tag:blogger.com,1999:blog-89156192344835815382024-03-28T02:10:30.803-07:00The Blooming Palette of High School ArtA Bounty of Lessons, Units and More for High School Art EducatorsBetsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.comBlogger28125tag:blogger.com,1999:blog-8915619234483581538.post-30465465200600253032011-10-31T10:43:00.000-07:002011-10-31T11:16:00.165-07:00YouTube Video: Acrylic Painting Demo--Artist's MannequinIn this 21 minute video, I demonstrate how to paint an artist's mannequin in acrylic. Emphasis is on mixing, establishing, and applying a range of values, especially the creation of highlights and shadows from tints and shades in order to create the illusion of a monochromatic 3-D form. I hope you'll find the tone conversational but informative.<br /><br />This demo or tutorial is very specific to a challenge I had given my Art Foundations students, but my intention is that you find it helpful for teaching your students to paint any cylindrical form.<br /><br /><iframe width="420" height="315" src="http://www.youtube.com/embed/_5yrdsnp1aY" frameborder="0" allowfullscreen></iframe>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com41tag:blogger.com,1999:blog-8915619234483581538.post-77605749328392129752011-10-31T07:32:00.000-07:002011-10-31T11:17:49.129-07:00You Tube Video: Acrylic Painting Demo--Children's Building BlocksIn this short video, I demonstrate how to paint 3 geometric solids in acrylic. Emphasis is on creating, applying, and blending values with special attention to highlights and shadows made from tints and shades in order to create the illusion of 3-D form. I try to keep the tone conversational, but informative.<br /><br />This demonstration or tutorial was very specific to the challenge I had given my intermediate students, but hopefully it will have relevance for you in other contexts.<br /><br /><iframe width="420" height="315" src="http://www.youtube.com/embed/Q_OQP4uBMl8" frameborder="0" allowfullscreen></iframe>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com25tag:blogger.com,1999:blog-8915619234483581538.post-43109284297323145582010-08-19T06:33:00.000-07:002010-08-22T07:53:12.937-07:00Encaustic Workshop with the Fab Five<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_4S2xEX0cYAs/TG0zkygMgTI/AAAAAAAABM8/p8SwpDFhomQ/s1600/Fifty--Made+at+Karen+Eide%27s+Art+Day--August+2010.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 255px; height: 320px;" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/TG0zkygMgTI/AAAAAAAABM8/p8SwpDFhomQ/s320/Fifty--Made+at+Karen+Eide%27s+Art+Day--August+2010.JPG" alt="" id="BLOGGER_PHOTO_ID_5507114626469101874" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_4S2xEX0cYAs/TG0zduVSjdI/AAAAAAAABM0/KEqHLXhwsPE/s1600/Encaustic+Retreat--August+2010.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/TG0zduVSjdI/AAAAAAAABM0/KEqHLXhwsPE/s320/Encaustic+Retreat--August+2010.jpg" alt="" id="BLOGGER_PHOTO_ID_5507114505090534866" border="0" /></a><br />When food, friends and fine art combine, the results are sure to be memorable. Indeed, on August 9, my close artist friend, <a href="http://kareneide.com/home.html">Karen Eide</a> gifted four of us with the most amazing day in recent memory: a "Studio Day" to learn her medium of <span style="font-style: italic;">encaustic</span> painting which dates from at least the 5th century B.C.<br /><br /><a href="http://www.jcowlingdesign.com/"></a><a href="http://www.jcowlingdesign.com/">Judy Cowling</a>, <a href="http://www.donnaionadrozda.com/">Iona Drozda</a> and <a href="http://www.thebloomingpalette.com/">I</a> gathered at 9:30 a.m. at her and her husband, David's, lovely home in rural Carrollton, VA. (<a href="http://sheilagiolitti.com/">Sheila Giolitti</a> joined us later in the afternoon.) The day was simply glorious and the slightly less than an hour's drive completely pleasant (no, it was grand, as my dear friend Iona rode with me and we reveled in conversation going and coming).<br /><br />In Karen's charming detached cottage studio (with her cat Miles lolling in the loft above), she provided us with background and safety information, lots of mouth-watering samples, and a demo. Then she set us loose at stations she had created for each of us. Inspired by her work and encouragement, her samples, and each other, we went to it; and I think it's safe to say that we are all completely hooked. Though <span style="font-style: italic;">encaustic</span> literally means "to burn in," it is, in fact, painting with melted and pigmented wax into which and on top of which one can collage, draw, stamp, stencil and more. I find it the most luscious and flexible medium ever.<br /><br />My piece, entitled "Fifty," is at the top. I found that old funnel in a potting shed and had to draw it because I was attracted to its rusted form. The crossword puzzle was in a piece of newspaper I had brought and I had tucked the seagull stencils from a <a href="http://thebloomingplatter.blogspot.com/2010/08/vegan-poster-child-for-charity.html">previous painting</a> into my sketchbook. I decided to just work with those three elements and what resulted was an ode to my 50th birthday next year--egads!--and is about "funneling" energy in new directions, as well as trying to solve the "puzzle" of how one balances structure (all of the many references to the grid along with the seagulls standing in a tidy row) and freedom (as represented by, among other things, the flying seagulls).<br /><br />I love many things about the work we all did that day, including how individual it is. With the guidance of our teacher-friend, <a href="http://kareneide.com/home.html">Karen Eide</a>, we were all able to transfer the work we do in other media into her medium of encaustic. Karen would not accept any remuneration for sharing her knowledge, expertise, home, studio and supplies. Not a penny. So we insisted that she let us bring lunch. But I know we are all trying to figure out how best to "pay it forward." The least I can do is share a little taste of the medium with all of you.<br /><br />Though formal workshops and institutes have their place, if you have mastered a specific technique, process or approach to the formal or conceptual aspects of artmaking, I would encourage you to share it informally with a small group of artists/teachers as Karen did. It is truly a gift that will keep on giving.<br /><br />Here's to old and new friends, ancient and contemporary art forms and paying it forward!<br /><br />Top Photo: "Fifty," Betsy DiJulio, encaustic and mixed media, 2010<br />Bottom Photo standing, l to r: Judy Cowling, Sheila Giolitti, me and Karen Eide; seated: Iona Drozda. Stay tuned for posts with our artwork.Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com27tag:blogger.com,1999:blog-8915619234483581538.post-4544005403757001912010-08-18T02:37:00.000-07:002010-08-18T02:49:06.248-07:00Dodge Virginia Beach Rock 'n' Roll Half Marathon 2010 Poster Art<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_4S2xEX0cYAs/TGurjpbUJYI/AAAAAAAABMc/wVM5aGDA-Q8/s1600/Painting.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 260px; height: 320px;" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/TGurjpbUJYI/AAAAAAAABMc/wVM5aGDA-Q8/s320/Painting.JPG" alt="" id="BLOGGER_PHOTO_ID_5506683598294754690" border="0" /></a><br />For all but the first year in 1990, I have been chosen as the volunteer "Official Artist" for the <a href="http://virginia-beach.competitor.com/">Virginia Beach Rock 'n' Roll Half Marathon</a> put on by San Diego-based Competitor's Group. The race is held every Labor Day Weekend and here we are already at the 10th Anniversary. My original painting is raffled off annually and, in the last few years, has earned between $8,000 and $9,000 for the organization's charities, such as the Lymphoma and Leukemia Society. In addition, proceeds from the sale of posters made from the painting also benefit their charities.<br /><br />My concept for this special commemorative edition was to paint beach-related objects with the number "10" on top of a collage of news clippings from past races, trying to use physical layers as a metaphor for the many layers of the race, from athletic achievement to personal triumph and much more. Early in the summer, my good friend Sharon Tanner accompanied me to the beach on a photo treasure hunt where we found the the 10th Street sign, the "$10 Beach Parking" sign, and the hotel clock tower. When we looked up and saw it, believe it or not, it was 10 a.m. The weather vane was inspired by one at Rudee Inlet for which I simply replaced the swordfish with a guitar.<br /><br />Last summer, I became enamored with the crab/lobster buoys on a cruise up the coast of the Northeastern U.S. and, since we are known for our blue crabs and since the buoys are always identified by numbers, I had to include them based on an Internet source. I also used an Internet source for the "Runners Next 10 Miles" sign since I couldn't find exactly what I wanted. Even still, I had to combine two signs. And, while we have channel markers with osprey nests just like the one in the bottom right corner, we don't have them in the area where we were photographing, so I also used an Internet source for it. Finally, I used an Internet source for the nautical flags which have been a favorite symbol system of mine for many years; the ones in the painting spell out "RNR;" and the stenciled seagulls--10 of them, of course--provide movement and rhythm.<br /><br />Each year, a highlight of the whole experience for me is signing posters for the runners and their families in the "Artist's Booth" at the Fitness Expo where all runners receive their registration packets. They come from all over the U.S. , some year after year. While I always love to meet the new participants, it is especially gratifying to laugh and joke with old acquaintances who return again and again, some with the addition of spouses, children and more children. Every year finds me laughing and crying--even blushing (I'll never forget the "Rock 'n' Roll Virgins")--in the booth as people request very personal inscriptions for their posters, some to honor loved ones whom they have lost and others to celebrate milestones.<br /><br />It really is a "human race" and it is an incredible honor to be a small part.Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com13tag:blogger.com,1999:blog-8915619234483581538.post-31998536690779147512010-07-25T04:16:00.001-07:002010-07-25T04:18:48.220-07:00Virginia Summer Residential Governor's School for the Arts<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_4S2xEX0cYAs/TEwdCcNGu-I/AAAAAAAABKE/hrDaeyTE4wA/s1600/Erin+and+Betsy+2010.JPG"><img style="float: right; margin: 0pt 0pt 10px 10px; cursor: pointer; width: 240px; height: 320px;" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/TEwdCcNGu-I/AAAAAAAABKE/hrDaeyTE4wA/s320/Erin+and+Betsy+2010.JPG" alt="" id="BLOGGER_PHOTO_ID_5497801172880636898" border="0" /></a>Last school year, I encouraged Erin Edwards, a rising senior, to apply for a month-long summer residential program called the <a href="http://www.doe.virginia.gov/instruction/governors_school_programs/summer_residential/index.shtml">Summer Residential Governor's Schools for the Arts</a>. Our state, despite a tight budget, offered these once-in-a-lifetime opportunities again AT NO CHARGE this year as they have for who knows how many years to students in a wide range of disciplines. The various "schools" are held on different college campuses around Virginia. Hats off to the Commonwealth!<br /><br /><div>After a rigorous adjudication process locally and in Richmond, our capital, Erin was selected and what a fine choice they made! She invited me to Teacher Appreciation Day yesterday on the Radford University Campus (where this photo was taken--she's as beautiful inside as she is out). It is a 5 1/2 hour drive from here, but nothing could have kept me away. I was proud of her to begin with, but after I saw the work she had done, especially in her mixed-media drawing class and her sketchbook, I was doubly so. </div><br /><div>As I walked around campus with her visiting her classes where mini-exhibitions were on display, the more formal gallery, chatting with her professors, and hearing all about her experience, I felt euphoric in the knowledge that she had embraced the experience in all its dimensions and it her. She seems to have tapped deeper into that place from which artmaking emerges with the knowledge that she really is, even at the ripe age of 17, a true artist. And I am beyond gratified that she wants to become an art teacher.</div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com21tag:blogger.com,1999:blog-8915619234483581538.post-4324798270832179932010-01-26T10:00:00.000-08:002010-02-23T16:19:05.626-08:00You're An Idiom!: Ceramic Portrait Busts (High School Art Unit)<a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S18we6loUBI/AAAAAAAAAxE/mmqCgj9BRj8/s1600-h/A+Little+Birdie+Told+Me+by+Rachel+Adamos.JPG"><img id="BLOGGER_PHOTO_ID_5431112983313403922" style="margin: 0px auto 10px; display: block; width: 240px; height: 320px; text-align: center;" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S18we6loUBI/AAAAAAAAAxE/mmqCgj9BRj8/s320/A+Little+Birdie+Told+Me+by+Rachel+Adamos.JPG" border="0" /></a><strong><br />The Art Problem:</strong><br />This Creative Challenge invites students to interpret the idiom of their choice through the creation of clay sculptural busts (about 2/3 lifesize). In the example provided, my student Rachel A. chose the idiom "A Little Birdie Told Me" because of its relationship to high school gossip. Once fired, students enhance both the form and content of their pieces with a cold finish by, first, underpainting them in black, then dry brushing white or off-white over the black and, finally, adding highlights, shadows, mood and surface texture through mark-making in colored pencils.<br /><div><strong></strong></div><br /><div><strong>Inspiration Artist:</strong><strong></strong> </div>Lesley Hildreth (she was also our visiting artist the first time I taught this challenge)<span style="font-weight: bold;"></span><strong></strong><strong><br /><br />Materials:</strong><br /><p>Clay compatible with your kiln and cones</p><p>Ware boards</p><p>Basic clay tools for cutting, incising, smoothing, scoring, piercing, embossing</p><p>Plastic for covering pieces while drying</p>Kiln, kiln furniture and cones<br /><br />Black acrylic paint for under painting (we used spray paint) outdoors<br /><br />White or off-white acrylic paint (dry brushed on)<br /><br />Medium to medium-large brushes (foam works fine)<br /><br />Colored pencils<br /><br />Clear acrylic spray (we sprayed them outdoors)<br /><br /><br /><strong>Procedures: </strong><br /><strong></strong><em>Note: My students selected their idioms just prior to their midterm exam and drew thumbnails as part of their exam, though they were free to change their minds afterward.</em><br /><p>Day 1--Introduction:<br />1. Show sample portrait bust and define idiom.</p><p>2. Hold an idiom-generating competition: challenge small teams of students to generate as many idioms they can in a specified amount of time. Have winning team read their list; other teams can add any additional ones from their lists. Give prizes to the team with the most.</p>3. Play Idiom Pictionary on the board. Give prizes to the team who gets the most correct answers.<br /><br />4. Introduce students to basic clay vocabulary and processes: wedge, score, slip, model, pinch, coil, slab, emboss, pierce, additive, subtractive, surface design. Per table or team of about 4 students, have two sets of different colored cards ready: vocabulary words on one set and definitions on another. Ask students to correctly match. Repeat on the next day of class as a hook/review.<br /><br />Days 2 and 3--Facial Feature Practice:<br />5. Demonstrate modeling of facial features and let students practice with a small ball of clay. This is an excellent time to also instruct them in the way they should set-up and clean-up their work space.<br /><br /><br />Days 4-9 or 10--Construction:<br />6. Show YouTube demonstration <a href="http://www.youtube.com/watch?v=rzBs3PM2W_4">video</a> by Phillipe Faraut. In our case, Faraut makes the nose and lips a little differently than I learned from Hildreth and taught my students, so this gives the kids an option. Describe and diagram the building of shoulders and neck (a demo isn't really necessary once they see a sample and diagrams on the board).<br /><br />7. Add head and begin making facial features. Have sample diagrams of facial anatomy from both front and profile views on view. Emphasize that the "egg-shaped" head must be placed on the neck at an angle AND that the front of the "egg" must be flattened slightly, making it perpendicular to the table, so that the face will be looking forward, rather than up (unless students want their heads looking up.) Also advise them that a slight tilt or turn of the head when they attach it to the neck can create a more lifelike quality.