THE Curriculum for Creativity TM
R
Color and Composition BOOK TWO HIGH SCHOOL 9-12
Brenda Ellis
A Comprehensive Art Program Designed to Involve the Student in the Creative Process While Developing Observational Skills
PLUS Master Works Featuring European Art Art Instruction Newly Expanded Edition
Getting Started
CONTENTS
ART SUPPLIES
Page Unit 2
1 – watercolor set including the following colors: alizarin crimson, black, cadmium yellow, ultramarine blue 1 – #10 round watercolor brush 1 – ½ inch flat watercolor brush 1 – mop brush 1 – artist tape 1 – watercolor paper 68 sheets total 1 – tracing paper pad 1 – jar liquid masking fluid ADDITIONAL SUPPLIES: drawing board (optional), drawing pencil, eraser, sharpener, two large cups or
Contents/ Art Supplies What Parents Want to Know, Book Content and Scheduling What Students Want to Know, The Mysterious Language of Color The Tools of Watercolor
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4
5 6
1
Hue
11 2
Tinting Hues
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The Elements Combined- Color Intensity
17 3 22 4
Shading Hues Value of Hues
27
The Elements Combined- Values and Color Complementary Hues
jars to hold rinse water, paper towels, small cheap brush or toothpicks for applying frisket.
28 5 33 6
Neutral Hues
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The Elements Combined- Color and Edges Analogous Warm Hues Analogous Cool Hues The Elements Combined- Lines and Textures
39 7 44 8
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50 9 Balance 55 10 Rhythm
60 11 High View Point 65 12 Low View Point 70 13 Emphasis, Placement 76 14 Emphasis, Size 81 15 Emphasis, Value 86 16 Developing Original Art 91 Evaluation Sheet 92 Bibliography Course Credits
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Getting Started
What Parents Want to Know
Book Content and Scheduling
To learn to draw artists have always focused on two groups of topics known as the elements of art and principles of design (composition). Each unit in this book introduces one of these topics over four lessons. Each topic is explored in unique ways, giving students enough experience with the topic that they naturally incorporate it into the way that they draw. It becomes part of their thinking as they draw any kind of subject matter. This kind of focus paired with many opportunities to practice is how children learn to draw.
First Lesson of Each Unit
Building a Visual Vocabulary Here students are given a topic to focus on explained in words and pictures. The creative exploration assignment guides students to observe the topic in their own environment. They make connections to real-world experiences and create a work of art from their observations and ideas. The assignment for this lesson is colored green.
Second Lesson of Each Unit
Art Appreciation and Art History Students see how the topic is used in a work of art by the masters and apply their new observations to a work of art that they create. Students gain knowledge of artists and art history. The assignment for this lesson is colored green.
Third Lesson of Each Unit
Techniques Students learn how to use the materials and tools of art and apply that knowledge to make an original work of art. The assignment for this lesson is colored green.
Fourth Lesson of Each Unit
Application Students do a final project incorporating new techniques and application of the topic while using a variety of references such as still life objects, landscapes, portraiture, photographs and more! The assignment for this lesson is colored green.
Scheduling Art Class
CLASSES PER WEEK: TWO
TIME PER CLASS: ABOUT ONE HOUR
PERIOD: 36 WEEKS OR FULL SCHOOL YEAR This schedule can be modified to fit yours. Keep in mind that students can work independently so it is their time you are scheduling, not your own. Schedule art class at a time when they can complete the art assignment, even if it runs over an hour. Once interrupted, students can rarely return to an activity with as much enthusiasm as they first had. Time for completing each activity will vary greatly depending on students’ approaches . However, you should see that as they learn to use more of the elements within their pictures that they are taking more time on each piece.
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UNIT 2
Lesson 1
Tinting changes the value of a hue, making it lighter. In watercolor, a hue is tinted by diluting the pigment with water. The center circle shows the tinted hues.
I think it is important to explore a subject or sensation thoroughly - so I often do paintings in a series, painting different aspects of the same subject matter. -Julian Levi contemporary artist
Blue is tinted in several stages here, each with more water added.
