CONTENTS Page Unit 3
Contents, Art Materials
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What Parents Want to Know: Text and Video Content, Four Types of Lessons, Scheduling
What Learners Want to Know: How to Steer with a Color Wheel
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Primary Colors
Still Life with Cake, Lemon, Strawberries, and Glass by Peto
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Secondary Colors
Feast Day; San Juan Pueblo by Henderson
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Tertiary Colors
The White Bridge by Twachtman
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Complementary Color Pairs
Passion Flowers and Hummingbirds by Heade
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Neutral Colors
Elijah Boardman by Earl
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Color Tints
Hunting for Deer by Couse
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Color Values
Boomtown by Benton
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Monochrome Colors
Above the Sea of Round, Shiny Backs the Thin Loops Swirled and Shot into Volumes of Dust by Wyeth
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White Space
Red Shirt Homosassa, Florida by Homer
Evaluation Sheet
Objectives
Bibliography
1 - #8 round brush 1 - flat brush ¼” 1 - small mop brush 1 - plastic T-Square 1 - drawing compass
ART MATERIALS 1 - watercolor pencil set of 12 or more (Museum Aquarelle by Caran d’Ache, Goldfaber Aqua or Al- brecht Durer by Faber-Castell, Prismacolor® or Der- went® Watercolor suggested) 1 - plastic or vinyl eraser 1 – hand held pencil sharpener 40 - watercolor paper sheets 9” x 12” paper weight: 140 lbs. (300gms) recommended
ADDITIONAL MATERIALS 1 - water container 1 – roll of paper towels
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unit one Primary Colors
ART MATERIALS VIDEO LESSON 1
You will see how to set up the painting area, sharpen the pencils, activate color lines, and make color washes in this video lesson.
View Video #1 “Wash and Line.” Before you start, find two or three objects that do not move. Objects like food, toys, and tools are called still life objects. Gather your art supplies, a regular sheet of paper, and small squares of watercolor paper to make your first color swatches. These first swatches will help you learn how much pressure to apply to the pencil to get light, middle, and dark tones. You are ready to begin. Your painting will be unique as you apply the methods shown in the video to your own ideas.
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CREATIVITY LESSON 2: Primary Colors are the First Colors
You will paint with primary colors as you explore light and deep color variations in this creativity lesson.
The primary colors are yellow, blue, and red. They are the first and most important colors on the color wheel. We must start with yellow, blue, and red because these three colors cannot be made by mixing other colors. Without them, we wouldn’t be able to mix the other great colors that we see in our world every day!
Many colored pencil sets supply two of each of these colors. One yellowmight be brighter or lighter. The other yellow is deeper or darker. The same is often true of the blue and red pencils. We can use the lighter color for middle tones. Use the deeper color in shadow areas for dark, strong color. We will call these colors light yellow and deep yellow, light blue and deep blue, and light red and deep red within the context of this book.
View Video “Introduction: The Color Wheel, Part 1.” Draw a color wheel as shown. Fill in the three primary colors and keep it for future reference. Next, search for some objects that are primary colors, set them in front of you, then draw and paint a picture. Look for lighter tones and deeper tones as you work. Use the pencil that will best show these differences in color.
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ART APPRECIATION LESSON 3: American Artist and History
You will see how an artist uses primary colors and integrate the idea into your own work of art in this art appreciation lesson.
John Frederick Peto, Still Life with Cake, Lemon, Strawberries, and Glass, 1890. Courtesy National Gallery of Art, Washington.
This painting is a perfect example of how striking the primary colors are when placed side by side. John Frederick Peto emphasized the bright yellow of the cake and lemons by setting them against an intense blue wall. He painted a very light yellow for the lemon rind. The peel is yellow too, but the color is much deeper. Can you find other areas in the painting where a single color is lighter in one area and deeper in another area? Look at the blue wall and red fruit. My eyes tell me that Peto painted raspberries, though the title of the painting says strawberries. Any small object can be used for a still life. Artists like still life paintings because the objects stay in one place long enough for a drawing or painting to be finished. For his painting, Peto chose objects of different colors and sizes. He chose objects of different shapes too! Have you ever thought of cutting an object such as fruit or cake to make different shapes for your painting?
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THE ARTIST John Frederick Peto (1854-1907) American Trompe l'oeil Painter
THE TIMES Trompe l’oeil means to deceive the eye in a painting that is so carefully crafted that the viewers think they are looking at real objects rather than a painting of the objects. These paintings are often arranged to look as if the objects are in windows or tacked onto a wooden door. Painting an object that looks as though it is really there requires a high degree of technical skill in painting shadows, textures, and colors as they would naturally appear. Trompe l’oeil painters painted objects at actual size and objects were never cut off the edge of the canvas, which further enhanced the illusion of being real. Americans loved these visual tricks in the late 19th and early 20th centuries when people did not have movies or video games to entertain. A person might be fooled into trying to pick up a painted coin, or brush away a painted moth resting on a painted envelope.
