Hi kids
Welcome to our first virtual art class
The last class you were working in a landscape drawing with your pastels
Im gonna leave 9 tips to draw and paint with them, for a correct development of your final painting
Date: 25th March 2020 (DAY 5)
Topic: Art history: Pastel drawing and painting
Objective: Apply in a proper way the pastels to develop a landscape
Key words: -Surface
-Tooth
-Contrast
-Temperature
-Layers
-Blended and unblended
Topic: Art history: Pastel drawing and painting
Objective: Apply in a proper way the pastels to develop a landscape
Key words: -Surface
-Tooth
-Contrast
-Temperature
-Layers
-Blended and unblended
Pastels are undoubtedly unique. Applied dry, the active process is clearly associated with drawing. The thought process, and finished result however, is closely related to painting. As a result, pastels offer the artist a special blend of the two most common approaches to art creation.
#1 Tip - Consider The Surface
The surface on which you choose to work is the foundation of the piece. Although often overlooked, the surface or paper that you work on greatly affects the success of the work.
Like other drawing papers, pastel papers are available in a variety of colors and surface textures. Working on a toned surface allows the artist to start closer to the middle of the value scale and push values darker or lighter. This gives the artist immediate and more accurate feedback on the contrast of the color applied.
The tonality of the paper is often allowed to "show through" layers of pastel applications affecting the overall temperature of the image and the contrast of the colors applied.
The texture of the paper (or tooth) also plays a vital role in the finished appearance of the work. Smooth surfaces with allow for greater control of gradations of value and color, but are limited in how many layers can be applied to the surface.
Medium textures allow for a greater number of layered applications, but some may find it difficult to develop details early in the painting process. But once a few layers of pastel are in place, details can easily be developed.
Coarse textures will accept multiple applications of pastel. However, details and smooth gradations of value are difficult to achieve without multiple layered applications of pastel. Even with heavy layering, the tooth of the paper will affect the finished look and in most cases, the texture will still be visible when complete.
Often times, the subject and colors within the scene will influence the paper chosen. There are no rules as to which colors or textures are "best". However, if you desire contrast, choose a paper color that is opposite in color temperature from your subject. If harmony is what you are after, then choose a paper color that matches the color temperature of your subject.
#2 Tip - Layer Colors
Since pastels are so closely related to painting mediums, they can be approached with the same mind-set. Like with opaque painting mediums, colors can be layered over previous applications, either by covering them completely, or by allowing bits of color to show through.
Layering often leads to complexity in the color, which makes colors appear more natural and convincing. Naturally as colors are layered, they mix together - either optically or through blending. When colors are mixed, they add variety and interest to the work.
Don't expect one layer of color to do the trick. Layer multiple applications of color for a more finished and natural look.
As we just covered, layering colors naturally leads to mixing and mixing colors is important for any colored media. With pastels, the mixing takes place on the surface instead of on a palette. Colors can be mixed by layering colors on top of each other, blending them with a finger or blending stump. Mixing also occurs when unblended strokes are applied over previous applications, resulting in optical color mixing.
Instead of reaching for that manufactured "green", try mixing it first with yellows and blues. You can always deepen the color with the manufactured "green", if your mixed "green" isn't quite right.
#4 Tip - "Build Up" to Develop the Detail
For many drawing mediums, the details should be planned and addressed right from the start of the process. With pastels however, we do not need to develop the details early on. Instead, details can be addressed in the later stages of the work. While planning details with a light sketch is a good idea, we don't have to develop them fully.
The time during the early stages is best spent on developing the tones and colors of the subject. Large shapes of color can be applied and refined as the image develops. With underlying values and colors in place, the details are easily added right over the top.
Don't allow the detail in a subject to overwhelm you. With pastels, the details are better left to the latter stages of the process.
Pastels are capable of producing a wide variety of marks and this attribute should be exploited. The ability to blend the material to create smooth applications is wonderful, but there should be a balance.
