river dell regional school district visual arts …...river dell regional schools visual arts...

River Dell Regional School District

Visual Arts Curriculum

Grades 7-12

2019

Mr. Patrick Fletcher

Superintendent River Dell Regional Schools

Ms. Lorraine Brooks Mr. Richard Freedman Principal Principal River Dell High School River Dell Middle School

Mr. William Feldman

Assistant Superintendent Curriculum and Instruction

Curriculum Committee

Ms. Chris Van Der Velde Ms. Gale Sasson Mr. George Tucci Ms. Melissa Miller

Ms. Mercedes Faunde Ms. Saratheresa Bartelloni

River Dell Regional Schools


Approved October 22, 2019

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TABLE OF CONTENTS Philosophy Page 3

Introduction Page 4

Grade 7 Page 5

Grade 8 7

Grades 9 – 12 Page 45

Resources Page 272




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Philosophy

Art is a necessary component of our lives; a vital contributor to our learning, to our well-being and in essence, to our existence. It helps us develop values, understand the past and visually decipher our modern world. It enables us to communicate ideas, to express feelings and to respect the values, attitudes, and beliefs of our culturally diverse world. It encourages us to develop our creative and critical thinking skills and fosters self-esteem through discovery of our own aesthetic. It fosters an appreciation of how things are made and the skill and process that is involved in designing and creating everything in the world around us.

The Art Program of River Edge, Oradell, and River Dell School Districts is based on the philosophy of Discipline Based Art Education. DBAE includes the four disciplines of art; Art Production, Aesthetics, Art History and Art Criticism.

Art Production: Students will create works of art with a diversity of materials and techniques, both two and three-dimensional.

Aesthetics: Students will be engaged in philosophical questions such as what is art and aesthetic questions such as what defines an individual’s, societal and cultural definitions of beauty. Hence the term Beauty is in the eye of the beholder.

Art History: Students will learn a broad spectrum of Art from different time periods and civilizations around the world and learn how they influence our approach to art and design today.

Art Criticism: Students will be involved in the method of oral and written critique through description, analysis and interpretation of their own work, that of their peers and famous works of art and design.

It is our goal as well to enhance what is being taught in the core classrooms through a cross-curricular approach. Using grade level curriculums, (ex. - math, science, history), as motivational material for some art lessons enhances the students ability to make connections between subject areas. It creates a cohesive understanding of their world. Opportunities for displaying student work in exhibitions and competitions are provided within the school district and the community at large.

The goal of the Art Program is to foster creative problem solving and critical thinking skills. Creative freedom will enable experimentation with a diversity of materials, techniques, concepts and skills. Exposure to a variety of art and design across time and between cultures will enable students with the skills to describe, analyze, interpret and respond to the visual world around them.




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Introduction

The River Dell Public Schools Visual Arts curriculum is a comprehensive document to be implemented by state certified teachers in the area of art. This curriculum is written in direct accordance with the New Jersey Student Learning Standards for Visual and Performing Arts. The Standard’s grade level progress indicators are included in this document.

Each grade level includes a concept and objective for each Element of Art and Principle of Design as well as Aesthetics/Criticism and Art History. Each objective lists the state standards that are applicable. At the end of each grade level are Suggested Activities and Assessment Strategies. The activities are only suggestions. The teacher has full creative freedom as to what theme, material, or artist/culture to focus on. The lessons can highlight one element such as shapes, or it may combine many of the elements and principals of design. It is the grade level objectives and concepts that need to be followed, the means of actualizing these goals is open to the teacher’s own personal style, interests and approach. In this document the objectives of each concept progress through the grade levels. A concept which may be introduced in first grade may be built upon and mastered by the end of Twelfth grade. The state goals for grades 2, 4, 6, 8, and 12 act as bench marks for mastery by the end of those grade levels. The teacher should be aware of these when creating lessons so that a strong foundation is developed and at each grade level the student’s knowledge and application of it is built upon.

Motivation for lessons can be derived from various sources. Art Prints, reproductions and artifacts are available through our existing collections. Other resources are the internet, photographs, books, magazines, and newspapers. Real objects, both natural and manmade, should be used as well. Museum web sites offer great visuals of their permanent collections as well as virtual tours of special exhibits. Keeping the resources age appropriate and relative to the student’s world will capture their interest and spark the enthusiasm necessary for self-expression.

Art Safety

To promote the early learning of good safety habits, teachers should discuss general safety rules and procedures in all art classes, beginning in kindergarten. As they introduce more complicated materials, tools and equipment in later grades, teachers should implement a more comprehensive program of art safety.




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BY THE END OF SEVENTH GRADE MODERN ART (8 weeks)

STATE STANDARDS 1.1.8.B.1 Analyze the application of the elements of music in diverse Western and

non-Western musical works from different historical eras using active listening and by reading and interpreting written scores.

1.1.8.B.2 Compare and contrast the use of structural forms and the manipulation of the elements of music in diverse styles and genres of musical compositions

1.2.8.A.1 Map historical innovations in dance, music, theatre, and visual art that were caused by the creation of new technologies.

1.2.8.A.2 Differentiate past and contemporary works of dance, music, theatre, and visual art that represent important ideas, issues, and events that are chronicled in the histories of diverse cultures.

1.2.8.A.3 Analyze the social, historical, and political impact of artists on culture and the impact of culture on the arts.

1.3.8.D.1 Incorporate various art elements and the principles of balance, harmony, unity, emphasis, proportion, and rhythm/movement in the creation of two- and three- dimensional artworks, using a broad array of art media and art mediums to enhance the expression of creative ideas (e.g., perspective, implied space, illusionary depth, value, and pattern).

1.3.8.D.2 Apply various art media, art mediums, technologies, and processes in the creation of allegorical, theme-based, two- and three-dimensional works of art, using tools and technologies that are appropriate to the theme and goals.

1.3.8.D.3 Identify genres of art (including realism, abstract/nonobjective art, and conceptual art) within various contexts using appropriate art vocabulary, and solve hands-on visual problems using a variety of genre styles.


1.3.8.D.4 Delineate the thematic content of multicultural artworks, and plan, design, and execute multiple solutions to challenging visual arts problems, expressing similar thematic content.

1.3.8.D.5 Examine the characteristics, thematic content, and symbolism found in works of art from diverse cultural and historical eras, and use these visual statements as inspiration for original artworks.

1.3.8.D.6 Synthesize the physical properties, processes, and techniques for visual communication in multiple art media (including digital media), and apply this knowledge to the creation of original artworks.

1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art.

http://www.state.nj.us/education/cccs/def/1/VPAeleofmusic.html

http://www.state.nj.us/education/cccs/def/1/VPAhe.html


http://www.state.nj.us/education/cccs/def/1/VPAam.html

http://www.state.nj.us/education/cccs/def/1/VPAmed.html









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1.4.8.A.2 Identify works of dance, music, theatre, and visual art that are used for utilitarian and non-utilitarian purposes.

1.4.8.A.3 Distinguish among artistic styles, trends, and movements in dance, music, theatre, and visual art within diverse cultures and historical eras.

1.4.8.A.4 Compare and contrast changes in the accepted meanings of known artworks over time, given shifts in societal norms, beliefs, or values.

1.4.8.A.5 Interpret symbolism and metaphors embedded in works of dance, music, theatre, and visual art.

1.4.8.A.6 Differentiate between “traditional” works of art and those that do not use conventional elements of style to express new ideas.

1.4.8.A.7 Analyze the form, function, craftsmanship, and originality of representative works of dance, music, theatre, and visual art.

1.4.8.B.1 Evaluate the effectiveness of a work of art by differentiating between the artist’s technical proficiency and the work’s content or form.

1.4.8.B.2 Differentiate among basic formal structures and technical proficiency of artists in works of dance, music, theatre, and visual art.

1.4.8.B.3 Compare and contrast examples of archetypal subject matter in works of art from diverse cultural contexts and historical eras by writing critical essays.

CRP1 Act as a responsible and contributing citizen and employee CRP2 Apply appropriate academic and technical skills CRP4 Communicate clearly and effectively and with reason CRP5 Consider the environmental, social and economic impacts of decisions CRP6 Demonstrate creativity and innovation CRP7 Employ valid and reliable research strategies CRP9 Model integrity, ethical leadership and effective management CRP11 Use technology to enhance productivity CRP12 Work productively in teams while using cultural global competence 8.1.8.A.1 Demonstrate knowledge of a real world problem using digital tools

8.1.8.A.3 Use and/or develop a simulation that provides an environment to solve a real world problem or theory

8.1.8.A.4 Graph and calculate data with a spread sheet and present a summary of the results

8.1.8.E.1 Effectively use a variety of search tools and filters in professional public databases to find information to solve real world problems

8.1.8.F.1 Explore a local issue, by using digital tools to collect and analyze data to find a solution and make an informed decision

9.1.8.A.1 Apply critical thinking and problem solving strategies during structured learning experiences

9.1.8.C.4 Demonstrate leadership and collaborative skills when participating in online communities and structured learning experiences

9.1.8.D.1 Interpret spoken and written communication within the appropriate cultural context

9.1.8.E.1 Create messages for different purposes and audiences with sensitivity to cultural, gender, and age diversity, using various digital media outlets




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9.1.8.F.2 Demonstrate a positive work ethic in various settings, including the classroom and during structured learning experiences

NJSLS RL.8.1. Cite the textual evidence and make relevant connections that most strongly supports an analysis of what the text says explicitly as well as inferences drawn from the text.

NJSLS SL.8.1. Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 8 topics, texts, and issues, building on others’ ideas and expressing their own clearly.

NJSLS SL.8.2. Analyze the purpose of information presented in diverse media and formats (e.g., visually, quantitatively, orally) and evaluate the motives (e.g., social, commercial, political) behind its presentation.

NJSLS SL.8.4. Present claims and findings, emphasizing salient points in a focused, coherent manner with relevant evidence, sound valid reasoning, and well-chosen details; use appropriate eye contact, adequate volume, and clear pronunciation.

NJSLS SL.8.5. Integrate multimedia and visual displays into presentations to clarify information, strengthen claims and evidence, and add interest.

NJSLS L.8.6. Acquire and use accurately grade-appropriate general academic and domain-specific words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression

BIG IDEAS/COMMON THREADS Through a developed understanding of aesthetics and the Elements and Principles of Art, art students become critical thinkers, who combine visual literacy and various mediums to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Cubism Students will identify and demonstrate fragmented form, simultaneous representation and multiple viewpoints on a 2D surface.

ESSENTIAL QUESTIONS PRIMARY: What is Cubism?

SECONDARY: How does Cubism influence artist and art today? What is fragmented form? What is simultaneous representation? What are multiple viewpoints? How does Analytic Cubism & Synthetic Cubism differ?

ASSESSMENT Artwork - Cubism still life drawing, 12x18 color pencil

• Cubism Rubric a. Strong composition b. Multiple View Points c. Shading (value) d. Proportion




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e. Proper Perspective Reading, Writing and Oral skills

a. Homework assignments: Cubism part & part two b. Reading Assignment - Scholastic Art: Cubism c. Class discussion: Cubism, Picasso and Braque, Differentiating

Analytic and Synthetic Cubism. d. Class critiques: Self-assessment and peer assessment

LESSON OBJECTIVE Students will be able to…

• explore historical background and artists involved in Cubism.

• apply aesthetic and critical criteria in evaluating Cubist works of art.

• differentiate Synthetic Cubism from Analytic Cubism.

• visually define: repetition, overlap, simultaneous representation, multiple viewpoints, abstraction, line, contour, and composition through various drawings techniques.

• create preliminary drawings focusing on accurate proportion and scale of objects and instruments, strong composition and value.

• draw instruments and objects from a still life in the third dimension.

• draw three different viewpoints simultaneously on a 2D surface using color pencil.

• visually break down musical instruments into simple geometric forms.

• apply value to their drawings through various shading techniques.

• develop fine motor skills through different drawing techniques.

LESSON SKILLS Students will able to…

• demonstrate various drawing techniques.

• use medium appropriately.

• visually apply new vocabulary.

• use the appropriate four steps of art criticism for constructive critiquing.

• use critical thinking skills in class discussions and writing assignments.

RESOURCES Page 282

MODIFICATIONS for IEP, 504, ELL, G&T, and At-Risk Students

• Reading resources will be provided to accommodate different reading levels.

• Students will be given options on types of products that will show mastery of a specific skill.

• Learning modules will contain learning resources, including but not limited to OneNote, videos, primary sources, PowerPoint, and Movie Maker.




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BY THE END OF SEVENTH GRADE

MODERN ART (8 Weeks)



1.1.8.B.2 Compare and contrast the use of structural forms and the manipulation of the elements of music in diverse styles and genres of musical compositions.


























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BIG IDEAS/COMMON THREADS

Through a developed understanding of aesthetics and the Elements and Principles of art, art students become critical thinkers, who combine visual literacy and various mediums to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Surrealism Students will identify and combine the element of surprise, unexpected juxtapositions, the subconscious, and the world of dream and fantasy to include the everyday rational world in a surreal reality on a 2D surface.

ESSENTIAL QUESTIONS PRIMARY: What is Surrealism? SECONDARY: How does Surrealism influence artists and art today? What is the element of surprise? What are unexpected juxtapositions? What is the subconscious? What is the visual outcome when we incorporate our everyday world with a world of dream and fantasy?

ASSESSMENT

Artwork – Surrealistic painting, 18” x 24” watercolor

• Surrealsim Rubric: a. Surreal visual devices b. Strong Composition c. Value (tint and shade) d. Watercolor techniques e. Overall neatness




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Reading, Writing and Oral skills a. Homework assignments: Surrealism b. Reading Assignment - Scholastic Art: Rene Magritte, Salvador Dali,

Frida Kahlo c. Class discussion: Surrealism, Compare & Contrast Surrealism and

Cubism, Rene Magritte, Salvador Dali, & Frida Kahlo. d. Class critiques: Self-assessment and peer assessment

LESSON OBJECTIVE Students will be able to…:

• explore historical background and artists involved in art movement Surrealism.

• apply aesthetic and critical criteria in evaluating Surrealist works of art.

• aesthetically break down the visual devices that produce a Surrealist work of art and orally discuss.

• recollect a dream that is particularly memorable in order to visualize an altered reality and to stimulate a “Surreal World” acting as a catalyst for inspiration for their Surreal painting.

• create preliminary drawings incorporating strong composition and surreal elements, and then complete a final drawing based on self, teacher and peer feedback to be used for their Surreal painting.

• apply Surrealist techniques to their own original work of art incorporating: the element of surprise, unexpected juxtapositions, and the subconscious, through various drawing and painting techniques.

• apply value to their painting through tinting and shading techniques.

• develop fine motor skills through different drawing and painting techniques.

• apply numerous painting techniques using the medium, watercolor.

• compare and contrast Cubism and Surrealism.

LESSON SKILLS Students will be able to…


• demonstrate various watercolor techniques.




• use critical thinking skills in class discussions and writing assignment

RESOURCES Page 282






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BY THE END OF SEVENTH GRADE MODERN ART ( 8 Weeks)





























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CRP1 Act as a responsible and contributing citizen and employee CRP2 Apply appropriate academic and technical skills CRP4 Communicate clearly and effectively and with reason CRP5 Consider the environmental, social and economic impacts of decisions CRP6 Demonstrate creativity and innovation CRP7 Employ valid and reliable research strategies CRP9 Model integrity, ethical leadership and effective management CRP11 Use technology to enhance productivity CRP12 Work productively in teams while using cultural global competence

8.1.8.A.1 Demonstrate knowledge of a real world problem using digital tools













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ENDURING UNDERSTANDINGS - Pop Art Students will identify and demonstrate themes and techniques drawn from popular mass culture, such as: advertisements, commercials, and everyday household objects, emphasizing kitschy elements stemming from the growth of materialism and consumerism in our society. In groups, students will create a three dimensional Pop art sculpture that targets a large audience.

ESSENTIAL QUESTIONS PRIMARY: What is Pop Art?

SECONDARY: How does Pop art influence artists and art today? What is popular mass culture and mass-produced? What is the goal of advertisements and/or commercials? What is the artist trying to achieve by changing the scale of an everyday household object? What is gimmicky? How did Pop artists “mock” fine arts?

ASSESSMENT

Artwork – A three dimensional Pop Art sculpture

• Pop Art Rubric: a. Group Involvement b. Scale and Proportion to the original product/object




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c. Application of Pop Art techniques: Slick lettering and logos, exact color reproduction, techniques of commercial art and popular illustration and exact product packaging.

d. Product/object choice e. Constructing, drawing and painting techniques

Reading, Writing and Oral skills a. Homework assignments: Pop Art b. Reading Assignment - Scholastic Art: Claes Oldenburg & Andy

Warhol and Roy Lichtenstein c. Class discussion: Pop Art, Claes Oldenburg, Andy Warhol, and Roy

Lichtenstein, Compare & Contrast: Pop Art, Expressionism, Surrealism and Cubism.

Class critiques: Self-assessment and peer assessment


• explore historical background and artists involved in art movement, Pop Art.

• apply aesthetic and critical criteria in evaluating Pop Art works of art.

• aesthetically break down the visual devices that produce a Pop Art work of art and orally discuss.

• create, in groups, a preliminary three dimensional “mini-sculpture” focusing on proportion and scale of their chosen product/object.

• assess their mini-sculpture for accurate proportion, scale and construction.

• create, in groups, a large scale version of their chosen product/object.

• apply Pop Art techniques to their own original Pop Art sculpture employing the following: precise construction of the product/object, slick lettering and logos, exact color reproduction, techniques of commercial art and popular illustration and exact product packaging through various constructing, and drawing & painting techniques.

