# data[].attributes.body
This art exercise works out your Observational Drawing skills. Click on the GoogleDoc to read the instructions!

# data[].attributes.body
This is some background material for students that have never taken my class before. Before we start painting, you must know the basics theories of color. Itʻs quite simple.

1. Primary colors are Red, Blue, and Yellow.

2. Secondary colors are the results of mixing the Primary colors together.
- Ie. Red & Yellow make Orange. - Blue & Red make Violet/Purple - Blue & Yellow make Green

3. A Tertiary color (or intermediate color) is made by mixing a primary color with half of a secondary color. - Ie. Red-Orange, Blue-Violet, Blue-Green, and so on. The above are examples of tertiary colors.

4. The rainbow spectrum that I will often from time to time refer to as ROYGBIV stands for - Red - Orange - Yellow - Green - Blue - Indigo - Violet

You must understand what all these colors are and how they can be mixed and created before you start painting for my lessons.

Our friends at the Art of Education explain color to us in this 4 minute video.

# data[].attributes.body
To allow more play with the new Tempera (high pigment) paints that we have, this is a more freestyle and (what I think) will be a more fun painting session for everyone.

If you donʻt have Tempera paint,  you can substitute watercolor or acrylic paint.

Find an photo of a sunset or sunrise and utilize what techniques weʻve practiced this week to create the painting. For those of you that are adventurous, wait until 7:30 to 8pm tonight and go outside and look at the sunset.

MUST HAVES/RULES:
1. It can be horizontal or vertical format.

2. Must use the Painterʻs Tape to create a frame/border around the painting. In other words, I want to see a white border thatʻs masked around your painting.

5. Your painting doesnʻt have to be as big as 9x12 inches!
If you want to make it a half page like the one in my example, go for it.
However, the smallest you can make this painting can be 6x4.5" inches (or half of the 9x12 sheet).

Iʻll be going over painting techniques & theories of the following:

- What is a wash?
- Mixing paint & why we always start with light colors 1st
- Wet on Wet blends
- Drybrush over existing paint
- Washes over existing painted areas
- Use of papertowels or Qtips when you donʻt have a brush
- Underpainting vs "Straight out of the Tube" opaque paint
- How to know when to "Stop" painting (Ie. If your paper starts to buckle a lot, then stop!)
- Predicting that this Tempera Paint will always dry "darker."

Below shows a quick sample painting I did in 20 minutes on a mixed media pad that is 5x8 inches based off a photo I took of last nightʻs sunset. Although smaller, I tried my best to capture the muted colors, the contrast of dark to light things, and an overall feeling when you look at this painting.

Have fun with this assignment!

# data[].attributes.body
Examples of what a "wash" looks like and what the technique of "underpainting" looks like.

Note how making warm or cool "washes" first can affect the colors that will be painted after or on top of the washes. Instead of white being underneath your final colors, you can change how a painting looks by putting a warm or cool wash as a first layer of painting.

Be sure to let the wash painting DRY FIRST before painting on top of it.

# data[].attributes.body
Note how I used "painters tape" to tape a border on my watercolor or mixed media paper first. This will allow a nice white border around my painting after I peel it off at the end.

# data[].attributes.body
I painted another blend or "ombre" gradient on the top of my painting.

I then painted a little more orange with a very "watery" or diluted orange. I then painted a "medium value" blue-gray as the mountains on top of that orange.

Lastly, I painted the "darkest value" of mountains in the front & bottom of the painting.

# data[].attributes.headline
Final painting of Sun Will Rise painting

# data[].attributes.subject
Final painting of Sun Will Rise painting

# data[].attributes.body
Note how I used too much water with the tempera or watercolor paint. This caused the paper to "buckle" or wrinkle too much. So be careful of not using too much water with your paints!
Don't forget to clean. your brushes also at the end of painting.

