印度墨水风景画美术课
原文链接：https://thatartteacher.com/2022/10/13/india-ink-landscape-art-lesson/
日期： 2022-10-13
作者： Sierra Machado
分类： 长篇教案
标签： 美术教育、黑白风景画简易教程、精选内容、高中美术课、高中印度墨水课、高中风景画创意、如何教授印度墨水、如何教授风景画、如何使用印度墨水、如何在课堂中使用印度墨水、印度墨水美术课、印度墨水美术教案、印度墨水入门、印度墨水风景画美术课、印度墨水风景画创意、极简风格印度墨水风景画、印度墨水绘画技法、印度墨水绘画教程、墨水入门、Inktober 创意、风景画入门、Sierra Machado 美术课、Sierra Machado 博客、分步式高中美术教案、That Art Teacher
尝试这堂极简风格的印度墨水风景画美术课，用简洁有力的手法营造出惊艳的纵深感。我们重点通过明度变化，在风景画的各个部分中表现空间与深度。学生们非常喜欢一边欣赏日本水墨风景画，一边玩味这些既有趣又经济实惠的材料。
https://youtu.be/t05lO5GpMX4
本视频完整讲解了我的绘制技法，非常适合作为复习资料、供缺课学生自学，或作为学生创作前的预习材料。欢迎在您的课堂中直接使用，也可从中获取您自己教案的灵感。
本单元伊始，我们先练习多种印度墨水技法。由于本课核心学习目标是运用明度表现空间与深度，因此我们把最多课堂时间用于明度色阶练习。我为每位学生裁剪了若干条 Bristol 纸矩形纸条，用于完成各项技法练习。我认为，让学生使用实际创作中将采用的材料进行练习至关重要；而对墨水而言，选用合适的纸张尤为关键。
当我向我的美术 II 班（由 10 至 12 年级学生混合组成）做问卷调查时，发现几乎无人曾接触过印度墨水。不过，所有学生此前都曾不同程度地练习过明度色阶。我在 Elmo 实物投影仪上现场示范，全班同学同步练习。我们先用蓝色遮蔽胶带标记纯墨颜料盘位置，再逐步加水稀释，至少调出七种不同明度。
我们从最深的明度开始，依次向下推进。白色最容易实现——它就是纸张本身的白色。而最难掌握的是最深的灰调，因为墨水往往不是纯黑，就是太浅。此时，用纸巾吸拭是调节明度的关键步骤，因为墨水干得快，且越干越深！
我们主要使用平头画笔，但我个人也非常喜欢用大号圆头笔来完成这项练习。多数学生首次尝试便已成功，少数则需多加练习才能获得更浅的明度。有些学生选择在第一次尝试正下方重新开始。练习过程中，我反复强调：熟练掌握明度变化，是完成高质量风景画的重要前提，请务必耐心练习，直至真正感到得心应手。
印度墨水材料
我偏爱 Bristol 纸，因其表面光滑，水洗效果极佳。它价格相对低廉，品牌选择也十分丰富。目前我使用的是 Blick 印度墨水，但 Black Cat 和 Speedball 同样是极佳的选择。
若您想稍作升级，不妨试试 Dr. Ph. Martin’s Bombay 印度墨水（注意：此非鞋类品牌）。这类墨水品质卓越；虽然本课未使用其金属色系，但我个人十分喜爱。
我倾向选用表面光滑的 Bristol 纸，但 水彩纸 的效果同样出色。
***本文含本人真实使用并真心推荐的教具之附属链接。若您通过这些链接购买商品，我可能获得少量佣金，而您无需额外付费。感谢您支持这位公立学校教师的副业，让我能持续提供免费教学资源。
印度墨水绘画技法
随后，我们进入细线绘制练习，改用较小号画笔。这是表现树木与植物肌理的关键步骤。待学生熟悉该技法后，我们转向大面积晕染练习：采用“湿画法”（湿纸着墨），再以纸巾吸拭。这些技法将在后续创作中用于表现富于动感的天空及前景中的植物肌理。
最后，本课以竹签绘线收尾。钢笔尖当然更理想，但我的整间教具储藏室里仅有一支，而班级人数最高达 39 人。因此，竹签成为我们的制胜法宝！学生用竹签绘制线条、探索各种肌理效果。这一环节广受欢迎，尤其受到喜爱人物绘画的学生青睐。
印度墨水树木绘制
下一节课全部聚焦于树木绘制。学生利用 Bristol 练习纸的背面（#publicschoolbudget）进行练习；我鼓励他们避免使用 100% 纯黑来表现树木，而应更多运用“湿画法”，并辅以小号画笔或竹签勾勒精细线条。
我为学生提供了覆膜打印的树形范例图解手册。本想在此贴出所用图例，但为规避版权风险，暂不公开。我曾在谷歌搜索“黑白水彩树木”，结果海量可选。这也是学生梳理自身风景画其他构思的绝佳时机。
印度墨水微型风景练习
第三或第四节课是我们进行“微型”风景练习的时间。我们先用胶带固定画纸——各位，这一步耗时极长！我强烈推荐使用蓝色美纹纸胶带，但应急时普通遮蔽胶带也可替代。我们把纸张四边全部贴好，并在牛仔裤等衣物上反复摩擦胶带背面，以减弱其粘性，防止揭下时撕破纸面。
我们再次全班同步操作：调出不同明度的墨色，并依次铺出天空、地平线、背景、中景与前景。我提醒学生不必过分追求创意表达，而应着重理解技法本身。我的课堂始终鼓励个性化尝试，但我要求大家先按我的方法完成一遍，再在此基础上拓展自己的想法。
这种练习显著提升了学生的信心，因为他们知道：技法练习容许试错、留有余地。其中一些微型练习作品，竟成了我最钟爱的成果。我很享受看到学生个性在作品中自然流露。每次我都深感惊奇：明明给予所有学生完全相同的指令与材料，最终呈现的效果却千差万别。
最后，我分发给学生更大尺寸的布鲁斯特纸（Bristol board）。我尤其偏爱方形构图，而四周贴胶带的处理方式，立刻赋予作品一种专业感。此前已进行了大量练习，因此学生们很快便创作出精彩成果。普通学生通常需一至两节课完成风景各部分与天空的铺陈，再花一至两节课添加树木以强化视觉重点。我深知树木专项练习成效卓著——他们的树形表现惊艳绝伦！当然，部分学生还追加了更多细节，但我强调本次采用极简主义手法，无需堆砌繁复细节。
值得研究的艺术家
本单元教学期间，我们每日开展“艺术史晨间练习”，聚焦两位日本风景画家。首位是当代艺术家兼教授佐藤昌三（Shozo Sato）。他将风景各部分的明度组织方式，与我们课堂所学技法高度契合，深受学生喜爱。我们共同赏析其作品，探讨他如何通过明度调控及树木大小变化来营造空间深度。
这是我的晨间练习格式：每天课前五至十分钟完成一项活动。
佐藤昌三晨间练习免费下载！
