Painting
Ms. Sergonis
Watercolor - Any paint that uses water as a solvent. Paintings done with this medium are known as watercolors. What carries the pigment in watercolor (called its medium, vehicle, or base) is gum arabic.
When made opaque with white, watercolor is generally called gouache or bodycolor. Tempera is another exception.
Colors are usually applied and spread with brushes, but other tools can also used. The most common techniques for applying watercolor are called wet-on-dry and wet-on-wet, along with the dry brush techniques dry-on-dry and dry-on-wet. Colors can be removed while still wet, to various degrees by blotting.
Most watercolor painting is done on paper, but other absorbent grounds can also be employed. The papers most favored by those who paint with watercolor is white, very thick, with high rag content, and has some tooth.
Other techniques/words...
hue - The name of any color as found in its pure state in the spectrum or rainbow, or that aspect of any color.
frisket – a masking device, used as a resist, to keep certain areas of the paper white
transparent/transparency – how see through the paint or hue is
saturation - A color's purity of hue; its intensity. A pure hue has the highest saturation. The ratio of pigment to water.
value - An element of art that refers to luminance or luminosity -- the lightness or darkness of a color
wash - A thin, translucent layer of pigment, usually watercolor or India ink.
Often it is the background of a picture, prepared using watery paint applied quickly using large, sweeping brush strokes. A wet area of wash can be made lighter by blotting.
staining - This has to do with whether or not the paint can be re-wet once dry and blotted or "lifted" lightening the value in some cases to nearly white paper.
warm/cool colors - Colors are often described as having temperature — as warm (, reds, oranges, and yellows), or cool (greens, blues, and violets). Warm colors are often associated with fire and sun. They appear on one side of the color wheel, and opposite the cool colors. Psychologically, warm colors are said to be stimulating and passionate. Optically, warm colors generally appear to advance, coming toward the viewer. Cool colors are often associated with water, sky, spring, and foliage, and suggest cool temperatures. Psychologically, cool colors are said to be calming, unemphatic, depressive; and optically, they generally appear to recede
complementary colors - Colors that are directly opposite each other on the color wheel, such as red and green, blue and orange, and violet and yellow. When complements are mixed together they form the neutral colors of brown or gray.
analogous colors - Any two or more colors that are next to each other on the color wheel and are closely related
monochromatic - Consisting of only a single color or hue; may include its tints and shades.
split complements - One color plus the two colors that are on either side of its complement on the color wheel. For example, the complement of orange is blue, and the two colors on either side of blue are blue-green and blue-violet. Therefore the split complements of orange are blue-green and blue-violet.
triadic - Three colors equally spaced on the color wheel. For example, red, yellow and blue form a triad, as do orange, green and violet, and so on.
variation - To vary is to cause change, or to give variety or make diverse
graded wash – A wash that is light or thin in an area where little color has been applied, and gradually becomes darker or heavier into another area, where more color has been applied
layering/glazing – the process of layering many transparent layers , working from lightest to darkest values, letting each layer dry before adding another, creating texture, shadows, patters, etc.
focal point - The portion of an artwork's composition on which interest or attention centers
contrast - A large difference between two things; for example, hot and cold, green and red, light and shadow.
shade - A color to which black or another dark hue has been added to make it darker, tending to make them neutral in color
tint - A soft and light color — one to which white has been added
intensity - The brightness or dullness of a hue or color. For instance, the intensity of the pure color blue is very bright. When a lighter or darker color is added to blue, the intensity is less bright, or more subdued
Assignment 1
On a sheet of watercolor paper, you will practice and experiment with watercolors
You are to include the following:
a color wheel (using ONLY red, yellow, and blue – mix your secondaries and tertiaries)
2 value scales (for 2 different hues - 1-10)
3 scales of complementary colors that mix to neutral in the middle (R+G, Y+V, B+O)
2 scales making each of the 3 primaries darker (using complements or an inherently darker hue – NO black!)
practice brush work (use ONE brush, thin to thick lines, light to heavy pressure, wet to dryer brush – should be three different scales)
a test of transparency and staining qualities
an area of a graded wash
an area of wet in wet and wet in dry (wash with detail, use same colors and lines)
Assignment 2
Create a complete painting of an apple, including a background and a surface for the apple to be resting on (table). Use glazing and layering techniques, blotting or frisket for highlights. Practice mixing accurate/realistic colors (neutrals). Start with light washes first, begin building up darker values gradually. Work on creating the illusion of a 3D form, using lights and darks (highlights and shadows). Remember, this is a learning process!
Final Project
Using all you have learned in the previous two assignments, complete a watercolor painting of a still life. Work on good composition, color mixing/theory, creating a strong focal point, variation with value (should have values 1-10 obviously present in painting) and intensity, create realistic forms by using light and shadows. Think about what kind of line you want to use, real or implied? Plan accordingly for the use of frisket. You will sketch on newsprint first, and then transfer composition to good watercolor paper. HAVE FUN!!
Thursday, January 18, 2007
Wednesday, January 17, 2007
more secrets...
there a ton of websites with really helpful info, if you feel so inclined...
color wheel
all about acrylic paint
watercolors
a ton of info about value, etc
there, thats it.
you should have everything you need to do amazing on your exam.
oh, here are the elements and priciples and rules for writing a crit, for those of you that got hungry...
Elements of Art
the building blocks or ingredients of art
Line - a mark made with a pen, pencil, or other tool, that could be straight, curved, squiggly, jagged, thin, thick, real or implied.
