THE ART OF SEEING ANOTHER WAY
Is gathering previous knowledge and experiences, for enhancing cognitive abilities while increasing understanding of creativity in art.
Let us begin by defining art:
Art is a process of development that moves toward a genuine expression of its producer's actions and it plays out by an act or responses from its viewers.
Art looks original, duplicated, refreshing, emotional, personal, energetic, solemn, and revealing.
Art is real because we validate it by reactions and our acceptance of how it relates to our realities.
Elements and Principals
When two points are joined from either side to form a movement, a line, is created

A line forms an angle when points intersect. Figure 1
Points create the vanishing and vertex lines. These points indicate the center axis for determining the distance (depth), of a plane. Perspective Balance is another horizontal and vertical movement in the composition created by points.
Lines: Are continuous points to develop shapes, movements, weight, design and speed. A line that begins from a point ending back to that point is a shape.
Point Shape
Figure 2
1Working area.
2Perspective drawing objects and figures that are in relationship to the viewpoint.
Lines are; curve, straight, jagged, connected, thick or thin, wavy, or directional.
Figure 3
Shapes are; geometric and organic rendered flat or made to appear three-dimensional.
GEOMETRIC SHAPES
Figure 4

ORGANIC SHAPE
Figure 5
Negative/ Positive Spaces & Shapes
Figure 6
The shapes on the chair together make up the object, (FORM).
An object becomes a form when it takes on the identity of a recognizable figure. Form is present when an object contains shading, rendering it to its 3/ dimensional factors.
Weight
The line; as it moves from one point to another is said to have weight by the way it varies in thickness,
For example a line will appear heaviest where it is thickest; such as the contour of a circle develops weight and form when the line of a circle change in thickness, at the base.
Figure 7
Adding created this form

Figure8
Shading varying in value and a gray scale is the change in value
from white to black.
Also a form will have shading and volume.
Shapes normally will be identify by its contour.

Contours are the outlines of the objects.
Figure 9
The form identifies the shapes in objects. The shape is a Square, and the object is a Box.
A form will appear 3/dimensional when the shading and light vary along the path of the shape. (See Figure 7)
Shapes; made by the connection of lines or a line, are circle, square, rectangle, or triangle and etc.
Forms are shapes that have volume: spheres, cubes, cones, etc.
Objects are identified by their given names, balls, boxes, diamonds etc.,
When making a shape into an object, light direction, shading, shadowing, tinting, and toning pulls it together.
Dimension is evident when an image (object) conveys depth and appears in the round to itself and in relationship to other objects on a picture plane.
A 2/Dimensional plane is the flat working area, paper, canvas, or wall. Any flat surface prepared for writing, drawing and painting.
3/Dimensional refer to any surface that has an object that appears in the round, any structural objects such as a sculpture, furniture, a drawing of building, etc.
Geometric Shapes identify mathematical properties in form.
Organic Shapes are shapes found in nature having straight and curved contours.
Organic Shapes are shapes found in nature having straight and curved contours.
Organic Shapes are shapes found in nature having straight and curved contours.
Organic Shapes are shapes found in nature having straight and curved contours.
3 Depth also captures the perspective elements with in the Picture Plane.
An object has depth when it's drawn using elements to create a visual balance -- (perspective) and dimension.
(See figure 10) This picture illustrates the use of values and perspective balance showing what a 3/ dimensional picture could look like.
The picture can be of anything, and on any surface. For our purpose we will refer to the canvas, or paper. The picture made within a picture-plane, ( the working area), surrounded with an outer-area, and presents to the viewer a visual distance, by creating depth within the picture. It's controlled by its composition and balance; detailed by its perspective, depth whether it appears two or three-dimensional. Often when an artist makes a picture he/she would consider if it is symmetrical, or asymmetrical to determine the weight or balance. Where does the image lay top, or bottom on the picture? This is important because the weight of the image determines if the portrayal is believable visually.

Figure 10: The Picture Plane
Scientific Exploration of Color Mixing in Art and Its Properties
Color is the most interesting element in nature. In nature almost everything we see is in color. It is these phenomena that help us understand the relationship of things we know. Some of the color names directly affect what we know, such as the color orange. It in itself can be a fruit. The beautiful violet flower named after the color.
For our purpose we will use the word nature as being anything seen. As the eye sees through the cornea, it measures the image rays and sends into our minds the rays that translate the image shape, and color, thus helping us to identify the object. These images are the facts that become apart of our belief system. They are in mixtures of Primary Colors Red, Blue, and Yellow.
In natural light primary colors reflect through glass or a Prism. We are able to see in natural light how a mixture of these colors will reflect an array of color changes.
A prism is a crystalline solid with three similar faces paralleling a single axis. If held up to the light it would reflect a spectrum of color light. With the use of a prism color rays are evident in light.
We see these colors in paints. Paints are made from plants and stones, tree barks grained up into powder and mixed oils, water and resins that bind these properties together. The colors used to make many other colors can be made from primaries, yellow, red, and blue.
Red
Yellow
Blue
Figure 11 When colors overlap they will develop multiple color changes when mixed.
RED YELLOW BLUE

