CONTENTS
Page Unit 3
Contents, Art Materials
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What Parents Want to Know: Book and Video Content, Scheduling What Learners Want to Know: The Mysterious Language of Art
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Line
Study for the Virgin of the Rocks by Leonardo da Vinci
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Space
Young Knight in a Landscape by Vittore Carpaccio
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Shape
The Chefs by Jean-Louis Forain and other Impressionist drawings
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Texture
Garden Behind the House, Garden with Flowers by Vincent van Gogh
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Value
Workmen Before an Inn by Isack van Ostade
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Form
Man Drawing a Cast by Rembrandt, A Grazing Cow by Adriaen
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Facial Forms
Self Portrait by Albrecht Durer
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Human Forms
Creation of Adam by Michelangelo
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Still Life Forms
Banquet Piece with Mince Pie by Willem Claesz Heda
Evaluation Sheet
Objectives
Bibliography
ART MATERIALS graded drawing pencil set of 12 Ebony drawing pencils water-soluble pencils #8 round watercolor brush plastic eraser kneaded eraser metal pencil sharpener sandpaper block drawing pad 9 x 12 Bristol pad (vellum surface)
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unit one Line
ART MATERIALS VIDEO LESSON 1: Line Weight
In this video lesson, you explore the properties of line and then make your own line drawing.
View the video, Unit One: Lesson 1. You will need a plain paper bag or similar item, graded pencils and other art materials. Your drawing will be unique as you apply the methods shown in the video to your own ideas.
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CREATIVITY LESSON 2: Line is an Element of Art
In this creativity lesson, you explore your surroundings and draw lines that describe the objects most clearly.
Making lines is the most common way of showing what an object looks like on paper. The darkest lines grab attention and hold it. Lines are used in a variety of thicknesses and values to give emphasis to areas that need to stand out. The repetition of vertical lines in the chair add interest to this view and contrasts with the roundness of the pumpkin. Drawing the whole chair is unnecessary. Look for contrasts of round and straight, soft edges and hard edges, or light and dark. Notice that the darkest lines are in the center of the picture, capturing our attention and keeping it there.
As you explore your world to find subjects to draw, keep in mind that your ability to see good design is conditioned by your habits. In our lives filled with screens, we train ourselves to focus only on the things that are moving or most prominent. We rarely stop and ponder the more common, but visually interesting objects around us. Of course, anyone is capable of seeing these things when pointed out, but we are simply unaware. An important part of training in art is to become aware of the views that make good art. This is a study in seeing the elements of art. They are not just ideas. They are tools for seeing. Look for objects with contrast in your surroundings. Make a line drawing of a group of three objects that sit in the room you are in right now. Focus your attention on the areas that show the outside edges of the objects. Draw lines that describe those edges using hard lines or soft lines as demonstrated in Lesson 1.
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ART APPRECIATION LESSON 3: European Artist and History
In the art appreciation lesson, you see how an artist uses lines and integrate the idea into your own work of art.
Perhaps, like many others, you’ve picked up the idea that a good artist draws perfect lines in the perfect place and the whole drawing just magically fits together. This idea is a myth. If you sat in the studio of the great European master, Leonardo da Vinci, you’d observe how lines are used in the process of making a drawing. (1) You’d notice that the artist initially uses lines to map out the outline of the face, shoulder, and head piece. The placements of these lines were changed as he continually looked at the relationships of the parts. He did not erase the first lines because they were drawn lightly. We can see these first lines in the finished drawing. (2) Look at the woman’s back and hair. He filled these areas with lines to identify light and shadow. Leonardo worked carefully around the facial features. (3) He uses dark lines around the upper eye lid to show dynamic changes in values. He used lighter lines on the lower portion where skin meets eye. (4) He does not outline the lips, but makes the darkest line at the opening of the mouth. Drawing is a process of moving lines around so that they get closer and closer to what we see. You can learn a lot about drawing with lines by studying this drawing further.
THE ARTIST Leonardo da Vinci (1442-1519) Renaissance painter from Vinci, Italy
Within his city’s churches and public buildings, Leonardo, born in the city of Vinci, had access to the best art in Europe. When he was about fifteen, his father apprenticed him to the renowned workshop of Andrea del Verrocchio. Artworks at this timewere often a collaboration ofmaster and student.Themaster painted the main figures, while apprentices filled in backgrounds. It is recorded that Leonardo’s talent surpassed Verrocchio’s quickly. Competition between artists was fierce during the Renaissance period. Patrons, who financed works of art, gave assignments to only the best painters. Experimentation was common and boundarieswere pushed as patronswanted bigger andmore impressive art and architecture. Leonardo made line drawings of his ideas and his observations of the world. Artists’ sketches were often casualties of wars, fires, or floods. Leonardo’s meticulously illustrated notebooks survive, allowing us to see his accomplishments in science, painting, architecture, mathematics, and design.
