Assignment 3
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Your ARW pages of painting techniques will look something like the image below... |
Assignment 2
Drypoint Etching Printmaking
Assignment 1
Autobiography
This assignment will cover pages 3-5 of your ARW. You may wish to include some of the following topics:
EVALUATION:
150 word minimum present on the pages you span /5
legibility and organization /5
quotes, photographs, images, drawings, paintings included /5
overall layout /5
TOTAL: _/20
NOTE: 150 words is 1-2 paragraphs. I am not going to sit and count your words, but you should write enough to cover your autobiography ARW.
This assignment will cover pages 3-5 of your ARW. You may wish to include some of the following topics:
- life changing events
- activities/interests that you pursue
- ambitions that you have for your life
- your personal view of success
- the possible differences between how you see yourself and how the world sees you
- who has been the most influential person/presence in your life so far
- if you were the "boss of the world", what changes would you make to your circumstances? Your family? Your school? Your community? Your world?
- moments of great pride for you
- role of the arts in your life (visual, theatrical, musical, etc...)
EVALUATION:
150 word minimum present on the pages you span /5
legibility and organization /5
quotes, photographs, images, drawings, paintings included /5
overall layout /5
TOTAL: _/20
NOTE: 150 words is 1-2 paragraphs. I am not going to sit and count your words, but you should write enough to cover your autobiography ARW.
This is our (ongoing) Assignment.
Please read carefully and follow along...
sample page from an ARW
ARTIST RESEARCH
WORKBOOK
(aka: "sketchbook", journal, or independent research book)
An (A4) 8"x11" spiral-bound hard covered book is best.Your workbook should be a comprehensive document that illustrates your artistic development and research. The purpose of the workbook is to encourage and record personally driven research and discovery that function interactively with independent art work. It should include a combination of writing and drawing.
Cite ALL sources properly, including EVERY image
ARW CHECKLIST
- Artwork analysis and vocabulary Respond to and analyze critically and contextually the function, meaning and artistic qualities of past, present and emerging art, using the specialist vocabulary of visual arts (limited biographical information)
- Cultural Analysis Analyze and compare art from different cultures and times, and consider it thoughtfully for its function and significance.
- Depth and breadth of research Develop and present independent ideas. Demonstrate coherent, focused and individual investigative strategies into visual qualities, ideas and their contexts. Develop different approaches towards their study, and fresh connections between them.
- Creative art making process Explore and develop ideas and techniques for studio work through integrated contextual study and first-hand observations. Produce personally relevant works of art that reveal evidence of exploration of ideas that reflect cultural and historical awareness. Present the work effectively and creatively and demonstrates critical observation, reflection and discrimination.
- Integration between studio and investigations. Develop and maintain a close relationship between investigation and a purposeful, creative process in studio work.
- Technique Demonstrate the development of an appropriate range of skills, techniques and processes when making and analyzing images and artifacts. Develop and demonstrate technical competence and artistic qualities that challenge and extend personal boundaries and technical competence and self-direction.
- Source Citation Used appropriate sources which cited properly and thoroughly throughout the ARW
ARTIST RESEARCH PROJECT
USING OUR CLASS COMPUTERS, research an artist from any century. Be creative in your choice of artist, you will be spending lots of time with them...
Use reference books located in my room and the internet...
Project has three parts:
- 1. Short research paper (one or two pages only please)
- 2. Poster or PowerPoint/Oral presentation of the material
- 3. Art work created in the style of that artist
All work is to be done during class time using materials from our space, or materials you bring to class
1. Information to include in the paper, double-spaced 12 pt font including:
- Name, date and period
- Birth date and provenance (location)
- Where they lived and studied
- Major Life Accomplishments
- What made their work unique or changed the direction of art?
- What style of art did they produce?
- Why did you choose this artist??? This should be your thesis statement.
- What was their life like? Are they still making art? For whom?
2. Oral Presentation to the class includes:
- Poster with images and information computer generated or NEATLY hand crafted poster that you can use for your presentation.
- You may choose to make a powerpoint instead of a poster, or both. Please include 8-10 slides with visual examples of your artist and some important facts about their life. You will be presenting a HISTORY of your artist.
- Time for oral presentation is minimum 5 minutes. Write or print out what you intend to say and rehearse it before your presentation. This is a very important assignment you will be dedicating much time for during class.
