CONTENTS
Page Unit 3
Contents, Art Materials
4 What Parents Want to Know: Text and Video Content, Four Types of Lessons, Scheduling 5 What Learners Want to Know: The Words Used for Color Study 6 1 Light on Colors 8 Daniel in the Lions’ Den by Tanner 12 2 Color Mixing 14 Crow Encampment , Montana by Sharp 18 3 Tonal Values 20 Peasant with a Wheelbarrow by Millet 24 4 Warm and Cool 26 Boy in a Red Waistcoat by Cezanne 30 5 Color is Relative 32 Morning, Old Schofield’s Mill by Steele 36 6 Light on Form 38 Flowers in a Blue and White Vase by Chardin 42 7 Neutral Colors 44 A Hare in the Forest by Hoffmann 48 8 Monochrome Underpainting 50 A Young Scholar and his Tutor by Rembrandt 54 9 Complementary Underpainting 56 Landscape Near Arles by Gauguin 60 Evaluation Sheet 61 Objectives 64 Bibliography ART MATERIALS
ADDITIONAL MATERIALS *Water container (can or cup) *Paper towels *Plastic food container with lid (for acrylic paint storage) *Sheet of wool felt *Wax or parchment paper *Brush cleaner or soap bar *20 Corrugated cardboard or wood panels, cut to 6 x 6 inches
*Golden Heavy Body Acrylic Classic Theory Set of 8 or Liquitex Heavy Body Acrylics, Classic Set of 6 *Glazing Liquid, satin, 8 oz. *Palette knife *Acrylic Brushes: #2 round, #4 flat, #10 flat
*Bristle Brush, 1 in. *Acrylic Gesso, white
*Disposable palette paper pad, 9 x 12” *Canvas pad 8 x 10 inches, 10 sheets *10 canvas panels 6 x 8 in.
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WHAT LEARNERS WANT TO KNOW
THE WORDS USED FOR COLOR STUDY
Within this book a number of words will be introduced and explained. You may want a quick look at those meanings again as they are used in the text. This page is where to find that information. Gesso: an acrylic polymer primer used for preparing surfaces for painting. When applied with a brush, it adds opacity, tooth, adhesion, and water resistance to the canvas, board, or cardboard. Paint does not soak into the surface.
Glaze: colored transparent medium applied over the painted surface.
Ground: the first layer or undercoat that is applied to the support, probably a layer of acrylic gesso, but many other grounds have been used in the past, such as rabbit skin glue or lead white. A ground seals the surface, allowing paint to sit on top rather than soaking into the surface creating a dull effect. Hue: When talking about color, hue refers to the color name such as red, yellow, green, etc. When looking at paint labels, hue means that other pigments were used to replace a known pigment. You might see Cadmium Red Hue, which means that it is similar to Cadmium Red in the way it looks or behaves, but it is not true Cadmium red pigment.
Intensity: describes a color’s relative purity and how brilliant or subdued it looks.
Shade: a color mixed with black or other dark pigment.
Tint: a color mixed with white.
Tinting Strength: the ability of a color to change the character of another color. Yellow tends to have weak tinting strength, while blues have strong tinting strength. Tinting strengths vary with the pigments used. Cadmium yellow dark has stronger tinting strength than Cadmium yellow light.
Tone: refers to the color and the value of that color; also known as “tonal value”.
Underpainting: the initial layer of paint applied to a ground, which serves as a base for additional layers of paint. Underpaintings are often monochromatic and help define color values. Underpaintings can also be complementary to give additional intensity as the top layer of color shows against its complement in the underpainting.
Value: refers to a color’s lightness or darkness.
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unit one Light on Color
ART MATERIALS VIDEO LESSON 1: Light on Color
You will see how to set up the painting area and paint with acrylic paints in this video lesson. View Video “Get Ready to Paint” to learn about the tools of acrylic painting. Before you start, gather art supplies listed at the front of the book. Select a photograph or physical object where the object is in the light. The color of the object should be clearly seen. Then, view Video #1 “Light on Color” and make a painting with acrylics. 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: Light Affects Colors
You will paint with primary colors as you explore light and dark color variations in this creativity lesson.
Tinting is to change the value of a color by making it lighter. Shading is to change the value of a color by making it darker.
