ART: INTRODUCTION TO PAINTING GRADES 6-8

Transcription

1 ART: INTRODUCTION TO PAINTING GRADES 6-8 EWING PUBLIC SCHOOLS 2099 Pennington Road Ewing, NJ Board Approval Date: June 26, 2017 Michael Nitti Produced by: Sam DeCavalcante Superintendent In accordance with The Ewing Public Schools Policy 2230, Course Guides, this curriculum has been reviewed and found to be in compliance with all policies and all affirmative action criteria.

2 Table of Contents Page Course Description and Rationale 1 Unit 1: Introduction to Painting: A Brief History 2 Unit 2: Color Theory 4 Unit 3: Art Movements 6 Unit 4: Painting Techniques 8 Glossary of Terms 10

3 Course Description and Rationale Painting is the art or process of applying paints to a surface to make a picture. Introduction to Painting is a problem-solving course dealing with the use of composition, color, texture, form and value through still life, landscape, portrait and figure paintings. This is an introductory course that covers basic painting techniques with an emphasis on classic and contemporary applications of paint; students will explore and experience a variety of painting techniques, media and historical approaches to art. This course is designed for students who have no prior experience with paint, as well as students with limited painting skills. This course will summarize the history of painting and analyze the many different art movements, treatments and characteristics of the different painting styles. Students will learn how to mix paint, both by combining different colors as well as creating different tints, tones and shades of colors (adding white, grey or black to a color). Students will learn the process of underpainting with washes and slowly building up the paint in layers to create a finished painting. Students will investigate many different painting movements and styles, learning the unique characteristics of each style and be able to classify paintings upon viewing. At the end of this course, students will have a strong foundation of painting, color theory, techniques and knowledge of painting styles and genres. 3

4 Why Is This Unit Important? Unit 1: Introduction to Painting: A Brief History Students will learn a brief overview of painting and its history from Paleolithic times to present day. Students will examine how painting has evolved and devolved over time, undergoing many changes, from the subject matter to the technical application of the paint. Through critical analysis, students will identify cultural differences in paintings from around the world. Big Ideas: Paintings have evolved and devolved over the centuries. Painting has undergone many different stylistic changes with each style having its own unique and specific characteristics. Painters have adapted to the technological modernization of the world that surrounds them. Painters had to change the way in which they use their medium. Enduring Understanding: Students will understand that paintings show the history of mankind and how we have evolved as a society. Students will distinguish different cultures through paintings. Students will learn that paintings show different beliefs from different cultures. Students will realize that paintings have changed over time due to historical events. Essential Questions: Do paintings serve a purpose other than being aesthetically pleasing? Can you determine what life was like during a certain time period by viewing paintings from that time? Can paintings show a timeline of historical events? Do paintings change with the surrounding world? Can paintings illustrate cultural beliefs and show socioeconomics of different countries? Acquired Knowledge: Evolution of civilization. Paintings show turning points in our history. Paintings illustrate culture beliefs as well as socioeconomic characteristics of different countries. Painting changes overtime with new characteristics and techniques. Many different forms of art borrow characteristics and details from different styles of painting. Acquired Skills: Recognize different time periods of paintings. Identify different cultural characteristics of paintings. Observe ideologies from different cultures through paintings. 4

5 Common Misconceptions: All paintings are applied the same way and use the same techniques. Paintings serve no purpose but to be beautiful. Major Assessments: Group presentations Group discussions Do Now questions Higher order questions Instructional Materials: PowerPoint presentations and video documentaries/tutorials Concrete examples of paintings throughout history Paint cart (paint, palette, brushes, brush cleaners) Technology Integration: Websites: theartstory.org, artmovements.co.uk, arthistory.net, arthistoryresources.net, ancient.eu, quart.us, ducksters.com Standards Targeted: 1.2 History of the Arts and Culture: All students will understand the role, development and influence of the arts throughout history and across cultures. 1.4 Aesthetic Responses and Critique Methodologies: All students will demonstrate and apply an understanding of arts, philosophies, judgment, and analysis to works of art in dance, music, theatre, and visual art. 5