• apply value to their sculptures through tinting and shading techniques with acrylic paint.

• develop fine motor skills through numerous constructing, drawing and painting techniques.

• compare and contrast Cubism, Surrealism, Expressionism and Pop Art.

• use three materials to construct their sculpture: Oak Tag, Newspaper and masking tape.



• demonstrate various painting techniques.

• construct a three dimensional sculpture.

• collaborate with peers to complete a group project.





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RESOURCES Page 282








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BY THE END OF SEVENTH GRADE MODERN ART ( 8 Weeks)




























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BIG IDEAS/COMMON THREADS Through a developed understanding of aesthetics and the Elements and Principles of art, art students become critical thinkers, who combine visual literacy and various mediums to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Expressionism

Students will identify and illustrate a world distorted under the pressure of intense personal moods, ideas, and emotions rather than depicting an external reality through a series of portraits using various media. Students will create a body of artwork that emphasizes subjective expression of their inner experiences.

ESSENTIAL QUESTIONS PRIMARY: What is Expressionism?

SECONDARY: How does Expressionism influence artists and art today? What is visual distortion? What is visual exaggeration? How does an artist apply vivid or intense color? What is the visual outcome when an artist applies intense color, agitated brushstrokes, and disjointed space? How do we depict the subjective emotions and responses that objects and events arouse in us rather than an objective reality?

ASSESSMENT

Artwork – A Book of portraits, 6 - 9” x 12” portraits encompassing written word




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• Expressionism Rubric: a. Expressionist visual devices b. Portraits demonstrate their subjective emotions c. Writing Component d. Drawing and painting techniques e. Overall presentation

Reading, Writing and Oral skills a. Homework assignments: Expressionism b. Reading Assignment - Scholastic Art: Edvard Munch & Vincent Van

Gogh c. Class discussion: Expressionism, Edvard Munch, and Vincent Van

Gogh, Compare & Contrast: Expressionism, Surrealism and Cubism.

d. Class critiques: Self-assessment and peer assessment


• explore historical background and artists involved in art movement Expressionism.

• apply aesthetic and critical criteria in evaluating Expressionist works of art.

• aesthetically break down the visual devices that produce an Expressionist work of art and orally discuss.

• create preliminary portraits focusing on proportion and scale of facial features.

• create spontaneous portraits that are highly subjective, personal, and self-expressive.

• apply distortion, exaggeration, and fantasy, through vivid, jarring, violent, or dynamic application of formal art elements.

• emphasize their subjective emotions, which override the actual appearance of things. To employ expression of their inner experiences rather than a realistic portrayal, seeking to depict not objective reality but the subjective emotions and responses that objects and events arouse in them much like the Expressionists did.

• apply Expressionist techniques to their own original work of art incorporating: exaggeration, distortion, vivid color, bold lines, monochromatic colors, warm and cool colors and strong value through various drawing and painting techniques.

• apply value to their portraits through tinting and shading techniques.

• develop fine motor skills through different drawing and painting techniques.

• apply visual emotional expression in their portraits through numerous painting techniques: paint dilution, intense brush stroke, intense color, warm and cool colors, and monochromatic colors.

• compare and contrast Cubism, Surrealism, and Expressionism.

• use a variety of different media including: black charcoal, white charcoal, water soluble oil pastels, oil pastels, watercolor, marker on newspaper and pencil.




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• create an accordion book encompassing their self portraits with written quotes, phrases, words or poems printed on vellum paper that will accompany each portrait.




• apply warm and cool colors, monochromatic colors, and intense colors.

• use new media appropriately.




RESOURCES Page 282








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BY THE END OF SEVENTH GRADE MODERN ART (8 Weeks)





























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ENDURING UNDERSTANDINGS - Op Art Students will identify and exploit the illusions or optical effects of perceptual processes in a series of two dimensional drawings.

ESSENTIAL QUESTIONS PRIMARY: What is Op Art?

SECONDARY: How does Op Art influence artists and art today? What is an optical illusion? How do we define abstract? What is the illusion of movement? What are optical effects? What is perception?

ASSESSMENT

Artwork – 6, 9” x 12” Op art drawings

• Pop Art Rubric: a. Neatness b. Six drawings completed c. Application of Op Art techniques d. Composition e. Accurate measurements with ruler.




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Reading, Writing and Oral skills a. Homework assignments: Op Art b. Reading Assignment - Scholastic Art: Victor Vasarely and Bridget

Riley c. Class discussion: Op Art, Victor Vasarely and Bridget Riley,

Compare & Contrast: Op Art, Pop Art, Expressionism, Surrealism and Cubism.

d. Class critiques: Self-assessment and peer assessment


• explore historical background and artists involved in art movement, Op Art.

• apply aesthetic and critical criteria in evaluating Op Art works of art.

• visually define the following words: Perception, optical, illusion, reality, geometric, repetition, recede, advance, positive and negative space, parallel lines through various seeing and drawing techniques.

• aesthetically break down the visual devices that produce an Op Art work of art and orally discuss.

• apply mathematic skills while using a ruler for accurate measurements.

• create a series of drawings encompassing visual illusions through the use of pattern and line.

• apply Op Art techniques to their series of two dimensional drawings: illusion of movement, pattern, geometric abstraction, vibration, and hidden images through various drawing techniques.

• develop fine motor skills through numerous drawing techniques.

• compare and contrast Cubism, Surrealism, Expressionism Pop Art and Op Art.



• accurately measure using a ruler and a compass.





RESOURCES Page 282

MODIFICATIONS for IEP, 504, ELL, G&T, and At-Risk Students • Reading resources will be provided to accommodate different reading levels.


http://en.wikipedia.org/wiki/Victor_Vasarely

http://en.wikipedia.org/wiki/Bridget_Riley

http://en.wikipedia.org/wiki/Bridget_Riley




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BY THE END OF EIGHTH GRADE








1.3.8.D.1 Incorporate various art elements and the principles of balance, harmony, unity, emphasis, proportion, and rhythm/movement in the creation of two- and three- dimensional artworks, using a broad array of art media and art

mediums to enhance the expression of creative ideas (e.g., perspective, implied space, illusionary depth, value, and pattern).






















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ENDURING UNDERSTANDINGS - Photorealism Richard Estes - Students will discover linear perspective and create a one point perspective watercolor painting. The painting will illustrate a fantasy reality that will encompass remarkably intricate detail and proper perspective, thus creating a somewhat believable realistic scene.

ESSENTIAL QUESTIONS PRIMARY: How do we draw three dimensional objects on a two dimensional surface? What is Photorealism? SECONDARY: How does Photorealism influence artists and art today? When do you think linear perspective came to fruition? How did perspective influence the art world? What defines a landscape? What connections can you make between the Renaissance artists and the twentieth century artists who employed linear perspective?

ASSESSMENT

Artwork – An 18” x 24” fantasy interior space painting

• Photorealism - One Point Perspective: a. One point perspective b. Scale and proportion




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c. Creativity d. Watercolor techniques e. Value

Reading, Writing and Oral skills a. Homework assignments: Richard Estes, Fantasy room b. Reading Assignment - Scholastic Art: Perspective c. Technology Infusion – A step –by – step interactive tutorial that

demonstrates one point perspective through the use of the computer. An Internet website that allows students to design the layout of their room.

d. Class discussion: The Renaissance Era, Photorealism, Richard Estes, and one point perspective.

e. Class critiques: Self-assessment and peer assessment


• explore historical background and artists involved in the Renaissance Era.

• apply aesthetic and critical criteria in evaluating Renaissance paintings that employed linear perspective.

• aesthetically break down the visual devices of one point perspective and orally discuss.

• explore historical background and artists involved in art movement Photorealism.

• apply aesthetic and critical criteria in evaluating Photorealist works of art.

• aesthetically break down the visual devices that produce a Photorealist work of art and orally discuss.

• make the connection between linear perspective and artists of the Renaissance Era with Richard Estes of the twentieth century.

• use interactive websites on one point perspective and room designs to guide them through the basic fundamentals of perspective and room design.

• demonstrate and develop ruler skills in employing the rules of perspective.

• complete a series of preliminary one point perspective drawings.

• learn and visually demonstrate the following: composition, proportion, scale, orthogonal lines, vanishing point, horizon line, and receding, through various drawing techniques.

• develop fine motor skills through various drawing techniques.

• create a fantasy interior space in watercolor using one point perspective.

• apply values and create values using various painting techniques.

• develop contrast through shading, highlighting and creating tones.

• formulate color selections/color schemes for their interior room based on prior knowledge of the color wheel.





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• apply the “rules of perspective”.

• demonstrate contrast and value.

• illustrate knowledge of one point perspective using a ruler.

• use Internet tutorials.




RESOURCES Page 282








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1.4.8.A.1 Generate observational and emotional responses to diverse culturally and historically specific works of dance, music, theatre, and visual art .














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ENDURING UNDERSTANDINGS - Photorealism Chuck Close - Students will identify that photorealists consciously took their cues from photographic images, often working very systematically from photographic slide projections onto canvases and using techniques such as gridding to preserve accuracy. Students will then create a 2D drawing with intense value involving thorough reproduction of detail working from a self portrait photograph.

ESSENTIAL QUESTIONS PRIMARY: What is Photorealism?

SECONDARY: How does Photorealism influence artists and art today? How do we differentiate a portrait from a self portrait? Why would artists want to employ the grid method for their artwork? How do we define photographic? How does an artist apply value with just a pencil? Why would an artist want to recreate a photograph – what is their purpose?

ASSESSMENT

Artwork – A 16” x 20” self portrait pencil drawing with intense value




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• Photorealism: Self Portrait Rubric: a. Photo resemblance b. Application of grid system c. Value d. Proportion and scale e. Drawing techniques

Reading, Writing and Oral skills a. Homework assignments: Photorealism b. Reading Assignment - Scholastic Art: Chuck Close c. Class discussion: Photorealism, Chuck Close, and compare &

contrast: Richard Estes & Chuck Close. d. Class critiques: Self assessment and peer assessment


• explore historical background and artists involved in art movement Photorealism.

• apply aesthetic and critical criteria in evaluating Photorealist works of art.

• aesthetically break down the visual devices that produce a Photorealist work of art and orally discuss.

• use a camera to take several self-portraits showing high contrast to use as a reference for their drawing.

• demonstrate mathematic skills in creating a grid.

• develop skills in enlarging a composition using the grid system.

• study proportion and scale.

• apply values and create values using various drawings techniques.

• develop contrast through shading, highlighting and creating tones.

• learn and visually demonstrate the following: balance, composition, proportion, contrast, emphasis, unity, detail, and value through various drawing techniques.


• compare and contrast Photorealist, Richard Estes and Chuck Close.




• use a ruler to create a grid.



• use critical thinking skills in class discussions and writing assignments. RESOURCES Page 282




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1.3.8.D.3 Identify genres of art (including realism, abstract/nonobjective art, and conceptual art) within various contexts using appropriate art vocabulary, and solve hands-on visual problems using a variety of genre styles


















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ENDURING UNDERSTANDINGS - Social Realism

Students will discover and develop an awareness of societal issues in today’s society. Students will depict an issue of importance to help generate activism through the process of printmaking.

ESSENTIAL QUESTIONS PRIMARY: How do we define social issues? What are some social issues of today? SECONDARY: How do Social Realists influence artists and art today? How do artists target large audiences? How do Social Issues influence society and the world we live in?

ASSESSMENT

Artwork – A series of prints

• Social Realism - Printmaking: a. Depiction of social issue b. Strong composition c. Value d. Line quality e. Color Variation in the series of prints




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Reading, Writing and Oral skills a. Homework assignments: Social Realism b. Reading Assignment - Scholastic Art: Keith Haring c. Class discussion: Social Realism, Keith Haring, and compare and

contrast Photorealism and Social Realism. d. Class critiques: Self-assessment and peer assessment


• explore historical background and artists involved in Social Realism.

• apply aesthetic and critical criteria in evaluating a Social Realist work of art.

• aesthetically break down the visual devices of a Social Realist work of art and orally discuss.

• choose a social issue of significant importance and complete a series of preliminary sketches depicting their issue.

• apply and demonstrate: line quality, composition and concept.


• apply fine motor skills through the printmaking process.

• create values by varying their line quality.

• apply knowledge of complementary colors and monochromatic colors.

• discover their own internal voices and viewpoints.



• demonstrate various printmaking techniques.


• use medium appropriately




RESOURCES Page 282







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MODERN ART ( 8 Weeks)





























44























45










ENDURING UNDERSTANDINGS - Dada

Students will discover the absurd and playful and the emotive and intuitive by creating a visual pun using Photoshop Elements.

ESSENTIAL QUESTIONS PRIMARY: What is Dada? How do we define a pun?

SECONDARY: How does Dada influence artists and art today? What is the difference between a pun and a visual pun? How do we provoke thought about artistic processes? How will the audience discover the playful and absurd without using words?

ASSESSMENT

Artwork – A digital file

• Dada – Visual Puns: a. Depiction of saying, phrase or compound word b. Strong composition c. Application of Photoshop Elements d. Visual Humor/The Absurd




46

e. Three layers minimum Reading, Writing and Oral skills

a. Homework assignments: Dadaism b. Reading Assignment - Scholastic Art: Marcel Duchamp c. Class discussion: Dadaism, Marcel Duchamp, and compare and

contrast Photorealism, Social Realism, Dadaism. d. Class critiques: Self-assessment and peer assessment


• explore historical background and artists involved in Dadaism.

• apply aesthetic and critical criteria in evaluating a Dada work of art.

• aesthetically break down the visual devices of a Dada work of art and orally discuss.

• create a visual pun by combining images that are not related to the pun itself.

• learn the fundamentals of the computer program, Adobe Photoshop Elements.

• apply knowledge of Adobe Photoshop Elements in creating their visual pun.

• communicate the implied meaning of the (saying, phrase or compound word) through creatively combining images using Adobe Photoshop Elements.

• develop their computer skills.

• apply and visually demonstrate: strong composition, humor, and the absurd.

• discover that the concept behind the artwork is just as important as the actual artwork.


• demonstrate computer knowledge.

• demonstrate knowledge Photoshop Elements.

• illustrate strong composition, visual humor and the absurd.

• demonstrate proper use of media.

• use the four steps of art criticism for constructive critiquing.

• use critical thinking in class discussions and writing assignments.

RESOURCES Page 282








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BY THE END OF TWELFTH GRADE

PAINTING (6 Weeks)

STATE STANDARDS 1.1.12.D.1 Distinguish innovative applications of the elements of art and principles of

design in visual artworks from diverse cultural perspectives and identify specific cross-cultural themes.

1.1.12.D.2 Translate literary, musical, theatrical, and dance compositions by using them as stimulus/inspiration for corresponding visual artworks.

1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced world cultures throughout history.

1.2.12.A.2 Justify the impact of innovations in the arts (e.g., the availability of music online) on societal norms and habits of mind in various historical eras.

1.3.12.D.1 Synthesize the elements of art and principles of design in an original portfolio of two- and three-dimensional artworks that reflects personal style and a high degree of technical proficiency and expressivity.

1.3.12.D.2 Produce an original body of artwork in one or more art mediums that demonstrates mastery of visual literacy, methods, techniques, and cultural understanding.

1.3.12.D.5 Identify the styles and artistic processes used in the creation of culturally and historically diverse two- and three-dimensional artworks, and emulate those styles by creating an original body of work.

1.3.12.D.3 Organize an exhibit of personal works of visual art that convey a high level of understanding of how the expression of ideas relates to the art media, art mediums, and techniques used.

1.3.12.D.4 Analyze the syntax and compositional and stylistic principles of two- and three-dimensional artworks in multiple art media (including computer-assisted artwork), and interpret themes and symbols suggested by the artworks.

1.4.12.A.1 Use contextual clues to differentiate between unique and common properties and to discern the cultural implications of works of dance, music, theatre, and visual art.

1.4.12.A.2 Speculate on the artist’s intent, using discipline-specific arts terminology and citing embedded clues to substantiate the hypothesis.

1.4.12.A.3 Develop informed personal responses to an assortment of artworks across the four arts disciplines (dance, music, theatre, and visual art), using historical significance, craftsmanship, cultural context, and originality as criteria for assigning value to the works.

1.4.12.A.4 Evaluate how exposure to various cultures influences individual, emotional, intellectual, and kinesthetic responses to artwork.

1.4.12.B.1 Formulate criteria for arts evaluation using the principles of positive critique and observation of the elements of art and principles of design, and use the

http://www.state.nj.us/education/cccs/def/1/VPAeleofart.html

http://www.state.nj.us/education/cccs/def/1/VPAprinofdesign.html




http://www.state.nj.us/education/cccs/def/1/VPAvisualliter.html



http://www.state.nj.us/education/cccs/def/1/VPAdisspecificartster.html




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criteria to evaluate works of dance, music, theatre, visual, and multimedia artwork from diverse cultural contexts and historical eras.












NJSLS RNJSLS L.11-12.1. Cite strong and thorough textual evidence and make relevant connections to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.

NJSLS RI.11-12.3. Analyze a complex set of ideas or sequence of events and explain how specific individuals, ideas, or events interact and develop over the course of the text.

NJSLS RI.11-12.7. Integrate and evaluate multiple sources of information presented in different media or formats (e.g., visually, quantitatively) as well as in words in order to address a question or solve a problem.