<br /><br />8. Hollow out head and then torso and neck using a loop tool, preferably, though a spoon will work. To hollow out heads, use a clay cutter to remove the top of the cranium, and hollow down through the head to the neck, leaving a 3/4-1" wall. Replace the top of the head using scoring and some water or slip, if necessary. (It helps to make register marks so that the part of the head that is cut off can be positioned properly when it is reattached.) This will lighten the head so that the neck and torso can support it. Hollow them out next. Reshape any facial features if necessary.<br /><br />9. Add any other elements, including hair and clothing, necessary to effectively interpret the idiom. <em>Note: I tend to prefer these portrait busts without hair, though Faraut demonstrates an effective way to create hair that doesn't look like a rag mop.</em><br /><br />4 Weeks (approximately)--Drying, Preheat and Firing:<br />10. Dry sculptures with plastic very loosely covering them. Have students check any thin elements. Spritz with water and cover those areas more tightly if necessary. It took ours about three weeks, not counting the preheat, to dry. To speed drying, tape three popsicle sticks together and carefully place two sets under the torso, one at each end. This will allow air to circulate underneath.<br /><br />11. Preheat--as an extra precaution, I load the kilns and preheat them on low for about 45 minutes every day for about 4 days. After each preheat, I turn them off and just let them sit over night until the next day when I repeat the procedure.<br /><br />12. Firing--on the 5th day, I fire them slowly and let them cool over the weekend.<br /><br /><br />1 Week--Cold Finish:<br />13. Students work outside in teams of 4 students, to spray paint their busts matte black; place newspaper under sculpture. Once dry--and the paint dries quickly--students bring them inside and dry brush the surfaces with white or off-white acrylic paint, leaving some black showing, especially in the crevices.<br /><br />14. For the next couple of classes, students use colored pencils to build up a patinaed surface, with generally cool colors in the shadows and warm colors in the highlighted areas, that is, where light naturally strikes the sculpture. Encourage students to limit their dominant color palette and to build up their surfaces slowly while layering tones and letting some of their marks show.<br /><br />15. Finish the sculptures outside with a couple of coats of a sprayed on clear acrylic finish.<br /><br /><div><strong>Duration:</strong> </div><div>Intro, Facial Feature Practice and Construction--up to 4 weeks</div><div>Drying time + preheat and firing--4 weeks</div><div>Cold Finish--1 week</div><div></div><br /><div><strong>Assessment:</strong> Sailing the Seven C's Rubric</div><div></div><br /><div><strong>Extension:</strong> Group Critique and/or Written Artists' Statements</div><div></div><div></div><br /><span style="font-weight: bold;">Big Ideas:</span><br /><p><strong></strong>Artworks are objects for interpretation.<br />Art is a reflection of time, place and culture.<br />Meaningful artmaking is about exploration, asking questions, problem-solving and developing a knowledge-base.<br />Idioms are figurative language related to time, place and culture. </p><div><strong>IB-MYP Area of Interaction:</strong> Depending on the student’s choice of idiom to interpret, s/he could focus on any of the Areas of Interaction with the most likely being: Health and Social Education and Environment</div><br /><div><strong>IB-MYP Unit Question:</strong> How can I create a ceramic portrait bust that allows me to explore and to express my understanding of a specific idiom while leaving the meaning open for interpretation by viewers?</div><br /><div><strong>Student Art Credit:</strong> Rachel A., "A Little Birdie Told Me"</div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com11tag:blogger.com,1999:blog-8915619234483581538.post-21392975625021405802010-01-22T12:08:00.000-08:002010-01-24T18:11:10.634-08:00Surrealism and One- and Two-Point Persepctive (High School Art Unit)<a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S1odoF4vZ9I/AAAAAAAAAwU/IExnz4B-Dro/s1600-h/Going+Home.jpg"><img id="BLOGGER_PHOTO_ID_5429684875360692178" style="margin: 0px auto 10px; display: block; width: 214px; height: 320px; text-align: center;" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S1odoF4vZ9I/AAAAAAAAAwU/IExnz4B-Dro/s320/Going+Home.jpg" border="0" /></a> <a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S1odg9WWcoI/AAAAAAAAAwE/Mw4xKnGiLI4/s1600-h/C._Robinson_ink,_watercolor_and_pastel.jpg"><img id="BLOGGER_PHOTO_ID_5429684752809882242" style="margin: 0px auto 10px; display: block; width: 245px; height: 320px; text-align: center;" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S1odg9WWcoI/AAAAAAAAAwE/Mw4xKnGiLI4/s320/C._Robinson_ink,_watercolor_and_pastel.jpg" border="0" /></a><br /><div><div><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1odgdFTXpI/AAAAAAAAAv8/fiPUXNH0dF8/s1600-h/A._Turner_ink,_watercolor_and_oil_pastel.jpg"><img id="BLOGGER_PHOTO_ID_5429684744148442770" style="margin: 0px auto 10px; display: block; width: 240px; height: 320px; text-align: center;" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1odgdFTXpI/AAAAAAAAAv8/fiPUXNH0dF8/s320/A._Turner_ink,_watercolor_and_oil_pastel.jpg" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1odgK2wP5I/AAAAAAAAAv0/CDNOA1-5gL4/s1600-h/K._Barnum_ink,_watercolor_and_oil_pastel.jpg"><img id="BLOGGER_PHOTO_ID_5429684739255582610" style="margin: 0px auto 10px; display: block; width: 320px; height: 232px; text-align: center;" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1odgK2wP5I/AAAAAAAAAv0/CDNOA1-5gL4/s320/K._Barnum_ink,_watercolor_and_oil_pastel.jpg" border="0" /></a><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S1odf-WQ8QI/AAAAAAAAAvs/6Jm4eiflSNo/s1600-h/T._Harrison_ink,_watercolor_and_oil_pastel.jpg"><img id="BLOGGER_PHOTO_ID_5429684735898087682" style="margin: 0px auto 10px; display: block; width: 240px; height: 320px; text-align: center;" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S1odf-WQ8QI/AAAAAAAAAvs/6Jm4eiflSNo/s320/T._Harrison_ink,_watercolor_and_oil_pastel.jpg" border="0" /></a>Looking through some computer files, I stumbled across this unit from 2005-2006 that I created and taught to beginning students when I was a very new teacher. I see a fair number of perspective units that are problematic to me for a variety of reasons. But my iteration satisfactorily addressed most of my concerns. The students really enjoyed it and I am thinking of resurrecting it, perhaps with more emphasis on mark-making so that the pieces combine drawing issues with design. <br /><br />Or, observing that the paintings were a little "plain," my mentor, Nicole Brisco, suggested flipping them and having students make another drawing on top. She liked my idea in response to her suggestion: have students flip their pieces and repeat their compositions as simple contour drawings overlaid on their paintings. If we do the new, improved version of this Challenge, I'll be sure to post samples.<br /></div><div><br /><div><strong>The Art Problem:</strong></div><div>Students will explore both one-point perspective and surrealism through the creation of tempera paintings or tempera batiks that feature intriguingly ambiguous spaces and a sense of mystery. </div><div></div><div><strong></strong></div><br /><div><strong>Inspiration Artist: </strong>Craig Blair (older work)</div><div></div><br /><div><strong>Prerequisites:</strong></div><div>Basic drawing experience</div><div>Basic composition experience</div><div>Basic color mixing with tempera (or build in a mini-lesson)</div><br /><p><strong>Criteria:<br /></strong>1. The composition must be based on 1-point perspective.</p><p>2. The artwork must possess a sense of mystery created by shadows or other dark areas, silhouettes, etc. (Mystery can also be created by your combinations of objects (e.g. objects that might not normally go together.)</p><p>3. The composition must include: </p><ul><li>Mostly hard-edged geometric shapes combined with one or two organic shapes/forms (like a plant, tree, bird, etc.). <span style="font-style: italic;">Note: some students didn't include the organic object, so it could be optional. </span><br /></li><li>An object somewhere in the composition that is drawn from 2-point perspective (a suitcase, a television, a box, etc.).</li><li>A patterned floor, floor covering or walkway that follows the rules of 1 point perspective.<br />a platform or stairs.</li><li>A door, window, half-wall or opening of some kind between the foreground/middle ground space and the background space.</li><li>An ambiguous spatial relationship somewhere in the piece.<br /><br /><em>Note: you may include other objects of your choice AS LONG AS YOU AVOID CLUTTERING THE COMPOSITION.</em> </li></ul><p><strong>Materials:</strong></p><p>Reproductions of Craig Blair's work (choose carefully as the quality varies)</p><p>Reproductions of other surreal images that emphasize ambiguous spaces, one- and two-point perspective and a sense of mystery (e.g. <a href="http://en.wikipedia.org/wiki/Giorgio_de_Chirico"><span class="blsp-spelling-error" id="SPELLING_ERROR_0">Giorgio</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_1">de</span> Chirico</a>)</p><p>Sketchbooks</p><p>Pencils </p><div>Erasers</div><div></div><br /><div>Rulers</div><div></div><br /><div>Manila drawing paper</div><br /><div>Tempera paint</div><br /><div>Brushes (+ water, cans to hold water, newspapers, paper towels)</div><div></div><br /><div>If creating tempera batiks:</div><div></div><div>Black India ink</div><br /><div>Cafeteria-style trays or clear pieces of acrylic or Plexiglas the size of the artwork or slightly larger</div><br /><div><strong>Procedures:</strong></div><div></div><ol><li>Set the stage with an art criticism activity related to the inspiration artist being sure to define "surrealism." </li><br /><li>Incorporate an art historical surrealist antecedent such as <a href="http://en.wikipedia.org/wiki/Giorgio_de_Chirico"><span class="blsp-spelling-error" id="SPELLING_ERROR_2">Giorgio</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_3">de</span> Chirico</a> by comparing his work with Craig Blair's. </li><br /><li>Explain parameters of this Creative Challenge.</li><br /><li>Teach a simple one-point and two-point perspective mini-lesson.</li><br /><li>Direct students in the creation of thumbnail sketches that fit within the project parameters; help them choose the most successful idea and composition, combining aspects into another thumbnail if necessary.</li><br /><li>Transfer thumbnails to larger paper.</li><br /><li>If creating straight paintings, instruct them in the painting of their compositions with tempera. Require students to use a limited color palette of mixed "<span class="blsp-spelling-error" id="SPELLING_ERROR_4">ish</span>" colors (see glossary); if desired, instruct them in the defining of edges through graphite or ink marks.<br /></li><li>If creating tempera batiks, students do the following: paint each area of their paintings using about three thick coats. They should NOT paint over the lines, but should leave the paper exposed where the lines are. (Tracing over the lines in light colored chalk helps remind them not to paint over the lines.) Once tempera is completely dry, they completely cover the ENTIRE surface of their paintings with black India ink. Foam brushes work well for this. Once the ink is barely dry--it should not sit on the paintings for an extended period--they should place their paintings on cafeteria-type trays or pieces of acrylic or Plexiglas and gently rinse the ink off using a slow stream of water or water poured from a container over the sink. They should control how much ink is removed by rubbing gently with their fingers. The ink will soak into the exposed paper where the lines were drawn but not painted over AND it will adhere in a random way to the surface of the tempera paint creating a batik-like effect. </li><br /></ol><p><strong>Assessment:</strong> Score and comment on each piece using the <a href="http://www.docstoc.com/docs/18307716/Rubric--Sailing-the-Seven-Cs">"Sailing the Seven Seas"</a> rubric. (Sometimes I have the students score their own work first using the rubric, explaining that my scores will "trump" theirs, but that it is important for them to evaluate their own work.)</p><div><strong><span class="blsp-spelling-error" id="SPELLING_ERROR_5">IB</span>-<span class="blsp-spelling-error" id="SPELLING_ERROR_6">MYP</span> Area of Interaction:</strong> Environment (physical and psychological)</div><br /><div><strong>Art Credits (top to bottom):</strong> Craig Blair; students: <span class="blsp-spelling-error" id="SPELLING_ERROR_7">Cameron</span> R., Ariel T., Kelly B., T.H.</div></div></div></div></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com14tag:blogger.com,1999:blog-8915619234483581538.post-58615032654782981532010-01-22T10:58:00.000-08:002010-01-22T12:07:08.814-08:00Trash to Treasure (High School Art Mini-Lesson)<a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S1n4plFCD7I/AAAAAAAAAvk/zWHh2ZLza78/s1600-h/Trash+to+Treasure--Grace+Gibson.jpg"><img id="BLOGGER_PHOTO_ID_5429644218983387058" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 182px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S1n4plFCD7I/AAAAAAAAAvk/zWHh2ZLza78/s320/Trash+to+Treasure--Grace+Gibson.jpg" border="0" /></a><strong></strong><br /><br />This mini-lesson was published as a "Clip Card" in the February issue of <em><a href="http://www.davisart.com/Portal/SchoolArts/SAdefault.aspx">SchoolArts Magazine</a></em>:<br /><strong></strong><br /><strong>The Art Problem</strong><br />Students will work with the concept of nature vs. culture as they create a unified painted and drawn composition based on a combination of man-made and natural objects found on a walk.<br /><br /><strong>Materials</strong><br />(Note: this challenge could be approached with any number of media, so use whatever you have.)<br />3 to 5 man-made or natural objects found on a walk(s)<br />Pencils<br />Watercolor Paper<br />Watercolor (limit palette to 3 related and neutralized colors)<br />Brushes<br />Sharpie marker<br /><br /><strong>Procedures</strong><br />1. Take students, each one armed with a resealable plastic bag, on short walks or "treasure hunts" over the course of several days. Or, assign the walks as "homework." On the walk, ask students to pick up both man-made and natural objects avoiding anything dangerous or excessively dirty.<br />2. Ask students to choose a combination of 3-5 of the objects, most of which are unified by shape, but 1 or 2 that contrast. (For the artwork accompanying this post, Grace used a cup with a lid and straw, a tape dispenser, a ziplock bag and acorns.)<br />3. Once students have chosen their objects, ask them to create one or more thumbnail sketches of their objects, emphasizing unity and movement through shape and weighted line, as well as emphasis through a contrasting shape. Encourage them to "zoom in" and crop.<br />4. Help each student select the best composition to enlarge. Once they have transferred the drawing, ask them to further emphasize the elements and principles mentioned above in three related and neutralized color washes and Sharpie marker.<br /><br /><strong>Student Extension</strong><br />Photograph and print out in black and white each students drawing and ask them to emphasize a different set of elements and principles, e.g. positive and negative space.<br /><br /><strong>Student Artwork Credit:</strong> Grace G. (Watercolor and black Sharpie marker)Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com6tag:blogger.com,1999:blog-8915619234483581538.post-84373269207491764222010-01-22T10:16:00.000-08:002010-01-22T12:01:03.454-08:00Compositional Strategies--Mini Lesson<a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S1nxGuPoYHI/AAAAAAAAAvc/vtzYalFZaAQ/s1600-h/SCAD+Poster--Geometric+Shape+to+Isolate+a+Focal+Point.JPG"><img id="BLOGGER_PHOTO_ID_5429635923566944370" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 239px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S1nxGuPoYHI/AAAAAAAAAvc/vtzYalFZaAQ/s320/SCAD+Poster--Geometric+Shape+to+Isolate+a+Focal+Point.JPG" border="0" /></a>Ideas come in all kinds of packages. Yesterday, I received a beautiful poster from SCAD. As soon as I unfolded it, I knew exactly what I would do with it: a Compositional Strategies <strong>classroom competition</strong>. The prize: a sketchbook I had received through a promotion. <div></div><br /><div>This week and last, I had been working with my students on Compositional Strategies: a series of specific design strategies that they can turn to--and adapt in their own ways--when trying to resolve compositional issues in their work.