6 Unit 2: Color Theory Why Is This Unit Important? There is quite a bit of information to cover when it comes to color. Color theory encompasses a multitude of definitions, concepts and design applications. There are three basic categories of color theory that are logical and useful: the color wheel, color harmony and how colors are used. Students need to have a working knowledge of color theory to properly apply colors, mix colors, choose a color palette for their paintings, and to create or express an emotion in their paintings. Big Ideas: Color can set the mood, tone, feeling or atmosphere of a painting. Many factors affect color, the visible light, the color of the light and the atmosphere. Choosing the proper color combinations can change a picture s feeling, believability and perceived meaning. Enduring Understanding: Students will understand that value is created with tones, tints and shades. Students will learn that different amounts of color used to blend with another color will create various colors. Students will recognize that color can determine the outcome of a painting. Students will comprehend multiple color schemes (analogous, complementary, triadic). Essential Questions: What color should I use? How do I get a specific color by mixing different colors? Why do colors appear to change when I put a different color next to it? How does value work with color? Do I always need to add black for shadows and to make a color darker? How can I use color to create a feeling or express an idea? Acquired Knowledge: Specific colors create certain moods or feelings. Colors appear different depending on the surrounding colors. Artists use colors to tell their story. A single color (hue) has hundreds of different variations. Creating value in color is a simple as using a darker shade, tone or color. Acquired Skills: Choosing the proper color palette to suit the needs of the painting. Creating different values of a color by changing the amounts of white, grey or black added to that color. Mixing the proper amount of colors to create the specific color needed. 6

7 Adding value to a painting to create a sense of light and dark. Knowledge of which colors work well together and why. Common Misconceptions: Black is always needed to make a color appear darker, and white is always needed to lighten color. Color is not affected by the surrounding color. It does not matter what colors I pick for my painting. Major Assessments: Group discussions observing color in paintings Do Now questions Higher order questions Painting warm-ups (value charts and color charts) Painting projects Instructional Materials: PowerPoint presentations and video documentaries/tutorials Concrete examples of paintings Paint cart (paint, palette, brushes, brush cleaners) Technology Integration: Websites: theartstory.org, artmovements.co.uk, arthistory.net, arthistoryresources.net, ancient.eu, quart.us, ducksters.com Standards Targeted: 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theater and visual art. 1.4 Aesthetic Responses and Critique Methodologies: All students will demonstrate and apply an understanding of arts, philosophies, judgment and analysis to works of art in dance, music, theatre and visual art. 7

8 Unit 3: Art Movements Why Is This Unit Important? Students will closely examine the many different art movements that occurred over the centuries. The in-depth look at the major art movements will focus on the different styles of painting, the characteristics of color, lighting and subject matter will be examined along with motivation for creating new styles in painting. Students will investigate which historic event,s if any, led to the creation of new styles and movements in art. Big Ideas: Painting has undergone many transformations throughout time. There are many factors that lead to the creation of a new art movements, political statements, socioeconomic realities, technological advancements and creative ingenuity. These movements follow certain rules and each has its own specific characteristics. Enduring Understanding: Students will recognize various art movements. Students will understand that each art movement has specific defining attributes. Students will observe that each art movement has defined and stylized artistic traits. Students will learn that historical events, economic and social factors, and religious beliefs lead to the creation of different art movements. Essential Questions: What determines a new movement in art? What factors lead artists to create new types of artwork? Did they accidentally stumble upon some experimental way to paint and then considered it a movement? Acquired Knowledge: Students will learn the many different styles and genres of painting. Students will observe how the elements of design were used in various ways by specific movements. Students will examine famous artists and works of art from each art movement. Students will gain an artistic vocabulary. Students will learn the different time periods of art. Acquired Skills: Students will recreate the different painting styles in their own image. Students will apply color and light in various ways in their paintings. Students will understand the difference between realistic and abstract painting. 8

9 Common Misconceptions: Artists only painted in one style. Abstract artists never learned classical drawing principles. A student must have a unique style. All art movements are different from one another. Major Assessments: Do Now questions Higher order questions Group discussions Painting projects Instructional Materials: PowerPoint presentations and video documentaries/tutorials Concrete examples of paintings Paint cart (paint, palette, brushes, brush cleaners) Technology Integration: Websites: theartstory.org, artmovements.co.uk, arthistory.net, arthistoryresources.net, ancient.eu, quart.us, ducksters.com Standards Targeted: 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theater, and visual art. 1.2 History of the Arts and Culture: All students will understand the role, development and influence of the arts throughout history and across cultures. 1.4 Aesthetic Responses and Critique Methodologies: All students will demonstrate and apply an understanding of arts, philosophies, judgment and analysis to works of art in dance, music, theatre and visual art. 9