3. The ARTWORK INSPIRATION
- A work of art created by you that is in the “style” of the artist you have chosen.
- Do NOT copy their work, your piece must be original.
- Please see Mrs. Hession for ideas and materials to use for your work.
The idea is that you produce a piece of art you care about, please create something that is going to allow you to have a greater understanding of what your artist was trying to accomplish, say, express, prove, or create. Enjoy drawing inspiration from someone, it can take you places you have never been...
I think he is copying... but we call it "being inspired"!
ARTIST RESEARCH PROJECT
ONLY ONE ARTIST PER STUDENT...
ONLY ONE STUDENT PER ARTIST...
I repeat, no two students may choose the same artist...
I think he is copying... but it is still pretty awesome!
The idea is that you produce a piece of art you care about, please create something that is going to allow you to have a greater understanding of what your artist was trying to accomplish, say, express, prove, or create. Enjoy drawing inspiration from someone, it can take you places you have never been... |
A.K.A. “Sketchbooks”, these multifunctional books have proven to be a very important tool in developing ones style, knowledge of art, knowledge of a specific subject area completely unrelated to art, experimentation with media and development of ideas for studio pieces. As a kid, I was always drawing, doodling and sketching away in my sketchbooks, often times ripping out the drawings that I didn’t like and starting fresh. After years, I’d go back and be appalled at my earlier drawings and throw the books away out of embarrassment.
I wish someone had told me that it is not about being perfect on your first attempt, but about working through a process to get from one stage of development to the next. It is about seeing the progress one has made through their artistic endeavors. ARWs are a big portion of your grade, because they show the efforts put towards a studio piece. Students choose a theme or multiple themes to focus on, research those themes, analyze those themes, experiment with a variety of traditional and non-traditional media, brainstorm studio ideas, research artists that interest them and come up with studio pieces that are relevant to the investigations recorded in the ARW. 
With the endless ways to use an Artist Research Workbook, I’d hope that experienced and inexperienced artists alike would give it a try.
See how much more it makes you and others appreciate your hard work. If it’s not for you, you don’t have to continue, but from experience, it takes time and patience to get used to keeping such a journal, but the rewards are worth it! 
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The ARTIST RESEARCH WORKBOOKThe hardest part about starting a new piece is coming up with an idea for subject matter. Also known as ‘Artist’s Block’, this dreaded roadblock in the path to a successful piece can come up at any point. If the artist is keeping a working ARW, they can take a few days, weeks or months to brainstorm new ideas. I always have my students start with a word web with their theme in the center. Off of that, they need to brainstorm in breadth (all the legs coming off the center to form sub categories for their research) and depth (once they have many sub categories, they then research deep into each one; history, cultural comparisons, medium, cross comparisons, etc) to come up with ideas that will inspire them to produce.
One problem I see many students and accomplished artists facing is not knowing WHERE to start once they have an idea. Once again, an ARW is great for this. They can sketch out thumbnails of different directions they could go. Then, after they have two or three, I tell them to just start. Start with any medium, if you find in the preliminary steps that you don’t like it, stop and start over a different way. Whatever you do, DO NOT rip out pages with failed attempts. This is all useful in showing the process of a piece and how much work actually goes into creating something spectacular. Not every piece you do will be perfect. 
My favorite part about ARWs is the media experimenting. With art, one’s tools are endless. One can use traditional media like oil paint, pastel, charcoal or watercolor with their proper techniques, OR one can use these materials in ways never imagined. Play around with them, see if you can find a way to use them in a different way. The rules say ‘don’t mix oil paints with watercolors because they don’t mix’, so mix them and see what happens. You may find an unexpected outcome that you like. Then there are the non-traditional media. These are media found by mistake or on purpose that aren’t usually used as an art tool. Mix dirt with paint. Find recycled objects and use them to create a sculpture. See what happens when you melt plastic wrap with metallic crayons colored on top between 2 sheets of wax paper. Have fun! The IWB allows you to document your experiments so that if you like one, you can remember what you did for future pieces. I’ve played around with non-traditional materials and mixed them with traditional materials and found so many cool techniques. It’s even more rewarding when a student discovers a cool technique. I had a student ask if they could put crayons through a hot glue gun for one of their media experiments. She played around with it for weeks and discovered a really cool effect when the different colored crayons melted together in a marble technique. She later showed other students in the class this technique and it became a favorite with each person developing a slightly different style.