Figure 12
O-orange
Y-yellow
yellow G-green
V-violet
L/G-light/green D/B- Dark/blue
DR-deep/red RO-red/orange BV-blue/violet
Colors are, secondary, complementary, tertiary, warm, cool, or tinted as near relative, and predominates. Colors are seldom unmixed. Primaries mixed in equal parts result in secondary colors. Secondary become complementary to the remaining primary color. When any two complementary mix together equally the result is Grey. Secondary colors when mixed with other secondary' results in tertiary that correspond in color to the various earth colors.
4Mixed Primary colors resulting in a secondary 5Primary colors which are opposite of secondary colors 6Two secondary colors mixed producing an earth tone
Understanding Color Theory
Colors mixed in proportions in percentages resulting in various tints. White is the absence of color. When added to any primary in proportions, or percentages the result is a tint of the primary that becomes a new color.
PRIMARIES MIXED TO CREATE Its SECONDARY AND TERTIARY COLORS
PRIMARY |
YELLOW |
RED |
BLUE |
||
Yellow-Blue |
Red-Yellow |
Blue-Red |
|||
SECONDARY |
Green |
Orange |
Violet |
||
Secondary - Secondary |
Green-Orange |
Orange-Violet |
Green-Violet |
||
Tertiary |
Citron |
Russet |
Olive |
||
SECONDARY are colors made by mixing two primaries in equal parts.
TERTIARY are colors made when two secondary mixed producing various earth colors.
When mixing colors think about the tints you are making, before using white as a mixing color. Remember that white is not a color that is used a great deal. It reduces the brilliance of the pure color, as well as muddies up any if not all secondary. It thought of as the blending color.
THE COMPLEMENTARY AND NEAR-RELATIVE OF SECONDARY COLORS
SECONDARY |
ORANGE |
GREEN |
VIOLET |
||
PRIMARY |
|||||
COMPLEMENTS |
Blue |
Red |
Yellow |
||
NEAR-RELATIVES |
Blue-Violet Yellow-Orange |
Red-Orange Blue-Green |
Yellow-Green Red-Violet |
NEAR-RELATIVES, colors made from mixing primaries with the nearest secondary. These colors are for producing better accents than direct complement mixtures. The color that made is more exciting. For best results use near relatives as minor accents, only to excite larger color areas.
When making different colors, by blending them in whole or in proportions the will result will be a new property of its original color, or colors. The simplest way to discover this is to jump into developing ways to make interesting colors.
Every color has its temperature from Warm to Cold. Usually the brighter the color the warmer it will be. These colors are Yellows, Reds, values of orange, and some greens. Certain color as Hot Pink is warm because of the amount of pure pigment, although white used it remains in the red family.
Cold colors of course are Blues, violets, and any value with blue or violet mixed in it. Another fact about the temperature of colors is that warm color usually come forward as cold colors fall back when layered onto each other, or with in a painting.
CONCLUSION
Use this booklet as an aid while studying art. Its sole purpose is to assist you when there are questions about basic elements of drawing, and using color.
Learning to do art is a simple process it just takes effort and many attempts at studying the techniques. As long as you follow the guidelines taught to you drawing will become simple to do, and it will be so as long as you make the effort to practice.
In every motion of your hand there is another opportunity to draw, with every image there will be something to draw. Sometimes we limit ourselves by saying that I cannot draw, well put that thought away and start today to draw.
Starting today to think differently will change the way you see, and become the beginning of the new you as a practicing artist.
So far we have covered facts about points, lines' shapes, shading, and some principles about using colors.
In drawing these facts are important parts of producing, and becoming an artist.
Assignment 1
You will need a pencil, an eraser, and five sheets of paper. Your task is to remember the examples you have been shown, and in the best way draw from the still life by
1. Looking at the setup and writing down the names of the geometric shapes you see.
2. Drawing the contour of the setup.
3. Drawing the shapes individually, but in their present arrangements.
4. Explaining in writing which object you feel should be drawn first and why.
5. Remembering to watch your line thickness. Start by following steps 1 through 3 and draw the setup as it is.
Your assignment will be completed when there is an example from your drawing that you understood what you have done. Now to really show that you understood go back to the first page and write a short paragraph explaining the steps you had taken to finish this assignment.
When we have finished this we will begin to see how drawing can be simple.
We would understand the basic principals, and be on our way toward a better motivation of developed artistic achievement.
The thought of today is:
In every footprint lays that first step, no matter how far, the distance is never too hard to travel.