10 Unit 4: Painting Techniques Why Is This Unit Important? Painting techniques are the central foundation in creating a successful painting. There are specific technical methods to apply paint. Acrylic and water color paints must be applied differently. Specific types of paints have certain materials to which they may be applied and certain treatments of the various materials. Acrylic may be applied smoothly or it may be applied heavily where brush strokes may be visible in the paint (impasto). Learning the many different techniques, properties and styles of painting will create a strong foundation from which to build. Big Ideas: Expectations are limitless when an artist has a strong base knowledge of painting. As an artist grows with the medium, they will develop their own techniques that work best for them. When an artist has learned the different properties of the various paints, they can properly apply the paint to any surface; painting a mural on a wall, an illusion on a concrete ground, or a design on a car all become possibilities. Enduring Understanding: Students will understand the properties of Acrylic, Tempera, Oil and Water Color paints. Students will recognize the difference between acrylic paint and water color. Students will learn about different tools used to apply paint. Students will understand how the paint reacts to surfaces. Essential Questions: How should I start a painting? How do I get rid of the white spaces of the background showing through? What is an underpainting? Should I mix colors on the surface of my painting or on a palette? Acquired Knowledge: Students will learn about the different kinds of paint. Students will understand that each type of paint may have different techniques. Students will learn that different techniques will have different effects. Acquired Skills: Students will master the process of preparing any surface for paint. Students will learn to paint with washes and build up the layers. Students will learn different techniques for acrylic and watercolor paint. Students will create different paintings utilizing their knowledge of the art movements in combination with their technical application skills. 10

11 Common Misconceptions: Painting is too hard or too easy. No drawing skill means no painting skill. Major Assessments: Higher order questions Group discussions Painting projects Instructional Materials: PowerPoint presentations and video documentaries/tutorials Concrete examples of paintings Paint cart (paint, palette, brushes, brush cleaners) Technology Integration: Websites: theartstory.org, artmovements.co.uk, arthistory.net, arthistoryresources.net, ancient.eu, quart.us, ducksters.com Standards Targeted: 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles that govern the creation of works of art in dance, music, theater and visual art. 1.3 Performance: All students will synthesize those skills, media, methods and technologies appropriate to creating, performing and/or presenting works of art in dance, music, theatre and visual art. 1.4 Aesthetic Responses and Critique Methodologies: All students will demonstrate and apply an understanding of arts, philosophies, judgment and analysis to works of art in dance, music, theatre and visual art. 11

12 Glossary of Terms Accent: A detail, brushstroke or area of color placed in a painting for emphasis. Acid Free: Acid free refers to papers without acid (ph) in the pulp when manufactured. High acidity papers degrade quickly. Acrylic: Paint made from pigments and a synthetic plastic binder, water-soluble when wet, insoluble when dry. This popular alternative to oil paint can also duplicate many of watercolor s unique characteristics when used in a fluid manner. Analogous Colors: A grouping of related colors next to each other on the color wheel; i.e., Yellow, Yellow Green and Green. Atmospheric Perspective: Suggesting perspective in a painting with changes in tone and color between foreground and background. The background is usually blurred and hues are less intense. Back Runs: When a fresh brush stroke hits a still damp wash, it will force the original wash out in an irregular, often fractal, manner. Background: The area of a painting furthest from the viewer. In a landscape, this would include the sky and horizon. In a still life or portrait, it could be a wall or room interior. (See Foreground and Middle Ground) Binder: That which holds the paint together, such as linseed oil for oil painting, polymers for acrylics, gum arabic for watercolors and gouache. Blending: Fusing two color planes together so no discernable sharp divisions are apparent. Blocking In: Arranging of compositional elements using rough shapes, forms or geometric equivalents when starting a painting. Blotting: Using an absorbent material,such as tissues, paper towels, or a squeezed-out brush, to pick up and lighten a wet or damp wash. Can be used to lighten large areas or pick out fine details. Body Color: The mixing of opaque white gouache with transparent watercolor; or gouache colors in general. Broken Colors: The unequal mixing of two complementary colors. Cast Shadow: The dark area that results when the source of light has been intercepted by an object. Chiaroscuro: 1) The rendering of light and shade in painting; the subtle gradations and marked variations of light and shade for dramatic effect. 2) The style of painting light within deep shadows. Caravaggio and Rembrandt are considered masters of chiaroscuro. 12