</div><div></div><br /><div>I use a series of jpgs from my teaching-artist mentor Nicole Brisco's sketchbook that illustrates each of the strategies, along with photocopoies of a drawing I made. I use the latter as a worksheet in which they identify the various strategies. The list of strategies is organic and growing and can, essentially, include any approach to composition that you favor.</div><div></div><br /><div>Most of them help create Unity, though some relate to Focal Point, Movement and connecting positive and negative Space. Included are such things as:</div><div></div><br /><ul><li>Repeated Shapes, Colors, etc.</li><li>Geometric Shape to Isolate a Focal Point</li><li>Subliminally Repeated Patterns (e.g. hatch marks and stripes)</li><li>Continuous Line to Unify Sides of a Composition or Foreground and Background</li><li>Extended Lines (from the edges of objects)</li><li>Repeated Motif to Create Movement</li><li>A Motif Extrapolated from a Pattern (e.g. a square "pulled out" of a plaid pattern)</li><li>Insets (pictures within pictures--sometimes 1, but often in a series of 3)</li><li>Echo Lines (like concentric ripples when a pebble is dropped in water)</li><li>Halos (to separate two areas that would otherwise merge, e.g. an object against a ground of the same color) </li><li>Text in the Ground (handwriting, print, stenciled letters)</li><li>Stylized View of an Object from an Unexpected Perspective to Create a Repeating Motif</li><li>Object Repeated as a Modeled Drawing, Contour Drawing and Silhouette</li></ul><p>The competition was simple: with the poster image concealed, I told the class that after we reviewed the Compositional Strategies, I was going to reveal an image that makes obvious use of one of the strategies in particular. I explained that the first person to yell out the correct one and wave his or her hand would win the sketchbook. </p><p>The competition was intense, but Troy J. won by identifying "Geometric Shape to Isolate a Focal Point" because of the window around the woman's eye.</p><p>Extension: Analyze and interpret the image. Perhaps the meaning of the image is related to the notion that the eyes are the "windows of the soul."</p>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com5tag:blogger.com,1999:blog-8915619234483581538.post-89735661347722984862010-01-20T10:10:00.000-08:002010-01-22T13:41:54.525-08:00Wolf Kahn-Inspired Abstract Landscapes (High School Art Unit)<a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1dv0__I0TI/AAAAAAAAAvU/nQlTe2rJPy0/s1600-h/A+White+Pond+in+the+Woods.jpg"><img id="BLOGGER_PHOTO_ID_5428930832138555698" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 253px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1dv0__I0TI/AAAAAAAAAvU/nQlTe2rJPy0/s320/A+White+Pond+in+the+Woods.jpg" border="0" /></a><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/S1dvrUG8x-I/AAAAAAAAAvM/GOCSX5rdhp8/s1600-h/Marcus+Jones.jpg"><img id="BLOGGER_PHOTO_ID_5428930665741338594" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 231px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/S1dvrUG8x-I/AAAAAAAAAvM/GOCSX5rdhp8/s320/Marcus+Jones.jpg" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1dvrEhzeSI/AAAAAAAAAvE/T75zzru9pxc/s1600-h/Maggie+Davids--not+sure.jpg"><img id="BLOGGER_PHOTO_ID_5428930661559007522" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 219px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1dvrEhzeSI/AAAAAAAAAvE/T75zzru9pxc/s320/Maggie+Davids--not+sure.jpg" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1dvhppZIbI/AAAAAAAAAu8/YYrRonSBO8U/s1600-h/P4250047.jpg"><img id="BLOGGER_PHOTO_ID_5428930499724255666" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 234px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1dvhppZIbI/AAAAAAAAAu8/YYrRonSBO8U/s320/P4250047.jpg" border="0" /></a><br /><div><a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S1dvhRnzhvI/AAAAAAAAAu0/QcLXxTyirx8/s1600-h/Blue+Trunks.jpg"><img id="BLOGGER_PHOTO_ID_5428930493275145970" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 222px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S1dvhRnzhvI/AAAAAAAAAu0/QcLXxTyirx8/s320/Blue+Trunks.jpg" border="0" /></a><br /><div><a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S1dvhNm0VlI/AAAAAAAAAus/pVSwVXnbCys/s1600-h/Heather+Jones.jpg"><img id="BLOGGER_PHOTO_ID_5428930492197262930" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 230px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S1dvhNm0VlI/AAAAAAAAAus/pVSwVXnbCys/s320/Heather+Jones.jpg" border="0" /></a><br /><div><a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S1dvhM_wusI/AAAAAAAAAuk/kqTPOkHWUMs/s1600-h/Pink+Tree+and+Bench--Emily+Gonzales--not+sure.jpg"><img id="BLOGGER_PHOTO_ID_5428930492033448642" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 226px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S1dvhM_wusI/AAAAAAAAAuk/kqTPOkHWUMs/s320/Pink+Tree+and+Bench--Emily+Gonzales--not+sure.jpg" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1dvgj9NqpI/AAAAAAAAAuc/QW8lYiV1Uzw/s1600-h/Aurelie+Taquet.jpg"><img id="BLOGGER_PHOTO_ID_5428930481016908434" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 235px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S1dvgj9NqpI/AAAAAAAAAuc/QW8lYiV1Uzw/s320/Aurelie+Taquet.jpg" border="0" /></a><strong>The Art Problem:<br /></strong>This Creative Challenge invites students to explore mark-making, texture, shape, space, color, abstraction and mood through pastel landscapes inspired by the work of American master, Wolf Kahn. Creating the images on a black ground causes the colors to really "sing" on the paper.<br /><br /><div><strong>Materials:<br /></strong>Reproductions of <a href="http://wolfkahn.com/">Wolf Kahn </a>pastel landscapes</div><div>Selection of the students' own or non-copyrighted landscape photographs (I found a large selection of images in the public domain online through the <a href="http://photo.itc.nps.gov/storage/images/index.html">National Park Service "Digital Image Archive." </a>All images are free and may be used without a copyright release. I printed them out 8.5 x 11", put them in clear page protectors, and use them again and again. This is an excellent opportunity to discuss artistic plagiarism.)</div><div>Sketchbook or sketch paper<br />Pencils<br />Erasers<br />Black construction paper, black drawing paper or black pastel paper</div><div>Masking tape (to mask border of paper)<br />White charcoal pencils if needed for sketches to show up on black paper</div><div>Selection of colored chalk or soft pastels</div></div><div><div></div><p><strong>Prerequisites:<br /></strong>Basic drawing and composition experience</p><p>An understanding of and sketchbook practice with mark-making techniques (hatching, cross-hatching, stippling, etc., including students' own inventive marks)</p><p>Basic familiarity with color "mixing" and layering with chalk or soft pastels (or just build in a mini-lesson)</p><p>Basic understanding of composition and Elements and Principles of Design</p><p>Basic familiarity with color "mixing" and layering using chalk or soft pastels</p><div><strong>Individual Student Procedures:</strong><br />1. Introduce the work of Wolf Kahn. You might do this by giving small groups of students a Wolf Kahn reproduction plus a reproduction of a more realistic landscape and asking them to compare/contrast and then share answers with whole class. The point is to help students recognize basic characteristics of Kahn's pastel landscapes: simplified and often geometric shapes, vivid and sometimes non-local color, color registers or bands of color, a general flattening out of form, etc. </div><br /><div>2. Follow the above introductory exercise with a second transitional excercise: place a transparency of Kahn's work on a transparency projector and cover it with a clear transparency sheet. Working with student volunteers and 3-4 images in succession, invite each student to quickly trace the basic shapes of the composition with a transparency marker. After each has completed the tracing, remove the transparency of the artwork so that just the student's diagram of the composition remains. Discuss. </div><div></div><div></div><div>3. Share biographical information about Kahn as desired.</div><br /><div>4. Spread out photographs around room and ask students to choose their favorite.</div><br /><div>5. Next, students create a thumbnail sketch of their image in pencil and colored pencil. Many students will start out to realistic. Keep reminding them that they are trying to capture the "essence" of the place by doing as Kahn did: reducing forms to simple shapes, exaggerating color and shadow, using mark-making strategies to create contrasting textures, etc. Help them layer varied marks of colors to create secondary and intermediate colors instead of blending. Continually remind them that they are not "copying" the image, but "interpreting" it through abstraction.</div><br /><div>6. Students then mask the edges of their black paper with masking tape and translate their thumbnails using white charcoal pencils (or anything that will show up on the paper).</div><br /><div>7. Finally, they apply color using chalk or soft pastels. When finished, they fix the image with Workable Fixatif and remove their tape for display.</div><div><br /><strong>Assessment:</strong> </div><div>Score and comment on pieces according to the <a href="http://www.docstoc.com/docs/18307716/Rubric--Sailing-the-Seven-Cs">"Sailing the 7 Cs"</a> visual arts rubric </div><div><br /><strong>IB-MYP Area of Interaction:</strong> Environment<br /></div><div></div><br /><div><strong>Extension:</strong> Challenge students to create a monoprint of their image. After their pastels are finished, lay a piece of plastic wrap over each image to protect them. Then instruct each student to lay a piece of Plexiglas or acetate over his or her image and trace onto it the basic shapes of his or her composition with a greasy pencil like a china marker. Remove the Plexi/acetate and plastic wrap and put the pastel drawing in a safe place. Next students add color to their compositions with either quickly painted on block printing ink or Caran d'ache water soluble oil pastels (other brands seem not to work). Finally, using pressure from their hands, a brayer, a wooden spoon, or a printmaking press, they transfer their images from the Plexi/acetate onto paper (dry paper for damp block printing ink; barely damp paper for water soluble oil pastels). </div><div> </div><div></div><div></div><div><strong>Artwork Credits (top to bottom):</strong> Wolf Kahn; student artists: Marcus J., Maggie D., *Unknown, *Unknown, Heather J., Sarah G., and Aurelie T.</div><div> </div><div></div><div></div><div><em><span style="font-size:85%;">*I last gave this Creative Challenge in 2007-2008 and cannot recall whose pieces those were; my apologies for not labeling these images.</span></em></div></div></div></div></div></div></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com9tag:blogger.com,1999:blog-8915619234483581538.post-54281206914517287422010-01-15T06:46:00.000-08:002010-01-19T19:05:48.308-08:00Hook: Sand Animation (Part 2--Final) by Kseniya Simonova from "Ukraine's Got Talent"<a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/S1CDDwT9dAI/AAAAAAAAAtQ/Fp_c_KMw22Q/s1600-h/ukraines-got-talent-winner-kseniya-simonova-sand-animation%5B1%5D.jpg"><img id="BLOGGER_PHOTO_ID_5426981651512914946" style="margin: 0px auto 10px; display: block; width: 304px; height: 320px; text-align: center;" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/S1CDDwT9dAI/AAAAAAAAAtQ/Fp_c_KMw22Q/s320/ukraines-got-talent-winner-kseniya-simonova-sand-animation%5B1%5D.jpg" border="0" /></a><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/S1CDDoseTtI/AAAAAAAAAtI/nEEDriYJQ_w/s1600-h/Sand+Animation--Kseniya+Simonova--Ukraine%27s+Got+Talent.jpg"><img id="BLOGGER_PHOTO_ID_5426981649468247762" style="margin: 0px auto 10px; display: block; width: 320px; height: 240px; text-align: center;" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/S1CDDoseTtI/AAAAAAAAAtI/nEEDriYJQ_w/s320/Sand+Animation--Kseniya+Simonova--Ukraine%27s+Got+Talent.jpg" border="0" /></a> <div>As a follow up to my "hook" using "Part 1" of Simonova's performance <a href="http://thebloomingpalette.blogspot.com/2010/01/hook-sand-animation-by-kseniya-simonova.html">(see January 13, 2010 post)</a>, I showed <a href="http://vodpod.com/watch/2353126-kseniya-simonova-sand-animation-ukraine-s-got-talent-final-part2">"Part 2--Final"</a> and asked the following question for students to discuss in small groups, record answers in their sketchbooks, and share with the whole class:</div><div></div><br /><div>How does this performance compare to "Part 1" in terms of:</div><ol><li>Subject/content?</li><li>The artmaking process?</li><li>Emotion?</li><li>Role of music?</li><li>Role of choreography?</li><li>Anything else?</li></ol></div><div><p>Again, the students were very insightful in their analysis via comparisons. And, while they felt that this performance did not achieve the same level of power as the first, they were very respectful in how they phrased what they had to say, and they supported their arguments with astute examples. </p></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com2tag:blogger.com,1999:blog-8915619234483581538.post-59380461136449529152010-01-14T07:37:00.000-08:002010-01-22T09:59:29.886-08:00Pin Point-of-You (High School Art Unit)<a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S09OWTFOdAI/AAAAAAAAAsw/O_MLSFkmNhU/s1600-h/Mary+Baragar.jpg"><img id="BLOGGER_PHOTO_ID_5426642220991017986" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 258px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S09OWTFOdAI/AAAAAAAAAsw/O_MLSFkmNhU/s320/Mary+Baragar.jpg" border="0" /></a><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S09OV5en8HI/AAAAAAAAAso/IBHaA5eUb0s/s1600-h/Jenny+Davis.jpg"><img id="BLOGGER_PHOTO_ID_5426642214118223986" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 260px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S09OV5en8HI/AAAAAAAAAso/IBHaA5eUb0s/s320/Jenny+Davis.jpg" border="0" /></a><br /><div><a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S09OVjq2M2I/AAAAAAAAAsg/V-_QiRxJinI/s1600-h/Pa200260.jpg"><img id="BLOGGER_PHOTO_ID_5426642208263910242" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 255px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S09OVjq2M2I/AAAAAAAAAsg/V-_QiRxJinI/s320/Pa200260.jpg" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S09OVeluwfI/AAAAAAAAAsY/9qLu6zFY3qY/s1600-h/Clothespin+Connection+by+Anthony+Martin.jpg"><img id="BLOGGER_PHOTO_ID_5426642206900273650" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 256px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S09OVeluwfI/AAAAAAAAAsY/9qLu6zFY3qY/s320/Clothespin+Connection+by+Anthony+Martin.jpg" border="0" /></a> <div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S09OUxSPQEI/AAAAAAAAAsQ/C_x5f76a_L4/s1600-h/Clothespin+Connection+by+Alysha+Simmons.jpg"><img id="BLOGGER_PHOTO_ID_5426642194738921538" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 253px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S09OUxSPQEI/AAAAAAAAAsQ/C_x5f76a_L4/s320/Clothespin+Connection+by+Alysha+Simmons.jpg" border="0" /></a> <div>Named by my class, the title of this "Creative Challenge" is a play on the phrase "point of view." The "pin" refers to the required inclusion of clothes pins as metaphors for "connections." Students expressed these personal connections by creating and then making graphite drawings of individual still <span class="blsp-spelling-error" id="SPELLING_ERROR_0">lifes</span> of clothespins and objects that symbolize what they feel "connected to."</div><div></div><div><br /></div><div>Stay tuned for the entire plan and more images soon. </div><div></div></div><div><div></div><div><strong>Student art credits</strong> (top to bottom): Mary B., Jenny D., Erin E., Anthony M., <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Alysha</span> S.