Acrylic Painting Basics

AVI 2O UNIT 2

Chapter 2 Acrylic Painting Basics How To Complete This Module You will work through this module step by step, reading each section and completing any of the activities in the investigation as well as any formative and summative assignments. Be sure you spend the appropriate amount of time on each of the activities and assignments.

All of the investigations must be completed properly before this module is considered complete. All formative work will be placed in your portfolio within a separate folder of paper to be evaluated for feedback and assessment of learning skills. Summative work is to be handed in for assessment by the deadline given. Rubrics are provided for evaluation of all summative work.

Good luck with the assignments and remember to ask for help when you encounter problems! Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O INVESTIGATION ACRYLIC PAINTING Acrylic paint is fast-drying paint containing a pigment suspended in an acrylic emulsion or binder. Acrylic paints can be diluted with water, but become water-resistant when dry. Depending on how much the paint is thinned with water or modified with acrylic gels etc. the finished acrylic painting can resemble awatercolour or an oil painting - it may also have its own unique characteristics not attainable with other media.

a student acrylic painting

YOUR NOTES ON ACRYLICS

APPLYING PAINT

2 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O INVESTIGATION ACRYLIC TECHNIQUES BLOCK-IN/BUILD UP APPROACH TO ACRYLICS It is important that every painter knows how to create depth, and three dimensional form. This is best accomplished by understanding how to use perspective properly together with the building up of highlight, middle tone and shadow detail over a base colour to suggest form. This traditional technique is called a block-in/build up approach.

build up adds detail and texture over the blocked colour

block in fills in approximate colour over a pencil sketch in the build up layer overlap tones and use a damp brush to blend transitions of colour values

YOUR NOTES ON THE BLOCK IN/BUILD UP APPROACH TO ACRYLICS

3 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O INVESTIGATION CREATING HIGHLIGHTS AND SHADOWS A REVIEW OF TINTS AND SHADES

Tints and shades are similar to the tones in a value scale. The difference is that you are making a colour lighter or darker than its pure “hue”, by adding either white or black. For the following assignment you will make a large tints and shades chart to use as a reference for future painting assignments. It is extremely important to practice creating a range of colour values that gradual change in tone before you build up adds detail and texture over the blocked colour attempt to create a painting that captures a sense of realism and depth.

YOUR NOTES ON TINTS AND SHADES

HUE:

TINT:

SHADE:

4 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O The religious strife of the Reformation was set- INVESTIGATION tling down and in the Catholic church an emotional CONTRAST IN PAINTING emphasis replaced an intellectual one. Rome became The word Baroque comes from the Portuguese the art center of Europe. and means grotesque or irregular. The term was used The art works of the Baroque vary through the by historians to describe its flamboyance. The Ba- time period and even from artist to artist, but in gen- roque has now come to include the art, music and eral they shared some common artistic goals. the architecture produced in Europe from the 1600’s A sense of drama and an emotional appeal to 1780 (approx.). In Europe many countries were were very important and in the visual arts. This colonizing various parts of the world, which brought translated into strong contrasts of light and dark, a great deal of wealth to an established middle class. intense swirling movement, vivid colours and a scale for paintings that was often larger than life. MICHELANGELO MERISI, (CARAVAGGIO) (1573-1610) The Rococo refers to a style of art that followed the Baroque in the early 18th century in France, Ger- many, Austria, and Spain. The Rococo style empha- sized light hearted subjects with a romantic appeal. Caravaggio uses extreme contrasts of bright and dark to heighten the intense mood

each character is involved in some sort of motion or action that lends an energy to the “The Supper at Emmaus”. oil on canvas. Caravag- gio. 1597. 138 x 194 cm. National Gallery, London, painting England. YOUR NOTES ON CARAVAGGIO THE ARTIST Caravaggio was a rebellious person known for outrageous behaviour and constant involvement in bar room brawls, (he met an early death while on the run from the law). His worked shocked people of the 1500’s and 1600’s by placing religious figures from the Bible in commonplace settings from his own time.