The rules of art, and the ideas presented in this book, are meant to help you to see the world around you with more accuracy. Don’t follow rules to the exclusion of observing from real life. Always look at the objects and determine whether what you see fits the rule you have in mind, or whether some other influence of light is at work. Keep your ideas flexible as you study light on form. The general rules for setting up a good situation for viewing light on form are as follows: 1. Use one direct source of light. 2. That main source of light should be the strongest light at play on the object. 3. Paint the cast shadow to show that object rests on a ground, tabletop, etc. 4. Paint light, by using tints, and darks, by using shades, to show three-dimensionality.
Using light and shade shows the object’s three-dimensional form. Make a painting of a single-colored (monochromatic) three-dimensional object, such as a cup. Shine a light on one side. Notice how light affects the color. You may mix the color with white to paint the light side. You may mix some colors with black to paint the side that turns away from the light. Paint the table top and the shadow on the tabletop to hold the object to the table, so that it does not look as though it’s floating in space. You will use tints and shades of the color.
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ART APPRECIATION LESSON 3: World Artist and History
You will see how an artist uses light to illuminate color and integrate the idea into your own work of art in this art appreciation lesson.
Henry Ossawa Tanner, Daniel in the Lions’ Den, 1907.
This painting shows how light illuminates color. We know that color is seen in relation to how much light shines on the surface of an object. In the dark den, we see nothing at full light. Tanner clues viewers in to the fact that it is evening or a moonlit night by showing two small windows in the upper portion of the painting. As light hits the face of a lion, we see more of the yellow coat. As light hits the lower part of the man, we see his white robe take on blue tones; as it hits the walls and floor, we see a stone interior takes on blue-green tones. Look at how Tanner uses light around the two lion figures that are in shadow, on the lower right. They would disappear if it weren’t for the patches of light placed around them, helping to outline the lion forms. The painting tells a story of a man who was fed to the lions, but was delivered from his fate. Some lions seem disinterested, while the lion nearest the figure shows curiosity, but does not view him as prey.
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THE ARTIST Henry Ossawa Tanner (1859-1937) American Realist Painter
WHERE IN THE WORLD? United States of America
The Underground Railroad was established during the early 1800’s. It was a vast network of secret routes, meeting points, and safe houses used by African-Americans to escape from slave-holding states and move into free states, Canada, and Mexico. It was assisted and run by abolitionists and people sympathetic to the cause of those enslaved. Slavery had been a European institution at the time the Americas were discovered and though it was viewed as a disfunction within the society by the founders of our nation, it took much time and effort on the part of people of all races to stop and reverse the practice of keeping slaves. Within the United States, the Southern States depended heavily on slavery for the production of their crops. Northern States were more industrial, not dependent on slave-labor, and were known as free states. The routes existed until the Emancipation Proclamation was signed by President Abraham Lincoln in 1863, proclaiming “that all persons held as slaves” within the states “are, and henceforward shall be free.” Some estimate that by 1850, 100 thousand enslaved people had escaped by using the network of trails, barns, and riverbeds called the Underground Railroad. It was dangerous to all who escaped and all who aided those working their way to freedom. Its name described how people were secretly passed from one “depot” point to another, using the terminology for travel at the time, which was by rail. They seemed to go under the ground, and not be seen publicly as they traveled, trusting those who led them and using only word of mouth to get them to the next point toward freedom.
Henry O. Tanner was the first African-American painter of his time to gain international acclaim as a painter. He moved from the United States to Paris at the age of 32. He had strong anti-slavery and religious roots. His mother was born into slavery and escaped through the Underground Railroad. His father was a bishop in the first independent black denomination in the United States, the African Methodist Episcopal Church. His father was a friend of Frederick Douglass, a writer and civil rights activist. Tanner’s work in realism shows both attention to detail and loose, expressive brushstrokes. These details reflect his training at the Pennsylvania Academy of the Fine Arts where he was a favorite student of the well-known professor, Thomas Eakins. Tanner painted figures within dark wood interiors where they worked at various activities like spinning wool or playing the banjo. He became a master at painting light as it poured into dark rooms, highlighting cloth and skin. The light reaches parts of the room like a flashlight, revealing the lives of those that lived there. Once he established an artistic career in France, his painting, Daniel in the Lions’ Den was accepted into the 1896 Salon. Seeing him as a painter of religious scenes, an art critic paid Tanner’s expenses to journey to the Middle East, where he could see the landscapes firsthand. Tanner quickly accepted the offer to explore an environment that would bring more realism to his paintings. Tanner’s scenes of daily life, landscapes, and religious subjects give us a great view into the high ideals of family and spiritual aspirations that he held dear.
