THE Curriculum for Creativity TM
R
Elementary 4-5 Book Two
Color And Composition
Brenda Ellis
A Comprehensive Art Program Designed to Involve the Student in the Creative Process While Developing Observational Skills
PLUS Master Works Featuring American Art Art Instruction Newly Expanded and Revised
Getting Started
CONTENTS
ART SUPPLIES
Page Unit
1 – watercolor pencil set of 12 (Derwent or Prismacolor suggested) *1 – Prismacolor colored pencil set of 12 1 – #8 watercolor brush round 1 – watercolor paper pad 1 – sketch pad for drawing 1 – vinyl eraser 1 – metal handheld pencil sharpener *For the dry technique lessons in the second half of this book the watercolor pencils can be used dry or a set of Prismacolor Colored Pencils can be purchased. ADDITIONAL ITEMS: drawing board, can or jar for a water container, masking tape, paper towels, tracing paper.
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Contents/Art Supplies
What Parents Want to Know Book Content and Scheduling What Students Want to Know The Mysterious Language of Color
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5 6
Color
1
Color Wheel
11 16 21
2 3
Primary Colors Secondary Colors
The Elements Combined- Sketch, Color, Paint
22 27 32 37 38 43 44 49
4 5 6
Intermediate Colors Tinting and Shading
Neutral Colors
The Elements Combined- Soft and Hard Edges
7
Values of Colors
Composition
8
Direction and Movement The Elements Combined- Shapes and Textures
51 55
9
Rhythm
The Elements Combined- Blending Colors
56 10
Front and Back Points of View High and Low Points of View
61
11
66 12
Emphasis of Details
71
13
Buildings
76 14
Figure
81 86 91 92
15 16
Face
Interiors
Evaluation Sheet
Bibliography
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Getting Started
What Parents Want to Know Book Content and Scheduling
To learn to make art in color artists have always focused on two groups of topics known as color theory 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 or paint. It becomes part of their thinking as they draw any kind of subject matter. This kind of focus, and ample opportunity to practice, is how children learn to make art in color.
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 own observations and ideas. The assignment for this lesson is colored blue.
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 blue. 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 blue.
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 blue.
Scheduling Art Class
CLASSES PER WEEK: TWO
TIME PER CLASS: ABOUT ONE HOUR
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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Getting Started
What Students Want to Know THE MYSTERIOUS LANGUAGE OF COLOR
If the secrets of color were contained in a book, would you open it? We hope your answer is YES! Just as learning the rules of a sport adds to your enjoyment of playing it, learning the rules of color adds to your enjoyment of making art in color. The first thing everyone should know is where to find the rule book for color. The rule book is the color wheel.
1. Learn the rules of color using the color wheel.
“OK”, you say, “I’m looking at the color wheel and I don’t see any rules.” We won’t let you be stuck there. Each unit in this book will introduce you to the vocabulary of the color wheel. As you practice one idea at a time, you will soon understand how to mix any colors you want with the few that are in your color set. The second and most important secret when dealing with color is all about what set you choose. Choose a set that contains blue, red, and yellow as shown on the color wheel. Most sets that are designed for students will contain the primary colors that you need.
2. See color variations and color mixtures.
Your brain is a storehouse of color knowledge. You would agree that oranges are orange and lemons are yellow. Each statement has simplified what we really see in order to reduce it to one color for easy identification. What we really see are reflections, shadows, color combinations, and all kinds of other factors which change the original color. Artists learn to see these color variations and color mixtures. An orange may appear blue in the shadows. A lemon may appear green around the ends.
3. Exaggerate colors
Artists may overstep the bounds of truth when applying color to the paper. They do this in order to make objects clearer and easier to identify. They might exaggerate to create a mood. They might use color for its associated meanings by using red because it seems “hot” or green because it seem s “peaceful”. By using the color rules you will unlock the secrets of color and gain the skills to work in color with confidence.
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Lesson 1
When two primary colors are mixed a new color appears. Three combinations can be mixed to make the three secondary colors. On the color wheel, each secondary color is located between the two primary colors it is made from.
Orange
Green
Violet
To create, you need imagination. Imagining is thinking of a picture that is not present or seen in the real world. When you read a story the words describe a scene or picture. In your mind, through your imagination, you picture the scene. This picture is a mixture of your ideas about the world, what is around you, and the words from the story. TRY IT: Choose a description of a dramatic or interesting scene from a book you are currently reading or have read in the past. Scenes are usually described within a page or two of a book. Read the words again, this time picturing what the scene would look like. Draw the scene as you imagine it. Use secondary colors in your work.
