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Sketch Book Art 1
Analyzing A Painting
Elements of Art
Principles of Design
Form and Contour Line
Positive -Negative Lesson
Value as in Black and White
Value Lesson-Black and White
Still Life Project
Color & Value as in Color
Color Lesson Plan
Paul Klee - Fantastic Child Artist
ttern and Repetition
Decoration Vs. Design
the Illusion of Depth
Illusion of Depth Lesson Plan
Van Gogh Landscape, Line & Marks
Art Nouveau-Organic Design&Pattern
Multi Media Assemblage & Fibre Art
Mixed Media Lesson Plan
Cubism, Fragmentation,Abstraction - Lesson Plan
Texture and Pattern
Pattern and Fish, Texture and Fish
(THERE ARE FEW IF ANY LINES IN THE NOSE. IT IS MADE OF VALUES)
Key Concept - proportions through portraits
a) learn about proportions by working with proportions of the human head, By examining, observing the parts the whole may come together with greater understanding.
b) use value to understand depth and mood
a) look at portraits, History, reasons for
* Breaking them down to elements and Principles in order to understand them.
* aesthetic of beauty, what is a beautiful portrait?
B) study and copy proportions in sketchbooks
Greeks and Leonardo Da Vinci
c) Start looking at
Profile, frontal, Quarter and adding proportions to views
D) Looking at the proportions of the facial features
* do quick studies of faces.
* At this point discuss marking techniques
Contour and continuous line portraits
E) looking cubism and focal points and expression
F) Picasso and matisse
arranging the Elements to make a picture How can simplifying a portrait help you understand or draw it?
seeing the forest for the trees
a) produce studies of facial features in order to build or collage a face together. The thinking here is, that by addressing the parts the whole may come together with greater understanding
b) Pick a famous face
c) Do several studies to get familiar with values and forms etc.
d) Note why face is famous/history
e) Begin by drawing features, all on separate pieces of paper. Use values to establish depth
f) Use proportions in each drawing as either a study or the final drawing.
g) When all features have been drawn, portrait must be built by collaging drawn pieces together.
white paper, 12x, Pencil 4b or 6b for good
blacks, if using color must be minimal. (Monochromatic)
Picasso, Matisse, freud, Bacon, Larry Rivers, Andy Warhol, Van Gogh, leonardo Da Vinci, Albrect Durer etc
b) Use of value
c) Observation of features
d) Collage of face
e) Logical placements
f) Use of concepts of cubism, or simplicity.
g) Established depth and mood by values
h) Use of pencil and value scale (depth of marks)
List of events for skull and facial proportions
1) Pick a portrait.
What does it say to you?
Why did you pick that one?
What does it say to you and how did the artists’ photographer say it?
Think about the composition. Does the composition have anything to do with how the portrait speaks to you?
Draw your portrait in thumbnail mode or as studies, those being about 4
Do them as a value drawing first, then a line drawing.
Note where you see or experienced trouble.
Do a study of that
t worry about getting it right.
Retrain your brain to see and react. Draw quickly and do not erase.
(Value drawings are important because they show the form of the face through light dark and shadow.)
3) The skull
Value drawings of skull then line drawings
Try drawing just from the eye line, eyeballing the rest of the proportions.
We will do a finished drawing of the skull using graphite and erasers or white chalk on colored paper.
Discussed also the muscle system of the face and how that effects the form of the face.
The next drawing will be comparing the portrait chosen to its skull. This is what I call a fakull or skace.
A discussion of facial features will take place at this time so that students can begin working on studies in their sketchbooks.
4) Features from portraits
Examine shapes and value to create form like circle becomes eyeball. With two curved lines we get eyelids. With proper shading we have an illusion of an eye.
Features will be done on four inch by 12-inch paper.
When the eventual whole head is completed, topsides chin, etc
. we will collage the parts together.
At this point the students should be concerni9ng themselves with where everything goes or the proportions. We will look at Picasso and Cubism at this time.
Picasso, One of the Weeping Women Series
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