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AKTU Visual Art Process & Practices-II (BBFP403) Syllabus PDF – BFA Painting 4th Semester
Visual Art Process & Practices-II BBFP403
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Official AKTU syllabus of Visual Art Process & Practices-II (BBFP403) for BFA Painting 4th Semester – 2 credits, L-T-P 0-0-4. Read the unit-wise course content, course outcomes, evaluation pattern and recommended books online, or download the PDF.
Syllabus — Visual Art Process & Practices-II
Download PDFBBFP403 · 2 credits · L-T-P 0-0-4
Course Objectives
- To understand the nature and behaviour of different art materials.
- To study how materials react on different surfaces.
- To encourage experimentation with materials for developing self-stylization.
- To explore the unique usage and application of materials by artists.
- To learn the handling of diverse materials for creative rendering of art imagery.
- To develop awareness of aesthetic and expressive possibilities of materials. Desired outcome of the course
Course Outcomes
| Course Outcomes After Completion of this course, the students will be able to: | Bloom’s Taxonomy | |
| CO1 | Students will be able to understand the concept of design. | KL2 |
| CO2 | Students will be able to identify and differentiate different types of designs and their purposes in everyday life. | KL 3 |
| CO3 | Students will be able to analyze the quality of lines, shapes, and forms and their behaviour in relation to one another | KL4 |
| CO4 | Students will be able to develop a sense of balance and rhythm through the application of design principles. | KL 5 |
| CO5 | Students will be able to create harmonized designs by integrating forms and intuitive observation. | KL 6 |
Course Content
| Unit | Topics | Lecture |
|---|---|---|
| I | Classification of Colour & Colour Theory 1. Classification of Colour • Primary, Secondary, and Tertiary Colours • Warm and Cool Colours • Neutral Colours (black, white, greys, browns) • Complementary and Analogous Colours • Monochromatic and Polychromatic Schemes 2. Cause of Changing Colours • Effect of natural and artificial light on colours • Influence of surface texture on perception of colour • Psychological and environmental factors affecting colour change • Optical mixing and overlapping of pigments 3. Advanced Understanding of Colour and Tone • Importance of colour harmony in art • Emotional and symbolic values of colour • Interaction of colour with tone to create depth and dimension • Practical study of colour behaviour in different mediums 4. Colour Hue and Intensity • Definition of Hue (the pure state of a colour) • Intensity (saturation, brightness/dullness of a colour) • Modifying intensity using complementary colours • Practical exercises with muted and vibrant hues 5. Use of Tone in Art Objects • Tones in defining light, shadow, and volume • Gradation for creating three-dimensional effect • Tonal contrast for emphasis and mood • Use of tones in monochrome vs. polychrome artworks | 10 |
| II | Transparency and Opaqueness of Colour 1. Transparency & Opaqueness of Colour • Definition and difference between transparent and opaque colours • Behaviour of pigments in different mediums (Poster colour, Oil Pastels, Watercolour) • Role of layering in creating depth and effects • Exercises with transparent washes vs. opaque blocking 2. Advanced Concepts of Colour Wheel • Primary, Secondary, and Tertiary divisions in complex colour wheels • Variations: Warm–Cool Colour Wheel, Complementary–Split Complementary Wheel • Advanced schemes: Tetradic, Triadic, Analogous combinations • Application of colour wheels in practical design and painting 3. Understanding Colour Harmony & Nature of Colours • How colours interact in harmony or contrast • Emotional and psychological impact of harmonious colour schemes • Use of harmony to create rhythm and unity in artwork 4. Complex Overlapping & Transparency Effects • Overlapping layers to create new tones and hues • Techniques for glazing, blending, and scumbling • Combining transparent and opaque effects for visual richness • Practical exercises with overlapping colours in poster, pastel, and watercolour | 10 |
| III | Preparation of Canvas and Tempera Technique 1. Egg Tempera – Introduction • Definition and historical background of Egg Tempera • Composition: pigments + egg yolk medium • Characteristics of Egg Tempera compared to oil and acrylic 2. Behaviour of Colours in Opacity • Transparent vs. opaque application in tempera • Layering and building tones with tempera • Limitations and strengths of tempera in expression 3. Expression in Art through Tempera • Using tempera for fine detailing and luminous effects • Symbolism and mood creation with tempera • Study of examples from traditional tempera artworks (e.g., Byzantine, Early Renaissance) 4. Preparation of Canvas • Materials required for stretching canvas (wooden frame, canvas cloth, nails, hammer, pliers) • Step-by-step stretching of canvas on frame • Priming: Application of gesso for smooth surface • Sanding and layering for durability and paint adhesion 5. Framing of Canvas • Importance of framing for preservation and presentation • Different types of frames (wooden, decorative, gallery wrap) • Protection of artwork after painting | 10 |
| IV | Fresco Painting – Secco & Buono 1. Introduction to Fresco Painting • Definition and historical perspective (Egyptian, Roman, Renaissance frescos) • Difference between Fresco Buono (true fresco) and Fresco Secco (dry fresco) 2. Fresco Buono (True Fresco) • Technique: Painting on fresh lime plaster • Absorption of pigments into wet plaster • Durability and permanence of colours • Traditional tools & methods 3. Fresco Secco (Dry Fresco) • Technique: Painting on dried plaster surface • Application of pigments mixed with binders (egg, casein, glue) • Lesser durability compared to Buon Fresco • Historical usage in medieval & folk arts 4. Glaze & Distemper • Glazing techniques to create depth and luminosity • Distemper painting: pigments + chalk + glue binder • Application of distemper in wall decoration and murals 5. Wall Preparation & Plastering • Materials: lime, sand, water, straw (traditional mixes) • Preparation of wall surface for fresco application • Different coats: Arriccio (rough coat), Intonaco (smooth final coat) 6. Colours in Fresco • Use of earth pigments and natural colours • Behaviour of colours in wet vs. dry plaster • Permanence and fading of pigments | 10 |
Evaluation Methodology
- Written test
- Assignments
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