CLASSROOM RULES

BE IN SEAT WHEN BELL RINGS

WHEN SPEAKING – LISTEN

FOLLOW CLEANUP PROCEEDURES

CLEAN AREA BEFORE SELF

DO NOT SAY “SHUT UP” OR “NAMES”

REWARDS

GUM – ANYTIME COKES – ANYTIME BUT PRUCHASED BEFORE CLASS BONUS POINTS

IPODS/PHONES

CONSEQUENCES

WARNING D-HALL FULL D-HALL OFFICE AND PARENTS Portfolios

Art 1 – 2 quality works per Semester

Art 2 – 4 quality works per Semester

Painting – 4 quality works per Semester

Due January 10 – Major Grade

Art Fee

Art 1 – 20 dollars for the Year

Art 2 – 40 dollars for the year

Painting – 40 dollars for the year ELEMENTS OF DESIGN

LINE, COLOR, SHAPE, TEXTURE, FORM, SPACE

LINE – THE PATH OF A MOVING POINT

TWO TYPES OF LINE – STRAIGHT AND CURVED

VERTICAL/ HORIZONTAL – STABLE WITH NO MOVEMENT DIAGONAL – UNSTABLE WITH MOVEMENT

ACTUAL LINES – LINES YOU CAN SEE IMPLIED LINES – LINES YOU CANNOT SEE BUT MAKE YOU LOOK IN A CERTAIN DIRECTION

LIGHTER, FUZZIER LINES APPEAR TO BE FURTHER AWAY

CLEAR, DARK LINES APPEAR TO BE CLOSER

PRIMARY COLORS – RED, BLUE, YELLOW NO OTHER COLORS MIXED TOGETHER MAKE A PRIMARY ALL OTHER COLORS ARE MADE BY MIXING THE PRIMARIES SECONDARY COLORS – ORANGE, GREEN, PURPLE MADE BY MIXING TWO PRIMARIES TOGETHER

INTERMEDIATE COLORS – R/O B/G B/P Y/O Y/G R/P MADE BY MIXING A PRIMARY WITH A SECONDARY

COMPLIMENTARY COLORS – COLORS OPPISITE ON THE COLOR WHEEL

ANALOGOUS COLORS – COLORS NEXT TO EACH OTHER ON THE COLOR WHEEL

MONOCHROMATIC COLORS – THE TINTS AND SHADES OF ONE COLOR

TINT – THE LIGHT AREAS OF A DRAWING

SHADE – THE DARK AREAS OF A DRAWING

WARM COLORS – RED, YELLOW, ORANGE SEEM TO COME TOWARD THE VIEWER

COOL COLORS – BLUE, GREEN, PURPLE SEEM TO MOVE AWAY FROM THE VIEWER

HUE – THE COMMON NAME OF A COLOR

LIGHT – THE VISUAL PORTION OF THE SPECTRUM SHAPE – A TWO DIMENSIONAL AREA ENCLOSED BY A LINE

FORM – A THREE DIMENSIONAL OBJECT

TEXTURE - VISUAL TEXTURE – TEXTURE THAT CAN BE SEEN BUT NOT FELT TACTILE TEXTURE – TEXTURE THAT CAN BE SEEN AND FELT

SPACE – POSITIVE – THE AREA OF INTEREST IN A DRAWING OR PAINTING NEGATIVE – THE AREA THAT SURROUNDS THE POSITIVE SPACE

PERSPECTIVE – A WAY TO MAKE DRAWINGS APPEAR 3-D ONE POINT TWO POINT

HORIZON LINE – A LINE AS FAR AS THE EYE CAN SEE VANISHING POINT – WHERE ALL OBJECTS SEEM TO RECEED CONTRAST – DIFFERENCE BETWEEN LIGHT AND DARK PRINCIPLES OF DESIGN

BALANCE, COMPOSITION, PATTERN, EMPHASIS, VARIETY, UNITY, RHYTHM MOVEMENT

BALANCE – ASSYMETRICAL – WHEN ONE SIDE APPEARS DIFFERENT THAN THE OTHER

SYMETRICAL – WHEN BOTH SIDES APPEAR EQUAL

RADIAL – LINES COMING FROM A CENTRAL POINT

COMPOSITION – THE ARRANGEMENT OF PARTS IN ART

PATTERN – REPEATING A SHAPE, LINE, COLOR IN AN ARTWORK

UNITY – A SENSE OF TOGETHERNESS IN AN ARTWORK EMPHASIS – TO PLACE GREATER ATTENTION ON AN AREA OF AN ARTWORK MOVEMENT – A WAY TO MAKE YOUR EYE MOVE THROUGH AN ARTWORK