OBJECTIVE: to develop skills in using the imagination, or picturing something new.
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A secondary color is a mixture of two primary colors. When a painting is based on a secondary color scheme, you will see the three secondary colors: orange, green, and violet (also called purple). This painting of a feast day gathering in a Native American community relies on secondary colors. The artist has used green in the trees and hills, orange in the buildings, and violet in the hills, church building, and ground. The secondary color scheme is bright, cheerful, and used throughout the painting.
William Penhallow Henderson (1877-1943) Feast Day: San Juan Pueblo , c. 1921 Photo Credit: Dover Publications Inc.
Secondary colors look vibrant when placed next to each other. See how this is done within just a small section of the painting, then look for other areas where this is used. Green next to violet
Green next to orange
Orange next to violet
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THE ARTIST:
THE TIMES:
William Penhallow Henderson (1877-1943) American painter, architect, and furniture designer.
The artists that settled in the New Mexico area in the 19 th century embraced the culture of the Native Americans that lived there. They built homes of thatch and mud, called adobe, much like the native tribes. Rooms were small, but added onto, spreading out over time. Furniture was made by artisans from wood and painted in the bright colors natural to the area. William Henderson was an architect, (building designer) and a furniture designer. He designed the Wheelwright Museum of the American Indian, located in Santa Fe, New Mexico. It was built as a place to study the Navajo religion. Today it houses collections that document Navajo art and culture as well as other Native American arts. Henderson based his design on the round hooghan, the traditional Navajo home, also referred to as a hogan (Wheelwright Museum of the American Indian). Today many people visit the Taos and Santa Fe areas to view the art, architecture, and the culture that developed in New Mexico from the beginning of the 19 th century to today. They also visit traditional Pueblos and see the arts of the Native American communities that have lived in the area for much longer. Their art includes pottery made from local clay, small carvings, jewelry, and paintings on paper.
William Henderson studied in Europe for two years, completing many studies of the Old Masters works. Returning to America, he taught art in Chicago. In his late 20’s , he traveled with artist Carl Werntz by train, into Mexico and Arizona. There he completed thirty works which included his first Hopi subjects. Later in life he would live in New Mexico and paint the Hopi tribe ’s lifestyle and landscapes. These paintings are the ones he is remembered for, as well as many private portraits. He and his wife illustrated Anderson’s Best Fairy T ales . Many artists in the area illustrated books as well as making paintings. Henderson was one of the first artists to work and live in the area, which quickly become popular as an artist community. He was able to capture the vivid colors of New Mexico. He became a founder of the New Mexico Painters Society.
MAKE AN IMAGINATION DRAWING! Paint an imaginary landscape scene using secondary colors. To paint, tape the edges of a piece of watercolor paper to a drawing board with masking tape. Draw a picture and fill in the objects or spaces with color. Dip a brush in clean water. Then brush onto the paper. Blend colors on the paper. Dab the brush onto a paper towel to absorb excess moisture when needed.
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Lesson 3
How to Mix Colors
Each color has a mixing strength. Blue is very strong. Yellow is not as strong. Look at the amount of primary color in each cup to see the amounts needed to make a secondary color.
Since you cannot measure the pigment in a color pencil, apply more pressure on the yellow color pencil to add more pigment to the paper. Apply less pressure on the blue color pencil to add less pigment to the paper. Use smooth strokes with even pressure while layering color over color.
The results of color mixing vary depending on the kind of blue or red pencil used. However, your results should be similar to the colors of the leaves shown at the right. These leaves show an example of what you can expect from watercolor pencils with and without water applied. When water is applied, the white spaces of the paper fill in, making the colors appear brighter.
SOMETHING TO TRY: Practice mixing the primary colors to get secondary colors as shown on this page. Use real objects to observe and paint. You can work from real leaves, if the season provides them, or from apples of these colors. Deep red Jonathan apples have purple shadows, while Granny Smith apples are bright green. Many apple varieties are a mixture of red and yellow.
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Set up a still life using real objects from around the house. Use at least two secondary colors in the painting. You could use all three secondary colors. The paintings below are of students’ models and stuffed animals.
