art and crafts
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art-craft-ötletekTRANSCRIPT
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Lantern Line Drawing
Drawing from observation, students developed contour line drawings of a still life set up with multiple lights and
lanterns. Students then explored different ways to use line designs in their negative space to add depth and interest
in their drawings.
• Composition- Defined positive & negative space to create a balanced composition
• Positive Space- Contour ines are detailed and show accurate proportion
• !egative Space- ine Designs show variety & creativity with sharpie pen
• "ffort- #oo$ time to develop the idea & complete the pro%ect
• Craftsmanship- !eat, clean & complete
Line Drawings of Common Objects
Drawing from observation, students developed contour line drawings of common ob%ects using pen on paper.
Students also explored different ways to use line designs in pencil to add depth and interest in their drawings.
• s there balance in the composition'
• Does the drawing include at least ( contour line drawings of the ob%ect at different angles and scales'
• )re the contour line drawings of the ob%ect detailed, and display accurate proportion'
• s there a variety of line'
• s there depth and space in the drawing'
• Does the piece reflect care, craftsmanship, and creativity'
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Symbolic Self Portrait
"ach student collected ob%ects that symboli*ed themself either literally or metaphorically. #hey then arranged the
ob%ects into a still life thin$ing about how the ob%ects interacted and overlapped. Students placed a direct light
source on their still life to help them see shadows better. !ext they began drawing their still life using a viewfinder
to enlarge their ob%ects. Different shading techni+ues were studied and practiced in each of the compositions.
"mphasis was placed balance, value, form, space, and depth.
• Composition- ow did this artist plan their artwor$ so that it is a strong composition'
• alue- ow did the artist create the illusion of form in their drawing'
• Space- ow did the artist create a sense of depth in their drawing'
• Content- ow do you thin$ the ob%ects in the drawing symboli*e the artist'
• Craftsmanship- ow did the artist employ the techni+ues we have been wor$ing on in class and overall
presentation of their wor$'
Color Still Life Sculpture
Students created small individual sculptures with colored paper, glue, yarn,and bloc$s. )fter learning to use color
to create different values students drew their sculpture from observation using Prismacolor )rt Stix. Students drew
two different views of their sculpture to create a diptych.
• Do the compositions balance'
• as the artist careful with proportion and details'
• Did the artist use a range of value to create the illusion of form'
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• "ffort- #oo$ time to develop idea & complete pro%ect
• Craftsmanship- !eat, clean & complete, s$illful use of the art tools & media
Color Pencil Self Portrait
Art I
Students chose a colored piece of paper and coordinated colored pencils to represent their light, mid-tone, and dar$
values. Students drew themselves from observation using a mirror. n the negative space students introduced a new
color and displayed a pattern that represented themselves. Students were encouraged to display personal
expression through their accessories, facial expression, and negative space.
• Proportion- )ttention to detail, realism & does the wor$ capture a li$eness to the artist'
• Color, alue, and 1orm- s there a good sense of lighting and shadow'
• Creativity- 1acial expression and bac$ground describe your personality
• "ffort- #oo$ time to develop your idea & complete the pro%ect
• Craftsmanship- !eat, clean, & complete, s$illful use of the colored pencils & paper
Op Art Prints
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Art Appreciation
Students learned about the linoleum printma$ing process and created a series of 3p )rt prints. Students studied
optical illusions and designed a linoleum tile that created a pattern or optical illusion artwor$. #he repetition of
shapes helps show visual rhythm and movement in their artwor$s.
• Craftsmanship with the design and carving of the linoleum bloc$.
• Pattern is consistent and the linoleum bloc$ was rotated correctly
• Print +uality and techni+ue are clean and crisp
• Contrast between the print and the oil pastel bac$ground
• Completion of at least one small print and one large print
Detail Self Portrait
#he assignment is to create a self portrait that includes at least / different details of the student4s face. 3ne of the
details must be enlarged enough to fill the entire composition. #he second detail can be included anywhere in the
composition. 3ne detail must be done in color scheme, and one must be in blac$ and white.
• Did the artist use a wide range of value to create the illusion of form'
• hat color scheme did the artist choose to paint with'
• as the portrait painted in accurate proportion'
• Does the wor$ capture a li$eness to the artist'
• Did the artist give consideration to the entire composition and use the space to promote creativity & self-
expression'
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Abstract Watercolor wit Line
Students learned different watercolor techni+ues such as wet on wet, dry brush, etc. Students experimented with the
watercolor paints mixing colors and implementing the techni+ues. 3nce dry students used sharpie pen to define positive and negative shapes and develop visual balance in their compositions.
• Space- Defined positive & negative space to create a balanced composition
• Color and ariety- nventiveness with watercolor paint demonstrating a variety of techni+ues
• ine- "xploration & creativity with sharpie pen
• "ffort- #oo$ time to develop idea & complete pro%ect
• Craftsmanship- !eat, clean & complete
!arrati"e Collage
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Students were to create a narrative collage about an important event or person in their lives. #he collage was to
show a sense of place and tell a brief story. Students used mixed media elements including maga*ine images,
photographs, *erox transfers, and found ob%ects.
• Does the collage tell a story'
• Does the college have a grounded sense of place rather then cutout images 5floating6 on a bac$ground'
• Did the artist use layering to create a sense of depth in their composition'
• s the different media carefully integrated into the composition'
• Does the final collage show care, craftsmanship, and creativity'
Stained #lass Hands
Art Appreciation
Students started this problem drawing their hands from observation using only line on blac$ paper. Students
thought about both the hand position and how to incorporate the negative space. #he line drawings were traced with
white glue and left to dry. astly students experimented with color and shading using chal$ pastels. #he final
results resemble stained glass hands representing the artists.
• )re the blac$ contour lines visible and are details recorded accurately'
• Does the drawing show accurate proportion and are the hands life si*e or larger'
• Did the artist use color on the entire composition and did they shade'
• s there a theme or unifying idea behind the artists wor$'
• Does the piece reflect care, craftsmanship, and creativity'
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Surrealist Collage and Prints
Students studied surrealism and created a collage using similar techni+ues with maga*ine clippings. "ach artist then
focused in on a certain area of their collage and created a series of dry point engraving prints.
• 7se of Surrealist techni+ues in collage- llogical %uxtaposition, aberrant scale, levitation
• Compositions of collage and prints- Dynamic use space8 including layering, overlapping, pass-through
• Craftsmanship- overall presentation of collage and prints
• "ffort- Productivity in class and use of time
• 3riginality- Creative solution to the problem9 not the most obvious, easiest, or common solution
•
$ultiple $% Self Portrait
#he assignment is to create an artwor$ that includes more than one self portrait of the student. #he mission is to
fully expose the diverse personality of each individual. Students were re+uired to use different methods to
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portray themselves in their portrait. #his includes8 a painting from life using a mirror, a hand altered photocopy, and
an altered digital photograph&
• Color- hat color scheme did you use to paint with and why'
• alue- ow did you create form and a sense of lighting in your painting'
• #echni+ues- Did you include different mediums :paint, collage, and digital imagery;'
• Composition- ow did you utili*e the entire canvas to expose your personality and promote self-expression'
• Proportion- as the portrait painted using accurate proportions' hat specific facial features were painted
with attention to detail' Does the wor$ displays realism and capture a li$eness to the artist'
!ame $andala
Students researched mandalas in different cultures. 7sing their name :first or last; students developed a section of their mandala to repeat. Students wor$ed on blac$ paper and traced their name design until the entire circle was
complete. #hey then used white glue to trace their design. 1inally when the glue dried clear, students colored and
shaded their mandalas using a color scheme.
