following policies will be strictly adhered to in addition
to the specific policies for this course.

PARTICIPATION
Participation, support and respect in all phases of this
course are imperative. The class dynamic depends
on your energy, initiative, attitude, productivity, and
willingness to get involved in group discussion and
critiques. You are expected to participate in a
responsive manner during critiques. You are
expected to clean up and practice safe and
thoughtful use of materials, tools, and facilities.
Prepare questions, solicit responses, and encourage
 constructive criticism during group discussions and
critiques. Consider comments (write in your notebook
during discussions!) using any and all to gauge the
effectiveness of your work. Examine the way in which
your ideas change, evolve, and influence formal and
conceptual choices in your work. Your development
as an artist hinges on your ability to make effective
choices and express ideas clearly.

All grades are tabulated based on your

assignment numerical grade (which is ultimately
figured into a percentage) and your participation.
You must speak with
your instructor within one week of receiving a grade
in order to dispute an assignment grade. You may
speak to your instructor at any point during the
semester to discuss your participation grade.

ATTENDANCE
Roll will be taken promptly.

Late arrivals will be marked tardy; leaving early will

also be noted.

It is your responsibility to see that the record is

corrected from absence to tardy if you are late.

Any absences will be reflected in your final grade in

this course.

Announcement changes to the course calendar,

demonstrations, or general classroom critiques
demand your presence: compensatory work of
 another kind cannot be accepted in lieu of missed
instructions in the area.

A missed class does not constitute an extension of an

assignment. Missing critique makes the assignment that was
under critique late and it will be marked down accordantly.
Attending class unprepared for a discussion, critique, workday, or
presentation will be considered an absence. Any three late
arrivals or early self-dismissals will count as one absence. You are
late if you arrive after your name has been called when role is
taken.

You are expected to be on time and attend all classes. Please

sign the attendance sheet at the beginning of each class. LATE
POLICY
Assignments are due when indicated by the
instructor.

Late assignments will drop one letter grade per class

period late.

An assignment more than three days late will receive

an F.

Any assignment not completed by the end of the

semester will result in a course failure. GRADE
EXPLANATIONA = extraordinary work: Careful
attention to craft and presentation. Intent and
execution of the piece work together in significant
and original way. Goes beyond merely solving the
problemone who performs at this level is visibly
outstanding in every respect.A- =Superlative work:
Careful attention to craft and presentation. Intent
and execution of the piece work together in
significant and original way. Goes beyond merely
solving the problemone who performs at this level
is visibly outstanding in every respect. B+ = Very
fine work: Almost superlative. A few minor changes
could be made to bring the piece together. Again, the
work goes beyond merely solving the problem. B =
Above average: Solution to the problem and idea are
well planed. Execution is well done. This is an
honorable grade.B- = above average but with some
weaknessC+ = A bit above basic requirements but
slipping in levels of originality, craft, and
presentation. The piece does not work as a unified
whole or statement, yet effort was made. Solid
average work. C = You have solved the problem: The
requirements of the problem are met in a relatively
routine way.C- You have solved the problem but with
a few weaknesses and not enough effort.

D+ = You have solved the problem: The

requirements of the problem are met in a relatively
routine way.D = Poor work, missing some projects
D- = Very poor work
F = Unacceptable work and effort.
A C represents satisfactory work, regular
attendance, and successful
accomplishment of the course.

GRADE SCALE
A=4.0, A- 3.67, B+3.33, B3.00, B-2.67, C+2.33,
C2.00, C-1.67, D+1.33, D1.00, D-.67
E,I,NG,S-U,WF0.00

LOCKERS / STORAGE
The SAAH is not responsible for items in lockers.
Please watch for posted signs on
lockers regarding their use. Each student must share
a locker with two students. You
are responsible for keeping the locker from attached
to your lockers AT ALL TIMES.
Lockers will be cleaned out at the end of the
semester.
When storing materials it is advisable that you mark
everything (in black marker) with
your name, the course you are in, and the
instructors name. The SAAH is not
responsible for items in your classrooms.

