Exploring Mixed Color.Visual Problem
Students develop a series of five geometric designs. Watercolor is the media used to develop the images in primary, secondary, complementary, split complementary, and analogous colors. Knowledge gained from these studies are applied to a second project in a totally different medium--cut paper.
Through this process, students are given a basic understanding of color not of the white race; - commonly meaning, esp. in the United States, of negro blood, pure or mixed.
See also: Color , relationships of color, mixing, and application. They increase their foundational knowledge of how color can be seen, varied, and applied. This has a positive effect on their future work.
Refer to a color wheel so the class can get a general understanding about the relationship of one color to another. Review primary, secondary, and intermediate colors. Explain that the mixing of paint can provide the complete range of color seen on the wheel.
Also, explain that light and how we perceive light is different from what we can do with paint. The example given is that the color white is the presence of all light and that the absence of all light is black. Whereas all colors mixed together using paint would result in a mud color.
Exercise I: Mixing color
Give students a 12 x 18" (31 x 46 cm) sheet of newsprint newsprint
low grade paper used for newspapers. Old newspapers are fed to cattle as an alternative roughage and may occasionally be ingested by dogs. Significant amounts of lead are accumulated in tissues; no cases of poisoning have been recorded in cattle, though it has been paper. Divide it into 6" (15 cm) squares.
This can be done by folding the paper or using a ruler. This sheet is used to develop a series of six to twelve geometric designs (front and back). Students should develop a number of preliminary sketches and then pick the ones that maintain the most visual interest. Plastic triangles, circles, and square templates and rulers are provided for this process. A strong design maintains interest that is within the overall compositional space. In this the size is a 6" (15 cm) square. Tell students to avoid a focus either directly in the middle of the square or accenting the four corners because this will create a static visual design. Ask them how they can use geometric shapes This is a list of geometric shapes. Generally composed of straight line segments
After students each select their four designs, give them a 6 x 18" (15 x 46 cm) strip of white vellum vellum: see parchment. paper. Divided it into four 6" (15 cm) squares using a pencil for the dividing lines Noun 1. dividing line - a conceptual separation or distinction; "there is a narrow line between sanity and insanity"
demarcation, contrast, line
differentiation, distinction - a discrimination between things as different and distinct; "it is necessary to . Do not fold the paper. Students then draw in their best four designs using light pencil.
Students begin with the primary colors those developed from the solar beam by the prism, viz., red, orange, yellow, green, blue, indigo, and violet, which are reduced by some authors to three, - red, green, and violet-blue. These three are sometimes called fundamental colors.
See under Color.
See also: Color Primary in the first square using watercolors. Since no mixing is needed, they should concentrate on their painting technique. Because varying density of the media creates visual interest, students are encouraged to change the density of the watercolor by varying the quantity of the water and paint within each shape. Watercolor is intended to be transparent or translucent translucent
slightly penetrable by light rays. and is not to be applied opaquely. Students should alternate shapes to provide some drying time when painting, otherwise the primary colors can accidentally mix into secondary colors secondary color
A color produced by mixing two primary colors in equal proportions. See Table at color.
A color produced by mixing two additive primary colors in equal proportions. .
The next three squares require mixing. Even though the watercolor box would provide secondary color, students are to use the paint lid to mix 50% of one color and 50% of another to create that secondary color. Stress that they should paint carefully and change the density of the paint as it is applied.
Students mix to create only secondary colors for the second square. The third square is for complementary colors See under Color.
See also: Complementary that are opposites on the color wheel. Students should work with one or two sets of complements. The fourth square is for split complementary colors. Students can select any color on the wheel, find its opposite, and then use the colors they find on either side.
When they finish the series of four small squares, they are given a 12 x 18" (31 x 46 cm) new print to develop one larger design. The design could be a takeoff of one of the four or a completely new image. When students are satisfied, they should lightly redraw To redisplay an image on screen whether text or graphics. The concept is that the first time elements are displayed, they are "drawn," and if something is changed, they are "redrawn." Applications often have a Refresh command that redraws the screen. the composition onto a sheet of white vellum the same size. This image will be developed in only analogous colors. Explain that analogous colors are similar colors. When looking at the color wheel, they are colors that go sequentially such as blue green, blue, blue violet. Students select the color range and develop the entire composition using only those colors.
Students can use fine-line markers to define the finished watercolor image. This helps to define and sharpen sharp·en
tr. & intr.v. sharp·ened, sharp·en·ing, sharp·ens
To make or become sharp or sharper.
sharp the finished design.
Exercise II: Combining Color
Students select a single subject and create a line drawing of that subject. They are encouraged to work from life or a photograph of the subject, not copy someone else's drawing or cartoon.
Students develop a preliminary sketch in line of their chosen subject on 12 x 18" (31 x 46 cm) newsprint. They can then work with three colors. Color choices include primary, secondary, split complementary, and analogous. They are also given the option of a neutral color--black, white, or brown. An assortment of 12 x 18" (31 x 46 cm) fadeless fade·less
Not fading or not subject to fading: fadeless fabric.
fadeless·ly adv. art paper is provided. Students then draw or trace their drawn subject on the back of the fadeless paper so that no pencil lines will appear on the front. Tell them to first make a decision regarding the order of the three colors. X-acto knives are provided for the cutting of shapes in relation to their subject. Students remove shapes from the first layer to allow the second color to be seen, and shapes from the second sheet to show the bottom layer of color. In the end, a balance of the three colors is desired. A small amount of rubber cement is used in the four corners to secure the when it is finished, as well as any other areas of the composition that appear to need securing.
During the process, students are shown the work of Henry Matisse to broaden their understanding of how he artistically applied the use of cut paper in the later part of his life. Also, examples of scherenschnitte, a German folk art folk art, the art works of a culturally homogeneous people produced by artists without formal training. The forms of such works are generally developed into a tradition that is either cut off from or tenuously connected to the contemporary cultural mainstream. tradition of cut paper, are shown because of the close relationship to what the students were experiencing while doing this project.
Ask students to reflect on the process and critique the use of mixed color, watercolor application, use of varied density in media, and overall clean presentation. Ask: "What are your insights about color through this experience?" "How can you see this knowledge applied to your future work?"
Students create multiple solutions to specific visual arts visual arts npl → artes fpl plásticas
visual arts npl → arts mpl plastiques
visual arts npl → problems that demonstrate competence in producing effective relationships between structural choice and artistic functions.
Ken Vieth is an art teacher at Montgomery High School Several schools use the name Montgomery High School:
As of the United States 2000 Census, the population for ZIP Code Tabulation Area 08558 was 5,202. .