13 Chroma: The purity or degree of saturation of a color; relative absence of white or gray in a color. Cold Pressed: Watercolor paper that is Cold Pressed (CP) or Not Pressed (NP) has a mildly rough texture. It takes color smoothly, but the tooth allows for slight irregularities and graining in washes. Complementary Colors: Colors at opposite points on the color wheel, i.e., red and green, yellow and purple. (See Primary and Secondary Colors) Composition: The arrangement of elements of form and color within an artwork. Cross-Hatching: Using fine overlapping planes of parallel lines of color or pencil to achieve texture or shading. Deckle: The tapered rough edges of watercolor and drawing papers, also referred to as barbs. Drawing: The act of marking lines on a surface, and the product of such action. Dry Brush: Any textured application of paint where your brush is fairly dry (thin or thick paint) and you rely the hairs of your brush, the angle of attack of your stroke, and the paper s surface texture to create broken areas of paint. Easel: A stand or resting place for working on or displaying a painting. A simple easel can be a tripod with a cross bar for the painting to sit on. Ferrule: The metal cylinder that surrounds and encloses the hairs on a brush. Figure: A human or animal form. Flat Color: Any area of a painting that has an unbroken single hue and value. Flat Wash: Any area of a painting where a wash of single color and value is painted in a series of multiple, overlapping stokes following the flow of the paint. Foreground: The area of a painting closest to the viewer. In a landscape, this would include the area from the viewer to the middle distance. (See Background and Middle Ground) Foreshortening: The technique of representing a three-dimensional image in two dimensions using the laws of perspective. Foxing: The development of patterns of brown or yellow splotches (stains) on old paper. Caused by a type of mold, foxing is often removed by treating with diluted bleach. 13

14 Fresco: Meaning fresh in Italian, fresco is the art of painting with pure pigments ground in water on uncured (wet) lime plaster. An ancient technique, it has been used worldwide by artists of many ages and cultures. Frottis: Thin transparent or semi-transparent glazes rubbed into the ground in the initial phases of an oil painting. Genre: A category of artistic work marked by a particular specified form, technique or content. Genre Painting: The depiction of common, everyday life in art, as opposed to religious or portrait painting, for example. Gesso: Ground plaster, chalk or marble mixed with glue or acrylic medium, generally white. It provides an absorbent ground for oil, acrylic and tempera painting. Gestalt: Gestalt theory states that the whole is greater than the sum of its parts. Creating effective designs depends on creating and balancing gestalt. Glazed Wash: Any transparent wash of color laid over a dry, previously-painted area, it is used to adjust color, value or intensity of underlying painting. Gouache: 1) Watercolor painting technique using white and opaque colors. 2) A waterbased paint, much like transparent watercolor, but made in opaque form. Graded Wash: A wash that smoothly changes in value from dark to light. Grain: The basic structure of the surface of paper, as in fine, medium and rough grain. Grisaille: The technique of painting a highly-modeled, black and white monochromatic base painting and then glazing it with transparent colors. Highlight: A point of intense brightness, such as the reflection in an eye. Hot Pressed: Hot pressed (HP) watercolor paper is pressed for an extremely smooth work surface. It is excellent for mixed ink and watercolor techniques. Hue: The color of a pigment or object. Not relating to tone or value. Impasto: Thickly-applied oil or acrylic paint that leaves dimensional texture through brushstrokes or palette knife marks. Landscape: A painting in which the subject matter is natural scenery. Lightfast: A pigment s resistance to fading on long exposure to sunlight. Watercolors are rated lightfast on a scale of I-IV. I and II ratings are the most permanent. Local Color: The actual color of an object being painted, unmodified by light or shadow. (An orange is orange.) 14