Set up a simple object beside a window. Arrange the object so that part of it is seen in direct sunlight and another part of it is in the shadows of the wall surrounding the window. Paint a picture showing the colors in light and in shadow. For light, mix the main color with white or light colors. For shadow areas mix the main color with small amounts of black.
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MASTER LESSON 4: Apply the Primary Colors to Art
You will show what you know about mixing colors to make the local color lighter and darker 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 see color where there is light. Light affects the colors we see. The light source might be a window, a lamp, or the sun in an outdoor setting. The reference used for this painting is shown below. It was painted by directly looking at the blocks, not a photo of the blocks. The two blocks sit inside a yellow box.
Paint by directly looking at objects. This is a photo of what the artist was looking at to create this painting.
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Paint a study of color values by setting up a still life of blocks or single-colored objects lit from the side or back to create cast shadows. As you first begin to paint, do not be too eager to paint complex objects. No matter how many details are added, the strength of the painting is in the value relationships. It is important to compare the values, so start with solid objects that are not shiny or patterned. Shiny surfaces pick up too many reflections. Heavy patterns make it more complicated to determine value changes within those patterns. (1) Begin with a blue line brushed directly onto the canvas. Thin the paint with water so that the line flows easily from the brush as it is pulled. As lines are redrawn and the position of the lines corrected, alizarine crimson (deep red) is mixed into the blue to differentiate lines from the first blue lines. Draw the edges of cast shadows, knowing that these shadows will be included in the finished painting. (2) Block in colors. I don’t think as much about matching colors as I think about the value differences. At this stage I want to get the values correct. (3) With the correct values as a guide, I now look for underlying colors, giving the painting more interest. Yellow and white are mixed into red for the highlight on the red block. Blue is mixed into alizarine crimson to get the shaded area. The walls and cast shadows are repainted with close attention to value as white, blue, and red are mixed into the yellow in different locations. The raw wood on the edges of the blocks is darkened on the shade side and lightened where light shines onto it. The edge of the cardboard box is added.
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unit three Tonal Values
ART MATERIALS VIDEO LESSON 1: Glazing
You will make a full value study in white, grays, and black, and then apply color glazes to the underpainting to make your own unique painting in this video lesson. View Video #3 “Glazing.” Before you start, find a photograph of an object that shows a light side and a dark side or look for shading outdoors. Set up your art materials and you are ready to begin! Make a value study and apply glazes over the study as shown in the lesson. 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: Tonal Values
You will make a nine-value scale, like the one below, and use it in this and future works to evaluate the values of colors that you see and then make a work of art. Tone is another word to describe values, usually used when referring to the value of colors. A full value scale has highlights, midtones, and shadow tones.
To see objects as they actually appear is to be aware of how light affects the objects we see. Light is why we see color. Light is why we see form. By redirecting our attention away from a focus on the separate objects making up our picture, to a more advanced way of seeing, we create better art. That advanced way of seeing is to look for planes and the values of those planes. Identify the planes. Identify the values in terms of highlights, midtones, and shadow tones. The artist no longer thinks about objects, but focuses on the elements of art: planes, values, and color tones.
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Make a nine-value scale using black and white acrylic paint. Start at the edges with white and black. Then add the smallest amount of black into white for the second step. Continue to add very small amounts of black until you reach the midtone, in the center of the scale. Work from the darkest step to the midtone by adding a bit more of the white to black in each step. Because acrylic paint covers well, you can paint over any step to make it lighter or darker. (1) A value study of the apple was painted using the full tonal range. (2) Then the apple was covered in one mixture of green glaze. The values show through to make the greens appear different. The area surrounding the apple was covered in one red glaze, over the value study.