• Styli*ed ettering :!ame;
• <epetition- )ttention to deatail when rotating design
• Color Scheme and Pattern
• "ffort- #oo$ time to develop idea and complete pro%ect
• Craftsmanship- !eat, clean, and complete
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SC'LP(')AL SHO%S
3-D Design
Students were introduced to the sculptor Claes 3ldenburg who sculpts ordinary ob%ects at extraordinary si*es and
displays them in an unconventional setting. Students thought about the impact that a monumental sculpture can
have on a viewer. Students were then given the assignment to construct a larger-than-life sculpture of a shoe only
using cardboard, brown paper, and glue. "mphasis was placed on attention to detail, craftsmanship, and proportion.
• s the sculpture proportional to the shoe'
• nventiveness with the cardboard and butchers paper
• Shoe design & construction
• "ffort- #oo$ time to develop the idea with s$etches, models, etc.
• Craftsmanship- !eat, clean & complete' S$illful use of the art tools & media'
Project #reenway
#he goal was for students to create a garment or accessory using found ob%ects and=or used clothes that
communicates ideas about sustainability and recycling. Students loo$ed through fashion maga*ines for inspiration
and began an inspiration board with s$etches, notes, swatches of their materials, etc. Students gathered their
recyclables and discarded ob%ects to incorporate into their accessory or garment. Different fastening techni+ues
were introduced and students were encouraged to be experimental. #he students displayed their finished pieces ina
student run fashion show called >Pro%ect ?reenway>, sponsored by the !ational )rt onor Society.
• Planning- nspiration board=thumbnail s$etches
• 3riginality- nventiveness=creativity
• )ccesory- Design and construction
• "ffort- #oo$ time to develop idea & complete pro%ect
• Craftsmanship- !eat, clean & complete
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Linear Sculpture
Art Appreciation
#he goal of this assignment is to create a free standing linear sculpture composed of modular units. 1irst students
created a unit with toothpic$s, either a geometric shape or something as simple as two toothpic$s glued side by
side. Students constructed as many modular units neccessary and then began to create the three dimensional form.
#heir sculpture was re+uired to show line, space, movement, balance, and pattern.
• deation- #humbnail s$etches and planning
• 7nits- 7niformity in the construction of modular units
• 1orm- Sculpture design and construction
• "ffort- #oo$ time to develop idea & complete pro%ect
• Craftsmanship- !eat, clean & complete
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City Paper Lanterns * Set of + lantern, - !ew .or/0 - Cicago0 - San Fransisco
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(ypograpic 1llustrations
)ge8 ?rade @@-@/
#oals 2 Objecti"es, Student will,
A <efresh their s$ills on transforming typography in PhotoshopA Create their own original image through drawing=building=photography to build a typographic illustration
over
A 7se the design principles in order to create a successful image focusing on contrast and proximity
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A 7se color theory in order to represent depth
Personali3ed )ubber Stamps
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#rade le"el, +t grade toug 4-t grade
#oals 2 Objecti"es,
A Students will be introduced to printma$ing as an art form. :istorical;A Students will be introduced to printma$ing as a s$ill to be learned. :Perception;A Students will design their own Personali*ed <ubber Stamp. :Creative expression;
A Students will print their stamps with blac$ bloc$ printing in$ on colored construction paper.:Creative expression;A Students will create patterns with their stamps. :Perception;
A Students will print ghost prints. :Perception;A Students will print ><ainbow Prints.> :Critical evaluation;
Digital 1maging
Digital maging - #he Banipulation of an mage - 7sing the Computer as a #ool in )rt Ba$ing.
O56%C(17%,
#he student will use the computer as a tool to alter and manipulate personal images to create an individual
surreal environment.
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AC(171(.*
5eginning *
#he student will learn how to import images into a digital format :scanning, digital file from a digital
camera, public domain images;, how to use the computer to edit a digital image, and how to use filters in a
program to alter their image.
Students will choose a personal image, edit the image by varying contrast, hue, saturation, or by changing
si*e, scale, proportion, and= or by applying filters to change images from a realistic mode to an artistic =imaginary rendition.
%8ploring
Students will loo$ at the wor$ of digital artists such as Bartina ope*. #he student will learn how to
combine images into one digital composition by using layers, transparency, and = or mas$ing. Students will
combine images that have not coexisted before their digital manipulation.
Accomplised *
#he student will investigate Surrealism and the artwor$ of Salvadore Dali and 2oseph Cornell. ContemporaryDigital )rtists, such as Cor%an, Stephen Barc, and others will be investigated as will be their artists4
statements, and their personal wor$. #he student will create a surreal digital image. #he student will alter
and compose images into uni+ue environments or surreal situations by using editing techni+ues, filters,
layers, transparencies, and mas$ing.
Contemporary Digital Artists,
• Christopher urnett
• Cor%an
• 1ranco Donaggio
• Diane 1enster
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• <udolf ins$y
• Stephen Barc
• )rnon Boscona
• )lfredo Consale* !une*
• 3livia Par$er :more images;
• #op @00 Digital )rtists in )sia
• Digital )rtists on )rt!et
Painting wit Dots * 9ir/land Style
?rade level8 Biddle & igh school and adapted for "lementary
#oals 2 Objecti"es,
• #o study ance ir$landEs style of painting
• #o compare and contrast )boriginal styles to ir$landEs style
• #o study pointillism and other painting with dots in art history
Cubism Collage
?rade evel8 igh School :adaptable to middle school;
en4s eb Site8 http8==www.artteacherplans.com=
Objecti"es, Students will
@. ?ain an understanding and awareness for the cubist style of artists such as Picasso, ra+ue, and ?ris./. Create a multi-media composition showing multiple views of various ob%ects -- fracturing the planes in
the manner of the cubists
(. Create a composition with a variety of textures - developing interest through contrast and added collage
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elements.
F. Develop s$ills in shading using both white and blac$ to show values.
Abstract Figure Drawing
?rade evel8 igh School :adaptable to middle school;
en4s eb Site8 http8==www.artteacherplans.com=
Figure Abstract, Summary
#his pro%ect will use contour figure studies from class observation. Ba$e at least G contour studies of
parts of the figure to whole body studies. !o shading is to be used and only line to describe the details of
the figures. 3verlapping the drawings using tracing paper will give you an abstracted loo$ at ( or more
contours and colored pencil will be used for the shapes created by the overlapping figures.