John Frederick Peto was an American painter. He grew up in Pennsylvania. His father, a woodworker and metalsmith, made picture frames and equipment for fire departments. In addition to painting, Peto developed an interest in the new invention of photography. This interest led him to paint in a style known as Trompe l'oeil or 'fool the eye'. At the Pennsylvania Academy of Fine Arts, Peto became friends with William Harnett, another well-known painter of the style that fooled people with its realistic approach. Peto exhibited his paintings for eleven years at the academy. He then painted at his home in New Jersey, where he cared for his family.
Peto and Harnett had the power to make ordinary things into an extraordinary artistic experience. They used unusual and fun approaches. Think about the ordinary things in your kitchen and make something new out of them. A whole white egg may not be interesting, but look at what happens when you crack it. Have you ever thought of filling a clear glass with colored liquid as a way of adding more color to your painting? Peto did this in the painting we just looked at. Today I want you to play with the arrangement of your objects. Can you stack objects in an unusual way? Can you slice, cut, or crack a food so that we can see what’s inside? Two unique arrangements are shown below. Set up your own arrangement with items from the kitchen. Draw an outline of your arrangement with pencil. Then, finish the painting using the techniques you learned from the video instruction in Lesson 1.
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MASTER LESSON 4: Apply the Primary Colors to Art
You will show what you know about primary colors as you create an original work of art in this master lesson. Your art will be unique as you apply the methods shown below to your own ideas. We don’t see color where there is no light. Light affects the colors we see. It is easiest to see the form of objects when we use a single light source. The light source might be a window, a lamp, or the sun in an outdoor setting.
Our natural light source is the sun when we are outdoors. When indoors, we might have many light sources from various windows and lamps. Many light sources make the shadows and highlights very confusing. To simplify, turn off all lamps but one or close window shades on all windows but one. Set the objects near one light source. Sit with the light source to your side. Do not sit facing the light source. You should see lighter and deeper areas of color on the object, similar to the box and ball below. A beam of light travels in a straight line. It does not wrap around the corners of a cube or shine with the same intensity on the curves of a sphere. Because of this, different sides or areas of the object will receive different amounts of light. The color will be affected. You can use what you know about applying light or heavy pressure to the pencil to create the effects below.
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We often don’t notice how colors work together until we look on purpose. Search for places where you see red, yellow, or blue. You may see the colors together or you may find separate objects and sit them beside each other. Consider the effect of light on these colors in your artwork today. In the artwork below, by Natalie, you can see from the blue vase that the light is coming from the right. It lights up the inside of the vase while the outer edge that faces us is darker blue. Paint a still life of objects that sit within your home. Look for primary colors. You might check your room, where you keep toys or sports equipment. Furniture, pillows, or favorite t-shirts can be grouped together to make a still life. Do not shy away from something just because it is large. Size doesn’t matter in this search for primary colors. Decide how you will control the light so that one light source is used. The light source should be to one side of the objects. Look at the objects as you draw the outline on paper. Fill in the pencil outlines with the watercolor pencils. Apply water to activate the paint. Student Gallery Ariel
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unit three Tertiary Colors
ART MATERIALS VIDEO LESSON 1
You will see how this picture is made with watercolor pencils and then make your own painting in this video lesson.
View Video #3 “Wet and Dry Techniques.” Before you begin, set up your art materials. Find a colorful subject from hobby items that family members have in stock. This is a group of items from a sewing cupboard. Prepare to master the flow of pigment in water! Your painting will be unique as you apply the methods shown in the video to your own ideas.
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CREATIVITY LESSON 2: Tertiary Colors
You will explore basic block shapes and create a painting with tertiary colors in this creativity lesson.
When a primary color is mixed with a secondary color, it does not create a new color, but a kind of mixture of the two. These in-between colors sit between the primary and secondary colors and are called tertiary or intermediate colors. Tertiary means the third in order. We name these colors with
the primary first and then the secondary color: yellow-green, blue-green, blue-violet, red-violet, red-orange, yellow-orange.
We often think about mixing white into a color to lighten it. We think about mixing black into a color to darken it. These methods accomplish the task, but they also dull the brightness or intensity of the color. The next time you want to lighten a color such as the green shown below, add yellow to make yellow-green. When you want to darken green use blue to make blue-green. These tertiary colors keep your mixtures bright!
View Video “Introduction: The Color Wheel, Part 3.” It’s time to mix tertiary colors. Add the tertiary colors to your color wheel. Next, find simple objects like the blocks above. Look at them to draw the outlines of the shapes. Fill in the front of the shapes with a secondary color. On one side, mix the lightest of the tertiary colors that sit next to that secondary color on the color wheel. On the other side, mix the deepest of the tertiary colors that sit next to that secondary color on the color wheel. Work with the different secondary colors as you explore color mixing. You will learn which pencils to mix to get the specific colors you desire.
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ART APPRECIATION LESSON 3: American Artist and History
You will see how an artist mixes colors and integrate the idea into your own art in this art appreciation lesson.
John Henry Twachtman, The White Bridge , c. 1900. Courtesy Dover Publications Inc.