</div></div></div></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com15tag:blogger.com,1999:blog-8915619234483581538.post-18782338813816688772010-01-13T10:44:00.000-08:002010-01-15T06:46:35.108-08:00Hook: Sand Animation, "Part 1," by Kseniya Simonova from "Ukraine's Got Talent"<a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/S04WmO52edI/AAAAAAAAAsA/x7eAB3ETq54/s1600-h/Sand+Animation--Kseniya+Simonova+in+Action--Ukraine%27s+Got+Talent.jpg"><img id="BLOGGER_PHOTO_ID_5426299447119608274" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 192px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/S04WmO52edI/AAAAAAAAAsA/x7eAB3ETq54/s320/Sand+Animation--Kseniya+Simonova+in+Action--Ukraine%27s+Got+Talent.jpg" border="0" /></a><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S04WlwbsxDI/AAAAAAAAAr4/o9ZmQus2kV0/s1600-h/Sand+Animation--Kseniya+Simonova--Ukraine%27s+Got+Talent.jpg"><img id="BLOGGER_PHOTO_ID_5426299438940079154" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 265px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S04WlwbsxDI/AAAAAAAAAr4/o9ZmQus2kV0/s320/Sand+Animation--Kseniya+Simonova--Ukraine%27s+Got+Talent.jpg" border="0" /></a>A colleague emailed me the link to this <a href="http://www.youtube.com/watch?v=518XP8prwZo">YouTube video </a>at school and and an artist friend emailed it to me at home. I had saved the first message to look at when I got a chance, but when I received the second message, I decided I needed to check it out right away. Am I ever glad I did! <em>(Note: if the link becomes inactive, just do an internet search of "Kseniya Simonva Sand Animation," but make sure you find the one that begins with her lighting a candle.)</em></div><div></div><div>Many of you have probably seen this young artist, <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Kseniya</span> <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Simonva's,</span> moving and highly expressionistic tribute to the sacrifices of her countrymen during World War II. A fusion of visual art (drawings made in sand on a light table and projected in real-time onto a large screen), music and choreography, the performance is utterly captivating. Though a very few of my students had seen it, it didn't matter: they were instantly immersed in it again.</div><div></div><div>All of my students--even a few with "focus issues"--were riveted. I don't think it would be an exaggeration to say that they were transfixed. You could have heard a pin drop during the entire 8-minute performance in every one of my five classes. (Well, okay, one student with attention deficit issues in one class wasn't completely spell-bound, but...) At the conclusion, the silence lingered; it was almost as if they didn't want to break the spell.</div><div></div><div>And as much as I hated to be the one to do it, I wanted them to analyze and reflect while their memories were fresh. So, I posed the following four questions to be discussed as a group with answers recorded in their sketchbooks and then shared with the whole class. The depth of their insights--even those of some of my less academic students--was gratifying and heartwarming.</div><div></div><div>Questions for Small Group (by table) and Whole Class Discussion:</div><ol><li>What did you find to be the most powerful aspects of this performance?</li><li>What roles did music play?</li><li>What role did choreography play?</li><li>What was the significance of the candle</li></ol><p>I hope you'll consider incorporating this short video into your instruction. You won't be sorry. </p>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com3tag:blogger.com,1999:blog-8915619234483581538.post-65673017027644423132010-01-08T12:33:00.000-08:002010-02-24T07:18:02.484-08:00The Beast Within (High School Art Unit)<a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4U_XObwH2I/AAAAAAAAA6k/Ibat9lenSrY/s1600-h/Grace+Morgan+2.jpg"><img id="BLOGGER_PHOTO_ID_5441825392991149922" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 314px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4U_XObwH2I/AAAAAAAAA6k/Ibat9lenSrY/s320/Grace+Morgan+2.jpg" border="0" /></a><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4U_W5URLhI/AAAAAAAAA6c/c0DuiJj6t3g/s1600-h/Maggie+Quitter.jpg"><img id="BLOGGER_PHOTO_ID_5441825387322617362" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 206px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4U_W5URLhI/AAAAAAAAA6c/c0DuiJj6t3g/s320/Maggie+Quitter.jpg" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4U_Wq6vvMI/AAAAAAAAA6U/AE_jWKScS54/s1600-h/Laura+Motta.jpg"><img id="BLOGGER_PHOTO_ID_5441825383457471682" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 210px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4U_Wq6vvMI/AAAAAAAAA6U/AE_jWKScS54/s320/Laura+Motta.jpg" border="0" /></a><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4U_Wfor4DI/AAAAAAAAA6M/ST0laWICkJ0/s1600-h/Mary+Baragar.jpg"><img id="BLOGGER_PHOTO_ID_5441825380428931122" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 239px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4U_Wfor4DI/AAAAAAAAA6M/ST0laWICkJ0/s320/Mary+Baragar.jpg" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4U_V4CWV6I/AAAAAAAAA6E/abvuBzxu5Lk/s1600-h/Stephanie+Banus.jpg"><img id="BLOGGER_PHOTO_ID_5441825369799153570" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 242px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4U_V4CWV6I/AAAAAAAAA6E/abvuBzxu5Lk/s320/Stephanie+Banus.jpg" border="0" /></a><br /><div><a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4U-iaWx9lI/AAAAAAAAA58/joLc4myYAIA/s1600-h/Kendria+Timmons.jpg"><img id="BLOGGER_PHOTO_ID_5441824485658457682" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 264px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4U-iaWx9lI/AAAAAAAAA58/joLc4myYAIA/s320/Kendria+Timmons.jpg" border="0" /></a><br /><div><a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4U-iLMemAI/AAAAAAAAA50/Ec6qFORhORg/s1600-h/Nick+Gereaux.jpg"><img id="BLOGGER_PHOTO_ID_5441824481588713474" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 222px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4U-iLMemAI/AAAAAAAAA50/Ec6qFORhORg/s320/Nick+Gereaux.jpg" border="0" /></a><br /><div><a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4U96fDNBVI/AAAAAAAAA5s/Va9MemiEH3o/s1600-h/Kara+Natividad.jpg"><img id="BLOGGER_PHOTO_ID_5441823799723754834" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 230px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4U96fDNBVI/AAAAAAAAA5s/Va9MemiEH3o/s320/Kara+Natividad.jpg" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4U96C8B85I/AAAAAAAAA5k/a1Xqb6GpzTY/s1600-h/Polett+Bali.jpg"><img id="BLOGGER_PHOTO_ID_5441823792177476498" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 226px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4U96C8B85I/AAAAAAAAA5k/a1Xqb6GpzTY/s320/Polett+Bali.jpg" border="0" /></a><br /><div><a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4U959JXvlI/AAAAAAAAA5c/KH9tt5fT0cI/s1600-h/Raymond+Kirby.jpg"><img id="BLOGGER_PHOTO_ID_5441823790622817874" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 233px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4U959JXvlI/AAAAAAAAA5c/KH9tt5fT0cI/s320/Raymond+Kirby.jpg" border="0" /></a> <a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4U95Q_LxgI/AAAAAAAAA5M/otqaKnzyKrM/s1600-h/Daniel+Bishop.jpg"><img id="BLOGGER_PHOTO_ID_5441823778768930306" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 238px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4U95Q_LxgI/AAAAAAAAA5M/otqaKnzyKrM/s320/Daniel+Bishop.jpg" border="0" /></a><br /><div><div><div><div><div><div><div><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S0iMsCJK3-I/AAAAAAAAAqg/DF3_-zG8zuk/s1600-h/Danica+Galang--The+Beast+Within.JPG"><img id="BLOGGER_PHOTO_ID_5424740439285227490" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 296px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S0iMsCJK3-I/AAAAAAAAAqg/DF3_-zG8zuk/s320/Danica+Galang--The+Beast+Within.JPG" border="0" /></a> <strong>The Art Problem:</strong><br /><div><div>This Creative Challenge invites students to create a conceptual self-portrait by integrating drawings or paintings of the "zoomed in" bones of a human being (from a skeletal model) with the skeleton of their individual "power animal," as defined by various shamanistic traditions. </div><div><strong></strong> </div><div><strong>Materials:</strong></div><div>Human skeletal models (I borrowed them from our health and science departments)<br />"Power Animal" handout (do an <span class="blsp-spelling-corrected" id="SPELLING_ERROR_0">Internet</span> search of "power animals" or "spirit animals" to find your favorite site that provides a brief definition and provides a list of animals and the characteristics they embody; there are even "tests" to help students identify their animal)<br />Printouts of animal skeletons from the <span class="blsp-spelling-corrected" id="SPELLING_ERROR_1">Internet</span></div><div>Sketchbook or sketch paper</div><div>Pencils</div><div>Erasers</div><div>Watercolor paper, tag board or corrugated cardboard (many students used the latter to great effect)<br />Masking tape (to tape margins of support)<br />Acrylic paint<br />Palettes, brushes, water, containers<br />Optional:<br />Matte medium or ever-so-slightly watered down glue<br />Glue<br />Box cutters and cutting boards<br />Black permanent markers</div><br /><div><strong>Prerequisites:</strong></div><div>An understanding of and sketchbook practice with modeling techniques (hatching, cross-hatching, stippling, cross-contour marks, etc.)<br />Familiarity with "weighted line" (widened and tapered line) and varied line quality<br />Knowledge of a value scale<br />Basic understanding of composition and Elements and Principles of Design<br />Basic painting introduction or experience, including paint mixing (especially monochromatic tints and shades)</div><div> </div><div><strong>Individual Student Procedures:</strong></div><div>1. Teacher introduces Creative Challenge, including the concept of a "power animal."<br />2. Working from skeletal models, students draw modeled thumbnails of zoomed-in and cropped bones; students should incorporate all they know about strong composition in each thumbnail.<br />3. Discuss power animals; spend most of a class in the computer lab allowing students to identify their individual power animals and search/printout skeletons of their animals. (There is a lot of information online.) Glue pertinent references into sketchbooks.<br />4. Generate thumbnail sketches that incorporate human bones with the skeletons of their power animals.<br />5. Introduce Georgia O’Keefe’s paintings of animal bones. (See "Hooks and Mini-Lessons" below.)<br />6. Introduce the "Creative Problem Solving" (CPS) strategy "SCAMPER" (see "Hooks and Mini-Lessons" below) and discuss application to this Creative Challenge.<br />7. Students revisit their thumbnail sketches in light of "SCAMPER" and make revisions as desired/needed. Discuss various students’ solutions as a class to spark more innovative solutions.<br />8. In conjunction with teacher, students choose their strongest thumbnail sketches.<br />9. Students transfer thumbnails to supports (we used watercolor paper, tag board and corrugated cardboard), drawing and painting according to any parameters your choose, e.g. for intermediate students, I limited their palette to neutral warm and cool whites and grays, while advanced students were allowed to use additional color, but with limited palettes. I also encouraged all but the least experienced students to paint some significant aspect of their compositions.</div><br /><div><strong>Hooks and Mini-Lessons:</strong><br />[Use at the beginning of classes as desired.]</div><br /><div>Problem Solving: Introduce the "Creative Problem Solving" (CPS) strategy "SCAMPER" and discuss its application to this Creative Challenge. In brief, SCAMPER is an acronym in which each letter is the first letter of a word that can be applied to a problem to arrive at a novel solution: S-Substitute, C-Combine, A-Adapt, M-Magnify, <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Minify</span>, Multiply, P-Put to Other Uses, E-Eliminate, R-Reverse/Rearrange. (Search "Creative Problem Solving Strategy: SCAMPER" on this blog.) My <a href="http://www.docstoc.com/docs/21621860/Creative-Problem-Solving--SCAMPER">SCAMPER Handout </a>is laid out "two-up," so that it can be cut in half and glued neatly into most sketchbooks. Innovation Station alternative: instead of a whole class discussion, you may assign each letter in the SCAMPER acronym to small groups of students and ask each group to generate solutions to the given task using their letter and then share with the whole class.</div><br /><div>Art Criticism: Introduce Georgia O’Keefe and her animal bone paintings from the time of her life spent in the American Southwest. Provide students with a brief bio and project a few of her best known paintings to familiarize them with her work. Then engage students in the following Innovation Station "hooks" on two successive days.</div><br /><div>Innovation Station Hook 1: Because I find that students struggle with the difference between analysis and interpretation and, especially, that each point of analysis should correlate to each point of interpretation, I developed the following activity: </div><div> </div><div>Introduce the four-step process of Art Criticism: Describe, Analyze, Interpret, Evaluate. Emphasize the analysis "breaks artwork apart" in terms of the Elements and Principles of Design, whereas Interpretation "puts it back together" in terms of meaning, communication, expression.<br />Then, project "Red Hills and Bones," 1941, Georgia O’Keefe.<br />Divide students into small groups and give each group a set of about 6 small squares of paper of one color and 6 of another (I used orange and green construction paper).<br />Ask them to write points of Analysis, one point per card, on each of the orange cards.<br />Then ask them to correlate each point of Analysis with an interpretive statement written on the green cards, one statement per card. They should all match.<br />Then, groups shuffle their cards, trade with another group, match the cards up correctly and share responses with the whole class.<br />What I found was that my students are strong when it comes to analyzing, but not as much when it comes to interpretation. In other words, on an orange card, they might write: "Forms of bones are repeated in the hills," and then on the green card, they would write, "Creates Unity." That would be correct except that both statements relate to Analysis.<br />So, after making some gentle corrections and praising them on their analysis, I asked each team to correct the statements on the green cards making them statements of Interpretation rather than Analysis.<br />I admit that the process was a struggle and a challenge for them—a bit like pulling teeth in some cases-—but they ultimately got it as evidenced by their response to the next day’s hook.</div><br /><div>Innovation Station Hook 2:<br />I created two <a href="http://www.docstoc.com/docs/21629450/Georgia-OKeefe-Art-Criticism-Worksheet-with-Bones">worksheets</a>, one for half the class and one for the other, which featured one of Georgia O’Keefe’s bone paintings and, underneath, two columns: one for Analysis and one for Interpretation.<br />In the Analysis column, I filled in a few key points.<br />In the Interpretation column, I left blank lines that corresponded with each point of Analysis. Underneath each blank line, I wrote a hint.<br />The students’ task was to study the image, read the points of Analysis and write a corresponding statement of interpretation for each one.<br />Next, I projected each image and we discussed them as a whole class with input from each of the groups.<br />Across the board, they did an excellent, thoughtful job, not content to reside at the "surface" of meaning. </div><br /><div><strong>Assessment:</strong><br />Score and comment on pieces according to the <a href="http://www.docstoc.com/docs/18307716/Rubric--Sailing-the-Seven-Cs">"Sailing the 7 Cs"</a> visual arts rubric</div><br /><div><strong><span class="blsp-spelling-error" id="SPELLING_ERROR_3">IB</span>-<span class="blsp-spelling-error" id="SPELLING_ERROR_4">MYP</span> Area of Interaction:</strong> Health and Social</div><br /><div><strong>Student Samples </strong>(Intermediate): Grace M., Maggie Q., Laura M., Mary B., Stephanie B., Kendria T., Nick G., Kara N., Polett B., Raymond (Trey) K., Daniel B., and (AP Studio):Danica G. </div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com6tag:blogger.com,1999:blog-8915619234483581538.post-7626298772684986602010-01-07T12:28:00.000-08:002010-01-22T10:05:13.907-08:00Make Your Mark (High School Art Mark-Making Mini-Lesson)<a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S0ZKPoubBtI/AAAAAAAAAo0/mwCuyEhPh0A/s1600-h/Acrylic+Still+Life+Copy+with+Markmaking+on+Top--Anthony+Martin+2009.jpg"><img id="BLOGGER_PHOTO_ID_5424104433704961746" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 253px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S0ZKPoubBtI/AAAAAAAAAo0/mwCuyEhPh0A/s320/Acrylic+Still+Life+Copy+with+Markmaking+on+Top--Anthony+Martin+2009.jpg" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S0ZKPWyjtaI/AAAAAAAAAos/320gPCa-4xQ/s1600-h/Anthony+Martin+without+Stitching.JPG"><img id="BLOGGER_PHOTO_ID_5424104428890469794" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 253px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S0ZKPWyjtaI/AAAAAAAAAos/320gPCa-4xQ/s320/Anthony+Martin+without+Stitching.JPG" border="0" /></a>Following is the text from a "Clip Card" I wrote that was published in the January 2010 issue of <a href="http://www.davisart.com/Portal/SchoolArts/SAdefault.aspx">SchoolArts Magazine</a>. </div><div></div><div></div><div><strong>The Art Problem</strong><br />Students will create a new work of art by drawing on top of a copy of a previous piece of their own work. With the possibility for "messing up" their artwork removed, students will be encouraged to boldly explore mark-making strategies and create expressive works that enhance formal and emotional impact. <div><div><br /><strong>Materials<br /></strong>Previous made student artwork<br />Digital camera<br />8 ½ x 11" (21 x 28 cm) full-color copies of student artwork on white printer paper or cardstock (two or more copies per student)<br />Black ball-point pens<br />Black Permanent Markers</div><div><br /><strong>Procedures</strong><br />1. Prior to class, photograph student artwork and print full-color copies for each student on white printer paper or cardstock.