A lesson I would use for the breadth section would be a fabric or cloth drawing. The pattern should be simple to help illustrate the understanding of depth, value, as well as proportion. The base and background should contrast the foreground object to gain the interest of the viewer with all the intricate detail of the gentle folds and value changes. The medium could be varied by using charcoal, pencil, or pastals to illustrate the subject and offer choices for the student to select for their portfolio.
This lesson could be used for the Drawing Portfolio. This is a light drawing so you need a room that is dark and a spot light to shine on a students face. The darker the room, the better (I crowd my class into my supply closet and it's best when a few are absent or on a field trip to give the others more space). I select a student model and sit that person on a chair with a spotlight next to him/her. My students are crowded around, perched on stools, with drawing boards, black paper and white prismacolors in hand. I keep several handheld sharpeners close by. Then I turn off the overhead light and shine the spotlight on the edge of the models face, adjusting it until the light and shadow look right to me. I never allow the whole face to be defined in light. Now students begin to draw the model, but they can only draw the highlighted areas. This is frustrating to them at first, but after they get moving the results are usually great.
(Inspired from contour slides presented by Robert)
A possible short lesson would be a modified approach to a blind contour drawing.
Student can create a variety of washes on paper. This can add implied texture to what would otherwise be a visually flat surface. To make the lesson shorter you can use paper that has a nice mid-tone type quality.
Students can then use this surface to create their blind contour or contour drawings.
When complete with the drawing students can go in and add highlights and shadows along the lines. To further create contrast and emphasis on the line.
This could be great presented as a dip/triptych, small or large; it’s up the student to decide the best presentation.
I had good luck with a School Arts magazine lesson called "Ready-made Still life Drawing." Students raced to a spot in the room that looked interesting to them, such as a fire extinguisher, an umbrella hanging over a door knob, or a stainless steel paper towel holder. Some opened cabinet doors to draw the contents. The race helped them make a decision quickly. I even gave prizes to the first ones to make a selection. Students held 12x18 paper on drawing boards and used charcoal to make a midtone value all over the paper. Then they used erasers to pull out light values and used charcoal to push the darks. It was quick, but the results were good.
A possible Breadth assignment is to create a nonobjective textural composition of torn or cut magazine images. The composition should address positive and negative space, as well. Once the composition is complete, the compostion is transferred to a larger piece of paper and drawn using colored pencils or transferred to illustration or canvas board and painted. The challenge lies in matching colors while maintaining the textural quality of the original composition.
Some quick lessons could be: a surrealist collage, going outside to paint a landscape in an impressionistic style, or working from the figure in an expressionistic way. You could easily work in art history into these lessons. Collage would be 2-D and the other two would probably fit better into Drawing. These could be 1-2 day assignments but a more developed artwork could occur also.
I have a large plant in my room ...the kind that has big 'elephant ear-looking' leaves on long, graceful stems. This plant is at least five years old and is known by former students as the dreaded PLANT! Design Principle classes draw it, Drawing classes draw it, and then, those who make it to AP draw it again! They learn so much from this and the drawings are really often quite beautiful. Blind contour, contour, positive/negative space, shaded pencil renderings, etc. etc. Students are encouraged to take their contour drawing of the plant and trace several copies of it from their original on the light box. I always have them use 18" X 24" drawing paper and to use the entire paper. Having several copies frees them to experiment. Some paint the composition in realistic colors while some use wild colors, some add wild pattern to the leaves or the negative spaces. Some students experiment with media that they have found in the storage room - some of it is ancient like mysterious colored inks or dyes - and come up with some beautiful abstracts. Some students cut one of the pictures into strips and reassemble it...you get the idea. It seems that having a familiar old friend as subject matter helps my students to break out and experiment with differnet media and approaches, especially when they know that they have several copies of their drawing in case they 'mess up'.
Robert, I agree with you about working art history into every possible lesson. Students don't get enough of this. We are fortunate at SHS to have our own extensive art library right in the classroom. We have several hundred art books ... beautiful hardback books on individual artists, movements, museums, techniques, etc. (Thanks to Dr. Betty Bramlett!) Students who are 'stumped' are encouraged to take a day of class to explore those resources for inspiration. I often reference artists when we discuss the student's work one-on-one or in a group critique and I send them to the bookshelves to look up the artist and then to make an entry in their sketchbooks.