NJSLS W.11-12.NJSLS 9. Draw evidence from literary or informational texts to support analysis, reflection, and research

NJSLS SL.11-12.1. Initiate and participate effectively in a range of collaborative





49

discussions (one-on- one, in groups, and teacher-led) with peers on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

NJSLS SL.11-12.2. Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, qualitatively, orally) evaluating the credibility and accuracy of each source.

NJSLS SL.11-12.3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, assessing the stance, premises, links among ideas, word choice, points of emphasis, and tone used.

NJSLS SL.11-12.4 Present information, findings and supporting evidence clearly, concisely, and logically. The content, organization, development, and style are appropriate to task, purpose, and audience

NJSLS L.11-12.6. Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.



ENDURING UNDERSTANDINGS - Acrylic Paint The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS PRIMARY: What is acrylic paint? What tools are used with Acrylic paint? What surfaces are used with Acrylic paint? What are the different properties Acrylic paint?

SECONDARY: How Is Acrylic paint used in the creation of a piece of art? How do tools effect the creation of the piece of art? How do the unique qualities of Acrylic paint create different results in the production of a piece of art?

ASSESSMENT

• Use of materials in individual works of art.

• Sketchbook documentation

• Written and or verbal class critiques.

• Self-evaluation.

• Teacher / student evaluation.

• Produce art work reflecting various styles of artist both traditional and contemporary




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• Stretch a canvas.


• identify the paint colors by proper names.

• learn how to mix colors to create new individual colors.

• discover the unique qualities of the different paints, tools, and surfaces.

• identify and reproduce the styles of traditional and contemporary artists.

• create art reflecting original personal expression.

• defend their ideas through written and verbal evaluations.

• learn how to respect their tools through proper care and up keep.

• become a productive participant in a art studio environment.

• learn to stretch a canvas.


• create and paint original, expressive pieces of art influenced by the style of several different master painters.

• discuss how today’s art is influenced by the master painters of the past.

• demonstrate how tools and materials affect a painting through the creation of a piece of art.

• demonstrate personal philosophy in the creation of a piece of art.

RESOURCES Page 282








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BY THE END OF TWELFTH GRADE PAINTING ( 6 Weeks)















1.4.12.B.1 Formulate criteria for arts evaluation using the principles of positive critique and observation of the elements of art and principles of design, and use the criteria to evaluate works of dance, music, theatre, visual, and multimedia artwork from diverse cultural contexts and historical eras.














52















NJSLS SL.11-12.1. Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with peers on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.




53







ENDURING UNDERSTANDINGS - Watercolor paint The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS PRIMARY: What is watercolor paint? What tools are used with watercolor paint? What surfaces are used with watercolor paint? What are the different properties of watercolor paint? What are the techniques used with watercolor paint? SECONDARY: How are watercolor paints used in the creation of a piece of art? How do various tools effect the creation of a piece of art? How are watercolors used to create different results in a piece of art? How do the unique qualities of watercolor create different results in the production of a piece of art?

ASSESSMENT

• Use of materials in original individual works of art.

• Sketchbook documentation.




• Identify various styles of artist both traditional and contemporary.




54



• learn how to mix colors to create new individual colors







• create an original expressive piece of art influenced by the different styles of master painters.


• show how tools and materials affect a painting through the creation of a piece of art.

• show how personal philosophy affects a piece of art through the creation of a piece of art.

• stretch and prepare watercolor paper.

• prepare watercolor paints for use.

• paint using several watercolor techniques. RESOURCES Page 282








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BY THE END OF TWELFTH GRADE PAINTING ( 7 Weeks)



























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ENDURING UNDERSTANDINGS - Gouache Paint The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS PRIMARY: What is Gouache paint? What tools are used with Gouache paint? What surfaces are used with Gouache paint? What are the different properties of Gouache paint? SECONDARY: How is this paint used in the creation of a piece of art? How do various tools effect the creation of a piece of art? How do different paints create different results in a piece of art? How do the unique qualities of these different paints create different results in the production of a piece of art?

ASSESSMENT







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• Self evaluation.











• prepare the surface to be painted on.

LESSON SKILLS

Students will be able to…

• create and paint original, expressive pieces of art influenced by the style of master painters.

• discuss how today’s art is influenced by the master painters of the past?

• show how tools and materials affect a painting through the creation of a piece of art.

• create a piece of art using Gouache paint. RESOURCES Page 282








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BY THE END OF TWELFTH GRADE PAINTING (7 Weeks)

STATE STANDARDS

1.1.12.D.1 Distinguish innovative applications of the elements of art and principles of design in visual artworks from diverse cultural perspectives and identify specific cross-cultural themes.

























60




















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ENDURING UNDERSTANDINGS - Oil Paint The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS PRIMARY: What is Oil paint? What tools are used with Oil paint? What surfaces are used with Oil paint? What are the different properties of Oil paint? SECONDARY: How is Oil paint used in the creation of a piece of art? How do tools effect the creation of a piece of art? How do different paints create different results in a piece of art? How do the unique qualities of Oil paint create different results in the production of a piece of art?

ASSESSMENT




• Self evaluation.





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• prepare the surface for paint.





• demonstrate personal philosophy in the creation of a piece of art. RESOURCES Page 282








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BY THE END OF TWELFTH GRADE PAINTING (5 Weeks)

STATE STANDARDS


























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ENDURING UNDERSTANDINGS - Oil Pastel Paint The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS PRIMARY: What is Oil Pastel paint? What tools are used with Oil Pastel paint? What surfaces are used with Oil Pastel paint? What are the different properties of Oil Pastel paint? SECONDARY: How is Oil Pastel paint used in the creation of a piece of art? How do tools effect the creation of a piece of art? How do different paints create different results in a piece of art? How do the unique qualities of Oil Pastel paint create different results in the production of a piece of art?

ASSESSMENT









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LESSON OBJECTIVE













RESOURCES Page 282








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BY THE END OF TWELFTH GRADE

HONORS ART MAJOR (8 Weeks)

STATE STANDARDS



























68



















69







ENDURING UNDERSTANDINGS - College Entrance Portfolio Artists produce a body of work to show their understanding of the Elements and Principles of Design using original ideas in a variety of mediums.

ESSENTIAL QUESTIONS PRIMARY: What is a college entrance portfolio? How can a student artist produce a coherent body of work? SECONDARY: How can a student artist express their views and ideas to produce a quality college entrance portfolio?

ASSESSMENT • Self-reflective sketch book / journal entries discussing their work and the

process (self critiques).

• Classroom oral and/or written critique incorporating the elements and principals of design to evaluate how to look at a piece of art work.

• Student produced art work responding to the class assignments which reflect a variety of mediums and subject.

• Teacher /student critiques


• discuss different art theories from the prerequisite courses.

• identify traditional and non-traditional uses of materials.




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• identify styles of art used in works from a variety of historical periods and incorporate them into their work.

• identify various professions/careers.

• research colleges with art programs and Art Schools.

• keep a sketch book that reflects personal ideas, creative thinking, responses to art work from museums, galleries, art shows, other students, media, etc.

• visit museums, galleries and art shows to keep current with contemporary works.

• record their reaction to what they have seen that concern issues pertaining to visual art and visual literacy.

• produce 15 – 20 quality original pieces of art.

LESSON SKILLS


• apply traditional and non-use of materials to their art work.

• apply styles of art from a variety of historical periods into their art.

• self critique using an advanced vocabulary of art.

• participate in class critique using an advanced vocabulary of art.

• create advanced quality 2-D and 3-D pieces of art.

• create a college entrance portfolio

• critique their work with the teacher. RESOURCES Page 282








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BY THE END OF TWELFTH GRADE HONORS ART MAJOR (6 Weeks)

STATE STANDARDS


























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ENDURING UNDERSTANDINGS - The Genres of Art – Portraiture Artwork can be categorized into genres. Portraiture is a genre of art.

ESSENTIAL QUESTIONS PRIMARY: What is a portrait? SECONDARY: How is a portrait created in art? What different styles or movements have influenced portraits? How is color symbolically used in portraiture? What is the purpose of the portrait?

ASSESSMENT • Self-reflective journal entries on portrait symbols, themes & techniques

• Multimedia presentation using the four steps of art criticism of teacher assigned portraits from the history of art

• Student produced self-portraits


• distinguish between the genres of art.

• identify portraits and their historical purpose.




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• discuss symbolic color use in famous portraits.

• compare and contrast western and non-western portraits from the history of art.

• identify Elements of Art and Principles of Design in famous portraits.

• determine how portraiture has evolved through history.

• draw relationships between historic events and trends in still life (not portraiture).

• use composition skills when creating portraits.

• determine how style and color affects portraits.

• apply general proportion methods when creating portraits.

• use design vocabulary and the four steps of art criticism when critiquing portraits.

• create a multimedia or oral presentation highlighting a portrait from history.

• write journal entries that encourages self reflection and improve achievement.

• write journal entries that elicit new ideas and creative thinking.

• read various articles that concern issues pertaining to visual art and visual literacy.

• connect journal articles to classroom learning.


• create a self portrait.

• use a developed vocabulary when critiquing artwork.

• present a portrait and identify its purpose, symbols and other significant facts. RESOURCES Page 282








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BY THE END OF TWELFTH GRADE HONORS ART MAJOR ( 5 Weeks)

STATE STANDARDS


























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ENDURING UNDERSTANDINGS - The Genres of Art – Still Life Artwork can be categorized into genres. Still Life is a genre of art.

ESSENTIAL QUESTIONS PRIMARY: What is a still life? SECONDARY: What is the purpose of a still life? How is a still life different than a portrait? How is a still life similar to a portrait?

ASSESSMENT

• Self-reflective journal entries on composition and still life techniques

• Response writings on current issues in art

• Oral presentation or written critique of teacher assigned still lifes from the history of art

• Student produced still lifes



• identify still lifes and their purpose.




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• use the Elements of Art, Principles of Design and composition skills when creating still lifes.

• draw relationships between historic events and trends in portraiture.

• determine how style and color affects still lifes.

• determine the best tools to use when creating still lifes.

• compare and contrast western and non-western still life samples from the history of art.

• identify traditional techniques used in still lifes from the history of art.

• identify stylistic characteristics in sample still lifes.

• use design vocabulary when critiquing still lifes.

• apply the four steps of art criticism.






• create a still life.

• participate in group critique of sample still lifes and student work.

• present a still life from the history of art as assigned by teacher. RESOURCES Page 282








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STATE STANDARDS


























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ENDURING UNDERSTANDINGS - The Genres of Art – Landscape/Seascape

Artwork can be categorized into genres. Landscape/Seascape is a genre of art.

ESSENTIAL QUESTIONS

PRIMARY: What is a landscape/seascape? SECONDARY: How is a landscape/seascape different from the other genres of art? How is a landscape/seascape similar to the other genres of art?

ASSESSMENTS • Journal writing of teacher assigned “scapes” or artistic movements (i.e. The

Hudson River School) from the history of art

• Self-reflective journal entries

• Written or oral critique of “scapes” from the history of art

• Student produced “scapes”

LESSON OBJECTIVES Students will be able to…


• create artwork in response to literary work.




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• identify landscapes/seascapes and their purpose.

• determine how style and color affects “scapes”.

• compare and contrast western and non-western landscapes.

• use design vocabulary when critiquing “scapes”.

• use the four steps of art criticism.






• use a developed vocabulary when critiquing artwork.

• create a “scape” in response to a literary work.

• present a “scape” from the history of art as assigned by teacher. RESOURCES Page 282








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STATE STANDARDS


























84




















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ENDURING UNDERSTANDINGS - Three Dimensional Design Three dimensional works of art can be viewed from all sides and rely on an understanding of form.

ESSENTIAL QUESTIONS

PRIMARY: What is three dimensional design? How is working three dimensionally similar to working two dimensionally? How is it different? How do we apply the Elements of Art and Principles of Design when working three dimensionally? SECONDARY: What must be considered when working three dimensionally? What materials are used in three dimensional works of art?

ASSESSMENTS

• Self-reflective journal entries on three dimensional art tools and techniques

• Participation in written or oral critique

• Student produced 3 dimensional artwork





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• discuss different techniques for three dimensional design.

• work three dimensionally when creating artwork.

• explore different materials for working three dimensionally.

• apply the Elements of Art and Principles of Design when creating artwork.

• discuss famous artists and their work.

• identify techniques used in famous works of art.

• critique three dimensional work using design vocabulary.

• explore different mediums & techniques.

• identify relationships between various art techniques and cultural heritage.






• read current articles and develop critical thinking skills regarding three dimensional design.

• write reaction essays using design vocabulary.

• create three dimensional artwork that uses the Elements of Art and Principles of Design.

• participate in group critique using the four steps of art criticism. RESOURCES Page 282








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BY THE END OF TWELFTH GRADE ADVANCED PLACEMENT STUDIO ART (8 Weeks)

STATE STANDARDS


























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ENDURING UNDERSTANDINGS Artists produce a body of work to show their understanding of the Elements and Principles of Design using original ideas in a variety of mediums.

ESSENTIAL QUESTIONS

PRIMARY: What is an AP Studio Art concentration? How can a student /artist formulate their ideas for their concentration? SECONDARY: How can a student /artist express their views and ideas to fill the AP Studio Art requirements? How can a student/artist manage their time? How does a student/artist select materials that best express their ideas?

ASSESSMENTS

• Self-reflective sketch book / journal entries discussing their work and the process (self critiques).

• Class room oral and/or written critique incorporating the elements and principals of design to evaluate how to look at a piece of art work.

• Student produced art work responding to student’s ideas.

• Summer assignment critique.





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• Time management journal.

• Teacher evaluation


• identify student/ artist’s main idea for their concentration.

• formulate a time management journal.

• examine traditional and non-traditional materials that will best express the student/artist’s ideas.

• differentiate between styles of art used in works from a variety of historical periods that may be reflected in their concentration.

• apply domain specific terminology in a sketch book that encourages personal ideas, creative thinking, responses to art work from museums, galleries, art shows, other students, media, etc.


• produce 12 original pieces of art reflecting a strong underlying visual theme.


• apply materials in traditional and non-traditional ways to their art work.

• apply styles of art from a variety of historical periods in their art.


• participate in class critique applying domain specific terminology.

• create advanced quality 2-D of art.

• critique their work with the teacher.

• develop organizational skills

• develop time management skills RESOURCES Page 282








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STATE STANDARDS


























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ESSENTIAL QUESTIONS

PRIMARY: What is the Breath section of the AP Studio Art Course? How can a student /artist formulate their ideas for this section? SECONDARY: How can a student /artist express their views and ideas to fill the AP Studio Art requirements? How can a student/artist manage their time? How does a student/artist select materials that best express their ideas?

ASSESSMENTS









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• identify student/ artist’s main idea for the breath section.






• produce 12 original pieces of art demonstrating a variety of concepts and approaches in 2-D design.




• self-critique using an advanced vocabulary of art.


• create advanced quality 2-D and or 3-D pieces of art.


• develop organizational skills

• develop time management skills RESOURCES Page 282








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STATE STANDARDS


























96




















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ESSENTIAL QUESTIONS

PRIMARY: What is the Quality section of the AP Studio Art Course? How can a student /artist formulate their ideas for this section? SECONDARY: How can a student /artist express their views and ideas to fill the AP Studio Art requirements? How can a student/artist manage their time? How does a student/artist select materials that best express their ideas?

ASSESSMENTS








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• identify student/ artist’s main idea for the quality section.






• produce 5 original top quality pieces of art no larger than 18 x 24 demonstrating the mastery of design, concept, composition and execution.






• create advanced quality 2-D of art.


• develop organizational skills.

• develop time management skills.

RESOURCES Page 282








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BY THE END OF TWELFTH GRADE ADVANCED ART PROJECT ( 5 Weeks)

STATE STANDARDS


























100




















101







ENDURING UNDERSTANDINGS

Each learning experience will be tailored to the needs of each Advanced Art Project student; however, the student will understand how to produce independent work(s) using the skills and content learned in Art Department courses previously enrolled.

RESOURCES Page 282








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River Dell Regional School District Department of Visual Arts Advanced Art Project Proposal Steps: 1. When a student would like to request an Advanced Art Project in Visual Arts, he/she must obtain a copy of the Request for Advanced Art Project Recommendation Sheet and packet from his/her guidance counselor. 2. The student writes a letter to describe the proposal for his/her Advanced Art Project. In this letter, the student should explain the proposed focus of the project, how he/she is capable of satisfactorily completing its requirements, and the culminating project(s) for assessment. 3. To accompany the letter, the student creates a portfolio of artwork. The student must complete the attached Student Portfolio Guideline sheet. 4. The student submits the Request Form, the proposal letter, and the portfolio to his/her current Art Department teacher. The current teacher completes the Analysis of Work Habits Rubric and attaches it to the packet. 5. The current Art Department teacher provides all three elements to the members of the Art Department Advanced Art Project Panel. The Art Department Panel reviews the completed packet with the student, and suggests any revisions to the proposal. The student takes suggestions and makes any alterations to the original proposal. If the panel accepts the student proposal, the student completes the Art Department Advanced Art Project Agreement form. This form, signed by the members of the Art Department Panel, requires the signatures of both the student and parent. 6. The signed agreement is then provided to the Principal. From this signed agreement, the Principal determines whether a request for placement in Independent Study is approved or is denied. That determination is presented to student’s counselor. The Principal informs the student of the determination. 7. Upon approval, the guidance counselor places the Independent Study in the student’s schedule. The guidance counselor maintains a copy of the agreement in the student’s file.