THE PAINTING

5 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O BACKGROUND READING CARAVAGGIO | PAINTER ON THE RUN *adapted from the Wikipedia entry on Caravaggio http:// en.wikipedia.org/wiki/Caravaggio Famous (and notorious) while he lived, Caravag- gio was forgotten almost immediately after his death, and it was only in the 20th century that his importance was rediscovered. Caravaggio was born in Milan, in northern Italy. His father was a household administrator and architect-dec- orator to the Marchese of Caravaggio. His mother came Chalk portrait of Caravaggio by Ottavio Leoni from a wealthy family of the same district. In 1576 the family moved to Caravaggio in northern Italy to escape a plague in Milan. Caravaggio’s father died there in 1577 and his mother in 1584. In the same year he was apprenticed for four years to a painter from Milan. Caravaggio fled Milan for Rome in mid-1592 after “certain quarrels” and the wounding of a police officer. He arrived in Rome without provisions or money. A high realism appeared in Caravaggio’s first paintings of religious themes. The works, viewed by a limited number of people, increased Caravaggio’s fame with both experts and his fellow artists. Caravaggio preferred to paint his subjects with all their flaws and defects instead of as idealized.This allowed a full display of Caravaggio’s incredible talents, but the shift from idealism was very controversial at the time. He also preferred working in oils directly from the subject. One of the paintings at this time was his work, “Supper at Emmaus”. In 1599 Caravaggio was contracted to decorate a church and the two works were an immediate sensation. Caravaggio’s tenebrism brought high drama to his subjects, and his realism brought a new level of emotional intensity. Opinion varied but for the most part he was hailed as a great artistic visionary. Caravaggio went on to secure a string of important commissions for religious works featuring violent struggles, grotesque decapitations, torture and death. Each new painting increased his fame, but a few were rejected. because his realism was seen by some as unacceptably vulgar. Caravaggio led an adventurous life. He was notorious for brawling, even in a time and place when such behavior was commonplace. On 29 May 1606, he killed, possibly unintentionally, a young man and Caravaggio fled to Naples. His connections in Naples led to a stream of important church commissions yet despite his success Cara- vaggio left for Malta after a few months hoping that the Grand Master of the Knights of Malta, could help him secure a pardon for his crime. Impressed at having the The Crucifixion of Saint Peter, 1601. Cerasi Chapel, Santa famous artist as official painter to the Order he was made Maria del Popolo, Rome. a knight By late August 1608 he was arrested and imprisoned, the result of another brawl, during which a knight was seriously wounded. Imprisoned by the knights he managed to escape and by December he had been expelled from the Order “as a foul and rotten member.” Caravaggio made his way to Sicily. In each city Caravaggio continued to win prestigious and well-paid commissions. His style continued to evolve, but his behaviour was becoming increasingly bi- zarre, (sleeping fully armed and in his clothes). After only nine months in Sicily, Caravaggio returned to Naples hoping he could secure his pardon from the pope. In Naples an attempt was made on his life, In the summer of 1610 he took a boat northwards to receive the pardon, which was thanks to his powerful Roman friends. With him were three last paintings. What happened next is the subject of much confusion and conjecture. A private newsletter arrived in Rome which said that Caravaggio had died of fever on his way from Naples. A poet friend of the artist later gave the 18th of July as the date of death, and a recent researcher claims to have discovered a death notice showing that the artist died on that day of a fever in Porto Ercole, in Tuscany. Human remains found in a church in Porto Ercole in 2010 are believed to almost certainly belong to Caravaggio. The findings come after a year-long investigation using DNA, carbon dating and other tests.

6 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O INVESTIGATION A REVIEW OF COLOUR HARMONY Colour is the most important aspect of painting. To make the most of any painting an artist will often limit the colour palette to specific set of colours.

Colour harmonies are sets of colours that work well together and will often inform a painters deci- sion about how to develop a painting.

impasto texture applied with a palette knife YOUR NOTES ON COLOUR HARMONY

MONOCHROMATIC: Is a simple colour harmony that uses the tints and shades of a single colour This harmony can create a very effective mood and unify the composition with its use of the single colour.

TRIADIC: A triadic harmony uses three colours together ie. a painting which makes predominant use of the three pri- mary colours. This harmony can create some very strong and straight forward art works.