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Shading can be broken down into tones, from blacks, to dark grays, to middle grays, lights, and whites. Each of these tones will usually be represented in a portrait.
A lot of your shading will depend on the overall "tone" of the portrait you are drawing. If you are working on a portrait that is set mostly in shadow (low key) then a lot of dark darks will be used. A "high key" (whispy, pastel, faded) portrait will have few blacks, but more light grays; however, most portraits have a balance of light and dark tones.
Note: Draw the black-blacks last, since they are the hardest to erase.
The above illustration points out the dark areas in this pencil portrait. As you can see, the dark side of the face has more of these dark tones; for example, the corner of the mouth, the pupil, the nostril on the shadowed (right side) of the face, under the chin (on neck) and the shadowed part of the eyebrows.
The darkest tones are often used like "accents". Many portraits will not have a huge amount of areas with dark tones. When you have almost finished your portrait, and are pretty sure that everything is where you want it to be, don't hesitate to bear down a little with your pencil, to get those darks in solidly. Use a softer pencil lead (2B, 4B, 6B) and punch in those dark tones. The best way to punch in those black tones with pencil is to "build up" your tones. Use a soft leaded pencil (2B, etc) and lay down a dark tone. Draw over and over this dark area, until the graphite has "built up" enough tone so that the area is darker than the rest of the drawing.
From: http://www.google.ca/search?hl=en&q=shading+lessons&btnG=Search&meta=
A lot of your shading will depend on the overall "tone" of the portrait you are drawing. If you are working on a portrait that is set mostly in shadow (low key) then a lot of dark darks will be used. A "high key" (whispy, pastel, faded) portrait will have few blacks, but more light grays; however, most portraits have a balance of light and dark tones.
Note: Draw the black-blacks last, since they are the hardest to erase.
The above illustration points out the dark areas in this pencil portrait. As you can see, the dark side of the face has more of these dark tones; for example, the corner of the mouth, the pupil, the nostril on the shadowed (right side) of the face, under the chin (on neck) and the shadowed part of the eyebrows.
The darkest tones are often used like "accents". Many portraits will not have a huge amount of areas with dark tones. When you have almost finished your portrait, and are pretty sure that everything is where you want it to be, don't hesitate to bear down a little with your pencil, to get those darks in solidly. Use a softer pencil lead (2B, 4B, 6B) and punch in those dark tones. The best way to punch in those black tones with pencil is to "build up" your tones. Use a soft leaded pencil (2B, etc) and lay down a dark tone. Draw over and over this dark area, until the graphite has "built up" enough tone so that the area is darker than the rest of the drawing.
From: http://www.google.ca/search?hl=en&q=shading+lessons&btnG=Search&meta=
STORM
assignment #4
What is a storm? How do you interpret STORM?
In my life, a storm could come from loads of sources, someone's mood, the weather, an idea, etc... Your assignment is to create a "Storm" using mixed media (whatever you can find, make, borrow, or beg). Remember that Storm is a word with many connotations and meanings.
assignment #4
What is a storm? How do you interpret STORM?
In my life, a storm could come from loads of sources, someone's mood, the weather, an idea, etc... Your assignment is to create a "Storm" using mixed media (whatever you can find, make, borrow, or beg). Remember that Storm is a word with many connotations and meanings.
Make Art out of ANYTHING!!!
A Little Drawing
We will have some conversations about mountain living, personal experiences, and other things...
This assignment, "A Little Drawing" is one which I would like you to create outside of class. We will share these assignments after we have photographed them together, on the board for our first class critique.
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First you need to find a page to work with from the modest pile of magazines that I have... My entire collection was tossed after the flood. So lets be inspired by our limitations of material to work with.
As you can see from the examples to the right, ANY photo will work, you just have to let your imagination fly.
This assignment, "A Little Drawing" is one which I would like you to create outside of class. We will share these assignments after we have photographed them together, on the board for our first class critique.
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First you need to find a page to work with from the modest pile of magazines that I have... My entire collection was tossed after the flood. So lets be inspired by our limitations of material to work with.
As you can see from the examples to the right, ANY photo will work, you just have to let your imagination fly.
ARW Sfamato drawing assignment
Create a sfamato drawing as directed in your ARW. Use differing values to create depth and space.
