University of the West of England
MODULE SPECIFICATION
(Revised November 2002)
Code: UAMPH3-40-M Title: Scenic Painting Theory Version: 2
Level: M UWE credit rating: 40 ECTS credit rating: 20
Module type: Project
Owning Faculty: FCA/ BOVTS Field: Stage Management
Valid from: February 2008 Discontinued from:
Contributes towards: Postgraduate Diploma in Scenic Art
Pre-requisites: None
Co-requisites: None
Excluded combinations: None
Learning outcomes:
By the end of the module students will be expected to be able to:
• demonstrate a detailed knowledge of basic theories of visual art;
• draw and paint a given image in a wide range of styles;
• mix colour to match the given reference;
• demonstrate familiarity with the professional working practice;
• evaluate own strengths, weakness and progress;
• apply their learning to a realised public production;
• apply their working practice;
• understand the relationship between the scenic artist and the designer;
• have some understanding of the roles of the various departments involved in producing a show and their relationship to Scenic Art Department;
• show understanding of the timescales of production week;
• start to record their work for portfolio; produce painting samples for approval as part of the process in achieving the effect desired by the designer.
Syllabus outline:
During the course of this module the students will complete two painting projects requiring them to explore their painting skills and to be introduced to the role of professional scenic painter.
The first project, to be completed in two weeks, is normally to reproduce on a large canvas the painting of a figurative master, using the tools typical of theatre scenic painting. Students will work individually on this project.
The second project is normally the completion in four weeks of a theatre set. This project will be done working in groups with peers under the supervision of a professional acting as a Head of Scenic Art and following the defined guidelines of the designer.
The first half of the term will be dedicated to classes, lectures, seminars and practical workshops (set construction, model making, technical drawing ), teaching the theoretical aspect of visual art (eg..composition, visual perception, colours etc.) and practical skills and techniques in drawing, painting, priming, scaling up etc.
A discussion and analysis of the finished set is a key aspect of the module.
At the end of the first module the students are required to show completed scenery and parts of the set to tutors and peers for assessment.
Teaching and learning methods:
The syllabus is delivered through a variety of methods:
• Lectures (for example, in visual theory, composition, colour etc.)
• Seminars in drawing techniques, budgeting, tools and materials.
• Workshops in priming different surfaces, scaling up, model making, basic scenic construction methods, photographing work to document it.
• A practical project over four weeks applying all the skills learned during classes, lectures, seminars, to the painting of a full scale production for public performance.
• By attending model presentations and production meetings students gain first hand experience of the place of the scenic art department within the departmental structure of a producing theatre.
Attending outside productions and visits to scenic art departments widens the students knowledge of different methods and styles adopted by a variety of designers.
Students are set small projects as well as copying a master to provide interim assessment points to check the progress of their learning.
Visits to galleries, museums and libraries to supplements-extend what is being taught in lectures and classes.
Indicative sources:
R. Arnheim Art and Visual Perception: a psychology of the creative eye. (University of
California Press, 1997)
J W von Goethe Theory of Colours (MIT Press 2002)
E.H. Gombrich Art and Illusion: a study in the psychology of pictorial representation
(Phaidon 2002)
E.H. Gombrich The Story of Art. (Phaidon 2002)
J Itten The Art of Colour (J. Willey and Sons 2002)
J Itten The Elements of Colour (Faber Birren 2002)
W Kandinsky Point and Line to Plane (Dover Publication, New Yory. 1979)
G Kanisza Grammatica del Vedere: saggi su percezione e gestalt (Il Mulino. 1980)
E Panofsky Perspective as Symbolic Form (Zone Books. 1991)
J. B. Thurston & Optical Illusion and the Visual Art. (Von Nostrand Rheinhold
R. G. Carraher 1966)
Assessment
This is a project module with one component of assessment. This component has two elements.
In assessing Component A there will be meetings between the student and the relevant tutor at formal assessment points over the course of the module to discuss and record the student's progress judged against the learning outcomes for this module. The result of these assessment points (of which there are normally not more than three) are cumulative in nature and give rise to a final mark/grade at the end of the module.
ATTEMPT 1
First Assessment Opportunity
Component A
Description of each element Element weighting
1. Assessment of - PROCESS OF SCENIC ART 50%
The standard achieved during the scenic art process:
§ as shown through the results of a series of specialised, individual, practical workshops
§ as expressed by visiting industry specialists, the designer, and other departmental staff involved with the projects in informal feedback sessions with the head of course.
Description of each element Element weighting
2. Assessment of – FINAL PRODUCT 50%
The standard achieved in the execution of the finished piece of work:
§ with reference to the requirements of the project brief, to the requirements of the design, and to their ability to apply the basic principles, skills and techniques learned during the first term.
§ with reference to their working methods and attitudes in their relationship with the designer (and their design), and to the input from specialist tutors.
§ With reference to their progress in working to schedule, budgetary requirements, use of equipment and materials.
§ with reference to their ability to communicate and interact; in particular to work sympathetically with the design concept and their ability to inspire confidence and motivation within the creative and technical team.
Assessment Strategy
Both formative (ongoing throughout the project) and summative (student presentation at the end of the project). This will include:
§ feedback to the Head of Scenic Art, Designer and visiting specialist tutors
§ group feedback with other scenic art students, Head of Scenic Art and visiting specialist tutors
§ individual self-assessment
Finally a written assessment from the head of department is discussed in conjunction with the student’s self-assessment and a student action plan is agreed and recorded in a tutorial.
Second Assessment Opportunity (further attendance at taught classes is required)
AS FOR FIRST ASSESSMENT OPPORTUNITY
SECOND (OR SUBSEQUENT) ATTEMPT: Attendance at taught classes is required.
AS FOR FIRST ASSESSMENT OPPORTUNITY
Specification confirmed by …………………………………………………Date ……………………………
(Associate Dean/Programme Director)