Need your character to do something, but not sure what would motivate them to do it? This character motivation worksheet can help!
These 20 Activities and Lessons that Teach Obedience to Kids will help equip you to teach kids to obey. This is part of my character building series, a great resource for parents and teachers everywhere. The word “obey” has gotten a bad wrap over the years. Before you jump into this post and all it...Read More
German actress Marlene Dietrich is considered to be one of the greatest actress of all time. She had a deeply passionate relationship with her wardrobe, both on and off the screen. She once told a …
Printable Stations of the Cross for Kids including 5 Different Formats with Prayers, Reflections, and Coloring Pages for Kids. Includes free and paid options
Building a rocket together designed by Kit8. Connect with them on Dribbble; the global community for designers and creative professionals.
As I’m having a row of Pokemon posts here is an easy pattern sheet for kids bead works. These sprites are from the Pokemon Elite 2000 site. They are selected from the Diamond/Perl Pokemon ico…
God’s golden boomerang. It zips and zings through Scripture. Sometimes I catch it and toss it back. Other times, it catches me, and I learn the hard way—again.
Draw animals....
Download this Free Vector about Couple practicing trail run training, and discover more than 15 Million Professional Graphic Resources on Freepik
To continue our celebration of Lent in the classroom, and to get the kids thinking about the Stations of the Cross, we made this Sunset and Shadow Stations of the Cross art project over the last two weeks. I am so pleased with how they turned out, and thought that I would share the idea and a few steps that worked for us. 1. First, we assigned the stations to various kids. I don't have 14 or 28 students in my class, which would have been ideal, but we just made sure that there were 14 kids doing each station and then had duplicates of some stations. After deciding who had what station, I told them that they were going to have to create a silhouette of that station, and it had to be connected to a horizon (meaning that it had to be a view of a scene, not just a symbol of the station). We looked at pictures of silhouettes, and discussed how inner detail is lost, so the outline and the placement really matter. I mocked up a couple of stations on the board, starting with stick figures and filling in to make it 2-D. 2. The kids then created their representation of the station they were assigned. They had a copy of our school's Stations of the Cross booklet for inspiration if they wanted it. They just sketched on notebook paper and cut it out as a template. 3. They then traced that pattern on to black construction paper and cut it out as well, creating their silhouette. Here are a couple of examples: That part of the project took up one art class. We saved the next step for art the following week. 4. Next, on to the sunset watercolored background. I knew average watercolor sets wouldn't yield enough red, orange, and yellow paint for my whole class, so I mixed school tempera paint and water to create a sort-of-cheap-version. I use an approximate 1:3 paint to water ratio, and just mixed until it was a smooth consistency that was watery but still carried color. I used red, orange, yellow, and white to mix various hues, starting with just one color and then dumping and stirring cups together, creating some variation for the kids. 5. I had a couple cups of each shade of paint and spread them out on one table, where all the paint stayed for this project. Paintbrushes were assigned to a cup, not a kid, and I only had 4-5 kids working at the table at the time, helping prevent the disastrous mess it could have been. As it turns out, we only ended up spilling one cup, and all of it stayed on the table. None got on the floor, or even one of the projects. Anyways, the kids created a sunset across the horizon of a heavy piece of white paper. We talked a bit about blending, but the kids had some very different takes on the creation of a sunset, which was great and creative. And our industrial janitors' closet sink made clean up easy. (Wouldn't it be nice if all classrooms had one?) 6. Once the watercolored page was less than dripping, we moved it to the clothesline in our classroom, which coincidentally hangs over our radiators. I intentionally had the kids do art a little earlier in the afternoon, because we then went over to the church for our whole school Stations of the Cross. By the time we got back about a half an hour later, the sunset pages were dry and we were able to assemble everything before they went home. 7. The final step was to glue the silhouette onto the sunset page. We just used Elmer's glue, which sticks fine, but causes everything to curl. To remedy that, we place a textbook on top of the art as it dries. Sometimes even as little as a half an hour under a book is enough to encourage it to dry flat. Once they were done, we added a roman numeral in the corner of the Station of the Cross it represented, and they were done! Check out the awesomeness: I hung the first 14 in the hallway in order, and it looked awesome. Very eye catching, and you clearly can see the pieces of the story of Christ's suffering and death fitting together as a whole. And here's a tiny panorama trying to capture them all: I love how this project turned out, and I particularly like the symbolism of the darkness of the silhouette and the fading sunset as Christ battles evil on Good Friday. On that day, Satan thought he had won, and the darkness looked stronger than the light. However this death, His Death, was the turning point for all history. The perceived darkness was conquered by the victory of the Light, and the sunset was actually a ray of hope and joy for every new dawn after. "They who dwell in the ends of the earth stand in awe of Your signs; You make the dawn and the sunset shout for joy." ~Psalm 65:8
F is for Fall, (6/26) Shot in collaboration with Brendon Burton. New work, training courses, and blog posts: www.davidtalley.io