Repetition with Variation assignment 4
Choose an object from your backpack (or one item from the collection of things that I have in case you don't have anything interesting in your backpack...)
Investigate the object from a series of sides, angles and distances.
Make a grid with 12 squares. Consider different options for establishing a grid. (See below)
Draw your item, with pencil, from a different perspective (and scale) in each square.
No more than 5% of the entire piece should be white. (reserve the white for the brightest, brightest, brightest, highlights.)
Push your darkest-darks so your object and lights pop out.
Vary line weight. (Don't flatten your piece by enclosing the object in a heavy outline).
Consider the balance of the piece as a whole.
Investigate the object from a series of sides, angles and distances.
Make a grid with 12 squares. Consider different options for establishing a grid. (See below)
Draw your item, with pencil, from a different perspective (and scale) in each square.
No more than 5% of the entire piece should be white. (reserve the white for the brightest, brightest, brightest, highlights.)
Push your darkest-darks so your object and lights pop out.
Vary line weight. (Don't flatten your piece by enclosing the object in a heavy outline).
Consider the balance of the piece as a whole.
Notice how the Artist allows the shapes of the keys to flow into each other.
She doesn't outline the borders. Instead she uses different tones in the background in each square. She also balances these tones to evenly distribute them throughout the whole piece, as well as in the individual squares |
Pushing a 1-9 tonal range really helped reinforce the organic details and textures in this piece.
Notice how this student used a white border around each of her twelve pieces to highlight each miniature drawing, and to unify them as well. |
Try it with colour?
This student carefully chose a two color palette and distributed the colors, line variations, and textures of the pen renderings to create a playful sense of rhythm and balance.
Positive and negative shapes become interchangeable.
Positive and negative shapes become interchangeable.
PRINT PORTFOLIO
Print Portfolio Project... The entire class will participate in Print Portfolio, creating # prints each, trading after critique, creating a box of prints for the entire class...
Materials:
mdf boards - Pencils - Erasers
Sharpie Markers
Straight V Chisel and U gouges - bench hooks (You can get a 11-piece Carving Tool Set from an art supply store if you are serious about wood carving)
Black and white water base Block Printing Inks - colored ink -
Brayers
Barrens
Inking Plates
Palette Knives -- Wooden spoons
Procedures:
1. Find a piece of wood that has no knots and a light grain. Or, you may use a suitable product like MDF.
2. With the size of the wood select a subject to print. You must stylize (simplify the white/negative space balance) it down to the most important aspects of it. Make outlines for areas needed and include as much detail as you think you can, however we are using wood and the lines can be only so thin. Keep track of your design/image in your ARW. Take notes of your work progress on the same page, dated the day you start.
3. To help in this planning use a black felt tip marker on the wood after transferring the design to make all the lines thick enough to cut. Try to have some large areas of black to help in the composition and to create a strong value pattern.
4. In order to have two colors, put a piece of tracing paper over the wood and plan on areas that can have color or gray as a background to the black print. Transfer this to the back side of the wood. These are the same size because it’s the same wood block.
5. Cut out the areas that are not blackened in because they will not print. This is a relief print so only the areas left on the wood will receive ink and print. Cut the color or gray side first. To cut out the wood use an X-acto knife to cut a small trough at the edge of a shape. With U or V gouges wiggle the gouge and push toward the edge along the grain. Stop at the trough and chip out the wood. Do not cut towards you and keep your hands behind the cutting area. We use bench vises.
6. Print the color or gray areas first, lightest to darkest, on a plate spread out some white and then black . Mix these together with a palette knife and smooth out with a brayer. Apply the ink with the brayer using on direction of strokes until an orange peel texture is seen on the surface of the wood. It will make a snapping sound when the ink is thick enough. Drop the paper onto the block and with the smooth side of a spoon press in circular motions until the print is completely smooth and all of the surface are printed. Remove the paper and let dry.
7. Cut the other side of the wood now and print it over the first one. Ink up the block and with a piece of board under the paper drop the block by lining up the edges. Drag the board out over the edge of the table and together turn it over, remove the board and print it like the first.