Color - the quality of an object or substance with respect to light reflected by the object, usually determined visually by measurement of hue, saturation, and brightness of the reflected light; saturation or chroma; hue.
Value - degree of lightness or darkness in a color, the relation of light and shade in a painting, drawing, or the like.
Texture - the visual and/or tactile quality of a surface, the characteristic visual and tactile quality of the surface of a work of art resulting from the way in which the materials are used, the imitation of the tactile quality of represented objects.
Shape/Form - the quality of a distinct object in having an external surface or outline of specific form or figure. three-dimensional quality or volume, as of a represented object or anatomical part.
Principles of Design
the rules or recipe for a way the elements are put together to create a successful composition
“the organization, placement, or relationship of basic elements, as lines and colors in a painting or volumes and voids in a sculpture, so as to produce a coherent image; the formal structure of a work of art.”
Balance - A principle of design, it refers to the way the elements of art are arranged to create a feeling of stability in a work; a pleasing or harmonious arrangement or proportion of parts or areas in a design or composition. Portions of a composition can be described as taking on a measurable weight or dominance, and can then be arranged in such a way that they appear to be either in or out of balance, or to have one kind of balance or another. Balance can be symmetrical, or formal; or it can be asymmetrical, or informal. It can also be radial.
Movement - The act or process of moving, especially change of place or position, an effort. This can either be actual motion or it can be implied — the arrangement of the parts of an image to create a sense of motion by using lines, shapes, forms, and textures that cause the eye to move over the work. A principle of design, it can be a way of combining elements of art to produce the look of action. In a painting or photograph, for instance, movement refers to a representation or suggestion of motion. In sculpture too, movement can refer to implied motion. On the other hand, mobiles and kinetic sculptures are capable of actual motion as well.
Focal point/emphasis - Any forcefulness that gives importance or dominance (weight) to some feature or features of an artwork; something singled out, stressed, or drawn attention to by means of contrast, anomaly, or counterpoint for aesthetic impact. A way of combining elements to stress the differences between those elements and to create one or more centers of interest in a work. Often, emphasized elements are used to direct and focus attention on the most important parts of a composition — its focal point. Emphasis is one of the principles of design. A design lacking emphasis may result in monotony. The portion of an artwork's composition on which interest or attention centers. The focal point may be most interesting for any of several reasons: it may be given formal emphasis; its meaning may be controversial, incongruous, or otherwise compelling.
Harmony/Unity
harmony - Agreement; accord. A union or blend of aesthetically compatible components. A composition is harmonious when the interrelationships between its parts fulfill aesthetic requisites or are mutually beneficial. As a principle of design, harmony refers to a way of combining elements of art to accent their similarities and bind the picture parts into a whole. It is often achieved through the use of repetition and simplicity.
unity - The quality of wholeness or oneness that is achieved through the effective use of the elements and principles of design. A totality that combines all of its parts into one complete, cohesive whole. Often it is realized through a deliberate or intuitive balancing of harmony and variety. However, this balance does not have to be of equal proportions. Harmony might outweigh variety, or variety might outweigh harmony. Harmony aids efforts to blend picture parts together to form a whole. Variety adds visual interest to this unified whole. A composition is unified when the relationships between its parts interact to create a sense that no portion of the composition may be changed without altering the aesthetic integrity and meaning of the artwork. When unity is achieved with insufficient harmony and variety, the result is monotony. Unity is largely synonymous with coherence.
Variety/Repetition
variety - A principle of design that refers to a way of combining elements of art in involved ways to achieve intricate and complex relationships. Variety is often obtained through the use of diversity and change by artists who wish to increase the visual interest of their work. An artwork which makes use of many different hues, values, lines, textures, and shapes would reflect the artist's desire for variety. Unity is the principle which is its variety's opposite; but when there is too little variety, the result is monotony.
repetition - Closely related to harmony, a principle of design, this term refers to a way of combining elements of art so that the same elements are used over and over again. Thus, a certain color or shape might be used several times in the same picture. Repetition also can contribute to movement and rhythm in a work of art.
Space - refers to the distance or area between, around, above, below, or within things. It can be described as two-dimensional or three-dimensional; as flat, shallow, or deep; as open or closed; as positive or negative; and as actual, ambiguous, or illusory.
positive - filled with something, such as lines, designs, color, or shapes
negative – the empty space (perhaps the background)
Critique
Ms. Sergonis
There are 4 major categories of art criticism; description, analysis, interpretation, and evaluation. If you discuss a piece of work adressing these four categories and in the general order in which they are presented, you will soon become a professional and eloquent art critic
Listed below are the questions you should be answering in each category. Keep this page in your sketchbook so that you have this reference to help guide you during all critiques.
Description
Describe exactly what you see:
I (enjoy, dislike, appreciate, etc.) this work because...
Do not use “four letter words” (i.e. like, hate, nice, ugly, etc.)
Describe (what and where) the “elements” (line, shape, color, form, value, space) and subject matter.
Analysis
Describe how the work is organized as a complete composition:
Where/what is the focal point/point of emphasis, why?
How is the work constructed or planned (i.e., movements, balance, contrast, rhythm, unity, and variety)?
Identify some of the similarities throughout the work (i.e., repetition of lines, colors, or shapes, and/or how they are varied)
Interpretation
Describe how the work makes you think or feel:
Describe the expressive qualities you find in the work. What expressive language would you use to describe the qualities (i.e., tragic, angry, funny)?
Does the work remind you of other things you have experienced (i.e., analogy or metaphor)?
How does the work relate to other ideas or events in the world and/or in your other studies?