<br />2. Challenge students to use black ballpoint pen and permanent marker to work on top of the copied image with weighted lines (continuous lines of varying thicknesses), lines of varying qualities, and other types of marks (hatching, cross-hatching, stippling, etc.)<br />3. Encourage students to explore how they can more effectively use mark-making to manipulate elements and principles of design, such as emphasis, value, and repetition/pattern while refining edges and creating a greater sense of volume to produce more visually interesting and engaging works of art.</div><div><br /><strong>Assessment</strong><br />Invite students to create more drawings by using different approaches to mark-making on top of additional copies of the same piece of their art. If time allows, ask students to choose the most and least successful drawings and explain why in a journal entry using careful analysis and appropriate art vocabulary.</div><div></div><br /><div><strong>Illustration Credits:</strong> Anthony M.</div><div><em>The top image is Anthony's ink-on-computer printout piece created in response to this challenge. The bottom image is his original acrylic painting from which I made the computer printout that he worked back into with the ink.</em></div></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com5tag:blogger.com,1999:blog-8915619234483581538.post-19705759614612311312010-01-07T06:28:00.000-08:002010-01-22T10:05:47.886-08:00Creative Problem Solving Strategy: SCAMPER (in the High School Art Classroom)<a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S0ZCAAZ4YnI/AAAAAAAAAoc/GhNhSSdzry8/s1600-h/Bones+and+Muscles.jpg"><img id="BLOGGER_PHOTO_ID_5424095369090327154" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 219px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S0ZCAAZ4YnI/AAAAAAAAAoc/GhNhSSdzry8/s320/Bones+and+Muscles.jpg" border="0" /></a><br /><div><div></div><div><strong>What is SCAMPER?</strong></div><div><strong></strong></div><br /><div>As art teachers, each Creative Challenge in our courses is, essentially, a "problem" to solve. </div><div></div><br /><div>SCAMPER is a Creative Problem Solving strategy (CPS), created by <a href="http://www.creativelearning.com/CoreTeamInfo.htm">Dr. Donald <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Treffinger</span> </a>and <a href="http://www.creativelearning.com/">Carole Nassab </a>of the <a href="http://www.creativelearning.com/">Center for Creative Learning</a>, that allows students to generate their own innovative solutions to a wide range of problems. The process literally helps them generate infinite possibilities so that they need never be at a loss for a creative solution to a problem again! </div><div></div><br /><div>Plus, it not only works in art or just for students, but in any area in which people are solving problems with concrete outcomes--whether in school, business, or home life--including lesson and unit planning for teachers.</div><div></div><br /><div>SCAMPER is an acronym. Each letter is the first letter of a process that one can apply to the problem. Following are a few examples that only scratch the surface. Use YOUR imagination:</div><div><br />S = Substitute (replace one thing with another, e.g. an object, a media, etc.)<br />C = Combine (combine objects or parts of objects, media, ideas, etc)<br />A = Adapt (borrow something from another context)<br />M = Magnify, <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Minify</span>, Multiply (make some part larger, smaller or repeat it; zoom in or zoom out)<br />P = Put to Other Uses (change the intended function of an object, a tool, etc.)<br />E = Eliminate (remove some aspect or parts; cut something out; cut part of something away)<br />R = Rearrange/Reverse (move objects around; rotate or flip objects or the whole piece) </div><div></div><br /><div>After taking a workshop about CPS taught by Chris Buhner, I introduced SCAMPER last year in my Art Foundations classes and, as I learned yesterday, the students still remembered what the letters stand for! I have found it to be an invaluable tool and hope you will too.</div><div></div><br /><div><strong>Illustration credit:</strong> Ryan R. (Advanced Art)</div><div></div><br /><div><em>We called the Creative Challenge to which this piece was a response "The Beast Within." I challenged students to combine human bones drawn from actual skeletal models with drawings of the skeleton of their personal "power animal" (printed from the Internet) after briefly discussing this shamanistic belief. Students enjoyed identifying their power animal and I encouraged them to "push" the assignment beyond my parameters. </em></div><div><em></em></div><br /><div><em>Ryan's finished mixed-media piece is a good example of how a student might use SCAMPER to arrive at an original solution. For example, in particular, he did the following:</em></div><div><em></em></div><br /><div><em>C - <strong>combined</strong> drawings of muscles with the required drawings of the bones</em></div><div><em>M - <strong>magnified</strong> the muscle drawings </em></div><div><em>R - <strong>rearranged</strong> the muscle drawings by placing them in insets and moving them around the composition until he achieved the balance he sought</em></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com4tag:blogger.com,1999:blog-8915619234483581538.post-51286828658811298592009-12-18T09:56:00.000-08:002009-12-18T16:10:55.588-08:00Freedom from Want--Thanksgiving Hook (High School Art Criticism Mini-Lesson)<a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/SyvFE_xehMI/AAAAAAAAAm0/Xe6Rvo1PFZs/s1600-h/Freedom+from+Want+poster.jpg"><img id="BLOGGER_PHOTO_ID_5416639666472256706" style="margin: 0px auto 10px; display: block; width: 314px; height: 320px; text-align: center;" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/SyvFE_xehMI/AAAAAAAAAm0/Xe6Rvo1PFZs/s320/Freedom+from+Want+poster.jpg" border="0" /></a><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/SyvFAdXp7QI/AAAAAAAAAms/9tkLVF6UQo0/s1600-h/rockwell_frredom+from+want_thanksgiving.jpg"><img id="BLOGGER_PHOTO_ID_5416639588517670146" style="margin: 0px auto 10px; display: block; width: 250px; height: 320px; text-align: center;" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/SyvFAdXp7QI/AAAAAAAAAms/9tkLVF6UQo0/s320/rockwell_frredom+from+want_thanksgiving.jpg" border="0" /></a>Just before the Thanksgiving Holiday, I used these images of "Freedom from Want" by Norman Rockwell as prompts for an art criticism mini-lesson. I simply projected them, provided the following information for note-taking and asked students to work individually or in small groups to answer two questions before we discussed them as a class. I found it to be a simple, quick and effective art criticism "hook," and hope you do too. <div><div><br /><strong>Background Information:</strong></div><div><strong></strong></div><div><br />Norman Percevel Rockwell (February 3, 1894 – November 8, 1978) was a 20th century <a href="http://en.wikipedia.org/wiki/Americana/oAmericana">American</a> <a href="http://en.wikipedia.org/wiki/Painting/oPainting">painter</a> and <a href="http://en.wikipedia.org/wiki/Illustrator/oIllustrator">illustrator</a>. His works enjoy a broad <a href="http://en.wikipedia.org/wiki/Popular_culture/oPopular%20culture">popular</a> appeal in the United States, where Rockwell is most famous for the cover illustrations of everyday life scenarios he created for <a href="http://en.wikipedia.org/wiki/The_Saturday_Evening_Post/oThe%20Saturday%20Evening%20Post">The Saturday Evening Post</a> magazine over more than four decades. </div><div><br />His last painting for the Post was published in 1963, marking the end of a publishing relationship that had included 322 cover paintings. He spent the next 10 years painting for <a href="http://en.wikipedia.org/wiki/Look_%28American_magazine%29/oLook%20%28American%20magazine%29">Look magazine</a>, where his work depicted his interests in <a href="http://en.wikipedia.org/wiki/Civil_rights/oCivil%20rights">civil rights</a>, <a href="http://en.wikipedia.org/wiki/Poverty/oPoverty">poverty</a> and <a href="http://en.wikipedia.org/wiki/Space_exploration/oSpace%20exploration">space exploration</a>.<br />Many contemporary artists consider his work trite or banal and refer to him as an "illustrator" rather than an "artist" or "painter," as an insult. However, Rockwell referred to himself as an illustrator. </div><div><br />Normal Rockwell created images illustrating The Four Freedoms first published in The Saturday Evening Post. The Office of War Information later issued the series as posters as an incentive for War bond purchasers. Many of these posters are still sold today. </div><div><br />The Four Freedoms are goals famously articulated by <a href="http://en.wikipedia.org/wiki/President_of_the_United_States/oPresident%20of%20the%20United%20States">United States President</a> <a href="http://en.wikipedia.org/wiki/Franklin_D._Roosevelt/oFranklin%20D.%20Roosevelt">Franklin D. Roosevelt</a>, urged by wife <a href="http://en.wikipedia.org/wiki/Eleanor_Roosevelt/oEleanor%20Roosevelt">Eleanor Roosevelt</a> and friend <a href="http://en.wikipedia.org/w/index.php?title=Jon_Run&action=edit&redlink=1/oJon">Jon Run</a>, on January 6, 1941. In an address also known as the Four Freedoms speech, FDR proposed four points as fundamental freedoms humans "everywhere in the world" ought to enjoy: </div><div><br />1. <a href="http://en.wikipedia.org/wiki/Freedom_of_speech/oFreedom%20of%20speech">Freedom of speech</a> and expression<br />2. <a href="http://en.wikipedia.org/wiki/Freedom_of_religion/oFreedom%20of%20religion">Freedom of religion</a><br />3. Freedom from want<br />4. Freedom from fear </div><div> </div><div>Source: <a href="http://www.blogger.com/en.wikipedia.org/wiki/Four_Freedoms">Wikipedia<br /></a><br /><strong>Questions:</strong></div><div></div><div>1) <em>What are all the ways in which Rockwell communicated the concept of "Freedom from Want" in this image?</em> </div><div></div><div>Make sure students notice details about the room (sparkling appearance, wall paper, artwork, etc.), as well as light quality, the fresh-scrubbed appearance of the family members along with their clothing and their expressions, grand parents presiding, the china/crystal, the crudite, etc. They should also notice that the table isn't laden with food, yet the turkey is enormous.</div><br /><div></div><div>2) <em>What pictorial strategies did Rockwell use to make us feel like we are a guest who has just walked in to join the feast? </em></div><div></div><div>Students should notice that the way the table is cropped makes it appear to extend into our space and that the way the male in the bottom right corner is turned to look makes it seem as though he heard us walk in and has turned to welcome us.</div></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com6tag:blogger.com,1999:blog-8915619234483581538.post-52301108045103573482009-12-16T13:06:00.000-08:002010-01-22T10:08:33.490-08:00It Ain't Heavy, It's My Baggage (High School Art Unit Plan)<a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/SylNFGSTI5I/AAAAAAAAAmU/UvVt7F8Hiyw/s1600-h/Stephanie+Banus.jpg"><img id="BLOGGER_PHOTO_ID_5415944776871781266" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 199px; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/SylNFGSTI5I/AAAAAAAAAmU/UvVt7F8Hiyw/s320/Stephanie+Banus.jpg" border="0" /></a><br /><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/SylM5D_zcjI/AAAAAAAAAmM/0QI58AnzRZk/s1600-h/Paula+Lewis.jpg"><img id="BLOGGER_PHOTO_ID_5415944570098905650" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; HEIGHT: 199px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/SylM5D_zcjI/AAAAAAAAAmM/0QI58AnzRZk/s320/Paula+Lewis.jpg" border="0" /></a><br /><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/SylM4puV4PI/AAAAAAAAAmE/YrYMFZ10Q-w/s1600-h/Grace+Morgan.jpg"><img id="BLOGGER_PHOTO_ID_5415944563046342898" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 198px; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/SylM4puV4PI/AAAAAAAAAmE/YrYMFZ10Q-w/s320/Grace+Morgan.jpg" border="0" /></a><br /><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/SylM4dpLPbI/AAAAAAAAAl8/I1qIs3bEj7s/s1600-h/Maggie+Quitter.jpg"><img id="BLOGGER_PHOTO_ID_5415944559803448754" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 202px; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/SylM4dpLPbI/AAAAAAAAAl8/I1qIs3bEj7s/s320/Maggie+Quitter.jpg" border="0" /></a><br /><br /><div><a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/SylM4MLGa7I/AAAAAAAAAl0/pUkuO73rp_w/s1600-h/Anaelle+Stenman.jpg"><img id="BLOGGER_PHOTO_ID_5415944555113900978" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; HEIGHT: 200px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/SylM4MLGa7I/AAAAAAAAAl0/pUkuO73rp_w/s320/Anaelle+Stenman.jpg" border="0" /></a><br /><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/SylM3nBlWAI/AAAAAAAAAls/Vi5JRPeOrR4/s1600-h/Kendria+Timmons.jpg"><img id="BLOGGER_PHOTO_ID_5415944545141872642" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; HEIGHT: 200px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/SylM3nBlWAI/AAAAAAAAAls/Vi5JRPeOrR4/s320/Kendria+Timmons.jpg" border="0" /></a> <a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/SylMPUC4QwI/AAAAAAAAAlk/dWzpA01C8Do/s1600-h/Teacher+Sample+with+Stitching.jpg"><img id="BLOGGER_PHOTO_ID_5415943852852265730" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 206px; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/SylMPUC4QwI/AAAAAAAAAlk/dWzpA01C8Do/s320/Teacher+Sample+with+Stitching.jpg" border="0" /></a><strong>The Art Problem:</strong></div><br /><div>This Creative Challenge invites students to express something about their personal "emotional baggage" in a poetic and somewhat ambiguous way using drawings of common objects on top of prepared grounds. Photocopies of luggage drawings (whole pieces and details) are submerged in grounds prepared with newsprint and ink washes. On top, students draw and paint objects that, in themselves and through their relationships with each other, symbolize what lies at the crux of each student's "emotional baggage." </div><div><br /><strong>Materials:</strong></div><div>A variety of suitcases (I borrowed them from our choral director's props storage)Sketchbook or sketch paperPencilEraserPaper (we used a tall vertical—or horizontal—stony medium gray paper)<br />Tape (to tape margins of paper)<br />Newsprint<br />Matte medium or ever-so-slightly watered down glue<br />Black India ink (diluted)<br />Symbolic objects (brought from home or pilfered from still-life storeage)<br />White acrylic paint<br />Brushes, water, containers</div><div>Ebony pencils<br />After first day of Challenge, you will need photocopies of students’ drawings of suitcases (whole pieces and details; I asked them to choose their best two and I made small, medium and large copies of each). Note: If you prefer to save time and paper, students can use their actual drawings, but copies in different sizes are nice for unity.</div><div>Embroidery floss in a variety of colors (I bought a couple of inexpensive variety packs)Embroidery Needles</div><br /><p><strong>Prerequisites: </strong>An understanding of and sketchbook practice with modeling techniques (hatching, cross-hatching, stippling, cross-contour marks, etc.)