Y is for Yellow! B January

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Mary Norman
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Y is for Yellow! B January 22, 2016... Welcome to Lesson B! For our drawing exercise we will work on Blue Ballpoint Pen Blind Contours.

1 Y is for Yellow! B January 22, Welcome to Lesson B! For our drawing exercise we will work on Blue Ballpoint Pen Blind Contours. For our mixed-media assignment we will do a Distorted Master Copy of a painting from Picasso s Blue Period. Let s get started! (But first...) ^

2 B is for... bicycle box back butter blooper balloon big beguile blue blobs bonus baby books both bear benefit bite bedazzle banana bison blind contours believe beautiful blunder bored Bauhaus bold backtrack brilliant bargain behoove building bathtub board book buy blank birds blobs blog better beets backpack begin brainstorming ball Batman blip box Print out and add your own B words in the spaces in-between those listed here!

3 Batman... Backwards... Backwards Everything Do Backwards Everything Do by Wes, age 4

4 Artists... William Blake Francis Bacon Balthus Jean-Michel Basquiat Pierre Bonnard Edward Burra Francis Bacon Georges Braque Max Beckmann If a man will begin with certainties, Hieronymus Bosch he shall end in doubts; but if he will be Peter Blake Giacomo Balla content to begin with doubts he shall Arthur Boyd Willi Baumeister Georg Baselitz end in certainties. Lynda Barry Add your own names to those listed here!

Brainstorming... Breath... It s easier to tone down a wild idea than to think up a new one. Alex F. Osborn [The] human mind is like a parachute it functions better when it is open.

5 Brainstorming... Breath... It s easier to tone down a wild idea than to think up a new one. Alex F. Osborn [The] human mind is like a parachute it functions better when it is open. Coles Rules No idea is so outlandish that it should not be considered with a searching but at the same time steady eye. Winston Churchill There is never time to do it right the first time, but always time to do it again. Unknown The best way to get a good idea is to get a lot of ideas. Linus Pauling

Drawing Assignment Blue Blind Contours Supplies Needed sketchbook or drawing paper ballpoint pen (or other pen) two blue colored pencils a magazine.

6 Drawing Assignment Blue Blind Contours Supplies Needed sketchbook or drawing paper ballpoint pen (or other pen) two blue colored pencils a magazine... The drawing assignment for this two-week period is to do three pages of blind contour drawings, five drawings to a page (for a total of 15 small blind contour drawings). Each page will take minutes max. For each batch of blind contours, you will pass through again to: 1. add shadow and value with colored pencil #1 2. embellish for fun with colored pencil #2

1. Get a magazine, open to a page with something that sparks your interest, and put pen to paper. Slowly begin moving your pen, but don t look at your paper.

7 1. Get a magazine, open to a page with something that sparks your interest, and put pen to paper. Slowly begin moving your pen, but don t look at your paper. You want to try and move your pen and eyes along the edges of your subject at the same speed. (This is hard! Our eyes want to jump ahead.) You will look at your reference 100% of the time, and your paper 0%. 2. Remember to breathe; you might need to slow down. When you finish or get stuck, stop, don t judge, and move on to another page/reference. 3. Do 5 blind contour drawings on the same page. Don t worry if the drawings overlap. 4. Then, go back to your references, pick up your darker pencil and add value/shading. If you need help, squint your eyes. Add the value and darks to all five drawings. 5. Finally, pick your lighter pencil and embellish as much or little as you want (just to make it fun!) Do this exercise three times over the next two weeks; they should take about minutes max.

Mixed-Media Assignment Distorted Master Copy: The Blue Period (Picasso) Supplies Needed Copy of Girl in a Chemise by Pablo Picasso watercolor paper (hot press or cold press, 140#), size of

8 Mixed-Media Assignment Distorted Master Copy: The Blue Period (Picasso) Supplies Needed Copy of Girl in a Chemise by Pablo Picasso watercolor paper (hot press or cold press, 140#), size of your choice pencil watercolors brushes (a #12 round, a detail brush, a 1/4 flat) gloss gel medium rag photo references of images from Picasso s Blue Period optional: heat gun and masking tape...

Step by Step This is a multi-layered process whereby you alternately add layers of gloss gel medium and pale watercolor to build the painting from light to dark.

9 Step by Step This is a multi-layered process whereby you alternately add layers of gloss gel medium and pale watercolor to build the painting from light to dark. Step 1 Find a photo reference of one of Pablo Picasso s early Blue Period paintings. Choose a portrait that you would like to work with. Step 2 (optional) On your watercolor paper, mask off a rectangle with masking tape; press tape down firmly on the inside edges, as the watercolor can seep through. (Test this on a scrap piece of paper to make sure the tape doesn t rip your paper when pulled off.) Copy of Woman With Her Hair in a Small Bun by Pablo Picasso

10 Step 3 With pencil, do a Cheater Blind Contour drawing of your chosen painting. (A cheater blind contour is exactly the same thing as a blind contour, only you are allowed to look at your paper 3 or 4 times.) Copy of Woman With Her Hair in a Small Bun by Pablo Picasso Step 4 Identify the lightest areas of the painting. Are there any that are almost pure white? If so, dab some gel media in those areas with a small brush. It should feel dry and scratchy. (The clear gel media on white paper might be hard to see, so pick up your paper and hold at an angle in the light to make sure you have hit all the areas you want to hit.) Let dry completely. Step 5 Add a very wet, pale layer of watercolor. In the sample left, the face was painted with a light pink, and the rest of the painting with a light blue. Lift of any pooled paint if necessary. Let dry.

Step 6 Squint your eyes and identify all of the NEXT lightest areas. Repeat the gel medium step and paint those areas, keeping your brush loose. Let dry.

11 Step 6 Squint your eyes and identify all of the NEXT lightest areas. Repeat the gel medium step and paint those areas, keeping your brush loose. Let dry. Step 7 Add another layer of light-colored watercolor. Step 8 Repeat Steps 6 and 7 until your background is the value that best matches the painting. When needed, use a slightly damp rag to lift off pigment from areas, or correct mistakes. Step 9 Add details to the face with watercolor pigment (very dry brush) and pencil shading, if desired. Copy of Melancholy Woman by Pablo Picasso

Step 10 Paint the hair black. Let dry. Before Step 11, give the painting one last look to see if you can add any layers of paint or lift off pigment to lighten a value. (Don t scrub, though!

12 Step 10 Paint the hair black. Let dry. Before Step 11, give the painting one last look to see if you can add any layers of paint or lift off pigment to lighten a value. (Don t scrub, though!) Copy of Girl in a Chemise by Pablo Picasso Step 11 Using a large flat brush, cover the whole painting with gloss gel medium. Let dry, then remove masking tape carefully. Important: All papers and watercolor paints react differently; I recommend you test this on a scrap piece of paper first! Have Fun!

13 Copy of Woman with the Plumed Hat by Pablo Picasso

14 Optional Optional / Extra Credit After you ve done the B drawing and mixed-media assignments, you might want to try the following: 1. Do the drawing assignment again, but do cheater blinds instead of blind countours. 2. Paint a subject of your choice using the watercolor/ gel medium layering technique (patterns are fun, as are abstracts). 3. How can you incorporate the mixed-media technique into your usual way of painting? P.S. Please do NOT feel behind if you don t get to these! These prompts are optional.

Y is for Yellow! K May

Y is for Yellow! K May 27, 2016... Welcome to Lesson K, our first lesson of Session 2! For our drawing exercise we will work on drawings in the style of Kathe Kollwitz For our mixed-media exercise we will