Art 4

A review of the elements of art and principles of design, then using them on purpose. Combining two ideas into a new one, new tools and studio safety, drawing a built environment, peer feedback, how technology changes how art is preserved, and how cultures record stories.

• 1 · Welcome to Art 4: A Review of Your Artist's Toolkit
• 2 · The Eight Principles of Design: A Quick Review
• 3 · From Naming to Using: Applying Elements and Principles on Purpose
• 4 · Combining Ideas: Brainstorming an Innovative Art Concept
• 5 · Exploring New Art-Making Techniques and Tools
• 6 · Staying Safe in the Art Studio
• 7 · Drawing Your Region: Documenting a Constructed Environment
• 8 · Listening and Revising: Using Peer Discussion to Improve Your Art
• 9 · How Technology Has Changed the Way We Preserve and Share Art
• 10 · Protecting and Presenting Art: Physical and Digital Spaces
• 11 · How Cultures Record Their Stories Through Art
• 12 · Reading the Message: Analyzing Visual Components in an Image
• 13 · Critiquing Your Own Art: Using Teacher-Established Criteria
• 14 · Unit 1 Review: Foundations Checkpoint

Warm and cool colors, complementary pairs, mixing tints and shades to show light and shadow. Then foreground, middle ground and background, the horizon line, a vanishing point, size and placement, and a landscape that combines color and depth.

• 15 · Kickoff Unit 2: Color and Depth
• 16 · Warm Colors and Cool Colors: Building Color Families
• 17 · Complementary Colors: Opposites on the Wheel
• 18 · Tints: Mixing Color with White
• 19 · Shades: Mixing Color with Black
• 20 · Using Tints and Shades to Show Light and Shadow
• 21 · What Is Perspective? Creating the Illusion of Depth
• 22 · Foreground, Middle Ground, and Background
• 23 · Horizon Line and Eye Level
• 24 · Introducing One-Point Perspective and the Vanishing Point
• 25 · Drawing a Hallway or Road in One-Point Perspective
• 26 · Size and Placement: Showing Distance in a Drawing
• 27 · Combining Color and Perspective in a Landscape
• 28 · Comparing Two Artworks Using One Set of Criteria
• 29 · Before and After: How Working in a Medium Changes How You See Art
• 30 · Unit 2 Review: Color and Perspective Checkpoint

One piece from idea to finish: references, thumbnail sketches, planning depth, color and light, a pencil draft and a final reflection. Then contour, blind contour and gesture drawing, cross-hatching, viewfinders, sighting proportions and negative space.

• 31 · Elaborating Your Idea: From Combination to Concrete Plan
• 32 · Gathering Visual References for Your Big Project
• 33 · Thumbnail Sketches: Testing Compositions Before You Commit
• 34 · Planning Depth in Your Project Piece
• 35 · Planning Your Project's Color Palette
• 36 · Planning Light and Shadow for Your Project
• 37 · Drawing the Full Pencil Draft of Your Project
• 38 · Applying Color to Your Project Piece
• 39 · Adding Final Details and Polish to Your Project
• 40 · Reflecting on Your Finished Project Piece
• 41 · Contour Line Drawing: Following the Edge with Your Eye
• 42 · Blind Contour Drawing: Training Your Hand and Eye Together
• 43 · Gesture Drawing: Capturing Motion in Seconds
• 44 · Cross-Hatching: Building Value with Overlapping Lines
• 45 · Contour Hatching: Making Lines Follow the Form
• 46 · Framing Your Subject: Drawing with a Viewfinder
• 47 · Measuring Proportion: Sighting with Your Pencil
• 48 · Negative Space: Drawing What Isn't There
• 49 · Setting Up a Still Life with Simple Perspective
• 50 · Synthesis Sketch: Combining Contour, Gesture, and Hatching

Planning, drafting and finishing a picture that carries a message, and having a partner read it. Then scumbling, monoprinting, paper engineering and frottage. Several days are checkpoints and portfolio choices.

