Suggested Supply List for Art Fundamentals Projects    
This is only a list of recommended materials. Check with your instructor, as there may be other materials required or recommended substitutions.
 
1 text: Art Fundamentals: Theory and Practice, Ninth Edition

1 Prang black drawing pencil or equivalent with a range of hardness (H thru B)

1 #6 Red sable watercolor brush (e.g., Grumbacher #615 or Gyre #527)

1 1/2" red sabeline brush (e.g., Grumbacher #6661 or 6654)

1 Kneaded eraser

1 Rub-clean or pearl eraser, or equivalent

1 Prang or equivalent tempera paint set (6 to 8 colors, assorted).   
(Watercolors, acrylics, or oils may be substituted with the instructor’s  recommendation 

1 Mixing tray, preferably with pockets

1 Bottle of black India ink (e.g., Higgins or Pelikan)

1 Penholder

1 Pen point, extra fine (e.g., Hunt #56). A fine, black ballpoint pen can be substituted.

2 Speedball pen points: I-Fb1 and I-Fb5 

2 Magic Markers with various sized points 

1 Box of Prang or Crayola crayons, 24 assortment

1 Drawing paper pad, white (18" x 24" size)

1 Construction paper pack, assorted colors (9" x 12" size)

1 Bottle of rubber cement (or a large-size glue stick)

1 Portfolio large enough to carry 18" x 24" art projects

1 Tackle box or shoe box to hold supplies

Supplementary Materials:
Scissors
Charcoal pencil
Colored chalks
12" or 18" ruler
Conte crayon
Mat knife
Exacto Knife
Illustration board
Mat board(s)
Masking tape
Water container (e.g., 8 oz. can)
Prismacolor colored pencils
Access to color Xerox machines–try commercial printers like Kinko’s, etc.

An Art Fundamentals Journal Experience              

Purpose:
To serve as a record of your personal journey through Art Fundamentals; a record of your own visual response to the world in which you live and your changing attitudes about how art affects your world.

Required:
That you make note of as much of the beauty in the world around you as possible, regardless of where it is discovered or the particular mode of its expression–television, magazines, videos, theaters, supper clubs, shopping centers, advertisements, art museums, and so on.

Format:
Negotiable: any size, shape, etc. For the final presentation, you may use everything from paper bags to constructed shadow boxes if they express what you want to say; however, the final physical format or binding should be secure and neat. The contents should be well organized. Your physical organization and layout may be seen as a composition and construction problem. Illustrations and the written word must be legible.

Contents:
To include everything you discover (in the form of notes, sketches, photographs, videos, etc.) or things with which you disagree as you study the text. Your journal may include a diary with on-going analysis of disturbing or confusing concepts, ideas that you are now applying, daily sketching assignments related to each chapter or your personal sketches, reports of discussions with others, and a review of your developing ideas and attitudes about art.

The body of your journal is the result of your own observations and experiences. Include relevant magazine illustrations, photos, and advertisements, along with brief explanations as to why you chose them. While studying Chapter 7 on color, for example, you might come upon a catalog illustration and note, "the artist used an analogous color scheme of yellow-orange, yellow, and yellow-green." Include notes about posters, billboards, movies, and window displays. Locate, identify, or describe artworks in your immediate environment or in the community. Seek works that illustrate your understanding of each term or principle from the text, or research specific items in great depth.

You are encouraged to write critiques of works of art (local exhibitions or examples from texts) at least once every week. This will become easier as you gain the ability to apply the terminology from each chapter. You may also wish to include observations, comments, and news reports that affect the art world, such as criticisms of films, novels, plays, lectures, and studio sessions. Explore the world of your experiences. Guard against too many abrupt value judgments concerning the artwork to which you are exposed. For the most part, personal preferences, without benefit of growing experience, can be false or undeveloped barometers; however, if felt strongly, they should be expressed without hesitation. Refer back to your journal after a few weeks or months to see if your opinions change.

You can use the chapter headings from 1 to 10 in your textbook to help give your own journal some structure, or develop your own headings and subheads. For example, you might have five or six examples that illustrate the different textural qualities found in magazine pictures or from your own drawings. You could group them together and offer some comments that would help distinguish various textural groups or types. Or you might analyze a new movie by describing only the use of texture and its relationship to the mood of the film from scene to scene.

The possibilities are endless. Try to be comprehensive, imaginative, and observant. This is your journal. Let it become a daily component of the journey through this book.  

Start early! You may want to use a special folder for your study. Start collecting images, items, textures, etc., and keep them organized. After finishing the text, try to present the final collection of notes, thoughts, and images that illustrate your travel through changing concepts and personal attitudes.