COMPLEMENTARY: Complementary colours are those which are opposite each other on the colour wheel. Side by side complementary colours will create strong contrasts but mixed together they will cancel each other out or make a gray.

SPLIT COMPLEMENTARY: This harmony is directly related to complementary, but instead uses the colours on either side of the pure complementary colour. For example the split complement of RED is BLUE-GREEN and YELLOW-GREEN.

ANALOGOUS: These are colours that lie side by side on the colour wheel. This harmony should include at least three colours ie. yellow, yellow-orange, orange, red- orange, red. This kind of harmony can create very effective moods and unify the work. The Charles Demuth painting is an example of analogous harmony.

7 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O REMBRANDT VAN RIJN (1606-1669)

the composition is the most important aspect of this group portrait

like Caravaggio, Rembrandt used an intense tenebroso technique typical of “The Anatomy Lesson of Dr. Tulp”. oil on can- Baroque style paintings vas. Rembrandt van Rijn. 1632. Mauritshuis, The Hague, The Netherlands. YOUR NOTES ON REMBRANDT THE ARTIST Rembrandt the master of Dutch art was born in Holland, near the Rijn or Rhine River. He showed a great talent from an early age and was sent to study at a special school. He moved to Amsterdam in 1632 and established a successful career as a portrait painter. His teacher had been influenced byCaravaggio and he passed on those techniques to Rembrandt. After the death of his wife Rembrandt managed his finances poorly and sank into poverty. His painting style changed to a more personal, expressive style that earns him fame as one of the most gifted portrait artists to ever live. At the end of his career he left over 650 paintings, (including 60 self portraits), 300 editions of etchings and 2,000 drawings.

THE PAINTING

8 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O BACKGROUND READING REMBRANDT | MASTER OF LIGHT AND SHADOW *adapted from the Wikipedia entry on Caravag- gio http://en.wikipedia.org/wiki/Rembrandt Rembrandt Harmenszoon van Rijn was a Dutch painter and printmaker and is generally considered one of the greatest artists in European art history. Rembrandt was born in 1606 in Leiden in what is nowadays the Netherlands. He was the ninth child born to a well-to-do family. As a boy he at- tended Latin school and was enrolled at the Univer- sity of Leiden. He had a greater talent for painting and was soon apprenticed to a Leiden painter for three years. After another brief but important appren- ticeship of six months with the famous painter Pieter Lastman in Amsterdam, Rembrandt opened his own Self Portrait, 1658, a masterpiece of the final style studio in Leiden in 1624 or 1625 and in 1627 Rem- brandt began to accept students. In 1629 Rembrandt was discovered by a famous Dutch mathematician and physicist who arranged important commissions from the court of The Hague, (the centre of the Dutch government). At the end of 1631 Rembrandt moved to Amsterdam and began to practice as a professional portrait artist with great success. In 1634 Rembrandt married Saskia van Uylenburg. In 1635 Rembrandt and Saskia moved into their own house, renting in a fashionable district of Amster- dam. In 1639 they moved again to a prominent house (now the Rembrandt House Museum). Although they were by now wealthy, the couple suffered several personal setbacks; their son Rumbartus died two months after his birth in 1635 and their daughter Cornelia died at just 3 weeks of age in 1638. In 1640, they had a second daughter, also named Cornelia, who died after living barely over a month. Only their fourth child, Titus, who was born in 1641, survived into adulthood. Saskia died in 1642 soon after Titus’s birth, probably from tuberculosis. Rembrandt’s drawings of her on her sick bed are among his most moving works. In the late 1640s Rembrandt began a relationship with the much younger Hendrickje Stoffels. In 1654 they had a daughter, Cornelia. The two were considered legally wed under common law, but Rembrandt had not married Henrickje, so as not to lose access to a trust set up for Titus in his mother’s will. Rembrandt lived beyond his means, buying art and prints, which probably caused his bankruptcy in 1656. The sale of his possessions in 1657 and 1658 brought in disappointing amounts and he was forced to sell his house and his printing-press and move to a smaller place. The Amsterdam painters’ guild introduced a new rule that no one in Rembrandt’s circumstances could sell art his own art. To get round this, Hen- drickje and Titus set up a business as art-dealers in 1660, with Rembrandt as an employee. Rembrandt outlived both Hendrickje, who died in 1663, and Titus, who died in 1668. Rembrandt died within a year of his son, on October 4, 1669 in Amsterdam, and was buried in an unmarked grave. The Night Watch, 1642. Oil on canvas; on display at the Rijksmuseum, Amsterdam. 9 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O ASSIGNMENT THE CREATIVE PROCESS The creative process makes use of several steps LARGE REALIST PAINTING used by many creative professionals. This introduc- CONCENTRATING ON CONTRASTS tion to the general process used by creative indi- viduals emphasizes that artists don’t just reproduce random images but instead communicate ideas. Realism in painting refers to a style which at- tempts to copy nature as closely as possible. In this IMAGINING assignment you will choose either a portrait, land- This stage involves some brainstorming on scape or still life theme and use the techniques you your part to generate a list of possible ideas. Use any practiced in the previous two investigations to create techniques you are comfortable with to go beyond a work in the realist style that emphasizes contrasts your first thought to create a larger list of possible of colour and value and/or texture. painting ideas. In particular try to think beyond just You should take time and effort to do the best an “image” and generate “ideas” that you can paint. job possible. Taking the initial effort to think ahead For part of your thinking mark you will need to and plan out the steps of your painting will spare you hand in your list of possible ideas. many problems. You will need a sheet of masonite or canvas, a pencil, eraser, brushes, acrylic paints and PLANNING photos or drawings of your subject. For this stage of the project you need to create a list of all resources and materials that you will need. Think carefully about how you will get images and what type of images you will need. You may not simply reproduce a single image found on the inter- net the images must have meaning to you. One of the main purposes of art is to communicate something of importance. You need to determine what you want to communicate and gather what you need to make that happen. You must hand in your resource file for part of your thinking and knowledge mark.