Many beginning artists become so enamored with the process of blending that they blend absolutely everything in a pastel painting. This often leads to a work with poorly defined edges that also lacks variety.
A better approach is to combine blended and unblended applications in the work. Unblended applications can produce strong bursts of color or contrast and make objects appear closer to the viewer.
#6 - Stay Loose & Work Quickly
Pastels can be applied quickly to develop large areas of color in a short period of time. This allows the artist to develop fields of color quickly and loosely in the beginning stages of a work. Details and refinements can occur as the image develops, but staying "loose and quick" can help the artist see "results" in the earlier stages.
"Loosening up" may require allowing your marks to originate from your shoulder or elbow, instead of the wrist. Try making broad movements, using your whole arm to apply colors. Get as much color on the surface as quickly as possible, remembering that details can be refined later.
#7 Tip - Be Patient
#8 - Use "Black" Sparingly
This tip may seem contradictory to the last, but it's not. Loosening up and working quickly applies to earlier stages, while patience is required to layer colors, build up complexity in the color, and develop details.
Some drawing and painting mediums require only a few marks or brush strokes to be considered "finished", but with pastels, we must allow all of those layered applications to do what we intend them to do. This means that we cannot expect to arrive at a well-developed painting with just a few marks and applications of color. It's only through the patient process of applying and developing layers that we can expect to create a worthy and "polished" pastel work.
Black is a strong, intense color and when over-used, it can make an image appear flat and unnatural. Whenever possible, it's best to mix your own black with browns and blues. When black is unavoidable, it's best to use it in small doses. To lessen the strength of black, you may choose to layer colors over the top, producing a dark version of that color. The result may still appear "black", but including a bit of color in the mix will prevent it from looking "flat".
#9 - Fixative is Optional
Fixative can be applied to a finished pastel work to "hold" the chalky dust in place and protect the work, but it's important to note that this final step is purely optional. While fixative is great for preventing unwanted smudging, it can alter the tones of the colors. In most cases, a coat of fixative will make the values a bit darker.
If keeping the tonality of the work intact is important to you, then you can avoid applying any fixative. You can still protect the work with a cover sheet and store it away until you're ready to frame it. Once framed, your work will be protected but the values will be true to how you applied them. Or as in this case, you have the fixative spray on school.
So kids continuing with the last class lesson, you must follow a sequential approach that would be attached in images bellow, the background is developed first before moving on to the middle ground and foreground. Multiple layers of colors are added to develop strong contrast and to heighten the illusion of light.
As is the case with any image that features strong light, our focus centers around color and value contrast. Silhouetted elements in the middle ground and foreground enhance the lighter tones in the sky. Blues, purples, and oranges provide color contrast and the strengthen the illusion of light in the background - the "star of the show".
We start here with a base application of Ultramarine and bits of orange and yellow in the lower portion of the sky. PanPastels are used initially to cover the surface quickly. Over the top, a variety of blues are applied with pastel and blended with a finger. Darker blues are applied at the top of the sky transitioning to lighter blues at the bottom. A bit of light cream is applied at the bottom extreme to lighten the value even further.
Layered applications of orange, yellow, and light cream follow in the area of strongest light. In the lower portion of the sky, colors are gently blended with a finger by pulling them horizontally.
The light source is important in any work. In many circumstances, the light originates from above, producing highlights on the top of subjects and shadows underneath them. With a sunset, the light source is a bit more complex. Instead of originating from above, the light often originates from the horizon. This produces highlights on the underside of clouds and shadows on the upper portions.
We continue to patiently build up applications of light purples, blues, and oranges. Darker grays are applied in shadowed areas of the larger clouds to darken the value and strengthen the value contrast. Applications are gently blended with a finger to ease transitions and to smooth the texture. Detailed areas are blended with a blending stump for added control.
We continue to patiently build up applications of light purples, blues, and oranges. Darker grays are applied in shadowed areas of the larger clouds to darken the value and strengthen the value contrast. Applications are gently blended with a finger to ease transitions and to smooth the texture. Detailed areas are blended with a blending stump for added control.
