SchoolArts Magazine

MAY-JUN 2007

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

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Page 32 of 75

Left: Catherine Perry, grade six; middle: Sarah Bushin, grade six; right: Ali Ouch, grade six. quality of the original, smaller drawing. Therefore, I give my sixth graders clear guidelines to keep them focused: • Use lines only: no shading or details at this point. • Images should be drawn large and overlap each other. • Images should be simple and contain no shading or detail. • Most importantly, objects must be drawn off the page. It All Comes Together Students use a flipping method with a carbon transfer method to create the finished piece. We use a carbon transfer method to ensure the entire design is the same. the graphite on the other side transfer. 4. When complete, flip the tracing paper over to the adjacent corner (you will see a ghost image of what you just drew). Make sure the edges match, secure the tracing paper in place, and trace again. Once the image comes out, repeat this process for all corners until completed. Once the design is flipped and drawn with Ebony pencils, stray pencil lines are cleaned up, and any lines that are missing are filled in. I explain to my students that colored pencil may not cover mistakes as paint would, so any messy areas need to be erased. Carbon Transfer Method 1. First, students trace the original design onto 9 x 12" tracing paper, using Ebony pencils. These dark pencils are important to use so the graphite will rub off easily. 2. Place it face down on the top left corner of the large 18 x 24" paper. Use a small piece of tape or paper clips to hold it in place. 3. Trace over the design, pressing hard, using the Ebony pencil. As you trace over it, the pencil presses into the paper, and makes Technically Speaking It is time to practice blending with colored pencils. I explain that we are going to use colored pencils in a different, more exciting way— they're even going to hold them differently. Mastering the use of colored pencils is crucial and will make a huge difference in the final outcome of their design. At this point, we also review color vocabulary: monochromatic, analogous, and complementary colors. Students quickly realize Vocabulary •inesofreflectionorsymmetry l •motif •repetition •symmetry •textile • oloredpencilblendingand c overlapping • olorschemes:analogous, c complementary,and monochromatic that analogous colors blend well. Colored pencils may be used in a variety of ways to achieve effects thought only achievable through water media. Students must hold the pencil on its side in order to get a much broader tone with it. It is also much easier to shade this way. Students start at one end of the shape, pressing hard to get a solid color. Then, as they move across the shape they press much more lightly, until it just fades to white, before getting to the other side of the shape. With a color analogous to the first they start at the other end of the shape. Moving towards the center, they press in the same fashion as the other color: first hard, then soft. The key is to overlap colors in the center. I encourage students to hold the paper at different angles, Continued on page 64. SchoolArts May/June 2007 31

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