Welcome to Gaia! ::

Tanna set up her classroom in the first few weeks she arrived back at the castle and was now waiting on the corner of her desk for her new set of Fifth Years. She had been thoroughly impressed by how well each year was progressing and was eagerly awaiting this year. This was also they're OWL year, so she was a bit nervous but had faith they would do fine. Seeing them arrive she greeted them with a smile and waited for them to take their seats before she began. "Hello and welcome to Art III. To start the class I'd like to start the year off a bit tame, we'll be learning about the color wheel today." She walked over to her chalkboard where a perfectly drawn circle with various colors were drawn onto it. "A Color Wheel or color circle is an abstract illustrative organization of color hues around a circle that shows relationships between primary colors, secondary colors, complementary colors,etc. In a paint or subtractive color wheel, the "center of gravity" is usually (but not always) black, representing all colors of light being absorbed; in a color circle, on the other hand, the center is white or gray, indicating a mixture of different wavelengths of light (all wavelengths, or two complementary colors, for example).
The arrangement of colors around the color circle is often considered to be in correspondence with the wavelengths of light, as opposed to hues, in accord with the original color circle of Isaac Newton. Modern color circles include the purples, however, between red and violet. The typical artists' paint or pigment color wheel includes the blue, red, and yellow primary colors. The corresponding secondary colors are green, orange, and violet or purple. The tertiary colors are red–orange, red–violet, yellow–orange, yellow–green, blue–violet and blue–green.
There is no straight-line relationship between colors mixed in pigment, which vary from medium to medium. As such, a painter's color wheel is indicative rather than predictive, being used to compare existing colors rather than calculate exact colors of mixtures. Because of differences relating to the medium, different color wheels can be created according to the type of paint or other medium used, and many artists make their own individual color wheels. These often contain only blocks of color rather than the gradation between tones that is characteristic of the color circle.
For today I'd like you to create a personal color wheel using the primary colors of Blue, Red, Yellow, and White. Create the color combinations to reflect you and what you like to reflect in your art." Tanna grinned out over the class. She hoped she hadn't scared them.

And you don't seem the lying kind
A shame you seemed an honest man
And all the fears you hold so dear



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Fifth Yᴇᴀʀ |Ⅴ Rᴀᴠᴇɴᴄʟᴀᴡ Prefect |Ⅴ| Hᴀʟғ-Bʟᴏᴏᴅ

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Selina made sure she arrived for Art class early enough to be comfortable when she got to work. She would rather have ended her day with this class, not starting her day with it, as she found it a nice way to unwind after a bunch of classes which required her to really work. After taking careful notes, she started in on making her own personal colour wheel, which was an intriguing project.






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OOC: Taken by Layton Bannister



Will turn to whisper in your ear
and you know I don't mean to hurt you
But you know that it means so much
And you don't even feel a thing

And you don't seem the lying kind
A shame you seemed an honest man
And all the fears you hold so dear



════════════════════════

Fifth Yᴇᴀʀ |Ⅴ Rᴀᴠᴇɴᴄʟᴀᴡ Prefect |Ⅴ| Hᴀʟғ-Bʟᴏᴏᴅ

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Having had the chance to get into the flow of her classes, Selina found she really didn't mind having Art so early now, as it allowed her to ease into the flow of her classes, rather jumping right into her hardcore academic classes and chewing through them at the start of the day.

She started sketching a head and shoulders portrait of one of the Hippogryffs she'd met in her Care of Magical Creatures class, and thought he'd make a fine subject for her work. Selina started as Professor Hawthorne suggested, doing a sketch to begin with, before going back and defining the image with inks, and ultimately colouring her subject using a combination of inks and watercolours. What was hardest was attempting to capture the sense of majesty in the Hippogryff's gaze, and the expression in his face, and she needed to resketch the face several times before she was happy with the results. It would take her a while, but Selina didn't care; she wasn't in a hurry, and she wanted to do a good job.




════════════════════════
OOC: Taken by Layton Bannister



Will turn to whisper in your ear
and you know I don't mean to hurt you
But you know that it means so much
And you don't even feel a thing