15 Masking Fluid: A latex gum product that is used to cover a surface you wish to protect from receiving paint. Medium: 1) The type of art material used: pencil, ink, watercolor, oil, acrylic, egg tempera, etc. 2) The liquid mixed with paint to thin, aid in slow drying, or alter the working qualities of the paint. Middle Ground: The area of a painting between the foreground and the background. In a landscape, this usually where your focal point would be. (See Background and Foreground) Modeling: Representing color and lighting effects to make an image appear threedimensional. Monochromatic: A single color in all its values. Motif: A term meaning subject. Flowers or roses can be a motif. Muted: Suppressing the full color value of a particular color. Negative Space: The areas of an artwork that are NOT the primary subject or object. Negative Space defines the subject by implication. Non-Staining Colors: Pigments that can be lifted cleanly (wet or re-wet) with little or no discoloration of the underlying paper fibers. Opaque: A paint that is not transparent by nature or intentionally. A dense paint that obscures or totally hides the underpainting in any given artwork. Palette: 1) The paint mixing and storing surface of various shapes and being made of plastic, metal, glass, ceramic or enameled trays for watercolor. Glass, palette paper, formica and oiled wood are used for oil painting; glass, metal, styrofoam and palette paper are used for acrylic painting palettes. 2) The selection of colors an artist chooses to work with. Perspective: Representing three-dimensional volumes and space in two dimensions in a manner that imitates depth, height and width as seen with stereoscopic eyes. Polychrome: Poly = many, chrome or chroma = colors. Can refer to artwork made with bright, multi-colored paint. Polyptych: A single work comprised of multiple sections, panels or canvas. Diptych = two, triptych = three. Positive Space: The areas of an artwork that ARE the primary subject or object. Positive Space defines the subject s outline. Primary Colors: Red, yellow and blue, the mixture of which will yield all other colors in the spectrum, but which themselves cannot be produced through a mixture of other colors. 15

16 Resist: Any material, usually wax or grease crayons, that repel paint or dyes. Rough: Rough watercolor paper has a coarse, rough texture. This surface allows for maximum graining of washes and accidental highlights and textures. Scumbling: Dragging a dense or opaque color across another color, creating a rough texture. Secondary Colors: Colors obtained by mixing two primary colors: green, violet and orange. Sketch: A rough or loose visualization of a subject or composition. Staining Colors: Colors that cannot be fully removed from your paper, Staining Colors permeate the fiber of the paper and leave a permanent tint. Check your hands after painting; the hardest colors to wash off are usually the staining colors. Still Life: Any work whose subject matter is inanimate objects. Study: A comprehensive drawing of a subject or details of a subject that can be used for reference while painting. Support: The surface on which a painting is made: canvas, paper, wood, parchment, metal, etc. Tempera: Pigments mixed with egg yolk and water; also, a student-grade liquid gouache. Texture: The actual or virtual representation of different surfaces, paint applied in a manner that breaks up the continuous color or tone. Thumbnail Sketch: Small (credit card size or so) tonal and compositional sketches to try out design or subject ideas. Tone: The light and dark values of a color. Trompe l oeil: A term meaning Fool the eye in French. It involves rendering a subject with such detail and attention to lighting and perspective that the finished piece appears real and three-dimensional. Underpainting: The first, thin transparent laying in of color in a painting. Values: The relative lightness or darkness of colors or grays. Variegated Wash: A wet wash created by blending a variety of discrete colors so that each color retains its character while also blending uniquely with the other colors in the wash. Vignette: A painting which is shaded off around the edges leaving a pleasing shape within a border of white or color. Oval or broken vignettes are very common. 16

17 Wash: A transparent layer of diluted color that is brushed on. Watercolor: Painting in pigments suspended in water and a binder such as gum arabic. Traditionally used in a light to dark manner, using the white of the paper to determine values. Wet-on-Wet: The technique of painting wet color into a wet surface (paper saturated). Wove Paper: A paper showing even texture and thickness when held to light. Created with a very fine netting, a uniform, smooth texture results. Often used in fine writing and calligraphy, archival quality woven paper can be used by watercolorists with good results. 17