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ART APPRECIATION LESSON 3: World Artist and History
You will see how an artist uses tonal values and integrate the idea into your own imaginative work of art as you create a genre scene in this art appreciation lesson.
Jean-Francois Millet, Peasant with a Wheelbarrow , 1848.
In this painting by Millet, we see evening in the long shadows cast by the figure and extending up onto the wall of the structure. Shadows also fall onto the wall of the structure by the wooden gate at the right. The strong light of sunset makes the white of the shirt glow, while the parts that turn away from the sun are thrust into darkness. Look for this same effect in the red vest and blue trousers. Light washes out color. Shade shows a deeper color as the color is not as intense. Millet rarely used midtones, but worked at the light and dark ends of the value scale. This gives his figures a dramatic appearance. High contrast was a typical characteristic in Millet’s genre scenes of peasant life.
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THE ARTIST Jean-Francois Millet (1814-1875) French Realist Painter
WHERE IN THE WORLD? France 1814-1870
France was in turmoil during Millet’s lifetime. In 1814, the year of Millet’s birth, Louis XVIII ruled France as the head of a constitutional monarchy. Upon his death, his brother, Charles X took over and attempted to gain much greater power over the people, strengthening his authority as monarch by abolishing the freedom of the press, and through other means. Revolts in 1830 caused him to flee the country and Louis Philippe took control. Louis Philippe was viewed as indifferent to the needs of society. Rising food costs and lack of jobs resulted, leading to the Revolution of 1848. That year a presidential election was held and Louis-Napoleon Bonaparte won. He would increase industry, expand railways, improve banking, and rebuild the city of Paris. He quickly abolished the “presidency” and unlawfully declared himself Emperor Napoleon III. Following in the footsteps of his uncle, Napoleon I, he become the sole ruler of France. Paris, France was the art center of the culture. The Royal Academy of Painting had been established and overseen by previous monarchs for over two centuries. It held a monopoly over the kind of art that was acceptable. The importance of the School of Barbizon (1830- 1870), was that it was not established by kings, but by individual artists, who came together because of their similar ideas about what art should look like. The school, named for the village at the edge of the Forest of Fontainebleau, promoted realism with a focus on landscapes. Artists promoted painting with loose brush strokes. These new ideas would lead to a movement called Impressionism, which inspired the modern art movement of the early 1900s.
While living in the Norman village of Gruncy as a young man, Millet dreamed of escaping the hard life of farmers. He studied art in several of the best French art institutions. His early studies of a variety of subjects were not well received until he exhibited The Grain Sifter in the non-juried Salon of 1848. This was his earliest painting of the agricultural worker as a subject. It was met with favorable reaction from the critics. His paintings at that time showed strong contrasts between light and shadow. Millet worked from memory, from studies of landscapes, and from models in his studio. Millet did not express any political interest and took no active part in the French Revolution of 1848. Despite this fact, the socialists claimed that his art promoted their ideals of the hard worker within a socialist run society. At the School of Barbizon, Millet devoted his attention to subjects from rural life and trained other artists to paint in what developed as the Barbizon style. Figures set within landscapes gave the farmer dignity, according to Millet. He often portrayed figures at the end of the workday, when a setting sun was shown by long shadows across his canvases. Millet used a palette of blue, red, earth colors, black and white. He applied the paint thickly in places, dragging the loaded brush across the textured canvas, to create a dry brush effect.
A genre painting is a domestic scene that includes the daily activities of people. Millet’s figures were often posed in his studio, where he painted. He worked from these observations as well as painted studies taken while outdoors. Create a genre painting. It should include at least one figure within an outdoor landscape or within an interior. Paint a value study, followed by glazing (shown in Lesson 1 of this unit) to complete your painting.
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MASTER LESSON 4: Apply Tonal Values to Art
You will show what you know about tonal values as you create an original work of art in this master lesson. Your art will be unique as you apply glazing methods shown below to your own ideas.
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Before we can paint values successfully, which will give the painting a realistic appearance, we have to see them. Seeing the values of colors accurately is not always easy. It is more difficult to see the lightness and darkness of a color than it is to determine that value in black, white, and gray. Patterns can also play with our perception of values. View the object in terms of planes. Each plane can be determined to be light, medium, and dark in value. Work from direct observation of the fruit with one source of light.
