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Piece of Art That Has a Lot of Texture

The Elements of Art: Texture

Grade Level: 3–four

Students will be introduced to one of the bones elements of fine art—texture—by identifying different types of textures plant in multiple works of art and hypothesize what materials and techniques were used to achieve that texture. Then, they will experiment with a variety of media and materials, including found objects, to create different textures.

Chuck Close, Fanny/Fingerpainting, 19851985

Chuck Close, Fanny/Fingerpainting, 1985, oil on sail, Gift of Lila Acheson Wallace, 1987.2.ane

Materials

  • Smart Board or computer with ability to project images from slideshow
  • Heavy cardstock (4 pocket-size sheets per students) or other surface sturdy enough to build upwards texture
  • Multiple sizes of brushes
  • Variety of media: paints (tempera, watercolor, etc.), colored pencils, oil pastels, crayons
  • Establish objects like leaves, sand, stones, twigs, etc.

Warm-upwards Questions

Do you recognize these marks? How do you think the artist applied paint to the canvas?

Background

Texture is the look and feel of a surface. Painters have many means to create dissimilar textures. They utilise different sized and shaped brushes: everything from tiny pointed brushes to flat, wide brushes. They can too utilise other tools—special knives, sponges, even fingers—to put paint on sail.

What are some ways that artists create texture?

  • They brush paint on in watery strokes and thick drips.
  • They put paint down in short, fat dabs and long, sleek strokes.
  • They twirl their brushes to make circles and curls.
  • They apply paint in thick layers that stick out from the canvas.
  • They put different colors on pinnacle of each other.
  • They mix in sand, dirt, or other materials into the paint.
  • They add white highlights to brand things expect shiny.
  • They scratch through paint to evidence colors underneath.

Chuck Close worked from a black-and-white photograph of his wife'southward grandmother, Fanny to create Fanny/Fingerpainting. He divided his canvas into a filigree, then, square by foursquare, pressed the marks of his fingers to the sail to make this portrait of Fanny. Carefully layering his fingerprints onto the sail, he built up the lines of her face and neck. Close explained, "I like using the torso equally a tool for painting . . . by using my hand, I can feel just how much ink is on my finger and so I can feel very conspicuously how much I'm depositing on the painting."

leonardo-ginevra

Leonardo da Vinci
Italian, 1452–1519
Ginevra de' Benci [obverse], c. 1474/1478
oil on panel, 38.i ten 37 cm (15 x 14 9/16 in.) (thickness of original panel): i.i cm (7/16 in.)
National Gallery of Art, Ailsa Mellon Bruce Fund

Five hundred years earlier artist Chuck Close pressed his fingers to sail to brand Fanny/Fingerpainting, Leonardo da Vinci as well used his fingers to smooth oil paint for the perfect skin of his teenage model, Ginevra de' Benci. Da Vinci beginning used small brushes to pigment Ginevra'southward confront. He applied the pigment in very thin layers. Only in the finish, he needed his fingers to become the articulate look and smoothen shadows that class her face. How do nosotros know? Art specialists looked at Ginevra's face with loftier tech equipment to notice the traces of da Vinci's fingerprints (pictured below). Scholars believe he used his fingers to smooth and soften the edges and surfaces of her face while the paint was all the same wet.

leonardo-thumbprint

Detail of da Vinci's Ginevra de' Benci showing his fingerprint

Leonardo wrote, "Encounter that your shadows and lights blend like smoke without strokes or borders." This technique, which came to be called sfumato (literally "smoky"), represented a radical suspension with traditional painting techniques, which relied on line to define forms. In fugitive line, Leonardo was able to reach a more lifelike painting.

Guided Practice

Collect examples of the post-obit diverse textures for students to examine and feel. Then view the slideshow below and have students find those textures in the works of art:

  • Poodle fur
  • Lion mane
  • Curly hair
  • Soft velvet
  • Fragile lace
  • Smooth skin
  • Shiny satin
  • Scratchy twigs
  • Bristly nest
  • Soft flower
  • Rough, churning h2o
  • Silky, smooth h2o
  • Sleek, shiny leaves
  • Waxy plums
  • Wrinkled skin

Slideshow: Textures in Paintings

How do you think these textures were achieved? Y'all may desire to refer to the listing in the "Background" section.

Action

Each student should select i object examined in class and represented in a painting in the above slideshow. Accept them draw the basic shape of the object on iv separate sheets of paper. Adjacent, have them fill in each line drawing using different media and tools to create various textures. If attainable, take students on an outdoor walk to collect various objects (leaves, twigs, etc.) to try out in the classroom. Students should experiment past using multiple sizes of brushes, mixing in anarchistic materials like sand, creating different patterns, adding more media or scrapping it abroad, or other creative avenues they arrive at using the materials responsibly and safely.

Equally an culling to accommodate motor control differences, the teacher can cut stencils of a student'south chosen object from heavy paper, so tape the stencils to the other 4 pieces of paper for the educatee to paint over.

Extension

Students will and so select 2 of their works of fine art and use a Venn diagram to compare and contrast the procedure they used to create each piece and what the cease production looks like. They should share their findings with fellow student artists.

The Elements of Art is supported past the Robert Lehman Foundation

National Core Arts Standards

VA:Cr1.1.4Begin multiple approaches to a creative art or design problem.

VA:Cr1.2.3 Utilise knowledge of bachelor resources, tools, and technologies to investigate personal ideas through the art-making process.

VA:Cr2.1.three Create personally satisfying artwork using a variety of creative processes and materials.

VA:Cr2.two.3 Demonstrate an understanding of the safe and proficient utilize of materials, tools, and equipment for a variety of artistic processes.

VA:Re7.1.3 Speculate about processes an artist uses to create a piece of work of art.

VA:Re7.2.4 Analyze components in visual imagery that convey messages.

VA:Re8.i.3 Interpret art by analyzing use of media to create discipline thing, characteristics of class, and mood.

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Source: https://www.nga.gov/learn/teachers/lessons-activities/elements-of-art/texture.html