Evaluation
Present your opinion of the work's success or failure:
What qualities of the work make you feel it is a success or failure?
What criteria can you list to help others judge this work?
How original is the work? Why do you feel this work is original or not original?
Some sample sentences....
I would like to speak about the piece by ____.
I am drawn to this piece because (identify the elements of art and why they are interesting to you, or because of a certain technique that is exceptionally successful).
The focal point is (what and where and why).
My eye starts at the focal point and then moves (where and how?). Describe the little adventure your eyes go on throughout the peice.
The piece is (principles of design: balanced, rythmic, has contrast, etc.).
I think this is about ___. It may tell a story, express an emotion, or just be for aesthetic pleasure.
I feel it is successful/a failure because ____.
Painting Critique
Answer the following questions about your painting. Use a seperate sheet of lined paper, write neatly, use a pen (or type), and use complete sentences. Ellaborate, tell me WHY you have the opinions that you do.
Due: Monday
1. Describe:
Elements of Art
the building blocks or ingredients of art
a. Line -
b. Color -
c. Value -
d. Texture -
e. Shape/Form -
2. Analyze:
Principles of Design
a. Focal point/emphasis -
b. Variety/Repetition
variety -
repetition -
c. Space -
positive -
negative -
d. Balance -
e. Movement -
f. Harmony/Unity
harmony -
unity -
g. Overall, how do the elements work together to form a successful (or unsuccessful)
design? Why?
3. Interpret:
a. What does this painting mean? What is it about? Why?
4. Evaluate:
a. What techniques worked well and what did not? Why do you feel that way?
b. What is the quality of the craftsmanship? Do you see a lot of effort put into this piece?
c. Overall, is it successful? Why or why not?
color wheel
all about acrylic paint
watercolors
a ton of info about value, etc
there, thats it.
you should have everything you need to do amazing on your exam.
oh, here are the elements and priciples and rules for writing a crit, for those of you that got hungry...
Elements of Art
and
Principles of Design
and
Principles of Design
Elements of Art
the building blocks or ingredients of art
Line - a mark made with a pen, pencil, or other tool, that could be straight, curved, squiggly, jagged, thin, thick, real or implied.
Color - the quality of an object or substance with respect to light reflected by the object, usually determined visually by measurement of hue, saturation, and brightness of the reflected light; saturation or chroma; hue.
Value - degree of lightness or darkness in a color, the relation of light and shade in a painting, drawing, or the like.
Texture - the visual and/or tactile quality of a surface, the characteristic visual and tactile quality of the surface of a work of art resulting from the way in which the materials are used, the imitation of the tactile quality of represented objects.
Shape/Form - the quality of a distinct object in having an external surface or outline of specific form or figure. three-dimensional quality or volume, as of a represented object or anatomical part.
Principles of Design
the rules or recipe for a way the elements are put together to create a successful composition
“the organization, placement, or relationship of basic elements, as lines and colors in a painting or volumes and voids in a sculpture, so as to produce a coherent image; the formal structure of a work of art.”
Balance - A principle of design, it refers to the way the elements of art are arranged to create a feeling of stability in a work; a pleasing or harmonious arrangement or proportion of parts or areas in a design or composition. Portions of a composition can be described as taking on a measurable weight or dominance, and can then be arranged in such a way that they appear to be either in or out of balance, or to have one kind of balance or another. Balance can be symmetrical, or formal; or it can be asymmetrical, or informal. It can also be radial.
Movement - The act or process of moving, especially change of place or position, an effort. This can either be actual motion or it can be implied — the arrangement of the parts of an image to create a sense of motion by using lines, shapes, forms, and textures that cause the eye to move over the work. A principle of design, it can be a way of combining elements of art to produce the look of action. In a painting or photograph, for instance, movement refers to a representation or suggestion of motion. In sculpture too, movement can refer to implied motion. On the other hand, mobiles and kinetic sculptures are capable of actual motion as well.
Focal point/emphasis - Any forcefulness that gives importance or dominance (weight) to some feature or features of an artwork; something singled out, stressed, or drawn attention to by means of contrast, anomaly, or counterpoint for aesthetic impact. A way of combining elements to stress the differences between those elements and to create one or more centers of interest in a work. Often, emphasized elements are used to direct and focus attention on the most important parts of a composition — its focal point. Emphasis is one of the principles of design. A design lacking emphasis may result in monotony. The portion of an artwork's composition on which interest or attention centers. The focal point may be most interesting for any of several reasons: it may be given formal emphasis; its meaning may be controversial, incongruous, or otherwise compelling.
Harmony/Unity
harmony - Agreement; accord. A union or blend of aesthetically compatible components. A composition is harmonious when the interrelationships between its parts fulfill aesthetic requisites or are mutually beneficial. As a principle of design, harmony refers to a way of combining elements of art to accent their similarities and bind the picture parts into a whole. It is often achieved through the use of repetition and simplicity.
unity - The quality of wholeness or oneness that is achieved through the effective use of the elements and principles of design. A totality that combines all of its parts into one complete, cohesive whole. Often it is realized through a deliberate or intuitive balancing of harmony and variety. However, this balance does not have to be of equal proportions. Harmony might outweigh variety, or variety might outweigh harmony. Harmony aids efforts to blend picture parts together to form a whole. Variety adds visual interest to this unified whole. A composition is unified when the relationships between its parts interact to create a sense that no portion of the composition may be changed without altering the aesthetic integrity and meaning of the artwork. When unity is achieved with insufficient harmony and variety, the result is monotony. Unity is largely synonymous with coherence.
