ART TWO



WATERCOLOR PROJECT DESCRIPTIONS
Focus on Watercolor Techniques / Composition / Balance

HOW WILL YOU BE GRADED?
  • written plan that you and I conference on
  • practice work including compositional sketches and COLOR SWATCH STRIP
  • 9x12 watercolor paper
  • good craftsmanship
  • well composed / balanced
  • clean color in a style that communicates your idea

PROJECT CHOICES: USE IMAGE RESOURCES: no working from your head

  1. The last watercolor sample can become your final. Plan well. The size can be bigger than 9x12 or a different format as long as you plan it out. You still have to have all the parts required in the sample. It will count as TWO GRADES if you do this.
  2. Scape/Still/Portrait - Your own photograph in COLOR. Must show depth. Any style including slight abstraction. Color scheme must support the style and idea. If you don't use your own photo you will be modifying the composition greatly. Do not copy another persons work.
  3. 9x12 HORIZONTAL Federal Jr. Duck Stamp competition / YOU must read the contest rules and follow them....I will not be reading them for you and then telling you what to do / national 1st prize is $5000.00, 2nd $3000.00, 3rd is $2000.00, conservation message is $500.00 Deadline - March 15, 2010
  4. Taped out series or collage. Essentially you can redo the collage format that your did in #6 practice. You will need a subject to focus on and the parts will need to be carefully composed.

LINK INFORMATION

Federal Duck Stamp Program

VIDEOS

QUARTER TWO
A small number of students are still completing perspective final. They need to make adequate progress each week. Mixed media exhibition boards will also need to be complete. 
2011 WATERCOLOR PRACTICE WORK

This is the minimum practice before you do a final painting.
These exercises will help you learn how to handle the medium and plan a final painting.

  • everything will be graded so pay close attention to details / craftsmanship counts
  • some of these will look like finals and some will be displayed
  • everything I will ask you to do has a purpose / nothing sloppy or hurried
  • none of these are optional - use your time well
  • A FINAL PAINTING WILL BE DUE AROUND THE LAST WEEK OF THE QUARTER

2. COLOR MIXING SAMPLES:
  • one wet on dry color mixing chart PAGE 33 W.E. book
  • one wet into wet set of all three primaries mixed into secondaries PAGE 34 W.E. book
  • one wet into wet set of all three complimentary pairs into neutrals

3. GLAZING – VALUE SAMPLES: PAGE 48-51 W.E. book
  • one value scale in one color with 8 to 10 values / wet on dry paper / cover the whole scale with each new wash / dry each layer
  • one landscape image that has been glazed with at least 7 value layers / save your whites / limit the number of colors / use brush work to create interest / USE AN IMAGE

4. RESERVED WHITES – HARD EDGE / SOFT FORM SAMPLES:
PAGE 56–59 W.E. BOOK
  • one cone sample using wet into wet for soft rounded cone form / use reserved white for hard edge back ground
  • one image that applies the above techniques to a simple object

5. WET INTO WET (traveling / bleeding) – LIFTING – DRY BRUSH: PAGE 64-67 W.E. BOOK
  • one small controlled wet color into wet color / lift light areas / add more wet color / allow to dry / superimpose dry color mark making on top
  • one small landscape that applies what you learned in the first sample / wet into wet with lifting in the sky first / use glazing and dry brush marks to coax out the image
  • LIGHT COLORS AND VALUES FIRST DARKS LAST
  • WET FIRST DRY LAST
  • BACKGROUND FIRST FOREGROUND LAST
  • SIMPLE FIRST COMPLEX LAST
  • SAVE YOUR WHITES
6. MASKING WITH TAPES – COMBINING TECHNIQUES

  • one 9x12 sheet your choice of finish / tape all four borders with a ½ inch bite into the paper tape out at least 7 sections with painters tape / one section needs to be the biggest space NOT DEAD CENTER unless you plan on using symmterical balance / create a variety of section sizes / NO DIAGONALS
  • create a tree form with maskoid in the large shape / paint wet in to wet / apply plastic
  • wrap pg. 85 / when dry add details
  • paint LIGHT flat washes in 3 sections / dry / tape / flat wash / dry / tape / paint....
  • use spatter in a section
  • use salt in a section
  • use other techniques learned to integrate
  • when 80% complete take off the tapes and integrate the borders

    MIXED MEDIA DISPLAY BOARD INFO

    LAYOUT DESIGN MIXED MEDIA SERIES

    DISPLAY REQUIREMENTS

    Use your mixed media samples to create a pleasing display of work. You will be graded on both visual appearance and written content.

    Display must have:
    • at least four of your seven small drawings
    • text that explains what you understand about supports
    • text that explains the what you know about mediums
    • text that explains the specific qualities of each medium and each support that you have placed on the display


    BASIC LAYOUT RULES:

    • do not trap empty space
    • USE empty space well
    • keep visual lines between elements even
    • keep spaces between elements even
    • make text easy to read
    • make text complete and correct
    • use a color that compliments all the parts equally
    • use order of the elements to create a flow between parts
    • use headlines to establish the major concepts
    • include your actual SIGNATURE under each drawing


    Watch the basic layout design video on youtube 1st.

    http://www.youtube.com/user/dabickford#grid/user/7A6E5905A913032F

QUARTER ONE
Students are learning about perspective techniques and how to create a sense of depth in flat artwork. During this unit students will also explore a variety of drawing media and supports. They will learn the qualities of different papers and how different media behave on them. This will allow them to choose the best look to express visual ideas. The entire unit is listed below.


ART TWO PERSPECTIVE LESSON LIST
  • perspective folded sheet:
    concepts: 2 and 3 point linear perspective
    2/D and 3/D VALUE and how it works with perspective
    TEXTURE and how specific characteristics add to a sense of depth
    interior room in 1 point linear perspective
    OVERLAP and how it enhances depth
    DIMINUTION when creating depth
    ATMOSPHERIC PERSPECTIVE and how it helps to create depth
  • application of concepts:
    3 minimum 1point thumbnails from direct observation
    3 minimum 2point thumbnails from direct observation
    (this is for C points and ONLY if you understand the concepts, NO, you cannot do 50 thumbnails for an A if you do NOT get the concepts)
  • “Masters of Illusion” video:
    watch the video about the development of perspective and answer the questions
  • Scholastic Art Magazine:
    use the magazines to answer some brief questions about how these two artists used perspective techniques in very different ways (get ideas!)
  • mixed media and supports mini folio:
    single object from direct observation in 3/D value
    small, 6x9 supports
    #1. graphite (value map, FULLY DEVELOPED 3/D VALUE)
    #2. soft pastels (painterly)
    #3. chalk (linear dry, painterly wet)
    #4. charcoal (linear or painterly)
    #5. cont'e (linear dry, painterly wet)
    #6. litho crayon (huge pressure created value range, wet washes)
    #7. pen / ink / washes (linear or painterly)
    ( use a variety of supports that enhance and work with the inherent characteristics of each medium)
  • Final Perspective:
    choose a subject that you can express deep space with
    choose a support that will work with your medium
    choose a medium that will express your idea
    no smaller than 9x12 (unless fully stippled)
    fully developed 3/D value
    any style
    any color scheme
  • ASSESSMENTS:
    each module gets a letter grade
    standard “art product” rubrics plus depth
    no use of color means all other grade categories are worth more
    quiz on mixed media and perspective
    group crit.
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