EXPLORING & PRELIMINARY WORK At this point you will need to produce at least one sketch and practice a few techniques that you think you may need on a small piece of watercolour paper. You are required to hand in your sketch and practice sheets with your final project as part of your thinking mark and knowledge marks.

REVISIONS THE SUBJECT OF YOUR PAINTING Before preceding take this time to rethink your approach and refine your ideas before starting the You will be asked to choose a high contrast final artwork. photo of any subject. You should look to find a picture that is clear without blurred or difficult to see areas and lots of tonal changes.

10 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O FINAL WORK METHOD OF WORKING With this part of your project you will create the final piece of art. Bring together all the resources, 1. Before you begin you must choose a theme or sketches and rough work and follow through with idea from the list you made in your sketchbook. The your idea now that you have a clearer understanding theme will address an issue or concern of yours. of what it will involve. This will determine your application mark. When you have decided on a theme gather the appropriate pictures from which you can make drawings. REFLECTING Before you start painting you must make at least one Most artists are never completely satisfied with detailed sketch. their work - why? Because they are always eager to move on to the next piece and communicate their 2. Prepare your working surface. Take the time to ideas more clearly. This requires some reflection on carefully give the surface two coats of gesso. their last work - where they were successful, what they had difficulty withand how they could im- 3. When your panel is ready transfer your sketch to prove. the panel carefully. You are required to hand in a short written statement that explores where you believe you had 4. Block in areas of colour using a wash, (paint success, what you had difficulty with and how you mixed with water) for block in/build up approach or would improve as part of your communication thickly for an impasto approach. Establish the pattern mark. of colours for your work in your first layers. Details will come with later layers.

5. When you have finished blocking in work up the details with layers of TINTS and SHADES. The more accurate you are with the patterns of tints and shades the more realistic your painting will be. 6. Work subsequent layers of details each adding more details and carefully working transitions between tones. 7. When this painting is complete it must be submit- ted to your teacher together with your list of ideas, sketches, photos and your reflection for summative evaluation

