Một Giáo án Hình họa tham khảo

Mô tả khoá học

Phát triển kỹ năng cảm nhận và quan sát/vẽ các khối và không gian: trong đó có tìm hiểu về phối cảnh, đánh dấu, value, line. Người học sẽ sử dụng phương tiện đen trắng để học vẽ tĩnh vật, phong cảnh và chân dung tự hoạ. 

Khóa này bao gồm vẽ qua quan sát trực tiếp, nhấn mạnh về không gian, thể tích, đường thẳng, phối cảnh và kỹ thuật cũng như các khái niệm căn bản về hình họa. 

Khi học xong khóa này, người học sẽ có khả năng

1. Quan sát và vẽ

2. Dùng đường thẳng tạo hình

3. Dùng đường thẳng mô tả khối và không gian

4. Hiểu phối cảnh

Nội quy

- Mọi bài vẽ phải cất cần thận trong bìa hồ sơ. 

- Bài nộp chấm điểm phải ghi tên ở mặt sau.

- Không gọi điện hay gửi tin trong lớp.

Nội dung học

Phối cảnh một, hai, ba điểm tụ

Phân tích mảng và các kiểu line

Từ line tạo value

Danh sách dụng cụ cần dùng

Giấy vẽ

·        Dụng cụ vẽ

·         Sổ vẽ/giấy vẽ

·         Chì vẽ

        Cục tẩy

·         Dao gọt chì

·         Băng keo

·         Hộp đựng dụng cụ

·         Túi đựng giấy vẽ và dụng cụ

  Bảng vẽ (minimum size 22’’x30’’), kẹp 

Tóm tắt chương trình học * Có thể thay đổi.

1.   Phần Hình Khối Cơ Bản

Vẽ khối hộp, khối lục giác, khối nón, khối cầu và các bài tổ hợp khối… Giúp học viên rèn luyện kỹ năng dựng hình, quan sát và lên sắc độ hài hòa nhất.

2.   Phần Chi Tiết Ngũ Quan
Vẽ tai – mắt – mũi – miệng. Để hiểu rõ cấu tạo và biết cách đi sâu vào 1 bài chân dung, đầu tượng.

3.   Phần Đầu Tượng Vạt Mảng

Học cách chia tỉ lệ đầu người, tạo khối và lên sắc độ tổng thể. Nghiên cứu đi sâu vào các khối nhỏ, lên phông nền, nhấn nhá các chi tiết ngũ quan và  bóng đổ. Là bài căn bản để các bạn có thể tiếp tục lên các bài khó hơn (Phần nâng cao: Chân dung – đầu tượng).

(một chương trình khác)

1: Cách phác thảo
2: Nhìn mọi thứ khác đi: Chia hình phức tạp thành những hình căn bản, đơn giản
3. Chuyển từ 2D sang 3D
4. Vẽ đúng tỉ lệ (Lỗi thường gặp và cách sửa)
5. Kỹ thuật đánh bóng
6. Phối cảnh một/hai điểm tụ: Vẽ tĩnh vật: khối vuông, chóp nón, khối tròn, Trên/dưới đường chân trời

·      
     (một chương trình khác)

MÀU NƯỚC NÂNG CAO

Nội dung môn học: 

1. Vẽ phong cảnh, góc cảnh:Trong Môn học Màu Nước Nâng Cao, học viên được học với nội dung phong phú hơn: các góc cảnh và phong cảnh theo lối tả thực. Với đề tài này, học viên định hình và phát triển cách thức vẽ riêng cho bản thân, học được cách vẽ một bức tranh hài hòa về bố cục và màu sắc trong không gian hiện thực.
2. Vẽ tượng thạch cao: Dựa trên nền tảng của môn học hình họa, người học được phát triền hơn về khả năng diễn tả chất liệu, làm quen với cách vẽ chân dung bằng màu nước qua bài học vẽ tượng thạch cao. Đây là bài học giúp học viên làm quen với tỉ lệ và tả hình khối của một chân dung trắng đen bằng màu trước khi bước qua bài vẽ chân dung màu.
3. Vẽ chân dung: Chân dung màu nước là một đề tài khó trong khóa học Mỹ Thuạt Nâng Cao, để người vẽ đảm bảo được phần đúng của hình họa và chất da, tóc và tinh thần của nhân vật bằng màu nước. Môn học này giúp ích cho người học hoàn thiện khả năng diễn tả hiện thực một chân dung nhân vật cụ thể.

