Still life with charcoal
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The document provides instructions for a still life drawing assignment. Students are asked to render at least 7 objects placed on a tableau, paying close attention to light, shadow, and reflected light to depict volume and three-dimensional space. Composition and the placement of objects should be coherent, balanced, and make use of foreshortening. The grading rubric evaluates successful use of foreshortening, compositional balance, and a naturalistic depiction of real objects in real space that demonstrates an understanding of tonal value and light.
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The document discusses various techniques used to create the illusion of depth and three-dimensional space on a two-dimensional surface. These techniques include linear perspective, with its use of vanishing points and converging orthogonal lines; atmospheric perspective, which makes distant objects appear fuzzier; and isometric perspective, which maintains consistent scale regardless of distance. Other topics covered are foreground/background placement, overlap, transparency, foreshortening, and different point of views like bird's-eye and worm's-eye views.
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AS Experimental Drawing
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The document provides instructions for creating a 12-step color wheel. Students will divide a circle into 12 sections to represent the 12 hues of the color spectrum. They will then paint the primary, secondary, and tertiary colors into the corresponding sections of two concentric circles. The objectives are for students to demonstrate understanding of color hue relationships and practice radial design. Students will be graded on the accuracy of hue mixing and placement, conceptual understanding of color complements, and craftsmanship of the finished wheel.
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The document discusses value and light in drawing. It defines value as the lights and darks in a work of art. Light is described as waves of energy that our eyes perceive as light or color. Shadows result when light is blocked. Key terms like high key, low key, and full value range are introduced. Drawing assignments are outlined that involve creating a value scale, reducing values to black and white, depicting the six categories of light on a sphere, and using additive and reductive techniques with charcoal to represent form, light, and shadow. Modeling, chiaroscuro, atmospheric perspective, and tenebrism are also defined in relation to using value and light in artwork.
Art Element: Value in the context of drawing
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This document provides guidance and exercises for students taking a drawing course. It introduces different drawing techniques including line drawings, using an extended arm to draw, and binding two pencils together. Students are challenged to experiment with techniques and find their own artistic style. They are instructed to complete drawings using the various techniques and to research artists who create line drawings. The goal is to help students understand drawing in new ways and use a variety of materials in their artwork.
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Drawing
This document provides guidance and exercises for a drawing course. It discusses exploring different drawing techniques to find your artistic style. Students will experiment with line drawings, drawing objects from nature, and holding pencils in different ways to create varied marks. Exercises include using extended arms and two pencils bound together to produce dense, unpredictable marks on objects like boots or pepper halves. The goal is to challenge perceptions of drawing and understand how materials can be used.
Week 2 12 art
This document provides guidance and exercises for a drawing course. It discusses exploring different drawing techniques to find your artistic style. Students will experiment with line drawings, drawing objects from nature, and holding drawing utensils in unconventional ways. Exercises include using extended arms and two pencils bound together to create unpredictable marks. The goal is to challenge habits and perceptions of drawing to understand how materials can be used. Examples of artists who create creative line drawings are also provided.
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This document provides guidance and exercises for a drawing course. It discusses exploring different drawing techniques to find your artistic style. Students will experiment with line drawings, drawing objects from nature, and holding pencils in different ways to create varied marks. Exercises include using extended arms and two pencils bound together to produce dense, unpredictable marks on objects like boots or pepper halves. The goal is to challenge perceptions of drawing and understand how materials can be used.
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Line drawing and Mark making
This document provides instructions and examples for a drawing course. It discusses exploring different drawing techniques, styles, and materials. Students will be challenged to find their own artistic style and apply it to various assignments interpreting the broad theme of "Environments." Examples are given of exercises using extended arm holding, two pencils, tactile objects, and mark-making with unusual tools to create texture. The goal is to move beyond habitual approaches and experiment with control and response to develop drawing skills.
1.2 Use Drawing processes & procedures
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This document provides instructions for creating tonal grids and patterns inspired by artist Chuck Close. It outlines the following steps:
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This document provides tips and guidance for creating a still life drawing or painting. It explains that a still life features inanimate objects arranged by the artist. Drawing still lifes allows artists to practice observational techniques and composition. Tips are given for selecting objects, arranging them, using a viewfinder, and creating a value scale to add shading. The assignment is to create a thumbnail sketch, two contour line drawings of objects, and a completed still life composition using pencil and ink with shading added using tissue paper.
