Overview:
The beginning art course, a studio based art class, is an accelerated course of study for 9th through 12th graders wishing to fulfill the required ½ credit in visual arts in a more advanced class than the semester elective. The class is constructed to develop facility with a variety of media and techniques traditional to the visual arts and to develop self-confidence in students with varying levels of skill. Emphasis is placed on the elements and principles of design, two and three-dimensional design, the fundamental skills of drawing, art criticism and art history.
Materials:
Required Text: Art Talk
Required Supplies: 9” x 12” Sketchbook and 20” x 25” Portfolio
Objectives:
The Student Will:
A. Demonstrate basic drawing techniques and skills and communicate ideas in an organized manner.
B. Produce works of art that effectively use the elements of art (line, shape, form, space, color, and texture), and principles of design (rhythm and movement, balance, proportion, variety, emphasis, and unity).
C. Discuss and make choices about materials as they relate to function effectively.
D. Communicate his/her perceptions of the world using the art elements, design principles, and art vocabulary.
E. Demonstrate in his/her art work an exploration of a personal style.
F. Compare and contrast styles of art from major time periods and cultures using vocabulary specific to the visual arts.
G. Make sound critical judgments about the quality of artworks based on observation and experience.
H. Recognize, describe, analyze, discuss, and write about the visual characteristics of works of art.
Methodology
The beginning art students will be instructed through the applications of demonstration, written handouts, and hands-on activities. Students will be exposed to art time periods and cultures of art through lecture and visual presentations, and/or hands-on learning. Students will be guided through the processes of comparing and contrasting visual works of art through oral and written activities.
Evaluation
Students will be evaluated according to class participation, readiness for class, work ethic, effort, demonstration of concepts taught, sketchbook and/or journal entries, and written and oral activities relating to project work.
THE BEGINNING ART CLASS
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Unit |
Content |
Assignment |
Homework Assignments |
Sketchbook Assignments |
Art History |
Medium |
Techniques |
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1. Introduction to the Class
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a) Self-Inventory b) Group Problem Solving Activities c) Preview Beginning Art to AP art work at FCDS. d) Distribute and review course syllabus
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i. Portfolio units assigned. ii. Review studio art website. iii. Review rubrics and evaluations used for grading. |
· Bring sketchbook to school to prepare for next week. · Bring Portfolio to school. · Bring signed syllabus to school. |
· Collect images of self, friends, and family. Create a temporary photomontage of self. · Journal: What art means to me. |
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· Paper |
· Collage |
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2. Introductory Art Activities
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a) Review evaluation and practice grading artwork using the rubrics designed for the class. b) Practice grading artwork from former students. c) Review and discuss the definitions of “quality” in a work of art. Look at examples of quality 9th grade art. d) Review and define plagiarism. Discuss consequences and responsibility to self and FCDS.
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i. Have mock scoring in class of student art work. ii. Gesso the covers of sketchbooks and discuss symbolism in art work. What symbols could be used by students to express hidden meanings about themselves?
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·Grade student artworks using the rubrics designed for the class and write a defense of reasoning of the score (examples of artwork will be posted to the visual arts website). |
· Outline Work area in sketchbook notes and handouts · Personalize the cover of your sketchbook with hidden symbolic references to self.
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· Look at the work of Keith Haring, · Post-Modernism, and · Audrey Flack · VISIT the PIEDMONT CRAFTSMAN SHOP at 601 North Trade Street, http://www.piedmontcraftsmen.org/ and write two paragraphs explaining your favorite craftsman exhibited and why. Be sure to use some of the vocabulary from chapter two and three of the Art Talk Book! If the artist has a brochure or card, include it with your report. |
Gesso Acrylic Paint Magazine cut-outs Modge-Podge
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· Introduce brainstorming methods, “Scamper”. ·
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3. Art History: Why does Man Create? |
a) The purposes of art. b) Brief Overview of the Major Art History Movements through PPT presentation. c) Introduction of art history section of classroom and textbooks available to them. d) How to Write an Art Criticism |
i. Choose a favorite artist and write a 1 ½ page art criticism of artwork of choice. |
· Complete art criticism |
· Do you have a favorite artist? List your favorite artist and artwork. Include a picture from the internet of an artist you know about or find interesting. Explain why. · What is the best museum you have ever been to? Why?