The light is intensified by additional applications of orange, yellow, and light cream. A few strokes of light cream are applied to indicate a few breaks within the cloud.
Since the work is largely about the sky, we'll limit the amount of space devoted to the middle ground and foreground. By placing the horizon in the lower portion of the picture plane, we make certain that the sky remains the main focus.
Dark Umber is applied and blended to define the horizon and ground plain. A few marks are added to indicate distant trees, before touches of light and dark yellow-green are applied with a pastel pencil or you could use coloured pencil. Purples and pinks are added with horizontal strokes, creating a field of flowers.
Stronger marks are applied for flowers closer to the viewer with the same purples and pinks. A white pastel pencil or coloured pencil is used to lighten values closest to the light source.
Using a light touch with a black pastel pencil, the trunk and branches of the tree are defined. Small circular strokes are applied for the leaves over the outer edges of each branch. Light yellow-green is used to add a bit of color, softening the strength of the black.
Additional strong applications of orange are added to the bottom of the clouds to complete the image.
You have until april 1 to finish it and send the evidence to my email linahernandez@gcmeryland.edu.co or skype live:lina717_91
Hello Kids
Welcome back to your virtual art class
Date:23th April 2020, DAY 5
Topic: LQA
Objective: Close the topics seen in the first period
CC: Reliability
Key words: Edgar degas, art history, dancers, impressionism, the salon
We will close the first period with a test of 10 questions in kahoot, about edgar degas, first you will have 15 minutes to review and search the information about the artist, then we will enter zoom, you will type www.kahoot.it and the teacher will share her screen for you to see the questions and answer options, then you will enter the pin and your nickname, remember it must be your real name and last name for a correct identification.
Remember that each question has 30 seconds of time to answer, the results are automatic, and the score corresponds to the number of answers you have correct, for example, if you answer the 10 questions, you have 10, if you answer 5, your score will be that number.
Date:12th May 2020, DAY 5
Topic: Second term
Objective: Identify the topics and materials neede for the second term
CC: Reliability
Key words: Temperature, incidence, sources
| Second Term Topics |
| Colour | Identify light as a fundamental characteristic of colour by developing analysis around a series of ideas or exercises, in a certain order in relation to light sources using watercolours,pencil colours or paint. | Color temperature |
| Incidence of light in color | ||
| Light sources (natural light - artificial light) | ||
Materials needed
Then we will do a kahoot quiz about it
www.kahoo.it
- Paintings (blue, yellow, red, black and white)
- Or pencil colours
- Paint brushes, thin and round shapes
- Colour palette
- Art notebook
- Ruler
- Pencil
- Eraser
- Paper towels
- Water bowl
We will see this video and understand the bases for colour temperature
Then we will do a kahoot quiz about it
www.kahoo.it
Date:21th May 2020, DAY 5
Topic: Primary, Secondary and Terciary colours
Objective: Identify the Different types of colours and temperature and understand the art history context for afroclombian culture
CC: Reliability
Key words: Lois Mailou Jones, Sgrafitto
Date: 1st June 2020, DAY 5
Topic: Colour wheel
Objective: Apply the Different types of colours seeing on the last class and apply them on your own artwork composition based on the work from Lois Mailou Jones
CC: Reliability
Key words: Mask
Materials needed
-Oil Pastels Colours or Crayons (blue, yellow, red, black)
-Or Paintings/Pencil colours for the one that dosen't have the first point
-Black permanent markers: thin and chisel or thick tip
-Paint brushes, thin and round shapes
-Stick to scrape (the cap of an old marker or an old pen)
-Colour palette
-Art notebook
-Ruler
-Pencil
-Eraser
-Paper towels
-Water bowl
After you identify the colours above you will see this video to know the work from the artist Lois Mailou Jones, and create your own Mask Drawing applying the primay, secondary and tertiary colours
This project was inspired by Lois and features a lesson in mask drawing. It includes one of my favorite ways to “age” any drawing by covering it with black oil pastel and then scraping it off. It’s a process also known as sgraffito and can be messy, but the final etched look is well worth the trouble.