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Here, a green glaze was applied over the apples. Yellow ochre and green were mixed to make yellow-green. Glazing liquid was added. With a large flat brush, the apples were covered with the green glaze. A blue glaze was mixed and brushed onto the plate. Gather a few fruits or vegetables that are similar in values. You will want to determine value differences that the light makes as it shines onto the surfaces of those objects from one direct source of light, such as a window.
(1) Paint a line drawing with a thin solution of paint and water.
(2) Determine which areas (planes) are midtones. Paint them. Next, paint the darkest values. Then, add white to make the lightest values. Allow this layer to dry completely. (3) Paint a full value study using light values, middle values, and the dark values that you see in the shadows and shaded areas of the foreground and background. Allow to dry completely. (4) Mix a color and add a large amount of glazing liquid into it. The glazing liquid will thin the paint without changing the color. Apply the color glaze over the black, white, and gray value study.
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EVALUATION SHEET
Measuring a Learner’s Proficiency on Well-Defined Course Objectives
Calculate a grade for each lesson assignment to measure the learner’s proficiency on well-defined objectives (listed on the following pages). Art has subjective qualities that make it unique in how a student’s success should be measured. There are seldom right or wrong answers, and we do not recommend using a letter grade system for students in 4th and 5th grade. Instead, we provide a system using objectives. These objectives are listed on the following pages. To use them, look at the learner’s artwork and read the objective for that lesson. By following the objectives carefully, teachers and students will avoid common mistakes that are made when evaluating art. Let us paint a picture of an unhelpful evaluation of artwork so that you have an idea of what to avoid. Do not judge student artwork on arbitrary issues such as natural talent, skill level, feelings, and like or dislike of the subject matter chosen by the learner. Be aware that we should not expect a learner to be at a certain skill-level because of age or grade level. Do not demand results that can only be obtained by repeated experience that the learner has not yet had. It is very likely that an individual, who is creatively applying the elements as they are taught, will easily meet every objective even if the work looks similar to what we expect from a beginner. Completing the objective does not mean that the learner has arrived at a full knowledge and use of artistic concepts. A full knowledge comes with repeated use of the concepts and practice. Completing objectives means that the learner is doing well in the pursuit of comprehensive knowledge. If you do not see how the learner accomplished the objectives listed, ask the learner to point it out in the picture. Sometimes they understand very well and will be able to tell you how they accomplished the objectives in the drawing. This is valid! Keep in mind that a teacher who is allowing the learner to work independently through the book and video content may be unaware of the variety of ways in which an element or principle might be used. Our objectives are statements that describe what the learner is expected to achieve as a result of the instruction and demonstrations provided in the lessons. They can be used in two ways, either by a teacher or the learner. A teacher will use them with the goal of assessing student success and progress. By achieving the objectives, we can consider the learner competent in their understanding of the material. When objectives are used by the learner, they are a guide to focus and to help the learner set priorities for their artwork. Whichever way they are used, we do encourage you to use them for each lesson to ensure that you measure success in realistic and valuable ways.
OBTAINING A LETTER AND NUMBER GRADE
A (90-100) Student has achieved proficient work on all stated objectives for the lesson and shows advanced work. Advanced work can be defined by efforts that include and go beyond the stated objective. Examples: by applying knowledge gained from previous units, showing good craftsmanship (neatness), or other advanced skills such as a creative interpretation of the stated assignment, experimentation, or a synthesis of several art concepts (elements or principles.)
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B (89-80) Student has achieved proficient work on all stated course objectives for the lesson.
C (79-70) Student has achieved proficient work on some of the stated course objectives for the lesson, but has not met all the objectives. The learner may have finished a work, but clearly missed the point of the assignment as stated in the objective.
D (69 -60) Student has not achieved any of the objectives in the finished work.
F (59-0) Work is incomplete or missing.
