Mural Painting and Public Art

Universidad Veritas

Course Description

  • Course Name

    Mural Painting and Public Art

  • Host University

    Universidad Veritas

  • Location

    San José, Costa Rica

  • Area of Study

    Studio Art, Urban Studies and Planning, Visual Arts

  • Language Level

    Taught In English

  • Course Level Recommendations


    ISA offers course level recommendations in an effort to facilitate the determination of course levels by credential evaluators.We advice each institution to have their own credentials evaluator make the final decision regrading course levels.

    Hours & Credits

  • Contact Hours

  • Recommended U.S. Semester Credits
  • Recommended U.S. Quarter Units
  • Overview

    ART 2130 Mural Painting and Public Art
    4 credits (60 hours)

    This studio art course introduces theoretical and practical aspects of large-scale painting, murals and public art. The course includes an actual practicum in large-scale media and experimentation of early and contemporary techniques including drawing, fresco, painting, aerosol and various industrial materials. The objective of this course is for students to develop understanding about some of the social roles of art and the impact of murals in communities, based upon its historical and contemporary applications. The course will enable student to control scale, color, specific techniques and safety measures aimed at public spaces. Students will incorporate a Service Learning component by either conducting a collective workshop with children from a rural location or actually painting a collective mural as a donation to a community. The Students fine arts background will help with the complexity of the final collective project but the course does not require previous painting knowledge.

    At the end of this course student should be able to demonstrate proficiency in the following:
    Demonstrate basic understanding of historical and contemporary techniques, terms and issues and implementation of public art.
    Develop a finance and process strategy to conduct public art in a foreign or local community.
    Explore a personal driving force and apply that stimulus visually to the public realm.
    Find the balance between personal, group and the community vision.
    Be able to listen and then collaborate with individuals and communities to meet their artistic goals.

    Create an environment that will help students in the process of turning their two-dimensional and three-dimensional works of art and ideas into public art, murals, etc.
    Classes will have a dynamic participation of students in class discussions and various in-out class art exercises. Theory will be presented through slides, films and assigned readings.
    There will be an urban public art field trip, a natural ecosystem tour and an off campus work session.

    Assignments for this course:
    There are two projects that student will present to the class. A group critique will follow each presentation. Artwork and written proposal should be presented in a professional manner for critique. All elements of the proposals will be reviewed and practices during class time.
    1. Artist Proposal 10%
    Students will create a hypothetical public art project.
    The assignment will be divided in levels to develop the final presentation.
    Concept: Your individual idea, visualization and public intent.
    Revised Drawing
    Color Alternatives
    Outline Drawing with Grid
    Final Scale Painting and Artist Statement*
    2. Group Project 20%
    Based on the previous project students will collaborate as one or a few groups and create a competitive scenario designing different proposals for the hands on Community Project.
    The class will create the designs, which will be presented to a civic building in Costa Rica. The designs may be used on various walls or the best work will be selected and the entire class will help in the production.
    Each Student will create a Sketch.
    Groups will develop the design, Color Alternatives and Outlines Drawing with Grid.
    Visiting the wall-building site: Set up the timeline, meetings, permits
    budgets, sponsorship, angular and transit study, photography of context
    photomontage & final designs.
    3. Student will have to complete studio work projects demonstrated in class as homework 15%
    The are also multiple reading assignments:
    1. *Artist Statement: 10%
    Portray yourself as an artist working in the public sphere and describe your personal point of view. Describe your intensions
    2. Research Paper: 25%
    This is an opportunity to select an artist or topic relevant in public art and explore the issue in depth. It is important to select a narrow enough topic to allow for focus and analysis within 4-6-page limitation. Include a bibliography using MLA Citation.
    3. You will be required to read and engage in all reading discussions. Student will lead one reading discussion. 10%
    4. CD Documentation turned in as a portfolio. 10%
    All work including the process should be documented

    18? x 24 drawing pad
    4B, 2B Pencil
    Foam board
    Tissue paper
    Spray mount
    Clear tape
    Heavy-duty x-acto knife
    House painting brush and small painting brushes
    Mixing containers for paint
    Apron or painting clothes
    Project should be colored with your choice of media, such as watercolor, acrylics and/or pastels (spray fixed)
    Electronic devices:
    The use of cell phones, smart phones, or other mobile communication devices is disruptive, and is therefore prohibited during class. Please turn all devices OFF and put them away when class begins. Devices may be used ONLY when the professor assigns a specific activity and allows the use of devices for internet search or recording. Those who fail to
    comply with the rule must leave the classroom for the remainder of the class period.