# data[].attributes.headline
ROYGBIV - Color Pencil Shading / Value Study

# data[].attributes.subject
ROYGBIV - Color Pencil Shading / Value Study

# data[].attributes.body
SUPPLIES NEEDED:
- Print out the attached PDF file to 8.5x11" paper, or take 1 sheet of the Watercolor Paper and draw 7 vertical rows with 10 boxes in them similar to the attached PDF.
- Provided DAISO Color Pencils or your own Color Pencils

INSTRUCTIONS:
1. Read and Print out the attached PDF file. If you donʻt have a printer, take a 8.5x11" paper and draw 7 tall vertical rows and make sure each row has 10 boxes in them (like the attached .jpg photo).

2. In a vertical row, fill in and shade with your color pencils in a VERTICAL column the same hue (color) of the hues of the ROYGBIV rainbow. Check out my sample labeled "COLOR PENCIL VALUE SHADING SAMPLE.jpg" photo attached.

3. Please shade the top rectangle be the lightest value and shade the darkest value placed on the bottom. Below is the process that I shade this exercise. It is not the only way to color in the rectangles, but my steps below are a "helpful suggestion" on how to complete this exercise the fastest and with the best comprehension.

3a. Note how I started by coloring in the darkest bottom rectangle first. Then I colored in the top "lightest" rectangle second and then third, I colored in what I judged to be a "mid-range" value, holding my pencil on itʻs side to color it in.

3b. Bottom Darkest Rectangle: Thereʻs not right or wrong steps on how to color this in, but the reason why I do the darkest first is because itʻs the easiest and itʻs easy to fill this block in with the "hardest pressure you can fill with a pencil." Be sure not to press to hard where you tear the paper. Remember this is an exercise to learn how to control your color pencil with the pressure of your hand.

3c. Top Lightest Rectangle: I then see how lightly I can color in the top rectangle. I also cheat by using a big eraser if I notice I can see strokes of my color pencil.

3d. Medium Value Rectangle : I fill in the rectangle at the halfway point (the 5th rectangle in the middle) by holding the pencil to itʻs side and generating what I can judge to be a "medium value" of between the lightest & darkest rectangle.

3e. I then color in all the rectangles below the Medium Value Rectangle with the same hardness & pressure as the Medium Value Rectangle. This allows the start of those darker rectangles. I usually color the 2nd darkest one and then work my way up.

3f. I color in all the rectangles below the Lightest Value Rectangle with the same light pressure as the top rectangle and then work my way down making each rectangle darker, but no darker than the Medium Rectangleʻs value. Again, thereʻs no right or wrong way to do this. Above explains just my technique and steps that I do this exercise/warm up.

I have left the violet section empty because I normally demonstrate how to shade this lesson on Zoom with the Violet section.

4. Take a photo upload your assignment to this Padlet assignment.

TIMING:
- This assignment should take 90 minutes or less.

# data[].attributes.body
Besides creating in this class, my goal is to teach you how to give "constructive criticism" of your classmates. This goes a long way in knowing how to "adapt" and communicate in life and it not only applies to art.

Review over the attached worksheet. You will receive an email from me the directive for your "Creative Partner" or classmate and a jpg file of their work from our shared Assignment/Homework.

Answer all the questions in the worksheet and then email it to your partner AND submit the GoogleDoc to me.

Goals:

- Learn the language of what makes good design & composition, line quality, and communicate with your partner.

- Learn to provide honest, but "constructive" criticism. This means that you donʻt just say "what you like and donʻt like," but you must EXPLAIN WHY you like something and WHY you donʻt like features of the piece of artwork. Donʻt just say "I donʻt like it" or "I hate this or that." Using that language is NOT "constructive criticsm" because it doesn't allow your classmate to understand how to improve or get better.

Ie. "I donʻt like this part of your artwork because it doesnʻt look like you finished this area. Or it looks like it is not as ʻpolishedʻ as other areas of your artwork."

Another example of better constructive criticism could be:

"I like what you did here, but in this area that Iʻm confused about (x) or in this area I donʻt like, I would have solved the problem by doing this...xyz (insert list of suggested solutions that you would do here)."

