Drawing and Painting

What you will learn

You will be learning the techniques, vocabulary and history of drawing and painting.

A few rules
Supplies are to be treated with respect (rulers, pencils, erasers) Supplies stay in room unless you have permission Stay off the wheels (Im writing people up) Everything needs to be clean before you leave No throwing anything No spraying water bottles at people(written up the first time) Swearing will give you automatic zero The door will stay shut until bell rings and you will be seated after everything is clean. (you are not to be walking around) Everything will be school appropriate Never Touch any artwork that is not your own Papers left on the tables after you leave will be thrown away

Grading
You will be given 5 points a day for work If you are goofing around and not working your grade will be lower If you dont work you will be given a 0 Cleaning up early will lower your grade. If you are finished or cannot work for some reason let me know Most of the grades for the class will come from how well you work in class There will be assignment grades mostly based on following directions We will have 4 quizzes

Some

Principles of Design

Some

PRINCIPLES OF DESIGN
REPETITION CONTRAST BALANCE symmetry/asymmetry EMPHASIS - accent MOVEMENT PROPORTION UNITY

Repetition in Art
Creates visual rhythm |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ /////////////////////////////// |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ \\\\\\\\\\\\\\\\\\\\\\\\\ |_ |_ |_ |_ \\\\\\\ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ >>>>>>>>>>>>>>> |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ and |_ |_ patterns |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ <<< <<< |_ <<< <<< <<< |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ XXXXXXXX |_ |_ |_ |_ |_ |_ |_ |_ |_ O OO OO OOO OO O |_ |_ |_OO |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ XXXXXXXX |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ XXXXXXXX |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_ |_

Andy Warhol, Orange Disaster No. 5, 1963

Eadweard Muybridge, photographer

Poplars . . .

Monet Poplars . . .

Charles Demuth, The Figure 5 in Gold, 1928

Cimabue, Madonna Enthroned, 1280-90

TEXTBOOK p. 185

The Four Evangelists, from the Gospel Book of Charlemagne, early 9th century

TEXTBOOK p. 135

dancers

CAILLEBOTTE, Gustave Paris: A Rainy D ay, 1877, Oil on canvas, 83 1/2 x 108 3/4"

CONTRAST

Martin Munkacsi Boys on the Shore of Lake Tanganyika (1931) photograph

Night Attack on the Sanjo Palace (detail) Japan, Kamakura period, second half of the 13th Century Handscroll; ink and color on paper 16 1/4 x 275 1/2 in.

David Hockney, Portrait of an Artist (Pool with Two Figures), 1971

Contrasts & Oppositions in Hockneys Portrait of an Artist

Diagonal/horizontal Straight/curved lines Air/water/Earth fire? Natural/artificial Clothed/(nearly) naked Tint/shade (light/shadow) colors

Degas Waiting

Contrasts in Degass Waiting (1882, pastel)

WHITE BLACK
COLOR NO COLOR OPEN CLOSED YOUNG OLD PERFORMER SUPPORTER

BUSY EMPTY
INWARD GAZE OUTWARD GAZE

organizational contrast TWO GIRLS FISHING just variation? John Singer Sargent, 1912 (American, b.1856, d.1925) 22 x 28 1/4 in. (55.9 x 71.8 cm)

Winslow Homer American, 1836 - 1910 Right and Left, 1909 oil on canvas, 71.8 x 122.9 cm (28 1/4 x 48 3/8 in.)

White-on-white,

James McNeill Whistler American, 1834 - 1903

Symphony in White, No. 1: The White Girl

1862 oil on canvas, 213 x 107.9 cm (83 7/8 x 42 1/2 in.)

Gilbert Stuart American, 1755 - 1828

The Skater (Portrait of William Grant), 1782

oil on canvas, 245.5 x 147.4 cm (96 1/4 x 58 in.)

BALANCE

symmetry EQUILIBRIUM

TEXTBOOK p. 192

Leonardo da Vinci, Proportions of the Human Figure (Vitruvian Man)

Shiva, bronze temple sculpture, Chola Era (9th-13th C.), South India

Durer Dancing Peasants 1514

Master of the Saint Lucy Legend Bruges, active c. 1480 - c. 1510

Mary, Queen of Heaven,

c. 1485/1500 oil on panel, painted surface: 199.2 x 161.8 cm (78 7/16 x 63 3/4 in.)

Frida Kahlo, The Two Fridas, 1939

Assymetical balance?

Assymetical balance?

H. H. Richardson 1880-1883 Crane Memorial Public Library Quincy, Massachusetts

EMPHASIS

accent

A Sunday on La Grande Jatte Georges Seurat

not a good example of EMPHASIS

Andy Warhol, Orange Disaster No. 5, 1963

Picasso, Guernica, 1937

p. 410

MOVEMENT

PROPORTION

PROPORTION
PROPORTION

Leonardo: The Last Supper, 1498

Diego Rivera, The Flower Carrier, 1935, 48x48 in.

Shahn, Ben, Vacant Lot, 1939

Watercolor and gouache on paper mounted on plywood panel, 19 x 23 in

Claes Oldenburg, Knife Ship I, 1985

Vinyl-covered wood, steel, and aluminum with motors, dimensions variable,

maximum height 31 feet 8 inches x 40 feet 5 inches x 31 feet 6 inches.

Miniature

Leaf from Futuh al-Haramain (Description of the Two Holy Cities of Mecca and Medina), mid-16th century; Ottoman, 8x5 in.

a bit bigger . . .

Robert Motherwell, Elegy for the Spanish Revolution No. 34, 1953-54

Geogia O'Keeffe American, 18871986,

White Rose with Larkspur, No. 2,

40 x 30 in.

1927, Oil on canvas;

Geogia O'Keeffe Jimson Weed 70x84 in

Scale has to do with the size of the work itself

Unity

Starry Night Vincent Van Gogh

The Scream Edvard Munch

The

Some

PRINCIPLES OF DESIGN
REPETITION VARIATION CONTRAST BALANCE symmetry/asymmetry EMPHASIS Point of focus PROPORTION UNITY

Monets Bridge