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Crayon )esist 1llumination
?rade evel8 igh school H thru @/ :adaptable to middle school;
en4s eb Site8 http8==www.artteacherplans.com=
)lternate esson - llumination - Calligraphy Self Portrait
(eacer Preparation,
Ba$e some handouts of lluminated Banuscripts for students. 1ont style handouts can easily be made using
various fonts on your computer. Dover Publications have some nice boo$s on border designs :See below for
list;
Sop : %co Art
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%ust love how my "co )rt series has turned out so far. #hey are even better to see in person. Created with a hand
cut-out design and strips of ogue maga*ine pages, these pieces are fabulous modern eco friendly art pieces that
would loo$ ama*ing in any homeI
Cardboard Faces
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This lesson addresses students ability to analyze and describe characteristics that defne their
ndividuality and manae !ersonal learnin throuh e"ercisin sel# analysis and im!lementin a
!roblem$based activity mediated by the need to address s!ecifc assessment criteria% &t addresses
disci!line$based learnin in terms o# the arts throuh involvin students in discussion and criti'ue o#
art(or)s *res!ondin+, desinin an art(or) #ocused on various art !rinci!les *creatin+, dra(in a
sel# !ortrait based on observation in-uenced by sel#$consciousness *ma)in.res!ondin+,
em!hasizin the relation o# re!resentation and inter!retation in the arts *res!ondin.creatin+, and
!romotin a visual res!onse to(ards intros!ection and observation%
Creating and Ba$ing
J 3ne practice self portrait s$etch reviewing the concepts of proportion and tone.
J 3ne free style drawing based on self consciousness activity.
J 3ne complex self-portrait drawing based on personal reflection and observation.
"xploring and <esponding
Jist of personality descriptive points :li$es, disli$es, +ualities, defects.
Jritten description of own facial features.
Personal earning
Jritten reflection of self portrait development obstacles and how this were overcome.
<esources
• ideo beam pro%ector.
• Computer.
• Cd with self portrait images :rembrandt, "scher, dix, durer, van gogh, estes, goya, picasso;
• )ssessment sheet.
• Self Portrait wor$ sheet.
• Principles and elements of art sheet.
• Self-evaluation sheet.
• <epresenting emotions and abstract concepts with line
)epresenting emotions and abstract concepts wit line
Objectives8 Students learn about ine as an "lement of )rt and emotional +ualities of line.
Essential questions:
@. Can a line represent emotions, sounds and other concepts'
/. hat are the two types of line'(. Does color help to express adstract concepts'
7sing only abstract lines, create a design, that would represents the following concepts8
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a sound of an approaching train
a taste of a hot pepper
a smell of a fresh ba$ed apple pie
feeling of loneliness
a feel of a lamb s$in
a sound of an alarm cloc$ at G8(0 am
Do not draw the ob%ects, draw sounds, smells, feelings, and tastesI
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(amgram 1mages
earning8
• abstract thin$ing
• critical thin$ing
• intuitive sense
• spacial rotation s$ills
• eye-hand coordination
• visual closure
• spacial relations
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7sing the tangram shapes create a recogni*able image and glue it on a piece of paper. !o gaps or overlappingI e creativeI
an letoltve tangram formaIIIIII
Obser"ational Drawing& Hand and Flowers
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Pic$ a flower and draw your hand holding it.
D3 ) ?# !" D<)!?, 1"-SK"D, ! P"!CL
D3 !3# S)D".
Pay attention to the directions of the lines. Compare si*e relationships.
)dd another flower to the bou+uet.
Do not shadeI
)fter you are done drawing - outline the entire picture with a fine Sharpie.
S#)M <?# 3! #" !"S, #)" M37< #B".
<ound all corners to styli*e the drawing8
7S" #" 5<37!D!?-3116 S#MK)#3! #"C!N7" M37
")<!"D ")<"<. )PPM #S #"C!N7" #3 #" "!#<" D<)!?. #"! "<)S" ) M37<
S#<)M P"!C B)<S #)# )<" "1#. !3 #)# M37 )<" 1!S"D # #" D<)!?, M37 )<"
<")DM #3 "?! #" P)!#!?. M37 " 7S!? )#"<C33< P)!#S, )!D 133!? #"S"?7D"!"S8
• D3 !3# 7S" #" #" )#"<C33< P)!#. M37 ?#"! C33<S M )DD!? B3<" )#"<
#3 #"B, C )3S B3<" 31 #" #" 3)<D #3 S3 #<37?.
• S#)M ! #" !"S )S M37 P)!#L"SD"S C<")#!? ) 1!S"D P"C" 31 )<#3<, M37
)<" )S3 BP<3!? M37< )!D-"M" C33<D!)#3!, )!D M37< 1!" B3#3< SS. M37<
)!D S P)C!? #" P)!# 3! #" 3)<D "<" M37< <)! S #"!? # #3. M37< <)! S
M37< )!DES 3SS.
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Drawing with Grid
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7se the grid to copy and enlarge a image. ?rid
drawing is a very old techni+ue of transfering
images :from s$etches to a full si*e canvas or
fresco, etc...;
)lways ma$e sure that the number of s+uares on
the original picture and your wor$ing area are
exactly the same.
f the dimentions of the paper do not +uite match
the dimentions of the picture - cut the paper....
or$ with one s+uare at a time.
Copy everything you see. 1orget the big picture.
2ust copy all the shapes that you see :even the
blurred ones;.
1irst - mar$ the points where the shapes cross the
grid lines. #hin$8 >...this line crosses the grid about
@=( of the s+uare, or it crosses it right in the
middle...>
!ext - connect these mar$s. Ba$e sure the shapes
match.
Do not shade. 7se only light fine pencil lines.
)dd as many details as possible. !o rushI
3nce you are done with one s+uare - move to the
next one.
eep drawing.
hen you are done - time for shading.
)lways start with rthe dar$est values, then -
midvalues. eave the light values to the very end.
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Pointillism * grid drawing
Start with drawing a grid.
@. Place the template in the center of the board and transfer the outline and every @=/> mar$.
/. Connect the grid mar$s. 7se very light and thin linesIIII
(. 7sing a blac$ pen to copy each s+uare exactly as it is8 include all values and details. Do not outline anythingI
f it helps - cover the image with stic$y notes, leaving only the current s+uare to wor$ on.
e patient. Place the dots accuratelyI
hite on lac$ Drawing
Mou are going to draw on a blac$ paper with a white pencil. #his small exercise is a great way to practice the 5opposite6
shading techni+ues.
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Mou will have to reverse your usual thin$ing in terms of
shading and do everything opposite.