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· Extra-Credit: Go to a gallery, an artist’s studio, or a museum and follow the guidelines posted on “How to Visit a Museum”. Turn in the written work and any related drawings. |
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Unit |
Content |
Assignment |
Homework Assignments |
Sketchbook Assignments |
Art History |
Medium |
Techniques |
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4. Media and Materials 5. How to be Expressive in a work of art. |
a) PPT presentation of the variety of media and materials available for mark-making. b) Presentation of on-line companies that are good art supply retailers. c) Introduction to mark-making.
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i. “Media and Materials Week”: Students are invited to explore a variety of wet and dry media and different surfaces for creating art. ii. Students can sign-up to purchase different materials and surfaces from the art instructor at whole sale prices.
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·Continue photomontage started in sketchbook using copies of photographs and a variety of media. Introduction of proportion and scale. ·Focus on collage and mark-making for expression. |
· Look on page 44 of the Art Talk book. Draw your hand four times using the four techniques demonstrated. · Create a drawing with a new kind of material that you haven’t used to create with before. Look at the list on your sketchbook handout for ideas.
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· Romare Bearden · Jazz and Branford Marsalis. · The Harlem Renaissance · The move, Paris Blues. |
Collage Photomontage |
· Hands on demonstrations and experimentation with media and materials. · Practice making marks and application of media to surface. |
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6. The Elements and Principles 7. Composition
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a) Review composition b)Review the Elements and Principles of Design. c) PPT Presentation on the Principles of Design and historical uses in the history of art. d)Discuss format.
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i. Pop quiz on the elements and principles. ii. Students are to finalize photomontage.
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· Attend a gallery hop in the downtown Winston-Salem Arts District from 7-10 p.m. Find your favorite artist and write two paragraphs about how that artist uses LINE in his/her work.
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· Draw your favorite car in color. · Using a paint or draw program on the computer, create an image with an obvious composition focus on line, print it out and glue in your sketchbook. · Take 5 digital images demonstrating composition and include in the sketchbook.
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· Compare Japanese Woodcuts, Impressionism, the Renaissance art, and Modern artworks for compositional styles. · Visit the Reynolda House and write two-paragraphs explaining how an artist manipulated composition to create an interesting work of art. |
· Media of choice. · Digital Media |
Application of composition principles. |
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8. Line 9. Value 10. Proportion |
a) Mark-making and line qualities. b)Value ranges and producing value with a variety of media. c) Proportion in the human face.
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i. Contour Line objects (plants, hands, object bin, shoes) ii. Contour line composition. iii. Create a value scale in pencil and charcoal with ten gradations of value occurring equally. iv. Self-Portrait Studies v. Gestural Drawing of the Figure. |
Complete a pencil self-portrait done in graphite. |
· Create a picture using value to show something menacing. · Create a picture using value to show soft light and beauty.
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· Extra-Credit: Visit SECCA and write one paragraph on how your favorite exhibited artist uses line. · Leonardo DaVinci · Baroque Art · Caravaggio · Dutch Realism · Rembrandt · NeoClassicism · Richard Estes |
· Pencil, · Sulfite · Drawing Paper · Pencil · Ink · Charcoal Powder · Bristol Board · Watercolor Paper · Drawing Paper |
· Application of pencil, to denote value through line qualities. · How to hold the pencil, how to use a drawing board, using the side and tip of the pencil. · Shading techniques for conté crayon and charcoal, Introduction of blending stump, and eraser.
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Unit |
Content |
Assignment |
Homework Assignments |
Sketchbook Assignments |
Art History |
Medium |
Techniques |
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11. Shape 12. Perspective
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a) The Principles of Linear and Aerial Perspective b) The Horizon Line c) One- and Two- Point Perspective
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i. General shape of objects. Outline vs. contour. Contour describes planes – planes can be broken into value shapes. ii. Lesson on drawing cylinders (bowling pins). iii. Draw the art room in two point perspective.
