1. 4. Tonal value
1.1. The degree of lightness or darkness,or shade, of an object or colour
1.2. Artists use this element to create the illusion of depth in 2D shapes, by shading and adding shadow
1.3. Tints make colours lighter by adding white or even yellow can help tones seem brighter
1.4. Shades make colours appear darker, which is achieved by adding black or darker colours, such as purple or blue.
1.5. 2D shapes can have the illusion of being 3D by the use of tone
1.6. Look: at an image of the painting An Experiment on a Bird in the Air Pump (1768) by Joseph Wright: www.nationalgallery.org.uk/paintings/joseph-wright-of-derby-an-experiment-on-a-bird-in-the-air-pumpHowhastheuse of tonal value enabled you to feel a sense of drama in this scene? How does the use of light force you to focus on different areas of the work? What emotional response do you have to the image, and how far is this due to the use of tone?
1.6.1. Observe: Shine a spotlight onto a plainly coloured (white) object, such as an egg or a paper cup. Notice the variation in hue of white tones and where the shadows fall.
1.6.2. A Video about teaching tonal value to KS1: http://archive.teachfind.com/ttv/www.teachers.tv/videos/ks1-ks2-art-messy-RT-AT-sks1.html
1.6.3. Make: create a tonal value drawing by collecting charcoal, chalk and paper. Use the charcoal to lightly sketch the shape of the object that you have been looking at in the observation activity. draw in the dark areas with charcoal and use fingertips to smudge the dark colours towards lighter areas. use the chalk to draw in very light parts. bring the dark and light areas together by blending the tones; first with the drawing materials and then with fingertips. softly apply charcoal to denote where the shadow falls.
2. 5. Colour
2.1. Colour is all around us: light is reflected from objects, to the back of the eye (where colour is registered in our brains)
2.2. Colour has three main properties: Hue - the name we give our colours Intensity - relates to the vividness of the colour Tonal Value - relates to the shade or tint of a colour.
2.3. Colour influences our everyday, from choices when getting dressed, our moods, emotions and appetite (grey tinge means it is no longer edible)
2.4. Look: observe the colours in your environment throughout the day. How does the light make subtle changes to the colours you see as the day progresses to night? How does the weather affect the colours around you? Do this exercise on a bright sunny day and contrast it with the same exercise on a dull rainy day. How has this affected your mood? Claude Monet made several studies that documented the changing light and the effect this has on colour: www.nga.gov/content/ngaweb/features/slideshows/claude-monet.html
2.4.1. Explore: know your primary (red, yellowand blue) and secondary (green, purpleand orange) colours.
2.4.1.1. Make: practice mixing primary colours to make secondary and tertiary colours: squirt red, yellow and blue poster paint onto a sheet of thick paper and see how many hues of secondary colours you can achieve. Mix the secondary colours together and see if you can make brows and greys. Add white and black to achieve an even greater range of tints and shades.
2.4.2. The double primary combination (cold colours - lemon, crimson and turquoise)as well as hot colours (cadmium yellow, scarlet and ultramarine) will give the widest range of colours when mixed
3. 6. Texture:
3.1. How the surface of something feels, or might feel if you could touch it. For artists, this could mean either real surface quality, such as in a sculpture, or the illustration of surface quality, as represented through painting or drawing for example.
3.2. Pattern can alsobe exploredby observing texture.
3.3. Look: Find examples of different materials (natural and manmade) such as crumpled paper, fur, wood and look at the surface patterns. Make a list of vocabulary related to texture to introduce to class. View contemporary art online at London's Saatchi Gallery - www.saatchigallery.com and see where you can use your vocabulary list to describe surface texture in both 2D and 3D work.
3.3.1. Draw: Collect a range of materials that you can make marks with - chalk, charcoal, shoe polish, candlewax, oil pastel, earth - experiment with materials to recreate textures you have observed. try to make marks that resemble a shiny surface, or give the illusion of feathers or fur.
3.3.1.1. Make: Wax rubbings are a good way to explore surface texture in the local environment. Take a large sheet of paper and coloured wax crayons or oil pastels. Use crayons by holding them sideways on, take imprints of surfaces and textures indoors and outdoors. computer keyboards, wicker baskets. manhole covers; bottom of shoes - can capture visually by texture rubbing.
4. 3. Space
4.1. Space deals with the area around or inside shapes
4.2. Positive space - area occupying an object
4.3. Negative space - area around anobject
4.4. Space is used to give the illustration of depth in a 2D image, e.g. making an image look near or far away (vocabulary for this is foreground, middleground and background.
4.5. Space can be explored in 3D work too.
4.6. Look: Place one hand near your faceand the other at arm's length.Compare the sizes of your two handswhilst in this position: your near hand appears larger, although in reality they are the same size.
4.6.1. Explore: Look at the work of Swiss contemporary artist, Sabine Jeanne Bieli www.sabinejbieli.com/. Bieli uses the medium of thread to explore perceptions of space. How could you develop children's spatial awareness using similar materials?
4.6.1.1. Make: download the SketchUp program, which is free, from www.sketchup.com and explore drawing and designing in virtual 3D. Will use a variety of maths skills at the same time.
5. 1. Line
5.1. A mark or stroke
5.2. Long in proportion to its breadth
5.3. An elongated dot is a line
5.4. Lines are all around us(built environment)
5.5. Paul Klee: Drawing is like taking a linefor a walk
5.6. Look (around you)
5.6.1. Make - tear up paper and arrangepieces into a line on the table orfloor, move pieces around to recreatesome of the lines discovered whendrawing
5.6.1.1. Draw (straight, vertical, horizontal, diagonal, wiggly, curved, sweeping, wavy ,curved, sweeping, wavy, curled, thick, thin, swirled, jagged, dotted, dashed, etc.
6. 2. Shape
6.1. Two-dimensional, flat space, with height and width, enclosed by a line
6.2. Can be geometric (circle, square, etc.) or organic and irregular like shapes observed in nature
6.3. Look: at Henri Matisse and his cut outs made in later years: www.henri-matisse.net/cut_outs.html
6.3.1. Draw: drawing materials andcellophane, draw a variety ofgeometric and irregular shapes ofdifferent sizes on to the cellophaneand cut these out.
6.3.1.1. Make: Place the cellophane shapes on to a piece of white paper or a light-box, and play around with the shapes, overlapping some, or arranging them symmetrically or asymmetrically -have you created new shapes or tones where they have overlapped? How did you know when you had finally achieved a satisfactory outcome?
7. 7. Forum
7.1. All objects that have three dimensions are examples of form. 3D forms will have height, width, depth and volume.
7.2. The world is full of forms, and artists have designed all the manmade ones.
7.3. Everything in the manmade worldstarted life as a sketch on a page.
7.4. Forms can be viewed from all sides, either by picking them up or by walking around them.
7.5. Look: for geometric forms - usually manmade items and could be cone shaped, cuboid, spherical or cylindrical. Organic forms - irregular shaped objects that are natural or manmade. Learn how artists express a deep understanding of form - look at the work of sculptor Henry Moore - www.henry-moore.org/pg or Antony Gormley - www.atonygormley.com
7.5.1. Draw: Collect a range of recycled items of different shapes and sizes and arrange them together on a table. Use a spotlight to highlight one side of the composition and make a study of the dark and light areas only by using charcoal and chalk on large paper, like the exercise for tone. Should see the forms emerging in the drawing
7.5.1.1. Make: Use a grapefruit sized lumpof clay to explore organicshapes. Manipulate the clay in as manyways as you can to change theshape. Include pulling, pinching,twisting, flattening or rolling. whatother ways can you move the clay into new forms?