Just like a black and white value scale , values or shades can be translated into color.
This is a typical 9-step value scale
To make a color value scale, you can select one color and create tints and shades of that color to make light and dark values.
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Tint: a color created by adding white to a hue
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Shade: a color created by adding black to a hue
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Hue: pure color, as in a color selected from the color wheel
You can have a full key painting using the values of a color, or colors.
A monochromatic painting is a painting that is made up of a hue , tints and shades of that hue, and neutral colors .
Artists sometimes do not use black and white to create tints and shades of colors within their paintings. Instead, they might assign colors to light values, middle grays, and dark values. For example:
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Light values could be assigned yellows, oranges, reds
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Middle values could be greens and blues
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Darker values could be blues and purples and their mixtures
Neutral colors : black, white, and gray. These colors often are intermingled within colorful paintings, but are not considered warm or cool . Cool or warm colors refer to color temperature .
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Warm colors: Reds, Oranges, Yellows, Browns, their mixtures, and all of their respective tints and shades
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Cool colors: Greens, Blues, and Purples, and all of their mixtures and tints and shades
 You can have a “cool” or “warm” gray or brown, depending on the mixture of colors

Vocabulary:
Pablo Picasso (Spanish)
Georges Braque (French)
Cubism
Value Scale ( One color, starting with white, then tints, then pure hue, then shades to black)
Monochromatic Color Scheme
Abstract (image not realistic)
Still Life
Tint
Shade
Neutral Color (white, grays, black)
The two artists responsible for “inventing” Cubism
1.
Pablo Picasso
2.
Georges Braque
Characteristics of Cubist Paintings :
1.
Abstract
2.
Dominant repeating geometric shapes
3.
Overlapping and transparency
4.
Multiple sides of an object are revealed all at once, distorting the subject matter
(objects)
Cubism as an art movement revolutionized the way art was accepted. This form of art came about during the early 1900’s, and was a movement of inspiration for many years in the realm of abstract art.
Picasso: Bulls head, Fruit, and Pitcher , 1939
Braque: Musical Forms , 1918

The Design of a piece of artwork can be defined as the way in which shapes, colors, and lines are arranged in a composition.
The Design is often carefully planned by an artist to achieve a desired aesthetic visual effect.
When planning a composition , consider all parts of the surface you are working with (positive and negative space) in order to achieve balance and unity .
To determine a design type, first decide if the design is objective or nonobjective
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Objective: recognizable and identifiable objects can be seen in the composition.
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Nonobjective: made up of abstract unrecognizable shapes or lines.
Next, determine if the design is symmetrical or asymmetrical
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Symmetrical: a design that has a line of symmetry that forms two sides within a composition which are identical in a mirror-like configuration.
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Asymmetrical: a design that is without symmetry.
This design is abstract, nonobjective, and symmetrical:
This design is realistic, objective, and symmetrical :
This design is abstract, objective, and asymmetrical:
A radial design is one that has a central focal point, and shapes and lines “radiate” from the center.

This design is an abstract radial design that is nonobjective and symmetrical:
It is possible to have an abstract objective radial design:
Process of printmaking using block
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Sketch idea
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Transfer to block
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Carve areas that will remain the color of the surface—raised areas on block will be the ink colors o Use a bench hook and proper carving tools
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Ink the block using a brayer
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Create a print from the inked block
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Create successive prints, experimenting with color of inks and variations of surface color/texture.
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Mat the print for display
Edvard Munch
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Norwegian artist (1863 – 1944)
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Expressionist imagery directly a result of life experiences

Known for widely using the block printing process
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Lost his mother and favorite sister to tuberculosis (1868)
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He and his siblings were raised by his father

o Father instilled a sense of fear. If he or his sisters sinned in any way, they would be doomed to hell for all eternity. o Father eventually died of tuberculosis o Another sister suffered from mental illness o Brother died a few months after his own wedding o These experiences led to Munch’s Expressive imagery
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Frequent illness disrupted his work

Munch studied to become a painter, focusing on symbolic imagery: depicting a state of mind rather than an external reality
The Scream , (1893) as a block print (1895)
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His images became depictions of emotions and expressive energy

Munch received help for his own mental anxiety and began to paint less pessimistic images of nature
 Nazis labeled his work “degenerate art” and removed his work from German museums

He moved back to Norway and worked until his death
The advantage of printing over other traditional art forms: it is easier and faster to make copies, thus creating more inexpensive and readily available versions of the same image to the general public.
Items from everyday life that have images created through a printmaking process:
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T-shirt designs
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Cereal boxes
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Soup/canned goods labels
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Books/magazines

Three methods of hand-building clay:
1.
Pinchpot
2.
Coiling
3.
Slab
Stages of clay:
1.
Earthenware (wet unformed clay)
2.
Leather hard (almost dry clay body)
3.
Bone dry (all moisture has left clay body)
4.
Green ware
—bone dry vessels/containers
5.
Bisqueware
—fired greenware
6.
Glazeware —glazed bisqueware
Method of joining together two pieces of clay:
1.
Score areas to be joined (roughen surface)
2.
Apply liquid slip (liquefied clay) to scored areas
3.
Weld the two pieces together (smooth over the crack between the two joined pieces firmly
Score slip weld

You can create a visual texture in your drawings by using patterns of marks .

Varying the direction of the marks and their sizes can create an interesting sense of movement within your drawing.
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Using visual texture can also add a dimension of detail that will make your drawings appear more realistic.

Visual texture marks can also be used to enhance shading.
Leonardo Da Vinci mapped out general proportions of facial features in early sketches:
Proper proportions of frontal-view portraits:

Start with oval (egg shape)
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Eyes; half-way between top of oval and bottom of oval

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Tip of nose line; half-way between eye-line and bottom of oval
Mouth line; half-way between nose-line and bottom of oval

Ears; between eye-line and nose-line

Neck; begins where mouth-line meets the oval

Width dimensions: divide eye-line into horizontal fifths.

o Eyes go in 2 nd and 4 th fifth spaces o Nostrils line up in middle fifth space o Mouth edges are usually lined up under pupils of eyes
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Full key
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Middle key
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High key

Low key

Value Scale
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Foreground
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Middleground

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Background
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Horizon

Creating the illusion of Depth

Shading and applying value with a given light source
Landscape; painting techniques; Creating the illusion of depth
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Underpainting
Color mixing
Making colors less intense
Using tints and shades of color
Utilizing correct tool to create marks that create believable illusion of imagery
Applying shading to objects depending on location of light source
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Direct pigment mixing
Wet-into-wet mixing
Use of salt to build texture
Drybrush
Plastic wrap
Masking—rubber cement and tape
Splatter
One AND Two-point perspective; methods and procedures, history, and purpose

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Orthogonal
Horizontal
Vertical
Vanishing point
Horizon line
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Primary Colors

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Tertiary
Complementary

Neutral
Relationships between colors and color mixtures

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Secondary
Color chemistry—mixing
Color Intensity Scale—making a color “less intense”
Expressive painting; using expressive marks to achieve texture, detail, and shading

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Vincent Van Gogh o Identify major pieces of work o Characteristics of a Van Gogh painting
§ Bold outlines
§ Bright colors
§ Thick brushstrokes
§ Swirling designs
Under-painting
Related areas of color