8. If they lined up it looks great if not print again.
9. Print an edition (determine suitable number) - sign correctly
10. Critique finished prints using the rubric I provided you in class.
Focus on the following:
Criteria 1 – shows good balance of light and dark - strong composition
Criteria 2 – registers two colors or more
Criteria 3 – pulls prints of consistent quality - prints an edition - signs correctly
Criteria 4 – Effort: took time to develop idea & complete project? (Didn’t rush.) Good use of class time?
Criteria 5 – Craftsmanship – Neat, clean & complete? Skillful use of the art tools & media?
mdf boards - Pencils - Erasers
Sharpie Markers
Straight V Chisel and U gouges - bench hooks (You can get a 11-piece Carving Tool Set from an art supply store if you are serious about wood carving)
Black and white water base Block Printing Inks - colored ink -
Brayers
Barrens
Inking Plates
Palette Knives -- Wooden spoons
Procedures:
1. Find a piece of wood that has no knots and a light grain. Or, you may use a suitable product like MDF.
2. With the size of the wood select a subject to print. You must stylize (simplify the white/negative space balance) it down to the most important aspects of it. Make outlines for areas needed and include as much detail as you think you can, however we are using wood and the lines can be only so thin. Keep track of your design/image in your ARW. Take notes of your work progress on the same page, dated the day you start.
3. To help in this planning use a black felt tip marker on the wood after transferring the design to make all the lines thick enough to cut. Try to have some large areas of black to help in the composition and to create a strong value pattern.
4. In order to have two colors, put a piece of tracing paper over the wood and plan on areas that can have color or gray as a background to the black print. Transfer this to the back side of the wood. These are the same size because it’s the same wood block.
5. Cut out the areas that are not blackened in because they will not print. This is a relief print so only the areas left on the wood will receive ink and print. Cut the color or gray side first. To cut out the wood use an X-acto knife to cut a small trough at the edge of a shape. With U or V gouges wiggle the gouge and push toward the edge along the grain. Stop at the trough and chip out the wood. Do not cut towards you and keep your hands behind the cutting area. We use bench vises.
6. Print the color or gray areas first, lightest to darkest, on a plate spread out some white and then black . Mix these together with a palette knife and smooth out with a brayer. Apply the ink with the brayer using on direction of strokes until an orange peel texture is seen on the surface of the wood. It will make a snapping sound when the ink is thick enough. Drop the paper onto the block and with the smooth side of a spoon press in circular motions until the print is completely smooth and all of the surface are printed. Remove the paper and let dry.
7. Cut the other side of the wood now and print it over the first one. Ink up the block and with a piece of board under the paper drop the block by lining up the edges. Drag the board out over the edge of the table and together turn it over, remove the board and print it like the first.
8. If they lined up it looks great if not print again.
9. Print an edition (determine suitable number) - sign correctly
10. Critique finished prints using the rubric I provided you in class.
Focus on the following:
Criteria 1 – shows good balance of light and dark - strong composition
Criteria 2 – registers two colors or more
Criteria 3 – pulls prints of consistent quality - prints an edition - signs correctly
Criteria 4 – Effort: took time to develop idea & complete project? (Didn’t rush.) Good use of class time?
Criteria 5 – Craftsmanship – Neat, clean & complete? Skillful use of the art tools & media?
LINE= An Element of Art
1. Use a pencil to draw 9+ vertical waves. Altering spaces and curves...
4. Complete the entire section.
7. Use an analogous color and apply same gradation pattern.
shade full strength - leaving a small area in the middle
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2. Draw a wave across.
5. Complete the entire design.
8. Add another analogous color or repeat the first one.
Keep coloring!
use white pencil to blend the middle part, or just blend it using a lighter colour
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3. Using a Sharpie, draw upward curves above the middle wave, then draw downward curves below the middle wave.
Every next curve starts at a previous line.
Alter the distance between the curves.
6. Color each section gradating color from dark to light to dark.
9. Use different colors for the next section.
This is a good method to use:
shade lightly the entire shape with a color of your choice
use black or a darker color to blend the sides of the shape.
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Spill Page...
The Art Problem:
Students will create a work art using a series of prompts that create intentional and accidental mark-making. Students will utilize their knowledge of the elements of art and the principles of design to create bold works that address the concept of abstract as well as non-objective art.
Materials:
Watercolour paper
Spillable liquids
Masking tape
India Ink, cups, small brushes
A selection of organic objects
Oil pastels
White china markers or white charcoal pencils
Guided Practice:
Quick and expressive is the name of the game with this assignment which is best spread over 3 class periods, though the first and last will take no longer than a half hour.