ACADEMIC HONESTY
This course will follow the Universitys honesty policy found on-
line at:

http://itl.chem.ufl.edu/honor.html

ACCOMODATION FOR STUDENTS WITH

DISABILLITIES
Students requesting classroom accommodation must first register
with the Dean of Students office. The Dean of students will
provide documentation to the student to show to the instructor
when requesting accommodation. The ADA office
(www.ada.ufl.edu) is located in room 232 Stadium (phone 392-
7056 TDD 846-1046).

ADDITIONAL POLICIES FOR STUDENTS

IN THE SAAH
Students in the SAAH must turn off beepers and cell phones
during class.

SAFETY
The studio is for your use outside of class time. You
will be given the combination to the studio and are
expected to follow studio guidelines at all times. Do
not work alone in the rooms. The closest telephone is
on the second floor/SE corner. There is a first aid kit
in each room as well as a sharps container for your
use.

STUDIO USE
Please read and respect studio use guidelines posted in
classrooms. Do not pour solvents down the sinks. Fixative must
be sprayed outside and away from the building. Each student is
respected for assisting in studio clean up. Your instructor will
assign you a duty. The classroom should be organized at the end
of each class 10 minutes prior to the beginning of the next class
with the help of all students enrolled in the course. Keep all
newsprint pads closed with bull clips while in storage. Keep all
portfolios closed at times while in storage.

EVALUATION AND GRADING

You are required to be on time and ready for your
assigned critique days. Usually this requires that you
have your completed studio work as well as a written
statement. The combination of the two is considered
a basic requirement. You are not permitted to use
a project from another class as part of your
 projects for this class. This would be a
violation of academic honesty.

POLICY RELATED TO MAKE-UP AND

RESCHEDULING CRITIQUES
Make up exams and rescheduling of your assigned
critique times will only be done with my permission.
Conflicts with the deadlines from other classes will
not be considered a valid excuse for being late. Its
very important that you keep your work up-to-date,
so these issues dont become a problem.

METHODS OF EVALUATION AND

GRADING
Your work must be submitted on time.

The appropriate amount of time should have been spent on the

work.

The sense of craft must be an ongoing concern.

The level of plastic intelligence in your work must be appropriate

for this course.

Your written artist statements should show a consistent

development in terms of critical thinking that is specific to your
work. You should have a sense of the historical and theoretical
framing in which your work exists.

The consistency of your class work is very important. Those who

under-attend scheduled class time will be marked down during
the grading process regardless of how strong their work is. There
will be no exceptions to this policy. You are expected to be in
class and working on your projects for every class period.

You are not allowed to use class time to shop for materials. Dont
 ask.

Respect the integrity of the classroom. Speak at a normal level

and avoid disturbing behavior. IMPORTANT ADDITIONAL
INFORMATIONYOU ARE REQUIRED TO COME PREPARED TO
WORK DURING CLASS TIME. THIS MEANS THAT YOU
SHOULD HAVE ALL YOUR MATERIALS AND SUPPLIES WITH
YOU AND READY TO USE. YOU ARE NOT PERMITTED TO
SHOP FOR SUPPLIES DURING CLASS TIME. YOU ARE ALSO
NOT ALLOWED TO WORK OUTSIDE OF THE CLASSROOM
FOR WHAT IS ESSENTUALLY CLASSROOM WORK. THE
ADDITIONAL
ABOVE WILL BE CONSIDERED ABSENCES!!!
POLICIES FOR STUDENTS IN THE SAAH
Students in the SAAH must turn off beepers and cell phones
during class. SAFETY The studio is for your use
outside of class time. You will be given the
combination to the studio and are expected to follow
studio guidelines at all times. Do not work alone in
the rooms. The closest telephone is on the second
floor/SE corner. There is a first aid kit in each room as
well as a sharps container for your use. STUDIO
USE Please read and respect studio use guidelines posted in
classrooms. Do not pour solvents down the sinks. Fixative must
be sprayed outside and away from the building. Each student is
respected for assisting in studio clean up. Your instructor will
assign you a duty. The classroom should be organized at the end
of each class 10 minutes prior to the beginning of the next class
with the help of all students enrolled in the course. Keep all
newsprint pads closed with bull clips while in storage. Keep all
Health &
portfolios closed at times while in storage.
Safety Area Specific Information:
Painting 1. Hazards (inherent) Acrylic PaintsMay
contain ammonia which may cause eye, nose, throat irritation,
especially if large amounts are used; may contain preservatives,
such as formaldehyde. Watercolors and Gouache