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Complete the art room in two-point perspective. |
· Draw the interior of your bedroom in one- or two-point perspective. · Draw a landscape in color showing atmospheric perspective. · Collect 5 magazine pictures showing space and find the vanishing points as well as the horizon line. · What kind of architectural style is your house (ask your parents)? Draw your house in one-or two-point perspective. |
· Look at work by · Theibaud, · Cezanne, · O’Keefe · The Renaissance · Da Vinci · M.C. Escher
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· Charcoal · Conte Crayon · Drawing Paper · Charcoal Paper · Pencil · India Ink · Bogus Gray Paper |
· How to “see” value – squinting eyes. Continue use of Charcoal. Introduce permanent marker. How to use marker effectively using line and filling in shapes. · Introduction of Conte Crayon – how to hold the crayon, how to create value with the crayon. · Application of India Ink. |
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13. Color |
a) The Color Wheel b) Warm and Cool Color c) Color and Composition d) Color and Expression
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i. Color charts of value, hue, and intensity. ii. Self-Portrait watercolor painting on watercolor paper in a triadic color scheme.
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· Complete the self-portrait in watercolor. |
· Continue color chart studies in sketchbook. · Create a still life of four different views of a single subject using a Monochromatic color scheme, b) Intense or muted color scheme, c) Secondary hues, d) Full color scheme. · Find one magazine advertisement or photo of five of the following color schemes: monochromatic, low key, high key, complementary, analogous, split complement, warm or cool. · Write one paragraph on one image about how advertisers use knowledge of color to attract your attention. |
· Cezanne · Impressionism · Seurat · Fauvism · Turner · Homer · Hard Edge · Op Art · Janet Fish
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· Oil pastels · Prismacolor Art Stix · Watercolor · Gouache · Clayboard · Gesso Board |
· Introduction to the use of watercolor – working lightest to darkest. Use and care of watercolor pans and brushes. Introduction to gouache paint. As opaque watercolor in comparison to transparent watercolors. · Watercolor application on clayboard – addition and subtractive painting methods – use of water, q-tips and brushes. |
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Unit |
Content |
Assignment |
Homework Assignments |
Sketchbook Assignments |
Art History |
Medium |
Techniques |
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14. Texture |
a) How we perceive texture b) How artists use texture
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i. The biome project in paper sculpture. ii. Manipulating the paper surface to create texture iii. Creating faux textures in paint application. |
Complete the art/biology biome as started in class.
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· Find a magazine photo that uses simulated texture and glue in your sketchbook. · Find a magazine photo that uses invented texture and glue in your sketchbook. · Find a magazine photo that uses a contrast of smooth to rough or matte to shiny texture, or any combination of the four and glue in your sketchbook. · Visit the Texture Gallery in Downtown W-S and find one artist that manipulates texture or uses texture in an interesting way. Write two paragraphs about the art work and the incorporated texture.
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· Eric Carle · Robert Sambuda · Matthew Reinhart · Janet Fish
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· Paper · Paint
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· Paper Manipulation · Faux Textures in paint application.
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15. Variety 16. Emphasis 17. Unity 18. Harmony |
a) How artists use and manipulate the elements of art to create variety, emphasis, unity, and harmony. |
i. Introduction to ceramics: Throwing on the Wheel ii. Create three vessels that have unity as a set. |
Complete the ceramics project as assigned in class. |
Visit the Mint Museum of Craft and Design in Charlotte. Follow the directions for how to visit a museum posted in the classroom and write about your favorite art objects and how the artist successfully used variety, emphasis, unity, and harmony. |
· Japanese Tea Sets · Toshika Takaezu
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· Clay · Glazes |
· Manipulation of clay on the wheel · Application of colored glazes |
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Unit |
Content |
Assignment |
Homework Assignments |
Sketchbook Assignments |
Art History |
Medium |
Techniques |
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19. Rhythm 20. Balance 21. Movement |
a) The study of Futurism and Mobiles b) Enameling |
i. Create a Calder inspired wire mobile ii. Use the method of enameling to create parts of the wire mobile. |
Complete the wire mobile project. |
· Research Alexander Calder on the internet or library database, Groveart.com, and find 5 examples of his mobile sculptures. Print the photos and glue in sketchbook. · Create 6 pre-drawings of your own mobile design as influenced by Alexander Calder. · Create 6 or more patterns demonstrating repetition and harmony or contrast through color. |
· Alexander Calder · Futurism
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· Wire · Aluminum/Copper · Enameling Powders
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· Forming metal · Enameling · Controlling wire.