    Week 1
    Session 1
    Review syllabus
    What gives life to artwork?
    Brainstorm public art ideas and bring a graphite and a color sketch on 11x17 paper
    Week 1
    Session 2
    Proposal Demo: Mock ups /
    Reading: El Mural, Eduardo Torijano
    Begin: Project 1
    Week 2
    Session 3
    Work Progress Administration (WPA) Outlines, Mural recepy
    Reading: Whose Monument, Judith Baca
    Week 2
    Session 4
    Mexican Muralist Movement
    SCALE Reading Discussion
    Film: Siqueiros: Artist and Warrior
    Reading: Art In the Age of Mechanical Reproduction
    Bring printed reference images
    Week 3
    Session 5
    Demo: Projectors
    Create a grid 3 x 1 scale
    Week 3
    Session 6
    Demo: trompe?loeil and models
    Week 4
    Session 7
    Artist Proposal Presentations
    Begin Group Project
    Week 4
    Artist Proposal Presentations
    GP Sketches
    Week 5
    Session 9
    Graffiti / aerosol
    Reading Discussion
    Demo: Stencils, Guerrilla art
    GP Drawings
    Week 5
    Session 10
    Painting with Local Communities
    GP Color Alternatives
    & Outlines Grids
    Reading: Hayden Urban History
    Week 6
    Session 11
    Lascaux & Primitive mural art
    Week 6
    Session 12
    Demo: Fresco and Pigments
    Begin Research Paper
    Week 7
    Session 13
    Film: The Agony and the Ecstasy
    Week 7
    Session 14
    Contemporary Public Artists & Modern Art
    Reading: Sonfist:public art
    Week 8
    Session 15
    Contemporary Public Artists & Modern Art Demo: air brushes and compressors
    Week 8
    Session 16
    Street Art Performance painting
    Reading: Beyond Graffiti
    Week 9
    Session 17
    Social, Political and Economic Factors: Guest Speaker
    Week 9
    Session 18
    Due: Research Paper Draft
    Week 10
    Session 19
    Field Trip: National park:
    Environmental Factors
    Week 10
    Session 20
    Mural Production
    Week 11
    Session 21
    Mural Production
    Week 11
    Session 22
    Due: Research Paper
    Week 12
    Session 23
    Final Critique
    Week 12
    Session 24
    Turn in CD Portfolios

    Anzaldúa, Gloria. La conciencia de la mestiza: Towards a New Conciousness. 377-378
    Baca, Judith. S. Bulington, VT: Annenberg/CPB Projects, 1996. Film
    Boime, Albert. The Magisterial Gaze. Washington: Smithsonian Institution Press, 1991.
    Finkelpearl, Tom. Dialogues in Public Art. Cambridge, Massachusetts: MIT-Press, 2000.
    Folgarait, Leonard. Mural painting and the social Revolution in Mexico, 1920-1940. USA:
    Cambrige University Press, 1998.
    Gorky, Arshile. Murals Without Walls: Arshile Gorky?s Aviation Murals Rediscovered.
    Newwark, NJ: Newark Museum, 1978. Print.
    Gold, Carole. Judy Baca?s Legacy. Public Art Rev 17 no 1 Fall/Wint 2005
    Hehingway, Andrew. Artists on the Left. London: Yale University Press, 2002.
    Hurlburt, Laurance P. The Mexican Muralists in the United States. Albuquerque: University
    of New Mexico Press, 1989.
    Iosifidis, Kiriakos. Mural Art: Murals on huge public surfaces around the world from Graffiti
    to Trompe l?oeil. China: Publikat Verlags-und Handels GmbH & Co. 2008
    Lacey, Marc. ?Cultural Riches Turn to Rubble in Haiti Quake.? The New York Times
    January 24, 2010 International/Americas. Web. 8 Feb 2010.
    Lohman, Jonathan "The walls speak: Murals and memory in urban Philadelphia.? University
    of Pennsylvania: ProQuest. 202. Pag. Web. 1 Jan 2010.
    Ludwig, Coy. Maxfield Parrish. New York: Watson-Gultill Publications, 1973.
    Macmurray, Eloise. The Washington Park Fences Project. Portland, Oregon: Tri-Met and
    the Regional Arts and Culture Council, 1995.
    Marling, Karal Ann. Wall-to-Wall America. USA: University of Minnesota, 1982.
    Matilsky, Barbara. Fragile Ecologies: Contemporary Artists Interpretations and Solutions.
    New York: Rizzoli International Publications Inc, 1992.
    McKay, Marylin J. A National Soul Canadian Mural Painting 1860s-1930s. Montreal:
    McGills-Queen?s University Press, 2002.
    Norwood, Susan. Diego Rivera and his murals. Yale-New Heaven Teachers Institute. 2005.
    O?Brian, John and Peter White. Beyond Wilderness. Montreal: McGill-Queen?s University
    Press, 2007.
    Rolston, Bill. Politics and Painting. USA: Fairleigh Dickinson University Press, 1984.
    Staikkidis, K. ?Learning Outside the Box: How Mayan Pedagogy Informs a Community
    University partnership.? Art Education Reston Vol 62 Issue 1: 20-24. Web. 2009.
    Staikkidis, K. ?Learning Outside the Box: How Mayan Pedagogy Informs a Community
    University partnership.? Art Education Reston Vol 62 Issue 1 pages 20-24, 2009.
    Tajonar, Hector. Siqueiros: Artist and Warrior. Mexico: Arte Multimedia S.A., 1998. Film.
    Yaeger, Bert. The Hudson River School: American Landscape Artists. New York: Smithmark
    Publishers, 1996.

Course Disclaimer

Courses and course hours of instruction are subject to change.

Eligibility for courses may be subject to a placement exam and/or pre-requisites.

Availability of courses is based on enrollment numbers. All students should seek pre-approval for alternate courses in the event of last minute class cancellations


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