Day 1:
Each student will spill something on their surface, e.g. a beverage, watered down paint, etc.
Day 2:
-Once dry, students will add 3 pieces of masking tape in a linear pattern to the surface, and tape an even border around your paper.
-Each student will quickly look around the room for an organic object. Once they find this object, they should use India Ink and a thin brush to make a 5 minute gesture drawing of the object.
-Now, turn the artwork and make another 5 minute gesture on top of your existing drawing.
-Once dry select 3 oil pastels. Now, use the oil pastels to make bold marks that define positive and negative space, however you interpret that.
-To complete the artwork, return to the India ink and black out areas to create emphasis and direct the viewer's eye to the focal point.
-Remove the three pieces of tape
Day 3:
Refine and correct your compositions for 20 minutes by working back into them using only the materials used above, PLUS white compressed charcoal to correct areas that are too heavily blacked in.
Students will create a work art using a series of prompts that create intentional and accidental mark-making. Students will utilize their knowledge of the elements of art and the principles of design to create bold works that address the concept of abstract as well as non-objective art.
Materials:
Watercolour paper
Spillable liquids
Masking tape
India Ink, cups, small brushes
A selection of organic objects
Oil pastels
White china markers or white charcoal pencils
Guided Practice:
Quick and expressive is the name of the game with this assignment which is best spread over 3 class periods, though the first and last will take no longer than a half hour.
Day 1:
Each student will spill something on their surface, e.g. a beverage, watered down paint, etc.
Day 2:
-Once dry, students will add 3 pieces of masking tape in a linear pattern to the surface, and tape an even border around your paper.
-Each student will quickly look around the room for an organic object. Once they find this object, they should use India Ink and a thin brush to make a 5 minute gesture drawing of the object.
-Now, turn the artwork and make another 5 minute gesture on top of your existing drawing.
-Once dry select 3 oil pastels. Now, use the oil pastels to make bold marks that define positive and negative space, however you interpret that.
-To complete the artwork, return to the India ink and black out areas to create emphasis and direct the viewer's eye to the focal point.
-Remove the three pieces of tape
Day 3:
Refine and correct your compositions for 20 minutes by working back into them using only the materials used above, PLUS white compressed charcoal to correct areas that are too heavily blacked in.
A Written Assignment... no drawing, no painting, just thinking and responding...
FORMAL ART CRITIQUEassignment #2
This assignment is a written one, performed in and out of class, but reviewed in class.
It is a trial run for you to develop your critique skills, which you will use in class this semester.
Your critique should be typed, double spaced and include a picture of the artwork.
You may either submit it to me as a printed document, or via email submission.
Note:If you cannot print a color image of the artwork or find the time to type up your critique, you can create a photocopy or write down the web site address, your critique, and any other handwritten comments you think might help your understanding of what a critique is...
Please follow the format below, addressing each term in Red, and those in Blue:
DESCRIBE (What do you see?)
This stage is like taking inventory.
- BASIC INFORMATION: Name of artist, title of work, year, and gallery or location of artwork.
- LIST EVERYTHING YOU SEE Stick to the facts. Imagine that you are describing the artwork to someone over the telephone. For Example: It is a still life of apples on a white cloth in front of a window.
- NOTE FIRST IMPRESSION Make a note of your first spontaneous reaction to the artwork. What grabs your attention in the work? Refer to your first impression.By the end of the critique you may understand your first impression better or you may even change you mind. There are no wrong answers.
Try to figure out what the artist has done to achieve certain effects.
VOCABULARY: Use the vocabulary you learned in class. For example, if looking at a black and white image and you learned about the value scale, you can talk about the shades of light and dark or areas of chiaroscuro.
- ELEMENTS/PRINCIPLES: How are the elements of art (color, shape, line, texture, space, form, value) and the principles of design (balance, contrast, emphasis, movement/rhythm, unity, variety) used in this artwork? For example: The colors are monochromatic and create a sense of balance between the objects in the background and foreground.
- MATERIALS:For example: The artist used thick paint strokes.
Try to figure out what the artwork is about. Your own perspectives, associations and experiences meet with THE ANALYSIS of the work of art. All art works are about something. Some art works are about color, their subject matter, and social or cultural issues. Some art works are very accessible — that is, relatively easy for the viewer to understand what the artist was doing. Other works are highly intellectual, and might not be as easy for us to readily know what the artist was thinking about.
