THE Curriculum for Creativity TM
R
The Elements of Art and Composition BOOK ONE 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
Contents and Art Supplies What Parents Want to Know What Students Want to Know
First Semester 1 - drawing pencil set
3 4 5 6
(range from 2H to 4B)
1 – vinyl eraser 1 – metal handheld sharpener 1 – drawing pad Second Semester 6-12 – sticks vine charcoal 1 – jumbo (tree) stick vine charcoal 1 – package of compressed charcoal 1 – charcoal paper pad 1 – paper blending stump 1 – kneaded eraser
The Elements of Art
1 2 3
Space
11 16 21 22 27 32 37 42 43 44 49 50 55 60 65 70 75 80 85 86 91 92
Line
Texture
The Elements Combined: Lines and Textures
4 5 6 7
Shape Form Value
Contrast and Unity
The Elements Combined: Lines and Planes
1- natural chamois leather (shammy) about 4x4 inches
Composition
8
Balance
Additional supplies : drawing board, hairspray (use as a fixative), cotton ball or cloth, ruler, X-Acto knife or cutt ing tool, 12” x 12” cardboard box.
The Elements Combined: Space and Values
9
Rhythm
10 11 12 13 14 15
Depth by Overlapping Depth by Position and Size One and Two Point Perspective
Atmospheric Perspective Proportion, the Face Proportion, the Figure The Elements Combined: Value and Texture
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Clothing the Figure Evaluation Sheet
Bibliography Course Credits
2
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 red.
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 red.
Third Lesson of Each Unit
Techniques Students learn how to use the materials and tools while applying that knowledge to make an original work of art. The assignment for this lesson is colored red.
Fourth Lesson of Each Unit
Application Students do a final project incorporating the new techniques and topic while using a variety of references such as still life objects, landscapes, portraiture, photographs and more! The assignment for this lesson is colored red. 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. 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 3
LESSON 1
Texture describes the surface of the object and can be imitated using different types of marks or lines. The marks seen in the pitcher, the Spanish moss, and the log are very different, revealing texture.
If a student practices over and over doing what he can do and not what he can’t do, he doesn’t make much progress. But if he tries to reach for something different he will grow as an artist. -Austin Briggs contemporary artist
A CREATIVE EXERCISE CHALLENGING YOU TO PUSH PAST PRECONCEIVED IDEAS AND INTO THE REALM OF DISCOVERY A CREATIVE EXERCISE CHALLENGING YOU TO PUSH PAST PRECONCEIVED IDEAS AND INTO THE REALM OF DISCOVERY
As artist, Austin Briggs states above, you will only improve when you try new and different approaches to your art. Most of our inspiration comes from experiences we choose to participate in. You’ll find that artists do not lock themselves in small rooms and create for the rest of their lives. They have hobbies and activities that feed their minds and bodies. You must be willing to take time to look, feel, and be a part of a place or a moment. When making art, do not rush to pick up paper and pencil. First, make a connection with the world through your senses of sight and touch. TRY THIS: Search both indoors and out for ten different textures that you actually touch. A brick wall, smooth tree bark, newly mown grass, a knitted sweater, carpet, or pet fur may be possibilities open to you. Touch it! Lie on it! Experience it! After totally experiencing these objects, draw the object and the texture in a way that describes it, based on your experience with it. OBJECTIVES: to understand firsthand how experiencing an object allows the artist to know it in deeper, non-visual ways. The student should notice details beyond what was formerly noticed.
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LESSON 2
Line is used primarily to show the different textures of the landscape in this drawing by Vincent Van Gogh. Various types of marks create texture when repeated. Van Gogh has sectioned off specific areas and then repeated the use of one type of mark within each of those areas to create a garden scene that has a rich surface.
Vincent van Gogh; (1853-1890) A Garden with Flowers ; 1888. Photo Credit: Dover Publications Inc.
The tiled roof is suggested by curved and straight lines.
The brush on the left uses curved lines for the hanging branches.
Straight parallel lines are used for the fence and gate.
Circles are drawn to suggest flowers.
Dots are used to show a pebbled path.
Flowers are drawn in tiny circles and radiating lines.
