DRAWING OVER TIME This Thematic Time Chart Features Various Drawing Sites, Methods, Techniques, Materials, Disciplines, Functions, and Cross-Sections Over Time
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Visual Arts – Specific Rules/Guidelines
Visual Arts – Specific Rules/Guidelines VISUAL ARTS include many art forms that are visual in nature. The artist (student submitting entry) is a person who captures their own thoughts and ideas to create a visual piece of art. Accepted forms of visual art include: Collages, photographic collages (multiple photos cut/pasted), computer-generated image, design, drawing, painting, and printmaking. Non-accepted forms of visual art include: 3D artwork (artwork that is not flat on the surface). Reproductions or enlargements of another artwork. Reflect on the 2020-2021 Theme: I Matter Because… An explanation of the art form might be a useful addition to the artist statement. Whether an entry displays use of formal technique or a simple approach, it will be judged primarily on how well the student uses his or her artistic vision to portray the theme, originality and creativity. Copyright: Use of copyrighted material, including any copyrighted cartoon characters or likeness thereof, is not acceptable in any visual arts submission, with the following exceptions: • Visual artwork may include public places, well-known products, trademarks or certain other copyrighted material as long as that copyrighted material is incidental to the subject matter of the piece and/or is a smaller element of a whole. The resulting work cannot try to establish an association between the student and the trademark/business/material, or influence the purchase/non-purchase of the trademarked good. • Visual arts collages may include portions of existing copyrighted works, such as photographs, magazine clippings, internet images and type cut out of a newspaper, as long as those portions of copyrighted works are used to create a completely new and different work of art. -
4 Year Degree Schedule – Painting/Drawing/Printmaking
SUU Department of Art & Design 2020 – 2021 Catalog Minimum University Requirements Total Credits 120 Art History Credits 9 General Education Core Credits 30 – 35 Art Foundation Credits 28 Art Area Credits 54 University Electives 3 - 14 4 Year Degree Schedule – Painting/Drawing/Printmaking First Year Fall Semester Credits Notes Spring Semester Credits Notes Foundation Foundation ART 1110: Drawing I 3 ART 1130: 3-D Design 3 Course Course Foundation Foundation ART 1120: 2-D Design 3 ART 2110: Drawing II 3 Course Course ART 1050: Intro to Foundation Foundation 3 ART 2210: Digital Tools 3 Photography Course Course Foundation ARTH 2710: Art History Foundation ART 3000: Art Insights .5 3 Course Survey I Course Foundation Gen Ed Core Requirement 3 Gen Ed Course ART 3000: Art Insights .5 Course Gen Ed Knowledge 3 Gen Ed Course Gen Ed Core Requirement 3 Gen Ed Course Requirement Total Credits: 15.5 Total Credits: 15.5 Second Year Fall Semester Credits Notes Spring Semester Credits Notes Art Area ART 3450: Portrait & ART 2410: Painting I 3 3 Art Area Course Course Figure Painting ART 3310: Art Area 3 ART 4410: Painting II 3 Art Area Course Intaglio/Lithography Course ART 3110: Life Drawing & Art Area ART 4310: Advanced 3 3 Art Area Course Anatomy Course Printmaking Foundation ARTH 2720: Art History Foundation ART 3000: Art Insights .5 3 Course Survey II Course Foundation Gen Ed Core Requirement 3 Gen Ed Course Art 3000: Art Insights .5 Course Gen Ed Knowledge 3 Gen Ed Course Gen Ed Core Requirement 3 Gen Ed Course Requirement Total Credits: 15.5 -
Mural Installation Guide City of Frankfort, Kentucky
Mural Installation Guide City of Frankfort, Kentucky This guide is intended to provide answers to basic questions anyone must answer about creating a mural, from how to prepare a wall surface, to what kind of approvals you will need, to appropriate materials to use. The information here has been culled from best practices that have been documented by artists and mural organizations throughout the country. While this guide provides a roadmap, every project will have its own unique circumstances. Anyone taking on a mural project should look for guidance from artists, curators, arts organizations or others who are experienced with the details of mural production. At the end of this publication there is a Resource Guide that provides additional information and tips about where to find help. In This Guide… Part One – Evaluating a Wall I Page 2 Part Two – Approvals and Permissions I Page 4 Part Three – Creating a Design I Page 5 Part Four – Prep Work I Page 6 Part Five – Paint and Supplies I Page 9 Part Six – Maintenance, Repair, Conservation I Page 11 Part Seven – Checklist of Commonly Used Items I Page 12 Part Eight – Resource Guide I Page 13 Part One – Evaluating a Wall The best type of surface to receive paint is one that is a raw, unpainted brick, concrete or stone material that is free of the defects described below. However, keep in mind that the unpainted masonry requires special approval from the Architectural Review Board. Painting unpainted masonry in the historic district is generally not permitted. Wood, metal and other materials that are in new or good condition can also be satisfactory if properly prepared and sealed. -