OBJECTIVES
Unit 1: Lesson 1: The student will demonstrate proper use and care of acrylic paint and all supplies. The learner will demonstrate paint application to the support and fill in spaces with a brush. Unit 1: Lesson 2: The student will paint an object using color values by mixing a color with white to make a lighter color tone and black to make a darker color tone. Unit 1: Lesson 3: The student 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 student will use light from one source and add white or yellow to make the local color lighter and black or a dark color to make the local color darker where light is not clearly seen. Unit 2: Lesson 1 : The student will make a painting using the technique of blocking in the big spaces with colors and applying details in a second layer to demonstrate underpainting. Unit 2: Lesson 2: The student will demonstrate a knowledge of color mixing by making a color wheel that includes: the three primary colors, three secondary colors, and a mix of primary + secondary resulting in tertiary colors. Unit 2: Lesson 3: The student will make a still life painting using objects of their choice to demonstrate color mixing with a limited palette as described in the text. Unit 2: Lesson 4: The student will paint a landscape using underpainting while blocking in big areas of color and applying a second layer to add the details. Unit 3: Lesson 1: The student will show how light and shade combine with color to show form in an acrylic painting. Techniques of glazing over a gray underpainting will be used.
Unit 3: Lesson 2: The student will paint a nine-value scale as seen on page 19.
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Unit 3: Lesson 3: The student will paint a genre scene, placing people in a domestic location either indoors or outdoors. The student will demonstrate using light and shade with glazing to create form. Unit 3: Lesson 4: The student will create a still life acrylic painting using an underpainting of three values to show the values of the masses, and then add color with glazes.
Unit 4: Lesson 1: The student will demonstrate using a glaze to show shading.
Unit 4: Lesson 2: The student will create a painting that consists of primarily warm colors or primarily cool colors and then use glazes to warm up or cool down those colors within the painting. Unit 4: Lesson 3: The student will set up a still life arrangement with a patterned cloth and an object. The painting will show the effects of light and shade on the colors of the items.
Unit 4: Lesson 4: The student will paint a landscape with a dominant color.
Unit 5: Lesson 1: The student will mix colors in a landscape painting as they consider atmospheric perspective; values get lighter as seen in the distance. Unit 5: Lesson 2: The student will make three paintings of an object of one color while filling in the background in white, black, and color to demonstrate how color is relative to the colors that surround it. The object must be painted with the same batch of color. Unit 5: Lesson 3: The student will show atmospheric perspective in a painting using a broad range of values in the foreground and a narrow range of values in the background. Unit 5: Lesson 4: The student will demonstrate how colors reflect on white by painting a white object surrounded by color.
Unit 6: Lesson 1: The student will paint on a textured support.
Unit 6: Lesson 2: The student will search for interesting fruits or vegetables that show light, middle, and dark values. In the second step, the effect of light will be shown on each of the value areas as they stay within the value group by one step to each side. Unit 6: Lesson 3: The student will paint a still life view of an object with pattern and show the effect of light and shade on that object. Unit 6: Lesson 4: The student will paint a group of eggs or similar objects, using reflected color to demonstrate their knowledge of tinting colors within the artwork. Unit 7: Lesson 1: The student will make a painting of an animal in nature and use the impasto technique somewhere within the painting. Unit 7: Lesson 2: The student will make a neutral color scale using primary and secondary colors as shown on page 43.
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Unit 7: Lesson 3 The student will search outdoors for small natural objects, such as a vine or leaf and paint them in a way that shows design and detail. Unit 7: Lesson 4 : The student will demonstrate their knowledge of light, middle, and dark values in a painting of an animal while using the impasto technique. Unit 8: Lesson 1 : The student will use a dark underpainting in a full-colored work that includes, as its theme, the human form in nature.
Unit 8: Lesson 2: The student will paint a face, beginning with a monochrome value study.
Unit 8: Lesson 3: The student will explore an object with a shiny surface and paint all or a portion of it, including the reflections seen on the surface. Unit 8: Lesson 4: The student will paint a figure onto a black support, allowing the black to show through in the background and within the figure.
Unit 9: Lesson 1: The student creates a painting using a complementary underpainting.
Unit 9: Lesson 2: The student will explore pushing any color to the warm or cool side by adding warm or cool colors to it. Unit 9: Lesson 3: The student will illustrate contrasting warm colors against cool colors in a landscape scene. Unit 9: Lesson 4: The student will use Impressionist-like dabs of paint over a white canvas to paint a still life with warm and cool colored objects.
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