他本人是一位极具魅力的艺术家与表演者。我们被他用墨作画的视频深深吸引。视频中关于绘画基底的讲解部分被我跳过，因我们所用纸张与技法路径不同。
我们还研习了更传统的艺术家雪舟等杨（Sesshu Toyo）——日本美术史上最负盛名的画家之一。我们重点分析他如何借助背景、中景与前景中物象的大小关系及细节疏密来构建空间与纵深感。学生格外欣赏其线条表现力与树木造型风格。我尤为欣喜于：一位艺术家至今健在并持续创作，另一位则活跃于十五世纪。若你的学生与我的类似，他们定会对日本艺术抱有浓厚兴趣。
自然：焦点赏析——雪舟等杨《冬景山水》
印度墨水风景学生作品范例：
以下是我学生完成的部分作品。我对最终成果极为满意，也深知学生们在风景绘画能力上已建立更强信心。剔除色彩干扰后，风景绘画对初学美术的青少年而言，瞬间变得亲切可及。
提交表单。
订阅更新，不错过任何一篇推送！
立即订阅！
作者：希拉·马查多
2020年8月22日
作者：希拉·马查多
2020年8月22日
作者：希拉·马查多
2020年8月4日
India Ink Landscape Art Lesson
Original: https://thatartteacher.com/2022/10/13/india-ink-landscape-art-lesson/
Date: 2022-10-13
Author: Sierra Machado
Categories: long form lesson plan
Tags: art education, easy landscape painting black and white, featured, high school art lesson, high school india ink lesson, high school landscape ideas, how to teach india ink, how to teach landscape painting, how to use india ink, how to use india ink in the classroom, india ink art lesson, india ink art lessons, india ink for beginners, india ink landscape art lesson, india ink landscape ideas, india ink minimalist landscape, india ink painting techniques, india ink painting tutorial, ink for beginners, inktober ideas, landscapes for beginners, sierra machado art lesson, sierra machado blog, step by step high school art lesson plan, that art teacher
Try out this minimalist india ink landscape art lesson to create stunning results with a beautiful sense of depth. We focused on creating depth and space using value throughout the parts of a landscape. My students really enjoyed looking at Japanese ink landscapes while playing around with such fun and inexpensive materials.
https://youtu.be/t05lO5GpMX4
This video explains my technique entirely and is great for review, absent students or for a preview of what students will be creating. Feel free to use it in your classroom of for inspiration for your own lesson.
We started the unit by practicing a variety of india ink techniques. Because my main learning objective was creating space and depth using value, we spent the most class time creating our practice value scales. I cut rectangular strips of Bristol for each student to complete their practice techniques. I think it’s important to have students practice with the actual materials they will be using, and using the right paper is essential with ink.
When I surveyed my Art II students, a mix of 10th-12th graders, almost none of them had worked with india ink before. However, all had done some type of value scale at some point in their artistic journeys. I demonstrated on my Elmo document camera and we did this together as a class. We marked our pure ink paint well with blue painters tape and then gradually added water to create at least seven values.