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River Dell Regional School District Department of Visual Arts Request for Advanced Art Project Recommendation Sheet Student__________________________________________ Grade __________ Student Signature____________________________________ Date ___________ Parent/Guardian Name_________________________________ Parent/Guardian Signature______________________________ Date __________ Guidance Counselor __________________________________ Current TV Studies Teacher____________________________ Level __________ Student should describe in detail the proposed focus for Advanced Art Project, how he/she is capable of satisfactorily completing the requirements and the culminating project(s) that will be used for assessment. A relevant portfolio as described on the Student Portfolio Guidelines sheet must accompany all Advanced Art Project Proposal letters. Attach your letter and portfolio to this form, then submit them to your guidance counselor as soon as possible. Only those requests that meet the requirements according to the directions provided above will be reviewed. NO REQUESTS WILL BE ACCEPTED AFTER __________________. Thank you.




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River Dell Regional School District Department of Visual Arts Student Portfolio Guidelines Students requesting Advanced Art Project placement must submit a portfolio for review. This portfolio is intended to demonstrate ability in production. Select artwork that best demonstrates your abilities. A minimum of two pieces of artwork is required and must be course related work. Return this form with the selected artwork. Sample 1: Please summarize what the artwork is, your process in the piece and why you have chosen it as your best representation of abilities: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ Sample 2: Please summarize what the artwork is, your process in the piece, and why you have chosen it as your best representation of abilities: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________




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Analysis of Work Habits Rubric

To Teacher: Please complete the following rubric regarding the prospective Advanced Art Project student. Your input about the student is an important element in this review.

STUDENT NAME: _________________________________________________

1 2 3 4 Score

Rarely completes class assignments

Occasionally completes class assignments (50%)

Frequently completes class assignments (80%)

Consistently completes class assignments (100%)

Rarely prepared for class

Occasionally prepared for class (50%)

Frequently prepared for class (80%)

Consistently prepared for class (100%)

Rarely prompt for class

Occasionally prompt for class (50%)

Frequently prompt for class (80%)

Always prompt for class (100%)

Rarely completes homework assignments

Occasionally completes homework assignments (50%)

Frequently completes homework assignments (80%)

Consistently completes homework assignments (100%)

Rarely asks for clarification when confused

Occasionally asks for clarification when confused

Frequently asks for clarification when confused

Always asks for clarification when confused

Rarely participates in class

Occasionally participates in class

Frequently participates in class

Consistently participates in class

Rarely cooperates with peers

Occasionally cooperates with peers

Frequently cooperates with peers

Consistently cooperates with peers

Rarely Organizes material or academic success

Occasionally Organizes material for Academic success

Frequently Organizes material for Academic success

Consistently Organizes material for academic success

Minimal respect for authority

Limited respect for authority

Frequent respect for authority

Respect for Authority

TOTAL

Teacher Name: __________________________________ Date: ____________ Current Art Courses: _____________________________




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River Dell Regional School District Department of Visual Arts

Principal Review of Advanced Art Project Placement Request Student___________________________________ Date__________ Counselor_________________________________ Grade_________ ITEMS REVIEWED To Principal: Indicate source(s) of data reviewed. Teacher Commentary __________________________________________________________ Course History __________________________________________________________ Grade History __________________________________________________________ Other __________________________________________________________ Counselor Commentary __________________________________________________________ __________________________________________________________ Art Department Panel comments __________________________________________________________ __________________________________________________________ __________________________________________________________ Date of Student Interview: _________ In attendance: ______________________________________________ NO REQUESTS WILL BE ACCEPTED AFTER _____________. Principal’s determination: ________Approved ________Denied Principal’s Signature: _________________________________ Date: _________ This form should be returned to student’s guidance counselor for processing.




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River Dell Regional School District Department of Visual Arts

Advanced Art Project Agreement Student Name: _______________________________ Student Grade: ________ *Designated Teacher Supervisor:___________________________ Period: _______ Days: __________ Time: _________ Location: _____________ Duration of Course: Beginning Month_____________ Ending Month__________ Credit: Yes______ No_______ Amount: _______ Grading System: Pass/Fail_______________ Numerical Grade: _____________ (Must select one) Frequency: Quarterly__________ Semester ________ Yearly________ (Must select one) *The supervising teacher will assess the student based on the tasks as outlined in the Advanced Art Project proposal. Final culminating projects may be subject to change pending panel approval. Signature of Agreement Student: _________________________________________ Parent/ Guardian __________________________________ Teacher Supervisor_________________________________




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BY THE END OF TWELFTH GRADE PHOTOGRAPHY I (8 Weeks)

STATE STANDARDS


























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Through a developed understanding of aesthetics and the elements and principles of art, Photo students become critical thinkers, who combine visual literacy and an understanding of the medium of photography to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - World Cultures, History and Society

Photography plays a prominent role in cultures in the contemporary world.

ESSENTIAL QUESTIONS

PRIMARY: How does photography reflect the history and culture of a society? How does photography differ from other art forms in reflecting the culture of a society? SECONDARY: How does photography reflect the needs of the people? How does the individual photographer affect the artistic, political and social events of the time?

ASSESSMENTS

• Quizzes on individual photographers as presented by the teacher in class.

• Individual research on a photographer for the final roll of film.

• Readings and responses to contemporary issues in photography. • Students will create a portfolio of original work that demonstrates the use of advanced/innovative

traditional and digital darkroom techniques. Students will participate in self and group critique

properly applying discipline specific terminology.

• Criteria

5 C’s in Art

Exceptional

90-100

Full Proficiency

80-89

Proficient & Satisfactory

Partial Proficiency

70-79

Insufficient

60-69




111

Creative &

Accomplished

Needs Further

Development

Unsatisfactory &

Undeveloped

Composition:

Art Elements

and Principles

of Design

Complete understanding

of a planned

composition, and

excellent, successful use

of the elements and

principles of design

Good understanding of a

successful composition and

basic illustration of art

elements and principles of

design

Artwork is complete, yet no

evidence of successful use

of art elements and


Artwork is incomplete

and shows lack of

comprehension of the

art elements and


Creativity and

Originality

Innovative original ideas,

thoroughly developed,

planned and executed in

a creatively, unique

manner

Well-developed original

idea and executed in a

creatively organized

manner

Completion of project, but

no evidence of

experimentation with

original ideas

Little evidence of

original thought in art

process

Craftsmanship

and

Manipulation

of Materials

Successful engagement

of sensory exploration of

materials, effective use

of tools and media to

create a balanced piece

focusing on aesthetics

Ample use of available

media and materials,

successful use of tools

Inappropriate use of

materials and tools during

art making

No exploration of

materials available,

misuse of supplied tools

Conceptual

Documenting

the Preparation

in One Note

Exemplary attention to

detail, thoughtful

consideration to time

management and

excellent presentation

Well-crafted and

satisfactory work, with

attention to detail and

above average effort in

final presentation

Mediocre attention to the

process, minimal attention

to quality of presentation

Unfinished work crafted

carelessly and evident

lack of effort

Critique

Participation

and Deep

Engagement in

Studio Process

Deep and deliberate

engagement and

experimenting, varied

possibilities explored,

active participation in

group critique and

discussion regarding own

and peer work

Acceptable engagement in

studio process and some


considerable participation

in class discussion

Minimal engagement in

studio process, little care

for person work space,

minimal participation in

class discussion

Little or no engagement

in studio process, no

care for personal work

space and little or no

participation in class

discussion

•


• view photographs created in different societies.

• identify the work of specific photographers.

• understand how photographers reflect their societies.


• appreciate the role photography plays in their own lives.

• differentiate between artistic styles and movements.

Examples of Modified Learning Objectives Being Assessed Advanced students will be provided the opportunity to scan original traditionally-produced work produced in the darkroom and import for digital modification and enhancement. Special Education Students will:

• Follow modifications specified in each IEP, which often includes modifying the complexity of an assignment and length of time required to complete the task.




112

• Conference with the teacher to ensure adequate interpretation of the assigned task and to examine progress as appropriate.

• Be provided an opportunity to utilize digital images obtained from their digital

camera and work digitally.

All students will be provided flipped learning opportunities so they may access tutorials produced by teacher for students and apply digital techniques at their own pace. A library of resources useful for completion of the assessment will be readily available so students may work at their unique pace.

LESSON SKILLS


• describe the work of individual photographers.

• discuss orally and in writing the role of photography in the contemporary world.

• research, describe and imitate the style of an individual photographer.

DIFFERENTIATED LEARNING ACTIVITIES Advanced students will:

• Scan original traditionally-produced work produced in the darkroom and import

for digital modification and enhancement;

• Utilize flipped learning resource videos produced by teacher so he/she may work

at own pace; and

• Research contemporary photographers and create original work that employs

their advanced/innovative darkroom techniques.

Curriculum Paced Students will:

• Utilize flipped learning resources and move at own pace;

• Apply composition guidelines when cropping images in the darkroom and digitally

• Identify photographers that document societal issues;

• Choose a contemporary issue and create original photography that addresses

the issue

Special Education Students will:

• Work with digital native prints modifying with digital tools;

• Partner with other students to create mentor groups for traditional darkroom

exercises;

• Utilize flipped learning resource videos highlighting a variety of skills and

produced by teacher so he/she may work at own pace;

• Watch video documentaries of Photographers employing innovative techniques

to create unique photographs.




113

• Watch documentaries on how photojournalists use medium to document

contemporary issues.

• Choose a contemporary issue and digitally document with images


RESOURCES • Flipped Learning Videos – teacher created and/or available online tutorial

videos that cover one Photoshop skill each video. For example:

o https://www.youtube.com/watch?v=k_l1rDuhliM

o https://www.youtube.com/watch?v=LB-o1-LyGlM

o https://www.youtube.com/watch?v=5_YrnzFey5k

• Posters with written directions for time and technique in developing film

• Analyzing Photographs – assists with critique and analysis – Resource from

Getty.edu:

http://www.getty.edu/education/teachers/classroom_resources/curricula/explo

ring_photographs/background1.html

• Photoshop and other digital modification tools

• Mentor Buddies – students become experts in technique and mentor others

on demand

---------------------------------------------------------------------------------------------------------------------

Inhumanity (Amistad/Holocaust)-Civil Rights(LGBT) Education • Photography – Photojournalism & Photo Documentary

• Students will view Migrant Mother by Dorothea Lange. Discussion about the nature

and authenticity of the image. Students will discuss how images, whether authentic

or not, can be powerful enough to begin a movement as did Migrant Mother.

Students research other photographers who specifically use the medium to create

awareness. How can we as photographers use our medium to create awareness of

issues we are concerned with? How can we use our medium to create awareness of

inhumanity and Civil Rights issues? Students are tasked with the challenge to

choose an issue and create art that draws awareness.





https://www.youtube.com/watch?v=k_l1rDuhliM

https://www.youtube.com/watch?v=LB-o1-LyGlM

https://www.youtube.com/watch?v=5_YrnzFey5k

http://www.getty.edu/education/teachers/classroom_resources/curricula/exploring_photographs/background1.html

http://www.getty.edu/education/teachers/classroom_resources/curricula/exploring_photographs/background1.html




114


STATE STANDARDS


























115




















116








ENDURING UNDERSTANDINGS - Technical Skills: Developing & Printing B & W Film

ESSENTIAL QUESTIONS

PRIMARY: What is a camera? What is used to develop and print b & w film? SECONDARY: How does the student use the SLR or point & shoot camera? How does the student develop b & w film? How does the student print b & w negatives?

MODULE ASSESSMENTS

• Proper rolling and processing of b & w film.

• Proper use of the darkroom, including enlargers and timers.

• Tests on developing and printing film.

• Demonstration of safe practices and responsible use of materials.

MODULE OBJECTIVES Students will be able to…

• demonstrate rolling of film using practice samples and using their own film.




117

• demonstrate proper and safe use of chemicals & procedures in developing their own film.

• demonstrate proper and safe use of darkroom equipment, enlargers and timers, and darkroom chemicals in producing well printed photos.

• demonstrate proper use of test strips and use of photographic paper.

MODULE SKILLS Students will be able to…

• shoot, develop and print their own film.

• work cooperatively and safely in the darkroom.

RESOURCES Page 282





.




118


STATE STANDARDS


























119




















120







Through a developed understanding of aesthetics, the elements and principles of art and photographic techniques, Photo students become critical thinkers, who combine visual literacy and an understanding of the medium of photography to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Composition and Intent/Portraits

The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition. Proper technical skills in developing film and printing negatives help produce effective prints.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design? What are composition and the 9-grid system? What is artistic intent? SECONDARY: How do the elements of art and the principles of design apply to portrait photography? How does the use of the 9-grid system create effective composition in portrait photography?

ASSESSMENTS • Individual black & white photos using portrait situations as per handout.

• Oral evaluation of the portraits as per assignment.

• Oral critique: use of contrast and composition in the photos.





121

• identify the Elements of Art & Principles of Design as they exist in the student’s work.

• identify the particular portrait assignment in each photo.

• select the strongest and weakest work in regards to composition and apply knowledge to improve future photographs.


• produce portrait photographs that use the Elements of Art & Principles of Design.

• create photographs that demonstrate effective composition and good use of contrast.

• create photographs that demonstrate clear artistic intent.

RESOURCES Page 282








122


STATE STANDARDS


























123




















124








ENDURING UNDERSTANDINGS - Composition/Concept The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition. Proper technical skills in developing film and printing negatives help produce effective prints.

ESSENTIAL QUESTIONS

PRIMARY: What is an artistic concept? SECONDARY: How is composition used to express artistic concept? How are the elements of art and the principles of design used to express artistic concept?

ASSESSMENTS

• Individual black & white photos of selected concepts, i.e. mysterious and/or unexpected images.

• Oral evaluation of the photos as per assignment.



• identify the Elements of Art & Principles of Design as they exist in the work.




125

• identify how each photo fulfills the assignment.



• produce photographs that use the Elements of Art & Principles of Design.


• create photographs that demonstrate the concept.

RESOURCES Page 282





.




126

BY THE END OF TWELFTH GRADE PHOTOGRAPHY I ( 8 Weeks)

STATE STANDARDS



























127




















128








ENDURING UNDERSTANDINGS - Composition/Innovative Techniques


ESSENTIAL QUESTIONS

PRIMARY: What are alternative photographic techniques? SECONDARY: How is composition used? How are the elements of art and the principles of design used?

ASSESSMENTS

• Creation of the biscenorama.

• Creation of a double exposure.

• Creation of a solarization.

• Oral evaluation of the techniques as demonstrated by the work.





129


• identify how the work fulfills the assignment.

• identify the strongest work in regards to composition and apply knowledge to improve future photographs.


• produce photographs by alternative techniques.



RESOURCES Page 282








130

BY THE END OF TWELFTH GRADE PHOTOGRAPHY I

STATE STANDARDS



























131
















NJSLS SL.11-12.1. Initiate and participate effectively in a range of collaborative discussions (one-on- one, in groups, and teacher-led) with peers on





132

grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.







ENDURING UNDERSTANDINGS - Composition/ Imitation & Originality


ESSENTIAL QUESTIONS

PRIMARY: What is artistic style in photography? What is originality in concept and composition in photography? SECONDARY: How is composition used to express the student’s concept? How are the elements of art and the principles of design used to express the student’s concept? How can a student analyze a professional photographer’s work to imitate the style?

ASSESSMENTS

• Individual black & white photos imitating a professional photographer’s style.

• Individual b & w photos of an original theme.

• Oral evaluation of the photos as per assignment.






133



• select the strongest work in regards to composition.

LESSON SKILLS





RESOURCES Page 282








134

BY THE END OF TWELFTH GRADE PHOTOGRAPHY II, III & IV ( 6 Weeks)

STATE STANDARDS



























135





















136








ENDURING UNDERSTANDINGS - Composition/Elements of Art & Principles of Design The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design? What are composition and the 9-grid system? SECONDARY: How do the elements of art support the principles of design? How does the use of the 9-grid system create effective composition?

ASSESSMENTS

• Individual photos.

• Written assignments evaluating the use of the 9-grid system in a variety of photographs.


• Identify the Elements of Art & Principles of Design as they exist in the student’s work and the work of others.




137

• Apply the Elements of Art & Principles of Design as the vocabulary for in-class critiques and written critiques.

• Discuss how the Elements of Art & Principles of Design and the 9-grid system work together to create compositions.



• use the Elements of Art & Principles of Design as the vocabulary for in-class critiques and written critiques.

• use critique (the 4 Steps of Art Criticism) to evaluate their own work and that of others and to improve their own work.

RESOURCES Page 282








138

THE END OF TWELFTH GRADE PHOTOGRAPHY II, III & IV ( 7 Weeks)

STATE STANDARDS


























139




















140








ENDURING UNDERSTANDINGS - World Cultures, History and Society

Photography plays a prominent role in cultures in the contemporary world.

ESSENTIAL QUESTIONS

PRIMARY: How does photography reflect the history and culture of a society? How does photography differ from other art forms in reflecting the culture of a society? SECONDARY: How does photography reflect the needs of the people? How does the individual photographer affect the artistic, political and social events of the time?

ASSESSMENTS

• Individual research on photographers.

• Readings and responses to contemporary issues in photography.


• view photographs created in different societies.

• identify the work of specific photographers.




141


• appreciate the role photography plays in their own lives.



LESSON SKILLS


• describe the work of individual photographers.

• discuss orally and in writing the role of photography in the contemporary world.

• research and describe the style of individual photographers.

