1. Emily Carr
Hands On Projects

2. Autumn Trees inspired by Carr’s Forest (Tree Trunks)
Project 1
Autumn Trees inspired by Carr’s Forest (Tree Trunks)
For 5th grade, this took 15 mins of explanation and discussion.
then 45 mins for most kids to be done. A few took an hour.
For ½: we did the entire thing in 45 mins. We did it step by step as a group with the teacher demoing each step at front of room. emar
Forest (Tree Trunks)
oil on wove paper, mounted on masonite
91.5 x 61 cm
National Gallery of Canada

3. Supplies
Paper –Manilla/light tan (don’t use white, it results in a stark, unfinished look)
12x18” for working at desk, construction paper is ok
24x36” for wall painting, unbleached newsprint works
9x12 for initial practice, if desired
Brushes – 1 per student, flat, stiff bristles
½” wide for 12x18” paper
¾ - 1” for 24x36 paper
Paint – Tempera, must be thick. Scholastic Brilliant pretty good as is Sargaent
Paper Plates – 1 per student for palette
>= 9” plate – cheap ones are sometimes too small
if standing, want plastic coated paper so stiff enough to remain flat
Paper Towels – 1 per student. Needn’t be doing a lot of wiping
Carr Images – laminated, 1 visible to each student.
No Water!

4. Preparation Preload the palettes
I like this particular layout as it puts the colors they’re likely to mix next to each other
Good starting point:
2 Tbsp brown
1 Tbsp orange
1.5 Tbsp White
1 tsp yellow
1 Tbsp green
.5 Tbsp violet
Note: youll need to walk around and replenish paint as students use theirs up and for wall painting, you’ll need larger quantities

5. Paint Handling You have 6 colors of paint
More can be created (use white space on palette)
Not all combos are appropriate (e.g. mint green at LR!)
Note: choice of exact colors is up to the student
Study Carr’s distribution and contrast for inspiration

6. Paint Handling – cont.
- Drag e.g. a bit of green and a bit of yellow together between the two
- don’t pollute your source colors!
You have no water.
Brush needn't be cleaned in between colors. Just apply most of it to your paper, if making a large color change (e.g. green to white), then blot brush on your paper towel. Try to keep most of the paint on your paper, not your towel!
Note: choice of exact colors is up to the student
Study Carr’s distribution and contrast for inspiration

7. Paint Handling (cont.)
Mix paint only lightly, want striation: (aim for the middle result)
Use brush both wide and skinny direction and twist as drag to taper your trunks:

8. Forest (Tree Trunks) beginner
What do we need to know about this painting to help us copy it?
1. the trees don’t cover the entire space triangle-shaped clearing in foreground
2. space behind the trees isn’t blank; Emily first painted in a background with squiggly lines
3. what do we notice about the trees?
- Ones at the sides are wide;
- those in the center are narrow
- Tapered at the top
- She used a variety of colors
- Wide ones have patterns on them;
curved horizontal lines
Forest (Tree Trunks)
oil on wove paper, mounted on masonite
91.5 x 61 cm
National Gallery of Canada

9. Forest (Tree Trunks) advanced
Take a look at this Emily Carr work
What is in the picture?
What isn’t in the picture?
What brushstrokes were used to create each part?
What order were the parts painted in?
How does she make each distinct tree stand apart? That is, why don’t they all blend together?
Forest (Tree Trunks)
oil on wove paper, mounted on masonite
91.5 x 61 cm
National Gallery of Canada

10. Procedure for Forest (Tree Trunks)
Note on Color: choice of exact colors is up to the student
Study Carr’s distribution and contrast for inspiration
Paint Foreground in semi-circular shape
Paint background in columns
- Use both horizontal and vertical strokes.
- Leave space
Paint Tree Trunks
- Use varying widths and angles
- Add horizontal banding to tree trunks
Add horizontal banding to some tree trunks
- Note that strokes are curved
Forest (Tree Trunks)
oil on wove paper, mounted on masonite
91.5 x 61 cm
National Gallery of Canada

11. Tree Trunk - Step 1
Paint foreground in semi-circular shape 11

12. Tree Trunk - Step 2 Paint background in columns
- Use both horizontal and vertical strokes
- Leave blank space 12

13. Tree Trunk - Step 3 Paint Tree Trunks - Use varying widths and angles
- Add horizontal banding to tree trunks
- Note that these will cross your background squiggles – that’s ok! 13

