![]() ![]() Advanced students may use complements or four colors includingmetallics. Students will apply color concepts to enhance print design. The student will learn to paint the sheathing with a brayer to create a patterned print that reveals good craftsmanship. Students will become familiar with relief printmaking process first with simple crayon rubbings followed by use of tempera and a relief plate made from inexpensive insulation sheathing. ![]() Student will understand printmaking as a way of producing multiple images. Students will become aware of emphasis, contrast, and balance in selecting two pattern designs. Students will discover pattern as a major concept in art history and become aware of pattern in works of Andy Warhol, Henri Matisse, and Gustave Klimt. Visual Arts Grades 9-12 Content Standard 6: Making connections between visual arts and other disciplines Math Cross Curriculum Connection Purpose: Visual Arts Grades 9-12 Content Standard 4: Understanding the visual arts in relation to history and cultures Visual Arts Grades 9-12 Content Standard 1: Understanding and applying media, techniques, and processes Student will demonstrate knowledge of relief printing. Student will demonstrate knowledge of line quality, value, color, balance, emphasis, contrast, and pattern. The student will learn printmaking skills and terminology. The student will use compositional concepts to appropriate two areas of a contour drawing to etch lines into a printing plate. Two portions of drawing will be transferred to and etched into a printing plate made from insulation sheathing. The student will successfully print a patterned composition appropriated from a blind contour line drawing. Acrylic Mediums, Varnish, Glaze and Gesso. ![]() Sculpt-It! TM Air – Hardening Sculpting Material.Colored Pencils, Graphite Pencils, Erasers, & Sharpeners.Watercolor Magic® Washable Liquid Watercolors.Or better yet, buy Betty’s excellent book Drawing on the Right Side of the Brain. To learn more about drawing check out these previous posts: Which of course kicks in the right side (which is what we want). This exercises is good because your L-Mode (left sided analytical brain) rejects what it sees (it lacks the language to try what it sees so it gives up). Intricate, deep chasms of lines, rivers, streams, criss crossing my hand in ways I had intellectually known were there but never saw. But what was amazing was that while drawing I saw things I have never seen before! They perceive and see things differently.įor this exercise it’s recommended you tape your canvas (paper) down, look at the palm of your hand (in a comfortable position) and then without thinking, draw all the wrinkles on your hand.Īs you can see it’s pretty ugly. You are going to perceive detail and lines you didn’t even know were there. It’s to get you to look at the wrinkles in your hand in a way that you never have before. ![]() In this exercise Betty asks us to draw the detailed wrinkles of our hands, without looking at what we are drawing. The outer edge of the composition (also very important) is part of the picture. If you draw one, you have drawn the other. Put another way the water stops where the boat begins – shared edges. For example the edge of the boat is shared with the sky and the water. So when you draw, you become aware that an edge has two sides. A contour is always the border of two things simultaneously – that is a shared edge. In drawing, an edge is where two things come together, and the line that depicts the shared edge is called a contour line. Continuing with the exercises outlined in Drawing on the Right Side of the Brain by Betty Edwards, today’s lesson is about getting better at kicking the right side of your brain, into gear, and turning off the left, by focusing on contours.Įdges have a very specific means to in drawing that is different from everyday language. ![]()
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