- Draw a skull and trace with thick black marker.
- Fill with Pimary, secondary and tertiary oil pastel colors.
- Cover everything with a thick layer of black pastel.
- Scrap away the top layer of the mask with a scraper.
- Continue scraping until the mask is all uncovered.
Date: 9th June 2020, DAY 5
Topic: Artificial and natural light in colour LQA
Objective: understand and apply how light affects colour
CC: Kindness
Key words: sensational, artificial
For our LQA, you will need your cameras (cellphone or digital), you will choose an object around you or yourself and create a scene where you develop a concept,like you where telling a short story, here you got some examples of photographs. But first of all we will understand how light affect colour.
Tearing
Loneliness
Introversion
Temptation
Resilience
To understand how different types of light affect color you have to know a little about what light is, how it works, and its relationship to color.
Light is one of the many waves found on the electromagnetic spectrum. Other waves on the spectrum include ultra violet, radio, microwaves and x-rays. What differentiates light from the others is that it is the only one that can be detected by the human eye.
All of the colors we see are a by product of spectrum light, as it is reflected off or absorbed into an object. An object that reflects back all of the rays of light will appear white; an object that absorbs all of the rays, black.
All of the millions of other colors are produced by a combination of light rays being absorbed and reflected. Grass, for example, absorbs all colors except the ones that make up its color of green.
After you identify the colours above you will see this video to know the work from the artist Lois Mailou Jones, and create your own Mask Drawing applying the primay, secondary and tertiary colours
This project was inspired by Lois and features a lesson in mask drawing. It includes one of my favorite ways to “age” any drawing by covering it with black oil pastel and then scraping it off. It’s a process also known as sgraffito and can be messy, but the final etched look is well worth the trouble.
- Draw a skull and trace with thick black marker.
- Fill with Pimary, secondary and tertiary oil pastel colors.
- Cover everything with a thick layer of black pastel.
- Scrap away the top layer of the mask with a scraper.
- Continue scraping until the mask is all uncovered.
Date: 9th June 2020, DAY 5
Topic: Artificial and natural light in colour LQA
Objective: understand and apply how light affects colour
CC: Kindness
Key words: sensational, artificial
For our LQA, you will need your cameras (cellphone or digital), you will choose an object around you or yourself and create a scene where you develop a concept,like you where telling a short story, here you got some examples of photographs. But first of all we will understand how light affect colour.
Tearing
Loneliness
Introversion
Temptation
Resilience
To understand how different types of light affect color you have to know a little about what light is, how it works, and its relationship to color.
Light is one of the many waves found on the electromagnetic spectrum. Other waves on the spectrum include ultra violet, radio, microwaves and x-rays. What differentiates light from the others is that it is the only one that can be detected by the human eye.
All of the colors we see are a by product of spectrum light, as it is reflected off or absorbed into an object. An object that reflects back all of the rays of light will appear white; an object that absorbs all of the rays, black.
All of the millions of other colors are produced by a combination of light rays being absorbed and reflected. Grass, for example, absorbs all colors except the ones that make up its color of green.
Light is one of the many waves found on the electromagnetic spectrum. Other waves on the spectrum include ultra violet, radio, microwaves and x-rays. What differentiates light from the others is that it is the only one that can be detected by the human eye.
All of the colors we see are a by product of spectrum light, as it is reflected off or absorbed into an object. An object that reflects back all of the rays of light will appear white; an object that absorbs all of the rays, black.
The Effects of Natural Light
Natural light can vary greatly depending on the weather, the season, the time of day, the position of the sun in the sky, the location of the building and where the space is located within the building. Understanding these factors can help you to anticipate how natural light will affect a color.