14. Tree Trunk - Step 4 Add horizontal banding to some tree trunks
- Note that strokes are curved 14

15. Tree Trunks Procedure - simplified
Foreground Triangle
Background Squiggles
Tree Trunks
Stripes 15

16. Procedure for Forest (Tree Trunks)
Note on Color: choice of exact colors is up to the student
Study Carr’s distribution and contrast for inspiration
Paint Foreground in semi-circular shape
Paint background in columns
- Use both horizontal and vertical strokes.
- Leave space
Paint Tree Trunks
- Use varying widths and angles
- Add horizontal banding to tree trunks
Add horizontal banding to some tree trunks
- Note that strokes are curved
Forest (Tree Trunks)
oil on wove paper, mounted on masonite
91.5 x 61 cm
National Gallery of Canada

17. Malee Bedolla
Student Samples

18. Emily Carr - Wall Painting

19. Green Forest inspired by Carr’s Forest Landscape No. 1
Project 2
Green Forest inspired by Carr’s Forest Landscape No. 1
Forest Landscape No. 1
1939
oil on wove paper, mounted on plywood
91.5 x 61 cm National Gallery of Canada

20. Supplies
Paper – light grey (don’t use white, it results in a stark, unfinished look)
12x18” for working at desk, construction paper is ok
24x36” for wall painting, unbleached newsprint works tho’ can be a bit thin
Brushes – 1 per student, flat, stiff bristles
½” wide for 12x18” paper
¾ - 1” for 24x36 paper
Paint – Tempera, must be thick. Scholastic Brilliant pretty good as is Sargaent
watch out for blue, you want a turquisey one, not one heavy on the violet.
Paper Plates – 1 per student for palette
>= 9” plate – cheap ones are sometimes too small
if standing, want plastic coated paper so stiff enough to remain flat
Paper Towels – 1 per student. Needn’t be doing a lot of wiping
Carr Images – laminated, 1 visible to each student.
No Water!

21. Preparation Preload the palettes
I like this particular layout as it puts the colors they’re likely to mix next to each other (but I would distribute them evenly around plate!)
Good starting point:
2 Tbsp Green
1.5 Tbsp Blue
2 tsp White
2 tsp yellow
1 tsp black
Note: you’ll need to walk around and replenish paint as students use theirs up and for wall painting, you’ll need larger quantities

22. Paint Handling You have 5 colors of paint
More can be created (use white space on palette)
- Drag e.g. a bit of green and a bit of yellow together between the two - don’t pollute your source colors!
Not all combos are appropriate (e.g. mint green!)
You have no water. Brush needn't be cleaned in between colors. Just apply most of it to your paper, if making a large color change (e.g. green to white), then blot brush on your paper towel. Try to keep most of the paint on your paper, not your towel!
Note: choice of exact colors is up to the student
Study Carr’s distribution and contrast for inspiration

23. Paint Handling (cont.)
Mix paint only lightly, want striation: (aim for the middle result)
Use brush both wide and skinny direction and twist as drag to taper your trunks:

24. Forest Landscape No. 1 Take a look at this Emily Carr work
What is in the picture?
What brushstrokes were used to create each part?
What order were the parts painted in?
It’s basically a bunch of green, how does she make the parts distinct?
Forest Landscape No. 1
1939
oil on wove paper, mounted on plywood
91.5 x 61 cm National Gallery of Canada

25. Procedure for Forest Landscape No. 1
Note on Color: choice of exact colors is up to the student
Study Carr’s distribution and contrast for inspiration
Paint Foreground greenery in triangular shape
Paint background foliage
- Use horizontal wavy strokes.
- variety of shades
Paint foliage of Tree tops at upper left
Paint tree trunks and stumps
Paint foliage of tree tops at upper center
Paint sky
Add horizontal banding to some tree trunks
Forest Landscape No. 1
National Gallery of Canada