Variety/Repetition
variety - A principle of design that refers to a way of combining elements of art in involved ways to achieve intricate and complex relationships. Variety is often obtained through the use of diversity and change by artists who wish to increase the visual interest of their work. An artwork which makes use of many different hues, values, lines, textures, and shapes would reflect the artist's desire for variety. Unity is the principle which is its variety's opposite; but when there is too little variety, the result is monotony.
repetition - Closely related to harmony, a principle of design, this term refers to a way of combining elements of art so that the same elements are used over and over again. Thus, a certain color or shape might be used several times in the same picture. Repetition also can contribute to movement and rhythm in a work of art.
Space - refers to the distance or area between, around, above, below, or within things. It can be described as two-dimensional or three-dimensional; as flat, shallow, or deep; as open or closed; as positive or negative; and as actual, ambiguous, or illusory.
positive - filled with something, such as lines, designs, color, or shapes
negative – the empty space (perhaps the background)
Critique
Ms. Sergonis
There are 4 major categories of art criticism; description, analysis, interpretation, and evaluation. If you discuss a piece of work adressing these four categories and in the general order in which they are presented, you will soon become a professional and eloquent art critic
Listed below are the questions you should be answering in each category. Keep this page in your sketchbook so that you have this reference to help guide you during all critiques.
Description
Describe exactly what you see:
I (enjoy, dislike, appreciate, etc.) this work because...
Do not use “four letter words” (i.e. like, hate, nice, ugly, etc.)
Describe (what and where) the “elements” (line, shape, color, form, value, space) and subject matter.
Analysis
Describe how the work is organized as a complete composition:
Where/what is the focal point/point of emphasis, why?
How is the work constructed or planned (i.e., movements, balance, contrast, rhythm, unity, and variety)?
Identify some of the similarities throughout the work (i.e., repetition of lines, colors, or shapes, and/or how they are varied)
Interpretation
Describe how the work makes you think or feel:
Describe the expressive qualities you find in the work. What expressive language would you use to describe the qualities (i.e., tragic, angry, funny)?
Does the work remind you of other things you have experienced (i.e., analogy or metaphor)?
How does the work relate to other ideas or events in the world and/or in your other studies?
Evaluation
Present your opinion of the work's success or failure:
What qualities of the work make you feel it is a success or failure?
What criteria can you list to help others judge this work?
How original is the work? Why do you feel this work is original or not original?
Some sample sentences....
I would like to speak about the piece by ____.
I am drawn to this piece because (identify the elements of art and why they are interesting to you, or because of a certain technique that is exceptionally successful).
The focal point is (what and where and why).
My eye starts at the focal point and then moves (where and how?). Describe the little adventure your eyes go on throughout the peice.
The piece is (principles of design: balanced, rythmic, has contrast, etc.).
I think this is about ___. It may tell a story, express an emotion, or just be for aesthetic pleasure.
I feel it is successful/a failure because ____.
Painting Critique
Answer the following questions about your painting. Use a seperate sheet of lined paper, write neatly, use a pen (or type), and use complete sentences. Ellaborate, tell me WHY you have the opinions that you do.
Due: Monday
1. Describe:
Elements of Art
the building blocks or ingredients of art
a. Line -
b. Color -
c. Value -
d. Texture -
e. Shape/Form -
2. Analyze:
Principles of Design
a. Focal point/emphasis -
b. Variety/Repetition
variety -
repetition -
c. Space -
positive -
negative -
d. Balance -
e. Movement -
f. Harmony/Unity
harmony -
unity -
g. Overall, how do the elements work together to form a successful (or unsuccessful)
design? Why?
3. Interpret:
a. What does this painting mean? What is it about? Why?
4. Evaluate:
a. What techniques worked well and what did not? Why do you feel that way?
b. What is the quality of the craftsmanship? Do you see a lot of effort put into this piece?
c. Overall, is it successful? Why or why not?
b&w designs, positive and negative space...
Design Fundamentals
Positive/Negative Space
line - A mark with length and direction(-s). An element of art which refers to the continuous mark made on some surface by a moving point. Types of line include: vertical, horizontal, diagonal, straight or ruled, curved, bent, angular, thin, thick or wide, interrupted (dotted, dashed, broken, etc.), blurred or fuzzy, controlled, freehand, parallel, hatching, meandering, and spiraling. Often it defines a space, and may create an outline or contour, define a silhouette; create patterns, or movement, and the illusion of mass or volume.
shape - An element of art, it is an enclosed space defined and determined by other art elements such as line, color, value, and texture. In painting and drawing, shapes may take on the appearance of solid three-dimensional object even though they are limited to two dimensions — length and width. This two-dimensional character of shape distinguishes it from form, which has depth as well as length and width. Examples of shapes include: circle, oval, and oblong; polygons such as triangle, square, rectangle, rhombus, trapezium, trapezoid, pentagon, hexagon, heptagon, octagon, nonagon, decagon, undecagon, dodecagon, etc.; and such other kinds of shapes as biomorphous, (geometric vs. organic)
space - An element of art that refers to the distance or area between, around, above, below, or within things. It can be described as two-dimensional or three-dimensional; as flat, shallow, or deep; as open or closed; as positive or negative; and as actual, ambiguous, or illusory.
positive space - Space in an artwork that is positive — filled with something, such as lines, designs, color, or shapes. The opposite of negative space.
negative space - Empty space in an artwork, a void.
That's the usual definition.
To some people, this term suggests unpleasant things. Sometimes when we say "negative" we mean "bad."