Light that enters a room from the north casts a cool, bluish tint on the objects is washes over. Using clear hues rather than ones that are muted or greyed. Northern light is indirect and can make colors appear darker and less saturated so you may want to compensate by considering a paint color that is a bit lighter or slightly more intense. (Illustrations: I would show three sets of AP swatches in popular colors. Colors that work best with northern light are light value, bright and clean. Colors best for rooms with southern exposure are medium value, toned, muted or greyed colors. Colors for rooms with either eastern or western exposures are warmer and less muted than those for southern exposure.
The color of northern light is the most diffused light and remains quite consistent throughout the day. This is why the colors of your paint and fabrics in a room with a northern exposure will remain the same color throughout the day than the same paint and fabrics used in a room with an east, west or southern exposure.
Rooms with southern exposure benefit from beautiful warm light but at time it can be too much light that is too intense or glaring. To solve this problem use colors that are muted with a bit of grey to absorb a bit of the light so the room feels more comfortable.
Light that comes from an eastern or western exposure is also warm. It cast a yellow to orange-yellow or red-orange tint that will change throughout the day as the sun moves across the sky. Light is softer and yellowish in the morning moving to intense and orange or reddish in late afternoon. Using colors that are warmer and less muted will help the color to work even when the sun is not streaming in.
Natural light can vary greatly depending on the weather, the season, the time of day, the position of the sun in the sky, the location of the building and where the space is located within the building. Understanding these factors can help you to anticipate how natural light will affect a color.
Light that enters a room from the north casts a cool, bluish tint on the objects is washes over. Using clear hues rather than ones that are muted or greyed. Northern light is indirect and can make colors appear darker and less saturated so you may want to compensate by considering a paint color that is a bit lighter or slightly more intense. (Illustrations: I would show three sets of AP swatches in popular colors. Colors that work best with northern light are light value, bright and clean. Colors best for rooms with southern exposure are medium value, toned, muted or greyed colors. Colors for rooms with either eastern or western exposures are warmer and less muted than those for southern exposure.
The color of northern light is the most diffused light and remains quite consistent throughout the day. This is why the colors of your paint and fabrics in a room with a northern exposure will remain the same color throughout the day than the same paint and fabrics used in a room with an east, west or southern exposure.
Rooms with southern exposure benefit from beautiful warm light but at time it can be too much light that is too intense or glaring. To solve this problem use colors that are muted with a bit of grey to absorb a bit of the light so the room feels more comfortable.
Light that comes from an eastern or western exposure is also warm. It cast a yellow to orange-yellow or red-orange tint that will change throughout the day as the sun moves across the sky. Light is softer and yellowish in the morning moving to intense and orange or reddish in late afternoon. Using colors that are warmer and less muted will help the color to work even when the sun is not streaming in.
Light that enters a room from the north casts a cool, bluish tint on the objects is washes over. Using clear hues rather than ones that are muted or greyed. Northern light is indirect and can make colors appear darker and less saturated so you may want to compensate by considering a paint color that is a bit lighter or slightly more intense. (Illustrations: I would show three sets of AP swatches in popular colors. Colors that work best with northern light are light value, bright and clean. Colors best for rooms with southern exposure are medium value, toned, muted or greyed colors. Colors for rooms with either eastern or western exposures are warmer and less muted than those for southern exposure.
The color of northern light is the most diffused light and remains quite consistent throughout the day. This is why the colors of your paint and fabrics in a room with a northern exposure will remain the same color throughout the day than the same paint and fabrics used in a room with an east, west or southern exposure.
Rooms with southern exposure benefit from beautiful warm light but at time it can be too much light that is too intense or glaring. To solve this problem use colors that are muted with a bit of grey to absorb a bit of the light so the room feels more comfortable.
Light that comes from an eastern or western exposure is also warm. It cast a yellow to orange-yellow or red-orange tint that will change throughout the day as the sun moves across the sky. Light is softer and yellowish in the morning moving to intense and orange or reddish in late afternoon. Using colors that are warmer and less muted will help the color to work even when the sun is not streaming in.