A CREATIVE EXERCISE CHALLENGING YOU TO PUSH PAST PRECONCEIVED IDEAS AND INTO THE REALM OF DISCOVERY
A little knowledge is a great help when learning a new skill. But knowledge is only a part of the process of learning. In art, just as in music, one must do it, not read about it, in order to improve. For this reason, do not rush through the units. Many units will be of benefit only if the assignments are practiced more than once. Don’t get bored with the assignment. Change subject matter to add interest while practicing a method of painting. Or, like Julian Levi states in the quote above, paint the same subject repeatedly, painting different aspects of it. With this type of repeated practice, your skills will go well beyond your expectations. TRY THIS: Paint a subject using colored lines only. Do not fill in large areas of color. Do not make lines in pencil first. Paint lines directly onto the paper. The lines should be painted in the colors you see, such as yellow lines to describe the edge of a lemon or blue lines to describe the clouds. Use Thomas Gainsborough’s work, The Blue Boy , on the next page or another visual source. Make several attempts and see how your hand responds more quickly and accurately each time.
OBJECTIVE: to develop eye-hand coordination and to think about new ways of using a brush and paint.
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Lesson 2
Hues have value when compared to each other. Blue is darker in value than red. Red is darker in value than yellow. A particular hue can change in value depending on the amount of light it receives. A blue box may be dark in value, but the value changes when it is placed near the light of a window. It appears lighter on the side that faces the light. To show this in paint the artist tints the original blue. To tint is to make the hue lighter. Tinting can be done by adding white to the hue, or as with watercolor, allowing the white of the paper to show through in a wash.
Thomas Gainsborough, The Blue Boy , c. 1770. Photo Credit: Dover Publications Inc.
Look at just the blues within this painting. In the small areas of the coat and pants, we see the original hue.
On top of the folds and on his chest we see that the blue is tinted, making it lighter where light falls onto the blue suit. The suit appears very dark where light does not fall. This is called shading and we will learn about it in the next unit.
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Thomas Gainsborough (1727-1788) English Academic Painter
The Blue Boy was composed to prove that the old rules were usually nonsense. Since the Renaissance it was thought that the color blue receded and so should not be put “into the foreground of paintings but should be reserved for the distant backgrounds, for the fading hills on the horizon (Gombrich 32). ” Thomas Gainsborough wished to prove the theory wrong, so he painted a boy in a bright blue suit and set him against a warm orange background. By reversing the colors, he proved that a good painter did not need to follow any rules for art, but could manipulate the colors to achieve effects that were even the opposite of those that the rules describe.
While many English painters of the time followed the traditional rules of painting and wanted to invent new rules in addition to the old, Gainsborough simply refused to copy the masters and their methods. Gainsborough took a fresh approach in a time when rules in art weighed heavy on the profession. Gainsborough was so successful as a portrait painter that he was not able to devote his time to landscapes; the subject he really loved. (Gombrich 357).
MIXING INTERMEDIATE COLORS
To understand more about color, mix a primary hue with the secondary hues on each side as seen on the color wheel. This will give you intermediate hues. Do this with each primary hue as shown.
Primary Secondary
Primary (red)
The result of mixing a primary with a secondary is an intermediate hue.
Intermediate (red-violet)
4. Dip the brush into the next color and mix it with the first color in the palette. Continue mixing on the palette for changes. Rinse each time you begin to mix a new color. The original cakes should stay clean of other colors. Secondary (violet)
Test the color mixture on a trial sheet of paper. Add water to lighten the color. Add more pigment to make it brighter. When the test color is correct, brush it onto your picture.
Mix all color in the empty space of the palette. Keep the colors clean by rinsing the brush before dipping it into a new color.
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Lesson 3
WET WASH
Paint wet on wet
Watercolor is often painted wet on wet, meaning a wet wash is applied to paper that is already wet. The effect is soft and blurred, creating smooth edges. To do this, dip the mop brush in clear water and apply it to an area of the paper. The mop brush holds lots of water, like a mop! If you do not have a mop brush, the flat brush is a good substitute. Wet the flat brush and pick up some pigment. Apply this watery wash of color to the paper while it is still damp. The more water used, the lighter the value will be. The more pigment used, the more intense the color will be. Apply as many colors as desired to the wet area and they will bleed into each other with blurred edges. A wash is often used as the first layer, over which other techniques are applied.