Place an ob%ect in front of you. #his is an 5observation
drawing6 exercise as well. !o photographs or picturesI
"rasing white pencil is not as easy as erasing yourregular pencil. So, if you donEt feel confident enough to
start with a white pencil right away O you can use your
regular drawing pencil to s$etch the ob%ect. nclude all
the detailsI
n your regular drawing you would start shading with
the dar$est areas. n this drawing you start with the
lightest areas.
n regular drawing you shade the areas that are dar$er. n
this drawing you shade the areas that are lighter.
or$ with small stro$es. DonEt press hard on the pencil
O you can always go bac$ and ma$e things lighter, butyouEll have harder time to ma$e them dar$er again.
eep your pencil sharp.
Scratc Art
Scratch )rt is a graphic techni+ue. t is used to create value drawings.
Bost common is a blac$-and-white techni+ue. )lso
popular are metallic bac$grounds O they ma$e a
drawing loo$ li$e etching.
Scratch board is a paper :or foil; board that is
covered with wax or gesso and coated over with
blac$ in$.
7sing scratch tools :stylus, scratch brush, or scratch
$nife; you can create value drawings by scratching
off the blac$ in$ and revealing the board beneath.
#his techni+ue is similar to drawing with white
pencil over a blac$ paper.
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Mou can use a variety of stro$es as you scratch.
Depending on the ob%ect that you are wor$ing on O
you should use different value techni+ues to show
texture of this particular ob%ect.
)s a rule O 7S" SB) S#<3"SIIII Smaller the
stro$e O easier it is to control the scratching process.
<emember, you cannot 5undo6 or erase a scratch.
3nce it is there O it stays. #hatEs why it is a good
idea to ta$e your time and scratch with smallerstro$es O in case you mess it up O you still might be
able to fix it and not start over. hich saves time in
a long runI
)nother rule O donEt press too hard on the tool O it
will rip the paper.
#)" M37< #B"IIII
ere is a value scale done on the scratch board. )s you can see it is possible to show values and textures %ust by
scratching small stro$es.
efore starting on a big pro%ect O practice. Print the pictures below and spend some time mastering the techni+ue.
1irst O tape your picture to a scratch board.
Second O use a pen :not pencil O itEs too soft; and trace the entire image, including ) the D"#)S, all white and
grey areas :all value changes;. Bore accurate is your tracing part O easier it will be to scratch. Press hard enough to
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leave indents on the board but without ripping the paper. 7se a contrasted color pen :red, green, blue, etc; so you can
see what has been traced.
!ext O ta$e the picture off the scratch board and grab your scratch $nife.
!ote to yourself the dar$est and the lightest values.
eave for now the dar$est values blac$ :you can
always ma$e the value lighter later;.
Start with white and light grey areas.
"ventually get to wor$ on details and grey values.
oo$ at the example below. See the different types of stro$es' #hat is how you create an interest in your drawing. ut
remember, that each type of stro$e should be appropriate and planned. eep in mind that longer stro$es are harder to
use and control. f you donEt believe me O tryL :on a scrap piece, of courseL.;
Small stro$es are great for detailsI
<emember to replace the blades for your scratch $ivesI
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)ibbon*Cross*atcing tecni;ue
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• Start with drawing a border around the s+uare.
)bout @ @=F inch all way around.
• Draw your first line any way you feel li$e.
• Draw the secong line to complete the first ribbon.
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• Start drawing the second ribbon >behind> the first
one.
• Should loo$ similar to this.
• mportant8 mar$ :number; every ribbon as you
draw it - especially where they overlap.
• Draw a total of @/ ribbons.
• Ba$e sure they are all numbered.
• 7se a blac$ pen and fill in all bac$ground areas
with cross-hatching techni+ue. Pay attention to
where you shade.
• #his is what it loo$s li$e when you are done with
this step.
• See the numbers'
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• S$ip ribbon @
• Start with ribbon /. Shade everywhere where it is
overlapped by ribbon @.
• Shade on both sides.
• alue should fade from dar$ to light8 start with
dar$ cross-hatching, follow with hatching, space
small stro$es to lighten the value, finish fading
with pointillism.
• )fter you are done with ribbon /, proceed to
next ribbons.
• Connect ribbons4 ends. 7se pencil at this point.
Create folds, twists, etc.
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• 3utline with blac$ pen.
• Complete shading.
• "rase all pencil mar$s.
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Bore examples8
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Color Sceme Designs
3n a G>xG> board8
@. )pply the following pattern8
/. Choose your favorite color.
(. #hin$ about other / - ( colors that would loo$ good with it. See if the fit any of the color schemesI f they don4t - ad%us
All colors sould belong to a color sceme.
F. rite down the color scheme on the bac$ of your board.
G. rite down the colors you are going to use and how do they fit this particular color scheme.
Q. Paint one area at a time. )pply at least G different values of each color into an area. See example below8
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R. "ach value of a color should be distinctive. 7se the width of your paint brush to apply the paint.
. 7se white, gray, and blac$ paint to add a variety to the values.
H. 7se variations of a color. :"xample8 if you decide on a complimentary color scheme - red and green8 use a variety of d
greens;. Do not repeat e8act same color in more tat one area
@0. Mou can start with a pure hue :color; to outline the area. #hen add white for the next value. Continue adding white as
of the area. Mou can start with a shade of a color :color T blac$; - then paint a hue, then - the rest of the lighter values.
e creativeI
Craftsmanship is very important for this assignmentI
Color Scemes Design* triptych
this pro%ect is inspired by http8==www.lightwor$sstainedglass.co.u$=
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Concepts to learn8
• dominant color
• monochromatic color scheme
• complimentary color scheme
• triadic color schemes
•
analogous color scheme
• triptych
• hue = shade = tone = tint
) triptych is a series of three paintings or carved panels intended to be displayed together.
3riginated in )ncient <ome, triptychs became a popular form of altar pieces for "arly Christian churches
#raditionally two of the panels were attached to the central one by hinges and folded over it, to show two different
paintings on the bac$.
n modern art, you can use any media to create a triptych, including painting, drawing, relief carving, collages,
photography, graphic design, etc.
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Shapes and dimensions can vary, but there has to be an order or logic to why you are using these dimensions. 7sually,
you have all ( images have the same height. idth can be the same for all ( pieces, or at least the side panels are the
same width. <emember, the ( pieces will be displayed together - they should loo$ li$e they belong together.
ere are some examples8
7nity :principle of Design; should be applied to triptych. #hat means that all panels have to share some properties8
color scheme, repeated elements or variations of elements, common theme, bac$ground or anything that will ma$e
these three panels loo$ li$e they belong together8
)ssignment8
?et a @G> x @0> illustration board. Divide it into ( parts :G> wide each;
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Start with drawing vertical lines with a permanent mar$er. )pproximately H - @0 vertical lines per panel. :Do not
outline the pencil lines - these are the cut lines;.
Start at the top edge or slightly below. #he lines do not have to go all the way down to the bottom edge. Mou can
bra$e some of the lines. old the mar$er at a slight angle and draw the lines slowly - this way you will get a
consistent thic$ness of the lines8
!ext step is to unite the three panels together by drawing a few lines across all three of them. ) good number is (.