RESOURCES Page 282








142


STATE STANDARDS













1.4.12.A.4 Evaluate how exposure to various cultures influences individual, emotional, intellectual, and kinesthetic responses to artwork














143





















144






BIG IDEAS/COMMON THREADS Through a developed understanding of aesthetics and the elements and principles of art, Photo students become critical thinkers, who combine visual literacy and an understanding of the medium of photography to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Technical Skills: Developing & Printing B & W Film and/or Digital Photography and Photoshop Proper knowledge and safe use of techniques and equipment in the photo lab and/or digital techniques and Photoshop enable students to produce effective photos.

ESSENTIAL QUESTIONS

PRIMARY: How does the digital camera work? What is Photoshop? SECONDARY: How does the student use the digital and/or film SLR or point & shoot camera? How does the student use Photoshop to enhance and alter digital photos?

ASSESSMENTS • Proper rolling and processing of b & w film.

• Proper use of the darkroom, including enlargers and timers.

• Proper use of Photoshop techniques.

• Demonstration of safe practices and responsible use of materials.


• demonstrate proper and safe use of chemicals & procedures in developing their own film.




145

• demonstrate proper and safe use of darkroom equipment, enlargers and timers, and darkroom chemicals in producing well printed photos.

• demonstrate proper use of digital camera and Photoshop.

• demonstrate proper use of laser printer and appropriate computer printing programs.


• shoot, develop and print their own film.

• work cooperatively and safely in the darkroom.

• produce and print digital photos.

RESOURCES Page 282








146


STATE STANDARDS


























147




















148








ENDURING UNDERSTANDINGS - Composition: Intent and Concept/Portraits, Landscapes, Still Lifes The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition. Proper knowledge and safe use of techniques and equipment in the photo lab and/or digital techniques and Photoshop enable students to produce effective photos.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design? What are composition and the 9-grid system? What is artistic intent and what is the underlying concept? SECONDARY: How do the elements of art and the principles of design apply to intent and concept in photography? How is composition used to convey intent and concept in photography? How is work properly mounted?

ASSESSMENTS

• Individual photos demonstrating a unified theme.

• Properly mounted work for exhibition.

• Oral critique.




149


• identify the Elements of Art & Principles of Design as they exist in the student’s work.

• identify the particular theme in each group of photos.


• mount work for exhibition.



• create photographs that demonstrate effective composition.

• create photographs that demonstrate clear artistic intent and a unified concept.


RESOURCES Page 282








150


STATE STANDARDS


























151




















152








ENDURING UNDERSTANDINGS - Composition/Innovative Techniques

The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition. Proper knowledge and safe use of techniques and equipment in the photo lab and/or digital techniques and Photoshop enable students to produce effective photos.

ESSENTIAL QUESTIONS

PRIMARY: What are alternative photographic techniques? SECONDARY: How is composition used? How are the elements of art and the principles of design used?

ASSESSMENTS • Use of alternative techniques such as Pinhole Camera, Polaroid Image

Transfer, Solarization, Hand Coloring and/or Toning.

• Oral evaluation of the techniques as demonstrated by the work.

• Oral critique.





153


• identify how the technique enhanced the concept.

• identify the strongest work in regards to composition and apply knowledge to improve future photographs.



• produce photographs by alternative techniques.




RESOURCES Page 282








154


STATE STANDARDS



























155





















156








ENDURING UNDERSTANDINGS - Composition: Originality/ Themes

The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition. Proper knowledge and safe use of techniques and equipment in the photo lab and/or digital techniques and Photoshop enable students to produce effective photos.

ESSENTIAL QUESTIONS

PRIMARY: What is theme in photography? What is originality in concept and composition in photography? SECONDARY: How is composition used to express the student’s concept? How are the elements of art and the principles of design used to express the student’s concept?

ASSESSMENTS

• Individual photos that demonstrate a personal theme such as humor, location, progression, and/or language and visual art.

• Individual oral evaluation of the photos.

• Class critique.





157




• select the strongest work in regards to composition.







RESOURCES Page 282








158

BY THE END OF TWELFTH GRADE CRAFTS I (5 Weeks)

STATE STANDARDS


























159




















160







ENDURING UNDERSTANDINGS - Reclaimed and New Clay Preparation –

Techniques in Wedging Wedging new and reclaimed clay homogenizes the clay body and removes air pockets.

ESSENTIAL QUESTIONS

PRIMARY: What are the purposes of wedging clay? How do we wedge clay? SECONDARY: How can we recycle clay to minimize waste? What happens if clay is not properly wedged?

ASSESSMENTS • Self-reflective journal entries on wedging techniques

• Properly wedged and wrapped reclaimed or new clay.

• Prepared slip (1 jar each) for project use


• understand that air pockets in clay will expand upon firing and cause the work to explode.




161

• learn effective ways to reclaim or recycle clay.

• learn proper ways to dry out clay that is too wet.

• understand how to rehydrate clay.

• understand wedging helps remove air pockets and homogenize the mixture.

• properly wedge clay.

• understand the use of slip.

• learn how to create slip from reclaimed clay.

• learn how to properly store prepared clay to keep from drying.

• use proper tools for wedging and storing clay (i.e. Wire tool, wedging table, canvas boards, plastic wrap, spray bottle).


• properly recycle clay.

• work with reclaimed clay.

• properly wrap and store wedged clay for later use.

• prepare slip from new and reclaimed clay.

• utilize course specific terminology in discussions.

• compare and contrast wedging on varied surfaces.

• identify tools using domain specific terminology.

• thoroughly clean and maintain art studio.

RESOURCES Page 282








162

BY THE END OF TWELFTH GRADE CRAFTS I ( 6 Weeks)

STATE STANDARDS


























163




















164







ENDURING UNDERSTANDINGS - Handbuilding Techniques with surface decorations in Ceramics

Clay can be manipulated into almost any shape or form.

ESSENTIAL QUESTIONS

PRIMARY: What ways do artists use hand-building techniques with clay? SECONDARY: How do artists choose which hand-building technique to use? How do different surface decorating techniques affect the art work? How does glazing affect the art work?

ASSESSMENTS • Student created pinch method clay piece.

• Student created coil method clay piece.

• Student created slab method clay piece.

• Student decorated the surfaces using a variety of techniques.

• Student glazed projects. • Assessment




165

• Students will add to their portfolios original work that demonstrates visual communication of

ideas/themes through mosaic art. Students will participate in self and group critique properly applying

discipline specific terminology.

• Criteria

5 C’s in Art

Exceptional

90-100

Creative &

Accomplished

Full Proficiency

80-89


Partial Proficiency

70-79

Needs Further

Development

Insufficient

60-69

Unsatisfactory &

Undeveloped

Composition:

Art Elements

and Principles

of Design


of a planned

composition, and


of the elements and






design



of art elements and



and shows lack of


art elements and


Creativity and

Originality





manner




manner


no evidence of


original ideas

Little evidence of


process

Craftsmanship

and

Manipulation

of Materials












art making

No exploration of



Conceptual

Documenting

the Preparation

in One Note


detail, thoughtful


management and


Well-crafted and




final presentation






lack of effort

Critique

Participation

and Deep

Engagement in

Studio Process

Deep and deliberate

engagement and




group critique and


and peer work





in class discussion





class discussion






discussion

•


• understand the three methods of hand-building in clay.

• work with a variety of traditional and non- traditional methods of surface decorating.

• work with different glazing techniques.

• view samples from the history of ceramics that utilize hand-building techniques.

• understand the proper way to create ceramics using the three hand-building techniques.

• identify situations when slip is needed as part of the building technique.




166

• understand that 3-dimensional ceramics should appear finished from all views.

• differentiate between low and high-quality craftsmanship and the stages of clay.

• identify aesthetic considerations when working with clay (i.e. Texture, surface, movement).

• discuss hand-built ceramic samples using design and domain specific vocabulary.

• utilize the four steps of art criticism when critiquing.

• differentiate between non-functional and functional art. Examples of Modified Learning Objectives Being Assessed Advanced students will focus on cultural symbolism when creating original art as done in ancient Israel Advanced students will use glass panes as material and properly use glass cutting tools to create designs Advanced students will grout designs Advanced students will consider creating stained glass art that demonstrates an understanding of glass cutting and grinding, foiling and soldering. Special Education Students will:

• Follow modifications specified in each IEP, which often includes modifying the complexity of an assignment and length of time required to complete the task.

• Conference with the teacher to ensure adequate interpretation of the assigned task and to examine progress as needed.

• Choose between glass tile chips and breakable tiles to address any manual dexterity concerns

All students will be provided flipped learning opportunities so they may access tutorials produced by teacher for students and apply techniques at their own pace.


• roll slabs, coils, and use pinch techniques.

• create ceramics using hand-building techniques.

• properly and adequately apply slip to greenware.

• identify functional & non-functional art.

• apply techniques during the proper stage of clay.

• create high-quality craftsmanship work.

• use the four steps of criticism when discussing ceramics.


• work with surface textures and design.

• work with different glazing techniques.

• thoroughly clean and maintain art studio and tools.




167


• Utilize a variety of tile tints and shades to create mosaic art that is comparable to “master level ancient Israeli mosaics.”

• Work with glass cutting tools and glass grinders.


• Create original mosaic art in any traditional theme that resembles the techniques of ancient Israeli mosaic artists

• Choose materials and use flipped learning resources to move at own pace.




• Create grout-less designs with close proximity placement of tiles

• Identify designs that emulate patterns of novice ancient Israeli mosaic artists.

• Option to create mosaic design of modern theme (logo perhaps)


RESOURCES • Flipped Learning Videos – teacher created videos that cover one skill each video.

• The Art of Education Mosaic Resources -

https://theartofeducation.edu/packs/mosaics-techniques-secondary-classroom/

• Posters with examples of ancient mosaic designs

• Posters of contemporary mosaic designs

• In the news – mosaic found in Isreal: https://www.foxnews.com/science/exquisite-

ancient-mosaic-uncovered-in-israel

• https://www.youtube.com/watch?v=Z6PSxlMdvdI


• Mentor Buddies – students become experts in technique and mentor others on

demand

---------------------------------------------------------------------------------------------------------------------

Inhumanity (Amistad/Holocaust)-Civil Rights(LGBT) Education • Students will create pottery inspired by ancient Greek styles. They will use

the exterior to tell a story of and/or address awareness of inhumanity and Civil

Rights. They will apply symbolism and common imagery to visually articulate

their original message.


https://www.foxnews.com/science/exquisite-ancient-mosaic-uncovered-in-israel


https://www.youtube.com/watch?v=Z6PSxlMdvdI




168








169


STATE STANDARDS


























170




















171








ENDURING UNDERSTANDINGS - Mosaic Design

Craft students will create a design using individually cut pieces of glass and or other appropriate objects (mirror, shells, beads. etc.)

ESSENTIAL QUESTIONS

PRIMARY: How do artists use mosaics to create art? SECONDARY: How do artists decide which materials are appropriate on different surfaces to express their ideas?

ASSESSMENTS • Individual works of art demonstrating high quality mosaic techniques.

• Written critiques

• Teacher / student critiques • Students will add to their portfolios original work that demonstrates visual communication of

ideas/themes through mosaic art. Students will participate in self and group critique properly applying

discipline specific terminology.

• Criteria

5 C’s in Art

Exceptional

90-100

Full Proficiency

80-89


Partial Proficiency

70-79

Insufficient

60-69




172

Creative &

Accomplished

Needs Further

Development

Unsatisfactory &

Undeveloped

Composition:

Art Elements

and Principles

of Design


of a planned

composition, and


of the elements and






design



of art elements and



and shows lack of


art elements and


Creativity and

Originality





manner




manner


no evidence of


original ideas

Little evidence of


process

Craftsmanship

and

Manipulation

of Materials












art making

No exploration of



Conceptual

Documenting

the Preparation

in One Note


detail, thoughtful


management and


Well-crafted and




final presentation






lack of effort

Critique

Participation

and Deep

Engagement in

Studio Process

Deep and deliberate

engagement and




group critique and


and peer work





in class discussion





class discussion






discussion

•

•


• understand the historical importance of mosaics.

• view samples of traditional and non-traditional mosaics.

• understand the proper way to cut glass.

• understand the limitations of glass.

• use proper safety precautions when cutting glass.(wearing safety glasses).

• use tools properly.

• identify which materials are appropriate for different surfaces.

• understand what a high quality finished mosaic is.

• identify aesthetic considerations when working with mosaics.

• discuss mosaic design using domain specific vocabulary.


• differentiate between non-functional and functional art. Examples of Modified Learning Objectives Being Assessed




173

Advanced students will focus on cultural symbolism when creating original art as done in ancient Israel Advanced students will use glass panes as material and properly use glass cutting tools to create designs Advanced students will grout designs Advanced students will consider creating stained glass art that demonstrates an understanding of glass cutting and grinding, foiling and soldering.

Special Education Students will: • Follow modifications specified in each IEP, which often includes modifying the

complexity of an assignment and length of time required to complete the task.



All students will be provided flipped learning opportunities so they may access tutorials

produced by teacher for students and apply techniques at their own pace.


• create a design appropriate for mosaics.

• learn how to cut glass safely.

• accurately cut small pieces of glass to fit their designs.

• properly assemble the piece

• properly use grouting techniques.

• create properly crafted piece of art.

• use the four steps of art criticism when discussing their mosaic piece.




• Utilize a variety of tile tints and shades to create mosaic art that is comparable to

“master level ancient Israeli mosaics.”

• Work with glass cutting tools and glass grinders.


• Create original mosaic art in any traditional theme that resembles the techniques

of ancient Israeli mosaic artists

• Choose materials and use flipped learning resources to move at own pace.





174



• Create grout-less designs with close proximity placement of tiles

• Identify designs that emulate patterns of novice ancient Israeli mosaic artists.

• Option to create mosaic design of modern theme (logo perhaps)


RESOURCES • Flipped Learning Videos – teacher created videos that cover one skill each video.

• The Art of Education Mosaic Resources -


• Posters with examples of ancient mosaic designs

• Posters of contemporary mosaic designs

• In the news – mosaic found in Isreal: https://www.foxnews.com/science/exquisite-

ancient-mosaic-uncovered-in-israel

• https://www.youtube.com/watch?v=Z6PSxlMdvdI


• Mentor Buddies – students become experts in technique and mentor others on

demand

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Inhumanity (Amistad/Holocaust)-Civil Rights(LGBT) Education • Students will create pottery inspired by ancient Greek styles. They will use the exterior

to tell a story of and/or address awareness of inhumanity and Civil Rights. They will

apply symbolism and common imagery to visually articulate their original message.








https://www.youtube.com/watch?v=Z6PSxlMdvdI




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ENDURING UNDERSTANDINGS: Introduction to Book Arts Books come in many shapes and sizes.

ESSENTIAL QUESTIONS PRIMARY: How do artists create books as an art form? SECONDARY: How do artists decide which materials are appropriate for their original design?

ASSESSMENTS • Production of a book using traditional book structure techniques.

• Written critiques.

• Teacher / student critiques

• Class critiques


• understand the historical importance of book structures.

• view samples of traditional and non-traditional books.

• work with a variety of materials to create books.

• use tools properly.

• identify which materials are appropriate for different book structures.




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• understand the qualities of finely crafted books.

• identify aesthetic considerations when creating book structures.

• discuss book arts using domain specific vocabulary.



• create a book using traditional book structure techniques.

• use the four steps of art criticism when discussing their book.



RESOURCES Page 282








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ENDURING UNDERSTANDINGS - Techniques in Glazing

Fired bisqueware that is finished with glaze is called glazeware. Glazing is caused by a chemical reaction in high heat situations such as firing. Depending on their chemical composition, glazes come in a variety of colors, textures, and sheens. It is important to note that surfaces that come in contact with food must be glazed with lead-free product.

ESSENTIAL QUESTIONS PRIMARY: What is glaze? How does it differ from other surface treatments? What is a test tile? SECONDARY: What is the purpose of a test tile? What hand-building techniques are used when creating test tiles? What chemical reactions occur during the glaze-fire process?

ASSESSMENTS

• Evaluation of students’ learning reflection essays comparing and contrasting various effects caused by layering glazes and using glazes on textured surfaces

• Final evaluation of student created glaze ware




182


• understand glazes are made of chemical mixtures that cause different effects when fired in a kiln.

• know glaze chemistry formulas allow artists to mix chemicals to create their own glaze effects.

• compare and contrast the glazing methods of various cultures from the history of ceramics.

• understand the importance of checking lead components in readymade glazes when working with functional pottery.

• differentiate between functional and non-functional pottery.

• discuss the importance of test tiles.

• draw connections between test tile creation and hand-building (i.e. slab technique, surface decoration).

• recognize that glazes react differently to various clay bodies, textures and firing temperatures.

• differentiate between 1, 2, and 3 layer glazing techniques by viewing test tiles.

• Identify the Elements of Art and Principles of Design as they relate to glaze choice.

• understand that glazing is one of many ways artists deal with ceramic surface.

• differentiate between low and high-quality craftsmanship in regards to glazing technique.

• synthesize glaze techniques with color theory and aesthetic knowledge.

• plan for kiln maintenance by applying kiln wash to shelves for easy glaze removal.

• connect journal entries to classroom learning.

• recognize and apply high-quality glaze application.

• journal personal thoughts on the glazing process of test tiles from start through glaze-firing noting changes.

• identify and practice safety precautions when working with chemical glazes.

• discuss proper cleaning, disposing and firing of glazes, fired and liquid-state.

• analyze and compare glaze results on various textures.


• use journal entries to ensure better glazing technique on final work for assessment.

• create test tiles with surface texture.

• use appropriate readymade glazes for functional and non-functional art.

• identify tools and techniques using domain specific terminology.

• properly mix & apply glaze.