- Remember to provide positive feedback to balance out negative critique/feedback to your partner.

- Re-Read the Assignment #1 and double check your partnerʻs artwork. Did he or she fulfill the rules and goals of the assignment? Is there any instructions that your partner did not follow?

- I want you to use use terminology from the Composition GoogleSlides and use that to give me your critique. I want to see words used like:- Unity, Balance, Movement, Rhythm, Focus, Contrast, Pattern, and Proportion ...in your critique - Make sense ?

- Iʻm aiming to have more human interaction between you all as a class, so this is not just a one way / directive type of class of me lecturing you folks.

# data[].attributes.attachment_link.description
Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

# data[].attributes.body
Originally I created this warm up for my Tempera paint, but you can do it with Acrylic or Watercolor also.

Art Supplies Needed:
- Acrylic, Watercolor or Tempera paint
- Flat brushes
- Cup of water to wash your brushes
- Papertowels or rags to clean your brush
- Mixed media paper or watercolor paper. If you donʻt have these, you can also use regular paper of any size.
- Painters Tape. If you donʻt have this you can try Scotch Tape.
- Drawing Board. If you donʻt have one of these, you can just use a flattened cardboard box that is 2x as big as your paper.

Overview:
Create 3 vertical bars of "wet blends." Each bar should be about 6 inches high and 1-2 inches wide.

- Practice taping your watercolor paper onto a flat Cardboard Box

- If no Painters Tape, you can use Scotch tape, but like my demo, apply the Scotch tape to your shirt or jeans, before applying it to the watercolor paper.

- Be sure to wet your brush from time to time as you are blending two colors together.

- Your colors donʻt have to be the same as my demo of Red-to-Blue or Red-to-Pink.

- Be sure to use about half the circle cup in the Painters Pan of your Tempera Paint. Keep in mind that the paint will need to be used for the rest of the next 2 weeks.

Some helpful Tips:
- Applying light colors before darker colors is easier & smarter because itʻs harder to paint a light color over a dark color.
- Keeping things wet allows for smooth blends.
- Try just taking a wet paper towel to do this exercise. It gives some nice even effects for blending.
- If paper tears or rips, donʻt be afraid to start all over again.
- REMEMBER to always wash your brushes after youʻre done!

For students that missed todayʻs class, I have attached a YouTube link of me doing the demo in my home kitchen paint studio!

Have fun exploring your paints!
Hit me up with any questions.

# data[].attributes.body
Here is an easy assignment that I have given my students that can take 1 minute or 1 hour, depending how detailed you want to render things:

- Draw a circle or oval that is the width & height of an entire page. This is the boundary of what will be drawn.

- Draw an object or anything at the insidetop of the circle. Make it 1" to 3"big

- Then draw anything of the same size or weight at the bottom inside of the circle.

- Do the same for the inside Left & right of the circle.

- Then in the middle of the circle; draw what is important to you. This could be your family, friends,  Lucky, ect.

- Similar to a clock, mark off where #s would go by making dots or tick (1cm long) marks. These will be "targets" of where you will draw to.

- From the center, draw something that represents nature that would extend from the center to one of the dots or tick marks. Remember that whatever you draw, you must balance it by drawing the same thing or something similar on the opposite side of the circle.
An example would be drawing a leaf or wave curve that goes from the center to the end or a thin pine tree & gets drawn again on the opposite end. Or a different tree is drawn on the opposite end, but is of same weight as the pine tree.

- Keep doing this until the entire circle is filled.

- This can be redone with a square or rectangle or Star or whatever shape as the outside border.

The purpose of this is that this will relax your brain to be creative, but you must use the logical side of your brain to keep within the rules and "balance" the elements.

After doing 20 of these, you could pick one to be a painting.

After completing the first several of these, research the word "mandala" from Hindu Indian culture. It is also the basis of how henna is painted.