Both "space" and "emptiness" suggest a lack, a shortage of something. This is unfortunate. The concept of negative space is one that deserves to be highly prized. In Japanese art tradition, what we call negative space is called ma. Relevant in every Japanese art form, from sumi-e to ikebana, ma is considered a particularly valuable sort of space, not seen as negative or empty.
To do:
Use line to create a shape. Overlap, repeat and vary the shape to create a focal point and movement. Use black and white to create positive/negative space and “path” for your eye to follow.
how to cut a mat...
HOW to CUT a MAT
1. Select the artwork to be matted.
2. You will be using a 3” mat, meaning a 3” border around your artwork.
3. Use cropping angles (hanging on the phone near the paper cutter) to crop your art work to establish the best composition. Also, use the angles to figure what color mat will look BEST with your artwork, BLACK, WHITE or CREAM.
4. Get a ruler and a sharp pencil.
5. Measure the inside measurements for your mat, meaning the width and hieght of the window you will be cutting. Write these measurements on a scrap of paper or in the border of your artwork.
6. Now, here comes the MATH Add 6 to both measurements. The answer to this are the dimensions for the OUTSIDE edge of your mat. Ah, simple math.
Example: I want 14”x 18¾” of my artwork to show. So I will add 6 to both measurements, it should look like this (write it out just like this, it makes it easier to check your measuring and your math):
14” x 18¾” -------> inside measurements
+6 +6
20” x 24¾” -------> outside measurements
7. If your measurements are less than 20”x30” use the half sheet of mat board. If your measurements are more than 20”x30” but less than 30”x40” use the full sheet of mat board.
8. Before you get mat board, make sure the area you are working in is clean You do not want paint or charcoal on the front of your mat. Put your artwork in a safe place. It is never fun when it accidently ends up in the path of an angry mat knife.
9. Now, get a T-Square and a cutting mat (to protect your blade, as well as the table)
10. Now you can get a sheet of mat board. Draw all of your measurements on THE BACK of your mat board. Pencil lines just arent attractive.
11. Use a T-Square to measure the OUTSIDE dimensions of your mat. Measure in a way to create the least amount of waste, meaning the excess is one larger piece of mat board, rather than 2 skinny pieces. That way someone can use your scraps to mat a smaller piece of work. And the trees wont be sad.
12. Get a mat cutter (aka box cutter, mat knife, etc). Make sure the blade is sharp If it appears old or dull, I can snap it off for you or replace the blade all together. Whatever you do, DO NOT use a frumpy knife, you will get a frumpy mat
13. Now, cut the outside of your mat.
14. NO WAIT Measure twice, cut once Double check all your measurements
15. Now, you can really go ahead and cut your mat. Line everything up to the edge of the table and use a T-square to guarantee a square(90°) mat.
16. If you are right handed, hold the blade in your right hand, the ruler in your left. Line the ruler up on the LEFT side of the line you are cutting. The ruler should be on the GOOD side of your mat board, while the blade should be on the RIGHT side of the line, meaning the side you do not need. If you are a lefty, hold the blade in the left hand, ruler in the right. The ruler should be on the right side of the line, on the good side of the mat board. The blade should be to the left of the line, on the side you do not need.
17. Now, the edge of the blade should be flush against the edge of the T-square. Push down and towards the ruler, carefully cutting the mat board. By pushing against the ruler with the blade you will ensure a perfect cut. Make sure you counterbalance the pressure of your cutting hand with equal and opposite pressure from your ruler-holding hand. Hm, simple physics.
18. You made need to run the blade two or three times to cut through the mat, make sure it goes in the same exact line as the first (dont move the ruler and dont take your hand of the ruler until it is completely cut).
19. Now that the mat is cut PERFECTLY, it is time to measure the INSIDE measurements. Measure in 3” from EACH edge of your mat. Make two little marks, and connect them to make a straight line. The line should be parallel to the edge from which you measured in 3” and perfectly perpendicular to the other edge.
20. Now that your inside window is measured and drawn, CHECK IT. Make sure the inside measurements are IDENTICAL to your original measurements. If they are correct, then you may proceed. If not, FIX it MEASURE TWICE, CUT ONCE
21. Cut the inside of your mat out very carefully, making sure you stop where identified by all your previously drawn lines.
22. If the inside does not easily pop out, do not force it. Carefully recut your edges to help avoid tearing your edge.
23. You have a fabulous little frame, dont you? Ah, yes, because you followed all my directions Good show
24. Now, carefully place your artwork under the mat, line it up perfectly. Place a small piece of masking tape to secure it temporarily.
25. Flip it over, and tape all of your edges completely, using the 3” masking tape.
26. Flip it over again, and check to make sure the work is in the correct spot.
27. Flip it to the back again and carefully center the inside cut out (the equivilent of a munchkin) on the back to make your work a bit studier. Completely tape all edges with the 3” masking tape.
28. Now, flip it to the front and carefully admire your handiwork Sign the bottom right corner of your work (NOT the mat) in the same medium you used for your piece.
29. Congratulations, you are a pro
30. Now, CLEAN UP Scrap mat goes in the scrap mat bin, the rulers go in the drawer, the cutting mats go in the cabinet under the light box near the sink, the knives and tape go back in or on my desk, and tiny scraps or tape balls go in the garbage. Now, a real congratualtions are in order
1. Select the artwork to be matted.
2. You will be using a 3” mat, meaning a 3” border around your artwork.
3. Use cropping angles (hanging on the phone near the paper cutter) to crop your art work to establish the best composition. Also, use the angles to figure what color mat will look BEST with your artwork, BLACK, WHITE or CREAM.