Ba$e them curve too...
!ow wor$ at drawing one panel at a time. Draw short hori*ontal lines :straight and curved; between /, (, F or G
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vertical lines8
efore you start painting - cut the panels8
!ext part is very important. Mou pic$ a D3B!)!# C33<. : chose blue-green in this example;.
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7se this color for all ( panels. So mix plenty of it. Mou are going to chec$ with the color wheel to determine the
colors you need to include into design.
panel @ - Complimentary color scheme :blue-green
and red-orange in this example;
panel / - Bonochromatic color scheme :values of
blue-green in this example;
panel ( - color scheme of your choice :triadic with @
split in this example8 blue-green, yellow, purple;
B3!3C<3B)#C C33< SC"B"
Start painting the middle panel :Bonochromatic color scheme;. )ll you need is your dominant color that you mixed
plus lac$ and hite.
1ill in the shapes in the panel. Bore variety of
values you have - the better.
Don4t forget to include sections of pure color,
then tints, shades and tones.
Stay within the lines.
)fter the paint dries - go over the lines with a
Sharpie again.
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C3BPB"!#)<M C33< SC"B"
Complimentary colors. Bix an opposite color and paint in the sections of different values of the two complimentarycolors.
used8 blue-green and red-orange
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<epeat the same steps with the last panel. Mou can pic$ any of the color schemes, but you have to use your dominant
color as one of the colors. 1or example8
analogous color scheme triadic :split @; triadic :split /; triadic :split (;
#<)DC C33< SC"B"
chose /-split triadic color scheme8
blue-green, yellow, and purple
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hen done - arrange them on a blac$ board @=/> apart. Please include your wor$sheet with your notes indicating thecolor schemes you used and particular colors.
Color Scemes * 5ug Painting
Copying from a picture without using a grid - is not that difficult.
Start with drawing the main direction of the mail shape and mar$
the dimensions of our image :right, left, top, bottom;.
oo$ at the original image and try to deside8
>nto how many part can divide this bug'>
>hich part is bigger'>
Compare the parts. ow many times a small part can fit in a big
part'
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Start refining the drawing.
D3 !3# S)D"IIIIIIIIIII
Let me see your drawing at tis time<
)dd details8 as many as possible. 1inish all shapes :close them -
thin$ >stain-glass>;.
Let me see your drawing&
)dd bac$ground.
7se a ruler to add >broc$en glass> effect8
draw triangles pointing towards the center.
#he idea behind this step is to divide the area into more shapes.
Let me see your project before you start painting&
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efore painting - loo$ at your drawing and decide what color
scheme you want to use. 3nce you have decided - you4ll write it on
the bac$ of the pro%ect and S#C #3 #I
Choose the colors :you can use the interactive Color heel page
from the previous assignment;.
Paint one shape at a time. Stay within the lines. Craftsmanship is an
important part of this pro%ect.
7se variety of colors, mix them, use shades, tones and tints.
Bore variety you have - the better.
3nce you4re done with one shape - go to the next.
Change color as you cross the line :or a value of the color;.
Continue painting.
City in - point perspecti"e
Objectives8 Students learn about proportions and the element of Space. Students create a cityscape using two point
perspective techni+ue. Students use their drawing ability to create a city of their own and incorporate the re+uired
ob%ects in their design. Students will illustrate how their creative idea can be developed into a drawing.
Essential questions:
@. ow do you create /-point perspective'
/. ow do you apply perspective rules in artwor$'
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Design a city bloc$ using / point perspective.
Mour drawing should include at least :for a D* grade;8
• ntersection of / streets with sidewal$s
• Six buildings
• )ll buildings should have windows and doors
• Streets should include crosswal$s, citylights and ( signs
#wo point perspective is used when none of the structure4s sides is parallel to your picture plain. n other words - you
are facing a corner of a building, not a side.
Mou will start with drawing a 3<K3! !", placing two )!S!? P3!#S, and thed drawing the corner of
the closest building.
<emember, that in / point perspective8
all vertical lines stay vertical
all hori*ontal lines go to one of the vanishing points
)ll windows, doorways, and other architectural elements shouldfollow the same rule. oo$ at the picture below8 all
lines are eighther vertical or go to one of the vanishing points.
) large part of the grade for this assignment is creativity. uild a citybloc$ of your dreamI Ba$e it funI
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ere are some examples8
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5alance in Design
#he purpose of this pro%ect is to practice the balance concept.
#here are few steps you will have to follow. Mou will create a symmetrical design, add three ob%ects to it and position
them in a way that they are balanced :review the topic if you need;. #hese ob%ects will 5stic$ out6 of the bac$ground to
add interest to the designL..
Plan ahead. hat three ob%ects are you going to add to the design' #hin$ of what would wor$ with your bac$ground
design8 birds, butterflies, cars, people, etc.. #he three ob%ects should be of three different si*es and colors.
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Step @
Create a symmetrical design for the pro%ectEs bac$ground. #hin$ about
drawing something that is symmetrical8 a tree, or two trees, a street in perspective, a road in perspective, a building, or two buildings, etcL
wor$sheet @:letoltve8D=anyago$=vegyes;
7se the wor$sheet to s$etch the composition.
rite down why you thin$ your design is
balanced' #urn it in along with the pro%ect. t will
be part of your grade.
Divide your drawing board in half.
Draw only one side of the design. t should be a detailed drawing.
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7se tracing paper to trace the design you drew. Ba$e sure you use a
pencilIII
1lip the tracing paper and retrace it onto the other side of the design.
!ow you have your symmetrical design. 3utline it with thin blac$
Sharpie.
7se colored pencils and watercolor paint to color it.
!ow that your bac$ground is done O go to the next step.
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wor$sheet /
7se the wor$sheets to draw the ob%ects. #hey
should fit within the outlinesIII
Step /
)fter you s$etched the ob%ects O time to redraw them on the board.
nclude the details.
3utline everything with a blac$ Sharpie. Color them with colored
pencils and watercolor paint.
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Step (
Cut out the ob%ects. Place them onto the bac$ground. <eposition themto ma$e a perfect balance.
Step F
Putting everything together.
7se foam s+uares to glue the ob%ects. #his way they will be raised
above the surface to ma$e the design loo$ three dimensional.
Mou need to be able to explain me why you thin$ your design is
balanced.
)ttach the explanation to the bac$ of your pro%ect before you turn it
inI
Printma/ing
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Place the printing bloc$ over your pencil
drawing.
B)$e sure the edges are perfectly aligned.
1old the sides of the paper and tape them to the
bloc$ to secure the drawing.
1lip it over and rub the drawing onto the printing
bloc$.
<emove the paper.
#he outline of the drawing should be transfered to
the printing bloc$.
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3utline everything with a Sharpie.
1ill in all blac$ shapes.
Place the other side of the printing bloc$ onto the
drawing.
#ransfer the image.
#race the >color> shapes only.
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Place the >color> side of the printing bloc$ onto a
bench hoo$ for safety.