THE TIMES
If you think that the true test of good art is measured by how realistic it looks, you are dealing with a longstanding European expectation that began in the Renaissance Period during the 15th to 17th centuries. Human figures in medieval times had been stiff and lifeless. During the Renaissance, artists broke from this tradition and began to study the human body by asking fellow artists to pose for them or by cutting into corpses to see for themselves how muscles were composed. In that day, dealing with the human body in such a manner was an immoral practice. However, artists were willing to risk the consequences for the knowledge it would provide. They felt that a closer likeness to reality would move the viewer to a greater connection with the meaning of a painting. Their aim in art was spiritual and moral, like the medieval artists that went before them, but the method had changed. Perspective lines, drawing to scale, and small details took on important roles when portraying the reality of the world seen by the Renaissance artist.
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Leonardo da Vinci, Study for the “Virgin of the Rocks”, 1483.
Today you can use any subject that you find of interest. Some people prefer to draw still life objects and others might prefer drawing a face. In this drawing, focus on how you use lines. Use a middle range pencil such as HB or 2H and use a light pressure to draw the first light lines of the outline. Look at the placement of light and shadow and make marks similar to the ones shown above. You can use a softer pencil in the B range to finish the drawing with darker marks. Like Leonardo, keep the darkest marks to the center of the picture and lighter marks at the edges of the picture.
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MASTER LESSON 4: Apply the Element of Line
In this master lesson, you show what you know about lines as you create an original work of art. Your drawing will be unique as you apply the methods shown below to your own ideas.
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While working within the subject guidelines for each lesson, you should select the specific object for your drawing that is most interesting to you. You’ll need to find a reference since you won’t copy examples from this book. A reference is something we look at to get information for our drawing. A reference can be another work of art, a photograph, or a real object. On the opposite page, a work of art was used. Self- Portrait by European master, Correggio, makes a good reference for a drawing. It was painted in 1510 when the artist was about your age. Draw a portrait of yourself as you focus on the outline or edges. You can use a photograph or a mirror. Do not worry about how much it does or does not look like you. Simply focus your attention on lines. On the previous page we show an approach that you might take when making your drawing. (1) In the first step, a hard pencil in the H family is used for a light line. Light lines are easily erased or simply not noticed once the darker lines are drawn. The general shape of the head is placed on the page and curved lines are added to guide the placement of the features on the rounded face. (2) The 2B pencil makes a darker line as outlines of features and clothing are solidified. (3) The third step shows us that once the details are in place, dark or thick lines made with the flat edge of a soft graded pencil can be used. Use lines in ways that feel best to you. Student Gallery Matt Paulsen and Andy Getz The two students used very different kinds of lines to express something of their personalities. Matt uses light lines throughout, while Andy uses a heavy hand as he renders his image in wide, dark marks.
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unit four Texture
ART MATERIALS VIDEO LESSON 1: Texture Marks
In this video lesson, you see how textures are made with water-soluble graphite pencils and then make your own texture drawing.
View the video, Unit Four: Lesson 1. You will need to observe a landscape, preferably by going outdoors. Take Bristol paper, water-soluble pencils and other art supplies. Your drawing will be unique as you apply the methods shown in the video to your own ideas.
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CREATIVITY LESSON 2: Texture is an Element of Art
In this creativity lesson, you explore your surroundings and draw lines that describe the texture of the objects most clearly. Texture is the kind of surface an object has. A surface can be described in words as being smooth, rough, or fuzzy. In art, we show texture by using different types of marks or lines. The marks seen in the pitcher, the Spanish moss, and the log are very different, revealing the special qualities of the objects - their textures.
Objects have special qualities that make them unique in appearance. When you draw an object, think about the quality that it possesses. Is it hard and glossy, requiring smooth gradations with the side of the pencil? Is it dry and stringy, requiring the tip of the pencil for a thin line? Try to describe the object in words before you draw it. Select two or three objects with very different textures. Arrange the objects in a group. Draw marks in ways that show the special qualities of each object. There is no one right way to do this. The beauty of art is that each artist can capture the special qualities in a number of ways!
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ART APPRECIATION LESSON 3: European Artist and History
In this art appreciation lesson, you see how an artist draws textures and integrate the idea into your own work of art.
In these two pictures, we see the same view created by the same artist. Oil paint is used in one. Ink is used in the other. Both show texture, but the painting has a physical texture that could be touched. The paint was applied thickly in ribbons and dots of color. If we touched it, we could feel the rough surface. The drawing has a smooth surface, but the artist is able to imply a large variety of textures that describe the special qualities of the vegetation by using different marks.
THE ARTIST Vincent van Gogh (1853-1890) Dutch Post-Impressionist Painter Vincent van Gogh is one of the most famous painters in modern times. At age sixteen, he went to work for his uncle who was an art dealer. In his twenties, Van Gogh preached the gospel in a poor coal-mining district. While there, he began making art. He painted the people of that area. His work as a pastor did not flourish as he’d hoped so he decided to follow his other interest: art. In 1886, he went to Paris. There, he was influenced by the Impressionists. Like them, he began using vivid colors in highly experimental ways. After ten years of intense production, while under medical care for depression, he committed suicide. His is a story of a man who struggled with life rather than one who found rest or success within it. That fact does not lessen his commitment to life. Van Gogh wrote letters to his brother, Theo, which we can still read today. He stated that he felt the presence of God when he painted, as he perceived God in all living things.