4. Get a ruler and a sharp pencil.
5. Measure the inside measurements for your mat, meaning the width and hieght of the window you will be cutting. Write these measurements on a scrap of paper or in the border of your artwork.
6. Now, here comes the MATH Add 6 to both measurements. The answer to this are the dimensions for the OUTSIDE edge of your mat. Ah, simple math.
Example: I want 14”x 18¾” of my artwork to show. So I will add 6 to both measurements, it should look like this (write it out just like this, it makes it easier to check your measuring and your math):
14” x 18¾” -------> inside measurements
+6 +6
20” x 24¾” -------> outside measurements
7. If your measurements are less than 20”x30” use the half sheet of mat board. If your measurements are more than 20”x30” but less than 30”x40” use the full sheet of mat board.
8. Before you get mat board, make sure the area you are working in is clean You do not want paint or charcoal on the front of your mat. Put your artwork in a safe place. It is never fun when it accidently ends up in the path of an angry mat knife.
9. Now, get a T-Square and a cutting mat (to protect your blade, as well as the table)
10. Now you can get a sheet of mat board. Draw all of your measurements on THE BACK of your mat board. Pencil lines just arent attractive.
11. Use a T-Square to measure the OUTSIDE dimensions of your mat. Measure in a way to create the least amount of waste, meaning the excess is one larger piece of mat board, rather than 2 skinny pieces. That way someone can use your scraps to mat a smaller piece of work. And the trees wont be sad.
12. Get a mat cutter (aka box cutter, mat knife, etc). Make sure the blade is sharp If it appears old or dull, I can snap it off for you or replace the blade all together. Whatever you do, DO NOT use a frumpy knife, you will get a frumpy mat
13. Now, cut the outside of your mat.
14. NO WAIT Measure twice, cut once Double check all your measurements
15. Now, you can really go ahead and cut your mat. Line everything up to the edge of the table and use a T-square to guarantee a square(90°) mat.
16. If you are right handed, hold the blade in your right hand, the ruler in your left. Line the ruler up on the LEFT side of the line you are cutting. The ruler should be on the GOOD side of your mat board, while the blade should be on the RIGHT side of the line, meaning the side you do not need. If you are a lefty, hold the blade in the left hand, ruler in the right. The ruler should be on the right side of the line, on the good side of the mat board. The blade should be to the left of the line, on the side you do not need.
17. Now, the edge of the blade should be flush against the edge of the T-square. Push down and towards the ruler, carefully cutting the mat board. By pushing against the ruler with the blade you will ensure a perfect cut. Make sure you counterbalance the pressure of your cutting hand with equal and opposite pressure from your ruler-holding hand. Hm, simple physics.
18. You made need to run the blade two or three times to cut through the mat, make sure it goes in the same exact line as the first (dont move the ruler and dont take your hand of the ruler until it is completely cut).
19. Now that the mat is cut PERFECTLY, it is time to measure the INSIDE measurements. Measure in 3” from EACH edge of your mat. Make two little marks, and connect them to make a straight line. The line should be parallel to the edge from which you measured in 3” and perfectly perpendicular to the other edge.
20. Now that your inside window is measured and drawn, CHECK IT. Make sure the inside measurements are IDENTICAL to your original measurements. If they are correct, then you may proceed. If not, FIX it MEASURE TWICE, CUT ONCE
21. Cut the inside of your mat out very carefully, making sure you stop where identified by all your previously drawn lines.
22. If the inside does not easily pop out, do not force it. Carefully recut your edges to help avoid tearing your edge.
23. You have a fabulous little frame, dont you? Ah, yes, because you followed all my directions Good show
24. Now, carefully place your artwork under the mat, line it up perfectly. Place a small piece of masking tape to secure it temporarily.
25. Flip it over, and tape all of your edges completely, using the 3” masking tape.
26. Flip it over again, and check to make sure the work is in the correct spot.
27. Flip it to the back again and carefully center the inside cut out (the equivilent of a munchkin) on the back to make your work a bit studier. Completely tape all edges with the 3” masking tape.
28. Now, flip it to the front and carefully admire your handiwork Sign the bottom right corner of your work (NOT the mat) in the same medium you used for your piece.
29. Congratulations, you are a pro
30. Now, CLEAN UP Scrap mat goes in the scrap mat bin, the rulers go in the drawer, the cutting mats go in the cabinet under the light box near the sink, the knives and tape go back in or on my desk, and tiny scraps or tape balls go in the garbage. Now, a real congratualtions are in order
some notes on figure drawings...
Junior Portfolio
life drawing - The act of drawing the human figure from a live (often nude) model, and each such drawing produced. Widely considered an essential component of an artist's education, life drawing trains the simultaneous workings of the eyes, the brain, and the hand; and increases skills needed for representation of the human form — arguably the most important subject in art in its long history. Life drawing should increase knowledge of the underlying structure of the human figure — from skeletal to muscle, fat, and skin — the form to which any costume must correspond. Life drawing establishes the importance of seeing the figure dynamically — in its capabilities for variety of pose and composition, action and expression. There are many ways to intensify the learning experience of life drawing. One is the practice of gesture drawing — drawing at relatively great speeds, for as long as five minutes, and as short as a few seconds. Others are continuous-line and contour drawing.