(một chương trình khác: Trang trí màu căn bản)

Chương trình học môn trang trí màu căn bản

CHƯƠNG I: SẮC ĐỘ VÀ MÀU

Độ đậm nhạt

Màu cơ bản và hòa sắc

CHƯƠNG II:  CÁCH THỨC CÁCH ĐIỆU

Cách điệu là gì? Đối tượng trong cách điệu?

Ngôn ngữ của đường nét trong nhịp điệu

Các thủ pháp cách điệu

Nguyên tắc cần có khi cách điệu

Thao tác cách điệu hình

CHƯƠNG III: TRANG TRÍ CÁC DẠNG HÌNH CƠ BẢN

Bố cục trong trang trí màu

Nguyên tắc bố cục hình trong trang trí

Tính cân bằng trong bố cục

(Nội dung này lấy từ DoArt: 

http://doart.com.vn/chuong-trinh/my-thuat-nang-cao.html?fbclid=IwAR1CLX_9Z0QsKHUkqOrzsY6bmF9xfeq8p8k5cMxmusPOQTx832lS9MLaZu8
)

Nghệ sĩ và các trang/sách tham khảo

Luca Cambiaso

·         Auguste Rodin

·         Christopher Wilmarth

·         Bill Waterson

·         Winsor McKay

·         George Harriman

·         Edmund Dulac

·         Alberto Giacometti

·         Richard Diebenkorn

·         Janet Fish

·         Gwen John

·         Paul Cezanne

·         Vincent Van Gogh

·         Martin Puryear

·         William Beckmann

·         Jim Dine

·         Edgar Degas

·         Jean Auguste

·         Dominique Ingres

·         Kathe Kollwitz

·         Rembrandt Van Rijn

·         Georges Seurat

·         Egon Schiele

·         Susan Rothenberg

·         Henry O. Tanner

·         Paula Modersohn-Becker

·         Horst Janssen

·         Romare Bearden

·         Mary Cassatt

·         Jacques Villon

·         Jennifer Bartlett

·         Jack Beal

·         Maurice Sendak

·         Franz Kline

·         Pablo Picasso

·         Wayne Thiebaud

·         Henri de Toulouse-Lautrec

·         Henri Matisse

·         Sylvia Plimack-Mangold

·         Datsushika Hokusai

·         Utagawa Hiroshige

·         Giorgi Morani

·         Giambattista Piranesi

Sách đọc thêm

·         A Guide to Drawing, Daniel Mendelowitz, Harcourt Brace

·         Creative Drawing, Howard Smagula, Brown and Benchmark

·         Design Principles and Problems, Paul Selanski, Mary Pat Fisher, Harcourt Brace

·         Drawing A Contemporary Approach, Claudi Betti / Teel Sale, Harourt Brace Jovanovich

·         Drawing Dimensions, Cynthia Dantzic, Prentice Hall

·         Finding Water, Julia Cameron

·         On Drawing, Roger Winter, Collegiate Press

·         Shaping Space, Paul Zelanski, Mary Pat Fisher, Harcourt Brace

·         The Art of Drawing, Bernard Chaet, Holt, Rinehart and Winston

·         The Art Spirit, Robert Henri

·         The Artist Way, Julia Cameron

·         The New Drawing on the Right Side of the Brain, Betty Edwards

http://www.wetcanvas.com/forums/showthread.php?t=1380583&highlight=recommended+books

·         http://www.wetcanvas.com/forums/showthread.php?t=1380609

Sample Curriculum for Beginning Watercolor Class

Here is a 5-week curriculum for beginners in watercolor class, which I am posting as an adjunct to the fine thread started by Steve Berry here in the Learning Zone on teaching in watercolor.

I do not make any claims for the following curriculum, other than I am simply posting it as one example of how to organize, prepare and deliver learning opportunities for watercolor students--in this case raw beginners!

This curricula begins "heavy" with important information, and ends "heavy" on application through painting. Actual presentation scope and sequence will always vary with the culture and personality of each class. Thus an experienced teacher will draw from the information in the curricula, presenting what the class seems ready for and can understand, rather than simply a rote presentation of the data herein for each class. This is an important point!

Your comments and critique are welcome in this thread, but since the primary purpose is to supplement Steve's on-going thread, it may be better to post comments there. Up to you!