My students hated this, but they did see how much they had gained in one school years time. Our first large still life was one I set up that included our Biology skeleton. The did this first on with white conte on black paper. We posed the skeleton in different ways and they did some simple sketches and then did the finished piece. They were wonderful hanging around the school during halloween!
Again at the end of the year, we rolled "Lucy" back down to the art room and the students painted her this time. They had learned so much about looking at how light hits the bone and shadows that were created. They really impressed themselves once they stopped moaning about it!!!!
For the breadth section one idea would be focusing on different techniques with the same medium. Acrylics are so versatile they would lend themselves well to this. Use them thin as watercolor, glaze with them, use them thick as impasto like an oil, use different gel mediums to slow the drying time or change the texture, their are so many ways. Try painting on different surfaces, found boards, masonite, canvas, heavy paper, 3-D objects, etc. Have the student see how far they can stretch the medium.
Heather, I like your idea of experimenting with acrylics. I encourage my students to experiment as much as possible and to not discount anything as a possible art making material. I had one student, bless his heart, who didn't know you can't use dried sushi seawead, dried pond scum, or even his own dreadlocks for inclusion in artworks. ;-) He created some amazing surfaces.
For a Breadth lesson, I used Picasso's cubism as an inspiration and focused on "fractured plain." I allowed each student to pick out 5 objects that relate in some way (the relation could be as simple as they were all organic shapes or that they all belong in the kitchen...it can be anything interesting). They then had to sketch out the objects and then cut up the imagery so that it resembles the reminisce of a shattered mirror-for their final piece. They then must consider line and negative space in their final composition. I also required each student to have shattered areas of only black, only white and shattered areas of wood grain, text or music notes. Students used various colored paper to use on their final product. You can view a link to where I originally found this idea: http://www.princetonol.com/groups/iad/lessons/high/kencubism.htm
Guys, sorry, don't know why my link didn't copy as I pasted it??? If you use the previous link I posted it will not take you to the right place...this is the correct one! http://www.princetonol.com/groups/iad/lessons/high/kencubism.htm
Ok...one last time...just add: .htm to the end of the address I've provided TWICE now and it will work! Sorry! Each time I write the address it cuts it off when it publishes it!!!! Uugh!
Amanda, I like the idea of revisiting a unique subject matter to see how the students have grown and grasped the techniques from the class. Robert, I agree and I need to personally focus on adding a bit more Art history into my lesson with the kids.
During class, Robert mentioned that he sometimes sends students out to take photographs for the breadth section. Sending students on a photography scavenger hunt is a great way to motivate them. You could send them out with a teacher made list with topics like elements/principles, lighting (back, side, front), point of view, rule of thirds...the possibilities are endless, or the students could help develop the list. Afterwards, students should select their best work and print in black and white or color.
An example of a short 2-D lesson that illustrates breadth would be "the moving point of light" lesson. Supplies are one or more of those minature key chain flashlights, preferably in color, a digital camera with a manual setting, and a tripod or other means of stabilizing the camera. Set the shutter spead to manual. Working in small groups (2 - 3) students set up their shot, then turn off the lights. We mask out the window and seal the crack under the door. One student will move the flashlight to create the effect of motion and rhythm, while the photographer exposes the digital image. The resulting images illustrate motion beautifully, and they are often spectacular. It'w possible to maniuplate the images further in Photoshop, but there really isn't any need. Students often want to repeat the exercise and go for more controlled effects or even attempt to draw with the point of light.
I love these ideas. I feel like I am gathering jewels. Thank you so much for sharing what works for you. I know I too need more of an art history connection with my lessons. Exploring acrylic techniques is a super idea and I love the ready made still life. I'll also check out the Picasso lesson tonight. All of the lesson ideas sound great. Yarbi
Robert - I also love adding art history in with my lessons, even if my students moan away!!! I tell them that at least if they do not become artist or even work in an art related field, they will at least know about these artist, movements and styles so that they can better appreciate the work that goes into the processes.
I also love your cubist idea! I have done several picasso lessons throughout the years and the kids love working with this style. I find that this can free some of my kids who are more intimidated, it also seems to give my more serious students the freedom to use their imaginations and stretch their creativity. I also like the way that it breaks some of the students from having to see objects in a painting or drawing and they can start to concentrate on space, form, shape and/or color.