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This document provides a list of recommended materials for a drawing 2/life drawing class, including pencils, charcoal, pens, paper, and other drawing tools. Students are advised to purchase graphite and charcoal pencils in various grades, as well as charcoal powder and white pencils. For pens, the list includes various sizes of Sharpie pens and micron pens. The recommended paper is Strathmore toned gray paper. Additional recommended supplies include fixative, erasers, blending sticks, sharpeners, sandpaper, a rag, T-square, tape, portfolio case, canned air or broom, triangle, art supply box, and eraser stick.
Drawing 1 Materials.doc
This document provides a list of materials needed for a drawing class, including pencils, charcoal, pens, paper, and other drawing tools. Graphite and charcoal pencils in various grades are recommended, as well as vine and compressed charcoal. Specific brands and types of drawing paper, fixative, erasers, blending sticks, and other supplies are called out. Purchase locations and additional details are provided.
Design Materials.doc
This document provides a list of essential materials needed for a design fundamentals class, including specific brands and sizes of bristol paper, pens, acrylic paints, paint brushes, a paint palette, tape, and other drawing tools. Key supplies are a Strathmore Bristol Pad, various sizes of Sharpie and Micron pens, a set of Daler-Rowney acrylic paints, glass jars for paint storage, a Scholastic brush set, freezer paper or plastic plates for a paint palette, blue painter's tape, rulers, pencils, erasers, and various other small tools. Additional supplies may be assigned later.
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The document lists the 2023 finalists for the Helen M Salzberg Visiting Artist Fellowship as Gabino Abraham Castelán, Diane Arieta, and Dia Munoz. For each finalist, it provides 10 images from their body of work that were considered for the fellowship.
Assignment: final project DEBEAUFORT
The document discusses a new paint job for a home. It details that the exterior of the house will be repainted a light blue color to freshen up its appearance. All trim, shutters, and doors will also be repainted the same off-white color to match and provide a unified look. The project is scheduled to begin next week and take approximately 10 days to complete once started.
Assignment: book cover DEBEAUFORT
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Assignment: repetition, variety, gestalt DEBEAUFORT
This document discusses repetition, variety, and gestalt as principles of visual design. It defines repetition as using elements more than once to structure a viewer's experience, and variety as incorporating visual diversity to avoid monotony and hold interest through alternating scale, color, or other features. Gestalt is described as an aspect of psychology referring to how the mind perceives unity and closure, relating to the overall feeling or sense of completeness evoked by an artifact for viewers.
point, line, shape, mass, volume, texture, value DEBEAUFORT
This document discusses key elements of art and design including point, line, shape, mass, volume, texture, and value. It defines each element and provides examples. Point is the simplest element that can suggest lines or density. Line can be actual, implied, gestural, contour, or variations thereof. Shape can be geometric, organic, figure/ground, positive/negative. Mass refers to physical bulk while volume is the measurable space an object occupies. Texture can be actual, implied, or invented. Value refers to degrees of lightness and darkness, with contrast being the difference in values.
Contrast DEBEAUFORT
Contrast refers to the use of opposing elements of art to produce an intensified effect. Visual contrast is the degree of visual difference between elements to emphasize certain parts, while conceptual contrast is an implied opposition of ideas to emphasize unexpected differences.
Balance DEBEAUFORT
Balance and weight refer to both the actual and visual equilibrium of elements in a work of art. There are different types of visual balance, including symmetrical balance where visual elements are evenly sized, shaped, and placed, as well as asymmetrical balance where equilibrium is almost but not exactly symmetrical. Visual balance can be achieved through techniques like varying the size, color, shape or frequency of elements to create a sense of equilibrium and tension in a composition.
Rhythm and Pattern DEBEAUFORT
Rhythm is defined as the movement or variation marked by a regular recurrence of related elements, while an irregular rhythm omits or adds unexpected stresses. Pattern refers to a systematic repetition of an element in a work.