We started with the darkest value first and then and continued working in sequential order. White is the easiest, of course, because it is the white of the paper. I struggle the most with the darkest gray because it tends to just be jet black or too light. Paper towel blotting is essential when finding the right values, because ink dries fast and it dries dark!
We used flat paint brushes, but I love a large round brush for this technique as well. Most students nailed it on their first attempts, and some had to play around to get lighter. Some chose to start over right underneath their first attempt. I emphasized while they were working that creating value was a huge part of being successful with their landscapes and to take their time until they really felt comfortable.
India Ink Materials
I like Bristol because it’s smooth and washes work really well over it. It is relatively inexpensive and there are many brands to choose from. Right now I am using Blick India Ink, but Black Cat and Speedball are also excellent choices.
If you want to splurge, try out Dr. Ph. Martin’s Bombay India Ink. (Not to be confused with the shoe brand.) These inks are fantastic, and although we don’t use theme for this lesson I love the metallics.
I like to use a smooth Bristol, but watercolor paper works really great too.
***This post contains affiliate links to products I truly love and use in my classroom. If you use these links to buy something I may earn a small commission at no additional cost to you. Thank you for supporting this public school teacher’s side hustle so I can continue to provide free content.
India Ink Painting Techniques
We then progressed to practicing line making using a smaller brush. This is key for creating trees and plant texture. After they played around with that concept we moved on to large washes, adding ink using a wet on wet technique and then paper towel blotting. These techniques will be used to create a dynamic sky and plant textures in the foreground.
Finally, we ended the class period with bamboo skewer drawing. Pen nibs would be great for this, but I have ONE in my entire supply closet and class sizes topping out at 39. So bamboo skewers for the win! Students drew lines and played around with textures. This was a crowd favorite, especially among those who love drawing characters.
India Ink Trees
The next class period was all about painting trees. Students used the back of their Bristol practice paper #publicschoolbudget to practice and I encouraged them to stay away from 100% black trees, but to use the wet on wet techniques and adding fine lines with either a small brush or a bamboo skewer.
I gave them laminated handouts with simple tree examples on them. I’d post what I used here, but I don’t want to run into any copyright issues. I googled “watercolor trees black and white” and had so many to choose from. This was also a great time for students to work out any other ideas they have for their landscapes.
India Ink Mini Landscape Practice
The third or fourth class period was our “mini” landscape practice. We started by taping our paper and ya’ll…this takes forever! I highly recommend using blue artist’s tape, but masking tape will work in a pinch. We taped all four edges and rubbed the tape on our jeans etc. so the adhesive would not tear the paper.
Again we did this together as a class mixing value and blocking in our sky, horizon line, background, middle ground and foreground. I told them not to focus so much on creative expression, but understanding the technique. Variations are always supported in my class, but I told them to do it my way first and then push their own ideas after.
This helped students’ confidence because they knew they could practice the techniques with room to fail. Some of these miniature practices were my favorite outcomes. I love seeing my students’ personality shine through. It always amazes me that I give the exact same instructions and materials to students but they produce such a wide range of results.
Finally, I gave students a larger piece of bristol. I really like the square composition and the taped edge gave it an immediate professional feel. We had done so much practice that it did not take very long for my students to create beautiful results. It took the typical student a class or two to block in their parts of a landscape and sky and another class period or two to add their trees for emphasis. I know the tree practice paid off- their trees turned out stunning! Of course some students added even more details, but I told them this was a minimalistic approach and to not feel like they had to add tons of detail.
Artists to Study
Throughout this lesson, we did our daily Art History Bellwork investigating two Japanese landscape artists. The first we looked at was contemporary artist and professor Shozo Sato. His organization of value in the parts of the landscape matched the technique we were doing in class and he was very well liked by my students. We looked at this artwork and discussed how he organized value and played with the size and value of the trees to create depth.
This is my Bellwork format, we do one activity a day the first five-ten minutes of class.
Shozo-Sato-BellworkFree Download!
He is a fascinating artist and performer and we were mesmerized by this video of him painting with ink. I skipped the part of the video where he discusses his surface, since we were using a different paper and approach.
We also looked at the more traditional artist Sesshu Toyo, one of the most famous painters in Japanese history. We investigated how he created space and depth through the size relationships and details in his background, middleground and foreground. Students really loved his line work and the style of his trees. I loved how one artist is still alive and working and the other was from the 1400s. If your students are anything like mine, they are very interested in Japanese art.
Nature: spotlight — Sesshu Toyo’s Winter Landscape
India Ink Landscape Student Examples:
Here are some finished examples of what my students created. I am so happy with the end results, and I know my students are much more confident with their landscape painting abilities. Take color out of the equation and landscape painting immediately becomes more approachable for a young art student.
Submit a form.
Subscribe so you never miss a post!
Subscribe!
by Sierra Machado
August 22, 2020
by Sierra Machado
August 22, 2020
by Sierra Machado
August 4, 2020