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Vincent van Gogh (1853 – 1890) Dutch Post Impressionist Painter
Personal Expression
Realism, which had gained momentum since the Renaissance, took a back seat for the first time as Impressionism emerged in the 1860’s. Artists who followed this explosion of free expression felt free to explore the ideas of drawing and painting in any way they wished. The late 19 th century painters explored a completely new world of color with the invention of new brighter colors and convenient tubes that allowed pre-mixed paint to be purchased and used out of doors. Impressionists were fond of painting outdoor scenes of the people and places of their own time. The purpose of painting changed from showing important people in historical settings to showing the common and mundane lives of people in everyday settings. This shift in attitude affected the next generation of artists who were called Post Impressionists. These artists faced a new and daunting invention, the camera, which seemed to replace the need for painting in realistic ways. Artists now looked for new reasons to paint and the idea of personal expression was born. To be great, artists needed to show viewers a new world in paint that went beyond what the camera could capture. Personal expression is a recent ideal of the artist. Copying or making studies from someone else’s work is a great way for artists to learn, but they are expected to show only their original works to the public. Laws are now in effect that prohibit making a profit from an image created by another person, even if it is changed in some way. Artwork displayed to the public must be unique. It must express something of personal interest to the artist.
Vincent van Gogh is one of the most famous painters in modern times. At sixteen years old, 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 and began using vivid colors in highly experimental ways. In his lifetime, he only sold one painting. 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 God. He desired to show the beauty of the natural world. He is especially noted for using bright color and creating thick texture with oil paint. His landscape paintings vibrate with energy. In notes to his brother, Theo, he talked about life and painting. These letters let us know what Van Gogh thought about his work. He wrote that he felt the presence of God when he painted, as he perceived God in all living things.
Draw some objects that have interesting texture. 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. As you look at your objects, draw the surface. Try new ways of making marks.
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LESSON 3
USE PENCIL FOR DIFFERENT EFFECTS
See these effects in the drawing below.
BLEND: Pencil is worked from side to side with even pressure for a smooth effect.
There are many ways to draw the texture of a particular object. Regardless of the types of marks used, a drawing will always be more interesting when a variety of marks is shown. TOUCH OR EXPERIENCE THE OBJECT Seeing and touching are the keys to understanding textures. Something about how a thing feels makes the artist more aware of ways to draw it.
IRREGULAR LINE: Sharp pencil makes an irregular line resembling leaves.
LINE: Here marks are dark and thick, using the side of the pencil.
LOOK FOR SIMPLE SHAPES Draw textures within clearly defined
shapes. Find the simple shapes of any object and draw light outlines, which show the edges. Keep the textured marks contained within those shapes. In this way, you will be able to clearly define where one object stops and another starts.
CROSS HATCH: A series of intersecting lines is used for the clouds.
EXPERIMENT WITH MARKS There are varieties of ways to use the pencil. You can mimic the marks you see others make. You naturally handle a pencil differently than others and can expand on what you see in those marks. Experimenting with
marks will lead to new discoveries in texture.
TO DO: Look for a variety of trees or other plant life. Use the pencil in different ways to make the different textures that you see. Use a variety of marks in your drawing.
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LESSON 4
Draw a landscape while looking at it. This kind of direct observation offers a variety of textures for you to work with. Draw the textures you observe, using different kinds of lines and marks. Start the drawing using light pencil marks to place objects where you want them. Remember to draw over the existing lines to draw the objects more accurately. Use heavier line to better define the objects. Many of your choices will be guided by intuition, or vague hunches. Learn to trust these instincts.
MATERIALS
Drawing pencil set
Drawing paper
Vinyl eraser
Pencil sharpener
Student Gallery
REFERENCES
Choose an interesting scene to draw. Perhaps you noticed one while on your texture search. Draw while you are looking at the scene directly.
THE ERASER AS A DRAWING TOOL
You are familiar with using the eraser to get rid of unwanted lines. Another use for the eraser is to create white marks on a dark area. Artists can use the eraser over solid areas of pencil marks to lighten them. This drawing tool is a way of drawing in white. It leaves soft, broad strokes that are perfect for the snow on the side of this mountain.
Student Work: by James Oltmans. Notice the various kinds of line used to describe the different elements of the landscape: soft, erased lines for snow, short, jagged lines for trees and rough, heavy lines for the rocky peak.
LOOK BACK! Does your drawing describe the texture of the landscape? What kinds of line variation did you use?
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UNIT 10
LESSON 1
Depth refers to seeing in the distance. Foreground objects overlap objects behind them. Overlapping usually makes a more interesting composition than setting objects side by side.
Those who dare do; those who dare not do not.
- Anonymous
A CREATIVE EXERCISE CHALLENGING YOU TO PUSH PAST PRECONCEIVED IDEAS AND INTO THE REALM OF DISCOVERY
Those who seem to do best in art are those who dive into a project and just do it, whether they fully understand what they are doing or not. Anyone can develop the kind of attitude that takes risks. There is no real danger in doing something experimental in art. Here Alice asks for help and receives a somewhat vague answer.
“Where shall I begin, please your majesty?” she asked . “Begin at the beginning,” the king said gravely, “and go on till you come to the end: then stop.”