- THEME: What is the theme or subject of the work? What mood or emotions does the artwork communicate?
- MEANING: What is the work about; what do you think it means?
- WHY: Why do you think that artist created this work?
- ARTIST'S VIEW: What do you think the artist's view of the world is?
EVALUATE (What does this mean to you?)
This is a culminating and reflecting activity. You need to come to some conclusions about the artwork based on all the information you have gathered and on your interpretations.
- BACK TO YOUR FIRST IMPRESSION: Have your thoughts or feelings about the artwork changed since your first impression? If so, how? What made you change your mind? If not, can you now explain your first reaction to the work?
- LEARN: What have you seen or learned from this work that you might apply to your own art work or your own thinking? For example: I realized by using warm colors I can create a sense of energy in my own work. The warm colors are active.
Create a collage from a magazine of 4 equal squares.
Create a colored pencil drawing in one color and white (of the page) of your collage...
Now, follow the same method but try it in paint... Abstract Painting...
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4 Square Abstraction Robert Delaunay, 1912-1913, Le Premier Disque, 134 cm, 52.7 inches, Private collection.
Abstract art uses a visual language of form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. The arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.
Abstract art, nonfigurative art, nonobjective art, and nonrepresentational art are loosely related terms. They are similar, although perhaps not of identical meaning. 
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CONCEPTUAL SELF PORTRAIT
Conceptual Self-Portrait Assignment (CSP) & Self Evaluation Criteria Definitions: conceptual art: an art form in which the artist's intent is to convey a concept rather than to create an art object self-portrait : a portrait of oneself done by oneself Resources To Start Your RESEARCH (ARW worthy): • http://www.artlex.com/ArtLex/s/self-portrait.html http://www.youtube.com/watch?v=L5VA-hix1N0&feature=relmfu http://www.ted.com/talks/siegfried_woldhek_shows_how_he_found_the_true_face_of_leonardo.html Assignment Criteria: For this assignment, you need to create a ‘conceptual self portrait.’ The finished work does need to resemble you and may be 2-D or multimedia. You are responsible for collecting the material you want to work with in creating this portrait. You will be given a canvas on which to create your self portrait out of acrylics, wax, other paints, medium, etc... SELF EVALUATION: I chose the following material to create my conceptual self portrait:______________________. I chose this material because: I think the CSP project shows my artistic style to be: Delicate - bold - detailed - sketchy - realistic - abstract - precise - expressive or __________ I think my CSP is successful because: (you will write a paragraph in your ARW beside your collected research about your inspirations, successes, and struggles with your self portrait) The part of my CSP I would most like to improve would be: (describe what you’d do differently if you had to do this project again in the space below): I spent ________# hours researching, planning and creating this project outside of class time. My goal is to earn a grade of _________% for this project. ART 10/20 CSP Project Evaluation Rubric Levels 5 = EXCELLENT Insightful, Perceptive, Comprehensive, Mature, Original 4 = PROFICIENT Clear, Adept, Capable, Somewhat Original 3 = SATISFACTORY Adequate, Straight Forward, Conventional 2 = LIMITED Incomplete, Lacks Development, Vague, Superficial |
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Simple Sphere Still LifeMedium: Pencil Assignment
Find a round object around your home/school (ball, fruit). Set it up with a single light source from the upper left or right. a Desk lamp works well for this type of lighting set up.
Apply the model of chiaroscuro to your still life drawing (see diagram below).
Include a full range of values and a background.
An example of a Chiaroscuro Egg
- Draw a white egg using only one strong light source close to the egg at about a 45-degree angle above.
- Use a drawing pencil on white paper.
- Make the scale of the drawing monumentalized so that the egg is larger than actual size.
- There should be a horizon line behind the egg and the area above that line should be dark, so the highlights and halftones are in contrast with the background.
- Include all five areas of chiaroscuro: highlight, halftone, deep shadow, reflected light, and cast shadow.
- Shade by using continuous tone (sfumato).
- Try to arrange the lighting so a full range of contrast is achieved on the actual egg, and then draw it.
- The example is labeled to help you remember the 5 areas of chiaroscuro. Your drawing, however, should NOT be labeled.
- Take your time!