Amanda - I like what you said about students at least having exposure to different artist. I still find it shocking that some people don't have a clue who Van Gogh is. It's not like we don't know what Einstein did. It's also a great way for students to get ideas. Sometimes it's like they look at an artwork and say "we can do that!" I think they assume creativity is just going to fall from the heavens and smack them in the face. We get ideas from observation, even if it's observing what someone else has done, maybe we can push them to re-invent the wheel.
Ok, I thought I had finished all of my homework today with the exception of my artwork. I went to school to gather some files and books to share next week and when I looked on my flash drive... Bah! The CLIA Lesson Plan file! I think I'll use my Breadth suggestion...
Robert, Cindy, and others, I agree that art history has a place in a studio-oriented course. Students remember the artists when they incorporate something about the period or style into a studio piece.
At my school the first two courses (Art I and Art II) are organized along an art history timeline. We have an on-going mural project out in the hall... it will never be finished... but eventually there will be two or more art history timelines. We are continually adding period pieces to the mural. The years are removable, so each class gets to calculate the position of the years and put them in place. Art I extends from the Paleolithic to about 1400, and Art II from the Renaissance to the future. Students in the more advanced courses continually draw upon their art history experiences.
Jeff, your idea of drawing a cloth is very workable, and your could relate it to some of Leonardo's studies of drapery; matisse, your assignment would be a great introduction to Carravagio. I love how we are building off one another... I'm sure we will come away with many more ideas for next year.
Anna, that mural sounds awesome! I'd really like to see a picture of that and talk to you more about that, it sounds like a great idea we could do at Dorman. CindyG, I like what you do with the plant. It sounds like you get a lot of variety out that plant and the key is you let them go in "their own direction" with it. Nice. I'll bet that's fun to see what they all do with it. kt:) Very cool about the textures you encoraged your student to experiment with. It could be interesting to have a lesson focused on texture. Maybe use Anselm Keifer as inspiration. Do you know that artist? He uses a lot of found nature materials imbedded in his works. By the way, thanks for the comments you made on the list-serve regarding my artwork. Amanda, great to "re-visit" a subject from earlier in the year. That's something I should do. Good to switch media.
Well, Robert, I know who Anselm Keifer is now! Amazing stuff! Thanks for reference! I apologize for posting my comment to the list-serve. I had meant to change the address. Oops! I agree with you on Anna's timeline. I'd love to see that, too!
On the lighter side, how about edible art history? The kids brought in plain cupcakes, food coloring, and white icing. The kids had to mix the icing colors they needed and ice the cupcakes with a famous artwork. I liked the "Starry Night" cupcake, but you should have seen the girl who remembered she had graham crackers in her bookbag. She recreated Stonehenge on top of her cupcake! That was may favorite critique of all.
Katie, I went to my school today, too, but I couldn't get in because the floor was being waxed. Do you think Marylou will take a note from my janitor excusing me from my homework? (just kidding!)
Anna, I am very interested in your photography lesson. Would you be able to show me an example when we get to class next week? Your timeline sounds impressive.
Anna, I too would like more information about your digital photography project.
Amanda, I agree with you whole-heartedly. There are many students who come through our doors who will not be in an art occupation, but how valuable to have them understand and appreciate art history. I believe this makes them better consumers and defenders of art.
Anna: I love your "moving point of light" lesson. I know that I've seen a black and white photograph of a famous artist in his studio drawing with light that would be a great art history tie-in, but I can't find it online. I thought that the photograph was of Picasso, but I may be wrong. I will keep looking for it. Your on-going art history timeline sounds like a great learning experience for your students and the rest of the school. Please bring photos if you have them.
I found it! The photograph that I was thinking of is called Picasso's Space Drawings by Gjon Mili. The photograph shows Picasso drawing in space with a flashlight. The long exposure captures Picasso's movements as one continuous line of light.
29 comments:
A lesson I would use for the breadth section would be a fabric or cloth drawing. The pattern should be simple to help illustrate the understanding of depth, value, as well as proportion. The base and background should contrast the foreground object to gain the interest of the viewer with all the intricate detail of the gentle folds and value changes.