• 51 · Encoding a Message: Planning Art That Says Something
• 52 · Drafting Your Message Piece
• 53 · Finishing Your Message Piece
• 54 · Reading a Partner's Message: Informal Visual Interpretation
• 55 · Evaluating a Sample Artwork with Your Own Criteria
• 56 · Scumbling: A New Way to Layer Color
• 57 · Monoprinting: One-of-a-Kind Prints Without Carving
• 58 · Paper Engineering: Folding and Scoring for 3D Form
• 59 · Frottage: Capturing Texture Through Rubbing
• 60 · Synthesis Piece: Combining Two New Materials Techniques
• 61 · Checkpoint: Your Elaborated Idea Project
• 62 · Checkpoint: New Drawing Techniques
• 63 · Checkpoint: Your Message Project and New Materials Techniques
• 64 · Choosing Your Best Work: A Two-Project Portfolio Check
• 65 · Unit Wrap-Up: Skills Ready for What's Next

Value scales, wet-on-wet, glazing, palette-knife, splatter, paint pouring, masking and brush techniques. Advanced collage and mixed media, relief and multi-color prints, coil, slab and pinch clay, and weaving, stitching and tapestry.

• 66 · Materials & Processes: A New Toolkit
• 67 · Value Scale: Shading with a Range of Tones
• 68 · Wet-on-Wet Blending: Soft Edges Without Hard Lines
• 69 · Glazing: Layering Thin, Transparent Color for Depth
• 70 · Palette-Knife Painting: Sculpting Texture with a Blade
• 71 · Splatter and Spatter: Controlled Accidents in Paint
• 72 · Paint Pouring and Marbling: Letting Colors Move on Their Own
• 73 · Masking Fluid Resist: Protecting White Paper While You Paint
• 74 · Painting Techniques: Wash, Dry Brush, and Stippling
• 75 · Unit Checkpoint: Color and Painting Reflection
• 76 · Advanced Collage: Layering for Texture and Depth
• 77 · Mixed Media: Combining Drawing and Collage
• 78 · Printmaking Basics Review and Carving a Relief Stamp
• 79 · Printmaking: Multi-Color Prints and Registration
• 80 · Collagraph Printing: Building a Textured Plate to Print From
• 81 · Clay Review and Advanced Pinch Pot: Adding Handles and Lids
• 82 · Coil Building: Constructing a Clay Vessel
• 83 · Surface Texture in Clay: Carving and Stamping
• 84 · Sculpture in the Round: Considering Every Angle
• 85 · Slab Building: Constructing Clay from Flat Sheets
• 86 · Weaving Review and Advanced Pattern Weaving
• 87 · Weaving Traditions: Art That Reflects Community and Culture
• 88 · Simple Stitching: Sewing as an Art Material
• 89 · Tapestry Techniques: Weaving a Shape Instead of a Stripe
• 90 · Unit Checkpoint: Materials & Processes Portfolio Review

Aboriginal Australian dot painting, Chinese shanshui landscape and calligraphy, Islamic geometric tilework (the Alhambra), Maya glyphs and murals, and Pacific Northwest formline design. Each has a project and a comparison using one set of criteria.

• 91 · Dot Painting from Central Australia: Origins and Materials
• 92 · Reading the Symbols: Dots, Circles, and Tracks
• 93 · Recording Country and Story Through Painting
• 94 · A Closer Look: Emily Kame Kngwarreye's Big Yam Dreaming
• 95 · Try It: Creating a Symbol Story With Dots
• 96 · Checkpoint: Applying Criteria to Two Dot Paintings
• 97 · Ink, Brush, and Paper: Tools of Chinese Painting
• 98 · Mountains and Water: The Shanshui Tradition
• 99 · Calligraphy as Art: Writing That Tells a Story
• 100 · A Closer Look: Fan Kuan's Travelers Among Mountains and Streams
• 101 · Try It: Balance and Empty Space in a Brush Painting
• 102 · Checkpoint: Applying Criteria to Two Chinese Paintings
• 103 · Pattern and Precision: Islamic Geometric Art
• 104 · Stars, Tessellations, and Endless Design
• 105 · Where Geometric Art Appears: Mosques and Everyday Life
• 106 · A Closer Look: The Tilework of the Alhambra
• 107 · Try It: Building a Geometric Tile Pattern
• 108 · Checkpoint: Applying Criteria to Two Geometric Designs
• 109 · Codices and Glyphs: How the Maya Recorded Knowledge
• 110 · Reading Symbols: Maya Glyphs and Numbers
• 111 · Murals and Monuments: Recording Rulers and Ceremonies
• 112 · A Closer Look: The Bonampak Murals
• 113 · Try It: Designing Your Own Glyph
• 114 · Checkpoint: Applying Criteria to Two Maya Artworks
• 115 · Formline Design: Art of the Pacific Northwest Coast
• 116 · Ovoids, U-Forms, and S-Forms: The Shapes of Formline
• 117 · Totem Poles and Crest Stories
• 118 · A Closer Look: Bill Reid's The Raven and the First Men
• 119 · Try It: Designing a Formline Crest Panel
• 120 · Unit Checkpoint: Applying One Set of Criteria Across Five Traditions

Looking at subject, form and media together, then how background changes meaning. Case studies are Benin bronze plaques, Hokusai's The Great Wave and ukiyo-e, Egyptian tomb painting, and inferring time and place from a Greek vase.