<br />Familiarity with "weighted line" (widened and tapered line) and varied line quality<br />Knowledge of a value scale<br />Basic understanding of composition and Elements and Principles of Design</p><div><strong>Individual Student Procedures:</strong></div><div>Class 1<br />1. Discuss definition of "emotional baggage"— ideas, beliefs, or practices retained from one’s<br />previous life experiences, especially insofar as they affect a new situation in which they may be no longer relevant or appropriate.<br />2. Students to write an entry in their sketchbooks about their personal emotional baggage. (If you want to give them the option of keeping it private, have them tape a "cover sheet" over it.) 3. Students make a series of approximately six 5-minute gesture drawings of whole suitcases or details, aka "the baggage," at a series of drawing stations—suitcases set on tables with a few chairs gathered around. (We used white drawing paper and thick graphite sticks, but you could use whatever you prefer.)<br />4. Students choose their favorite two drawings for teacher to photocopy, if using photocopies.<br />5. Homework: students bring objects from home to symbolize their emotional baggage (or they can scavenge them from still-life storage).</div><div><br />Class 2: Prepared Grounds<br />1. Students tape edges of their paper (they should stick masking tape on their clothes to remove a little of the adhesive and then lay along edges of paper).<br />2. Using matte medium or glue with a drop or two of water, students adhere 3 pieces of newsprint to their paper support, by brushing under and on top of newsprint. Small sponge brushes work well.<br />3. Next, students wash over their ground with a medium ink wash.<br />4. Then, students cut out their suitcase drawings and, using matte medium or very slightly diluted glue, adhere them in an interesting way to their support to create movement, repetition, unity and variety.<br />5. While grounds are drying, students should being work on their thumbnail sketches. The tricky part is helping students draw a thumbnail in which they indicated the lines and shapes established in their prepared grounds.<br />6. If desired, students can practice modeling the objects they have chosen.</div><br /><div>Class 3 and 4 (maybe more): Developing Compositions<br />1. To begin building up drawings on their grounds, students may block out areas with black ink to create separation between object and ground and, once dry, work on top. Or, they may work directly on the ground and add later add a black ink halo for separation.<br />2. In either case, to create objects, students lightly sketch the contours first in whatever media will show up and then paint the silhouettes solid white. Once dry, students use Ebony pencil to model the form of the objects, striving for drama through a wide range of values.<br />Class 5 and 6 (maybe more): Color 1. Students choose complementary colors of acrylic and dry brush them on to create additional layers of movement, unity, variety and emphasis.<br />2. As a finishing touch, students use embroidery thread in one or both colors—or even twist them together—and stitch into their pieces using restraint to develop the movement, unity, variety and emphasis even further. (They can use any type of stitching they choose, though mimicking that of the luggage can be effective and is, in fact, what inspired the use of thread.)<br />3. Finally, students may work back into compositions, if desired, to make any adjustments using any of the materials used so far plus, e.g. white and colored pencils.</div><br /><div><strong>Student Extension—Group Critique:<br /></strong>Prior to the critique, students put their names in a box and then draw a name other than their own. Then they fill out a <a href="http://www.docstoc.com/docs/21615513/It-Aint-Heavy--Its-My-Baggage-Artwork-Critique-Form">Critique Form </a>based on the work created by the student whose name they drew. They will refer to this form during the Critique. (This ensures that the critique moves along with no one grasping for something to say.) Next, students and teacher sit in a circle for the Critique during which each student, in turn, addresses at least 3 aspects of the work s/he critiqued, preferably a balance between "glows" (strengths) and "grows" (areas of improvement). After each student presents, the student whose work was critiqued is given an opportunity to address aspects of his or her work. Similarly, other students may comment.</div><div><br /><strong>Assessment:</strong><br />Score and comment on pieces according to the <a href="http://www.docstoc.com/docs/18307716/Rubric--Sailing-the-Seven-Cs">"Sailing the 7 Cs"</a> visual arts rubric</div><br /><div><span style="FONT-WEIGHT: bold">IB-MYP Area of Interaction:</span> Health and Social<br /></div><div><strong>Image Credits (top to bottom):</strong> Stephanie B., Paula L., Grace M., Maggie Q., Annaelle S., Kendria T., and Teacher Sample, Betsy DiJulio, NBC Art Teacher, Princess Anne High School, Virginia Beach, VA. </div></div></div></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com1tag:blogger.com,1999:blog-8915619234483581538.post-39445314207960278432009-12-10T12:45:00.000-08:002010-02-23T16:23:56.237-08:00Inside Out (High School Art Unit Plan)<a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4P3J4lpvqI/AAAAAAAAA4U/6yXTQHvIUiY/s1600-h/Bethany+Case.jpg"><img id="BLOGGER_PHOTO_ID_5441464523974885026" style="margin: 0px auto 10px; display: block; width: 262px; height: 320px; text-align: center;" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4P3J4lpvqI/AAAAAAAAA4U/6yXTQHvIUiY/s320/Bethany+Case.jpg" border="0" /></a><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4P1ta4ZL8I/AAAAAAAAA4M/38O_-vz7M6U/s1600-h/Sam+Lancke.jpg"><img id="BLOGGER_PHOTO_ID_5441462935452463042" style="margin: 0px auto 10px; display: block; width: 320px; height: 254px; text-align: center;" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4P1ta4ZL8I/AAAAAAAAA4M/38O_-vz7M6U/s320/Sam+Lancke.jpg" border="0" /></a><br /><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/S4P1tAkVM6I/AAAAAAAAA4E/podwclk_FHM/s1600-h/Hallie+Karagan.jpg"><img id="BLOGGER_PHOTO_ID_5441462928388993954" style="margin: 0px auto 10px; display: block; width: 278px; height: 320px; text-align: center;" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/S4P1tAkVM6I/AAAAAAAAA4E/podwclk_FHM/s320/Hallie+Karagan.jpg" border="0" /></a><br /><br /><div><a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4P1sx_FmII/AAAAAAAAA38/c_lAonO0P88/s1600-h/Julie+Kern.jpg"><img id="BLOGGER_PHOTO_ID_5441462924474685570" style="margin: 0px auto 10px; display: block; width: 258px; height: 320px; text-align: center;" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/S4P1sx_FmII/AAAAAAAAA38/c_lAonO0P88/s320/Julie+Kern.jpg" border="0" /></a><br /><br /><div><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4P1sb-mWUI/AAAAAAAAA3s/38XOFtg8bcc/s1600-h/Demetria+Walker.jpg"><img id="BLOGGER_PHOTO_ID_5441462918567057730" style="margin: 0px auto 10px; display: block; width: 257px; height: 320px; text-align: center;" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4P1sb-mWUI/AAAAAAAAA3s/38XOFtg8bcc/s320/Demetria+Walker.jpg" border="0" /></a><br /><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4P088f0zKI/AAAAAAAAA3k/TRXN8nCxCI4/s1600-h/Gilbert+Loiseaux.jpg"><img id="BLOGGER_PHOTO_ID_5441462102662630562" style="margin: 0px auto 10px; display: block; width: 320px; height: 256px; text-align: center;" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4P088f0zKI/AAAAAAAAA3k/TRXN8nCxCI4/s320/Gilbert+Loiseaux.jpg" border="0" /></a><br /><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4P08q5UhXI/AAAAAAAAA3c/79uainICDoo/s1600-h/Nicole+Varney.jpg"><img id="BLOGGER_PHOTO_ID_5441462097937728882" style="margin: 0px auto 10px; display: block; width: 320px; height: 260px; text-align: center;" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S4P08q5UhXI/AAAAAAAAA3c/79uainICDoo/s320/Nicole+Varney.jpg" border="0" /></a><br /><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4P08dwKQuI/AAAAAAAAA3U/j947nUSloEo/s1600-h/Audrey+Dumadag.jpg"><img id="BLOGGER_PHOTO_ID_5441462094409646818" style="margin: 0px auto 10px; display: block; width: 320px; height: 256px; text-align: center;" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S4P08dwKQuI/AAAAAAAAA3U/j947nUSloEo/s320/Audrey+Dumadag.jpg" border="0" /></a><br /><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/S4P07w0KPtI/AAAAAAAAA3M/We1YgnxZPdg/s1600-h/Brianna+Kelly.jpg"><img id="BLOGGER_PHOTO_ID_5441462082346827474" style="margin: 0px auto 10px; display: block; width: 256px; height: 320px; text-align: center;" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/S4P07w0KPtI/AAAAAAAAA3M/We1YgnxZPdg/s320/Brianna+Kelly.jpg" border="0" /></a><br /><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/S4P07t4b5jI/AAAAAAAAA3E/j-wSYd7KJyU/s1600-h/Nahlyanne+Buela.jpg"><img id="BLOGGER_PHOTO_ID_5441462081559455282" style="margin: 0px auto 10px; display: block; width: 259px; height: 320px; text-align: center;" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/S4P07t4b5jI/AAAAAAAAA3E/j-wSYd7KJyU/s320/Nahlyanne+Buela.jpg" border="0" /></a><br /><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFgy356n0I/AAAAAAAAAkQ/lBLs-x5_n34/s1600-h/White+Vessel+with+Fabric+and+Shadow.jpg"><img id="BLOGGER_PHOTO_ID_5413714654192639810" style="margin: 0px auto 10px; display: block; width: 320px; height: 234px; text-align: center;" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFgy356n0I/AAAAAAAAAkQ/lBLs-x5_n34/s320/White+Vessel+with+Fabric+and+Shadow.jpg" border="0" /></a><br /><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFgsO0df0I/AAAAAAAAAkI/terTZSZVMv4/s1600-h/476766-4-blur-bird.jpg"><img id="BLOGGER_PHOTO_ID_5413714540084690754" style="margin: 0px auto 10px; display: block; width: 233px; height: 320px; text-align: center;" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFgsO0df0I/AAAAAAAAAkI/terTZSZVMv4/s320/476766-4-blur-bird.jpg" border="0" /></a><br /><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/SyFgaXCOyjI/AAAAAAAAAkA/Eb4RXDUQKsk/s1600-h/Teacher+Sample+2.jpg"><img id="BLOGGER_PHOTO_ID_5413714233052285490" style="margin: 0px auto 10px; display: block; width: 240px; height: 320px; text-align: center;" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/SyFgaXCOyjI/AAAAAAAAAkA/Eb4RXDUQKsk/s320/Teacher+Sample+2.jpg" border="0" /></a> Above are ten student samples followed by two inspiration images and then by my "teacher sample" for this Creative Challenge. Please stay tuned for the complete plan in the near future.<br /><br /><div>In the three sections of my beginning studio course, we had been modeling white vessels as our first painting exercise. However, I had been struggling to decide exactly what I wanted to do that would make use of those technical skills while still challenging students on a conceptual level. Because of the latter, a monochromatic still <span class="blsp-spelling-error" id="SPELLING_ERROR_0">life</span> was out, and I rejected another one or two of my rather lame ideas as well. </div><br /><div>Searching "white vessels" in Google "images," I found the first two artworks above. They percolated for a while and, then, something clicked in my mind. I decided to merge them so that a modeled white vessel (with shadow) would become a metaphor for our exterior and interior selves, a fabric pattern would represent the image we project, and a silhouetted object or animal the more "hidden" part of ourselves. Collaged newspaper would add another layer of texture, contrast and interest.<br /><br /></div><div>In my sample, I painted a piece from my collection of McCoy <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Floraline</span> matte white ceramics juxtaposed against a retro pattern representing how I am seen by others, and a hummingbird silhouette symbolizing what I know about myself. The newspaper is <span class="blsp-spelling-error" id="SPELLING_ERROR_3">collaged</span> in a way that helps define the table and the wall, and I added contour-silhouette drawings of the hummingbird to create more unity and movement.<br /></div><br /><div>I look forward to sharing the whole enchilada with you soon.</div><div></div><br /><div><span style="font-size:85%;"><strong>Student Samples: </strong>(top 10 images): Beth C., Sam L., Kallie H., Julie K., Demetria W., Gilbert L., Nicole V., Audrey D., Brianna K., Nahlyanne B; <strong>Inspirational Image Credits:</strong> (second and third from bottom) "Blur Bird," by Clair <span class="blsp-spelling-error" id="SPELLING_ERROR_4">Bremner</span> and "Untitled" from The Painted Pear (I could not find an artist's name); <strong>Teacher Sample Credit:</strong> Betsy <span class="blsp-spelling-error" id="SPELLING_ERROR_5">DiJulio</span>, NBC Art Teacher, Princess Anne High School, VA Beach, VA</span></div></div></div></div></div></div></div></div></div></div></div></div></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com10tag:blogger.com,1999:blog-8915619234483581538.post-73560476953110666352009-12-10T11:11:00.000-08:002010-01-22T10:09:49.427-08:00Sit Down and Speak Up! (High School Art Unit Plan)<a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFc25QuH5I/AAAAAAAAAj4/MbQt9Ncwqyg/s1600-h/Teacher+Sample--Sit+Down+and+Speak+Up.JPG"><img id="BLOGGER_PHOTO_ID_5413710325229690770" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 242px; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFc25QuH5I/AAAAAAAAAj4/MbQt9Ncwqyg/s320/Teacher+Sample--Sit+Down+and+Speak+Up.JPG" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFcs9FGkiI/AAAAAAAAAjw/jyL2AkJl9hw/s1600-h/Kameshia+P.jpg"><img id="BLOGGER_PHOTO_ID_5413710154456011298" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 254px; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFcs9FGkiI/AAAAAAAAAjw/jyL2AkJl9hw/s320/Kameshia+P.jpg" border="0" /></a><br /><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFcmTa4YOI/AAAAAAAAAjo/p6C1cjmf9eY/s1600-h/Sam+Mercadante.jpg"><img id="BLOGGER_PHOTO_ID_5413710040193851618" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 253px; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFcmTa4YOI/AAAAAAAAAjo/p6C1cjmf9eY/s320/Sam+Mercadante.jpg" border="0" /></a><br /><br /><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFcgvdvAOI/AAAAAAAAAjg/28KjN_LYIIs/s1600-h/Bethany+Case.jpg"><img id="BLOGGER_PHOTO_ID_5413709944642797794" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 253px; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFcgvdvAOI/AAAAAAAAAjg/28KjN_LYIIs/s320/Bethany+Case.jpg" border="0" /></a><br /><br /><br /><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFcYs0X3RI/AAAAAAAAAjY/a5X-QWhr9e4/s1600-h/Sophia+Ali.jpg"><img id="BLOGGER_PHOTO_ID_5413709806493490450" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; HEIGHT: 257px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/SyFcYs0X3RI/AAAAAAAAAjY/a5X-QWhr9e4/s320/Sophia+Ali.jpg" border="0" /></a> <strong>The Art Problem:<br /></strong>This Creative Challenge is a spin on the negative command "Sit down and shut up." It invites students to "speak up" in relation to an issue about which they feel strongly. The vehicle for communication is a metaphorical drawing that makes use of chairs drawn realistically from observation, as well as both handwritten and stenciled text. Irrespective of the words, the style, size and placement of the chairs should communicate the student’s issue. The text should embellish, enhance and reinforce. It should NOT look like a label on a poster! <div><br /></div><p><strong>Materials:<br /></strong>A variety of chairs [we used a white wicker rocker, a child’s white wooden rocker, school chairs, a plastic folding chair, three different "bistro" chairs (1 all wood and 2 that were metal with upholstered seats, one with an angular back and the other with a curved back), and a couple of stools]<br />Sketchbook or sketch paper<br />Pencil<br />Eraser<br />Optional: Viewfinder<br />Pencil value scale<br />White tag board (we like to use 14 x 17" with a 1" taped border all the way around)<br />Ebony pencils<br />Stencils in a variety of fonts and sizes<br />Several values of "Dirty Water Wash" (a very small amount of black and brown, even a little blue, mixed with a large quantity of water to make a cool or slightly warm gray wash)<br />Brushes<br /><strong></strong></p><div><strong>Prerequisites:</strong><br />An understanding of and sketchbook practice with modeling techniques (hatching, cross-hatching, stippling, cross-contour marks, etc.) </div><p>Familiarity with "weighted line" (widened and tapered line) and varied line quality</p><p>Knowledge of a value scale</p><p>Basic understanding of composition and Elements and Principles of Design<br /><strong></strong></p><p><strong>Individual Student Procedures:</strong><br />1. Choose an issue to communicate (not just a concept, but a compelling issue about which you feel some degree of passion).<br />2. Choose the style(s) of chair(s) that would best express your issue.