Gum arabic and gum tragacanth cause skin allergies; gum arabic
can cause asthma; may contain preservatives, such as
formaldehyde.

TemperaHazards in pigments & preservatives; tetrachloroethane

highly toxic; more toxic than carbon tetrachloride, causing severe
liver damage

LatexMay contain glycols, mercury

Oil PaintsTurpentine, mineral spirits moderately toxic by all routes

of entry; they're irritants and narcotics; wood/steam-distilled
turpentine more toxic than gum turpentine; turpentine washes
very hazardous. Oil painting can involve hazards from accidental
ingestion of pigments, and from inhalation or skin contact with
solvents such as turpentine, turpenoid, or mineral spirits.

AlkydPigment hazards; solvent-based paints more hazardous than

oil paints; much more solvent exposure; toluene/xylene much
more toxic than paints with mineral spirits; flammable

SolventsThe use of solvents is a more serious hazard. Commonly,

a student might have a half cup of solvent in a container, which is
normally left uncovered. Over a three-hour class period, about
one quarter to half of this might evaporate from the container or
by use. All solvents can cause defatting of the skin and dermatitis
from prolonged or repeated exposure. Turpentine can also cause
skin allergies and can be absorbed through the skin. Acute
inhalation of high concentrations of turpentine or mineral spirits
can cause narcosis (dizziness, nausea, fatigue, loss of
coordination, coma, etc.) and respiratory irritation. Chronic
inhalation of turpentine can cause kidney damage and possible
respiratory allergies. Chronic inhalation of large amounts of
mineral spirits could cause brain damage. Odorless mineral spirits
or turpenoid, which have had the aromatic hydrocarbons
removed, are less hazardous.Ingestion of either turpentine or
mineral spirits can be fatal. In the case of mineral spirits, this is
usually due to chemical pneumonia caused by aspiration of the
mineral spirits into the lungs after vomiting. In many colleges,
 traditional under painting techniques using turpentine washes are
taught. This is very hazardous since it involves brushing onto the
canvas as much as a cup or more of turpentine in a short period.
Although this is hazardous enough when one individual does a
turpentine wash, it become extremely hazardous when a whole
class does it due to the enormous amounts of solvent
evaporation.

Pigments (see attached chart)Many pigments are toxic,

including those based on lead, cadmium, mercury, chromates,
manganese, and cobalt. The main risk is from accidental
ingestion of the pigments due to eating while working, nail-
biting, pointing your brush with your lips, and similar means of
hand-to-mouth contact. Using dry pigments can allow the
pigments to be breathed in through the air (this also occurs when
using encaustics in an unventilated space.)

2. Best Practices
Don't eat, drink, smoke in studio

Wash hands, including under fingernails (good hygiene)

Switch to formaldehyde-free painting medium

Avoid inhaling pigment powder

Use least toxic preservatives possible

Replace turpentine with turpenoid/odorless mineral spirits

Set up window exhaust fan if possible

Don't do turpentine washes

Wear neoprene gloves

Reuse solvent

Remove paint from hands with baby or vegetable oilDo not

wash it down the sink
 Work in a well-ventilated area.

Take breaks during painting to step outside for fresh air. 3.

