![]() Variations are always supported in my class, but I told them to do it my way first and then push their own ideas after. I told them not to focus so much on creative expression, but understanding the technique. so the adhesive would not tear the paper.Īgain we did this together as a class mixing value and blocking in our sky, horizon line, background, middle ground and foreground. We taped all four edges and rubbed the tape on our jeans etc. We started by taping our paper and ya’ll…this takes forever! I highly recommend using blue artist’s tape, but masking tape will work in a pinch. The third or fourth class period was our “mini” landscape practice. This was also a great time for students to work out any other ideas they have for their landscapes. I googled “watercolor trees black and white” and had so many to choose from. I’d post what I used here, but I don’t want to run into any copyright issues. I gave them laminated handouts with simple tree examples on them. Students used the back of their Bristol practice paper #publicschoolbudget to practice and I encouraged them to stay away from 100% black trees, but to use the wet on wet techniques and adding fine lines with either a small brush or a bamboo skewer. The next class period was all about painting trees. This was a crowd favorite, especially among those who love drawing characters. So bamboo skewers for the win! Students drew lines and played around with textures. Pen nibs would be great for this, but I have ONE in my entire supply closet and class sizes topping out at 39. These techniques will be used to create a dynamic sky and plant textures in the foreground.įinally, we ended the class period with bamboo skewer drawing. After they played around with that concept we moved on to large washes, adding ink using a wet on wet technique and then paper towel blotting. This is key for creating trees and plant texture. We then progressed to practicing line making using a smaller brush. (Not to be confused with the shoe brand.) These inks are fantastic, and although we don’t use theme for this lesson I love the metallics. Right now I am using Blick India Ink, but Black Cat and Speedball are also excellent choices. It is relatively inexpensive and there are many brands to choose from. I like Bristol because it’s smooth and washes work really well over it. ![]() I emphasized while they were working that creating value was a huge part of being successful with their landscapes and to take their time until they really felt comfortable. Some chose to start over right underneath their first attempt. Most students nailed it on their first attempts, and some had to play around to get lighter. We used flat paint brushes, but I love a large round brush for this technique as well. Paper towel blotting is essential when finding the right values, because ink dries fast and it dries dark! I struggle the most with the darkest gray because it tends to just be jet black or too light. White is the easiest, of course, because it is the white of the paper. We started with the darkest value first and then and continued working in sequential order. We marked our pure ink paint well with blue painters tape and then gradually added water to create at least seven values. I demonstrated on my Elmo document camera and we did this together as a class. However, all had done some type of value scale at some point in their artistic journeys. When I surveyed my Art II students, a mix of 10th-12th graders, almost none of them had worked with india ink before. I think it’s important to have students practice with the actual materials they will be using, and using the right paper is essential with ink. I cut rectangular strips of Bristol for each student to complete their practice techniques. ![]() Because my main learning objective was creating space and depth using value, we spent the most class time creating our practice value scales. We started the unit by practicing a variety of india ink techniques.
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