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.

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.

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.

- “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.