Use the mop brush to apply water to the paper. Brush across the entire sheet.
Before the wash dries, apply pigments with the flat brush onto wet paper to create a wash. Colors will bleed into
each other creating a blurry edge.
GRADED WASH
A graded wash is a wet on wet technique, beginning with a dark wash and gradually proceeding to a lighter one. This effect is often used in skies, but can be used where a smooth blend is needed as in this cup. TO DO: Make graded washes working in small areas on good paper. Then make a wash from an observation of the sky.
To make a graded wash, apply a brush loaded with pigment to the top of the wet paper. Dilute the pigment with water as you brush back and forth across the entire sheet of paper, pulling the pigment down. Add more water to dilute the pigment further as you get near the bottom of the page.
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Lesson 4
Choose one color, blue or red, plus black to paint with. This project is not about color mixing, but learning the technique of making washes and gradations of color. 1. Draw the outlines on watercolor paper. If you must erase, do so lightly when using watercolor paper. Heavy erasing roughs up the surface and the paint will absorb into that area differently than in other areas, especially on cheaper brands of paper. 2. Wet the whole area of the object with the mop or flat brush dipped in clean water. Lay on a light wash in this area with the flat brush, working wet – on-wet. Without waiting for the area to dry, apply paint to darken areas. Keep adding darker values until the form of the object is clearly seen. 3. Let the wash dry completely then apply any sharp lines onto the dry paper with one of the round brushes.
MATERIALS
Watercolor pallet
Jar of water
Brushes
Watercolor paper
Paper towels Artist’s ta pe
REFERENCES
Student Gallery
Choose a photo of one large object that is of interest to you: a portrait a plant an animal a building Make sure there is one direct light source. If there is only one source, you will see both a light and a shade on the object and the form will be clear.
This student work by Nathaniel Ellis shows the values of blue. He tints areas of sky as he worked wet on wet.
LOOK BACK! Did you gain control of the wash while working wet-on-wet? Was the wash allowed to dry completely before applying sharper lines?
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The Elements Combined- Color Intensity This additional project shows how you can explore color intensity in a more focused way. Intensity is the richness or depth of a color. D on’t confuse it with value. The purple and yellow square on the left are both intense, even though the yellow is much lighter. They are each more intense than the squares on the right of the same color. To make colors more intense fill the brush with a lot of pigment. To make colors less intense, add more water to the mixture. The watercolor wash shown on the left shows how to go from very intense to less intense in a gradual way.
The landscape on the left is more intense. The landscape on the right is less intense. Experiment with intensity. Find a subject to paint. Exaggerate the colors to make an intense painting. Then make a less intense painting. You may discover a preference for one or the other.
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UNIT 3
Lesson 1
Shading is to change the value of a hue, darkening it. Adding black or a darker color to it can shade a hue.
Actually, every subject under the sun is worth painting. You shouldn’t be put off by an object because it is familiar. Look at what the great painters have done with an apple, for example. The important thing is what you do with the subject, how you express yourself.
-Dong Kingman contemporary artist
Red is shaded.
A CREATIVE EXERCISE CHALLENGING YOU TO PUSH PAST PRECONCEIVED IDEAS AND INTO THE REALM OF DISCOVERY
A painting is not built with color only. Color is such a strong element, however, that it is easy to react only to it, while missing the underlying structure of the painting. This structure is built upon the same elements found in drawing: line, shape, form, and value. The challenges in the next few units are based on drawing small images to help in seeing the underlying elements in finished works of art. TRY THIS: Draw a study of The New Born Child from the next page, concentrating on FORM. Show light and dark areas of the painting. Use shading to show form. Work on a half sheet of sketch paper. The work will be small enough so that your hand can easily move from one side of the page to the other. Work in this manner through the whole picture. Do not be concerned with details.
OBJECTIVE: to improve eye-hand coordination and to keep the student aware of other elements of art (form) within a color painting.
