Download Art and the Young Adolescent by Frederick Palmer and Fabio Barraclough (Auth.) PDF

By Frederick Palmer and Fabio Barraclough (Auth.)

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Over the regular static base a free improvisation on the counterchange theme may be made. Although it is obviously useless to contemplate sticking a single layer of FIG. 18. Chequerboard collage based on counterchange. ) white on white or black on black, there is no limitation as to the thickness of the layers which may be created. Whether or not the child uses this as a means for expressing his ideas, or employs only the simple one-layer system, is a matter entirely for him to decide. Cutting the shapes from more than one square and more than one colour at a time, a pattern soon appears over the whole area.

These are to the adult simple facts but to the child they will probably be new and, when explained, show him what is happening in his picture. Waterfalls Another example of falling water may be treated in a different way. The waterfall is an obvious subject for the child to work on whilst dealing with this theme. There are differences between the fall of rain and the fall of water over a rock face which are worth considering from the pictorial point of view. In the rainfall exercise the child was dealing with a simple directional flow, but with the waterfall he may discover other movements which are of use to him in his rendering of the subject.

Shoots are made to sprout from the top of the seed and, breaking through an imaginary line of earth into the daylight, grow upwards. The whole process is traced, with the pieces SHAPE 41 FIG. 25. Collage study of the growth of a plant. ) of paper making lines across the picture plane, until, with the unfurling of the leaves, the flower itself begins to take form and from seed, the whole plant, roots, stem, leaves, to flower, has been developed (Fig. 25). Following this, the plant can be made to die, so that a gradual withering of its component parts will decrease the image until as little remains as was there in the beginning.

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