Choose ( linoleum cutters8
@. Small blade :for details;
/. -shape blade for outlining
(. 7-shape blade for larger areas
Start cutting with a -shape blade. 3utline the
shapes. Cut away from yourself. Mou can rotate
the printing bloc$ as you cut.
)fter you are done outlining - use 7-shape blade
to remobe the bac$ground. 7se short cuts.
#his is how it should loo$.
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3nce your >color> side is done - flip the printing
bloc$.
Cut out all shapes that are not blac$.
#his is what it should loo$ li$e.
!ow it4s time for printing.
Protect the area with newspapers.
Bix at least two colors of the printing in$ using
craft stic$s.
7se a roller to transfer in$ onto the bloc$.
Ba$e sure it is covered uniformly.
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Place the printing bloc$ onto the alignment board.
)lign the corners.
Place a corner of printing paper in the upper
corner of the board. et the paper fall onto the
printing bloc$.
7se a clean roller to transfer in$ onto the paper.
ift the paper.
#his is your first color print. Print nine morecopies. Mou can use different colors.
et the prints dryI
ash the printing bloc$.
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7se blac$ in$.
)pply blac$ in$ onto the other side of the printing
bloc$.
)lign it the same way on the board.
7se your >color> prins for printing
)lign paper exactly the same way on the board.
ift the print
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et it dry.
Print the other H copies.
Sign your name and year in the bottom right
corner, %ust below the print.
Mou are doneI
OP(1CAL D%S1#!
step by step
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@. 7se / pencil.
Draw HT vertical waves. )lter space
and curves
/. Draw a wave across.
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(. 7se thin Sharpie.
Draw upward curves above the middle
wave.
Draw downward curves below the
middle wave.
"very next curve starts at a previous
line.
)lter the distance between the curves.
F. Complete the entire section.
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G. Complete the entire design.
Q. Color each section gradating color
from dar$ to light to dar$.
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R. 7se an analogous color and apply
same gradation pattern.
. )dd another analogous color or
repeat the first one.
eep coloringI
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H. 7se different colors for the next
section.
#his is how you color8
• shade lightly the entire shape
with a color of your choice
• shade full strength - leaving a
small area in the middle
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• use white pencil to blend the
middle part
• use blac$ or a dar$er color to
blend the sides of the shape.
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Mou can also get creative and use
complimentary colors to emphasi*e an
area or $eep it all analogous colors, or
%ust color it the way you feel li$e.
"n%oyI
)epetition, Subway (rain #raffitti
#he purpose of this pro%ect is to practice repetition and rhythm concept.
Please read the information about the <epetition Design principle. Mou are going to use the <hythm concept. #he ideais to decorate a subway car in a style of a famous artist.
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1irst, do a research. 1ind an artist you li$e. Print out at least ( of his=her paintings.
7se the elements from these paintings to decorate a train car.
Mou don4t have to repeat the same element over and over again. #he idea is to use the style of the artist and improvise
with this style and elements. #hin$ about this pro%ect as if you were this famous artist and you were commissioned to
decorate a train car. Mou4ll have to use the same painting style : colors, brush stro$es, elements from the paintings,
etc...; to implement the rhythm concept. <emember - the car itself already has the repeating elements8 doors, windows,
spaces between the windows...;
Mou can fill in the area between the windows=doors or use %ust them, or use both... t4s totaly up to you.
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)fter you decided on the artist - time to s$etch. 7se the wor$sheet below to s$etch some ideas. ring them to me to
approve. #ogether we4ll choose the best one.
!ow it4s time to wor$ on a big scale. Mou are going to use oil pastels. Mou can imitate the oil painting techni+ue. 7se
the blender to mix colors. #ry to imitate the stro$e rhythm of the artist. Bixing colors is the same as with paints. 2ust
remember the Color wheel.
"xtra credit8
rite a paragraph about the artist you used for pro%ect. )ttach it to the bac$.
Linoleum Printing*multiple colors
subtraction metod
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Mou are going to ma$e multi-value linoleum prints.
Start with a drawing or a photograph. est to use pictures with a strong
contrast.
am going to do the computer manipulation with your picture to brea$ it
into G - Q values.
f you want to do it yourself, here are the steps to follow when you openyour image in )dobe PhotoShop8
@. Ba$e sure the si*e of the image is within @=/> by @@> :mageUmage
Si*e;
/. <emove all colors8 mageU)d%ustmentsUDesaturate
(. )pply filter8 1ilterU)rtisticUCutout... !umber of levels8 F or G
)fter you printed the image - it4s time to trace it onto linoleum using a
transfer paper.
!ote8 your prints will be mirror images of your picture. f you don4t want
this to happen - use regular tracing paper :that means you4ll have to trace
everything twice;
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Ba$e sure that the dar$ :blue; side of the transfer paper is facing the
linoleum. #hen place the picture on the top of it.
#ape the picture and the transfer paper onto the linoleum.
Proceed by tracing every line you see with a red pen :so you can see
what4s been traced;. hen you finish, ta$e off the picture and copying
paper.
Ba$e sure not to throw out your picture, because you will need it for the
following steps.
!ext - number the values. 1ind all white shapes and number them as @.
#hen find the lightest grey shapes - mar$ them as /. #hen mar$ the next
dar$est shapes as (, the next dar$est - as F, etc....
#race all lines on the linoleum with a blac$ Sharpie.
#his is what it should loo$ li$e.
7se a pencil to lightly shade all areas mar$ed @ :all white spots;
#hese are the areas you are going to cut out first.
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BP3<#)!#8
)lways use a metal bench hoo$ to prevent linoleum from moving while
carving it. #his way you won4t need to hold it with your other hand :and
cut yourselfIII;
#he linoleum cutters come in different si*es.
7se -shaped small blades to >outline> the shapes first.
7se 7-shaped bigger blades for larger areas.
arm up the linoleum before cutting. t should be %ust warm - not hot. f
you overheat it - it becomes more difficult to cut.
Cut away from yourself. Mou can rotate the linoleum as you change the
direction of the cut, but don4t cut it towards yourself.
)nd... never...ever... ever put your other hand in the direction of your cut.
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hen you cut all white areas - time to printIIII
Pic$ a color for your prints.
Mou are going to use different values of this color.
Start with the lightest possible value.
Place some wite in$ on a board an add %ust a tiny bit of a color.
7se a craft stic$ to mix the color.
<oll the in$ on the board8 up and down, right and left.
#he goal is to distribute the in$ evenly on the roller.
<oll onto linoleum.
Don4t press too hard on the roller.
)gain, the idea is to distribute the in$ evenly on the linoleum.
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Place the linoleum onto the printing board.
mportant8 #he upper left corner goes into the inner corner of the board.
Place a piece of printing paper on the top of the linoleum.
mportant8 #he upper left corner of the paper goes into the outer corner of
the board.
#he alignment is really important because you want all your colors to
alignIIIII
7se a clean brayer to roll over paper.