In this painting, John Henry Twachtman used tertiary colors along with the secondary color, green. Can you find green, yellow-green, and blue-green in the grassy areas? We also see touches of colors that are not a part of the color wheel that we’ve become familiar with, such as light blue, deep brown, and white. These colors complete the painting by adding the lightest and darkest areas among the field of greens.
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THE ARTIST John Henry Twachtman (1853-1902) American Impressionist Landscape Painter
THE TIMES
From the founding of America, artists looked to Europe for art training. They often began learning in American schools and then studied in Europe where they looked at works by Renaissance, Baroque, and contemporary master artists. The young artists often returned to America to make art with American themes. Sometimes European art would be displayed in America. American Impressionism flourished after the work of French Impressionists was shown in Boston and New York during the 1880s. Many Americans were so impressed by the way light and bright colors were used that they took up a similar way of painting. Artists who loved the style would form colonies where they could share ideas, work, and be around other artists with the same interests. These colonies formed in areas where the scenery was beautiful, living was cheap, and the location was near large cities where artists could promote their work. American Impressionism was widely followed for forty years.
John Henry Twachtman began his study of art at his home in Cincinnati, Ohio. He then moved to Europe and received formal art training in Munich and Paris. As he moved around Europe, his landscapes changed. They began to look like the new style of Impressionism that he saw in Paris. Twachtman returned home to the United States and settled in Greenwich, Connecticut. He painted his farm and garden. He joined the well-known Cos Cob art colony. There, he taught, spoke, and greatly influenced the work of many artists at the time. His loose, quick style of painting continued to develop. Twachtman was known to challenge his skills by painting the same scene repeatedly at different times of day.
By now, you have built a color wheel by first locating the three primary colors. You mixed those to find the secondary colors. You mixed each primary with the secondary beside it to find the tertiary or in-between colors. This completed color wheel can now be used in special ways. Selecting any three colors that sit beside each other on this wheel, we get powerful arrangements called analogous colors. Today, I’d like you to make an artwork using an analogous color group. With your imagination, paint a picture of an object using a single group of three-analogous-colors shown above. The color group you choose can be used to fill in the object and the background of whatever subject that you decide to paint.
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MASTER LESSON 4: Apply an Analogous Color Group
You will show what you know about analogous colors as you create an original work of art in this master lesson. Your art will be unique as you apply the methods shown below to your own ideas.
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Nature is often the best place to find subjects that have a rich variety of color. Find a photograph of a landscape that you find interesting. Maybe it’s somewhere you’ve been on vacation. Perhaps it’s somewhere you would like to go. Search for a color that dominates the scene. Then use what you’ve learned about color mixing to make an analogous color scheme. If you find a landscape that you like, but it doesn’t have an analogous color scheme, use your imagination to make it into one! Remember, because of our imaginations, artists are not required to paint exactly what they see. Enjoy changing or pushing the colors into the three colors that you’ve selected from a single analogous color group. (1) Find a photograph of a landscape. (2) Draw in the big shapes with a graphite pencil. (3) Fill in the big shapes with color using watercolor pencils directly on the paper. Then, activate the color using water and a brush. Remember to control the water to make hard and soft
Student Gallery Matthew
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OBJECTIVES Unit 1: Lesson 1: The learner will demonstrate control of the pencil using light pressure and more pressure to make deep areas. The learner will demonstrate line drawing in watercolor pencils and fill in small spaces with a wash while painting from observation. Unit 1: Lesson 2: The learner will be able to list the three primary colors and use light and deep versions of each color in their artwork as they work from direct observation. Unit 1: Lesson 3: The learner will include the primary colors in a still life painting. The learner creates by selecting and arranging unique objects to use as visual references. Unit 1: Lesson 4: The learner will use objects within the home for visual references and focus on red, blue, or yellow objects, or a combination of the three. The learner will use light from one source so that there is clearly a light side and a dark side shown on the object. Unit 2: Lesson 1: The learner will make grids showing how their primary colored pencils mix to make secondary colors. The learner will apply these skills to make a secondary color painting using hard and soft (blended) edges. Unit 2: Lesson 2: When provided examples of leaves, apples, or other objects in each of the secondary colors, the learner will mix primary colors to achieve a similar color in his or her painting. Unit 2: Lesson 3: The learner will select a literary work and create an imaginative work that describes a scene within the book. The artwork will show soft edges for blending colors and hard edges to make one surface stand out from another surface. Unit 2: Lesson 4: The learner will create a work of art from a photograph and push (exaggerate) colors to make a more interesting color choice. The colors in the artwork may not appear to be the same colors as in the photograph. Unit 3: Lesson 1: The learner will use a wide variety of color choices while working from a source reference. Techniques in controlling the water, drawing over a dry surface, and drawing an oval may be used as demonstrated in the video. Unit 3: Lesson 2: The learner will demonstrate the uses of a tertiary color wheel by differentiating a secondary color from its lighter and darker tertiary while painting blocks or box type subjects. Unit 3: Lesson 3: The learner will demonstrate using a single group of three analogous colors in a work of art. Unit 3: Lesson 4: The learner will select and paint an analogous color scheme in a picture of a landscape. The learner may show techniques such as using hard and soft edges and line drawing in their work.
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