• thoroughly clean and maintain workspace.

• participate in group critique of fired glazeware using the four steps of criticism.




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RESOURCES Page 282








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ENDURING UNDERSTANDINGS - Intermediate & Advanced Functional and Non-Functional Ceramics Ceramic art can be created with a focus on form, function or a combination of both.

ESSENTIAL QUESTIONS

PRIMARY: What defines an intermediate & advanced piece of ceramics as functional or non-functional? What aesthetic aspects must be considered when creating both functional and non-functional ceramics? SECONDARY: How has the student artist’s ability to work with this medium advanced from the beginning level of Craft Design? How can the student artist use clay to express their ideas at a more advanced level from the previous course? What is the historical value of hand built ceramics?

ASSESSMENTS

• Evaluation of student produced functional or non-functional ceramics

• Evaluation of individual student artists’ ideas

• Evaluation of craftsmanship appropriate for the medium.

• Participation in group critique using the four steps of art criticism.

• Self critique using the four steps of art criticism




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• Evaluation of examples of how critique may affect the creation and/or modification of an existing or new work of art.


• identify intermediate & advanced techniques in hand-building.

• understand that ceramics have appeared in the history of art as the medium for both functional and non-functional art.

• differentiate between functional and non-functional ceramic art.

• evaluate how need impacted ceramic art through history.

• apply design vocabulary and domain specific terminology.

• differentiate between surface treatments (i.e. patinas, glaze, underglaze, slips, sgraffito,).

• identify how surface treatment affects functional or non-functional ceramic art.

• understand the importance and procedure of maintaining a clean and safe studio environment.

• develop more advanced techniques and skills appropriate for the level of the course.

• produce an original body of work that demonstrates mastery of methods and techniques.


• use intermediate & advanced hand-building techniques when creating ceramic art.

• create functional and or non-functional ceramic art.

• work with tools and techniques using domain specific terminology.

• thoroughly clean and maintain a safe workspace.

• develop skills appropriate for the medium and course level.

• learn how to maintain tools appropriate for the medium.

• production of an original body of work that demonstrates mastery of methods and techniques.

RESOURCES Page 282








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1.4.12.A.4 Evaluate how exposure to various cultures influences individual, emotional, intellectual, and kinesthetic responses to













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ENDURING UNDERSTANDINGS - Batik

Student artist use a variety of techniques to decorate fabric surfaces using the wax and dye method known as Batik.

ESSENTIAL QUESTIONS PRIMARY: What is Batik? How can Batik be used to decorate the surface of fabric? How is Batik fabric used traditionally and non-traditionally? What is the historical importance of Batik? SECONDARY: What are the advantages of using the Batik method of dying fabric?

ASSESSMENTS • Evaluation of journal/sketchbook entries.

• Evaluation of student produced functional or non-functional Batiks.

• Evaluation of original student artists’ ideas.

• Evaluation of craftsmanship appropriate for the course level.

• Participation in group critique using domain specific terminology.

• Self critique using the four steps of art criticism and domain specific terminology.




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.


• differentiate between batik and other fabric decorating techniques.


• identify intermediate and advanced techniques in Batik.

• identify appropriate surfaces for use in Batik.

• identify advantages of Batik dying over other traditional dying methods.

• understand processes of the medium.

• choose the process which best meets the needs of the artist.

• write journal entries that encourages self reflection.

• use medium as a means of self expression.

• develop more advanced skills appropriate for level of the course.

• maintain a clean and safe studio environment.



• select objects for use in Batik that meet the needs of the student’s art.

• create a piece of art using the Batik method of dying fabric.

• apply the Elements of Art and Principles of Design when creating a Batik design.

• utilize domain specific terminology in class discussions and critique.

• read current articles on contemporary issues in Batik art.

• draw connections between reading articles and classroom learning through journal entries.




RESOURCES Page 282








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ENDURING UNDERSTANDINGS - Intermediate and Advanced Book Arts

Book Artist use a variety of processes to create traditional and non-traditional book structures.

ESSENTIAL QUESTIONS

PRIMARY: How do book artists express their ideas? How do artist select their materials to express their ideas? What shape and size can a book be? What are the characteristics of a book? SECONDARY: How do different materials affect design? What considerations must be made when choosing material?

ASSESSMENTS • Evaluation of production of traditional and or non-traditional book structure.

• Evaluation of original expressive student artist ideas.

• Evaluation of journal/sketchbook entries.








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• understand there are many book structures both traditional and non-traditional.

• understand that art can be inspired by literary works, music, and/or historic events and included in the contents of a variety of book structures.

• know how to use critique to improve work.

• write journal entries that encourages self-reflection and improve achievement.

• maintain a clean and safe studio environment.


• identify intermediate and advanced techniques in book arts.




• develop more sophisticated level of skill appropriate for course level.



• choose a book structure that best meets the needs of the students’ idea.

• write journal entries about the process, result and use of various book structures.

• read current articles on contemporary issues in art.

• participate in group critique.


• create a book structure including text.

• apply the Elements of Art and Principles of Design to the book structure.


• read current articles on contemporary issues pertaining to book arts.





RESOURCES Page 282







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1.4.12.A.3 Develop informed personal responses to an assortment of artworks across the four arts disciplines (dance, music, theatre, and visual art), using historical significance, craftsmanship, cultural context, and originality as criteria for assigning value to the work.














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ENDURING UNDERSTANDINGS - The art of decorative Painting on traditional and non-traditional surfaces Silk Painting is a creative surface decoration process for fabric.

ESSENTIAL QUESTIONS

PRIMARY: How do artist use silk painting to express their ideas? How have artists used Decorative Painting through history? What defines Decorative Painting? What aesthetic aspects must be considered when creating with decorative paints? SECONDARY: What characteristics are unique to painting on various surfaces? (glass, fabric, silk, beads)

ASSESSMENTS • Student produced a piece of art using Decorative Paints.

• Evaluation of individual artists’ statement

• Participation in group critique using the four steps of art criticism

• Evaluation of production of traditional and or non-traditional painting.

• Evaluation of original expressive student artist ideas.





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• understand advanced techniques using Decorative painting techniques.

• understand that decorative painting has appeared in the history of art as the medium for both functional and non-functional art

• apply design vocabulary and domain specific terminology when viewing decorative painting. (Silk painting, glass painting, fabric painting, bead painting)

• differentiate between the four steps of art criticism.

• understand the importance and procedure of maintaining a clean and safe studio environment.




• identify intermediate and advanced techniques in decorative painting.




• develop more sophisticated level of skill appropriate for course level.

• produce an original body of work that demonstrates mastery of methods and techniques for silk painting, glass painting, and or fabric painting.


• use advanced decorative painting techniques on a variety of surfaces.

• write an individual artists’ statement for body of work.

• apply aesthetic understanding with creating and critiquing decorative painting.

• use the four steps of art criticism when discussing Decorative Painting.

• identify painting tools and techniques using domain specific terminology

• thoroughly clean and maintain a safe studio environment.



• write journal entries about the process.







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ENDURING UNDERSTANDINGS - Stained Glass

Stained glass as a unique medium for expression.

ESSENTIAL QUESTIONS

PRIMARY: What is stained glass? How can we use it to express our ideas? SECONDARY: What are the advantages of using stained glass? How can stained glass be manipulated to express the ideas of the student artist?

ASSESSMENTS • Evaluation of individual artists’ statement.

• Evaluation participation in group critique using the four steps of art criticism.

• Evaluation of original expressive student artist’s ideas.




• understand course appropriate beginning, intermediate and advanced techniques of stained glass.




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• understand that stained glass has appeared in the history of art as the medium for both functional and non-functional art

• apply design vocabulary and domain specific terminology when viewing stained glass art.

• differentiate between the four steps of art criticism as they apply to stained glass.

• understand the importance and procedure of maintaining a clean and safe work space.








• create stained glass functional and/or non functional piece of art.

• apply the Elements of Art and Principles of Design when creating stained glass art.





• write an individual artists’ statement for body of work.

• use the four steps of art criticism when discussing stained glass art.

• identify stained glass tools and techniques using domain specific terminology.



RESOURCES Page 282








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ENDURING UNDERSTANDINGS - Glass Etching

Glass etching as a medium for expression.

ESSENTIAL QUESTIONS

PRIMARY: What is glass etching? How do artist use glass etching to express their ideas? SECONDARY: What are the unique qualities of this medium?










208

• understand that art can be inspired by literary works, music, and/or historic events.

• learn how glass etching can be used to express student artist’s ideas.

• learn what surfaces are appropriate for glass etching.

• learn about different methods of glass etching.

• know how to use critique to improve work

• choose the treatment that meets the needs of the artist to achieve original concept.



• make connections between contemporary issues in art and personal experience


• identify glass etching techniques using correct terminology.

• choose a treatment that best meets the needs of the individual art

• write journal entries about




RESOURCES Page 282








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BY THE END OF TWELFTH GRADE CRAFTS DESIGN II, III, IV, & V ( 7 Weeks)

STATE STANDARDS












1.4.12.A.3 Develop informed personal responses to an assortment of artworks across the four arts disciplines (dance, music, theatre, and visual art), using historical significance, craftsmanship, cultural context, and originality as criteria for assigning value to the work.















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ENDURING UNDERSTANDINGS - Paper Mache

Paper Mache uses recycled paper to create unlimited functional and non-functional forms.

ESSENTIAL QUESTIONS

PRIMARY: What is Paper Mache? How do artist use paper mache to express their ideas? SECONDARY: What are the unique qualities of this medium?








• learn how paper mache can be used to express student artist’s ideas..




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• know how to use critique to improve work




• make connections between contemporary issues in art and personal experience


• identify paper mache techniques using correct terminology.

• choose a treatment that best meets the needs of the individual art

• write journal entries about




RESOURCES Page 282







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BY THE END OF TWELFTH GRADE CERAMICS I (6 Weeks)

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ENDURING UNDERSTANDINGS - Reclaimed and New Clay Preparation – Techniques in Wedging

Wedging new and reclaimed clay homogenizes the clay body and removes air pockets.

ESSENTIAL QUESTIONS PRIMARY: What are the purposes of wedging clay? How do we wedge clay? SECONDARY: How can we recycle clay to minimize waste? What happens if clay is not properly wedged?

ASSESSMENTS

• Self-reflective journal entries on wedging techniques

• Properly wedged and wrapped (3) one pound balls of reclaimed or new clay

• Prepared slip (1 jar each) for project use


• understand that air pockets in clay will expand upon firing and cause the work to explode.




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• determine which wedging technique works best for the building. technique they will attempt (i.e. Hand-building vs. wheel throwing).

• learn effective ways to reclaim or recycle clay.

• learn proper ways to dry out clay that is too wet.

• understand how to re-hydrate clay.

• understand wedging helps remove air pockets and homogenize the mixture.

• define homogenize.

• utilize medium specific terminology (i.e. Grog, porcelain, wedge, slip).

• properly wedge clay.

• understand the use of slip.

• learn how to create slip from reclaimed clay.

• learn how to properly store prepared clay to keep from drying.

• use proper tools for wedging and storing clay (i.e. Wire tool, wedging table, canvas boards, plastic wrap, spray bottle).



• read articles on contemporary issues in art.


• take notes on teacher demonstration.

• properly recycle clay.

• work with reclaimed clay.

• wedge one pound clay balls.

• properly wrap and store wedged clay for later use.

• prepare slip from new and reclaimed clay.

• utilize course specific terminology in discussions.

• compare and contrast wedging on varied surfaces.



• thoroughly clean and maintain workspace. RESOURCES Page 282







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ENDURING UNDERSTANDINGS - Handbuilding Techniques in Ceramics Potters work with clay using hand-building, wheel throwing and combination techniques. Pinch, coil and slab are hand-building techniques.

ESSENTIAL QUESTIONS

PRIMARY: What ways do artists hand-build with clay? SECONDARY: How do artists choose which hand-building technique to use?

ASSESSMENTS • Self-reflective journal entries comparing hand-building techniques

• Student created pinch method piece (i.e. Japanese tea bowl)

• Student created coil method piece (i.e. Japanese Jōmon Period Pottery)

• Student created slab method piece (i.e. Native American vessels)


• understand the three methods of hand-building in clay.




220

• view samples from the history of ceramics that utilize hand-building techniques.

• understand the proper way to create pottery using the three hand-building techniques.

• identify situations when slip is needed as part of the building technique.

• understand that 3-dimensional pottery should appear finished from all views.

• differentiate between low and high-quality craftsmanship and the stages of clay.

• identify aesthetic considerations when working with clay (i.e. Texture, surface, movement).

• discuss the history of pottery and how it has evolved.

• identify pottery from the history of art that demonstrates the use of each hand-building technique.

• write journal entries that elicit new ideas and creative thinking on how to use techniques from the history of art to inspire personal work.

• discuss hand-built pottery samples using design and domain specific vocabulary.



• differentiate between non-functional and functional art.

• compare and Contrast the value of functional and non-functional art.

• discuss the evolution of ceramics technique and technology.


• take notes from teacher presentations.

• roll slabs & coils.

• create pottery using hand-building techniques using methods that reflect on historic movements (i.e. Japanese Tea Bowl).

• properly and adequately apply slip to greenware.

• identify functional & non-functional art.

• apply techniques during the proper stage of clay.


• use the four steps of criticism when discussing art (pottery/ceramics).


• present contemporary issues in art through journal writings and/or group presentations.


• identify artistic movements in ceramics.

• differentiate between hand-building techniques.

• create hand-built pottery.




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RESOURCES Page 282








222

BY THE END OF TWELFTH GRADE CERAMICS I ( 5 Weeks)

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1.4.12.A.4 Evaluate how exposure to various cultures influences individual, emotional, intellectual, and kinesthetic responses to artworks.













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ENDURING UNDERSTANDINGS - Wheel Throwing Techniques in Ceramics Potters work with clay using hand-building, wheel throwing and combination techniques. Pottery wheels allow artists to “throw” pots which may later be manipulated with hand-building techniques.

ESSENTIAL QUESTIONS

PRIMARY: How do artists “throw” pottery using the potter’s wheel? What is the advantage of a pottery wheel? SECONDARY: When used for mass production, does the potter’s wheel cheapen or enrich the process of art making?

ASSESSMENTS • A visual presentation of the history of ceramics (i.e. PowerPoint, PhotoStory).

• Evaluation of students’ learning reflection essays comparing and contrasting hand-building and wheel throwing techniques.

• Evaluation of (3) wheel thrown cylinders of equal size and calibration




225


• understand the proper way of using the potter’s wheel including general maintenance and safety.

• understand calibers allow artists to compare size.

• differentiate between hand-building wedging techniques and wheel throwing wedging techniques.

• understand that pottery has evolved with the introduction of the potter’s wheel.

• identify how pottery wheels have changed the art of ceramics.

• understand that pottery wheels may be used in mass production.

• identify the intentional purposes for equal wall width as necessary for the purposes of strength and firing.

• identify the Elements of Art and Principles of Design as they apply to wheel thrown pottery.

• understand that 3-dimensional wheel thrown pottery should appear finished from all views.

• differentiate between low and high-quality craftsmanship.

• identify aesthetic considerations when working with wheel thrown clay (i.e. Texture, surface, movement).


• recognize journal entries encourage self reflection and improve achievement.

• differentiate between non-functional and functional wheel thrown pottery.

• compare and Contrast the value of functional and non-functional wheel thrown pottery.

• understand bats allow for easy transfer of wheel thrown pottery.

• understand clay is easily manipulated when in certain stages of wet/dry.

• differentiate between the stages of clay and when to perform certain tasks.

• differentiate between the four stages of art criticism.

• recognize careers that require an understanding of ceramic technique and process.

• recognize literary works such as poetry can help inspire shape and form in pottery.


• present contemporary issues in art through journal writings and/or group presentations.

• identify artistic movements in ceramics, specifically from the introduction of the potter’s wheel.

• identify functional and non-functional art.


• prepare a potter’s wheel for use.

• work with clay during the correct stages of wet/dry.




226

• identify and properly use calibers to create equal shape and size work and measure wall width.

• discuss the wheel throwing technique using domain specific vocabulary.

• read literary works that inspire surface decoration (i.e. Texture, movement).


• create wheel thrown pottery inspired by a literary work through the use of aesthetics.


• participate in group critique using the four steps of criticism. RESOURCES Page 282








227

BY THE END OF TWELFTH GRADE CERAMICS I (6 Weeks)

STATE STANDARDS













1.4.12.A.4 Evaluate how exposure to various cultures influences individual, emotional, intellectual, and kinesthetic responses to artworks.













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229







ENDURING UNDERSTANDINGS - Techniques in Glazing

Fired bisqueware that is finished with glaze is called glazeware. Glazing is caused by a chemical reaction in high heat situations such as firing. Depending on their chemical composition, glazes come in a variety of colors, textures, and sheens. It is important to note that surfaces that come in contact with food must be glazed with lead-free product.

ESSENTIAL QUESTIONS PRIMARY: What is glaze? How does it differ from other surface treatments? What is a test tile? SECONDARY: What is the purpose of a test tile? What hand-building techniques are used when creating test tiles? What chemical reactions occur during the glaze-fire process?

ASSESSMENTS

• Evaluation of students’ learning reflection essays comparing and contrasting various effects caused by layering glazes and using glazes on textured surfaces

• Final evaluation of student created glaze ware




230


• understand glazes are made of chemical mixtures that cause different effects when fired in a kiln.

• know glaze chemistry formulas allow artists to mix chemicals to create their own glaze effects.

• compare and contrast the glazing methods of various cultures from the history of ceramics.