Bibliography
Bibliography Many books were read and researched in the compilation of Binford, L. R, 1983, Working at Archaeology. Academic Press, The Encyclopedic Dictionary of Archaeology: New York. Binford, L. R, and Binford, S. R (eds.), 1968, New Perspectives in American Museum of Natural History, 1993, The First Humans. Archaeology. Aldine, Chicago. HarperSanFrancisco, San Francisco. Braidwood, R 1.,1960, Archaeologists and What They Do. Franklin American Museum of Natural History, 1993, People of the Stone Watts, New York. Age. HarperSanFrancisco, San Francisco. Branigan, Keith (ed.), 1982, The Atlas ofArchaeology. St. Martin's, American Museum of Natural History, 1994, New World and Pacific New York. Civilizations. HarperSanFrancisco, San Francisco. Bray, w., and Tump, D., 1972, Penguin Dictionary ofArchaeology. American Museum of Natural History, 1994, Old World Civiliza Penguin, New York. tions. HarperSanFrancisco, San Francisco. Brennan, L., 1973, Beginner's Guide to Archaeology. Stackpole Ashmore, w., and Sharer, R. J., 1988, Discovering Our Past: A Brief Books, Harrisburg, PA. Introduction to Archaeology. Mayfield, Mountain View, CA. Broderick, M., and Morton, A. A., 1924, A Concise Dictionary of Atkinson, R J. C., 1985, Field Archaeology, 2d ed. Hyperion, New Egyptian Archaeology. Ares Publishers, Chicago. York. Brothwell, D., 1963, Digging Up Bones: The Excavation, Treatment Bacon, E. (ed.), 1976, The Great Archaeologists. Bobbs-Merrill, and Study ofHuman Skeletal Remains. British Museum, London. New York. Brothwell, D., and Higgs, E. (eds.), 1969, Science in Archaeology, Bahn, P., 1993, Collins Dictionary of Archaeology. ABC-CLIO, 2d ed. Thames and Hudson, London. Santa Barbara, CA. Budge, E. A. Wallis, 1929, The Rosetta Stone. Dover, New York. Bahn, P. -
Drawing and Painting Course Syllabus CHS Art Department Contact Information
Drawing and Painting Course Syllabus CHS Art Department Contact Information: Parents may contact me by phone, email or visiting the school. Teacher: Lori Dana Email Address: [email protected] or [email protected] Phone Number: (740) 702-2287 ext. 16241 Online: http://www.ccsd.us/1/Home CHS Vision Statement: Our vision is to be a caring learning center respected for its comprehensive excellence. CHS Mission Statement: Our mission is to prepare our students to serve their communities and to commit to life-long learning Course Description and Prerequisite(s) from Course Handbook: This is a second level art course focusing on 2 dimensional media. Students will continue to explore the elements and principles of art, current and past practicing artists, technique, and concept as it pertains to art making. A variety of 2 dimensional media will be explored including but not limited to, pencil, charcoal, pastels, acrylics, watercolors, etc. There is a $20 fee for this course. Learning Targets per Unit: Defined below for clarity are the Unit Titles, Big Ideas of every Unit taught during this course, and the Essential Questions to be answered to better understand the Big Ideas. A student’s ability to grasp and answer the Essential Questions will define whether or not he or she adequately learns and can apply the skills found in Big Ideas. This will ultimately define whether or not a student scores well on assessments given for this course. The Common Core Standards can be found at http://www.corestandards.org/the-standards. (Teacher Note: The Ainsworth Model suggests 1-3 Big Ideas for each Unit and 1-3 essential questions per Big Idea. -
Mummies and Mummification Practices in the Southern and Southwestern United States Mahmoud Y
