Art 230: Introduction to Painting
Assignment: Make your own stretcher and painting from scratch

Due Date Wednesday, October 9 or Thursday, October 10

We are going to make a painting, start to finish. That means we will build our own stretchers, stretch the canvas, and then make the painting. The tools that you will need are in the sculpture department, and some are in the prop room. The school will supply everything except wood, canvas, and gesso. Please note that there is class in the sculpture studios on MW 9:00 a.m.-11:40 a.m. Please do not interrupt other classes and be sure to clean up after yourself.

This assignment will be graded on the following criteria:
The craftsmanship of the overall painting. Is the painting well stretched? Do the corners line up? Is the painting flush to the wall? How have you addressed the form? How have you used space? Are you utilizing light to organize and structure both the form and the space?

It is also important to think about content and form. How are you using the formal elements of art and how do they relate to your concept?

You are required to build and assemble the stretcher bars in any of the same manners that I demonstrated. I prefer to use the method of first clamping the quarter-rounds to the pieces of wood and then mitering everything at once. The choice is yours.

You will need to buy one 8' board. I used a poplar 1" x 2" for the demonstration, but you're welcome to use whatever. I also recommend using poplar or redwood if you can afford it instead of pine, but that choice is yours as well.
You will also need to buy an 8' quarter round. They make two sizes it's up to you which size you use, but if later on down the road you want to frame this piece the wider quarter-round will work better with a lattice strip frame. The smaller quarter rounds work well with a more complicated frame called a float frame.

The painting should be 18" x 24" or at least 432" square. It should be a still-life in the manner of any of the artists that we did our master copies from. Try to use the same composition, brush stokes and mind set as the artist of your choice. It's also important to be looking at an image or images from the particular artist that you chose while painting from your still-life. See if you can construct an important meaning behind the work. Did the objects you choose have special meaning to you? Could they be used to make a symbolic self-portrait? Or could you set up a few pots and pans and render them in a fashion that gives the viewer a sense that the owner of this kitchen is very anal? ( i.e. William Bailey) Or just the opposite and show tons of clutter like a Richard Diebenkorn? You may need to bring items from home to make your still-life work. What about making a painting about religion without using a bible or cross? Good luck and I hope you feel as good about the whole process as I do when I finish a painting that I've stretched, prepared, and painted.

Other artists that you may consider looking at: Chardin, William Bailey, Sue Ferguson Gussow (if you can find any still-lives of hers). P.S. Don't forget your safety glasses.

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Kevin J. Muente
Assistant Professor of Art
Northern Kentucky University