Mour first print will not loo$ li$e your picture.
#hat is because you are going to add more details to it as you print next
values.
Print @0 piecesIII
ay them flat to dry.
ash your linoleum and the roller.
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)fter the linoleum has dried - use a pencil to shade all / values :the
lightest grey;.
arm up the linoleum ant cut out all shaded areas.
Bix your second color - a bit dar$er than the first one.
Print right over your first prints :all @0;.
ash everything after you are done.
Continue cutting and printing. "ach time use a slightly dar$er in$.
See now why the alignment is so important'
hen you are done with the last color - sign them.
)t the bottom right corner of the print, right under the image write your
name and the print number : @=@0, /=@0, (=@0.....;
7se a / pencil.
#urn in one of the prints.
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Double 7ision
Oil Pastel Drawing
Draw a picture :landscape, cityscape, etc..; on a piece of paper.
Do not shade, use %ust lines.
#race it using tracing paper.
Place tracing paper >face down> onto the illustration board.
<etrace the picture.
#race the picture again onto another illustration board.
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)s a result you should have / pictures on / boards.
Paint or color the two pictures with oil pastels to depict day and
night of your landscape.
1eel free to depict sunset and storm, winter and summer,etc.
#he two pictures should be done in two different color schemes.
3n the bac$ of each picture - mar$ every inch on the top and the
bottom of the board.
Connect the mar$s.
!umber each stripe on both boards.
Cut the stripes. eep them in two different piles - one pile per
picture.
#a$e both @ stripes. Place then side by side on the table face
down. 7se mas$ing tape to tape them together.
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Bar$ every inch on the third board. #his is where you are going
to glue the stripes on.
7se a hot glue gun to assemble the pictures as shown on the
picture to your left.
Oil Pastels
3il pastels are very different from the pencils and colored pencils.
3il pastels are made to be very blendable---they are soft, oily and
designed to be mixed and spread together on the paper. #hey are
used by professional artists especially for these +ualities.
7se paper stumps or blending brushes to mix colors.
7se palette $nife to scratch off oil pastels.
Mou can mix pastels to achieve the right shade by drawing with one
color over another color in circular motion.
7se white, grey, or blac$ pastels to change the value of a color and
its brightness.
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7sually use lighter color over dar$er one. :Dar$er color should be
applied lightly;.
3ne can also create te8tures by first applying bold color to the
paper and then going over it with another color until it is
completely covered. !ext, use a ra*or blade to scratch off the
second color, revealing the color underneath. t creates a result
similar to a scratchboard.
y using a sol"ent :G0=G0 turpentine and linseed oil; with oil pastels, one can achieve results similar to painting without actually
using brushes and paints.
Mou can always use %ust either one of them. )dding turpentine will
ma$e pastels dry faster than oil alone.
7se a N-tip or a cotton ball to blend colors.
7sing a cotton ball with a solvent is great for coloring large areas
in your drawing :s$y, bac$grounds, etc...;
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f you are laying out your drawing with pencil first, be sure to draw
lightly, as light colors will not fully cover dar$ pencil mar$s.
ere is an example of a student wor$ in oil pastels
<emember that you cannot do detail wor$ in oil pastelsI
#he best detailed wor$ can be done using paper stumps.
Design a 7an
#ransform this van into something it is not.....
@. Start with using a pencil to draw the outlines of your new creation.
/. 7se whiteout to cover up all lines that you don4t need.
(. 7se a blac$ pen or a Sharpie to add lines to your design.
F. Color it.
ere are some examples of what you can do with the van8
Sil/screen Printing
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Screen printing is a printma$ing techni+ue that creates a sharp-edged image using a stencil.
) screen is made of sil$ or polyester. t is stretched over a frame of aluminum or wood. )reas of the screen are bloc$ed
off with a non-permeable material to form a stencil, which is a negative of the image to be printed9 that is, the open
spaces are where the in$ will appear.
#he screen is placed atop paper or fabric. n$ is placed on top of the screen, and a s+ueegee is used to fill the mesh
openings with in$.
Start with a drawing. #here should be no shading in your drawing.
7se pointillism, crosshatching or other techni+ues to show values8
3utline everything with a Sharpie.
#wo copies on transparency sheets should be made.
)lign them and tape with a clear tape.
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!ext step is to stretch the sil$ on a frame.
Cut a piece of sil$ that is larger than the frame by about /> on all
four sides.
Place it on top of the frame.
ay the cord above the indent in the frame. Push it in with your
fingers. Ba$e sure there are no wrin$les on the sil$ and it is
stretched tightly.
7se a cord roller to push the cord in.
#hen use scissors or a screwdriver to further push the cord in.
t should be as tight as a drum.......
Cut the excess sil$. 7se mas$ing tape to cover the cord.
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!ow that the screen is ready - time to apply the photo emulsion.
eep in mind that it is light sensitive.
3ver a sin$, apply some emulsion over the screen.
7se a s+ueegee to distribute the emulsion evenly over the screen.
1lip the screen and use s+ueegee again.
#he idea is to push the emulsion through the fabric4s pores and have
a solid thin layer of the emulsion. t should be of a uniform
consistency with no dripping mar$s.
#a$e it to a dar$ room and let it dry.
#ime to transfer your drawing onto the screen.
Place the screen on a table in a dar$ room
Place the transparencies :mirror image; on top.
Place a piece of glass over it to hold the transparencies close to the
screen.
#urn on the light above the screen.
1$PO)(A!(8 #iming is really important. !ote time when you
exposed the screen to the light. t should ta$e between @/ to @G
minutes before you turn the light off.
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#a$e the screen to a sin$.
#urn on cold water. ash the screen on both sides.
1irst, you4ll see how your drawing is appearing on the screen
eep washing. Mou need to see light through the drawing8
et it dry.
!ow you are ready to printI
Oil pastel drawing on transparency
@. mage search8 1ind a high +uality photograph of
an organic ob%ect8 plant, animal, fish, etc.
Do not use8 drawings=paintings=designs by other
artists. !o logos or writings.
Save the image to the des$top :not the thumbnail,
but the full-si*e photograph;. Mou can do it by
dragging it onto the des$top.
/. "diting in Photoshop8 <ight-clic$ on your image.
Choose 3pen with U )dobe Photoshop
Simplify and reduce the colors of the photographand increase the contrast of the picture.
Mou can do it by applying an )rtistic filter.
Depending on the colors of your particular image,
choose8 1ilter U )rtistic U
A Cutout
A Dry brush
A 1resco
A Paint Daubs
A Palette nife
A Poster "dges
A Smudge Stic$
A atercolor
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)pply any of the above filters. #ry different settings
for each filter to $eep the details but simplifying the
colors.
1ile U Print
A Choose P aser2et GGG0 printer
A Select andscape or Portrait layout
A Chec$ 5Scale to fit Bedia6
A Print
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Pen and in/& $i8*media
Mou are going to create an animal design using in$=pen,
color pencils, gold :silver; paint, and coffee.