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Karl Reinhard Papers/Publications Natural Resources, School of 1998 Mummies and mummification practices in the southern and southwestern United States Mahmoud Y. El-Najjar Yarmouk University, Irbid, Jordan Thomas M. J. Mulinski Chicago, Illinois Karl Reinhard University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/natresreinhard El-Najjar, Mahmoud Y.; Mulinski, Thomas M. J.; and Reinhard, Karl, "Mummies and mummification practices in the southern and southwestern United States" (1998). Karl Reinhard Papers/Publications. 13. http://digitalcommons.unl.edu/natresreinhard/13 This Article is brought to you for free and open access by the Natural Resources, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Karl Reinhard Papers/Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in MUMMIES, DISEASE & ANCIENT CULTURES, Second Edition, ed. Aidan Cockburn, Eve Cockburn, and Theodore A. Reyman. Cambridge: Cambridge University Press, 1998. 7 pp. 121–137. Copyright © 1998 Cambridge University Press. Used by permission. Mummies and mummification practices in the southern and southwestern United States MAHMOUD Y. EL-NAJJAR, THOMAS M.J. MULINSKI AND KARL J. REINHARD Mummification was not intentional for most North American prehistoric cultures. Natural mummification occurred in the dry areas ofNorth America, where mummies have been recovered from rock shelters, caves, and over hangs. In these places, corpses desiccated and spontaneously mummified. In North America, mummies are recovered from four main regions: the south ern and southwestern United States, the Aleutian Islands, and the Ozark Mountains ofArkansas. -
The Global History of Paleopathology
OUP UNCORRECTED PROOF – FIRST-PROOF, 01/31/12, NEWGEN TH E GLOBA L H ISTORY OF PALEOPATHOLOGY 000_JaneBuikstra_FM.indd0_JaneBuikstra_FM.indd i 11/31/2012/31/2012 44:03:58:03:58 PPMM OUP UNCORRECTED PROOF – FIRST-PROOF, 01/31/12, NEWGEN 000_JaneBuikstra_FM.indd0_JaneBuikstra_FM.indd iiii 11/31/2012/31/2012 44:03:59:03:59 PPMM OUP UNCORRECTED PROOF – FIRST-PROOF, 01/31/12, NEWGEN TH E GLOBA L H ISTORY OF PALEOPATHOLOGY Pioneers and Prospects EDITED BY JANE E. BUIKSTRA AND CHARLOTTE A. ROBERTS 3 000_JaneBuikstra_FM.indd0_JaneBuikstra_FM.indd iiiiii 11/31/2012/31/2012 44:03:59:03:59 PPMM OUP UNCORRECTED PROOF – FIRST-PROOF, 01/31/12, NEWGEN 1 Oxford University Press Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With o! ces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland " ailand Turkey Ukraine Vietnam Copyright © #$%# by Oxford University Press, Inc. Published by Oxford University Press, Inc. %&' Madison Avenue, New York, New York %$$%( www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. CIP to come ISBN-%): ISBN $–%&- % ) * + & ' ( , # Printed in the United States of America on acid-free paper 000_JaneBuikstra_FM.indd0_JaneBuikstra_FM.indd iivv 11/31/2012/31/2012 44:03:59:03:59 PPMM OUP UNCORRECTED PROOF – FIRST-PROOF, 01/31/12, NEWGEN To J. -
Human Cremation in Mexico 3,000 Years Ago
Human cremation in Mexico 3,000 years ago William N. Duncan*†, Andrew K. Balkansky‡, Kimberly Crawford‡, Heather A. Lapham‡, and Nathan J. Meissner‡ *Department of Anthropology, St. John Fisher College, Rochester, NY 14618; and ‡Department of Anthropology, Southern Illinois University, Carbondale, IL 62901 Edited by Joyce Marcus, University of Michigan, Ann Arbor, MI, and approved February 22, 2008 (received for review November 10, 2007) Mixtec nobles are depicted in codices and other proto-historic ological contexts and osteological analyses of the burials, and documentation taking part in funerary rites involving cremation. evaluate the evidence based on known aspects of the Mixtec The time depth for this practice was unknown, but excavations at mortuary program. These early examples of cremation, along the early village site of Tayata, in the southern state of Oaxaca, with other factors, could reflect the emergence of ranked Mexico, recovered undisturbed cremation burials in contexts dat- society in the ancient Mixteca Alta and indicate that proto- ing from the eleventh century B.C. These are the earliest examples historic methods of marking social status had precursors of a burial practice that in later times was reserved for Mixtec kings extending back 3,000 years from the present. and Aztec emperors. This article describes the burial contexts and human remains, linking Formative period archaeology with eth- Archaeological Context nohistorical descriptions of Mixtec mortuary practices. The use of Survey and excavation indicate that Tayata was among the cremation to mark elevated social status among the Mixtec was largest villages of the preurban Formative period in the established by 3,000 years ago, when hereditary differences in Mixteca Alta of Oaxaca, Mexico (18, 19). -
Ötzi the Iceman Worksheets