• 121 · Cast in Bronze: The Royal Art Tradition of Benin
• 122 · Reading a Work of Art: Subject, Form, and Media Together
• 123 · Reading Rank and Ritual in a Benin Bronze Plaque
• 124 · Context Changes What You See: Interpreting Art With Background Information
• 125 · A Closer Look: The Benin Plaques and a History That Changes Their Meaning
• 126 · Ukiyo-e: Japan's "Pictures of the Floating World"
• 127 · Reading Hokusai's The Great Wave
• 128 · Try It: Carving a Simple Wave-Inspired Print
• 129 · Checkpoint: Applying Criteria to Benin and Ukiyo-e Art
• 130 · Big Figures, Big Importance: Hierarchical Scale in Egyptian Tomb Painting
• 131 · Case Study: Egyptian Tomb Paintings as Storytelling
• 132 · Art Detective: Inferring Time, Place, and Culture
• 133 · Practice: What Can We Infer From an Ancient Greek Vase Painting?
• 134 · Unit Checkpoint: Reading and Evaluating Art

How Benin, Tibetan thangka and ukiyo-e makers showed their art, temporary versus permanent work, exhibit design, explaining your own work, labels and mats, photographing for a portfolio, and planning a mock exhibit.

• 135 · Why Presentation Matters: Starting Unit 7
• 136 · How the Kingdom of Benin Displayed Its Royal Art
• 137 · Thangka Paintings: Art Made to Be Rolled Up and Carried
• 138 · Ukiyo-e in the Marketplace: Art Made for Everyone to Own
• 139 · Comparing How Three Traditions Present Their Art
• 140 · Checkpoint: Presenting Art Across Cultures and Time
• 141 · Temporary or Permanent? Planning for How Long Art Will Last
• 142 · Thinking Like an Exhibit Designer: Space, Light, and Flow
• 143 · Explaining Your Choices: Talking About Your Art
• 144 · Explaining Your Own Artwork
• 145 · Getting Artwork Ready for Display: Labels, Mats, and Protection
• 146 · Practice: Prepare One Piece for Presentation
• 147 · Documenting Your Art: Photographing Work for a Portfolio
• 148 · Planning a Mock Exhibit With Several Works
• 149 · Practice: Building Your Mock Exhibit Layout
• 150 · Checkpoint: From Evaluating and Presenting to Building a Body of Work

A theme-based final piece: theme, materials, composition and perspective, feedback, color scheme, depth, texture, a mid-project critique and revision, pattern, focal point, cultural details, self-evaluation, then explaining, interpreting and presenting it.

• 151 · Capstone Kickoff: Combining Your Best Ideas
• 152 · Choosing Your Capstone Theme
• 153 · Planning Your Materials and Techniques
• 154 · Planning Your Composition and Perspective
• 155 · Sharing Your Plan for Feedback
• 156 · Blocking In Your Composition
• 157 · Building Your Color Scheme
• 158 · Establishing Depth and Perspective
• 159 · First Refinement Pass: Adding Texture
• 160 · Mid-Project Peer Critique
• 161 · Revising Based on Feedback
• 162 · Working With Pattern and Repetition
• 163 · Strengthening Your Focal Point
• 164 · Adding Authentic Cultural and Community Details
• 165 · Materials Care Check-In
• 166 · Layering In Highlights and Shadows
• 167 · Testing a New Technique Before Committing
• 168 · Self-Evaluation Using Criteria
• 169 · Final Touches and Signing Your Work
• 170 · Capstone Completion Review
• 171 · Explaining Your Capstone Piece
• 172 · Interpreting Your Own Artwork
• 173 · Preparing for Presentation
• 174 · Preservation, Technology, and Display Venues
• 175 · Presentation Rehearsal

Reviewing the year, comparing work against one set of criteria, reflecting on growth, organizing a portfolio, and a closing day with a certificate of completion.

• 176 · Portfolio Review: Looking Back at Your Year
• 177 · Comparing Your Work With One Set of Criteria
• 178 · Reflecting on Your Growth as an Artist
• 179 · Organizing Your Final Portfolio
• 180 · Art 4 Finale and Certificate of Completion