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Lesson 2
In The New Born Child , red is the only pure hue used. There are some areas of white and the rest of the painting is shaded. Georges de La Tour has created a very dark space, shading most of the figures, as well as the background. He uses a very interesting lighting situation in his pictures. Look for the source of light within the painting. A candle that is partially hidden by the woman’s hand, lights up the figures’ faces. This gives emphasis to their expressions and we see their sense of awe over the child.
Georges De La Tour, The New Born Child , c. 1645. Photo Credit: Dover Publications Inc.
The hue at its most intense is shown on the left side in these areas.
The hue shaded is shown on the
right side in these areas.
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Georges De La Tour (1593-1652) French Baroque Painter
While not every painting by La Tour has a single candle as its light source, a good number of his later works do. His paintings took on the quality of stillness. In The New Born Child , reference is made to Christ, the newborn King. The few figures within the painting seem to contemplate something that is bigger than them and do so with quiet reverence and awe. It could easily be any new born lying still in his mother’s arms and admired by an older adult. But even though the medieval tradition of surrounding the heads of holy people with halos was out of fashion, people understood this as a picture of the Holy family. La Tour made many religious paintings. He set religious scenes in contemporary times, using models and clothing them from his own period.
Georges De La Tour was the son of a baker, who later married a woman of nobility. He led the life of a local squire and painted. Most of his works were destroyed when his home was pillaged and burned during a war between France and Lorraine. Later he became “P ainter to the King” of Fra nce, Louis XIII. He worked for Dukes as well, but most of his paintings were sold to the local bourgeoisie. His paintings sold for large sums at that time. He is known for the way he used candlelight and candles within dark interiors in many of his paintings.
SHADING AN OBJECT
The value of an object is seen as darker when the object is in shadow. To darken a color is called shading. Shading is done by adding black to the original color. One can also shade by adding a color that is darker than the original color, the way red and blue shade the yellow apple below. Choose a small fruit or solid colored object and set it in the light so that you can see shading and shadow. Paint it.
SHADING AND SHADOW HAPPEN IN THE ABSENCE OF LIGHT.
SHADING IS SEEN ON THE OBJECT.
SHADOW IS CAST ONTO OTHER OBJECTS, SUCH AS THE TABLE.
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Lesson 3
Transfer A DRAWING
Choose the drawing you want to transfer to the watercolor paper.
There are times when it is appropriate to apply the paint directly to the paper without drawing any lines on the paper first. This free-hand method is used where lines are loose and free. Depending on how the subject matter is drawn, more accuracy may be desired. When accuracy is needed the picture can be drawn on regular paper first, making necessary corrections there. The finished drawing is then transferred to the watercolor paper. This technique is often used for watercolor because once the paint is on the paper it is not easy to erase or change. To transfer a drawing one needs tracing paper and a soft drawing medium such as soft pencil, charcoal, or pastel. Draw the picture directly onto the tracing paper or trace the lines from the drawing onto the tracing paper by placing the tracing paper over the drawing and copying it. Turn the tracing paper over and lightly rub the back with the soft medium. Carefully lay the rubbed surface onto the watercolor paper. Copy the lines once more to transfer the lines of the drawing to the watercolor paper. When you lift the tracing paper you will leave the lines behind.
Place the tracing paper over the drawing and trace it.
Flip the tracing paper over. Rub the back with charcoal or other soft medium.
Flip to the original side, with the charcoal side touching the watercolor paper. Draw over the lines again. The lines will transfer to the watercolor paper.
TO DO: Make a drawing. Transfer the drawing to watercolor paper. Paint it.
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Lesson 4
Look for photographs with light and shaded areas when you choose a photograph to work from. If you have a camera we encourage you to begin to take your own photographs. In this way you will be practicing good composition and lighting while making truly original works. Set up the paint area as shown on page five. Make a transfer to the watercolor sheet as shown on the previous page. Paint the picture, paying attention to shading on the objects and the shadows cast by those objects.
Student Gallery
MATERIALS
Tissue paper
Pencils
Watercolor palette
Jar of water
Brushes
Watercolor paper
Paper towels Artist’s tape
REFERENCES
Use a photograph that shows areas of light and dark. If you are interested in photography, we encourage you to use your own photos to paint from. Keep the following in mind:
Think of each object as part of the total group. Work in all areas of the painting. Don’t finish one object before starting another.