<br />3. Decide on the number, size and position of chairs to further communicate aspects of your issue. 4. Draw one or more thumbnails in sketchbook (use a 4 x 5" template for a 12 x 15" drawing); discuss with teacher; chose one, revise if necessary. Note: it can be difficult to incorporate text into a small thumbnail, so encourage students to just "block out" where text and washes will go. OR, if you are willing to expend the resources, when students are finished drawing their chairs on their actual artwork, photograph, print, and have them use the printout as a larger "thumbnail," so they can work out placement of the handwriting and stenciled letters. IMPORTANT: text should embellish, enhance and reinforce, NOT detract from drawings of chairs. 5. Stick tape onto clothes to remove some adhesive and then stick onto borders of 14 x 17" tag board to create a 12 x 15" drawing area. 6. Transfer thumbnail to tag board 7. Model chairs making sure to include a full range of values from light to dark. Set aside.<br />8. Write a journal entry about your issue. Choose whole passages, sentences and individual words to incorporate into your composition. Consider some of the innovative strategies from your text composition in sketchbook (see "Hooks and Mini-Lessons" below).<br />9. Add text to drawing. <span style="FONT-STYLE: italic">Note: a few considerations in regard to text: students think that less text detracts less from their chair drawings but, sometimes, the use of, e.g. one word makes that word a focal point and results in greater distraction. Sometimes whole passages written almost as a background texture throughout larger areas of the composition is less distracting, but adds visual interest and meaning. Also, if text is too prominent, washing over it can blend it into the background. Cropping passages and words adds a sense of "poetry" and mystery to the works so that the message isn’t so obvious and the viewer is encouraged to interpret.</span><br />10. Add washes to drawing, keeping in mind that the most successful: a) may not include washes in all of the negative spaces—leave white paper in some areas; b) may incorporate different values of washes; and c) may incorporate washes that transition for light to dark. <span style="FONT-STYLE: italic">Note: In general, dark washes should be placed behind light objects and light washes behind darker objects. </span>11. Adjust values if necessary. Pencil marks may be used over washes to deepen the value if students feel unsure about adding darker washes. Also, if students have inadvertently allowed white areas to "disappear," they may use white acrylic paint or white china marker to add white back into the composition. If students are inexperienced painters, a dry brush technique may be the most successful.<br />12. Optional: At one or more points during the process, conduct a simple ("2 Glows and a Grow") in-process critique: give all students a 3 x 5" card and a pencil or pen; have students leave their artwork at their desks and begin to walk around the room while you play music; when you turn the music off, they sit at the closest desk; there they write at least 2 detailed "Glows" (aspects of the artwork that the student is handling really well) and at least 1 detailed "Grow" (an aspect of the artwork that needs improvement) and sign their card; everyone moves back to their original seat and reads their classmate’s remarks before gluing the card into their sketchbooks.<br /><br /><strong>Hooks and Mini-Lessons:</strong><br />[Incorporate one per class prior to completing other drawing and composition practices in preparation for the "Sit Down and Speak Up!" Creative Challenge; some could be used as hooks or warm-ups on the day(s) that students work on thumbnail sketches.]</p><div>Innovation Stations: In small groups, students use photocopies (small, medium and large) of chairs, similar to the ones chosen for this assignment, to arrange on black paper in the center of their table to communicate the concept of their choice; groups whisper concepts to teacher who writes them all on the board; whole class tries to match each concept with the corresponding composition (correct matches are not the main goal; reasonable justification for their selection is)</div><div><br /></div><div>Show one of the <a href="http://www.youtube.com/watch?v=g-OOGDeZjMk">"Flexible Love Chair"</a> videos on YouTube (always preview first) and ask students to create a journal entry in which they sketch the chair and brainstorm in small groups what properties of the chair are being demonstrated (e.g. flexibility, durability, adaptability, portability, etc.). <em>Note: in the videos we watched that I had previewed, there was nothing "love"-related or inappropriate. We are not sure why it is called a "love" chair, except that you and your students will "love" it.</em></div><div><br /></div><div>Notes and practice with Art Criticism (describe, analyze, interpret, evaluate) as applied to the following (at the beginning of three separate classes):<br />o <a href="http://www.artslant.com/ny/events/show/34126-doris-salcedo">Doris Salcedo, "Untitled," (1,600 chairs) Istanbul Biennial, 2003 </a><br />o <a href="http://www.artreview.com/photo/photo/show?id=1474022%3APhoto%3A10098">Marc Andre Robinson, "Myth Monolith: Liberation Movement"<br /></a>o <a href="http://http//www.docstoc.com/docs/19244517/Comparison-of-Environmental-Chairs--Art-Criticism-Assignment">John Cederquest, "Conservation Chair" compared with Gruba Design Studio, (Untitled Chair) </a></div><div>o <a href="http://www.docstoc.com/docs/19429004/Van-Goghs-Chairs-as-Portrait-and-Self-Portrait">Van Gogh Chairs as Portrait and Self-Portrait </a></div><div><br /></div><div><a href="http://www.youtube.com/watch?v=sNmVHiROC74">Fold a paper beach chair </a>from Youtube.com video instructions (use "pause" and "play" buttons as needed; draw a lifesize study of it in sketchbook. <em>Note: beware ads that are added to some of youtube's videos.<br /><br /></em></div><div>Draw a study of a chair in sketchbook.<br /><br /></div><div>Create a composition on one whole page of sketchbook using only stenciled letters and handwritten text. Incorporate what one knows about composition and Elements and Principles of design (e.g. creating a focal point and secondary focal points, cropping for more interesting negative space, etc.) Emphasize that handwritten letters are lines and stenciled letters are shapes like any other. Encourage innovation, experimentation and risk-taking.</div><div><br /></div><div><strong>Student Extension—Group Critique:</strong></div><div>Prior to the critique, students put their names in a box and then draw a name other than their own. Then they fill out a <a href="http://www.docstoc.com/docs/19244620/Artwork-Critique-Form--Sit-Down-and-Speak-Up">Critique Form </a>based on the work created by the student whose name they drew. They will refer to this form during the Critique. (This ensures that the critique moves along with no one grasping for something to say.) Next, students and teacher sit in a circle for the Critique during which each student, in turn, addresses at least 3 aspects of the work s/he critiqued, preferably a balance between "glows" (strengths) and "grows" (areas of improvement). After each student presents, the student whose work was critiqued is given an opportunity to address aspects of his or her work. Similarly, other students may comment.</div><div><br /></div><div><strong>Assessment:</strong></div><div>Score and comment on pieces according to the <a href="http://www.docstoc.com/docs/18307716/Rubric--Sailing-the-Seven-Cs">"Sailing the 7 Cs"</a> visual arts rubric</div><div><br /></div><div><strong>IB-MYP Area of Interaction:</strong> Health and Social</div><div><br /></div><div><span style="font-size:85%;"><strong>Teacher Sample Credit:</strong> (top) Betsy DiJulio, NBC Art Teacher, Princess Anne High School, VA Beach, VA; <strong>Student Sample Credits</strong> (top to bottom under teacher sample): Kameshia P., Samantha M., Bethany C., Sofia A. </span></div></div></div></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com11tag:blogger.com,1999:blog-8915619234483581538.post-37378711802479668302009-12-08T11:42:00.000-08:002010-01-22T10:14:10.467-08:00Magic Mystery Prompts (High School Art Unit Plan)<a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S04TQ1qEByI/AAAAAAAAArw/nHhFVVF3b9Y/s1600-h/Raymond+Kirby.jpg"><img id="BLOGGER_PHOTO_ID_5426295781030364962" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 225px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S04TQ1qEByI/AAAAAAAAArw/nHhFVVF3b9Y/s320/Raymond+Kirby.jpg" border="0" /></a><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/S04TQjH5RlI/AAAAAAAAAro/25ZaGC37r-w/s1600-h/Daniel+Bishop.jpg"><img id="BLOGGER_PHOTO_ID_5426295776055215698" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 224px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/S04TQjH5RlI/AAAAAAAAAro/25ZaGC37r-w/s320/Daniel+Bishop.jpg" border="0" /></a><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/S04TQf91vGI/AAAAAAAAArg/MPnGLry9RyA/s1600-h/Paula+Lewis.jpg"><img id="BLOGGER_PHOTO_ID_5426295775207734370" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 227px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/S04TQf91vGI/AAAAAAAAArg/MPnGLry9RyA/s320/Paula+Lewis.jpg" border="0" /></a><br /><div><a href="http://1.bp.blogspot.com/_4S2xEX0cYAs/S04TP-gRbgI/AAAAAAAAArY/Z6E6OhZay5w/s1600-h/Polett+Bali.jpg"><img id="BLOGGER_PHOTO_ID_5426295766225350146" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 224px; TEXT-ALIGN: center" alt="" src="http://1.bp.blogspot.com/_4S2xEX0cYAs/S04TP-gRbgI/AAAAAAAAArY/Z6E6OhZay5w/s320/Polett+Bali.jpg" border="0" /></a><br /><div><a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/S04SeTwFFNI/AAAAAAAAArQ/AGxG1ArADzw/s1600-h/Grace+Morgan.jpg"><img id="BLOGGER_PHOTO_ID_5426294912935335122" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 225px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/S04SeTwFFNI/AAAAAAAAArQ/AGxG1ArADzw/s320/Grace+Morgan.jpg" border="0" /></a> <a href="http://3.bp.blogspot.com/_4S2xEX0cYAs/Sx6tWnOAUDI/AAAAAAAAAjA/U4n4C5FjaZU/s1600-h/Peppers.jpg"><img id="BLOGGER_PHOTO_ID_5412954406142365746" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 225px; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_4S2xEX0cYAs/Sx6tWnOAUDI/AAAAAAAAAjA/U4n4C5FjaZU/s320/Peppers.jpg" border="0" /></a> <div><div><div>My intermediate, advanced and AP students, though initially unsure of what I was getting them into, absolutely loved this process and the results. I hope yours will too. It is a great challenge to use between those requiring extended periods of intense focus.</div><br /><div><strong>The Art Problem:</strong><br />Students will create a work art using a series of prompts that create intentional and accidental mark-making. Students will utilize their knowledge of the principles of design to create bold works that address the concept of abstract as well as non-objective art.</div><br /><div><strong>Materials:</strong><br />Scrap paper or canvas<br />Spillable liquids (the students' or something available in the classroom)<br />Masking tape<br />India Ink, cups, small brushes<br />A selection of organic objects<br />Oil pastels<br />White china markers or white charcoal pencils</div><br /><div><strong>Guided Practice:</strong><br />Quick and expressive is the name of the game with this assignment which is best spread over 3 class periods, though the first and last will take no longer than a half hour.</div><br /><div>Day 1:<br />To begin, have students tape edges of their paper to create a border when removed at the end (not necessary if using canvas). Ask each student to spill something on their surface, e.g. a beverage, watered down paint, etc. (Avoid telling them where or how.) Doing this will release any preconceived expectations that students have for the finished piece. Place artwork on drying rack and leave until the next class. Meanwhile, finish a previous assignment or complete an exercise of your choice. </div><div><br />Day 2:<br />Prompt 1--Once dry, instruct students to add 3 pieces of masking tape in a linear pattern to the surface. (Avoid telling them how long the pieces should, where to put them, or if they should be overlapped.)<br />Prompt 2--Ask each student to quickly look around the room for an organic object. Once they find this object, they should use India Ink and a thin brush to make a 5 minute gesture of the object. (Avoid telling them where to place the object--except to keep it out of the middle of the page--or what size to make it.)<br />Prompt 3--Now, ask them to turn the artwork (but avoid telling them how much) and make another 5 minute gesture on top of their existing drawing.<br />Prompt 4--Once dry ask each student to select 3 oil pastels. Once they have done this, ask them to give you one back. Then, just when they think they can begin to work, ask them to trade one with a neighbor. (Be prepared for good-natured groans!) Now, ask them to use the oil pastels to make bold marks that define positive and negative space, however they interpret that.<br />Prompt 5--To complete the artwork, ask them to return to the India ink and black out areas to create emphasis and direct the viewer's eye to the focal point.<br />Prompt 6--Remove the three pieces of tape (but leave the border taped).</div><div><br />Day 3:<br />Allow students to refine and correct their compositions for 20 minutes by working back into them using only the materials used during the series of prompts PLUS white china marker or white charcoal to correct areas that, e.g. are too heavily blacked in. (Students can break up those areas with white strokes.) Remove taped borders to leave a nice clean white margin.</div><br /><div><strong>Optional Extension: </strong><strong><br /></strong>Conduct a group critique. </div><div><br /><strong>Assessment:</strong><br />According to <a href="http://www.docstoc.com/docs/18307716/Rubric--Sailing-the-Seven-Cs">Sailing the Seven Cs Rubric</a> </div><br /><div><strong>Student Art Credits</strong> (top to bottom): Raymond K., Daniel B., Paula L., Polett B. and Grace M. (Intermediate and IB-MYP Intermediat); Maddie J. (AP Studio)</div><div><br /><em>Source: Very slightly adapted from <a href="http://www.princetonol.com/groups/iad/artroom/Nicole/Nicole.htm">Nicole Brisco</a></em></div></div></div></div></div></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com6tag:blogger.com,1999:blog-8915619234483581538.post-80178187949714781892009-12-03T06:14:00.000-08:002010-01-22T10:12:03.940-08:002-D Compositions Grow Out of Sculpture and Botanical Studies (High School Art Unit Plan)<a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/SxfLUopyFtI/AAAAAAAAAiA/IE3opYw6WVY/s1600-h/Growth,+Rachel+Tucker,+Grade+10.jpg"><img id="BLOGGER_PHOTO_ID_5411017032679429842" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 158px; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/SxfLUopyFtI/AAAAAAAAAiA/IE3opYw6WVY/s320/Growth,+Rachel+Tucker,+Grade+10.jpg" border="0" /></a><br /><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/SxfLUG8aEgI/AAAAAAAAAh4/rdcyFQLXP98/s1600-h/Nature,+Allison+Xu,+Grade+9.jpg"><img id="BLOGGER_PHOTO_ID_5411017023630742018" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; HEIGHT: 226px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/SxfLUG8aEgI/AAAAAAAAAh4/rdcyFQLXP98/s320/Nature,+Allison+Xu,+Grade+9.jpg" border="0" /></a><br /><br /><br /><div>Following is the text from an article I wrote that was published in the October 2009 issue of <em><a href="http://www.davisart.com/portal/schoolarts/sadefault.aspx">SchoolArts Magazine</a></em>. The article is not yet online, so the editor granted me permission to post the copy and some photos here. Essentially, the article reads like the summary of a unit plan, learning plan or what I refer to as a Creative Challenge. It is my hope that you can adapt it to your context.</div><br /><div></div><div></div><div><strong>Sculpture Sketches in Bloom</strong></div><div>by Betsy DiJulio</div><div><em></em></div><div><em>"When I looked at this sculpture, I felt something and I wanted my work to depict what I felt…I let the analytical part of my imagination guide me."</em> ~Kendria T.