• understand the importance of checking lead components in readymade glazes when working with functional pottery.

• differentiate between functional and non-functional pottery.

• discuss the importance of test tiles.

• draw connections between test tile creation and hand-building (i.e. slab technique, surface decoration).

• recognize that glazes react differently to various clay bodies, textures and firing temperatures.

• differentiate between 1, 2, and 3 layer glazing techniques by viewing test tiles.

• identify the Elements of Art and Principles of Design as they relate to glaze choice.

• understand that glazing is one of many ways artists deal with ceramic surface.

• differentiate between low and high-quality craftsmanship in regards to glazing technique.

• synthesize glaze techniques with color theory and aesthetic knowledge.

• plan for kiln maintenance by applying kiln wash to shelves for easy glaze removal.


• recognize and apply high-quality glaze application.

• journal personal thoughts on the glazing process of test tiles from start through glaze-firing noting changes.

• identify and practice safety precautions when working with chemical glazes.

• discuss proper cleaning, disposing and firing of glazes, fired and liquid-state.

• analyze and compare glaze results on various textures.


• use journal entries to ensure better glazing technique on final work for assessment.

• create test tiles with surface texture.

• use appropriate readymade glazes for functional and non-functional art.

• identify tools and techniques using domain specific terminology.

• properly mix & apply glaze.






231

• participate in group critique of fired glazeware using the four steps of criticism. RESOURCES Page 282








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BY THE END OF TWELFTH GRADE ADVANCED CERAMICS II, III & IV (7 Weeks)

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ENDURING UNDERSTANDINGS - Functional and Non-Functional Pottery

Ceramic art can be created with a focus on form, function or a combination of both.

ESSENTIAL QUESTIONS PRIMARY: What defines a piece of pottery as functional or non-functional? What aesthetic considerations must be considered when creating both functional and non-functional pottery? SECONDARY: What must be considered when creating functional and non-functional pottery?

ASSESSMENTS

• Evaluation of journal entries on form vs. function in art

• Student produced functional and non-functional pottery (i.e. pouring vessel or aesthetic cylinders)

• Evaluation of individual artists’ statement

• Participation in group critique using the four steps of art criticism





235

• understand advanced techniques in hand-building and wheel throwing.

• understand that ceramics have appeared in the history of art as the medium for both functional and non-functional art.

• differentiate between art for form and art for function.

• differentiate between functional and non-functional ceramic art.

• evaluate how need impacted ceramic art through history.

• explain how artists approach different subjects such as satire through various art forms

• know the importance and purpose of a well developed artists’ statement.

• apply design vocabulary and domain specific terminology when viewing ceramic art.

• differentiate between the four steps of art criticism.

• differentiate between surface treatments (i.e. patinas, glaze, underglaze).

• identify how surface treatment affects functional or non-functional ceramic art.

• connect journal articles to current learning through journal writing.

• understand the importance and procedure of maintaining a clean and safe work space.


• use advanced hand-building and wheel throwing techniques when creating ceramic art.

• create functional and non-functional ceramic art.

• write an individual written artists’ statement for body of work.

• read contemporary articles/text/media sources that complement classroom learning and write reflections in the student journals.

• create pottery that reflects the styles of various movements and periods from the history of ceramic art.

• apply aesthetic understanding with creating and critiquing pottery.

• use the four steps of art criticism when discussing ceramic art.

• identify ceramic tools and techniques using domain specific terminology.

• thoroughly clean and maintain a safe workspace. RESOURCES Page 282








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ENDURING UNDERSTANDINGS - Molded Pottery

Ceramicists use a variety of techniques for creating pottery including molding. Clay may be draped over or poured into a form. As the clay enters the leatherhard stage, it maintains the form of the mold.

ESSENTIAL QUESTIONS

PRIMARY: What is a drape mold? How can we use draping when working with clay? SECONDARY: What advantages exist when working with drapes? How can we manipulate draped clay before the leatherhard stage?

ASSESSMENTS

• Evaluation of artists’ statement on drape mold pottery

• Creation of drape mold pottery


• differentiate between drape mold pottery and hand-built or wheel thrown pottery.




239

• identify objects for use in draping.

• identify advantages of draping.

• understand processes of draped and poured mold.

• compare and contrast the drape and poured mold process.

• choose the process which best meets the needs of an artist.

• discuss the uses of poured mold ceramics.

• discuss the advantages of drape and poured mold techniques.

• understand the process of creating and selecting molds for draping use.

• understand how drape molding techniques are affected by the stages of clay.



• make connections between contemporary issues in art and personal experience with ceramics.

• identify careers in ceramics that utilize drape or poured mold processes.

• explain how molding processes impacted the advancement of mass production of ceramics.


• select objects for use in creating drape mold pottery that meet the needs of the student’s art.

• create drape mold functional and/or non functional ceramic art.

• apply the Elements of Art and Principles of Design when creating drape mold pottery.




• manipulate clay surface by working with texture.

• thoroughly clean and maintain workspace. RESOURCES Page 282








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STATE STANDARDS













1.4.12.A.4 Evaluate how exposure to various cultures influences individual, emotional, intellectual, and kinesthetic responses to artwork













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ENDURING UNDERSTANDINGS - Advanced & Alternative Surface

Treatments Ceramicists use a variety of processes to deal with the surface of the fired bisqueware. Different treatments cause different visual effects.

ESSENTIAL QUESTIONS PRIMARY: How do ceramic artists approach surface? What options do we have when working with the surface of a fired clay body? SECONDARY: How do surface treatments vary? What considerations must be made when choosing surface material?

ASSESSMENTS

• Evaluation of journal entries on the comparison of surface treatments

• Student created test tiles using various surface treatments

• Application of surface treatment to bisqueware (i.e. patina, glaze, burnish)


• understand that various surface treatments serve different functions and have many different visual effects.




243

• recognize different treatments and their purposes.


• understand the procedures involved for working with various surface treatments.


• understand that creating test tiles allows an artist to make informed decisions when selecting surface treatments.

• identify traditional uses of surface treatments from the history of art.

• understand the connection between ceramics and sculpture.


• know how glaze chemists create glaze formulas.



• make connections between contemporary issues in art and personal experience with ceramics.

MODULE SKILLS Students will be able to…

• take notes on teacher demonstration.

• break down simple glazes using glaze chemistry formulas.

• identify surface treatments using correct terminology.

• create test tiles of various surface treatments.

• choose a treatment that best meets the needs of the individual art.

• write journal entries about the process, result and use of various surface treatments.


• participate in group critique. RESOURCES Page 282








244

BY THE END OF TWELFTH GRADE SCULPTURE I ( 5 Weeks)

STATE STANDARDS


























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Through a developed understanding of aesthetics and the elements and principles of art, students become critical thinkers, who combine visual literacy to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Modeling from Life: Observation in Clay The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design that relate to three-dimensional art? What is modeling from life? SECONDARY: How does sculpture differ from two-dimensional art? How is clay manipulated for sculpting?

ASSESSMENTS

• Life-size ear in clay.

• Life-size body part that is directly observed that can be exposed in public.

• Life-size bell pepper and glove in clay.


• model in clay life-size body parts.

• model in clay for homework bell pepper and glove.

• apply the Elements of Art & Principles of Design as the vocabulary for in-class critiques.




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• demonstrate proper and safe use of the medium of clay so that it can be fired and patinaed.

LESSON SKILLS


• develop eye/hand coordination to create sculpture from observation in clay.

• use the Elements of Art & Principles of Design as they relate to three-dimensional art as the vocabulary for in-class critiques.

• use critique (the 4 Steps of Art Criticism) to evaluate own work and that of others and to improve own work.

• use clay for sculpture. RESOURCES Page 282





.




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STATE STANDARDS


























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ENDURING UNDERSTANDINGS - Materials (Mediums) Used in Sculpture

The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture.

ESSENTIAL QUESTIONS

PRIMARY: What materials can sculpture be made of? How does use of material(s) alter the effect of a sculpture? What is artistic intent? SECONDARY: How do sculptors convey their artistic intent?

ASSESSMENTS

• Body Part II (same body part as in clay) in any material or materials other than clay.


• conceptualize and create a life-size body part in material(s) other than clay.


• use materials properly and safely.




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LESSON SKILLS


• create sculpture from observation and imagination in a variety of materials.



• use materials properly and safely. RESOURCES Page 282








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STATE STANDARDS


























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ENDURING UNDERSTANDINGS - Finishing Three-Dimensional Art: Patinas & Pedestals

The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture.

ESSENTIAL QUESTIONS

PRIMARY: What surface treatment can be used to finish a sculpture? What is a pedestal or base and why is it necessary for sculpture? What is a pedestal or base and why is it necessary for sculpture? SECONDARY: How do pedestals enhance a sculpture?

ASSESSMENTS • Completed Body Part I with surface patina and base.

• Completed Body Part II with base.

• Participation in class critique.


• create bases for Body Part I & II and patina Body Part I.





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Learning Objectives Being Assessed

• After completing several exercises in value studies, students apply their skills to human portraiture

• The new lesson includes an analysis of facial proportions and how to apply value (lights and darks) to a human face

Examples of Modified Learning Objectives Being Assessed

Gifted and Talented Students

• By accelerating the mastery of basic skills through testing-out procedures and reorganization of the curriculum according to higher level skills and concepts

• By engaging students in active problem-finding and problem-solving activities and research

• By providing students opportunities for making connections within and across systems of knowledge by focusing on issues, themes, and ideas

Special Education students

• By modifying the position of the activity. For example, allowing the student to choose where and in which position to do the drawing

• By modifying the art supplies to make the assignment accessible to all students

• By modifying individual and group activities

• By modifying the time needed to complete and activity. For example, according to the student’s needs, he/she can complete a drawing over a few days or take breaks between stages

LESSON SKILLS


• conceptualize and create sculpture and bases from observation and imagination in a variety of materials.




DIFFERENTIATED LEARNING ACTIVITIES

• Consider multiple intelligences when planning instruction. For example, art, being an expression of self is possibly the perfect intrapersonal activity. Many art forms can be done for the self: playing an instrument, singing, dancing, writing, painting, sketching, sculpting, observing. The arts are a venue for reflection and




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appreciation of your accomplishments, mistakes, failures and successes. (Source: theinspiredclassroom.com)

• Consider students’ background knowledge and ability levels when planning instruction

• Generate and conceptualize artistic ideas and work

• Organize and develop artistic ideas and work

• Synthesize and relate knowledge and personal experiences to make art

RESOURCES

• Text with various reading levels: https://drawpaintacademy.com/best-drawing-books/

• Video with step by step instructions: https://www.thedrawingsource.com/proportions-of-the-face.htm

• Culturally diverse text/examples: http://prestosketching.com/blog/2018/01/27/easy-ways-to-show-more-diversity-in-your-sketches/

• The Memory Project: https://www.memoryproject.org/ Inhumanity (Amistad/Holocaust)

Civil Rights(LGBT) Education This lesson on portraiture is part of the Memory Project. The Memory Project is a charitable nonprofit organization that invites art teachers, art students, and solo artists to help cultivate global kindness by creating portraits for children around the world who have faced substantial challenges, such as violence, war, extreme poverty, neglect, and loss of parents. Participants create portraits to help children feel valued and important, to know that many people care about their well-being, and to provide a special childhood memory in the future. Since 2004, more than 130,000 portraits have been created for children in 47 countries.





https://www.thedrawingsource.com/proportions-of-the-face.htm




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STATE STANDARDS


























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ENDURING UNDERSTANDINGS - Concept: Rethinking the Common Object The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture.

ESSENTIAL QUESTIONS

PRIMARY: What is an artistic concept? What is an everyday object? SECONDARY: How can the artist transform everyday objects?

ASSESSMENTS

• 25 Objects: altering a common object according to handout.

• Transforming/Deconstructing a functional object, i.e. a chair, stool, table, etc.


• conceptualize and create the 25 Objects with appropriate presentation.

• conceptualize and create a transformed/ reconstructed sculpture from a functional object.






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• create sculpture from observation and imagination in a variety of materials.











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STATE STANDARDS












1.4.12.A.3 Develop informed personal responses to an assortment of artworks across the four arts disciplines (dance, music, theatre, and visual art), using historical significance, craftsmanship, cultural context, and originality as criteria for assigning value to the works














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ENDURING UNDERSTANDINGS - Additive Sculpture

The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture. Sculpture makes use of additive and/or subtractive processes.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design that relate to three-dimensional art? What is additive sculpture? What is representational sculpture? What is non-objective sculpture? What is abstract sculpture? SECONDARY: How does sculpture differ from two-dimensional art? How are additive materials manipulated for sculpting?

ASSESSMENTS

• Representational, abstract and/or non-objective sculpture created through additive processes.

• Oral presentation on a contemporary sculptor selected by the teacher.

• Written and oral responses to readings on sculpture.




264


• create additive sculpture.


• demonstrate proper use of the selected medium and safe practices in the studio.

LESSON SKILLS


• conceptualize and create additive sculpture.

• use the Elements of Art & Principles of Design as they relate to three-dimensional art as the vocabulary for in-class critiques and in written work on selected readings.


• use selected medium for sculpture.

RESOURCES Page 282








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BY THE END OF TWELFTH GRADE SCULPTURE II, III & IV (7 Weeks)

STATE STANDARDS


























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ENDURING UNDERSTANDINGS - Subtractive Sculpture

The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture. Sculpture makes use of additive and/or subtractive processes.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design that relate to three-dimensional art? What is subtractive sculpture? What is representational sculpture? What is non-objective sculpture? What is abstract sculpture? SECONDARY: How does sculpture differ from two-dimensional art? How are subtractive materials manipulated for sculpting?

ASSESSMENTS

• Representational, abstract and/or non-objective sculpture created through a subtractive process.


• Written and oral responses to readings on sculpture.




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• conceptualize and create subtractive sculpture.

• apply the Elements of Art & Principles of Design as the vocabulary for in-class.

• demonstrate proper use of the selected medium and safe practices in the studio.

LESSON SKILLS


• create subtractive sculpture.

• use the Elements of Art & Principles of Design as they relate to three-dimensional art as the vocabulary for in-class critiques and in written work on selected readings.


• use selected medium for sculpture.

RESOURCES Page 282








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BY THE END OF TWELFTH GRADE SCULPTURE II, III & IV

STATE STANDARDS


























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ENDURING UNDERSTANDINGS- Sculpture: Scale, Proportion, Positive/ Negative Space, Texture, Repetition The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture.

ESSENTIAL QUESTIONS

PRIMARY: How do scale and proportion affect sculpture? How is positive and negative space used in sculpture? How is texture used in sculpture? How is repetition used in sculpture? SECONDARY: How are the elements of art and principles of design used to best convey the student’s artistic intent and concept?

ASSESSMENTS

• Sculpture that explores the three-dimensional elements of art and principles of design.





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• conceptualize and create work that uses three-dimensional elements and principles.

• apply the Elements of Art & Principles of Design as the vocabulary for in-class critiques and in oral presentations.


LESSON SKILLS


• create sculpture from observation, memory and/or imagination that explores scale, proportion, positive/negative space, texture and/or repetition using a variety of materials.

• use the Elements of Art & Principles of Design as they relate to three-dimensional art as the vocabulary for in-class critiques and oral presentations.