THE TIMES Post Impressionists were those who had worked directly with the original artists of Impressionist movement, but each invented new and unique ways of applying the paint to the canvas. They started what became a fast-paced race for new and different ways to make art that would lead to the Abstract movement of the mid-20th century. Artists who followed this explosion of free expression explored the ideas of drawing and painting in any way they wished. The late 19th century painters explored a new world of color with the invention of brighter paints and convenient tubes that allowed pre-mixed paint to be purchased and used out of doors. These artists faced a new and daunting invention, the camera, which seemed to replace the need for painting in realistic ways. To be great, artists needed to show viewers a new world in paint that went beyond what the camera could capture. Artists now looked for new reasons to paint and the idea of personal expression was born. The idea of personal expression is a recent ideal of the artist. Copying or making studies from someone else’s work was considered a necessity during the Renaissance, but today originality is the necessity. This change in thinking began with the Post Impressionists.
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Vincent van Gogh, Garden Behind a House , 1888 and A Garden with Flowers , 1888.
Examine the types of marks seen in this drawing. Van Gogh seemed to use lines that flowed in the directions of what he was looking at. Every patch of plant life created a different texture. Van Gogh drew different marks to show viewers where one type of plant ended and others began. As you look at your objects, try new ways of making marks, picking up some new ideas from this work. Draw a view of the textures outdoors.
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MASTER LESSON 4: Apply the Element of Texture
In this master lesson, you show what you know about texture as you create an original work of art.
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When working outdoors, prepare a sturdy, smooth board to place the drawing paper onto. You may not need a drawing board when using a sketch book with a sturdy cardboard back. Bring all your drawing tools in a small pouch so that none get lost. Finally, sit in a comfortable spot that is not in direct sunlight. Sunlight reflecting off of the white drawing paper will cause discomfort to your eyes. Select shady places to sit. Look at an outdoor scene that you can see from a yard, a park, a field, a sidewalk, or if weather is poor, from a window. Draw a view that has different textures in it, including thin and wide lines to show textures. On the previous page we show an approach that you might take when making your drawing. (1) The scene is place on the paper with lines. (2) The wide edge of the pencil’s side is used to make rough bark texture. (3) Finer lines, using the pencil tip, show textures of pine branches. (4) An even layer of graphite, using the pencil’s side and light pressure, fills spaces of the ground and sky. Show textures in the drawing by making different types of marks.
Pencil side, soft pressure.
Pencil side, hard pressure.
Pencil tip, varying pressure.
Student Gallery James Oltmans
James has used pencil and kneaded eraser to lift areas within the snow to create a soft effect. This contrasts well with the heavy, dark marks used in the peaks at the top of the mountain and the brushy marks in the trees below.
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OBJECTIVES Objectives are statements that describe what the learner is expected to achieve as a result of the instruction and demonstrations provided in the lessons. Objectives can be used in two ways. Objectives are used by the teacher for assessment. By achieving the objective, we can consider the learner competent. Objectives are useful for the learner. They convey instructional intent while used to guide, to focus, and to help the learner set priorities for his or her artwork. Unit 1: Lesson 1: The student will be able to discuss the differences between various graded pencils and demonstrate their understanding by using multiple pencils to create an original work of art using different line weights. Unit 1: Lesson 2: The student will observe their surroundings focusing on line to show edges. They will represent those observations in an original line drawing. Unit 1: Lesson 3: The student will use a middle grade pencil to draw the first lines. They will use a softer pencil layered over their first lines to finish the drawing, showing drawing and redrawing. Unit 1: Lesson 4: The student will focus their attention on seeing lines in a self-portrait and use their knowledge of graded pencils to create an original drawing. Unit 2: Lesson 1: The student will create an original work of art using the rule of thirds to place the main object off of center. The student will demonstrate their understanding of active and non-active spaces with busy areas and non-busy areas within the artwork. Unit 2: Lesson 2: The student will draw a group of similar objects to draw an active space throughout the picture. They will be able to identify active and non-active spaces. Unit 2: Lesson 3: The student will fill the space of the page with objects or line to make a work with active spaces. Unit 2: Lesson 4: The student will demonstrate active and non-active spaces in an original drawing.Their work will show an imagined subject inspired by a passage from St. George and the Dragon (provided). The student may gather information for details from observation of nature or photographs. Unit 3: Lesson 1: The student will understand and use an aggregate shape to place a group of objects within the space of the page. The student will use water-soluble pencils and brush with proficiency. Unit 3: Lesson 2: The student will sketch two or more objects using a variety of line weights in ways that describe the edges they see; soft and fuzzy, as well as hard, dark and distinct. Unit 3: Lesson 3: The student will create a still life out of interesting objects using lines and filled in solid areas to describe the shapes. Unit 3: Lesson 4: The student will locate an interesting shape in their environment and demonstrate their understanding of shape in an original drawing.
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