-Lewis Carroll, from Alice in Wonderland
You may feel a bit like Alice when you begin this challenge in drawing. We encourage you to simply start, as the king suggests and trust your intuition to tell you when you come to the end.
TRY THIS: Using one line only, draw a scene outdoors. Begin the line in the foreground and work your way into the background. This line will be very long and take on many characteristics. Do not limit yourself with extra rules. The line may cross and crisscross, wiggle, jiggle, or fly back and forth across the page as you observe what is in front of you.
OBJECTIVES: to increase eye-hand coordination in spatial relationships and to observe how objects look relating to depth.
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LESSON 2
Our eyes naturally perceive depth, or distance. When looking out the window we understand that one tree is further away than the other is because the tree in front covers up a part of the tree behind it. It overlaps. To recreate this scene on a flat piece of paper artists create an illusion of depth by drawing only the parts that they see. In this work by Monet, the small boat is in full view. It overlaps the grassy hill. The grassy hill is in partial view, but it overlaps the ships sitting on the other side. The ships are in partial view only. Can you find other items that overlap?
Claude Monet, (1840-1926); Windmill at Zaandem , 1883 Charcoal on Paper. Photo Credit: Dover Publications Inc.
Study this work, observing how Monet handles charcoal. Light areas of the sky are lifted out from a middle gray background. Dark marks for grass are placed on top of the gray background. You will learn how to create middle gray backgrounds in the next technique lesson.
These objects overlap.
Ships Grassy Hill Small Boat
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Claude Monet (1840-1926) French Impressionist Painter
Claude Monet is one of the best-known Impressionist painters today. His works can be found in many museums throughout the world. Impressionists often worked outdoors. Monet was consistent in the way he worked, however as he aged the brushstrokes became looser and colors were more vibrant due to failing eyesight. His habit was to gather many canvases and work for brief periods on the same canvas in the same location at the same time each day. When the light changed, he moved on to the next canvas and location. In this way, Monet felt he captured the true light in a moment of time. Monet consistently made portraits, landscapes, cityscapes and flower paintings. As his popularity grew, he was able to rent and eventually purchase land at Giverny. The barn became his studio and he worked for the rest of his life on paintings of the area. He redirected water, planted gardens, built a Japanese bridge, and built a greenhouse and second studio with skylights. He eventually hired seven gardeners to keep up with his plans. At Giverny, he painted the water lilies series that he is famous for. The house at Giverny is open to the public today and hosts tourists from all over the world.
Search outdoors for a scene where objects overlap. Use charcoal to draw the scene. As you redraw lines, you can wipe out the charcoal lines with a soft chamois* cloth ( about 5x5 in.) rather than use the kneaded eraser. It will pick up some of the charcoal but not all of it so that you still see the lines only lighter. Draw back over the lines until your drawing is as you want it. You will notice that as you wipe out more lines a soft layer of charcoal builds up. These areas can be quite attractive. Many artists draw and redraw when using charcoal just to create the gray tone.
This student work is by Alison Wager. The items on the deck overlap the fence. Shrubs overlap trees. Furniture overlaps other furniture. Alison did a great job finding objects that overlap in an outdoor scene.
*A chamois can be purchased at auto parts stores or art supply stores.
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LESSON 3
The neutral ground is a middle value created on the page at the beginning of the drawing. A benefit of using this method is that one can quickly compare both lighter and darker values to the middle ground and attain a drawing using the full value scale. 1. Cover the sheet of paper with vine charcoal using a large stick. Work lightly so that you do not get too much charcoal on the paper, resulting in making the value in the darker range. 2. Rub the entire sheet of paper with a small cotton cloth or cotton ball creating a smooth middle gray background. Use the same cloth or ball for smearing charcoal in future works. 3. Draw an image onto the neutral ground with a small or medium size stick of vine charcoal. 4. Lift off the charcoal with the kneaded eraser to make highlights. Kneaded erasers can be pulled to a point for details or flattened to pick up large areas. TO DO: Draw a picture with vine charcoal. Follow the instructions for using vine charcoal with a neutral ground as shown.
1.
2.
3.
4.
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LESSON 4
Look again at the work by Monet on page fifty-six. The sky and the sea have been created by laying down the middle value first, then using the kneaded eraser to pick up the white areas. In this way Monet creates the clouds and waves. Now it’s your turn to use this method. Overlap a group of objects in a way that makes it easy to see which object is in front of the others. Begin your charcoal drawing with a neutral ground as described on the previous page. Look for light values, middle gray values, and dark values. Fix the finished work by applying a light mist of hairspray.