line - A mark with length and direction(-s). An element of art which refers to the continuous mark made on some surface by a moving point. Types of line include: vertical, horizontal, diagonal, straight or ruled, curved, bent, angular, thin, thick or wide, interrupted (dotted, dashed, broken, etc.), blurred or fuzzy, controlled, freehand, parallel, hatching, meandering, and spiraling. Often it defines a space, and may create an outline or contour, define a silhouette; create patterns, or movement, and the illusion of mass or volume.
contour drawing - Drawing in which contour lines are used to represent subject matter. A contour drawing has a three-dimensional quality, indicating the thickness as well as height and width of the forms it describes. Making a contour drawing with a continuous line is a classic drawing exercise (sometimes modified as a "blind continuous-line contour"): with eyes fixed on the contours of the model or object, drawing the contour very slowly with a steady, continuous line, without lifting the drawing tool or looking at the paper. There are other variations on this method.
gesture - A movement of the body or limbs that expresses or emphasizes an idea or attitude. Gesture is a form of non-verbal communication made with a part of the body, and used instead of verbal communication, or in combination with it. The language of gesture is rich in ways for individuals to express contempt, hostility, or approval towards others. Certain gestures have offensive meanings, although the meanings of such gestures can vary between cultures.
gesture drawing -The act of making a sketch with relatively loose arm movements (gestures) — with the large muscles of the arm, rather than with the small muscles of the hand and wrist of the artist. Or a drawing made this way. Gesture drawing is both widely considered an important exercise in art education, and a common practice artists use in "warming up" at the start of any new work. A gesture drawing is typically the first sort of drawing done to begin a more finished drawing or painting. It is used to block in the layout of the largest shapes in a composition. There are compelling reasons too for artists to make gesture drawings simply for the sake of making them. The act of gesture drawing trains the simultaneous workings of the eyes, the brain, and the hand, especially in the act of drawing from life — from direct observation of a subject. Intensifying this learning experience is the practice of gesture drawing at great speeds — drawings made in as long as five minutes, and as short as a few seconds. Gesture drawing is likely to increase awareness of underlying structures, both in the subject of the work and in the work itself. The subject of a gesture drawing can be any at all, although the artists who made each of the following examples chose to make life drawings — of human models.
some painting notes...
from the waterloo village field trip....
complementary colors - Colors that are directly opposite each other on the color wheel, such as red and green, blue and orange, and violet and yellow. When complements are mixed together they form the neutral colors of brown or gray.
focal point - The portion of an artwork's composition on which interest or attention centers. The focal point may be most interesting for any of several reasons: it may be given formal emphasis; its meaning may be controversial, incongruous, or otherwise compelling.
texture - An element of art, texture is the surface quality or "feel" of an object, its smoothness, roughness, softness, etc. Textures may be real or implied. Actual textures can be felt with the fingers, while simulated textures are suggested by an artist in the painting of different areas of a picture — often in representing drapery, metals, rocks, hair, etc. Words describing textures include: flat, smooth, shiny, glossy, glittery, velvety, feathery, soft, wet, gooey, furry, sandy, leathery , crackled, prickly, abrasive, rough, furry, bumpy, corrugated puffy, rusty, and slimy.
Light source - Also, either the sensation of light, a source of light, its illumination, the representation of it in a work of art, or an awareness as if there were light on a subject.
Chiaroscuro - A word borrowed from Italian ("light and shade" or "dark") referring to the modeling of volume by depicting light and shade by contrasting them boldly.
architecture slides
Architecture Slides
Giovanni Battista Piranesi – [Italian Neoclassical Engraver, 1720-1778]
1. Roman Archtiecture
*capriccio - A type of landscape painting that places particular works of architecture in an unusual setting.
Piranesi, Giovanni Battista - Italian etcher, archaeologist and architect.
He was famous for his poetic views of Rome and also his fantastic imaginary interiors.
Trained in Venice as an engineer and architect, his studies had included perspective and stage design.
Piranesi's image was a thoroughly romanticized one, with effects of scale exploited to make the buildings appear larger and grander and exaggerating the contrasts of light and shade to invest them with drama.
Piranesi was also an outspoken architectural polemicist who believed absolutely in the supremacy of Roman over Greek architecture
John Sell Cotman - [English Romantic Painter, 1782-1842]
2. John S. Cotman – Chirk Aqueduct, watercolor, early half of the 19th century
*Edouard Manet - [French Realist/Impressionist Painter, 1832-1883]
3. Edouard Manet – Bullfight 1866, oil on canvas
4. Edouard Manet – Pavers of Rue de Berne 1877-78, oil on canvas
*(Impressionism is a light, spontaneous manner of painting which began in France as a reaction against the restrictions and conventions of the dominant Academic art. Its naturalistic and down-to-earth treatment of its subject matter, most commonly landscapes, has its roots in the French Realism of Camille Corot and others.
The movement's name was derived from Monet's early work, Impression: Sunrise, which was singled out for criticism by Louis Leroy upon its exhibition.
The hallmark of the style is the attempt to capture the subjective impression of light in a scene.
The core of the earliest Impressionist group was made up of Claude Monet, Alfred Sisley and Pierre-Auguste Renoir. Others associated with this period were Camille Pissarro, Frederic Bazille, Edgar Degas, Gustave Caillebotte, Edouard Manet, and the American Mary Cassatt.
The Impressionist style was probably the single most successful and identifiable "movement" ever, and is still widely practiced today. But as an intellectual school it faded towards the end of the 19th century, branching out into a variety of successive movements which are generally grouped under the term Post-Impressionism.)