Course Outline
Painting Loosely and Colorfully with Watercolor Landscapes
Darlington Arts Center
June 22-July 27, 2011

Course Outline

Painting Loosely and Colorfully with Watercolor Landscapes
A course for beginner and intermediate painters
Learning objectives:1. Familiarization with basic watercolor materials and equipment
2. Awareness and understanding of basic watercolor & landscape painting techniques
3. Synthesis and execution of key topics into simple landscape paintings
4. Enjoying our painting & learning from one another

Class 1: June 22
Introduction/ Learning about materials and equipment

1. Painting loosely & colorfully
A. Loose & colorful is a state of mind
B. Some helpful physical, equipment and techniques (we’ll try all)

1. Pre-plan: Use sketches for composition & values
2. Simplify: Compose w/large shapes, limited values & colors
3. Decide: Subject’s colors or painter’s colors
4. Paint standing, if able & use “gestural” strokes
5. Paint w/large brushes & forget details
6. Use lots of water & pigment
7. Forget masterpieces: accept what the brush & paint will give you
8. Enjoy & learn; walk around & look at work of others

2. Four competency levels of painting (we will cover first three in this course)A. Learning about materials and equipment
B. Basic painting techniques
C. Painting what you see—striving for technical accuracy
D. Painting an idea—expressing what you feel

3. Let’s begin: Learning about materials and equipment
A. Paint

1. Student vs. artist grade (any major manufacturer is OK)
2. Pans vs. tubes

B. Brushes

1. Brush fibers
2. Styles & sizes
3. Organizing & caring for brushes

C. Paper

1. Student vs. artist grade: most important watercolor element!
2. Size & Sizing
3. Weight & surface texture
4. Sheets vs. blocks

D. Mounting paper for painting

1. Stretching (required for lightweight paper)
2. Rigid backer board & bulldog clips (convenient for mid/heavy weight paper)

E. Palettes

1. Studio use
2. Outdoor use

F. Watercolor easels

1. Why/when
2. Types
3. Stool

4. Color pigments 
A. Some (cadmiums, etc.) are toxic; treat them as if all are: don’t ingest!
B. Ingredients

1. Single pigment (usually best to start with)
2. Multiple pigments
3. “Blackened” & “Whitened” (usually opaque)
4. Fillers & wetting agents (for workability and wetability)
5. Permanency & light fastness—use highest rated only

C. Watercolor paint characteristics

1. Transparent: allows light to pass through; paper surface visible beneath
2. Semi-transparent: between transparent and opaque paints
3. Opaque: little or no light penetrates; paper surface not visible unless diluted
4. Staining: very saturated & intense colors; stain the paper fibers
5. Earth: subdued, often granulating, for more “natural”, varied color harmonies
6. Textural/granulating: paints that dry with subtle textures due to size/shape of pigment particles

5. Color language
A. Color/Hue: a color’s common name (can be misleading)
B. Formula: the accurate description of the pigment(s) used in the color
C. Intensity (or chroma): refers to a color’s saturation—brightness, strength & purity
D. Saturation: relative strength of the color in paint-water mixture
E. Value: comparative lightness or darkness of a color

6. Color temperature
A. Definition: relative term to describe one color compared to another
B. Carries visual contrast/strength similar to values light & dark
C. Warm to cool
D. Warm advances; cool recedes
F. Critical in classic landscape painting; other subjects

7. Color wheel 
A. Definition: schematic arrangement of colors of the spectrum into a circle
B. Common types:

1. RYB (red, yellow, blue): based on Newton’s studies; classical approach used by artists
2. CMY (cyan, magenta, light yellow): modern approach for mixing any color at highest possible intensity; technical approach used by science and industry

C. Uses

1. Establishes logical order & progression of colors of the spectrum
2. Color mixing
3. Color complements
4. Color temperature
5. Color relationships--harmonious/discordant

D. Color harmonies and chords

1. Harmony: relationships through order and balance
2. Common color chords

i. Primary triads
ii. Complements
iii. Split complements
iv. Tetrads
v. Analogous

8. Exercise
A. Prepare chart illustrating all palette colors

1. Fully saturated area (syrupy paint-water ratio) painted over black line (demonstrates color & transparency)
2. Add “lifting line” to demonstrate lifting for each color
3. Allow paint to flow into wetted area to create tint
4. Tinted area (demonstrates “tinting power” and diluted characteristics)

B. Prepare 12-color “donut” color wheel

1. Use saturated (syrup consistency) color intensity
2. Yellow at 12 o’clock; red at 4 o’clock; blue at 8 o’clock
3. Grayed colors and black added later

9. Color mixing 
A. Mixing language:

1. Tint: paint diluted with water or mixed with white, i.e., lighter in value than basic color
2. Tone: paint with gray or complement added, i.e., a “grayed” color, i.e., darker in value that basic color
3. Shade: paint with black added; also a “grayed” color
4. Gray: Either premixed color, or best made using complementary colors
5. “Grayed colors”: Paint intensity reduced by adding complementary color