In this student work by Brenda Wright, cir. 1976, whites are made by painting an opaque white over the painted washes. Sometimes a tube of opaque white is supplied with a watercolor set. It is not transparent like the watercolors and will cover somewhat. It is one method of obtaining white in the painting. In the next unit, other methods of preserving the white of the paper are shown.
LOOK BACK! Did you observe shade on objects and shadow areas? Did you lower the value of colors by mixing darker colors with them?
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Evaluation Sheet For Obtaining a Number and Letter Grade
Teachers may calculate a number and letter grade for each project within each unit. Follow the instructions below when reviewing the final work. DO NOT take off points for concepts not yet taught. Follow the objectives carefully when grading. Because of the subjective qualities of art, it is best to mark higher rather than lower when deciding between two levels of achievement. If the student enjoyed doing the lessons and made the effort to create a work of art in a thoughtful way, then that student should be given a good grade. Allow the student to grow into mature artistic expression. Do not demand results that can only be obtained by years of experience that the student has not yet had. It is very likely that an individual who e njoys making art will get A’s. This does not mean that the student has arrived at a full knowledge and use of artistic concepts. It does mean the student is doing well in the pursuit of that goal.
LEVELS OF ACHIEVEMENT: Choose the number of points, which most accurately describes the work from each of the three categories below. Add the numbers from categories 1, 2, 3, and 4. This is the stude nt’s total score for the unit. This number can be translated into a letter grade: 90-100 (A), 80-89 (B), 70-79 (C), Uncompleted work (D-F).
1. Creative Exercise
2. The Assignment
3. Technique Drawing
4. The Project
25 POINTS / COMPLETED ASSIGNMENT OBTAINING ALL OBJECTIVES IN THE ORANGE BOX
25 POINTS/ COMPLETED ASSIGNMENT SHOWING GOOD
25 POINTS/ COMPLETED ASSIGNMENT
25 POINTS/ COMPLETED PROJECT SHOWING A GOOD UNDERSTANDING OF THE UNIT (SEE TITLE) AND USE OF THOSE ITEMS ASKED FOR IN THE GREEN BOX, AT THE BOTTOM OF THE PAGE 20 POINTS/ COMPLETED PROJECT SHOWING AN UNDERSTANDING OF THE UNIT BUT DID NOT ACCOMPLISH SOME ITEMS ASKED FOR IN THE GREEN BOX, AT THE BOTTOM OF THE PAGE 15 POINTS/ COMPLETED PROJECT DID NOT SHOW UNDERSTANDING OF THE UNIT OR ITEMS ASKED FOR IN THE GREEN BOX, AT THE BOTTOM OF THE PAGE
SHOWING A GOOD UNDERSTANDING AND USE OF MATERIALS OR TECHNIQUES 20 POINTS/ COMPLETED ASSIGNMENT SHOWING AN ATTEMPT TO USE MATERIALS OR TECHNIQUES 15 POINTS/ COMPLETED ASSIGNMENT DID NOT USE MATERIALS CORRECTLY OR TRY THE TECHNIQUES SHOWN
UNDERSTANDING OF CONCEPT SHOWN IN ART WORK 20 POINTS/ COMPLETED ASSIGNMENT SHOWING AN ATTEMPT TO USE CONCEPT SHOWN IN ART WORK 15 POINTS/ COMPLETED ASSIGNMENT DID NOT USE CONCEPT SHOWN IN ART WORK
20 POINTS/ COMPLETED ASSIGNMENT
OBTAINING SOME OF THE OBJECTIVES IN THE ORANGE BOX
15 POINTS/ COMPLETED
ASSIGNMENT BUT DID NOT OBTAIN OBJECTIVES IN THE ORANGE BOX
Note: If you do not see how the student accomplished the objectives asked for, do ask them about it. Sometimes they understood very well and are able to tell you how they accomplished the task in the drawing. This is valid. Remember that getting a visual idea across clearly is a process that takes time. Allow the student to grow into it.
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Bibliography
Bell, Cory. Modern Art, A Crash Course . New York: Watson-Guptill Publications, 2000.