Alfred Sisley - [French Impressionist Painter, 1839-1899]
5. Alfred Sisley– Bridge at Argenteuil 1872
6. Alfred Sisley – Road from La Princesse to Louveciennes 1875
*Paul Cezanne - [French Post-Impressionist Painter, 1839-1906]
7. Paul Cezanne – La Maison du Pendu (the house of the hanged man) 1873
*(Post-Impressionism is an umbrella term that encompasses a variety of artists who were influenced by Impressionism but took their art in other directions.
There is no single well-defined style of Post-Impressionism, but in general it is less idyllic and more emotionally charged than Impressionist work.)
*Pierre Auguste Renoir - [French Impressionist Painter, 1841-1919]
8. Renoir – Monet working in his garden 1873 oil on canvas
*Claude Monet - [French Impressionist Painter, 1840-1926]
9. Monet – Siant-Lazare Station 1877 oil on canvas
Camille Pissarro - [Caribbean-born French Pointillist/Impressionist Painter, ca.1830-1903]
10. Pissarro – Le Boulevard des Italiens, Morning Sun, 1897 oil on canvas
*Pointillism is a form of painting in which tiny dots of primary-colors are used to generate secondary colors. It is an offshoot of Impressionism, and is usually categorized as a form of Post-Impressionism.
Maurice Prendergast - [Canadian-born American Impressionist Painter, 1858-1924]
11. Prendergast – The Grand Canal, Venice, 1898-99
*Julian Alden Weir - [American Tonalist/Impressionist Painter, 1852-1919]
12. Weir – The Bridge: Nocturne (queensboro bridge) 1910
*Tonalism is a style of painting in which landscapes are depicted in soft light and shadows, often as if through a colored or misty veil. Imported to the U.S. by American painters inspired by Barbizon School landscapes, it was a forerunner to the many schools and colonies of American Impressionism which arose in the first part of the 20th century.
The most influential practitioners of the style were George Inness, whose roots were in landscape painting, and James McNeill Whistler, whose approach was primarily aesthetic, aiming for elegance and harmony in the colors of a painting.
Tonalism's soft-edged realism also had an influence on the photography of the early 20th century - specifically on Alfred Stieglitz and his circle.
Lyonel Feininger - [American-born German Cubist/Expressionist Painter, 1871-1956]
Feininger – Aquaduct, circa 1930's
*Cubism was developed between about 1908 and 1912 in a collaboration between Georges Braque and Pablo Picasso. Their main influences are said to have been Tribal Art (although Braque later disputed this) and the work of Paul Cezanne. The movement itself was not long-lived or widespread, but it began an immense creative explosion which resonated through all of 20th century art.
The key concept underlying Cubism is that the essence of an object can only be captured by showing it from multiple points of view simultaneously.
*Expressionism is a style in which the intention is not to reproduce a subject accurately, but instead to portray it in such a way as to express the inner state of the artist. The movement is especially associated with Germany, and was influenced by such emotionally-charged styles as Symbolism, Fauvism, and Cubism.
*Georgia O'Keefe - [American Painter, 1887-1986]
14. O'Keefe – Gate to Adobe Church 1929
*Grant Wood - [American Regionalist Painter, 1891-1942]
15. Wood – The midnight Ride of Paul Revere, 1931
(An American term, *Regionalism refers to the work of a number of rural artists, mostly from the Midwest, who came to prominance in the 1930s.
Not being part of a coordinated movement, Regionalist artists often had an idiosyncratic style or point of view. What they shared, among themselves and among other American Scene painters, was a humble, anti-modernist style and a desire to depict everyday life. However their rural conservatism tended to put them at odds with the urban and leftist Social Realists of the same era.
The three best-known regionalists were John Steuart Curry, Thomas Hart Benton and Grant Wood, the painter of the best-known and one of the greatest works of American art, American Gothic.
Ben Shahn - [Lithuanian-born American Social Realist Painter and Photographer, 1898-1969]
16. 1940's ??
*Edward Hopper - [American Scene Painter, 1882-1967]
17. Hopper – Lighthouse at 2 lights 1929 oil on canvas
18. Hopper – Early Sunday Morning 1930 oil on canvas
19. Hopper – Cape Cod Evening 1939
20. Hopper – Nighthawks 1942
21. Hopper – Seven A.M. 1948
*American Scene Painting is a general term encompassing the mainstream realist and antimodernist style of painting popular in the United States during the Great Depression. A reaction against the European Modernism, it was seen as an attempt to define a uniquely American style of art.
The American Scene basically consisted of two main schools, the rurally-oriented *Regionalism, and the urban and political *Social Realism.
*Richard Estes - [American Photorealist Painter, born in 1932]
22. Estes – Drugstore 1970 oil on canvas
*Photorealism is a movement which began in the late 1960's, in which scenes are painted in a style closely resembling photographs. The subject matter is frequently banal and without particular interest; the true subject of a photorealist work is the way in which we interpret photographs and paintings in order to create an internal representation of the scene depicted.
The leading members of the Photorealist movement are Richard Estes and Chuck Close. Estes specializes in street scenes with elaborate reflections in window-glass; Close does enormous portraits of usually expressionless faces.
23. Misc. - Photo of NYC
24. Misc. - Arch de Triumph?
25. Misc. - Int. of a church
Landscape Slides
26. Grant Wood – Fall Plowing 1931
27. Louis Lumiere – Young Lady with an umbrella – 1906-1910 autochrome
(The Autochrome Lumière is an early color photography process. Patented in 1903 by the Lumière brothers in France, and marketed in 1907 it remained the principal color photography process available on the market until 1935. )
28. Misc. - Landscape
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