RHYTHM – A FORM OF MOVEMENT IN AN ARTWORK

VARIETY – ADDING CHANGE TO COLOR, SHAPE, TEXTURE TO ADD INTEREST DRAWING PEOPLE

GESTURE –DRAWING A PERSON QUICKLY TO CAPTURE A POSE

SUSTAINED GESTURE- DRAWING A PERSON QUICKLY BUT ADDING SOME DETAIL

SUSTAINED DRAWING- A DETAILED DRAWING BUT NOT AS A STUDY

STUDY- A DRAWING THAT LOOKS LIKE ALMOST A PHOTO

A PERSON SHOULD BE DRAWN 7-8 HEADS TALL

WHEN DRAWING THE FACE, THE EYES ARE TO BE DRAWN IN THE MIDDLE OF THE HEAD

THE NOSE, HALF WAY DOWN FROM THE EYES TO THE CHIN

THE BOTTOM OF THE MOUTH, HALFWAY FROM THE NOSE TO THE CHIN

THE EARS, BETWEEN THE EYES AND THE BOTTOM OF THE NOSE EACH END OF THE MOUTH MEETS THE MIDDLE OF THE EYES

HAIR IS DRAWN ABOVE AND BELOW THE LINE OF THE HEAD

EYE BROWS ARE INDIVIDUALISTIC

EYES- COPY THE EXAMPLE

Artist’s Brain

THE ARTIST WANTS TO DEVELOP THE RIGHT SIDE OF THE BRAIN

YOU CANNOT TALK AND DRAW WELL

LOOK AT THE OUTSIDE OF AN OBJECT

LOOK AT OBJECT 75 % – PAPER 25 % CERAMICS

CERAMICS BEGAN AROUND 7000 YEARS AGO

SCIENTISTS BELIEVE CERAMICS WERE DISCOVERED BY ACCIDENT

LEATHERWARE – CLAY THAT IS WET BUT HAS DRIED TO BE A LITTLE STIFF

GREENWARE – CLAY THAT HAS TOTALLY DRIED

BISQUEWARE – CLAY THAT HAS BEEN FIRED ONCE

GLAZEWARE – CLAY THAT HAS BEEN FIRED, LAZED AND FIRED AGAIN

FIRST GLAZES WERE MADE FROM SAND

SCORING – ROUGHENING THE EDGES OF THE CLAY BEFORE JOINING THEM TOGETHER

SLIP – EXTREMELY WET CLAY THAT IS ADDING TO CLAY LIKE GLUE PRIOR TO JOINING THEM TOGETHER

SHARDS – BROKEN PIECES OF FIRED CLAY PINCH METHOD – PINCHING YOUR CLAY TO FORM YOUR POTTERY

COIL METHOD – ROLLING YOUR CLAY OUT INTO SNAKE FORM TO MAKE YOUR POTTERY

SLAB METHOD – ROLLING YOUR CLAY FLAT TO BUILD YOUR POTTERY

THROWING METHOD – BUILDING YOUR POTTERY ON A SPINNING WHEEL

KILN – THE OVEN USED TO BAKE THE CLAY

PRINTMAKING

PRINTMAKING IS THE USE OF A PLATE TO MAKE AN IMAGE

PRINTMAKING BEGAN AROUND 3000-4000 YEARS AGO

LITHOGRAPH IS THE USE OF A STONE TO MAKE AN IMAGE

LITHO-GRAPH IS GREEK FOR STONE-WRITING WOODCUTTING IS THE USE OF WOOD TO MAKE AN IMAGE

ETCHING IS THE USE OF METAL TO MAKE AN IMAGE

ETCHING WAS INVENTED DURING THE MIDDLE AGES

ALBRECT DURER WAS THE MOST FAMOUS PRINTMAKER DURING THE MIDDLE AGES

FOR THE FIRST TIME ART BECAME AVAILABLE TO THE PUBLIC

BRAYER – THE ROLLER USED TO SPREAD THE INK

INK PALLETTE – METAL SHEET USED TO SPREAD THE INK OUT ON

LINOLEUM CUTTER – USED TO CUT THE LINOLEUM

SERIES – A NUMBER OF PRINTS OF THE SAME PICTURE

PRINT – THE FINAL WORK IN A PRINTMAKING PROCESS PAINTING

PAINTING BEGAN AROUND 40,000 YEARS AGO

EARLY MAN USED BLOOD, PLANTS, BERRIES AND FAT TO MAKE HIS PAINTS

PAINTINGS MADE DURING THIS TIME WERE FOR RELIGIOUS REASONS

ARTISTICALLY SPEAKING, ROME FELL AROUND 453 CE. FRESCO PAINTINGS ARE MADE USING PAINT AND WET PLASTER.

THE WORD RENNAISSANCE MEANS REBIRTH

LEONARDO DA VINCI PAINTED THE “MONA LISA”.

MICHELANGELO PAINTED THE SISTINE CHAPEL

RAPHEAL PAINT “THE SCHOOL OF ATHENS”

FRANCISCO DA GOYA PAINTED “THE THIRD OF MAY, 1808”

A PAINTING DEPICTING AN EVERYDAY SCENE IS KNOWN AS A GENRE PAINTING PICASSO PAINTED “Ladies da Avignon” AND “GUERNICA”

ANDY WARHOL IS MOST FAMOUS FOR BEING A POP ARTIST

JACKSON POLLACK BEGAN ABSTRACT EXPRESSIONISM

TIME MAGIZINE PUT POLLACK ON THE COVER AND STATED “ART IS DEAD”