Mou are going to combine realistic drawing with highlydecorative.
Start with finding an image of an animal. mage should
be >full-body>, not %ust a face or cropped picture.... oo$
for silhouettesI
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Draw an outline of your animal with a pencil on a @/x@
drawing paper.
)dd necessary details :eyes, horns, ears, etc...;
Divide the outline into at least 4- areas. Do not use
straight lines.
Double the division lines.
Choose at least Q areas that you want to be realistic. 7se
color pencils. ncorporate different blending techni+ues
to achieve the (-D loo$.
#he rest of the areas will be filled in with patterns and
designs using in$ and pen.
"ach area should be different.
eave the >double-lines> blan$.
Craftsmanship is an important part of this assignmentI
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#his is what it should loo$ li$e at this point.
1ill in some :or all; double-lines with gold :silver; paint.
Mou can add some paint to your patterns. Do not overdo
it thoughIII
Stay within the lines while painting.
7se pen and in$ to add more designs over the paint.
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7se a variety of designs
.
#ape your artwor$ to a table.
7se coffee to apply washes to the bac$ground.
ines and Proportions
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#a$e these assignments seriously. Practicing the s$ills and sence of proportion is very important for an artist. Bore you p
get.
Print the following wor$sheets as many times as you li$e. )nd practice, practice....
"xtra credit8
3bservational Drawing
Objectives8 Students learn to construct, shade and add creative elements to an ob%ect that they draw by observing.
Essential questions:
@. ow to construct a cylinder, a cone, a sphere and a box'
/. ow to use directional lines when drawing from observation'
(. ow to use a pencil to chec$ proportions'
F. ow to compare points in drawing from observation'
G. ow to apply shading to an ob%ect'
Q. ow to shade with white pencil over a blac$ surface'
Drawing is the bac$bone of almost every art discipline and a fundamental form of communication. #his ma$es the
ability to translate what the eye sees onto paper a valuable s$ill for all artists.
efore one can toss aside convention and explore the abstract and the fantastic the original form and realisticrepresentation must be understood. 3bservational drawing is the way to exercise the connection between what the
eyes see and what ends up on paper or canvas. t re+uires focus as well as attention to detail and the ability to find
relationsips.#he relationship of one ob%ect to another and the relationship of those ob%ects in space.
#he practice of observational drawing will improve concentration, drawing s$ill and your overall ability to see the
world around you.
3bservational drawing can include cityscapes, landscapes, a small or large still life, friends and family, interiors or
exteriors... Pretty much anything that you can find to loo$ at and draw.
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/e#ore
shadin determine the dar)est and the lihtest areas in the obect%
#ter you have !racticed the dra(in $ dra( the obect on a blac) illustration board% /uild the obect(ith a reular !encil *very fne lines+, then shade (ith a (hite !encil%
ee! in mind the basic shadin !attern *hihliht, liht, shado(, re-ected liht, and dro! shado(+
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Mou can get creative with the drawing8
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Obser"ational drawing
Stillife& #risaille painting
#his is an observation drawing and painting pro%ect. Mou will utili*e your composition s$ills and sence of proportion
Plan the position of each ob%ect. Compare the proportions and si*e relationships.
Start with building up the forms. : if a form is symmetrical - start with the axis;
#hen do the under painting - determine the ma%or shadows=lights shapes
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#hen paint blac$ and white as if you were shading.
Copying a $aster
oil painting
#his pro%ect is a centuries old tool to learn drawing s$ills, painting techni+ues and styles.
Mou start with choosing a Baster :famous artist;. Choose an artist that you li$e. Do not use contemporary artists or
any painting off the nternet %ust because they loo$ cool. Chec$ with me before your final decision.
Print / copies of the painting. Ba$e sure to write down the artist4s name and the title of the painting. 1ind otherpaintings by the same artist to familiari*e yourself with his style of painting.
7se the ?rid #echni+ue to copy the outline of the painting onto your canvas. e as detailed as possible.
f this is your first time painting with oils - start painting with bac$grounds that do not re+uire much details and can
be repainted easily. f you have done oils before - start with the most contrasted ob%ects :positive space; but
remember to paint some of the bac$ground right next to it. hy' ecause colors loo$ different over the white canvas
bac$ground vs. the original color in the painting. #his way you will be more accurate in color choices and color
relationships.
<emember8 you can always count on my help.
"n%oy the oilsIIIIIII
ere are some examples of what you can do8
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<embrandt
Degas
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Degas
ladimir ush
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<embrandt
Creative memory
Mou will have FG minutes to draw F s$etches of a still-life. 7se different angles. #ry to add as meny details as you
can, but focus on proportions, si*e relationships, form.
1or the next days you are going to create an art wor$ that would include all the ob%ects from the still-life. Mou can
interpret them any way youwant. Change color, meaning, position, si*e.
ave funIII
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automatic drawing
Andr= 5reton metod
based on >7isual Literacy> by Wilde and Wilde
)ndrV reton was a 1rench surrealist poet whostudied the subconscious by experimenting with the
phenomenon of )7#3B)#C <#!?.
#his assignment reflects and draws upon his methods.
Create a series of images in the spirit of )ndrV reton.
#ry not to thin$ about what you are doing - %ust let
your automatic functions ta$e over, letting them
proceed as they wish.
:#his is exactly what you do when you are doodling;.
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(ypograpy
project 4 * creati"e typograpy
Selected letters of the alphabet were combined with images of flowers that have been reduced into visually simplified
forms. "ach letter is coupled with a flower whose generic name begins with the chosen letter.
) primary ob%ective of this pro%ect is to achieve a harmonious synthesis between type and image, and in the process
create a new visual configuration. t is essential in the process of creating this hybrid form that the recogni*ability of
both the letterform and flower be preserved. )nother fundamental concern is to explore the dynamic relationship
between positive and negative space.
Design your own font that is uni+ue and uses blac$-and-white graphics only.
#his is what you do8
Pic$ a six-letter word :six uni+ue letters;
"xample8 flower, animals, athlete. artist, travel, etc...
Choose a base font that is bold enough to add graphics to it.
Convert the type into outlines :#ypeUCreate 3utlines;
Create vector graphics for the images you want to use for your graphics that would associate with the word you chose.
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7se llustrator4s Pen #ool or combine basic shapes with the Pathfinder.
7se positive :blac$; shape of a letterform and negative :white; shape of the graphics to create a typeface.
CropI Consider cropping for your designI
Mour typeface should use similar elements and aproaches for each letter.
Mou can simplify the base font by eliminating the >eyes> or filling in other negative shapes.
Spend FG min. per letter.
#he assignment is due in Q days.
<e+uirements8
The letters should look like they belong together - use siilar visual eleents and consepts!
"se positive#negative shapes principle!
$ou can %ill in the &eyes& o% the letters and sipli%y the!
The letters should be readable!
"se cropping technique %or the iages!
Do not repeat the sae iage in ore that one letter!
e creativeI
ave funIIII
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