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Week - 1
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LO-1
LO-2
LO-3
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Introduction to the course and project-based research and production. “Reading space”: framing, collage and simplification of everyday spatial images into two, three and five tonal values. Brainstorming on a research question, three to five concepts and historical/contemporary artist references. Assignment: a one-page proposal draft, a sourced atlas of 12 images, 10 compositions and a research journal. |
Lecture
Brain Storming
Proje Design/Management
Practice/Practical Work/Workshop
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Week - 2
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LO-1
LO-2
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The project landscape: field observation, sketches and visual material collection at an outdoor site related to the research question. Monochrome composition in the studio; foreground, middle ground and background constructed through tonal values; analyses of Ruisdael and Richter. Assignment: Study 1, a monochrome landscape; a two-page proposal and preparation for a four-minute presentation; starting the first midterm canvas. |
Observation
Field Trip
Practice/Practical Work/Workshop
Research and Inquiry
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Week - 3
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LO-1
LO-2
LO-3
LO-18
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Presentation, peer feedback and approval of project proposals. Aerial perspective; separation of spatial planes through value, saturation and colour temperature. Comparison of Barbizon and contemporary landscapes; near and distant views with a limited palette. Assignment: Study 2, aerial perspective; three colour/value sketches and source analyses; the second midterm canvas. |
Discussion
Critique/Critical Reading
Demonstration and Practice
Practice/Practical Work/Workshop
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Week - 4
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LO-2
LO-17
LO-18
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Warm–cool colour relationships and Cézanne landscapes: modulation, constructive brushwork and passage. Combining different observational sources into one surface through colour planes; comparison of screen and pigment colour. Starting Study 3, the colour landscape. Assignment: independent studio work, a map linking concepts to pictorial decisions and reading notes on Merleau-Ponty’s “Cézanne’s Doubt”. |
Lecture
Concept Mapping
Practice/Practical Work/Workshop
Document/Text/Data Analysis
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Week - 5
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LO-1
LO-2
LO-17
LO-18
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Completing colour: Van Gogh and Seurat landscapes; complementary colours, simultaneous contrast and optical mixing. From point to pixel, with examples by Vera Molnár. Completing Study 3 using a project-specific colour rule and individual critique. Assignment: a finished colour landscape, a 200-word project note, justification of the colour rule and palette research based on a Van Gogh letter; the third midterm canvas. |
Lecture
Critique/Critical Reading
Practice/Practical Work/Workshop
Research and Inquiry
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Week - 6
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LO-2
LO-17
LO-18
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Group critique of Studies 1–3. Seventeenth-century Dutch interior painting: Vermeer, de Hooch, de Witte and Saenredam; light, geometry and everyday life. Optical devices and technical imaging research; selecting a painting to copy, gigapixel analysis, gridding and imprimatura. Assignment: drawing/underpainting for the copy, five photographs restaging the scene in a contemporary space and an analysis of light, vanishing points and spatial planes. |
Discussion
Critique/Critical Reading
Demonstration and Practice
Practice/Practical Work/Workshop
Research and Inquiry
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Week - 7
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LO-17
LO-18
LO-19
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Copying a seventeenth-century interior painting: underpainting, colour layers and glazing; establishing a full tonal range and researching pigments/layers. Copying, reproduction and appropriation: Benjamin, Picasso, Sherrie Levine and Glenn Brown. Assignment: colour layers for Study 4, the copy; three transcription sketches and a 300–400-word reflection on the development of the research question; the fourth midterm canvas. |
Critique/Critical Reading
Demonstration and Practice
Practice/Practical Work/Workshop
Document/Text/Data Analysis
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Week - 8
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LO-1
LO-2
LO-17
LO-18
LO-19
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Completing the copy and developing its transcription: transparent/opaque paint, glazing and light; updating a historical composition through the project question. Documenting digital collage/layer experiments. Midterm portfolio pre-check and individual critique. Submission preparation: at least five finished canvases (100×120 cm or larger), Studies 1–5, a research dossier and a six-minute presentation. Field sketches for the subsequent interior study. |
Interview
Critique/Critical Reading
Demonstration and Practice
Practice/Practical Work/Workshop
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Week - 9
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LO-1
LO-2
LO-17
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Midterm feedback. Interior planes, proportion and simplification; one- and two-point perspective, eye level and framing. Space, memory and identity through Bachelard and Foucault; historical and contemporary interior paintings. Study 6, an observed interior. Assignment: the finished study, a floor-plan sketch or 3D draft, analysis of planes/proportion/light and reading notes on Bachelard; starting the first final canvas. |
Lecture
Observation
Practice/Practical Work/Workshop
Document/Text/Data Analysis
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Week - 10
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LO-2
LO-17
LO-18
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Balance, rhythm and completed colour in interior composition. Relationships of occupied and empty space; studies of natural, artificial and screen light; space, identity and memory in contemporary painting. Study 7, interior composition. Assignment: the finished study and a one-page final proposal with five sketches for a figurative interior; the second final canvas. |
Observation
Experiment
Practice/Practical Work/Workshop
Research and Inquiry
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Week - 11
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LO-2
LO-3
LO-17
LO-18
LO-19
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Group critique of Studies 6–7. Single- and multi-figure interiors: figure–space relationships; gaze, identity and self-representation in portraiture. Staging pose, objects, light and framing; colour studies from a model. Critical examination and documentation of AI-generated composition variants; approval of final proposals. Assignment: Study 8, a figurative interior; 10 portrait sketches and a reference dossier; the third final canvas. |
Observation
Discussion
Proje Design/Management
Critique/Critical Reading
Practice/Practical Work/Workshop
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Week - 12
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LO-2
LO-17
LO-19
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Planes, overlap, scale and empty space in figurative interiors; integrating the figure with spatial light. Structure and expression in portraiture; live-model studies. Painting from photographs/screens and issues of mediated imagery; an artist-statement workshop. Assignment: Study 9, a second interpretation focused on portraiture; a 250–300-word artist statement and independent work on final canvases; the fourth final canvas. |
Observation
Critique/Critical Reading
Demonstration and Practice
Practice/Practical Work/Workshop
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Week - 13
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LO-17
LO-18
LO-19
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Semester synthesis of landscape, interior, figure and portrait studies; applying aerial perspective and warm–cool relationships to interior light. Finishing a painting: focus, edge hierarchy and simplification. Written peer critique, artwork photography and digital portfolio. Assignment: Study 10, synthesis; final canvases, an artist statement and an 800–1000-word research report draft; the fifth final canvas. |
Discussion
Critique/Critical Reading
Practice/Practical Work/Workshop
Research and Inquiry
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Week - 14
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LO-17
LO-18
LO-19
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End-of-semester group critique and review of final works. Constructing meaning through exhibition: sequence, hanging height, labels, lighting and a research table; final adjustments, selection and documentation. Final preparation: at least five finished canvases (100×120 cm or larger), Studies 6–10, a research report, artist statement, research journal, digital portfolio and a seven-minute presentation. |
Discussion
Proje Design/Management
Critique/Critical Reading
Practice/Practical Work/Workshop
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