Art 242, 342, and 542:
with Fred Stonehouse
For Summer Term 2017, Watercolor I, II, and Advanced Watercolor I will both be instructed by Fred Stonehouse, at the same time and in the same classroom. Additionally, they will be concurrent with upper-level drawing courses Art 448: 006, Art 312, 512, and 612. In terms of coursework, topic, and level of experience, they will remain independent.
Watercolor I (Art 242)
Watercolor I begins painting with watercolor and mixed media on paper. We explore both experimental and traditional uses of the media. Throughout each use, we maintain an emphasis on drawing, composition, and imagination. Last but not least, we go on field trips!
Watercolor II (Art 342)
Naturally, this course is a continuation of the concepts that were addressed in Watercolor I. Thus, we continue to paint! We continue to explore experimental and traditional uses of the media with an emphasis on drawing, composition, and imagination.
Advanced Watercolor I (Art 542)
This course is the next step towards becoming a master painter. In addition to the skills and techniques built in the previous two courses, we can now introduce transparent and opaque watercolor media. Furthermore, we focus on studio practice, making effective critiques, and, of course, field trips!
Jun 12 –
Meet Your Professor
Painting and Drawing
“Imagining an alternate family is a creative activity that likely has its roots in childhood. I can remember, after getting spanked and sent to my room, cooking up fictional parents who never got mad and siblings who willingly shared their toys and never squealed on me. Somehow, those new relatives always closely resembled my actual family, but with the rough edges removed and idiosyncratic quirks added. Sometimes I would imagine my father as very tiny, and my brother as a rabbit. This imaginative play has continued in my creative practice to this day.
Don’t get me wrong, I love my family dearly, but my tendency to think of my odd cast of characters as family has advantages. Establishing characters based on actual people allows me to readily insert them into stories drawn from real experience and history. Although heavily fictionalized, this connection to lived experience, however filtered, lends the work a portal through which an audience can access the familiar. Given that my work is also loaded with and defined by a sense of dream logic, this thread of reality helps keep the narrative from floating off completely.
I can’t know about your family, but my guess is that, like mine, it is filled with odd ducks and goofballs, storytellers, liars and performers. Being part of a family is heaven and hell simultaneously, and thankfully, keeps life interesting. Like my wife Jennie always says: “Friends are great, but blood is thick.”