The medium could be varied by using charcoal, pencil, or pastals to illustrate the subject and offer choices for the student to select for their portfolio.
This lesson could be used for the Drawing Portfolio. This is a light drawing so you need a room that is dark and a spot light to shine on a students face. The darker the room, the better (I crowd my class into my supply closet and it's best when a few are absent or on a field trip to give the others more space).
I select a student model and sit that person on a chair with a spotlight next to him/her.
My students are crowded around, perched on stools, with drawing boards, black paper and white prismacolors in hand. I keep several handheld sharpeners close by. Then I turn off the overhead light and shine the spotlight on the edge of the models face, adjusting it until the light and shadow look right to me. I never allow the whole face to be defined in light. Now students begin to draw the model, but they can only draw the highlighted areas. This is frustrating to them at first, but after they get moving the results are usually great.
(Inspired from contour slides presented by Robert)
A possible short lesson would be a modified approach to a blind contour drawing.
Student can create a variety of washes on paper. This can add implied texture to what would otherwise be a visually flat surface. To make the lesson shorter you can use paper that has a nice mid-tone type quality.
Students can then use this surface to create their blind contour or contour drawings.
When complete with the drawing students can go in and add highlights and shadows along the lines. To further create contrast and emphasis on the line.
This could be great presented as a dip/triptych, small or large; it’s up the student to decide the best presentation.
I had good luck with a School Arts magazine lesson called "Ready-made Still life Drawing." Students raced to a spot in the room that looked interesting to them, such as a fire extinguisher, an umbrella hanging over a door knob, or a stainless steel paper towel holder. Some opened cabinet doors to draw the contents. The race helped them make a decision quickly. I even gave prizes to the first ones to make a selection. Students held 12x18 paper on drawing boards and used charcoal to make a midtone value all over the paper. Then they used erasers to pull out light values and used charcoal to push the darks. It was quick, but the results were good.
A possible Breadth assignment is to create a nonobjective textural composition of torn or cut magazine images. The composition should address positive and negative space, as well. Once the composition is complete, the compostion is transferred to a larger piece of paper and drawn using colored pencils or transferred to illustration or canvas board and painted. The challenge lies in matching colors while maintaining the textural quality of the original composition.
Yarbi - neato!
Some quick lessons could be: a surrealist collage, going outside to paint a landscape in an impressionistic style, or working from the figure in an expressionistic way. You could easily work in art history into these lessons. Collage would be 2-D and the other two would probably fit better into Drawing. These could be 1-2 day assignments but a more developed artwork could occur also.
I have a large plant in my room ...the kind that has big 'elephant ear-looking' leaves on long, graceful stems. This plant is at least five years old and is known by former students as the dreaded PLANT! Design Principle classes draw it, Drawing classes draw it, and then, those who make it to AP draw it again! They learn so much from this and the drawings are really often quite beautiful. Blind contour, contour, positive/negative space, shaded pencil renderings, etc. etc. Students are encouraged to take their contour drawing of the plant and trace several copies of it from their original on the light box. I always have them use 18" X 24" drawing paper and to use the entire paper. Having several copies frees them to experiment. Some paint the composition in realistic colors while some use wild colors, some add wild pattern to the leaves or the negative spaces. Some students experiment with media that they have found in the storage room - some of it is ancient like mysterious colored inks or dyes - and come up with some beautiful abstracts. Some students cut one of the pictures into strips and reassemble it...you get the idea. It seems that having a familiar old friend as subject matter helps my students to break out and experiment with differnet media and approaches, especially when they know that they have several copies of their drawing in case they 'mess up'.
Robert, I agree with you about working art history into every possible lesson. Students don't get enough of this. We are fortunate at SHS to have our own extensive art library right in the classroom. We have several hundred art books ... beautiful hardback books on individual artists, movements, museums, techniques, etc. (Thanks to Dr. Betty Bramlett!) Students who are 'stumped' are encouraged to take a day of class to explore those resources for inspiration. I often reference artists when we discuss the student's work one-on-one or in a group critique and I send them to the bookshelves to look up the artist and then to make an entry in their sketchbooks.