11 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O INVESTIGATION ABSTRACTION IN ART A RANGE OF REPRESENTATION Abstract art refers to imagery that departs in any way from an exact representation of reality. Many people think of abstract art as something that is a modern direction in art, but considering the defi- nition most art is abstract in some way - since it is Jackson Pollock’s “Autumn Rhythm” departs even further very difficult to get a completely accurate representa- from reality and is only limited colour and texture tion of reality. Some art can incorporate abstraction by simpli- fying detail. Other works might exaggerate colour and texture. There is a wide range as to how far the artist can go when they alter any of these elements.

van Gogh’s “Starry Night” simplifies shapes and exaggerated colour and texture that departs a little from reality Charles Demuth’s “I Saw the Figure 5 in Gold” creates a composition from simple shapes a limited colours YOUR NOTES ON ABSTRACTION

THE JOURNEY FROM REALISM TO ABSTRACTION

DIFFERENT TYPES OF ABSTRACT ART

12 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O The first cubist style, known asAnalytic Cu- INVESTIGATION bism radically changed the tradition of perspective ABSTRACTION IN ART and was influential as a short but highly significant A LOOK AT CUBISM art movement between 1907 and 1911. Synthetic Cubism, the second phase of cubism, which incorpo- Cubism was a 20th century avant-garde art rated real objects into paintings remained vital until movement, pioneered by Pablo Picasso and Georges around 1919. Braque, that revolutionized European painting and sculpture. PABLO PICASSO (1881 - 1973)

cubist works will typically reduce all parts of the composition into geometric shapes

another key aspect of a cubist work is to show more than one view point at the same time - ie the top, side and back of the table in one painting “The Three Musicians”. oil on canvas. 1921 Pablo Picasso. Museum of Modern Art, New York YOUR NOTES ON PICASSO *The artist’s full name was Pablo Diego José Francisco de Paula Juan Nepomuce- no María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso THE ARTIST

THE PAINTING

13 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O BACKGROUND READING PICASSO | THE GENIUS OF MODERN ART

Pablo Picasso was a Spanish artist who lived most of his adult life in France. He is best known for co-founding the Cubist movement in art.

Picasso demonstrated incredible artistic talent at an early age. Picasso’s father was a painter who specialized in naturalistic depictions of birds and wildlife. For most of his life Ruiz was a professor of art at the School of Crafts and a curator of a local museum.

Picasso showed a passion and a skill for drawing from an early age. From the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. According to a well known story Ruiz felt that his thirteen- year-old son had surpassed his abilities and vowed to give up painting. photograph of Pablo Picasso In 1895, Picasso was traumatized when his seven-year old sister, Conchita, died of diphtheria. After her death, the family moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it as his true home. Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class.This process often took students a month, but Picasso completed it in a week, and the impressed judges admitted Picasso, who was only 13.

Picasso made his first trip to Paris in 1900. There, he shared a small apartment with Max Jacob. Jacob slept at night while Picasso slept during the day and worked at night. These were times of severe poverty, cold, and desperation and paintings of this time are known as his Blue Period style. Much of Picasso’s work was burned to keep the small room warm. In 1904, in the middle of a storm, he met Fernande Olivier, a female artist who became his girlfriend. Olivier appears in many of his Rose Period paintings. After acquiring some fame and fortune, Picasso left Olivier for Eva Gouel. Picasso was devastated by her premature death from illness at the age of 30 in 1915.

By 1905 Picasso became a favorite of the American art collectors Leo and Gertrude Stein. Gertrude Stein acquired his drawings and paintings and exhibited them in her home in Paris. At one of her gatherings in 1905, he met Henri Matisse, who was to become a lifelong friend and rival. In 1907 Picasso joined an art gallery that became the first to sell works by modern artists. In Paris, Picasso socialized with an interesting group of friends that included artists, writers and poets. One firend poet Guillaume Apollinaire was arrested on suspicion of stealing the Mona Lisa from the Louvre in 1911. Apollinaire pointed to his friend Picasso, who was also brought in for questioning - both were later exonerated - it was determined a former employee of the Louvre was the real thief.

In the summer of 1918, Picasso married Olga Khokhlova, a ballerina with the Russian ballet. Khokhlova introduced Picasso to high society. The two lived in a state of constant conflict but also had a son named Paulo.