Student Gallery
MATERIALS
charcoal, vine charcoal paper
soft cloth
kneaded eraser
hairspray
REFERENCES
Use still life objects from your home or outdoors. Below are some items the great masters put into their works of art. peeled lemons whole onions glasses, pitchers trays of silver and gold cloth with patterns flowers hats or gloves musical instruments ink wells feathered pens books and papers hunting knives powder horns wild game horseshoes, keys elk antlers
These works show the individuality of each artist, even though working with the same medium. The work above by Caleb Garrison uses dark lines to describe edges and pattern. The work at the left by Chrissy Murray shows form, highlights, and uses a light background to set off the pots.
.
Student work by Marissa Reddy is soft and uses candlelight as the focus of the picture and as a rhythm to carry our eye throughout the picture. This picture captures a moment of quiet contemplation, making it an exceptional piece.
LOOK BACK! Did you overlap the objects in the still life set-up? Did you use the full value scale from light to dark within the picture?
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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 enjoys 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 that most accurately describes the student’s work from the three options below. Add the numbers from categories 1, 2, 3, and 4. This is the student’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 RED 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 RED BOX
15 POINTS/ COMPLETED
ASSIGNMENT BUT DID NOT OBTAIN OBJECTIVES IN THE RED 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 will be 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 Borobia, Mar . Thyssen-Bornemisza Collection Foundation www.museothyssen.org. Retrieved 12/31/2007.
Boucher, Francois. 20,000 Years of Fashion, The History of Costume and Personal Adornment. Harry N. Abrams, Inc., Publisher, New York.
Carroll, Lewis. Alice in Wonderland . New York: North South Books, 1999.
Esenwein, J. Berg and Stockard, Marietta. St. George and the Dragon . Bennett, William J. The Book of Virtues, A Treasury of Great Moral Stories . New York: Simon & Schuster, 1993.
Faigin, Gary. The Artist’s Complete Guide to Facial Expression. New York: Watson-Guptill Publications, 1990.
Gombrich, E.H., The Story of Art. Phaidon Press Inc., New York, NY, pocket edition 2006.
Janson, H.W. History of Art, A Survey of the Major Visual Arts from the Dawn of History to the Present Day. Prentice- Hall, Inc. Englewood Cliffs, N.J. and Harry N. Abrams, Inc., New York, 1974.
Nicolaides, Kimon. The Natural Way to Draw. Boston: Houghton Mifflin Company, 1969.
Rookmaaker, H.R. Art Needs No Justification. Illinois: Varsity Press, 1978.
Spyri, Johanna. Heidi . New York: World Publishing Company, 1946.
Vasari, Giorgio. Giorgio Vasari The Lives of the Artists . Translation by Julia Conaway Bondanella and Peter Bondanella. Oxford University Press Inc., New York, 1991.
Veith, Gene Edward Jr. State of the Arts From Bezalel to Mapplethorpe. Wheaton, Illinois: Crossway Books, 1991.
Von Oech, Roger. A Whack on the Side of the Head, How You Can Be More Creative. MJF Books, 1998.
Course Credits
Visual Arts Courses: Each book is designed for one 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 second and third pages of each unit. Award ½ credit per book (one semester). A credit depends on the amount of time spent on the course.
Course Name: Studio Art I / 1 credit Course Text: Artistic Pursuits, Senior High Book 1, The Elements of Art and Composition
Course Description: The fundamentals of art (line, value, shape, texture, space, and form) are emphasized through examples and projects focused on drawing. Critical analysis of artwork is stressed in the application of the elements of art and the principles of design. Art appreciation and art history is included as students evaluate the works of European masters and learn to apply specific techniques to create original works of art.
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 twelve to fifteen 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. Fifteen works of seascapes all done in acrylic will not make a good portfolio. 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 Art Supply website.
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ART/EDUCATION
HIGH SCHOOL 9-12 BOOK ONE This THIRD EDITION offers students the opportunity to discover their own creative strengths in the arts. The elements of art 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 “My sixteen-year-old devoured [High School] Book 1. We have never found anything for him so stimulating and so challenging. And the results were fantastic!” Homeschool Parent – Rhonda Wittman / Texas “…[a 92]-page gem of quality art instruction…Each well-crafted lesson is carefully laid out, making artistically challenged parents (such as myself), virtually unnecessary for their stu- dent‛s success.” Homeschool Parent – Denise Opper / Washington “Encouragement to create a personal work, rather than copy step-by-step instructions, gives students a sense of accomplishment. …extremely user-friendly…The introduction of single elements in each lesson makes this program approachable to beginners yet not overly sim- plistic for more talented students.” Homeschool Parent – Heidi Pair / Michigan
Use this book again and again! Non-consumable
Published by Artistic Pursuits Inc. www.artisticpursuits.com
High School 9-12 Book One 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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