Student Gallery
YOU WILL NEED
watercolor pencils watercolor brush watercolor paper water container
masking tape paper towels
THE SUBJECT
Still life objects may include the following items: Houseplants Flowers Fish bowls Cups or dishes Food items Toys
Aaron Garrison uses dinosaur models to create a painting with two secondary colors (top) while Ariel Ellis uses stuffed animals in a painting with three secondary colors (bottom).
LOOK BACK! Did you set up a still life arrangement? Did you use a secondary color group?
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Lesson 1
Point of view is what you see from where you stand. A side view is not always the most interesting position from which to view an object. The picture at the left is what the viewer above would see from the front. The picture at the right is what the viewer above would see from the back.
Drawings and paintings should begin to express who you are as a person. Your experiences are your own and the subjects you choose to draw are unique to you. Even though others may draw the same subject, it will be different from your view. As you continue to make art, choose subjects that you like. TRY IT: Choose a subject that you like and can study from the front and the back. Draw a front view and then a back view.
OBJECTIVE: to develop awareness of personal expression within defined limits of using point of view.
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We are familiar with seeing figures in motion today because we have cameras and video equipment that capture those images. But in the nineteenth century artists had to study figures very carefully, usually while real people were posing for the painting. It was probably not easy to keep the boat still while the artist painted the figures in this painting called, The Boating Party . These figures show a woman from a front view, a child from the front view, and a man from a back view. Set against a brilliant blue background and the lush yellow curve of the boat, this painting emphasizes the figures.
Mary Cassatt (1844-1926) The Boating Party. 1893-94. Photo Credit: Dover Publications Inc.
In a front point of view (woman), features such as the eyes, nose, and mouth are in full view. In a back point of view (man), these features cannot be seen unless the face is tilted into a partial side view.
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THE TIMES:
THE ARTIST: Mary Cassatt (1844-1926) American Impressionist Painter
When Mary was a teenager the United States of America began work on a transcontinental railroad, one that would stretch all the way across the continent. At this time huge numbers of bison still roamed free throughout the American West. No one had yet heard of a telephone. Gas lamps still lit the streets of cities in the East. At the age of 22 she traveled to Paris France, known as “the City of Light” because of its many gas lamps, beautiful new buildings, and outdoor cafés. Paris had been rebuilt in order to help people forget the awful results of the French Revolution and turmoil of its recent past. Mary had come to study the old European master works, but to her delight French painters were not copying the past. They boldly painted in an entirely new way. Bright, fresh new colors were applied in loose strokes. Their way of painting was more immediate too. Instead of carefully planning out compositions and making a dark underpainting*, many Impressionists applied paint in dabs, lines, and thick layers. They started with white cloth canvas. They worked outdoors instead of indoors. Mary had arrived in Europe just in time to meet the Impressionists! *Underpainting i s a method used since the 1300’s in which the arrangement and figures were painted onto the surface and the values of dark to light painted in detail. Color was then applied in layers over the underpainting in glazes or thin washes.
Mary Cassatt was recognized as a master artist during her lifetime. Born in America, her family moved to Europe for a time, then back to America. Cassatt studied art at the Pennsylvania Academy of Fine Arts, the oldest art school in America. As an adult, she bravely decided to leave her family and to study art in Europe at a time when women did not travel without male companionship. She became a friend to artists in France within a group called Impressionists. She painted scenes of mothers and children in daily activities and gave us a view into what women did in that period. Sewing and caring for children were some of her themes. One of the most valuable contributions she made to America was to encourage wealthy American patrons to purchase Impressionist work. In this way she was helping her friends sell their work and because of her we have many Impressionist works within our American art museums. MAKE AN OBSERVATION DRAWING! Compile a list of activities that require the figure to bend such as running, hopping, swinging, kneeling, or dancing. Have someone act these things out for you as you draw what you see. These may be very quick sketches.
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Lesson 3
How to Make a Full Color Drawing
When choosing a place to begin a drawing, start with the main object, like the horse. Once the object is drawn on the page in the right place, draw what is around that object. When adding color, work on the object and then skip to the colors in the background to see how the colors look when sitting next to each other. Go back and forth from object to background.
Begin full color drawings by placing outlines within the space of the page. Change lines as needed by erasing and redrawing. Notice that the lines are not all the same thickness or value. Shaded areas have darker lines. Place colors in certain areas, without bringing them to a finished point. The horse is not finished before putting in the green trees or blue sky. Small areas are colored all over the picture. Continue to work this way until the space has as much color as desired. SOMETHING TO TRY: Make a full color drawing as explained above. Vary the lines. Color the entire picture space before finishing any one area so that you can see color relationships.