B. Paint-water ratio

1. The biggest challenge in watercolor: mastering water
2. Watercolor drying effect reduces color intensity by 25% +/-
3. Common paint-water ratios

a. Tea: Thin mixture of paint; good for tints, light washes/glazes
b. Syrup: Balanced mixture of paint; good for strong intensity/emphasis
c. Yogurt: Strong mixture of paint; good for highlights & opaque passages
d. From tube: Maximum mixture of paint; highlights & limited use 

C. Mixing applications

1. On the palette
2. On the paper
3. Glazing
4. Two colors: good
5. Three colors: caution (add darkest color last in small quantities)
6. Four colors: seldom/never=mud

10. The color of gray (black) & grayed colors 
A. Mix gray (black) from the three primary colors
B. Mix gray (black) from any color and its complement

11. Exercise
A. Color mixing: Create “V” shapes (2-color) & “Y” shapes (3-color)
B. Color mixing homework: Create “matrix” of mixed colors using all palette colors
C. Gray mixing: Create “Y” shapes (3 color)
D. Grayed colors: Create “grayed” colors on color wheel using complements

12. Critique and comments

13. Course references for additional information:
A. Watercolors: http://www.handprint.com/HP/WCL/water.html
B. Wetcanvas.com: http://www.wetcanvas.com/forums/
C. Watercolor Forum: http://www.wetcanvas.com/forums/forumdisplay.php?f=11
D. Top twenty watercolor FAQs: http://www.wetcanvas.com/forums/showthread.php?t=450810
E. Watercolor Handbook, monthly classes, KIUAN exercises, learning demos, articles and cool stuff: http://www.wetcanvas.com/forums/showthread.php?t=310721
F. Landscapes (all media, including watercolor): http://www.wetcanvas.com/forums/forumdisplay.php?f=31


 
Class 2: June 29
Basic Pre-Painting/Painting Skills & Techniques

1. Sketchbook & drawing (exercise)A. A place to record information & ideas
B. Good watercolors begin with good sketches
C. Sketches work out key issues before painting

1. Composition and perspective
2. Values

2. Composition & perspective
A. Composition

1. More in next lesson; here’s single most important consideration
2. Rule of thirds: Use third-point lines and intersection points to place key objects
3. Avoid vertical/horizontal centering of key objects

B. Linear Perspective

1. Used for three-dimensional appearance
2. Most useful types: eye-level one-point & two-point perspective
3. Value: the range of lights & darks 

A. Range of lights to darks
B. Primary method to express volume, depth & weight
C. Effective method for creating contrast; attracting/directing viewer’s eye
D. Example value scale: Five step--white, three grays, black

4. Washes 
A. Used for large areas of color without visible brush marks
B. Apply to either damp (easier) or dry paper (more intense color)
C. Flat wash: Work quickly; use “bead” to reduce appearance of strokes
D. Graded wash: Add water to subsequent strokes; tilt to blend as desired
E. Variegated wash: Use wet paper; apply lightest color first; turn paper and apply darker wash; tilt paper for color mixing; flatten paper to stop blending. Repeat if desired.

5. Glazing & Layering
A. Transparent technique good for luminous atmospheric effects and color mixing effects when using transparent colors
B. Same as wash, except surface must be fully dry before subsequent color is added
C. For subsequent glaze: quickly dampen paper; add color; do not saturate or scrub
D. Warm colors first gives more luminous effect
E. Cool colors first gives more dense, opaque effect

6. Exercises
A. Create 5-step value scale
B. Create washes: two flat (one light, one dark color), one graded, one variegated
C. Glazing: On light flat wash, divide into thirds & create two separate color glaze areas to compare with original wash color

7. Corrections & special effects by lifting
A. Wet paint
B. Dry paint

8. Preserving whites
A. Utilize white of paper through use of color transparency
B. Employ white paper shapes & highlights (representing light & local color)

9. Painting geometric shapes (exercise)A. Simple way to understand real objects and transfer to a painting
B. Use one color & paint values as seen

1. Cubes (flat edges)
2. Spheres (round edges)
3. Cylinder (round & flat edges)
4. Cone (same)

10. Making natural objects using geometric shapes
A. Five shapes for most natural objects

1. Square
2. Rectangle
3. Circle
4. Oval
5. Triangle

11. Exercises
A. Create & paint geometric shapes
B. Create & paint simple landscape shapes

12. Critique & comments
A. Next week, bring landscape photos
 

Class 3: July 6
Painting what you see: loosely and colorfully (bring landscape photos)
1. Classic landscape composition elements & characteristics
A. Foreground/center of interest: Advances using warm colors; distinct shapes; strong contrast; hard edges; some detail
B. Middle ground: Transition between foreground and background using cooler colors; less distinct shapes; reduced contrast; edge variety; little detail
C. Background: Recedes using cool colors; vague shapes; little to no contrast; soft/lost edges; no detail