The Effects of Artificial Light
Artificial light supplements natural light so it is important for you to know how a space will be lit when selecting colors. The type of artificial lighting in a space influences how a color looks. Some of the most common sources are fluorescent and incandescent light bulbs, halogen bulbs, and LED lighting.
Halogen lighting is nearly white and the closest to natural light on a clear day around noon. Fluorescent lighting is more bluish although now some fluorescent bulbs produce light band that is close to daylight. Incandescent lighting produces a yellowish light.
When thinking about how your lighting and colors will work together, consider that warm, yellowish light can intensify warm colors and mute cooler hues, while cool bluish light does the opposite. For example, incandescent lighting cast warm light that can enhance reds, oranges and yellows; Cool fluorescent light works best with blues, violets and greens.
The value and intensity of a color are affected by the amount of light, too. In lower light, colors appear darker and less intense. As you increase the amount of light, the value lightens and the intensity increases until you reach its true color. Just keep in mind that too much light can make a color appear less saturated or washed out.
While you can understand how light affects color, choosing colors that will work in a particular lighting situation is still not an exact science. The best way to find the right color is to view a sample of the actual color and material that is at least a 12” x 12” in the space where you plan to use it and look at it in the actual lighting conditions of the space during different times of the day. Always look at the sample in the same plane it will be applied. For example, view wall paint vertically not flat on the floor or table; view rug or carpeting color flat on the floor. By doing this you can see how the color is affected by the light and make the perfect color choice.
Artificial light supplements natural light so it is important for you to know how a space will be lit when selecting colors. The type of artificial lighting in a space influences how a color looks. Some of the most common sources are fluorescent and incandescent light bulbs, halogen bulbs, and LED lighting.
Halogen lighting is nearly white and the closest to natural light on a clear day around noon. Fluorescent lighting is more bluish although now some fluorescent bulbs produce light band that is close to daylight. Incandescent lighting produces a yellowish light.
When thinking about how your lighting and colors will work together, consider that warm, yellowish light can intensify warm colors and mute cooler hues, while cool bluish light does the opposite. For example, incandescent lighting cast warm light that can enhance reds, oranges and yellows; Cool fluorescent light works best with blues, violets and greens.
Halogen lighting is nearly white and the closest to natural light on a clear day around noon. Fluorescent lighting is more bluish although now some fluorescent bulbs produce light band that is close to daylight. Incandescent lighting produces a yellowish light.
When thinking about how your lighting and colors will work together, consider that warm, yellowish light can intensify warm colors and mute cooler hues, while cool bluish light does the opposite. For example, incandescent lighting cast warm light that can enhance reds, oranges and yellows; Cool fluorescent light works best with blues, violets and greens.
The value and intensity of a color are affected by the amount of light, too. In lower light, colors appear darker and less intense. As you increase the amount of light, the value lightens and the intensity increases until you reach its true color. Just keep in mind that too much light can make a color appear less saturated or washed out.
While you can understand how light affects color, choosing colors that will work in a particular lighting situation is still not an exact science. The best way to find the right color is to view a sample of the actual color and material that is at least a 12” x 12” in the space where you plan to use it and look at it in the actual lighting conditions of the space during different times of the day. Always look at the sample in the same plane it will be applied. For example, view wall paint vertically not flat on the floor or table; view rug or carpeting color flat on the floor. By doing this you can see how the color is affected by the light and make the perfect color choice.
While you can understand how light affects color, choosing colors that will work in a particular lighting situation is still not an exact science. The best way to find the right color is to view a sample of the actual color and material that is at least a 12” x 12” in the space where you plan to use it and look at it in the actual lighting conditions of the space during different times of the day. Always look at the sample in the same plane it will be applied. For example, view wall paint vertically not flat on the floor or table; view rug or carpeting color flat on the floor. By doing this you can see how the color is affected by the light and make the perfect color choice.
