SchoolArts Magazine

October 2015

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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SCHOOLARTSMAGAZINE.COM 33 all three primary colors, carefully washing and drying their brushes in between colors. When their papers contained three lines and three shapes, students hung their paintings on drying racks. Introducing Secondary Colors Class two began with the hope of new discovery. Students were surprised to see that the colors on their palettes were slightly different, giving me the opportunity to explain about "mix- ing" primaries. We reviewed the terms "palette" and "color wheel" before beginning. Color wheels in hand, students learned how to find the secondary colors on the wheel, calculating which primaries mix to make which secondaries. I then dem- onstrated how to go about mixing the primary paints to achieve pleasing secondary colors. I explained that dark colors have more "muscle," so they needed to mix the darker color very carefully into the lighter color. Students stood up to show with their bodies what a strong dark color looks like and what a weaker, light color looks like. Color Surprises It was time to add to the previous week's paintings. Students began with turquoise and yellow, because the contrast between this color pair is greatest. After identifying that the turquoise was darker, students used their brushes to add the turquoise to the yellow. Prepared to see that everyone's green would look differ - ent, students "oohed" and "aahed" over their own colors and those of their friends. Having achieved a sat - isfying green, students used the color to paint a line and shape. After washing and drying their brushes, students mixed magenta into yellow to paint another line and another shape. Mixing violet posed a new challenge. Which primary color was the darker one? The room was divided on this decision. I instructed students to take the color that they perceived as darker and to mix it into the lighter one. Red violets and blue violets began to appear as students worked to get just the right shade of purple. Having painted their final line and shape, students washed and dried the brushes, eager to get the final touch: a small puddle of black paint. Finishing Touches With the black paint, students could add whatever they desired to the paint - ing. Some chose to use the black in its pure form; others preferred to mix it with the remaining colors on the palette. Great paintings emerged and students excitedly titled their pieces. At the session's end, I couldn't resist asking, "So, did we discover anything today?" "Yes!" came the resounding reply. I explained that dark colors have more "muscle," so the eeded to mix the darker color ver arefull into the lighter color. Laurie Bellet is the art specialist at Oak- land Hebrew Day School in Oakland, California, and a creative consultant for Torah Aura Productions. N A T I O N A L S T A N D A R D Creating: Conceiving and developing new artistic ideas and work. W E B L I N K Molly, Follower of the Wind, grade one. Nachum, Sun of Lines and Shapes, grade one.

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