Enjoy & upload what your first drawing looks like!

# data[].attributes.body
Diamonds in Ink

The goal of this assignment is to simply warm you up before you start drawing other drawings that are more complex.

Time limit:
- This entire drawing should only take 1 minute! Put on a timer or have a family/friend time you.

Materials:

Take 4 pieces of 8.5x11" paper or more if you want to practice. You can also complete this warm up in the sketchbooks that I provided or whatever sketchbook you own. If you donʻt have paper, you can do any of my warm ups on newspaper, or flattened paper bags.

DO THIS WARM UP ONLY WITH PEN - NO PENCILS PLEASE.
The reason why we do this in pen is because, I donʻt want your minds to get tripped up and become uncertain of how you draw your lines in this warm up. Using pen will allow the you to draw lines with "intention" and focus.

Warm Up Diamonds:
- Aim to finish this drawing rapidly within 1 minute.

- Start off drawing a diamond about half an inch tall or as tall as your pinky fingernail in the middle center of the paper.

- Draw/Ink another diamond outlining the 1st diamond, and keep outlining the diamond shape until you fill up the entire page/paper with lines.

- Make it bleed off the edges of the paper when you get to the edges.

The purpose of doing this warm up is also to have you think of nothing, but making solid, bold lines WITH PEN.

# data[].attributes.body
Hereʻs a PDF presentation on Basic Color Theory and how we mix acrylic paint.

# data[].attributes.body
Hereʻs a PDF that shows what primary colors, secondary colors, and a review of the Color Wheel.

# data[].attributes.body
Hereʻs a PDF that explains in color language the use of monochromatic, complimentary, triadic, and analagous colors.

# data[].attributes.body
Hereʻs another video explaining more advanced color theories from the Art of Education.

# data[].attributes.body
Hereʻs a presentation I wrote for my High School students that can help all young artists, even if they are younger than High School level.

# data[].attributes.body
Hereʻs a lesson that I got from another fellow Art Teacher - Mrs.T Fox in Virginia.

# data[].attributes.attachment_link.title
DTECH - IMPOSSIBLE SHAPE ASSIGNMENT - MAY 2020

# data[].attributes.body
Here is the PDF to print out for the lesson and use for your transfer of outlines of the shape.

# data[].attributes.body
Hereʻs an example of a completed painting from one of my high school students of the Impossible Shape.

# data[].attributes.body
This exercise can be given to Elementary 4th to Middle School grades.

Materials
- Black Construction Paper (8 1/2 x 11" or bigger)

- “Large” brushes—3/4”-1” flats
- Brights color palette of paint (Acrylic, Tempera or Pastel)
- Water buckets
- Newspaper—large sheets
- Newspaper—wiping sheets

- Paint cart
- Sponge
- Dish Soap

Preparation
- Cover tables with newspaper.

- Fill water buckets.
- Put out black paper.
- Each student takes a palette, one or two brushes, and water bucket.

Discussion
- Discussion on the Color Wheel.

- What are the major hues/colors?    - Differentiate “hue” and “color.”

- Discuss example artist, Paul Klee and his style of squares painting.
- Confirm with all students that we are not painting a "representation or literal" images for this painting.

Making
- Apply color in simple squares, a thick mark, or another very basic shape. Emphasis of this work is to be on the color, not the form.

- Each student must choose only one Hue/Color to base their painting on.
- Make as many variations of the Hue as you can. Color should still be identifiable as the original hue. - - Students may use black, white, and tiny amounts of other hues. Aim to cover the entire piece of paper.

- Choose a complimentary color of chosen, main color. 10-15% of your black paper or canvas should be covered with the complementary variations.

- Choose an accent color—whatever would look great on your abstract painting.
- At most cover 1 to 5% with accent color. Johannes Itten refers to varying the amount of each color as Contrast of Extension.

Clean Up
- Use newspaper to wipe brushes as clean as possible, before putting in water.