</div><div><br />The best artistic challenges open students’ eyes, hearts and minds by combining both formal and conceptual concerns. A temporary exhibition of <a href="http://www.utonga.com/">African Shona Sculpture </a>entitled <a href="http://www.justzimbabwe.com/norfolkbotannicalgarden.html">"Mutambo!" </a>(Celebrate!) at the <a href="http://www.norfolkbotanicalgarden.org/home">Norfolk Botanical Gardens</a> in Norfolk, VA, inspired such a challenge. However, the project’s parameters are applicable to virtually any group of objects. </div><div><br />On a crisp October day, my 40 art foundations students fanned out across the Gardens, each group led by a volunteer artist/art educator in our community. The observational drawing assignment for our 2.5 hours on site was simple: make one large and fully modeled drawing of the sculpture of your choice; make additional contour drawings of other sculptures; and make one botanical study. </div><div><br />The sculptures were ideal objects to draw, not only because of their cultural connection to Zimbabwe and their obvious cross-disciplinary connection to history; but because of their simple, yet expressive, forms. I encouraged students to fill their pages by overlapping drawings, making drawings in the negative spaces of other drawings, turning their sketchbooks 90 degrees between drawings, and so forth. </div><div><br />Afterwards, I presented students with two consecutive challenges. The first was largely formal: to translate their modeled rendering into a large black and white charcoal drawing on gray paper. The second was both formal and conceptual, as it played with the notion of "content" in art and "contents" of a cardboard box. Specifically, I asked students to combine several of their drawings of the sculptures with their botanical study(ies) on corrugated cardboard and link them all through a theme stenciled onto their support. Media was limited to Sharpie, graphite, white paint, coffee and the occasional use of raffia.</div><div><br />Students derived their themes such as "Unity" or "Family" by brainstorming ideas using a sunburst diagram. They then used the Creative Problem Solving tool <a href="http://litemind.com/scamper/">"SCAMPER"</a> to help them think in terms of possibilities rather than limitations as they planned their compositions. SCAMPER is an acronym for substitute; combine; adapt; modify (magnify, minify or multiply); put to other uses; eliminate; and reverse/rearrange. It can be applied to any product or service in any field. </div><div><br />Using a matrix, students applied SCAMPER to the proscribed parameters of the project. For example, "Combine" led students to mix beautiful "latte" colors from coffee and white paint; "magnify" gave them permission to change the scale of individual drawings, "eliminate" encouraged them to cut away the surface of the cardboard revealing the corrugated texture underneath or to pierce patterns into it, and so forth. In myriad ways, the students’ use of SCAMPER catapulted their thinking way "out of the box" in relation to both composition and media. As John A. reflected, "This method was extremely helpful when looking for ideas on how to get the project going, progress when finding myself at a loss of creativity, and wrap up and tie all the elements of the pieces together."</div><div><br />Students selected cardboard and made thumbnail sketches before beginning on their final pieces. They worked with relish for about ten classes to build up actual and metaphorical layers. As they problem-solved individually and collaboratively, their solutions became more innovative, confident, interesting and complex. I encouraged this divergent thinking while continually emphasizing good drawing over "decorating," including the use of weighted line, as well as strong composition. </div><div><br />We concluded the project with a written assessment in which they chose two "21st Century Proficiencies/Skills" from a list (see below) and described how they used, developed or reinforced them in their artwork.</div><div><br />The students’ achievement is born out in their written statements, as well as in their artwork. As Amy C. summarized, "Overall, I thought this project was a success. It was very creative and different from the art I usually make and I am very happy with what I have done." Administrators at <a href="http://www.odu.edu/ao/vbhec/">Old Dominion University--Virginia Beach Higher Education Center</a> were too and mounted an exhibition of the students' work with a reception in their honor (February 2009).</div><p><strong>Skills Taught/Reinforced:</strong></p><p><strong></strong><br />Technical Skills </p><ul><li>Observational Drawing (contour and modeled drawings)</li><li>Composition</li></ul><p>21st Century Skills Used in Written Assessment<br /></p><ul><li>Critical Thinking and Problem Solving</li><li>Inventive Thinking: Curiosity, Imagination & Risk-Taking</li><li>Agility and Adaptability</li><li>Accessing and Analyzing Information</li><li>Initiative</li><li>Planning</li><li>Collaboration</li><li>Literacy (Visual, Oral, Written)</li></ul><p><strong>Teaching Tools:</strong></p><ul><li>Power Point on Shona Sculpture (discussed with students/emailed to chaperones prior to field trip)</li><li><a href="http://www.docstoc.com/docs/18838662/Mutambo%21-Field-Trip-Assignment">Field Trip Assignment Sheet</a> and Teacher’s Sample Sketchbook Page</li><li><a href="http://www.docstoc.com/docs/18837263/Mutambo%21-Assignment-Sheet-%28including-SCAMPER%29">Classroom Assignment Sheet with SCAMPER Matrix</a></li><li>Teacher Sample of Finished Artwork</li><li>Compositional Strategies Check-Off List</li><li><a href="http://www.docstoc.com/docs/18835623/Mutambo%21--Student-Written-Assessment">Student Assessment Activity</a></li></ul><p><strong>Materials:</strong><br /></p><ul><li>Sketchbooks and Pencils</li><li>Corrugated Cardboard</li><li>Ebony Pencils and Erasers</li><li>Sharpie Marker</li><li>White Acrylic Paint, cups, brushes, water</li><li>Instant Coffee, cups, brushes, water</li><li>Stencils</li><li>Raffia (in select instances)</li></ul><p><strong></strong></p><p><strong>National Standard:</strong><br />Students conceive of and create works of visual art that demonstrate an understanding of how the communication of their ideas relates to the media, techniques, and processes they use.</p><p><span style="font-size:85%;"><strong>Student Art Credits:</strong> Rachel T. (top) and Allison X. (bottom)</span></p></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com2tag:blogger.com,1999:blog-8915619234483581538.post-86074245095298848072009-12-02T11:00:00.001-08:002009-12-03T20:02:00.486-08:00Class Expectations and Policies<a href="http://www.docstoc.com/docs/18314978/Class-Expectations-2009-2010">Class Expectations</a> are another one of those documents, like my scoring rubric, that I have tweaked over the years. Formerly, I tried to squeeze all of the information onto the front of an 8.5 x 11" sheet of paper. This year, I finally broke down and created a two-sided document.<br /><br />It wasn't ready on the first day of school because I used that day to invite student input into what their expectations were for themselves, for each other and for me. So, I distributed the document on the second day of class for students to glue into their sketchbooks.<br /><br />I am very happy with the results--it functions just as I intended--and hope you might find it useful.Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com2tag:blogger.com,1999:blog-8915619234483581538.post-7537164971087116932009-12-02T07:01:00.001-08:002009-12-10T17:19:14.336-08:00High School Visual Art Rubric--Sailing the Seven CsIt has taken me 5 years and many partially-failed attempts to arrive at a rubric for studio art production that I can live with: one that assesses what is important for students to know, understand and do according to the art production strand of our district's curriculum (which also includes art history, art criticism and aesthetics strands).<br /><br />This rubric comes closer than anything I've seen or created to date and, in fact, I am quite satisfied with it. Thanks to teaching artist <a href="http://nicolebrisco.blogspot.com/">Nicole <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Brisco</span> </a>for the "Cs" concept, and to Chris <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Buhner</span>, former art teacher and current administrative intern, Princess Anne High School, for suggesting that I needed a criterion that better addressed the bridge between the concept and the formal design of an artwork. Hence the addition of the criterion, "Communication of Concept."<br /><br />For the rubric, click here: <a href="http://www.docstoc.com/docs/18307716/Rubric--Sailing-the-Seven-Cs">Visual Art Rubric--Sailing the Seven Cs.</a> Feel free to copy and save and/or print.<br /><br />By sharing, I hope to save you the five years(!) it has taken me to get it right. I hope you find it helpful, though you will undoubtedly want to adapt it, as rubrics are all about a good "fit" between the instrument and your curriculum, your approach to instruction, and your teaching style.<br /><br />Happy Assessing!Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com2tag:blogger.com,1999:blog-8915619234483581538.post-17983894524308937372009-11-30T10:44:00.000-08:002010-01-22T10:13:05.978-08:00Life in Flight (High School Art Unit Plan)<a href="http://2.bp.blogspot.com/_4S2xEX0cYAs/SxfU3JSgEaI/AAAAAAAAAiY/fR3JkAOyL48/s1600-h/Paper+Airplane--Teacher+Sample+Redux.jpg"><img id="BLOGGER_PHOTO_ID_5411027521160352162" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; HEIGHT: 243px; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_4S2xEX0cYAs/SxfU3JSgEaI/AAAAAAAAAiY/fR3JkAOyL48/s320/Paper+Airplane--Teacher+Sample+Redux.jpg" border="0" /></a><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/SxfU2mlw82I/AAAAAAAAAiQ/pbuWVUxOtAE/s1600-h/Bethany+Case.jpg"><img id="BLOGGER_PHOTO_ID_5411027511845909346" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; HEIGHT: 257px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/SxfU2mlw82I/AAAAAAAAAiQ/pbuWVUxOtAE/s320/Bethany+Case.jpg" border="0" /></a><br /><br /><div><a href="http://4.bp.blogspot.com/_4S2xEX0cYAs/SxfR_LlqHDI/AAAAAAAAAiI/ZuTH9eZKcYg/s1600-h/Isabella+Moses.jpg"><img id="BLOGGER_PHOTO_ID_5411024360681643058" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; HEIGHT: 259px; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_4S2xEX0cYAs/SxfR_LlqHDI/AAAAAAAAAiI/ZuTH9eZKcYg/s320/Isabella+Moses.jpg" border="0" /></a> <strong>The Art Problem:<br /></strong>Students will communicate something about their path in life through metaphorical drawings that make use of the following realistic imagery: paper airplanes, building blocks and airport signage.<br /><br /><strong>Materials:</strong> </div><div><a href="http://www.docstoc.com/docs/18832073/Life-in-Flight-Assignment-Sheet">Student Assignment Sheet<br /></a>1 or more folded paper airplanes<br />Selection of children’s building blocks<br />Handouts of airport signage: <a href="http://www.mikevargo.com/cessna/docs/GoodReading/AirportSignAndMarkingsQuiz.jpg">Handout 1</a>, <a href="http://sportpilotu.com/home/wp-content/uploads/2009/10/Airport-Signs.png">Handout 2</a>, <a href="http://www.aviationsupermart.com/store/i/is.aspx?path=/shared/images/misc/L7-001.jpg">Handout 3</a><br />Sketchbook or sketch paper<br />Pencil<br />Eraser<br />Optional: Viewfinder<br />Optional: Pencil value scale<br />White tag board (we like to use 14 x 17" with a 1" taped border all the way around)<br />Ebony pencils<br />"Dirty Water Wash" (a very small amount of black and brown, even a little blue, mixed with a large quantity of water to make a cool or slightly warm gray wash)<br />Brushes<br />Optional: black Sharpie marker<br /><br /><strong>Prerequisites:</strong><br />· An understanding of and sketchbook practice with modeling techniques (hatching, cross-hatching, stippling, cross-contour marks, etc.)<br />· Familiarity with "weighted line" (widened and tapered line) and varied line quality<br />· Knowledge of a value scale<br />· Basic understanding of composition and Elements and Principles of Design<br /><br /><strong>Individual Student Procedures:</strong><br />1. Choose a concept to communicate.<br />2. Arrange paper airplane(s) and blocks to best communicate concept (each student creates his or her own still lie).<br />3. Use a viewfinder if desired to isolate the strongest composition, making sure to crop edges and keep focal point out of the center of the composition (the viewfinder opening should be 2 x 2 ½" for a 4 x 5" thumbnail and a 12 x 15" drawing.<br />4. Draw one or more thumbnails in sketchbook (use a 4 x 5" template for a 12 x 15" drawing); discuss with teacher; revise if necessary.<br />5. Establish a table line—diagonals are nice for more dynamism.<br />6. Choose graphic symbols from airport signage handouts and incorporate into background "wall" surface to emphasize concept and direct viewer’s eye to focal point. (Students may incorporate signage into foreground "table" surface if it doesn't confuse foreground and background and works in their composition.)<br />7. Stick tape onto clothes to remove some adhesive and then stick onto borders of 14 x 17" tag board to create a 12 x 15" drawing area.<br />8. Transfer thumbnail to tag board.<br />9. Model objects making sure to leave plenty of white paper showing for the lightest values, e.g. in the paper airplane (students must set up still life for every modeling session; spotlight if necessary)<br />10. Apply value to background airport signage.<br />11. Dirty wash the foreground "table" surface.<br />12. Adjust values if necessary, optionally applying black Sharpie marks for the darkest values.<br />13. At one or more points during the process, conduct a simple ("2 Glows and a Grow") in-process critique: give all students a 3 x 5" card and a pencil or pen; have students leave their artwork at their desks and begin to walk around the room while you play music; when you turn the music off, they sit at the closest desk; there they write at least 2 detailed "Glows" (aspects of the artwork that the student is handling really well) and at least 1 detailed "Grow" (an aspect of the artwork that needs improvement) and sign their card; everyone moves back to their original seat and reads their classmate’s remarks before gluing the card into their sketchbooks.<br /><br /><strong>Hooks and Mini-Lessons:</strong><br /><em>[Incorporate one per class prior to completing other drawing and composition practices in preparation for the "Life in Flight" Creative Challenge; some could be used as hooks or warm-ups on the day(s) that students work on thumbnail sketches.]</em><br />· Fold paper airplanes (student volunteers demonstrate their favorite style plane)<br />· Hold a paper airplane flying contest with prize (4 students compete; winner takes on 3 more students and so on)<br />· Draw a study of a paper airplane in sketchbook<br />· Go outside and fly paper airplanes; write a sketchbook entry about how the flight of the paper airplanes can be compared to life<br />· Innovation Stations: In small groups, students use paper airplanes and blocks to communicate the concept of their choice; groups whisper concepts to teacher who writes them all on the board; whole class tries to match each concept with the corresponding 3-D composition (correct matches are not the main goal; reasonable justification for their selection is)<br />· Innovation Stations: Teacher makes copies of his or her sample and manipulates each copy in several different ways, one per small group of 4-5 students and places them in several stations around the room (e.g. uses more dramatic weighted line with sharpie, deepens shadows, uses more expressive mark-making, brightens highlights, etc. ). After showing the original to the class, ask students to go to each station and try to figure out how each was changed and which they feel is strong. Discuss as a whole class.<br /><br /><strong>Student Extension:<br /></strong>Students write an artist’s statement that addresses the following four components:<br />1. Concept (e.g. overcoming obstacles)<br />2. Inspiration (how the concept relates to the student’s life)<br />3. Communication through Design [how the student arranged the airplane(s) and blocks to communicate his or her concept]<br />4. Airport Signage (how the student incorporated airport signage to help communicate their concept AND direct the viewer’s eye to the focal point)<br /><br /><strong>Assessment:</strong><br />Score and comment on pieces according to the <a href="http://www.docstoc.com/docs/18307716/Rubric--Sailing-the-Seven-Cs">"Sailing the 7 Cs"</a> visual arts rubric<br /><br /><p><strong><span class="blsp-spelling-error" id="SPELLING_ERROR_0">IB</span>-<span class="blsp-spelling-error" id="SPELLING_ERROR_1">MYP</span> Area of Interaction:</strong> Health and Social<br /><br /><span style="font-size:85%;"><strong>Student Sample Credits:</strong> (middle) Bethany C., (bottom) Isabella M.; </span><span style="font-size:85%;"><strong>Teacher Sample Credit:</strong> (top) Betsy DiJulio, NBC Art Teacher, Princess Anne High School, VA Beach, VA</span><span style="font-size:85%;"></span></p></div></div>Betsy DiJuliohttp://www.blogger.com/profile/01860551595594754975noreply@blogger.com3