2. A painting only answers to itselfA. Draw inspiration from nature, but remember
B. No one compares your painting to the actual subject
C. A finished painting must stand on its own

1. It doesn’t matter what’s in nature (don’t paint it simply because it’s “there”)
2. It only matters what’s in the painting

3. Approaching a landscape painting
A. Select landscape scene & identify why you want to paint it (what’s important?)

1. What you see
2. What you feel

B. Use sketch book: Prepare small composition & value sketches

1. Determine your color of light (for ambient effect or desired emotion)
2. Simplify information and objects
3. Establish composition
4. Determine value zones
5. Establish overall color structure

C. Paint landscape

1. Execute painting based on four painting “keys”, as follows

4. Keys to landscape painting success: The color of light influences all landscapes w/direct & reflected color 
A. “Real” light vs. “painter’s” light
B. Understanding the color of light in degrees Kelvin
C. Early morning: yellow
D. Mid-day: neutral blue
E. Late afternoon: pinky-orange
F. Last light: red & blue violet
G. Important advice: Establish simple, overall color structure for painting harmony

5. Second key to landscape painting success: Simplify, simplify, simplify
A. Nature is complex: Simplify the “information”—the objects and colors you see
B. Consolidate and group the “information” contained in the landscape into “zones”
C. Eliminate, move, edit, everything that is unnecessary to what made you want to paint the subject
D. Important advice: Combine, draw & paint shapes, not “things”
1. Third key to landscape painting success: Composition
A. “Boss” your composition: push nature into a good painting composition
B. Dominance: what is of greatest interest? What is the painting about?
C. Less is more: what is the least content that will express the subject?
D. Important advice: Use “third” lines and intersecting points

6. Fourth key to landscape painting success: Create a value zone w/3-5 values 
A. Overhead: Sky (lightest value)
B. Flat: Ground, water (half lightest value)
C. Slanting/inclined: Mountains, hills, elevated land forms (mid to half mid value)
D. Vertical: Trees, shrubs, foliage (darkest value, when not in direct sun)
E. Important advice: For other options, consider simple “2 against 1” value zones

7. Identify color structure based on the color of your lightA. Landscapes require a spatial order (foreground to background)
B. Foreground: warmer colors which advance
C. Background: cooler colors which recede
D. Strive for color harmony through selections of hue, intensity & temperature

8. If you must do them: Greens 
A. Best from primary triads & complements

1. Yellow + Blue and a touch of red (any colors will work)
2. Optional approach: use “base” pre-mixed green color + other yellow, orange, red or raw/burnt sienna for desired effect

B. Need warm and cool color ranges for near & distant areas
C. Important advice: Grass and trees don’t have to be green!

9. Exercise
A. Create a 1-2 color wash that symbolizes a time of day (or emotion, if you prefer)
B. Using a photo(s), create 1-2 color painting of combined, simple landscape “shapes/zones” rather than individual “things”
C. Create painting of simple one-color landscape using 3-5 values
D. Create a 3-5 landscape color structure with a spatial order (colors that advance and recede)
E. Homework: Create a chart illustrating a range of warm and cool greens

10. Critique & comments
 
Class 4: July 13
Painting what you see (bring landscape photos)
1. Bringing it all together: Applying learning points of previous classes

2. Thinking before painting:A. Select landscape & why you want to paint it (what’s important about the painting)

1. Visual accuracy: What you see
2. Personal expression: What you feel
3. Sketch book: Prepare small composition & value sketches

A. Get to know the subject so it isn’t a stranger when you start to paint
B. Work out what is important and what is secondary for you intent for the painting
C. Consider the light—is it important for why and what you want to paint

1. Direction
2. Intensity & color

D. Simplify information and objects
E. Establish composition
F. Determine value zones
G. Establish overall color structure

3. Paint landscape

4. Critique & comments
 

Class 5: July 20
Painting what you see (bring landscape photos)
1. Bringing it all together: Applying learning points of previous classes
2. Thinking about the painting
3. Sketch book studies
4. Paint landscape
5. Critique & comments 


Class 6: July 27
Painting what you see (bring landscape photos)
1. Bringing it all together: Applying learning points of previous classes
2. Compositional and value sketch
3. Paint landscape
4. Critique & comments
5. Distribute final class evaluation/suggestions

__________________
Virgil Carter
http://www.virgilcarterfineart.com/