Links http://www.ci.tucson.az.us/arthazards/paint3.html
http://web.princeton.edu/sites/ehs/artsafety/sec10.htm
http://www.chicagoartistsresource.org/node/9279
http://www.library.wwu.edu/ref/subjguides/art/arthazards.html 4.
Area Rules All users of the studio classrooms are expected to follow
studio guidelines at all times. If you have any questions, ask your instructor.
Follow the SA+AH Satellite Waste Management Chart in the classroom and other
health & safety guidelines posted for your media.Do not prop classroom doors.
Doors are to remain closed to ensure the building HVAC and ventilation systems
work properly.

Material Safety Data Sheets (MSDS) are available in each SA+AH work area.

Keep the Satellite Waste Management Area (SWMA) clean and organized.
Follow the

SWMA guidelines posted.

Wear gloves when handling hazardous materials. These are

provided in your classroom studios.

Keep solvent fumes to a minimum by covering containers in use.

Clean up after yourself.

No hazardous materials down sinks.

Store all flammables in the flammable cabinet, Keep flammable

cabinet closed at all times.

All hazardous material (many art supplies) containers must be

marked with your name, contents and date opened by using the
white labels provided at the SWMA area at the MSDS boxes.
 All Hazardous Waste must be labeled with the yellow labels found
at the SWMA (use this label when item is designated as trash).

Any unmarked containers will be disposed of without notice.

Practice best practices for material handling. If you have questions about a
material, ask your instructor for guidance.

If you bring an item into the classroom, be sure you have the MSDS form filed for
the material used.

An eyewash is available in both the mens and womens restrooms on the second
floor of FAD.No aerosol cans may be sprayed in any classroom/studio in the
SAAH. A spray booth is located in FAC room 211A.

Wear gloves when handling hazardous materials. These are provided in your
classroom studios.

Remove all trash that does not fit in trashcans to the dumpster on the south side of
FAC. Any trash that does not fit in the trash can must be immediately taken to the
dumpster. All oversized trash (that that has any length that exceeds 4 feet in any
direction) must be taken to the dumpster on the south side FAC and placed beside
the dumpster in the area designated for oversized trash. Broken glass must be
packed inside paper and labeled on the outside as broken glass and walked to the
dumpster. Glass with hazardous materials must be wrapped, labeled with a filled
out yellow hazardous waste labels and placed in the blue bin at the SWMA. The
trash guidelines are to insure the safety of anyone encountering the trash. Liquids,
medical waste, yard waste, appliances and pallets are prohibited from disposal in
the dumpster. No eating, consumption of alcohol or smoking is permitted in the
studios. Clean up after yourself- wipe down surfaces (easels, drawing boards,
stools with a wet towel).

Do not block doorways. Do not block access to lights.

Do not remove furniture from rooms or borrow furniture from rooms without
permission from the area coordinators.

 Do not create daisy chains with multiple electric cords. No hazardous materials
down sinks.

Store all flammables in the flammable cabinet. Keep flammable cabinet closed at
all times.

Clean up after yourself.

Follow guidelines for oil based brush cleaning found at each SWMA.

First aid kits are found in each studio. Notify your instructor if supplies are low.
Report any safety issues IMMEDIATELY to your instructor.All courses must
engage in an end of the semester clean up.

Incaseofemergency,callcampuspoliceat3921111,youareinUF

FineArtsBuildingD(Building#269),andthengivetheoperatoryour
location(room#).

SA+AHCONTAINERPOLICY

There are 2 types of labels used in the SA+AH-- yellow and white.
Both labels are found at the red MSDS box and are supplied by
the SA+AH. Each is used for a different purpose.

White:

All new and or used product in containers (hazardous or what

might be perceived as hazardous -i.e. watered down gesso,
graphite solutions, satellite containers of solvents, powders,
spray paints, fixatives, oils, solvents, etc...) must be labeled
within the SA+AH to identify their contents. Labels can be found
at the MSDS box in each studio and work area. All containers
must be marked with your name, contents and date opened. All
secondary/satellite containers for hazardous materials must be
marked with content, your name and the date opened. All
unmarked containers will be disposed of with no notice.