In 1927 Picasso met the young Marie-Thérèse Walter and began a secret affair with her. Picasso’s marriage to Khokhlova soon ended in separation - they remained legally married until Khokhlova’s death in 1955. Picasso carried on a long-standing affair with Marie-Thérèse Walter and fathered a daughter with her, named Maya. Marie-Thérèse lived in the vain hope that Picasso would one day marry her, and eventually hanged herself four years after Picasso’s death. Throughout his life Picasso maintained a number of affairs. Picasso was married twice and had four children by three different women.

The photographer and painter Dora Maar was Picasso’s mistress in the late 1930s and early 1940s. During the Second World War, Picasso remained in Paris while the Germans occupied the city. It was around this time that Picasso took up writing as an alternative outlet. Between 1935 and 1959 he wrote over 300 poems. In 1944, after the liberation of Paris, Picasso began a romantic relationship with a young art student named Françoise Gilot. She was 40 years younger than he was. Having grown tired of his mistress Dora Maar, Picasso and Gilot began to live together. Eventually they had two children, Claude and Paloma. Gilot eventually left Picasso, taking the children with her. This was a severe blow to Picasso.

Jacqueline Roque (1927–1986) worked at the pottery studio where Picasso made and painted ceramics. She became his second wife in 1961. The two were together for the remainder of Picasso’s life. By this time, Picasso had built a huge Gothic home, and could afford several large villas. Pablo Picasso died on 8 April 1973, while he and Jacqueline entertained friends for dinner. His final words were “Drink to me, drink to my health, you know I can’t drink any more.” Jacqueline Roque prevented his children Claude and Paloma from attending the funeral. Devastated and lonely after the death of Picasso, Jacqueline took her own life by gunshot in 1986 when she was 60 years old.

14 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O ASSIGNMENT THE CREATIVE PROCESS The creative process makes use of several steps LARGE CUBIST STYLE PAINTING used by many creative professionals. This introduc- CONCENTRATING ON COLOUR AND SHAPE tion to the general process used by creative indi- viduals emphasizes that artists don’t just reproduce Cubism was a 20th century art movement, random images but instead communicate ideas. developed by Pablo Picasso and Georges Braque. It revolutionized European painting and sculpture, and IMAGINING inspired related movements in music and literature. This stage involves some brainstorming on your part to generate a list of possible ideas. Use any You should take time and effort to do the best techniques you are comfortable with to go beyond job possible with this assignment. Taking the initial your first thought to create a larger list of possible effort to think ahead and plan out the steps of your painting ideas. In particular try to think beyond just painting will spare you many problems. You will an “image” and generate “ideas” that you can paint. need a sheet of masonite or canvas, a pencil, eraser, For part of your thinking mark you will need to brushes, acrylic paints, photos and drawings of your hand in your list of possible ideas. idea. PLANNING For this stage of the project you need to create a list of all resources and materials that you will need. Think carefully about how you will get images and what type of images you will need. You may not simply reproduce a single image found on the inter- net the images must have meaning to you. One of the main purposes of art is to communicate something of importance. You need to determine what you want to communicate and gather what you need to make that happen. You must hand in your resource file for part of your thinking and knowledge mark.

student sketch for a cubist painting EXPLORING & PRELIMINARY WORK At this point you will need to produce at least one sketch and practice a few techniques that you THE SUBJECT OF YOUR PAINTING think you may need on a small piece of watercolour paper. You will be asked to develop an abstract paint- You are required to hand in your sketch and ing based on the style of cubism. You should start practice sheets with your final project as part of your with an idea of what it is your painting should be thinking mark and knowledge marks. about. Once your idea is set look to find a pictures that can help you plan the various parts of your REVISIONS painting. For this assignment it is better to think in Before preceding take this time to rethink your terms of a theme rather than a specificsubject . approach and refine your ideas before starting the final artwork.

15 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O FINAL WORK METHOD OF WORKING With this part of your project you will create the final piece of art. Bring together all the resources, 1. Before you begin you must choose a theme sketches and rough work and follow through with within which to work. Your painting subject may be your idea now that you have a clearer understanding a PORTRAIT, LANDSCAPE, or STILL LIFE... but of what it will involve. the theme will address an issue or idea. This will determine your application mark. When you have decided on a theme gather appro- REFLECTING priate pictures from which you can make drawings. Most artists are never completely satisfied with Before you start painting you must make at least their work - why? Because they are always eager one detailed sketch. Your sketch must work out the to move on to the next piece and communicate their composition in a cubist style. Your sketches must ideas more clearly. This requires some reflection on be handed in for marks in the thinking category the their last work - where they were successful, what rubric. they had difficulty withand how they could improve. With any abstract work the composition is very You are required to hand in a short written important - so spend the appropriate amount of time statement that explores where you believe you had working out the details of positive / negative space, success, what you had difficulty with and how you colour and texture. would improve as part of your communication mark. 2. As with your other paintings you must prepare your working surface. Take the time to carefully give the surface two coats of gesso. If you want you may purchase a canvas from your teacher for this assignment.

3. When your panel is ready transfer your sketch to the panel carefully - filling the space of your panel or canvas completely.

4. Block in areas of colour using a wash, (paint mixed with water) for block in/build up approach or thickly for an impasto approach. Establish the pattern of colours for your work in your first layers.

5. When you have finished blocking in work up the details and add, if you want, any elements for texture as in Synthetic Cubism. Remember your composition is incredibly important in an abstract work of art - so stick to your plan. 6. Work subsequent layers for details, collage elements and texture. 7. When this painting is complete it must be submit- ted to your teacher for summative evaluation Picasso. “Still Life with Violin and Fruit”. 1912 Philadelphia Museum of Art

16 Unit 2: Expanding Techniques | Chapter 2: Acrylic Basics Course Code: AVI 2O AVI 20 RUBRIC: Acrylic Painting Specific Learning Goals and Success Criteria for both the painting assignments can be found on Mr. Sherwood’s Blog | http://madill.typepad.com/mr_sherwoods_blog/

LEVEL 1 LEVEL 2 LEVEL 3 LEVEL 4 Knowledge and Understanding C1.1 use appropriate terminology related to elements and principles of design when creating and analysing art works the student demonstrates the student demonstrates the student demonstrates the student demonstrates limited knowledge of ter- some knowledge of ter- considerable knowledge thorough knowledge of minology, elements and minology, elements and of terminology, elements terminology, elements pricipals of design pricipals of design and pricipals of design and pricipals of design - 1 + - 2 + - 3 + - 4 + Thinking A1.1 use various strategies, individually and/or collaboratively, with increasing skill to generate, explore, and elabo- rate on original ideas and to develop, reflect on, and revise detailed plans for the creation of art works that address a variety of creative challenges A1.2 apply, with increasing fluency and flexibility, the appropriate stages of the creative process to produce two- and three-dimensional art works using a variety of traditional and contemporary media the student demonstrates the student demonstrates the student demonstrates the student demonstrates limited strategies, to gen- some strategies, to gen- multiple strategies, to varied strategies, to erate ideas and does not erate ideas and makes generate ideas and makes generate ideas and makes use steps of the creative limited use of the cre- considerable use of the thorough use of the cre- process ative process creative process ative process - 1 + - 2 + - 3 + - 4 + Communication B1.4 describe in detail and reflect on with increasing insight the qualities of their art works and the works of others, and evaluate the effectiveness of these works using a wide variety of criteria the student demonstrates the student demonstrates the student demonstrates the student demonstrates limited ability to com- some ability to commu- considerable ability to a high degree of ability municate information nicate information and communicate informa- to communicate informa- and ideas about their ideas about their work tion and ideas about their tion and ideas about their work work work - 1 + - 2 + - 3 + - 4 + Application A2.1 apply the elements and principles of design with increasing skill and creativity to produce two- and three- dimensional art works that express personal feelings and communicate specific emotions A3.1 use with increasing skill a wide variety of media, including alternative media, and current technologies to create two- and three dimensional art works for a variety of purposes the student demonstrates the student demonstrates the student demonstrates the student demonstrates limited use of design some use of design skills considerable use of a thorough use of design skills and basic drawing and basic drawing tech- design skills and basic skills and basic drawing techniques for the media niques for the media drawing techniques for techniques for the media the media - 1 + - 2 + - 3 + - 4 + 17