COLOR PSYCHOLOGY (SKETCHBOOK #5)

SKETCHBOOK #5 - Give One, Get One 

In your sketchbook, write as many responses as you can to the question below:

How does color affect our everyday lives?

After you've written your responses, move around the room to GIVE one of your answers to a classmate and GET one of theirs - you should aim to get at least 3 new answers to this question.

After completing this exercise, think about all of the answers you now have, and then watch the video below:

For more information on how colors affects they way we perceive things, visit and read over the information on this site: 

http://library.thinkquest.org/27066/psychology/nlcolorpsych.html

COLOR THEORY CRASH COURSE (SKETCHBOOK #4)

To get us started with our painting unit, we'll practice color-mixing using some of the basics of color Theory.

Color Wheel: a circle divided into different sections, each begin a different color, that is used to show the relationship between colors, and as a tool when mixing colors.

Primary Colors: the three colors that cannot be mixed using any other colors. (Red, Yellow, Blue).

Secondary Colors: colors resulting from the mixing of two primary colors (Orange, Green, Violet).

Tertiary Colors: a combination of one primary and one secondary color (Red-Orange, Yellow-Orange, Yellow-Green, Blue-Green, Blue-Violet, Red-Violet).








Color Harmonies & Schemes: a series of colors that consist of two or more colors with a fixed relation on the color wheel.

Complimentary Colors: a pair of colors located directly opposite each other on the color wheel.

Analogous Colors: a series of 3 colors located right next to each other on the color wheel.

Triadic Colors: a series of 3 colors that appear at the points of an equilateral triangle when laid over a color wheel (when using a 12-color wheel, each color is separated by 3 colors).

SKETCHBOOK #4 - Color Wheel and Paint Mixing Practice

On at least 2 pages in your sketchbook, create your own color wheel for referencing while mixing paints. Set up your pages as pictured below and get to PAINTING!

(IMAGE to come)

VALUE and VALUE SCALES (SKETCHBOOK #3)

Value: refers to the lights and darks present in an artwork.

Value Scale: a visual representation of the range from light to dark.

When adding value to drawings/illustrations, there are multiple techniques that you might consider using. After you've transferred the basic outlines of your chosen image to your drawing paper, you should consider the techniques that are listed and described below (Modeling, Sfumato, Stippling, Cross-Hatching, Cross-Contour, and Scribbled Line).

Modeling: the process of marking a surface relying on the amount of pressure applied to the drawing tool to add value.

(IMAGE TO COME)

Sfumato: the process marking a surface by smudging the drawing material when adding value to create a hazy or dreamy effect.

(IMAGE TO COME)

Stippling: marking a surface with numerous dots or specks. When used to add value, the dots and specks maintain a consistent value, but become spaced further and further apart as the value represented lightens.

Cross-Hatching: marking a surface with numerous, short or long, criss-crossed parallel lines. When used to add value, the  lines maintain a consistent value, but become spaced further apart as the value represented lightens.

Cross-Contour: marking a surface with lines that represent the shape of a surface. When used to add value, the lines maintain a consistent value, but become spaced further and further apart as the value represented lightens.

(IMAGE TO COME)

Scribbled Line: marking a surface with intentional scribbles. When used to add value, the scribbles maintain a consistent value, but become spaced further and further apart as the value represented lightens.

SKETCHBOOK #3: Value Scales

Referencing the value scale handout and the descriptions of each technique, you will practice using MODELING and 4 others of your choice (to create a total of 5 value scales like the ones on the handout).

PERSPECTIVE & PROPORTION (SKETCHBOOK #2)

As in other content areas, words in art might be similar to those you've heard outside the art room. SOMETIMES they mean just about the same thing, but other times, they relate to art-specific concepts or technique. PERSPECTIVE is one of the words that is similar, but definitely has it's own art-specific definition:

Perspective: Art technique allowing for 3-dimensional space to be depicted on a 2-dimensional surface (Having to do with the angle from which an object or space is viewed and depicted).

From Below

From Straight On

From Above

PROPORTION as a word is a little more universal across contents:

 

Proportion: The comparative relationship between pieces and parts of a whole.

IN PROPORTION:

 Proper relation between the pieces and parts - "his nose is just the right size compared to the rest of his facial features."

OUT OF PROPORTION:

Improper relation between the pieces and parts - "his nose is BIG compared to the rest of hie facial features."

Leonardo Da Vinci
Vitruvian Man
1490

BASIC Proportion RULES (things to consider when beginning to draw/paint a person ... there are ALWAYS exceptions and slight variances)

FULL BODY

• Hieght = 8 heads stacked top to bottom
• Height = Arm Span
• Shoulder Width = 3 Head Widths
• Forearm = Foot Length

FACE

• Eyes are located, horizontally, in the center of the head
• Eye Width = space between the eyes
• Eye Width = Nose Width
• Top of ears align with the outer edge of the eyebrows
• Bottom of earlobes align with the corners of the mouth

SKETCHBOOK #2: Sketching Perspective 

Find an object to sketch, position it on a flat surface - DO NOT move the object after placed - and then sketch it from the three perspectives pictured above (From Below, From Straight On and From Above).

Specifically THINK about and NOTICE how the lines, shapes and values change as you change your perspective ... do you see something from one perspective that you couldn't from another?

SKETCHING: the process (SKETCHBOOK #1)

SEEING (with your eyes)  +  THINKING (with your brain)  +  DOING (with your hands)

This process requires you to use many different muscles that need exercising in order to work as one. Consistently practicing and using these muscles together will strengthen their connection, and therefore improve your ability to draw/paint the things you see and imagine.

BLIND-CONTINUOUS-LINE DRAWINGS: A drawing exercise that works to strengthen the connection between the eyes, brain and hands.

• Requires your full attention to be on the object you're drawing/painting
• NO peaking at the paper you're drawing on
• Your drawing/painting utensil does not leave the paper

Miranda
Self
2010
Sharpie, Watercolor

The goal here is to draw WHAT you see WHEN you see it.

1. Choose an object.
2. Choose a starting point on the object and position your drawing utensil on your paper/surface.
3. SLOWLY begin tracing your eyes along the contours of your object, making sure to see the details as you go - at the same time, draw how your eyes are moving and what they're seeing.
4. IF you loose focus or get overwhelmed, pause, re-position your drawing/painting utensil if necessary, and slowly begin again.

Your expected outcome should not be that you have perfectly drawn your chosen object when you finally look at your paper! What you will have will likely be a disjointed, skewed, abstract version of the object you were drawing/painting.

Amy Berlin
Self-Portrait
2011
Sharpie

Paul Klee
The Mocker Mocked
1930
Oil on Canvas

SKETCHBOOK #1: Blind-Continuous-Line Drawings

In your sketchbook, complete a BCL Drawing of each of the following  

(spend at least 5 minutes on each):

• Crumpled paper
• 1hand
• One OTHER person
• YOURSELF