Yellow: WHEN HAZARDOUS ITEMS ARE DESIGNATED AS TRASH

All containers must have a yellow label identifying the contents
that are designated as trash for weekly EHS pick up.- Flammable
solid containers (red flip top) must have a yellow hazardous
waste label on the outside (top).- 5 gallon jugs must have a
yellow hazardous waste label on the outside.- Fibrous containers
must have a yellow hazardous waste label on the outside (top).-
Each item in the blue bin must have a yellow hazardous waste
label.

Note: Hazardous Waste labels should include all constituents in

the waste mixture as well as an approximate percentage of the
total for that item.Labels should also include the Bldg and room
number of the shop generating the waste along with the Waste
Manager for your area, this is located on the SWMA sign posted at
the sink or at the Waste Management area.

Toxic Paint Pigments

Protect Yourself, Others and the Environment
The following paint ingredients are extremely toxic to you
through skin contact, inhalation, or if swallowed. Know that
you have a choice when purchasing art supplies and chose
paints that are non-toxic to you, others and the environment.

Highly toxic pigments- Avoid at all costsLead Red (Red 105)

Contains leadMolybdate Orange (Red 104) Contains lead and chromatesChrome Orange
(Orange 21) Contains lead and chromatesMercadmium Orange (Orange 23) Contains
cadmium, mercury and sulfidesBarium Yellow (Lemon Yellow, Barium Chromate, Yellow
31) Contains barium and chromates

Chrome Yellow (Chrome Lemon, Primrose Yellow, Lead Chromate, Yellow 34) Contains
lead and chromates Zinc Yellow (Zinc Chromate, Yellow 36) Contains chromatesNaples
Yellow (Lead Antimonite, Antimony Yellow, Yellow 41) Contains lead and antimonyKing's
Yellow (Yellow 39) Contains arsenic

Strontium Yellow (Yellow 32) Contains strontium and chromatesZinc Yellow (Yellow 36)
Contains chromatesChrome Green (Milori Green, Prussian Green, Green 15) Contains
chromates Emerald Green (Paris Green, Vienna Green, Green 21) Contains arsenite
Scheele's Green (Schloss Green, Green 22) Contains arseniteCobalt Violet (Violet 14)
Contains cobalt and arseniteFlake White (Cremnitz White, Lead White, White 1) Contains
leadLithopone (White 5) Contains zinc sulfideZinc Sulfide White (White 7) Contains zinc
sulfideWitherite (White 10) Contains bariumAntimony White (White 11) Contains
antimonyAntimony Black Contains antimony sulfide

Possibly toxic pigments - Avoid unless necessary

Vermilion (Cinnabar, Red 106) Contains mercury compounds

Cadmium Red (Red 108) Contains cadmiumCadmium Orange (Orange 20) Contains
cadmiumCadmium Yellow (Yellow 37) Contains cadmiumCobalt Yellow (Aureolin, Yellow
40) Contains cobaltCobalt Green (Green 19) Contains cobaltChromium Oxide Green
(Olive Green, Permanent Green, Green 17) Contains chromic oxide Viridian (Emeraude
Green, Green 18) Contains chromic oxidePrussian Blue (Iron Blue, Milori Blue, Bronze
Blue, Blue 27) Contains cyanide compounds Antwerp Blue (Blue 27) Contains cyanide
compoundsCobalt Blue (Kings Blue, Blue 28) Contains cobaltManganese Blue (Blue 33)
Contains manganeseManganese Violet (Permanent Mauve, Violet 16) Contains
manganese and barium

Potentially toxic pigments- Use cautionLithol Red (Red Lake

R, Red 49) Sometimes contaminated with soluble barium

Nickel Azo Yellow (Green Gold, Green 10) Contains nickelBarium White (Blanc Fixe,
White 21) Sometimes contaminate with soluble barium

Note: If paint is listed as a hue, for example, Cadmium Yellow Hue, then
that means that the paint is made of derivatives to look like Cadmium and
it is usually nontoxic.