The study of the expressive properties of color (based on the theories of Albers and Kandinsky), applied to form and space on the two-dimensional picture plane. Emphasis is placed on how/why color appears to change when juxtaposed to other colors. Students will investigate hue, value, saturation, application, intensity, mixtures, color intervals. They will explore the difference between actual and optical mixing of color, the relativity of each hue and its unique properties, color unity and the effects of color upon "edges." A key component to this course is the recognition that the composition (not necessarily the subject of the painting) is the greater good.
"As a painter I am committed to process as a necessary part of personal individuation – and the completed painting. So my paintings reveal that process: lines, drawings, failed efforts remain – emerging through the layers. They are variations of still lives, interiors, portraits; they are visual journals; they are from times and moments in my life.""	Franny Golden is a recipient of an NEA Fellowship (London, England), several Ragdale Foundation awards and scores of international prizes.She holds three university degrees, the last of which is a Masters in Fine Arts. For four years she lived, painted and taught in Istanbul, Turkey, and has also lived and painted in Mexico, Santa Monica, Cornwall and, most recently, Paris. Her numerous solo shows include such cities as Istanbul, Chicago, Boston, Detroit, Ann Arbor, and Saratoga, CA, and a one woman show at Cape Museum of Fine Art, 2003. She is a published writer, a 15 year adjunct faculty member at Cape Cod Community College, and has been a painting instructor for the Mass College of Art at the Cape Museum of Fine Arts. Her work is in numerous private and museum collections throughout the world.
Franny Golden Materials List You will need: Studio Size Tubes of: Zinc or Flake White Yellow Ocher Cadmium Yellow (or Yellow Pale) Alizarin Crimson Viridian Green Ultramarine Blue Cobalt Blue Raw Umber Burnt Sienna Ivory Black (or Paynes Gray) Brushes (for oil and/or acrylic); One of each; FLAT #2, #4, #8, #10; POINTED #10, #12. Don’t spend a lot of money on brushes, as they can be very expensive! Try the Christmas Tree Shops, Odd Lot, Staples, before going to art supply specialty shops. Palette (piece of mirror, glass, plexiglass, masonite, formica, or palette paper) for oil and acrylic Palette knife (trowel-shape), for oil and acrylic Container of thinner with lid- Gamsol or Sansodor for thinners & Galkyd or Liquin for mediums Cold Pressed Linseed Oil, for oil Gamsol or Sansodor for thinners & Galkyd or Liquin for medium must be used inside the studios due to toxicity of turps, varnish, etc Four Paint Cans/Jars (i.e. coffee tins), for oil and acrylic Piece of mesh outdoor screen (for cleaning brushes); for oil and acrylic Cotton Rags, for oil and acrylic Gesso, rabbit skin glue or size, for oil and acrylic (optional, if you plan to stretch unprimed canvas) One set of stretchers (no larger than 36", for oil and acrylic) One piece of canvas (preferably primed, for above set of stretchers) Stapler or stable gun and staples Painting surfaces, for oil and acrylic (i.e. simple, durable, rigid surface that will not bend, expand, contract, warp, crack, or flake- i.e. canvas board, pre-stretched canvas, masonite, wood, heavy-weight print making paper)