From mummies to mitochondria, skeletons to sequencing, Denisovans to DNA, molecules to murder…. Our human Inheritance Understanding our genetic ancestry & what makes us human featuring Ötzi the iceman Look at the mummy! Did you know: The Making of Ötzi’s Replica What type of images were used to make Ötzi’s ancient tattoos were the 3D print of Ötzi? made by making fine cuts in his skin and then rubbing charcoal in the cuts. Where in Italy is the real mummy stored? Ancient Ink Ötzi has 57 visible tattoos in the form of small lines and crosses. (4 cannot be seen.) Fatal Wound FIND and DRAW as many tattoos as you can on the illustration of the iceman’s mummy Evidence suggests that Ötzi was shot by (each line counts as a single tattoo; a cross an arrow, and this caused his death. would count as two). MARK the location of the arrow wound with an “X” on the Ötzi to the right. Damage CIRCLE the area of the mummy that is damaged. Did you know? The arrowhead that caused Ötzi to Did you know: bleed to death wasn’t This damage was caused discovered until 10 years after accidentally by a power tool the mummy was found. during the recovery of the mummy in 1991. Ötzi the iceman Read the panels! Did you know? Did you know? A paper published in 2016 All except one of Ötzi’s shows that Otzi also carried H. fingernails were missing; a pylori, a bacteria associated single detached nail was with stomach ulcers! found by his body! DNA Analysis Scientists identified DNA from different bacteria One of Ötzi’s fingernails had horizontal ridges and other living things. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Ancient Egypt – How Were Mummies Made?
Notes for teachers Ancient Egypt – How were mummies made? Aims To help students understand the process of mummification To provide students with initial information suggesting why bodies were mummified To encourage students to consider a range of sources in their enquiries Description A sequence of 10 slides to explore an overall question: ‘How were mummies made?’ Slide 2 is a quote from Herodotus describing mummification Slides 3 to 9 describe the process of mummification Teaching ideas The presentation can be used on a whiteboard with the whole class or could be followed by individual students or groups. Use slide 2, Herodotus’ description of mummification, to break the process into stages. These could be supported and linked to images of objects used during each process. Explore the types of evidence used to show the process of mummification in this presentation. Discuss the use of written evidence and evidence derived from objects. Use the presentation as a starting point for understanding why mummification and the survival of the body was important to the ancient Egyptians. Explore the Mummification chapter of the British Museum’s Ancient Egypt website: www.ancientegypt.co.uk which provides information on mummification, a virtual mummy and coffin to explore and a challenge to journey through the underworld. Notes on the pictures Slide 3: Removal of the organs (images listed below in the order they appear) Bronze probe from Egypt, after 664 BC. Hooks such as this were used to remove the brain. X-rays of mummies sometime show small broken bones in the naval cavity caused when removing the brain. -
Prehistoric Art
PREHISTORIC ART THE BEGINNING Not until 25,000 years ago did out forebears invent art • The first art objects were created not to adorn the body or decorate the cavern--- But attempt to control or appease natural forces CAVE PAINTING • FIRST PAINTINGS WERE MADE ABOUT 15,000 YEARS • BEFORE THE DISCOVERY IN 1996 THE IMAGES AT LASCAUX, FRANCE WERE THE OLDEST KNOWN PAINTINGS IN EUROPE • PAINTINGS MOST REMOTE RECESSES OF THE CAVE—WHERE THERE WAS NO SUNLIGHT WHY DID THEY PAINT THESE IMAGES? • Maybe : • certain animals are symbolic • others represent mythical spirits • to contact spirits in another world • to track migration patterns • related to ritual occasions HORSE CAVE PAINTING 13,000 B.C. SCULPTURE OLDEST SURVIVING ART OBJECTS ARE SCULPTURES VENUS OF WILLENDORF • 25,000- 20,000 BC • ONE OT THE EARLIEST KNOWN HUMAN FIGURES • VENUS GODDNESS OF LOVE • FERTILITY IMAGE • CARRIED AROUND AS AN AMULET—GOOD LUCK CHARM • ONLY FEATURES SHOWING BELLY, BREASTS AND PUBIC AREA • ONLY 5 INCHES TALL • Paleolithic Period:::OLD STONE AGE • After 4000 years gave way to: • NEOLITHIC OR NEW STONE AGE • New stone tools---learned to farm—domesticate animals (cattle—goats –etc.)help with labor, food, milk and leather • Technology of pottery • Settled communities ---architecture of stone and wood were starting to be built ARCHITECTURE STONE HENGE 2,000 B.C. Certain conditions foster preservation of Art • Durable materials ( stone-metal-fired clay) • Local of environment not destructive to artworks • Stable population- • Putting artworks in places of limited or no