- Wash brushes with warm water and soap.
- Use newspaper to wipe palette as clean as possible, before wiping with wet sponge.
- Empty and rinse buckets.

The sample below shows how the student artist painted with Green as the main "Hue" or color, but also selected the "complimentary color" of Red with shades of Red. The markings are done with all squares or 90 degree shapes.

# data[].attributes.body
This student artist selected a "Blue/Turquoise" as their main color with the complimentary color of Violet/Purple.
Note how the added paint sections of Blue & Green are "Harmonious" colors and create a pleasant harmonious feeling.

# data[].attributes.body
The main color or Hue in this painting is Yellow. Note how all the circles are painted with different "values" or tints & shades of Yellow.
No complimentary colors were used in this painting.

# data[].attributes.body
Hereʻs an example of Paul Kleeʻs painting, called "Moonshine, painted in 1919." It shows how Paul painted mainly with Blue, then chose a complimentary color of Red/Pink. Lastly he simply added a complimentary color of Yellow as the moon.
Also note how Paul chose simple shapes of rectangles & triangles to represent buildings, structures, and the mountains of the landscape.

# data[].attributes.body
Value defines how light or dark a given color or hue can be.

Artists are able to create the illusion of light using different color and tonal values.

Values are best understood when visualized as a scale or gradient, from dark to light like the image above showing 10 levels of value in grays.

Below is an image to study how the different "value" levels make up a red apple.

# data[].attributes.body
The use of the term "tint" relates to how much white paint gets added to a pure color or hue.

When we refer to the term "shade" or "shades" of a color, it relates to how much black gets added to the color or hue.

# data[].attributes.body
Hereʻs a great article that explains why the more we understand "Value" it is important to understanding how to paint.

# data[].attributes.attachment_link.readable_text
Value in art has various meanings, but for the purpose of this post we will be referring to value in relation to color theory.

Value in art is essentially how light or dark something is on a scale of white to black (with white being the highest value and black being the lowest value).

It is widely considered to be one of the most important variables to the success of a painting, even more so than your selection of color (hue).

Value in art should be simple to understand, however the inclusion of color can make it a challenging concept to grasp.

You could have two different colors which appear completely different, but have exactly the same value. There would be little contrast between these colors despite the different hues.

On the other hand, you could have many different values of the same hue. These are called tints and shades. You can produce tints of a color by adding white and shades by adding black.

# data[].attributes.attachment_link.title
What Is Value In Art And Why Is It So Important For Your Paintings

# data[].attributes.attachment_link.description
What Is Value In Art? Value in art has various meanings, but for the purpose of this post we will be referring to value in relation to color theory. Value in art is essentially how light or dark something is on a scale of white to black (with white being the highest value and black being the lowest value).

# data[].attributes.body
If youʻre a student artist and feel that you know everything that has been listed here already, email me at MikeTyau@Gmail.com and I will provide you with more advanced art lessons for High School students.

# data[].attributes.headline
Crosshatching & Stippling to create Value

# data[].attributes.subject
Crosshatching & Stippling to create Value

# data[].attributes.body
You can various texture drawing techniques to create "value." Draw the sphere below and note the "core shadow" is the darkest value area. Try the techniques of:
- Hatching
- Cross Hatching
- Stipple
- Scribbling or scumbolding marks
- Blending with a blender tool or your finger

# data[].attributes.body
Warm Up Diamond Twist

Time limit:
Takes about 1-2 minutes

Materials:

Take 4 pieces of 8.5x11" paper or more if you want to practice.

- After drawing my first page, I realized that it creates an optical illusion, where the edges captures my eyeʻs attention to think the diamond is twisting a little.

- This 2nd warm up entails you to draw the 1st small diamond in the center of the page, but draw guiding "dots" that curve. I drew 3 dots as "targets" for me to aim for for the 3 additional lines/diamonds after my 1st diamond.

- When completed (see attached), an illusion of motion or twisting occurs in your final inking.