junior portfolio! new due date!

the new due date for your waterloo paintings is pushed back to dec. 11th.
most have of you have been working very hard and they are coming out really nice so far, so i will give you an extra week. but, i expect the same diligence i have seen the past week or so (i.e. no french homework!)

i bet this guy is ALWAYS sketching in his sketchbook!

julian beever



i had forgotten about this guy, until siobhan reminded me. it's pretty wild, check it out....

design fundamentals sketchbook #3

Design Fundamentals

Sketchbook Assignment #3

Due: Dec. 6, 2006

Please put the week, the assignment, and the date in the lower right hand corner of each of your pages. It should look something like this Week 3 #1 12-6-06.

1. A still life set up of at least 3 objects. Use a pen or ultra fine point sharpie, use cross hatching OR stippling to create a value scale of 1-10 in shading the forms.

2. Begin by drawing an abstract, free-form line on the page. Then use other lines to echo the original line, flowing with it, into it, and away from it. Add color on or between the lines. You must create new variations away from your first lines to make it look different!

3. Try to make as many types of expressive lines as you can. Repeat each type of line several times. Try all types of lines: wavy, curly, jagged, dashes, fat, thin, etc. Fill your page with as many lines as you can. Use color to complete your composition.

4. Fill the page with overlapping shapes that run off the page on all sides. No negative spaces larger than a quarter. Fill each pos/neg space with smooth pencil gradations (from light to dark).

5. An observational drawing, any subject matter. Must be drawn from direct observation.

The Shading Do-Nots:

1. Do not shade with the side of your pencil.

2. Do not smear the drawing with your finger or a tissue.

3. Do not start out too dark - you can always get darker as you work.

The Do's:

1. Do make a flat edge on the tip of your pencil lead by "coloring" a sharpened tip on a piece of scrap paper.

2. Do shade in one direction only... then shade the opposite direction on top.

3. Do move your pencil smoothly and keep pencil strokes neat and close together to keep transitions smooth.

4. Do shade from light layers to dark to avoid uneven transitions.

painting sketchbook #3

Painting

Sketchbook Assignment #3

Due: Dec. 4, 2006

Please put the week, the assignment, and the date of when you completed each individual drawing in the lower right hand corner of each of your pages. It should look something like this Week 3 #1 12-4-06.

1. "Full of Contours Page"

Do a page full (20 to 25) of "mini" blind and modified blind contour drawings. (May take 2 facing pages.)

These are quick studies of people/children in different positions doing things.

Perhaps go to a park or a sporting event of some kind. Observe and quickly draw people being active

Do this in pen/marker please!! Add some color to complete the composition

2. "Fallen Leaves"

Find several different types (shapes) of leaves and trace them into your sketchbook. These may have to be repeated several times to make a good composition.

Now divide the page into four separate areas. Please do this creatively also! Then using colored pencils, color each area in one of these four color schemes:

1. Complimentary colors: colors opposite each other on the color wheel

2. Analogous colors: three or more colors touching each other on the color wheel

3. Monochromatic - Tints and shades: one of the above two color schemes with white and black added to lighten or darken.

4. Neutrals – Color with its complement added to create a “duller” version of the original color.

3. "Size Distortions"

Choose two ordinary objects at home which have a relationship to one another but are not the same size at all. (Like: the front door and a key -- or -- the refrigerator and an apple.

Draw the two different sized objects as if they are the same size, and draw them so they have a new relationship at the new size.
(So: the key is as big as the door in the new relationship, and can only lean upon it!)
(So: the apple could be so big that it occupied the entire inside of the refrigerator!)

Be inventive! Think up your own two related objects, and observe and draw their details carefully. Plan an interesting composition on the page.