26. Tree Trunk - Step 1 Paint Foreground greenery in triangular shape
Sample tbp 26

27. Tree Trunk - Step 2 Paint background foliage
- Use horizontal wavy strokes.
- Use variety of shades
Sample tbp 27

28. Tree Trunk - Step 3 Paint foliage of Tree tops at upper left
Sample tbp 28

29. Tree Trunk - Step 4
Paint tree trunks and stumps
Sample tbp 29

30. Tree Trunk - Step 5 Paint foliage of tree tops at upper center
Sample tbp 30

31. Tree Trunk - Step 6
Paint sky
Sample tbp 31

32. Tree Trunk - Step 7 Add horizontal banding to some tree trunks
Sample tbp 32

33. Procedure for Forest Landscape No. 1
Note on Color: choice of exact colors is up to the student
Study Carr’s distribution and contrast for inspiration
Paint Foreground greenery in triangular shape
Paint background foliage
- Use horizontal wavy strokes.
- variety of shades
Paint foliage of Tree tops at upper left
Paint tree trunks and stumps
Paint foliage of tree tops at upper center
Paint sky
Add horizontal banding to some tree trunks
Forest Landscape No. 1
National Gallery of Canada

34. Drawing/Painting Real Looking Trees
Project 3
Drawing/Painting Real Looking Trees

35. Lesson TBD

36. Vine Charcoal Sketching
Project 4
Vine Charcoal Sketching

37. Supplies Charcoal Paper (something with tooth) Vine Charcoal
Kneaded Eraser
Tissue for blending (or blending sticks)
Larger newsprint to cover desk (to contain the mess and could be a folder for the finished work)
Boards/Tape – necessary if sketching outside
Carr Images – laminated, if sketching inside

38. Introduction
If possible, show the following video, at the very least, view it yourself:
Show them some of Emily Carr’s charcoal works at:
Optional: warm-up exercise:: Discuss some tree drawing tips and tricks
Discuss the tooth of the paper, what that does for you, and how easy it is to damage so use a light touch

39. Demo - the flexibility and mobility of charcoal
vine charcoal is pure with no additives.
Produces a rich, dark line that is powdery so it retains flexibility as a drawing medium.
applying the charcoal with the side of the stick
- erasing with the eraser (and how to clean the eraser)
- drawing with the eraser (e.g. the highlights on an object)
To do this, lay down some background foliage with side of charcoal, then use
point of the stick to draw a tree trunk and branches (modeling taper, overlap, etc)
Then blending and erase with the tissue (e.g. a moon in the sky would be an erasure)
During the demo, discuss the role of line in drawing trees. Remind them that volume can be created by making a form dark on one side and light on the other.

40. Discuss the downside of charcoal’s mobility:
- dust, a problem so be careful not to blow it about
- Fingerprints and other accidental erasures – will enclose work when done
- Need for fixative and its proper use (which won’t be at school!)
Composition: Suggest that balanced compositions often contain values of about
25% very light (or white)
25% black or dark grey
50% mid grey

41. Do
experiment with charcoal to produce a simple landscape which includes trees, ground, possibly a moon
Remember:
Side, Point, Blending, Erasure
Value: 25% very light (or white)
25% black or dark grey
50% mid grey

42. In her effort to move beyond her totem work, Emily had to find a new style
She went off and did a long series of charcoals in this effort.
Look at the trees in here. The lines and technique of expressing them.
Does they look like the previous trees? How do they compare?
(think about the arm movements necessary to produce each).
Previous ones are heavy, unmoving
These have a sense of movement - she scaled down her artistic process to infuse her work with movement and spontaneity.
Now look at the trees in this next work.
Untitled
charcoal
Vancouver Art Gallery

43. Untitled
charcoal
Vancouver Art Gallery

44. Untitled
charcoal
Vancouver Art Gallery

45. Here the use of charcoal is much softer
Here the use of charcoal is much softer. Dleecate shades create smooth tonal transitions leading the eye past the trees and into the opening in the sky that seems to look back at us. The expansive feeling of space, the peaceful and serene mood, the radiating light echo her journa: nature is God revealing himself, expressing his wonders and his love, Nature clothed in God’s beauty of holiness”.
Untitled
1930 charcoal
Vancouver Art Gallery

46. Untitled
charcoal
Vancouver Art Gallery

47. Untitled
charcoal
Vancouver Art Gallery

48. Untitled
charcoal
Vancouver Art Gallery

49. Nootka
Drawing
Vancouver Art Gallery

50. For a nearly complete look at Carr’s output, see this fabulous site: