Dynamic Figure : Exploring Watercolour Techniques Name:______STEP ONE: Start by sketching in light pencil a large contour outline of your figure in a dynamic pose.

STEP TWO: Fragment, grid, or divide the drawing in such a way as to create a more visually interesting image using either linear or spiral lines. Experiment to increase the number of pre- existing shapes inside and

outside of the human form.

Imagine how this will work when colour is applied.

STEP THREE: Apply a number of different watercolour techniques to each different section of your work: • Washes: Wet-On-Wet • Transparent • Glazes • Dry Brush • Masking • Dropping In Colour Apply watercolour washes by mixing colours. Use denser applications to colour to create rich colour and less colour and more water to make a more transparent wash. REMEMBER: All water colour techniques must appear in the final painted image. (See technique sheet for specific techniques) REFLECTIVE QUESTIONS (Answer after completing the watercolour painting): 1. How did you divide your image to help focus the viewer and create a stronger composition? 2. How do you think the effects of colour mixing and changes in density affect your work? 3. What aspect of your image do you feel is most visually striking?

Watercolour Painting: Figure Study Evaluation Name:______Achievement Level 0 Level 1 Level 2 Level 3 Level 4

Criteria

Thinking/Inquiry Work does Concept is unclear Concept is slightly Concept is clear and Concept is clear and not meet and/or weak. unclear and/or valid. Meaning or strong. Meaning or assignment Meaning or ideas weak. Meaning or ideas conveyed are ideas conveyed are Concept & Meaning: conveyed are not on ideas conveyed are on par with student’s above expectations Watercolour expectations below expectations Techniques: par with student’s grade level. for student’s grade for this for student’s grade Washes: Wet-On- grade level. level. category of level. Wet, Transparent, assessment. Glazes, Dry Brush, 5 Incomplete. 3-4 /5 Masking, Dropping 2 In Colour 1 0

Knowledge/ Work does The completed work The completed work The completed work The completed work not meet is largely unoriginal is slightly unoriginal is mostly original is highly original and Understanding assignment and not creative in and not creative in and creative in creative in execution. execution. Many execution. Some execution. Few No known exemplars Creativity and expectations exemplars of similar exemplars of similar exemplars of similar of similar work exist. /2.5 Originality for this work exist. work exist. work exist. category of 2.5 assessment. 0.5 0.5-1.0 1.5-2.0 Composition Incomplete. Composition is Composition is Composition is Work does unbalanced. Little semi-balanced. mostly balanced. Composition is /2.5 not meet thought has been Some thought has Adequate thought balanced. Much assignment given to the been given to the has been given to thought has been placement of placement of placement of given to placement of expectations elements on the elements on the elements on the elements on the page for this and the correct ratio page, or to the page and the correct page and the correct category of of positive to assessment. correct ratio of ratio of positive to ratio of positive to negative space. Incomplete. positive to negative negative space. negative space. space. 2.5 0 0.5-1.0 1.5-2.0 0.5

Application/ Work does Painting Painting Painting Painting /5 Creation not meet demonstrates limited demonstrates a demonstrates a demonstrates a assignment variety of shapes somewhat limited sufficient variety of superior variety of expectations and lines. variety of shapes shapes and lines. shapes and lines. Variety (lines & shapes) for this and lines. category of 1 3-4 5 assessment. 2 The submitted work The submitted work Incomplete. The submitted work The submitted work appears mostly appears totally Completion/ appears obviously appears slightly complete. Minimal complete. No 0 incomplete. Much incomplete. Some effort additional additional effort could /5 Neatness more effort could additional effort effort could have have been included: Incomplete. have been included: could have been been included and time has been time has obviously managed in an included: time has time has been 0 been mismanaged. exemplary manner. 1 been slightly managed well. 5 mismanaged. 3-4

2 . The artist has The artist has The artist has Contour Line: Detail Incomplete. The artist has included substantial included limited included exemplary /5 included some detail detail in the painting. detail in the painting. detail in the painting. 0 in the painting. 1 3-4 5 2

Communication The submitted work The submitted work The submitted work The submitted work Incomplete. employs limited employs some employs proficient employs highly accuracy of accuracy of accuracy of sophisticated Accuracy of 0 techniques. techniques. techniques. accuracy of techniques 1 techniques. /5 2 3-4

5

Reflective Answers are Answers are clear & Incomplete. vague/incomplete. Answers are Answers are clear exemplary. Questions somewhat clear and and complete. 0 0.5 complete. 2

1.0 - 1.75 /2 0.5 - 1.0

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A1. The Creative Process: apply the creative process to create a variety of art works, individually and/or collaboratively; A1.1 use a variety of strategies, individually and/or collaboratively, to generate ideas and to develop plans for the creation of art works (e.g., use research, synectic charts, and/or a class brainstorming session to generate a variety of creative ideas; reflect on the suitability of the ideas and choose one to serve as the basis for their plan; use notes and/or thumbnail sketches to develop their plans; revise their plans on the basis of peer- and self-assessment)

A1.2 use exploration/experimentation, reflection, and revision when producing a variety of art works in each of the following areas: drawing, , painting, and printmaking (e.g., explore a variety of materials and/or techniques; reflect on the input of their peers; refine their art work on the basis of useful feedback)

A2. The Elements and Principles of Design: apply elements and principles of design to create art works for the purpose of self-expression and to communicate ideas, information, and/or messages;

A2.2 apply elements and principles of design to create art works that communicate ideas and information

A3. Production and Presentation: produce art works, using a variety of media/materials and traditional and/or emerging technologies, tools, and techniques, and demonstrate an understanding of a variety of ways of presenting their works and the works of others.

A3.1 explore and experiment with a variety of media/materials and traditional and/or emerging technologies, tools, and techniques, and apply them to produce art works

A3.2 use appropriate practices to prepare their art works for presentation

B1. The Critical Analysis Process: demonstrate an understanding of the critical analysis process by examining, interpreting, evaluating, and reflecting on various art works;

B1.2 identify, on the basis of examination, elements and principles of design used in various art works, and describe their effects

B1.4 use a variety of strategies (e.g., peer- and self-assessment, formal and informal critiques, small-group and class discussions) to identify and reflect on the qualities of their own art works and the works of others, and evaluate the effectiveness of these works

C1. Terminology: demonstrate an understanding of, and use correct terminology when referring to, elements, principles, and other components related to visual arts;

C1.1 use appropriate terminology when identifying and describing the use of elements and principles of design in their own art works and the works of others

C1.2 use appropriate vocabulary to describe techniques, materials, and tools when creating and presenting visual art works (e.g., brayers, conté, frottage, markers, painting techniques, pencil techniques, relief, stencil)

C1.3 identify the stages of the creative process and the critical analysis process using appropriate terminology

C2. Conventions and Techniques: demonstrate an understanding of conventions and techniques used in the creation of visual art works;

C2.1 demonstrate an understanding of some techniques that artists use to achieve specific effects (e.g., the use of cross-hatching to create a feeling of depth and dimension; the use, in watercolour painting, of a transparent wash of colour to create the effect of light coming through the composition)

C3. Responsible Practices: demonstrate an understanding of responsible practices in visual arts.

C3.2 demonstrate safe and conscientious practices associated with the use of materials, tools, and technologies in visual arts (e.g., identify hazardous materials and adopt appropriate precautions and/or protective measures when using them; demonstrate

respect for property, including classroom facilities, tools, equipment, and technological devices)

PAINTING A FLAT WATERCOLOR WASH

How to Paint a Flat Watercolour Wash Select a darker hue for your wash (it’s easier to see) and mix a liberal amount of medium intensity (30-50% value) paint on your palette.

MAKE YOUR SECOND STROKE REPEAT AS NECESSARY… Return to your palette and refill your brush. Refill brush and continue overlapping strokes, riding the flow of the paint and keeping an even tone as you go.

Start the next stroke at the bottom of the first stroke, being sure to overlap the bead of paint now formed at the bottom of the first stroke. TIP 3: You can use the flat edge of a wash brush to “cut” the starting edge.

