Next, color your drawing AFTER you have drawn your cross contour lines.
Then, go over your pencil lines with a black felt-tipped marker.
First, use your pencil to create cross contour lines on your contour drawing of your hand. Remember, you should start with light lines; because you can always make your lines darker, but it is more difficult to make your lines lighter.
Next, color your drawing AFTER you have drawn your cross contour lines. Then, go over your pencil lines with a black felt-tipped marker.
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Line: an element of art that is used to define space, contours, and outlines, or suggest mass and volume. Descriptive lines: lines that help us understand what we are seeing. Outlines: a line that surrounds a shape. Contour lines: the outer edges of shapes. Hatching: thin, closely spaced, parallel lines. Crosshatching: hatching lines that cross. Implied lines: lines that suggest an edge, rather than clearly define it. Edge: where one shape or space ends and another begins. Closure: our tendency to “see” completed figures where lines are left open. Line of Sight: the lines along which people look. Expressive line: lines that send us messages about what the artist wants his or her work to make us feel. Line Personalities: Line Shape or Movement: straight, curved, and jagged. Line Direction: vertical, horizontal, and diagonal. Abstract lines: are expressive and nonrepresentational; they are not used symbolize, outline, or look like shading. Blind Contour Drawing: Definition (scroll down a bit) Blind Contour Line Drawing Lesson Plan Blind contour drawing context Letter of Recommendation: Blind Contour Drawing DescriptionCritique: Mona Lisa What do you see? When describing an artwork you must stick with the facts. Include things like the objects, people, shapes, and colors that you and others can see. Do not include opinions. AnalysisCritique: Starry Night How is it organized? Analysis has to do with pointing out the relationships among the things you and others can see in an artwork. Do they clash or harmonize? Are they balanced? Is there variety? Is there unity without monotony? InterpretationCritique: The Scream What is it saying? To interpret an artwork is to explain the meaning of it: What is it expressing? What is the content? This is perhaps the most creative part of criticism. Sometimes we have to be indirect, to resort to the use of metaphor, to explain the meaning of a work. In art, there is often “more to it than meets the eye.” EvaluationCritique: The Persistence of Memory
Is it successful? The purpose of evaluation is to determine the quality of a work. The question is what criteria – what standards – should be used to decide whether an artwork is excellent? Let’s discuss some of the criteria critics have used: Formalism uses the elements and principles of design as a criterion in art criticism. Expressiveness refers to how effectively the work expresses or reflects a theme or worldview. Originality is a judgment about the works inventiveness or novelty. Does it display a fresh theme, or a fresh treatment of an old theme? Is the medium unique in some way? Critique: Guernica Is it successful? There is no single cluster of criteria for judging excellence in art. Different kinds of art require different criteria, and there are different schools of thought about what is good art. Still, when you evaluate an artwork, state your reasons. Your reasons should be grounded in the information and analyses you assembled from the first three stages of this criticism method. What do you see? How is it organized? What is it saying? If you are looking at my website in advance of the 2017 2018 school year, you are going to be disappointed. For the past two years, all that I taught was Digital Arts, and I taught that class as a year-long course. I am currently working on the structure for the new classes that I will be teaching this year.
The first thing to note is that visual art electives are moving from year-long classes to semester long classes. So, if you are enrolled in Digital Arts, you could get a rough understanding of what we will be doing in class; but we will not be able to do all of the things we have done in the past. Notably, Digital Arts will not be doing web design or animation. If you are enrolled in Cartooning and Animation, we will be doing animations; so you could get a rough sense of some of the things we will be doing in Cartooning and Animation if you look at some of the Adobe Flash (this year we will be using Adobe Animate) tutorials and assignments from last year; ; but we will be doing things that Digital Arts hasn’t done, so you’ll only get a small insight. With that said, here’s a bit of an overview of the classes I will teach, as I currently imagine them: In Digital Arts, we will learn how to use Adobe Illustrator and Adobe Photoshop. I imagine that we will spend the first two months working in Adobe Illustrator, and the second two months working in Adobe Photoshop, and the last month we will create a capstone project that shows our best work in a project that combines both programs. In Cartooning and Animation, we will likely take some time developing stories – creating characters, settings, and plots. We will likely draw some cartoons by hand, and eventually move onto the computer. We will likely use Adobe Illustrator (or Adobe Photoshop) to continue our development as cartoonists. We will end the semester creating short, animated films using Adobe Animate. In Video/Film we begin the semester working in groups to plan projects, write stories, use digital sound and video recording devices, and edit footage. Early on in the semester, we will establish roles and develop production teams within the class. By the second month of school we will be producing a regular (likely fortnightly) news program for the school. For this class, we will using Adobe Premiere to edit our videos. That’s it, I guess. Now I’m off to write my syllabus. I look forward to meeting you. Best wishes. |
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