My students hated this, but they did see how much they had gained in one school years time. Our first large still life was one I set up that included our Biology skeleton. The did this first on with white conte on black paper. We posed the skeleton in different ways and they did some simple sketches and then did the finished piece. They were wonderful hanging around the school during halloween!
Again at the end of the year, we rolled "Lucy" back down to the art room and the students painted her this time. They had learned so much about looking at how light hits the bone and shadows that were created. They really impressed themselves once they stopped moaning about it!!!!
For the breadth section one idea would be focusing on different techniques with the same medium. Acrylics are so versatile they would lend themselves well to this. Use them thin as watercolor, glaze with them, use them thick as impasto like an oil, use different gel mediums to slow the drying time or change the texture, their are so many ways. Try painting on different surfaces, found boards, masonite, canvas, heavy paper, 3-D objects, etc. Have the student see how far they can stretch the medium.
Heather, I like your idea of experimenting with acrylics. I encourage my students to experiment as much as possible and to not discount anything as a possible art making material. I had one student, bless his heart, who didn't know you can't use dried sushi seawead, dried pond scum, or even his own dreadlocks for inclusion in artworks. ;-) He created some amazing surfaces.
For a Breadth lesson, I used Picasso's cubism as an inspiration and focused on "fractured plain." I allowed each student to pick out 5 objects that relate in some way (the relation could be as simple as they were all organic shapes or that they all belong in the kitchen...it can be anything interesting). They then had to sketch out the objects and then cut up the imagery so that it resembles the reminisce of a shattered mirror-for their final piece. They then must consider line and negative space in their final composition. I also required each student to have shattered areas of only black, only white and shattered areas of wood grain, text or music notes. Students used various colored paper to use on their final product. You can view a link to where I originally found this idea: http://www.princetonol.com/groups/iad/lessons/high/kencubism.htm
Guys, sorry, don't know why my link didn't copy as I pasted it??? If you use the previous link I posted it will not take you to the right place...this is the correct one!
http://www.princetonol.com/groups/iad/lessons/high/kencubism.htm
Ok...one last time...just add:
.htm
to the end of the address I've provided TWICE now and it will work! Sorry! Each time I write the address it cuts it off when it publishes it!!!! Uugh!
Amanda,
I like the idea of revisiting a unique subject matter to see how the students have grown and grasped the techniques from the class.
Robert,
I agree and I need to personally focus on adding a bit more Art history into my lesson with the kids.
During class, Robert mentioned that he sometimes sends students out to take photographs for the breadth section. Sending students on a photography scavenger hunt is a great way to motivate them. You could send them out with a teacher made list with topics like elements/principles, lighting (back, side, front), point of view, rule of thirds...the possibilities are endless, or the students could help develop the list. Afterwards, students should select their best work and print in black and white or color.
KT - I love that - he really put himself into his work!
Yarbi - Wonderful - I bet they love that - of course my supply closet couldn't fit two people in it!
Carlee - I think the idea of a fractured plane is great. It would be very freeing - taking apart the work and reassembling it.
The idea of including personal photographs into their work is flowing into my work for this class. I like it!
An example of a short 2-D lesson that illustrates breadth would be "the moving point of light" lesson. Supplies are one or more of those minature key chain flashlights, preferably in color, a digital camera with a manual setting, and a tripod or other means of stabilizing the camera. Set the shutter spead to manual. Working in small groups (2 - 3) students set up their shot, then turn off the lights. We mask out the window and seal the crack under the door. One student will move the flashlight to create the effect of motion and rhythm, while the photographer exposes the digital image. The resulting images illustrate motion beautifully, and they are often spectacular. It'w possible to maniuplate the images further in Photoshop, but there really isn't any need. Students often want to repeat the exercise and go for more controlled effects or even attempt to draw with the point of light.
I love these ideas. I feel like I am gathering jewels. Thank you so much for sharing what works for you. I know I too need more of an art history connection with my lessons. Exploring acrylic techniques is a super idea and I love the ready made still life. I'll also check out the Picasso lesson tonight. All of the lesson ideas sound great. Yarbi
Robert -
I also love adding art history in with my lessons, even if my students moan away!!! I tell them that at least if they do not become artist or even work in an art related field, they will at least know about these artist, movements and styles so that they can better appreciate the work that goes into the processes.