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End of the Year Wrap-Up |
· Clean out classroom and return all borrowed supplies. · Wrap up lessons for the year and student progress. · End of year PPT highlighting best artwork from the year. |
· Clean out Portfolio Unit · Clean palettes.
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· Search house and room for all art supplies borrowed to be returned.
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· Journal: · How I have changed as an artist. · Turn in sketchbooks for final exam grade. |
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22. Return all borrowed materials from the library.
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TEACHING RESOURCES
The following resources are used widely by the instructor for the purposing of promoting and involving students in the visual arts.
BOOKS
Students that are seriously interested in the pursuit of art as a career may benefit from building a library of visual art resources. The following books are available in the studio art classroom for student and instructor use.
Appeloff, Marian. Everything You Ever Wanted to Know About Watercolor. Watson-Guptill Publications. 1992.
American Art Collector. Juried Competition of Art Under $5,000. Volume 1, Book 1. Alcove Books. 2004.
Arnold, Matthias. Henri De Toulouse Lautrec: 1864-1901 The Theatre of Life. TASCHEN. 2000.
Atkins, Robert. Art Speak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945-Present. Second Edition. Abbeville Press Publishers. 1993.
Atkins, Robert. Art Spoke: A Guide to Modern Ideas, Movements, and Buzzwords, 1848-1944. Abbeville Press. 1993.
Autumn, Berlin. Joseph Norman: Tiergarten Variations. Newport Art Museum. 2000.
Barnet, Sylvan. A Short Guide to Writing About Art. Ninth Edition. Pearson Longman. 2008.
Barrett, Terry. Talking About Student Art. Davis Publications. 1997.
Beattie, Donna Kay. Assessment in Art Education. Davis Publications, Inc. 1997.
Bernard Danenberg Galleries, New York. Norman Rockwell: A Sixty Year Retrospective. Henry N. Abrams, Inc., Publishers, New York. 1972.
Bridgman, George B. Bridgman’s Complete Guide to Drawing from Life. Sterling Publishing Company. 2001.
Brommer, Gerald, F. Transparent Watercolor: ideas and Techniques. Davis Publications. 1973.
Buckley, Sarah. Practical Watercolor Techniques. Crescent Books. 1992.
Cameron, Julia. The Artist’s Way: A Spiritual Path to Creativity. Penguin Putnam Inc. 1992.
Carrino, Deborah. The Spirit of Children: The Art and Life of Karen Carrino. Prometheus Books. 2000.
Chastel, André. The Genius of Leonardo da Vinci. The Orion Press. 1961.
Craze, Sophia. Mary Cassatt. Crescent Books. 1990.
Comstock, Charles W. How to Organize and Manage Your Art Room. J. Weston Walch Publisher. 1995.
Cooper, Douglas. Toulouse Lautrec. Henry N. Abrams, Inc., New York. 1992.
Darty, Linda. The Art of Enameling: Techniques, Projects, and Inspiration. Lark Books. 2004.
Dailey, Victoria and Turner, Steve. William H. Johnson: Truth Be Told. Seven Arts Publishing, 1998.
Deschanrnes, Robert. Dali. Harry N. Abrams, Inc. 1985.
Dobie, Jeanne. Making Color Sing: Practical Lessons in Color and Design. Watson-Guptill Publications. 2000.
Enstice, Wayne and Peters, Melody. Drawing: Space, Form, and Expression. Pearson Prentice Hall, 2003.
Edwards, Betty. Drawing on the Right Side of the Brain. St. Martin’s Press, NY. 1989.
Edwards, Betty. Drawing on the Artist Within. Simon and Schuster, Inc. 1995.
Ewing, Charles. The New Scratchboard: Clay-Surface techniques and Materials for Today’s Artists. Watson-Guptill Publications, 2001.
Goldstein, Nathan. The Art of Expressive Drawing. 5th Edition. Pearson Prentice Hall. 1999
Goldstein, Nathan. Figure Drawing: The Structure, Anatomy, and Expressive Design of Human Form. Fifth Edition. Pearson Prentice Hall. 1999.
Goldstein, Nathan. The Art of Resp