4. "Magazine Reflection"

Step 1. Use facing pages in your sketchbook.
Side by side if your book opens that way, or up-down if your book opens that way.
Step 2. Find a full page magazine photo (not a magazine illustration) that you like. B/W or color, but B/W is easier on this.
Step 3. Cut the photo into 10 pieces that are about the same area. They don't have to be the same shape. Shapes can be regular or not. Try to cut through interesting areas of the photo (like the face!)

Step 4 Select alternating pieces, and paste them in their correct positions on the right side of the paper. Paste the remainders on the left, also in their correct positions.

Step 5: Choose one side and shade in the missing areas in pencil, using the opposite page of pieces as reference for what to draw. Try to recreate the values (lights and darks) of the original photo.

5. Free – something that inspires you.

jp sketchbook #3

Junior Portfolio

Sketchbook Assignment #3

Due: Dec. 4, 2006

Please put the week, the assignment, and the date in the lower right hand corner of each of your pages. It should look like this Week 3 #1 12-4-06.

1. Complete a blind contour drawing of an architectural element that fills up an entire page. Divide your page in half. On one half fill in the negative space with black (try marker, India ink, highly concentrated watercolor) and leave the positive space white. On the other half, do the inverse and fill in the positive space with black.

2. Draw a close view of a bike, tricycle, motorcycle, or an exercise bike with a close attention to detail. It should go off three sides of the page. Shade it with a full range of value. Try using a charcoal pencil for this one.

3. Draw an organic subject matter (person, animal, landscape, plant, something natural) by using only straight lines.

4. and 5. Choose two of the following subjects:

-Why are people afraid to visit cemeteries at night? Draw it.

-Draw a city on another planet.

-Draw a picture of yourself the way you will look 20 years from now.

-Draw a construction site.

-Free assignment – anything you would like!

sketchbook due dates

just for the record....

Painting and Junior Portfolio
Due Dates:

SB1	11.20.06
SB2	11.27.06
SB3	12.4.06
SB4	12.11.06
SB5	12.18.06
SB6	1.2.07
SB7	1.8.07
SB8	1.17.07

design fundamentals
due dates:

SB1	11.22.06
SB2	11.29.06
SB3	12.6.06
SB4	12.13.06
SB5	12.20.06
SB6	1.3.07
SB7	1.10.07

sketchbook assignments #2 (due after thanksgiving)

Junior Portfolio

Sketchbook Assignment #2

Due: Monday Nov. 27

1. Draw the interior of something.

2. After you put on your pj's, draw the clothes your wore today wherever and however they happened to fall (on the floor, on a chair, in the hamper, etc.)

3. Something mechanical, use a specific color scheme (complementary, analogous, monochromatic, triadic, or split complements).

4. Find a quote about something that is going on in the world currently. Illustrate that quote however you see appropriate. Incorporate the quote into the final piece somehow.

5. Free – something that intrigues you.

Painting

Sketchbook Assignment #2

Due: Monday Nov. 27

1. Pile up all your favorite shoes in the corner of your room (at least 3 pairs). Zoom in on the most interesting section (crop your composition). Fill up your entire page with a blind contour drawing. Add color where appropriate.

2. Draw an unsuspecting life model in a study hall, library, in class after you finish a test, in the cafeteria, etc. Draw large, try using expressive lines (quick, sketchy, gestural lines).

3. Listen to your favorite song. Draw what you hear. Do not use recognizable words, images, or symbols. Only use line and color.

4. Draw the inside of your closet. Use a 1-10 value scale.

5. Ask a family member to pose for you. Draw them reading a book, watching tv, napping, knitting, etc. on a couch or chair. Use a 1-10 value scale.

Design Fundamentals

Sketchbook Assignment #2

Due: Wednesday Nov. 29

1. Where are the cleaning supplies kept in your house? (The windex, lysol, sponges, mops, etc.) Open the draw, cabinet, or closet, and draw a blind contour of exactly how you see what you see. Your drawing should fill up the entire page, don't lift up your pencil or look at the paper!

2. A bowl or plate of food. Recreate all the textures, make it look delicious!

3. A tiny, sentimental object. Enlarge it to heroic scale and let if fill up your entire page (touch 3 edges of your paper), use values 1-10.

4. Find an interesting color photo/ad in a magazine. Carefully remove the page, and then tear it in half. Carefully paste one half of the page into your sketchbook. Then, using just pencil, recreate the missing half of the image. Remember values 1-10, recreation of shapes, lines, textures.

5. Illustrate this quote by Joan Miro (and you may want to research the artist a bit...) “I try to apply colors like words that shape poems, like notes that shape music.”

NAHS!!

mandatory meeting!!!
wednesday nov 29th
in b-135
right after school
elections, dues, etc, etc...

sketchbook assignments #1

Painting

Sketchbook Assignment #1

Due: Monday Nov. 20

1. Find a can or bucket of recyclables, look into it from above. Draw what you see, use a range of values from 1-10, fill up your entire page.

2. Set up a small still life. Use a desk lamp or other light source to light it from behind. Draw it, use values to accurately portray the direction of the light source.

3. Use the same set up as in #2, but this time move the light source to the side so that it is being lit dramatically from one side. Draw it, use values to accurately portray the direction of the light source.

4. Set up another still life of 3 different objects with 3 very different textures. Use value to imply the form of the objects, as well as the textures.

5. Find a quote about art, painting, or color. Illustrate that quote any way you feel appropriate. Find a way to incorporate the quote into the final composition. And please include the author.

Design Fundamentals

Sketchbook Assignment #1

Due: Wednesday Nov. 22

1. Create a page of different value scales. Divide your page using a ruler into 5-1x10” rectangles. Each 1x10” rectangle should be divided into 10 1” squares. Go from darkest to lightest using the following techniques:

Lines (pencil - one direction only), stippling (fine point black marker - tiny dots), crosshatching (pencil - criss crossed lines), “squiggles” (pencil), and smooth shading (pencil – pencil strokes should not be visible)

2. Draw an object in your room. Your drawing should touch at least 3 edges of the paper. Use pencil in a way similar to the way we used the charcoal pencil in the still life drawings to add value to imply the volume of the form. Do not use your finger to blend!

3. A blind contour portrait of a family member. This should take at least 20 minutes, so take your time, do not look at the paper, and fill up the entire page.

4. Find a crumpled paper or plastic shopping bag. Use a regular pencil to draw it, use a range of values from 1-10. Show every wrinkle, shape, edge, etc.

5. Make a really funny, goofy, angry or otherwise exaggerated facial expression. Use a mirror to draw yourself. Remember to use a value scale 1-10.

Junior Portfolio

Sketchbook Assignment #1

Due: Monday Nov. 20

1. A blind contour self portrait in a reflective surface (not a mirror). Super details! Take your time!

2. Draw 2 intersecting lines that divide your page into 4 different sections using light pencil lines. Over this, draw your unmade bed (wrinkled sheets and bunched up blankets and all). In one section use crosshatching (pencil or pen or marker) to add volume to the forms of the fabric, in the second section use just the pencil in a way that you get smooth transitions of value, the third use stippling (you may want to try a marker for this one), and in the fourth section experiment with expressive lines used in a way to suggest the forms.

3. Set up a small still life. Draw it without using lines. Use only shading and contrasting values to create the “outlines” of the objects and to suggest the volumes of the forms.

4. Set up a small still life (it can be the same one from #4, or you could try rearranging the objects or doing something completely different – and you will probably want to space the items out a bit for this one). Use markers, ink, or charcoal, (just because pencil will be a bit tedious, or you could give a whirl if you want) and draw only the negative space.

5. Look into a trash can (it will probably be a more interesting drawing if the trash can is full of stuff – freshly lysoled might be boring, but you make the call). Draw what you see, fill up your page.

blind contour drawings

• Students will be using markers on paper to create their drawings.