Unity DEBEAUFORT
This document discusses principles of visual design including unity, gestalt, repetition/variety, chaos, and proximity. Unity refers to a composition holding together visually as a whole. Gestalt psychology investigates how the mind seeks closure and unity. Repetition and variety use repeating or diverse elements to structure a viewer's experience without becoming monotonous.
emphasis and focal point DEBEAUFORT
This document discusses three principles of design: emphasis, which is using arrangement to make some areas the primary focus; subordination, which also uses arrangement to create a focal point; and focal point, which is the area that grabs and holds a viewer's attention.
Assignment: Line and Direction DEBEAUFORT
Forces can be categorized as either line forces or directional forces. Line forces have magnitude and direction but no line of action, while directional forces have magnitude, direction, and a specific line of action where they apply to an object. Common examples of line forces include tension, compression, and friction. Directional forces include gravity, normal, applied, and reactive forces.
directional force DEBEAUFORT
Directional force refers to the compositional means artists use to arrange design elements to move a viewer's eye in a intended way through a work of art. Key directional forces include vertical, horizontal, diagonal, circular and triangular lines or shapes that imply visual lines leading the eye to the focal point. Effective works of art often combine multiple directional forces.
Scale and Proportion DEBEAUFORT
This document discusses size, scale, and proportion in art. It defines scale as the comparative size of elements in relation to other elements or objects. Proportion is defined as the relationship between the sizes of parts and the whole. The document discusses classical proportions like the Golden Rectangle and Golden Section, which are ratios used in art. It also discusses Vitruvian Man, in which Leonardo da Vinci illustrated the harmonious proportions of the human body. The document notes that while Vitruvius defined average body proportions, there is variability between individuals.
de Beaufort REFLECTION AND REFRACTION
Light travels in straight lines until it encounters a new medium, like air and glass, where it can either pass through (refraction) or bounce off of (reflection). Reflection occurs when light hits a smooth surface like a mirror, bouncing at the same angle, while refraction happens when light passes from one medium to another of different density, changing direction as it enters the new medium at a different speed. The bending of light that occurs during refraction can be described using Snell's law, which relates the angle of incidence and refraction based on the densities of the materials.
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Still life with charcoal
- 1. Still Life with Charcoalde Beaufort<br /> Assignment: <br />Using the still life assembled in class, construct a realistic rendering of at least 7 objects placed on the tableau. Pay close attention to light, shadow, and reflected light and the way that volume is articulated in a 3 dimensional space. Additionally, observe the placement of your objects both on the surface they rest upon, and their compositional counterpoint within your picture. Try to construct a coherent and balanced picture in which all the objects appear grounded and ordered. Pay close attention to your point of view and keep in mind the affect that foreshortening will have on the tops of your objects. Use your knowledge of both perspectival space and tonal value to help you through this challenge.<br />Following the demonstration:<br />1. Begin by toning down the ground a medium shade of gray with the charcoal powder on an 18quot; x24quot; sheet of drawing paper.<br />2. Create a rough sketch utilizing the medium vine charcoal…evaluate your composition for balance, proportion, and foreshortening…adjust.<br />3. Begin to erase tonality to create highlights with the various erasers. For sharp lines you can use a piece of paper as a quot; stencilquot; ..<br />3. Begin to fill in shadow and dark gray using the char-kole and charcoal pencil.<br />4. Once the major general sketch has been worked out clarify and blend your forms. Use the small blending sticks, charcoal pencils, and tuff-stuff eraser pen for the most detailed rendering.<br />Objectives:<br />Successful mastery of foreshortening.<br />Successful mastery of compositional balance.<br />Naturalistic depiction of real objects in real space.<br />Use and understand tonal value and light as a tool for creating 3-dimensional depictions. aka chiaruscuro<br />Overall technical proficiency and a high level of craftsmanship.<br />Grading Rubric:<br />CONCEPT (50 pts) : The project is well conceived and displays an understanding of the assignment. Your composition is successful, you make good use of light logic and value, you have successfully used foreshortening, and created a believable representation. Your shapes are symmetrical and proportional.<br />PROFESSIONALISM (50pts): The project is well crafted and the rendering is smooth and naturalistic. There is nor rough/expressive charcoal application, blemishes, scratches or scuffs that distract the viewer. You have rendered completely, and it does not appear to be incomplete.<br />100 points totalpi<br />