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Draw a subject from a photograph. Make sure the photograph is sharply focused, not blurry or containing special effects. Choose a photograph with a front or back point of view and bright colors.
Student Gallery
YOU WILL NEED
colored pencil set sketch paper vinyl eraser
THE SUBJECT
Choose a subject from a photograph. The photograph should have these characteristics: Bold colors Show a front or back point of view Include a background
Student work by Holly Heckman shows a group of horses. The white horse stands out. The entire background is filled with color. She has clearly emphasized the white horse in a front point of view.
LOOK BACK! Did you show a front or back point of view? Did you fill in the background and the main objects with color?
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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 as you look at the final work. DO NOT take off points for concepts not yet taught. Follow the objectives carefully when grading. Because of art’s subjective qualities it is best to mark higher rather than lower when deciding between two levels of achievement. If the student enjoyed doing the lessons and has 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 repeated 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, which most accurately describes the work from each of 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) Incomplete work (D-F). 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.
1. Using Creativity
2. Make a Drawing
3. Something to Try
4. Final Project
25 POINTS/ COMPLETED ASSIGNMENT AND OBTAINED ALL OBJECTIVES IN BLUE BOX AT THE BOTTOM OF THE PAGE 20 POINTS/ COMPLETED ASSIGNMENT AND OBTAINED SOME OF THE OBJECTIVES IN BLUE BOX AT THE BOTTOM OF THE PAGE 15 POINTS/ COMPLETED ASSIGNMENT BUT DID NOT OBTAIN OBJECTIVES IN THE
25 POINTS/ COMPLETED ASSIGNMENT IN BLUE SHOWS GOOD UNDERSTANDING OF CONCEPT SHOWN IN ART WORK
25 POINTS/ COMPLETED ASSIGNMENT IN BLUE SHOWS GOOD UNDERSTANDING AND USE OF MATERIALS OR TECHNIQUES
25 POINTS/ COMPLETED PROJECT SHOWS GOOD UNDERSTANDING OF THE UNIT (SEE TITLE) AND USE OF THOSE ITEMS ASKED FOR IN THE GREEN BOX AT THE BOTTOM OF THE PAGE 20POINTS/ COMPLETED PROJECT SHOWS UNDERSTANDING OF 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 UNIT OR ITEMS IN GREEN BOX AT THE BOTTOM OF THE PAGE
20 POINTS/ COMPLETED
20 POINTS/ COMPLETED
ASSIGNMENT IN BLUE SHOWS AN ATTEMPT TO USE CONCEPT SHOWN IN ART WORK
ASSIGNMENT IN BLUE SHOWS AN ATTEMPT TO USE MATERIALS OR TECHNIQUES
15 POINTS/ COMPLETED ASSIGNMENT IN BLUE DID NOT USE CONCEPT SHOWN IN ART WORK
15 POINTS/ CO15 POINTS/
COMPLETED ASSIGNMENT IN BLUE DID NOT USE MATERIALS CORRECTLY OR TRY THE TECHNIQUE SHOWN
BLUE BOX AT THE BOTTOM OF THE PAGE
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ART/EDUCATION
ELEMENTARY 4-5 BOOK TWO This THIRD EDITION gives students their first in depth look at color theory in a simply written text with lots of color illustration. The color wheel and composition are explored through beauti- ful color reproductions of American 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 “Excellent instructions are given directly to the student, so it can be finished independently. (Yes!)…I have seen improvements both in (my children‛s) art and in their attention to detail in other areas.” Homeschool Parent – Jenn Harrison / Missouri “I love the way the art history pages tie biographies of artists with the time period. These are far from boring historical accounts of time and dates…the girls have learned about what Americans were thinking, doing and discovering during the artist‛s lifetime.” Homeschool Parent – Chris Gunn / Texas “This curriculum encourages creativity. This worked wonderfully with my son.” Homeschool Parent – Kristen Hamilton / North Carolina “Having the freedom to choose what he wants to draw rather than being told keeps him motivated and interested. He is really loving it!” Homeschool Parent – Kara Haschke / Texas
Use this book again and again! Non-consumable
Published by Artistic Pursuits Inc. www.artisticpursuits.com
Elementary 4-5 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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