• The contour drawing should be done very slowly, take the time to really scrutinize and see the line of the object.

• Do not look at your paper and do not take your pencil off the paper, continue to really look at the object you are drawing and follow every line and detail.

• Concentrate on what the contour does, every single little curve or meander.

• Don't worry at this time about getting an exact likeness or correct proportions.

• If your edge goes into the form, follow it until it ends, and then pick up the contour where you left off.

• Try to feel the line, its jaggedness or smoothness, its curve, its delicacy, or sharpness. If you feel the form going away from you, press down on your pencil.

• Your progress should be so slow as to be painstaking - don't draw the line until you feel sure of what it does next.

• It is like climbing the mountain, as opposed to flying over it.

• And don't think about what the form is, like elbow or leaf - just draw the line/contour and what it does.

• When you finish the outer contours, you can draw the inside contours, for example, the features on the face, or lines on a leaf.

• Don't erase for this exercise!

• You are not making a drawing - you are involved in a process of learning!

painting

Painting

Due: Dec. 22

Outline of Important Dates:

11.13 – 11.15 – Slide Review and Art History Notes

11.16 – 11.17 – Begin full size sketch, should be done by the end of class on Friday

11.20 – Sketchbook #1 Due and Paint Demo.

11.21 – Start Value Scales on watercolor paper

11.27 – Sketchbook #2 Due

12.1 – Value Scales Due by the end of class

12.4 – Sketchbook #3 Due and transfer sketch onto final surface (canvas paper)

12.4 – 12.22 – Paint!

12.22 – Finished painting is Due by the end of class

Painting

You will be using acrylic paint on canvas for this painting.

Your completed painting must include the following criteria:

1. Accurate rendering of architectural elements

2. Complementary color scheme

3. Focal Point

4. Implied texture

5. Obvious light source

And should or could include the following elements:

1. Real texture

2. Leading lines

3. Linear perspective

4. Repetition, Pattern, Variation,

5. Chiaroscuro

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.

ahhh, the genius of youtube

my brother sent me this link, i thought it was pretty righteous and thought i'd share....
puzzle

junior portfolio

Junior Portfolio
Due: Monday December 4th

Outline of Important dates:
11.13 – 11.14 – Slides, art history, and notes
11.15 – Begin sketching final composition, based on drawings done at Waterloo
11.16 – Experiment with color schemes on scraps of watercolor paper. Choose one to use for your painting
11.17 – Transfer full size sketch to final surface (canvas paper)
11.20 – Sketchbook #1 Due, and begin painting in class
11.20 – 12.3 – Paint
11.27 – Sketchbook #2 Due
12.4 – Completed painting and Sketchbook #3 is due
12. 5 – 12.6 – Mat paintings, self portraits, figure studies
12.7 – 3 Mats due and in-class crit of Paintings
12.8 – Written Crit Due and complete in-class crits

Painting
You will be using acrylic paint on canvas for this painting.
Your completed painting must include the following criteria:
1. Accurate rendering of architectural/natural elements
2. A specific color scheme (achromatic, monochromatic, complementary, analogous, split complementary, or triadic.)
3. Focal Point
4. Implied texture
5. Obvious light source
And should or could include the following elements:
1. Real texture
2. Leading lines
3. Linear perspective
4. Repetition, Pattern, Variation,
5. Chiaroscuro
6. Atmospheric perspective
7. Contrast

Some useful definitions
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.
Achromatic - Color having no chroma — black, white and grays made by mixing black and white.
Monochromatic - Consisting of only a single color or hue; may include its tints and shades.
Analogous colors - Any two or more colors that are next to each other on the color wheel and are closely related.
Split complements - One color plus the two colors that are on either side of its complement on the color wheel.
Triad - Three colors equally spaced on the color wheel. For example, red, yellow and blue form a triad.
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 - 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.
Atmospheric perspective - Variations in color and clarity caused by distance.