Tanna set up her classroom in the first few weeks she arrived back at the castle and was now waiting on the corner of her desk for her new set of Fifth Years. She had been thoroughly impressed by how well each year was progressing and was eagerly awaiting this year. This was also they're OWL year, so she was a bit nervous but had faith they would do fine. Seeing them arrive she greeted them with a smile and waited for them to take their seats before she began. "Hello and welcome to Art III. To start the class I'd like to start the year off a bit tame, we'll be learning about the color wheel today." She walked over to her chalkboard where a perfectly drawn circle with various colors were drawn onto it. "A Color Wheel or color circle is an abstract illustrative organization of color hues around a circle that shows relationships between primary colors, secondary colors, complementary colors,etc. In a paint or subtractive color wheel, the "center of gravity" is usually (but not always) black, representing all colors of light being absorbed; in a color circle, on the other hand, the center is white or gray, indicating a mixture of different wavelengths of light (all wavelengths, or two complementary colors, for example).
The arrangement of colors around the color circle is often considered to be in correspondence with the wavelengths of light, as opposed to hues, in accord with the original color circle of Isaac Newton. Modern color circles include the purples, however, between red and violet. The typical artists' paint or pigment color wheel includes the blue, red, and yellow primary colors. The corresponding secondary colors are green, orange, and violet or purple. The tertiary colors are red–orange, red–violet, yellow–orange, yellow–green, blue–violet and blue–green.
There is no straight-line relationship between colors mixed in pigment, which vary from medium to medium. As such, a painter's color wheel is indicative rather than predictive, being used to compare existing colors rather than calculate exact colors of mixtures. Because of differences relating to the medium, different color wheels can be created according to the type of paint or other medium used, and many artists make their own individual color wheels. These often contain only blocks of color rather than the gradation between tones that is characteristic of the color circle.
For today I'd like you to create a personal color wheel using the primary colors of Blue, Red, Yellow, and White. Create the color combinations to reflect you and what you like to reflect in your art." Tanna grinned out over the class. She hoped she hadn't scared them.

The room had imitations of famous artworks on the walls as well as their artists and their time periods while windows had their curtains pulled back to let in the natural light. And now the day was here as Tanna sat behind her simple brown desk reading her dragon book and taking light notes when she heard the tell-tale signs of students approaching and stood with a welcoming smile. "Hello and welcome to Art III. To start this new term off I'd like to briefly go over Romanticism before going on to today's lesson.

Romanticism, also the Romantic era or the Romantic period, was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. It was also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature. It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education and the natural sciences. Its effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, in the long term its effect on the growth of nationalism was probably more significant. Romanticism first showed itself in landscape painting, where from as early as the 1760s British artists began to turn to wilder landscapes and storms, and Gothic architecture, even if they had to make do with Wales as a setting. The arrival of Romanticism in French art was delayed by the strong hold of Neoclassicism on the academies, but from the Napoleonic period it became increasingly popular, initially in the form of history paintings propagandising for the new regime. Sculpture remained largely impervious to Romanticism, probably partly for technical reasons, as the most prestigious material of the day, marble, does not lend itself to expansive gestures. As usual I have copies and reproductions of various Romantic artworks around the classroom that you may look upon at your leisure after the lesson."

Tanna walked over to her chalkboard where a perfectly drawn circle with various colors were drawn onto it. "A Color Wheel or color circle is an abstract illustrative organization of color hues around a circle that shows relationships between primary colors, secondary colors, complementary colors,etc. In a paint or subtractive color wheel, the "center of gravity" is usually (but not always) black, representing all colors of light being absorbed; in a color circle, on the other hand, the center is white or gray, indicating a mixture of different wavelengths of light (all wavelengths, or two complementary colors, for example).
The arrangement of colors around the color circle is often considered to be in correspondence with the wavelengths of light, as opposed to hues, in accord with the original color circle of Isaac Newton. Modern color circles include the purples, however, between red and violet. The typical artists' paint or pigment color wheel includes the blue, red, and yellow primary colors. The corresponding secondary colors are green, orange, and violet or purple. The tertiary colors are red–orange, red–violet, yellow–orange, yellow–green, blue–violet and blue–green.
There is no straight-line relationship between colors mixed in pigment, which vary from medium to medium. As such, a painter's color wheel is indicative rather than predictive, being used to compare existing colors rather than calculate exact colors of mixtures. Because of differences relating to the medium, different color wheels can be created according to the type of paint or other medium used, and many artists make their own individual color wheels. These often contain only blocks of color rather than the gradation between tones that is characteristic of the color circle.
For today I'd like you to create a personal color wheel using the primary colors of Blue, Red, Yellow, and White. Create the color combinations to reflect you and what you like to reflect in your art." Tanna grinned out over the class. She hoped she hadn't scared them.

Tanna waited on her desk for her small amount of students to arrive before she went over to the board and wrote Waterhouse before turning with a smile to face them.
"John William Waterhouse (April 1849-10 February 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading him to have gained the moniker of "the modern Pre-Raphaelite". Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Waterhouse's early works were not Pre-Raphaelite in nature, but were of classical themes in the spirit of Alma-Tadema and Frederic Leighton. These early works were exhibited at the Dudley Gallery, and the Society of British Artists, and in 1874 his painting Sleep and his Half-brother Death was exhibited at the Royal Academy summer exhibition. The painting was a success and Waterhouse would exhibit at the annual exhibition every year until 1916, with the exception of 1890 and 1915. He then went from strength to strength in the London art scene, with his 1876 piece After the Dance being given the prime position in that year's summer exhibition. Perhaps due to his success, his paintings typically became larger and larger in size.