I also love your cubist idea! I have done several picasso lessons throughout the years and the kids love working with this style. I find that this can free some of my kids who are more intimidated, it also seems to give my more serious students the freedom to use their imaginations and stretch their creativity. I also like the way that it breaks some of the students from having to see objects in a painting or drawing and they can start to concentrate on space, form, shape and/or color.
Amanda - I like what you said about students at least having exposure to different artist. I still find it shocking that some people don't have a clue who Van Gogh is. It's not like we don't know what Einstein did. It's also a great way for students to get ideas. Sometimes it's like they look at an artwork and say "we can do that!" I think they assume creativity is just going to fall from the heavens and smack them in the face. We get ideas from observation, even if it's observing what someone else has done, maybe we can push them to re-invent the wheel.
Ok, I thought I had finished all of my homework today with the exception of my artwork. I went to school to gather some files and books to share next week and when I looked on my flash drive... Bah! The CLIA Lesson Plan file! I think I'll use my Breadth suggestion...
Robert, Cindy, and others,
I agree that art history has a place in a studio-oriented course. Students remember the artists when they incorporate something about the period or style into a studio piece.
At my school the first two courses (Art I and Art II) are organized along an art history timeline. We have an on-going mural project out in the hall... it will never be finished... but eventually there will be two or more art history timelines. We are continually adding period pieces to the mural. The years are removable, so each class gets to calculate the position of the years and put them in place. Art I extends from the Paleolithic to about 1400, and Art II from the Renaissance to the future. Students in the more advanced courses continually draw upon their art history experiences.
Jeff, your idea of drawing a cloth is very workable, and your could relate it to some of Leonardo's studies of drapery; matisse, your assignment would be a great introduction to Carravagio.
I love how we are building off one another... I'm sure we will come away with many more ideas for next year.
Anna, that mural sounds awesome! I'd really like to see a picture of that and talk to you more about that, it sounds like a great idea we could do at Dorman.
CindyG, I like what you do with the plant. It sounds like you get a lot of variety out that plant and the key is you let them go in "their own direction" with it. Nice. I'll bet that's fun to see what they all do with it.
kt:) Very cool about the textures you encoraged your student to experiment with. It could be interesting to have a lesson focused on texture. Maybe use Anselm Keifer as inspiration. Do you know that artist? He uses a lot of found nature materials imbedded in his works. By the way, thanks for the comments you made on the list-serve regarding my artwork.
Amanda, great to "re-visit" a subject from earlier in the year. That's something I should do. Good to switch media.
Well, Robert, I know who Anselm Keifer is now! Amazing stuff! Thanks for reference! I apologize for posting my comment to the list-serve. I had meant to change the address. Oops! I agree with you on Anna's timeline. I'd love to see that, too!
On the lighter side, how about edible art history? The kids brought in plain cupcakes, food coloring, and white icing. The kids had to mix the icing colors they needed and ice the cupcakes with a famous artwork. I liked the "Starry Night" cupcake, but you should have seen the girl who remembered she had graham crackers in her bookbag. She recreated Stonehenge on top of her cupcake! That was may favorite critique of all.
Katie, I went to my school today, too, but I couldn't get in because the floor was being waxed. Do you think Marylou will take a note from my janitor excusing me from my homework? (just kidding!)
Anna, I am very interested in your photography lesson. Would you be able to show me an example when we get to class next week? Your timeline sounds impressive.
Anna, I too would like more information about your digital photography project.
Amanda, I agree with you whole-heartedly. There are many students who come through our doors who will not be in an art occupation, but how valuable to have them understand and appreciate art history. I believe this makes them better consumers and defenders of art.
Anna: I love your "moving point of light" lesson. I know that I've seen a black and white photograph of a famous artist in his studio drawing with light that would be a great art history tie-in, but I can't find it online. I thought that the photograph was of Picasso, but I may be wrong. I will keep looking for it. Your on-going art history timeline sounds like a great learning experience for your students and the rest of the school. Please bring photos if you have them.
I found it! The photograph that I was thinking of is called Picasso's Space Drawings by Gjon Mili. The photograph shows Picasso drawing in space with a flashlight. The long exposure captures Picasso's movements as one continuous line of light.
dsc.gc.cuny.edu/.../articles/gr/picasso2.jpg
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