First of all, I want to congratulate all of you who thought about my challenge and are going to step up this year to making your own doodles. Doodling is a very key ingredient to even the largest, most complex works of art. Before I get into cross hatching some more I have a little business to cover. Copic Certification, Anaheim I am opening my class on Friday, Jan 23 up to the general public. Anyone who can come is welcome for the 23 only. Cost is $120 but you get about $80 worth of product to keep, so it ends up being a really great deal for an all-day class. Send an e-mail to Kris at [email protected] or call her at 866-662-6742 to register. There are only a few spaces, so call right away. Applications for Spring East Coast Venues will be going out next week, so get on our mailing list today! This includes Florida, New Orleans, and any confirmed locations that SallyLynn will be teaching on the East Coast thru March. Tonite I will be giving a free lecture at 6:30 at the Eugene Public Library on the History of Manga and Manga trends in America. This is appropriate for teens or adults. I want to thank all the people who attended my teen workshop on drawing Manga earlier this week. The class was very full and very fun! I'll probably be teaching some more local classes this term, so look for Fine Art/Architecture workshops through DIVA and maybe another teen Manga class during school vacations at the Library. Now, let's start the New Year by stepping out of your comfort zone and drawing something yourself- simple cross hatching. Cross Hatching Basics In my post a few days ago I talked about what cross hatching is and what it is trying to accomplish, today I'd like to get into technique. Cross hatching is both very simple and very tricky at the same time. The idea is easy, you draw lines and they make something look shadowed. The tricky part is practicing to keep a steady hand. Drawing short lines will be easiest at first. Don't worry about making all the lines perfect, that will come with practice. Practice by doodling on anything handy. This is an exercize, not life or death, so relax and know that it's OK to make mistakes as you learn. First, find an angle for your artwork that feels natural. For me, I am right handed and feel most comfortable making strokes that are straight out from mu chest, but with a slight right slant (1). To get another angle to my hatching I need to turn my paper so the lines I draw will be facing that same comfortable direction (2). Then, you need to practice, practice, practice. Try drawing lots of little areas that are cross hatched. You can do this with a mechanical pencil, you can do it with a cheap ballpoint pen, whatever you have handy, just try drawing hatching marks. 2 Layer Cross Hatching Technique You need to practice putting marks that line up. It is easier to make the edge that you start from even, and let your pen gradually lift up at the end of the stroke. Turn your paper so that when you are adding the marks, the crisp edge feels natural to your hand and you work from the edge, out. When you come back in to add the second layer of hatching, also work from the starting edge out, or it looks a little strange. Notice my example. The trailing edges meet up nicely and look smooth. The second example looks strange because one trailing edge fades, but the other is crisp. If I were filling in an area between two outside lines this wouldn't matter as much, but on an open area it doesn't work. Practice until you can confidently add hatching that meets up with a line. Soon you'll be adding hatch marks to all sorts of things (squares on reports, lines on your notepad). This sort of doodle practice is very important to build relaxed, natural hand-eye coordination. NO STRESS! Why should you draw and doodle if it's going to be stressful? relax. Inking Pen Hatch Marks I'm usually making cross hatching on artwork that needs to be scanned in, so I tend to work with 0.1 or 0.05 mm multiliners. I made the mistake once of doing a large, beautiful, very detailed illustration with cross hatching in a 0.03 mm pen. When I scanned it in, the hatching was too fine for my scanner to pick up, particularly since I had to shrink the final artwork. All my hard work cross hatching was wasted! Now I draw slightly thicker and not quite so detailed. As you can see from these examples, there are lots of looks you can get from each pen size. When I draw, I work with a couple sheets of paper under my work at any time. This gives me a slight cushion so that I can push harder to get thicker or thinner lines from the same pen. On fine sizes like the 0.03 or 0.05mm pen, I would NOT push hard however. Those tips are sturdy for what they are, but they require a very light hand. Most people can get fine enough lines with a 0.1 or 0.2 mm inking pen. Look at how much thicker the 0.35 looks when compared to the 0.03 pen. The 1.0 pen looks really clunky and thick next to the finer sizes. I would probably not use the 1.0 by itself for hatching unless I were working on something very large and not too detailed. If you look back at the examples of the different pen sizes you'll see how layering once, twice, and a third time gives you progressively darker tones. You can always layer different pen sizes to get even darker tones. Here is an example of regular cross-hatching, with a 1.0 pen thrown in to really darken up the final edge area. It doesn't look so clunky when layered like this, unlike when it is used by itself. The circle really looks dimensional and shadowed now. For my final example today I've taken a simple chair from Lockhart Stamp Company and I want it to look like it came straight out of my old Alice in Wonderland book. It's so easy to make this chair look more detailed than it really is. I know that if I make a mistake I can always stamp it again. I'm using a really fine 0.05 mm pen because the picture is so small, but you could probably use a 0.1 or 0.2 mm pen and it would still look OK. I start with the first level of shadow in the areas I know will be darkest, then I come back with a second level. Now my chair looks like an antique illustration from around 1900, not just a nice garden chair. I know Karen won't mind if Alice comes and sits in this beautiful vinatge chair. Look at your own image collection and see which ones would look cool turned into vintage drawings simply by adding a few lines.
Model is 158cm tall. She usually wears a size S and is wearing a size S. Her bust measures 86cm and her waist measures 71cm. Narrow shoulder seam Flattering scooped neckline Contoured waistband in contrast ribbed fabric Narrow crossover straps Fully lined Removable padding Main: 87% Nylon/13% Elastane Lining: 90% Polyester/10% Elastane Recommended for training.