One of Waterhouse's most famous paintings is The Lady of Shalott, a study of Elaine of Astolat, who dies of grief when Lancelot will not love her. He actually painted three different versions of this character, in 1888, 1894, and 1916. Another of Waterhouse's favorite subjects was Ophelia; the most famous of his paintings of Ophelia depicts her just before her death, putting flowers in her hair as she sits on a tree branch leaning over a lake. As always, I have recreations of all his works on the walls for you to view after the lesson." Tanna gestured lightly at the paintings lining the wall before turning back to her students.

"Great jobs on your color wheels by the way, very expressive and very insightful. Now that the lecture is out of the way, we'll be learning proper painting techniques which is sort of difficult to go over. There are just so many types of paint and supplies that some techniques don't work well with certain types like it does with others. The painting mediums are oil, pastel, watercolor, acrylic, ink, hot wax, fresco, gouache, enamel, spray paint, tempera, and water miscible oil paint! So much fun and so little time..." she pouted a bit but put her smile right back on her face. "Oh well, we'll just have to make do. If you've noticed it or not I've placed the different mediums in different stations all around the room so you may try for yourself which ones you like but before that I do have a few techniques that seem to work well with either all or the majority.
Be precise but not picky. Some paints like watercolor are difficult because if you make a mistake you can't chip it off like you can for oil. However, you can repaint or blot over the area or just incorporate the mistake into your final presentation no one will notice! Painting is an expression not a doctrine.
Sketch it first. This may not always work, especially with spray paints and some water based paints but lightly sketching your desired product may help with either keeping that in mind or show you how to enhance it.
Finally, Take it easy take it slow. Painting is not a game of Quidditch, though the rewards can be just as great. Just like with sketching take your time, it will still be there if you decide to leave it for a while. Trust me." she chuckled thinking of all her unfinished paintings in the back." Suddenly Tanna clapped and made shooing gestures towards the stations. "Go on go on! Take a look give it a shot." Tanna told them eagerly.

Tanna waited on her desk for her small amount of students to arrive before she went over to the board and wrote Waterhouse before turning with a smile to face them.
"John William Waterhouse (April 1849-10 February 1917) was an English painter known for working in the Pre-Raphaelite style. He worked several decades after the breakup of the Pre-Raphaelite Brotherhood, which had seen its heyday in the mid-nineteenth century, leading him to have gained the moniker of "the modern Pre-Raphaelite". Borrowing stylistic influences not only from the earlier Pre-Raphaelites but also from his contemporaries, the Impressionists, his artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend.

Waterhouse's early works were not Pre-Raphaelite in nature, but were of classical themes in the spirit of Alma-Tadema and Frederic Leighton. These early works were exhibited at the Dudley Gallery, and the Society of British Artists, and in 1874 his painting Sleep and his Half-brother Death was exhibited at the Royal Academy summer exhibition. The painting was a success and Waterhouse would exhibit at the annual exhibition every year until 1916, with the exception of 1890 and 1915. He then went from strength to strength in the London art scene, with his 1876 piece After the Dance being given the prime position in that year's summer exhibition. Perhaps due to his success, his paintings typically became larger and larger in size.

One of Waterhouse's most famous paintings is The Lady of Shalott, a study of Elaine of Astolat, who dies of grief when Lancelot will not love her. He actually painted three different versions of this character, in 1888, 1894, and 1916. Another of Waterhouse's favorite subjects was Ophelia; the most famous of his paintings of Ophelia depicts her just before her death, putting flowers in her hair as she sits on a tree branch leaning over a lake. As always, I have recreations of all his works on the walls for you to view after the lesson." Tanna gestured lightly at the paintings lining the wall before turning back to her students.

"Great jobs on your color wheels by the way, very expressive and very insightful. Now that the lecture is out of the way, we'll be learning proper painting techniques which is sort of difficult to go over. There are just so many types of paint and supplies that some techniques don't work well with certain types like it does with others. The painting mediums are oil, pastel, watercolor, acrylic, ink, hot wax, fresco, gouache, enamel, spray paint, tempera, and water miscible oil paint! So much fun and so little time..." she pouted a bit but put her smile right back on her face. "Oh well, we'll just have to make do. If you've noticed it or not I've placed the different mediums in different stations all around the room so you may try for yourself which ones you like but before that I do have a few techniques that seem to work well with either all or the majority.
Be precise but not picky. Some paints like watercolor are difficult because if you make a mistake you can't chip it off like you can for oil. However, you can repaint or blot over the area or just incorporate the mistake into your final presentation no one will notice! Painting is an expression not a doctrine.
Sketch it first. This may not always work, especially with spray paints and some water based paints but lightly sketching your desired product may help with either keeping that in mind or show you how to enhance it.
Finally, Take it easy take it slow. Painting is not a game of Quidditch, though the rewards can be just as great. Just like with sketching take your time, it will still be there if you decide to leave it for a while. Trust me." she chuckled thinking of all her unfinished paintings in the back. Suddenly Tanna clapped and made shooing gestures towards the stations. "Go on go on! Take a look give it a shot." Tanna told them eagerly.