Dickins, Rosie. The Usborn Introduction to Modern Art. Tulsa Oklahoma: ECD Publishing, 2005.
Edwards, Betty. The New Drawing on the Right Side of the Brain. New York: Jeremy P. Archer/Putnam, 1999. Flam, Jack. Matisse on Art. New York City: E. F. Dutton, 1973.
Greenway, Shirley. Art, An A-Z Guide. Danbury, Connecticut: Franklin Watts, A Division of Grolier Publishing, 2000.
Licie-Smith, Edward. Lives of the Great 20 th
Century Artists . London: Thames and Hudson, 1999.
Parramon, Jose M. and G. Fresquet. How to Paint in Watercolor. New York: Watson-Guptill Publications, 1988.
Nicolaides, Kimon. The Natural Way to Draw. Boston: Houton MifflinCompany, 1969.
Thornes, John.E. John Constable's Skies , The University of Birmingham Press, 1999.
Von Oech, Roger. A Whack on the Side of the Head, How You Can Be More Creative . New York, New York: MJF Books, 1983, 1990, 1998.
Course Credits Visual Arts Courses: Each book is designed for 1 credit (one year), however, if a student desires to take only one year of art the courses can be modified and the two books can be combined. To do this, complete the art assignments on the first and fourth pages of each unit, while only reading the material on the second and third pages of each unit. Award ½ credits per book (one semester). A credit depends on the amount of time spent on each course.
Course Name: Painting / 1 credit Prerequisite: Studio Art I Course Text: Artistic Pursuits, Senior High Book 2, Color and Composition
Course Description: The fundamentals of color theory are explored along with a thorough study of watercolor techniques. Composition is emphasized in abstract and realistic works using landscape, still life, and portraits. Critical analysis of art work is stressed in the application of the creative process. Art appreciation and art history are included as students evaluate works of European masters and apply techniques. Building a Portfolio Information on Building a Portfolio (a group of art works to show to a college for entrance into their program, also the name for the folder you will put the works in) Please note that each college will have its own set of requirements and you should look into those before sending your portfolio to them. These guidelines will be valuable if you keep them in mind as you go through our courses. 1. Include a total of 12 to 15 pieces completed and matted. 2. 3 pieces should demonstrate drawing skills, shading, value, or line work. 3. Include two or more pieces from each course taken. (This includes other courses you have taken (if any) including photography, pottery, oil painting, etc. 4. Show a variety of media, technique, size and subject matter. 15 works of seascapes all done in acrylic is a great way to build up works for sale, but will not make a good portfolio to show your diverse knowledge of media. 5. Present the portfolio in a professional manner: neat, organized. Any type of folder will work, but it should look neat if handmade. I suggest something like the Cachet Studio Portfolio at the Dick Blick website.
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ART/EDUCATION
HIGH SCHOOL 9-12 BOOK TWO This THIRD EDITION offers students the opportunity to discover their own creative strengths in the arts. Color theory and composition are explored through beautiful color reproductions of European Art. • Text written in conversational manner means student can work independently • Full year course in one book includes 68 lessons with projects • Four unique projects in each unit include an exercise in creativity, art history and appreciation, techniques, and exploration of various subject matter • Special assignments broaden student’s experiences with art materials “One thing that strikes me about this product is how full it is and yet how unintimidating…I have been excited about art curriculums in the past, as we are an artsy family, but this one has to be added to the top of the list.” Homeschool Parent – Lori Watson / Massachusetts “In my art class I had been attempting…and failing…to master watercolors. But when I started this course, I immediately saw improvement. It was great (painting) something that actually applies to my life currently. It made me feel very accomplished!” 16 year old homeschooler – E. McInnis “...[The author] ties in so many layers of learning in a simple art lesson‛ Not only does this book teach students art and techniques, it teaches students the necessary skills of observation. Homeschool Parent - Theresa Gordon/ Massachusetts
Use this book again and again! Non-consumable
Published by Artistic Pursuits Inc. www.artisticpursuits.com
High School 9-12 Book Two USA
This book has shown thousands of students how to create original works of art while laying a solid educational foundation under their feet. Your role as parent/teacher is to praise and encourage. Isn’t that what you want to do anyway? Start today.
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