TIP 1: If the flood of the first stroke doesn’t fully flow into the new stroke, increase the angle of your board to aid the flow of the wash. TIP 4: If you want to square up the final edge of the stroke—slow down, pull the brush up, and use the sharp flat edge again. Pull it up to your line and “cut” the final edge with a downward pull. TIP 2: Increasing the angle of your work also increases the chances of drips running wild down your paper. If they annoy you, work faster or keep a tissue or damp sponge in your free hand to quickly blot them away. TIP 5: If your stroke breaks up, load your brush and repeat the stroke IMMEDIATELY.

Repeat steps making stroke after stroke to the bottom. Try to keep an Rinse your brush out in clean water and blot or squeeze out the excess even tone as you go. the water. Carefully pick up the bead of paint that runs across the bottom of the wash using the wick action of your brush. If you draw up too much paint you will lift the color off the paper.Let the wash dry. If you’ve ended up with an even-toned square of color, congratulations! If not, try it again. PAINTING A GRADED WASH

Graded Wash, A Foundational Watercolour Technique Select a darker hue for your wash and mix a liberal amount of medium intensity (30-50% value) paint your brush.

In a clean part of your palette mix another puddle at about half the intensity of the original mixture.

Charge your brush with paint from the darker mix, and starting in the upper left corner touch your brush to the paper and gently pull a straight line of paint to the upper right corner.

Light - Dab your brush on a sponge or paper towel and refill your brush with the lighter mixture. Start your second stroke overlapping the bottom of the LIGHTER previous stroke. Rinse your brush and blot it on a towel or damp sponge, refill from the lighter mixture. Notice that the left side of the stroke has already flowed together with the top stroke. Let gravity do it’s work. Make your next overlapping stroke.

LIGHTEST Rinse clean and dip your wet brush into the lighter mixture, further lightening Rinse your brush well and using clear water start your last overlapping stroke. the wash. Squeeze the water out of your brush and pick up the bead of paint at the Lay your next overlapping stroke. bottom of the wash.

TIP 1: If your stroke doesn’t flow evenly or breaks up, charge your brush and Try practicing your graded washes with different colors and intensities. Each repeat the stroke IMMEDIATELY. color has it’s own physical properties that affect how they feel and flow in washes.

Practice transitioning one color into another for interesting multi-color effects.

PAINTING A GLAZING TECHNIQUE PAINTING A WET-IN-WET TECHNIQUE - Mixing color directly on the paper

A glaze is a second application of paint over the top of the first application—sort of like When you drop one wet color to another wet color already on the layering different colored glass on top of each other. paper, the color will mix—but not in an even, controlled pattern. Instead, the colors will move wherever the water is on your Each layer of color must be dried thoroughly before adding another glaze. paper. As you can see in the image above, mixing blue and yellow Because many watercolor pigments are transparent, the individual colors are still discernible, watercolor paint directly on the paper still registers as green to the creating beautiful color effects. eye, but the edges are soft and the color is uneven.

Use only transparent colors. Opaque and semi-opaque colors cause muddy colors when glazing.

Build from light to dark tones when applying glazes; use warm colors over warm ones and cool colors over cool ones unless you want to neutralize a color somewhat. Lightly float each glaze on with a single stroke of the brush. Avoid reactivating the layers of paint beneath the glaze and mixing them together with your brush.

Glazes are used in several ways:

~ to build up tones and deepen values by overlaying washes with the same color;

~ to create new colors by placing a different color over the initial color, e.g., blue over yellow to make green;

The proper color selection will keep your painting clean and glowing — the farther apart the colors are on the color wheel, the grayer or muddier the results may be. DRY BRUSH TECHNIQUE

MASKING-BLOCKING OFF TECHNIQUE

Masking-Blocking Off Technique involves putting masking tape down first on the paper you do want to have paint on. Apply brush strokes and wait to dry. Then peel off tape to create Masking- blocking off technique.

Painting with a fairly dry brush on dry paper is a great way to create rough textures. Heavily load a damp brush with a dark color. Use the brush on its side and pull it up along a tree trunk or a barn board. The paint will skip slightly, giving some very dark texture while leaving white highlights.