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RESOURCES Art 7 Images: Cubism Posters Surrealism Posters Pop Art Posters Expressionism Posters Op Art Posters Drawing Technique Posters Sculpture Technique Posters Color Wheel posters Painting Technique Posters Optical Illusion Technique Posters Slide presentations: Pablo Picasso & Cubism Past and current student artwork Surrealism Past and current student artwork Pop art Expressionism Op Art Past and current student Op Art drawings Texts: Picasso Salvador Dali Imagine That! Activities and Adventures in Surrealism Pop Art: Andy Warhol Pop Art: Roy Lichtenstein Imagine That! Activities and Adventures in Pop Art! Vincent Van Gogh Imagine That! Activities and Adventures in Expressionism Op Art DVD: Dropping in on Picasso Surrealism Pop Art: Creating a three dimensional sculpture Dropping in on Andy Warhol Expressionism Op Art: Detour




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Websites: www.moma.org Technology: Computer – Internet Research Literature: Scholastic Art past and current issues Professional References: Trip to the MOMA Critical thinking games: Cards depicting Optical illusions

Art 8 Images: Perspective Posters Drawing Technique Posters Richard Estes Posters Renaissance Posters Portrait Posters Chuck Close Posters Line Posters Keith Haring Posters Social Issue Images Dadaism Posters Marcel Duchamp Posters Art Reproductions Dadaism Posters Slide presentations: Richard Estes Past and current student one point perspective drawings Chuck Close Past and current student portraits Chuck Close Past and current student portraits Who was Keith Haring? Social Issues surround us Marcel Duchamp, Past and present student work Contemporary visual pun Images

http://www.moma.org/




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Texts: Drawing 3D Chuck Close up Close Keith Haring DVD: Perspective Chuck Close Keith Haring Dada Websites: http://www.olejarz.com, http://www.ramourflannigian.com www.moma.org http://www.haring.com http://www.haringkids.com/ http://www.marcelduchamp.net/ Technology: Computer – Internet Research Step-by-step interactive perspective tutorial Interactive room layout/design website Literature: Scholastic Art past and current issues

Art I Supplies: Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Texts: Cohen, Ph.D., George M.. The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D.. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995.

http://www.olejarz.com/

http://www.ramourflannigian.com/

http://www.moma.org/

http://www.haring.com/

http://www.haringkids.com/

http://www.marcelduchamp.net/




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Literature: Scholastic Art Magazine, current and past issues Websites: www.artchive.com http://artsedge.kennedy-center.org http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/About%20This%20Site.htm

Art II Supplies: Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Texts: Ames, Jim. Color Theory Made Easy. New York, NY: Watson-Guptill Publications, 1996. Brommer, Gerald F. and Joseph A. Gatto. Careers in Art: An Illustrated Guide. 2nd ed. Worcester, MA: Davis Publications, Inc. 1999. Cohen, Ph.D., George M.. The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D.. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Mittler, Ph.D., Gene, and Rosalind Ragans, Ph.D.. Understanding Art. 1st ed. Mission Hills, CA: Glencoe, 1992. Parramón's Editorial Team, All About Techniques in Color. 2nd ed. Hauppague, NY: Barron's Educational Series, 2000. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Literature: Scholastic Art Magazine, current and past issues Websites: www.artchive.com http://artsedge.kennedy-center.org http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/About%20This%20Site.htm http://www.npg.org.uk/live/index.asp http://www.npg.si.edu/

Painting

http://www.artchive.com/

http://artsedge.kennedy-center.org/

http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/About%20This%20Site.htm






http://www.npg.org.uk/live/index.asp

http://www.npg.si.edu/




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Supplies: Scholastic Art Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Acrylic paint Canvas Easels (floor and table) Variety of brushes and painting tools Watercolor paint Watercolor paper Matt board

Gouache Water paper Illustration board Oil paint Oil Pastels Texts: Ames, Jim. Color Theory Made Easy. New York, NY: Watson-Guptill Publications, 1996. Brommer, Gerald F. and Joseph A. Gatto. Careers in Art: An Illustrated Guide. 2nd ed. Worcester, MA: Davis Publications, Inc. 1999. Cohen, Ph.D., George M.. The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D.. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Mittler, Ph.D., Gene, and Rosalind Ragans, Ph.D.. Understanding Art. 1st ed. Mission Hills, CA: Glencoe, 1992. Parramón's Editorial Team, All About Techniques in Color. 2nd ed. Hauppague, NY: Barron's Educational Series, 2000. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Clark,Timothy J. Focus On Watercolor Watson-Guptill Publications Wade,Robert A. Painting More Than The Eye Can See North Light Books Seslar, Patrick The One Hour Watercolorist North Light Books Shook,Greog and Witt,Gary Sharp Focus Watercolor Painting Watson- Guptill Willis, Lucy Light How To See It How To Paint It North Light Books Sidaway, Ian The Watercolor Artist’s Paper Directory North Light Books Kunz, Jan Painting Watercolor Portraits That Glow North Light Books/Literature: Scholastic Art Magazine, current and past issues Websites: www.artchive.com





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Honors Art Major Supplies: Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Acrylic, water color, oil, etc. paints. Variety of surfaces (found and purchased) paper, canvas, cardboard, etc. Colored pencils, ebony pencils, graphite pencils, charcoal pencils etc. Oil pastels, pastels, inks, markers, etc. Various art materials Texts: Ames, Jim. Color Theory Made Easy. New York, NY: Watson-Guptill Publications, 1996. Brommer, Gerald F. and Joseph A. Gatto. Careers in Art: An Illustrated Guide. 2nd ed. Worcester, MA: Davis Publications, Inc. 1999. Cohen, Ph.D., George M... The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Mittler, Ph.D., Gene, and Rosalind Ragans, Ph.D. Understanding Art. 1st ed. Mission Hills, CA: Glencoe, 1992. Parramón's Editorial Team, All About Techniques in Color. 2nd ed. Hauppague, NY: Barron's Educational Series, 2000. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Harrison, Hazel. Art School Drawing: Step-by-step teaching through inspirational projects. New York, NY: Lorenz Books, 1998. Literature: Scholastic Art Magazine, current and past issues Websites: www.artchive.com http://artsedge.kennedy-center.org http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/About%20This%20Site.htm http://www.npg.org.uk/live/index.asp http://www.npg.si.edu/ http://www.albany.edu/~hh4500/pathfinder2.htm





http://www.npg.org.uk/live/index.asp

http://www.npg.si.edu/

http://www.albany.edu/~hh4500/pathfinder2.htm




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Advanced Placement Studio Art Supplies: Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Acrylic, water color, oil, etc. paints. Variety of surfaces (found and purchased) paper, canvas, cardboard, etc. Colored pencils, ebony pencils, graphite pencils, charcoal pencils etc. Oil pastels, pastels, inks, markers, etc. Various art materials Found objects Texts: Ames, Jim. Color Theory Made Easy. New York, NY: Watson-Guptill Publications, 1996. Brommer, Gerald F. and Joseph A. Gatto. Careers in Art: An Illustrated Guide. 2nd ed. Worcester, MA: Davis Publications, Inc. 1999. Cohen, Ph.D., George M... The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Mittler, Ph.D., Gene, and Rosalind Ragans, Ph.D. Understanding Art. 1st ed. Mission Hills, CA: Glencoe, 1992. Parramón's Editorial Team, All About Techniques in Color. 2nd ed. Hauppague, NY: Barron's Educational Series, 2000. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Literature: Scholastic Art Magazine, current and past issues Websites: www.artchive.com http://artsedge.kennedy-center.org http://artsedge.kennedy-center.org http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/About%20This%20Site.htm









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Photography I Barrett, Terry. Criticizing Photographs. 3rd Edition. NY : McGraw-Hill, 2000. Bartlett, Larry. Black & White Photographic Printing Workshop. Surrey, England: Fountain Press, Ltd., 2000. Blacklow, Laura. New Dimensions in Photo Processes. Burlington, MA: Focal Press, 2007. Caplin, Steve. How to Cheat in Photoshop CS3. Burlington, MA: Focal Press, 2007. Caulfield, P. Capturing the Landscape with Your Camera. NY: AMPHOTO, 1987. Clarke, Graham. The Photograph. NY: Oxford University Press, 1997. Coleman, A. D. The Grotesque in Photography. NY: Summit Books, 1977. Horenstein, Henry. Beyond Basic Photography. Canada: Little, Brown & Co., 1977. Horenstein, Henry. Black & White Photography. NY: Little, Brown & Co., 1983. Kelby, Scott. The Adobe Photoshop CS3 Book for Digital Photographers. New Riders, 2008. London, Barbara, and John Upton. Photography. 8th Edition. Upper Saddle River, NJ: Prentice Hall, 2005. Newhall, Nancy. The Daybooks of Edward Weston: II. California. Millerton, NY: Aperture, 1973. O'Brien, Michael F., and Norman Sibley. The Photogaraphic Eye. Worcester, MA: Davis Publications, Inc., 1995. Rosenblum, Naomi. A World History of Photography. 3rd Edition. NY: Abbeville Press, 1997. Schaub, Grace & George. Marshall's Handcoloring Guide & Gallery. John G. Marshall Co., 2002. Siemans, Jochen. "Elliott Erwitt." Fotografie portfolio no.39: Smith, Bill. Designing a Photograph. NY: Amphoto Books, 2001. Stone, B., and J. Stone. A Short Course in Photography. NY: Harper Collins, 1996. Taylor, Martin. Advanced Black-and-White Photography. Rochester, NY: Silver Pixel Press, 2002. Thompson, Jerry L.. Truth and Photography. Chicago: Ivan R. Dee, 2003. Waller, Julian. Safe Practices in the Arts & Crafts. NY: CAA, 1985. Worobiec, T., and R. Spence. Black & White Photography in the Digital Age. Cincinnati: David & Charles, 2007. http://artsedge.kennedy-center.org. http://masters-of-photography Scholastic Art Rangefinder pdnedu

Photography II, III, IV Barrett, Terry. Criticizing Photographs. 3rd Edition. NY : McGraw-Hill, 2000. Bartlett, Larry. Black & White Photographic Printing Workshop. Surrey, England: Fountain Press, Ltd., 2000. Blacklow, Laura. New Dimensions in Photo Processes. Burlington, MA: Focal Press, 2007. Caplin, Steve. How to Cheat in Photoshop CS3. Burlington, MA: Focal Press, 2007. Caulfield, P. Capturing the Landscape with Your Camera. NY: AMPHOTO, 1987. Clarke, Graham. The Photograph. NY: Oxford University Press, 1997.


http://masters-of-photography/




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Coleman, A. D. The Grotesque in Photography. NY: Summit Books, 1977. Horenstein, Henry. Beyond Basic Photography. Canada: Little, Brown & Co., 1977. Horenstein, Henry. Black & White Photography. NY: Little, Brown & Co., 1983. Kelby, Scott. The Adobe Photoshop CS3 Book for Digital Photographers. New Riders, 2008. London, Barbara, and John Upton. Photography. 8th Edition. Upper Saddle River, NJ: Prentice Hall, 2005. Newhall, Nancy. The Daybooks of Edward Weston: II. California. Millerton, NY: Aperture, 1973. O'Brien, Michael F., and Norman Sibley. The Photogaraphic Eye. Worcester, MA: Davis Publications, Inc., 1995. Rosenblum, Naomi. A World History of Photography. 3rd Edition. NY: Abbeville Press, 1997. Schaub, Grace & George. Marshall's Handcoloring Guide & Gallery. John G. Marshall Co., 2002. Siemans, Jochen. "Elliott Erwitt." Fotografie portfolio no.39: Smith, Bill. Designing a Photograph. NY: Amphoto Books, 2001. Stone, B., and J. Stone. A Short Course in Photography. NY: Harper Collins, 1996. Taylor, Martin. Advanced Black-and-White Photography. Rochester, NY: Silver Pixel Press, 2002. Thompson, Jerry L.. Truth and Photography. Chicago: Ivan R. Dee, 2003. Waller, Julian. Safe Practices in the Arts & Crafts. NY: CAA, 1985. Worobiec, T., and R. Spence. Black & White Photography in the Digital Age. Cincinnati: David & Charles, 2007. http://artsedge.kennedy-center.org. http://masters-of-photography Scholastic Art Rangefinder pdnedu

Crafts I Supplies: Working with clay poster series Reclaimed/recycled clay Wedged clay Hand-building tools (i.e. texture tools, sculpting tools) Wedging boards Rolling pins Boards of equal thickness (for slab rolling & or slab roller) Kiln for firing Glaze Glaze brushes Ceramics books


http://masters-of-photography/




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Texts: Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Sapiro, M.. Clay: Hand Building. Worcester, MA. Davis, 1979. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985 Warshaw, Josie The Practical Potter Hermes House. Connell, Jo The Potter’s Guide To Ceramic Surfaces Krause Publications Peters, Lynn Surface Decoration For Low Fire Ceramics Lark Books Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html Literature: Ceramics Monthly, current and past issues Scholastic Art, current and past issues American Craft, current and past issues Supplies: Glass cutters Running pliers Breaking pliers Protective cutting boards Glass, stone chips, wood, Beads Mirror Grout Framing boards Samples Safety glasses Texts: American Craft Magazine Literature: Scholastic Art, current and past issues American Craft, current and past issues

http://claystation.com/

http://www.clayzee.com/

http://www.ceramicartsdaily.org/index.aspx

http://www.goshen.edu/~marvinpb/throw/contents.html




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Vance,Peggy & Clark, Goodrick The Mosaic Book Ideas, Projects, and Techniques Trafalgar Square Publishing Wates, Rosalind The Mosaic Book of Ideas North Light Books Baird, Helen The Complete Practical Guide to Book Mosaics Hermes House Goodwin, Elaine Classic Mosaics Trafalgar Square Publishing Supplies: Paper Cords, string, ribbon, shoe laces, thread, etc. Protective cutting boards Beads Chip boards Fabric Rulers Awls Needles Punches Stamps Markers Texts: American Craft Magazine Literature: Scholastic Art, current and past issues American Craft, current and past issues Smith, Esther How To Make Books Potter Craft Thomas, Peter and Donna Making Books By Hand Quarry Golden, Alisa Unique Handmade Books Sterling LaPlantz, Shereen Cover To Cover Lark Books LaPlantz, Shereen The Art And Craft Of Handmade Books Lark Books Barton, Carol The Pocket Engineer Popular Kinetics Press Supplies: Working with clay poster series Wedged clay Hand-building tools (i.e. texture tools, sculpting tools) Texts: Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Clark, Kenneth. The Potter's Manual: Complete, practical-essential reference for all potters. Edison, NJ: Chartwell Books, 1983. Hume, Helen D.. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998.




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Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Sapiro, M.. Clay: Hand Building. Worcester, MA. Davis, 1979. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985. Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html Literature: Cermaics Monthly, current and past issues Scholastic Art, current and past issues American Craft, current and past issues Supplies: Glaze Chart & supplies Slab Roller Test Tiles Texts: Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Clark, Kenneth. The Potter's Manual: Complete, practical-essential reference for all potters. Edison, NJ: Chartwell Books, 1983. Sapiro, M.. Clay: Hand Building. Worcester, MA. Davis, 1979. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985. Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Literature: Cermaics Monthly, current and past issues Scholastic Art, current and past issues American Craft, current and past issues











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Crafts II, III, IV Supplies: Working with clay poster series Variety of clays(raku, white, red, porcelain) Clay tools( wooden, wire, loop, needle, decorative) Clay boards and sticks of various thicknesses Water and slip containers Rolling pins Fabric and paper towels Glazes and glaze brushes Kiln, stilts, kiln wash, kiln shelves Dust pan and brush Extruder Slab roller Plastic bags Ceramic pencils Plaster molds Plaster wedging boards Turn tables Texts: Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Clark, Kenneth. The Potter's Manual: Complete, practical-essential reference for all potters. Edison, NJ: Chartwell Books, 1983. Sapiro, M. Clay: Hand Building. Worcester, MA. Davis, 1979. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985. Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html Literature: Ceramics Monthly, current and past issues American Craft, current and past issues Supplies: Batik poster Wax, resin, salt Batik Dyes and brushes








286

Cotton fabric Adjustable wood frames Tjanting tool Iron Needle and thread Wax melting pot Fabric markers Mat board Frames Texts: Jameson, Norma Batik for Beginners Watson-Guptill Meilach,Dona Contemporary Batik And Tie-Dye Crown Publisher Griffin, Heather & Hone, Margaret Introduction To Batik Search Press Campbell, Joy Start A Craft Batik Chartwell Books, Inc. Belfer, Nancy Designing In Batik and Tie-Dye Davis Publications, Inc. Literature: American Craft, current and past issues Supplies: Variety of decorative papers & boards Bone folders, tongue depressors Unbleached linen threads, ribbons, cords, shoe laces Whole punches, decorative punches Various size needles Drills and drill bits Weights PVA Glue, glue stick, glue tabs Brushes Beads Found objects Markers, colored pencils, pencils, inks, paints Stamping tools Exacto knives, pliers, tweezers, hammer, awl Various size cutting boards Mat board Stencils Calligraphy pens Computer, scanner, copy machine & printer Books Texts: Kropper, Jean G. Handmade Books And Cards Davis Publications Perrella,Lynn Artists Journals & Sketchbooks Exploring and Creating Personal Pages Quarry




287

Diehn, Gwen The Decorated Page Lark Books Diehn, Gwen The Decorated Journal Lark Books Smith, Esther How To Make Books Potter Craft Thomas, Peter and Donna Making Books By Hand Quarry Golden, Alisa Unique Handmade Books Sterling LaPlantz, Shereen Cover To Cover Lark Books LaPlantz, Shereen The Art And Craft Of Handmade Books Lark Books Barton, Carol The Pocket Engineer Popular Kinetics Press Literature: American Craft, current and past issues Supplies: Variety of silk painting brushes Silk dyes and resists, fabric paints, glass paints Silk pins Adjustable frames Iron Silk fabric, scarves, ties, silk hoops, canvas bags, Mat board Needles and threads Markers Scissors Glasses, glass vases, glass objects, beads Beads and decorative accessories Books Texts: Mariotti, Christine The Art of Silk Painting Walter Foster Publishing Moyer, Susan Louise Silk Painting The Artist’s Guide to Gutta and Wax Resist Techniques Waston- Guptill Tuckman, Diane, Janas, Jan The Complete Book of Silk Painting North Light Books Diephouse, Judy, Deptula, Lunn, Fantastic Floorclothes,North Light Cooper, Cathy, Hersey, Jan, The Complete Book of Floorcloths Design & Techniques For Painting Great-Looking Canvas Rugs Lark Books Elskus, Albinas, The Art of Painting on Glass, Scribners Howarth, Lynda, Neal, Moira Painting On Glass, Lark Books Literature: American Craft, current and past issues Supplies: Variety of glass (colors, textures, densities) Glass pins Adjustable frames Copper foil.




288

Mat board Markers Scissors Solder and soldering irons Flux Glass cutters Pliers (breaking, running, wheel) Cutting boards Brushes Books Copper wire Patinas Steel wool Polishing cloth Suction cups Safety glasses Dust pan and brush Texts: Sharp, Leslie, The Book of Fans Designed For Stained Glass, Clarity Glass Design Martin, Tammie, Classic Alphabets , Wardell Publications Duncan,Alastair Tiffany Stained Glass Windows ,Dover Publications Sibbett, Ed Jr. Art Nouveau Stained Glass Pattern Book, Dover Publications Lips, Claude Art and Stained Glass, Doubleday French, Jennie, Glass-Works The Copperfoil Technique of Stained Glass, Van Nostrand Reinhold Sibbet, Ed Jr. Decorative Alphabets Stained Glass Patterns, Dover Cullenbine Woody, Carol Stained Glass Reflections, Hidden House Literature: American Craft, current and past issues Supplies: Glass objects (vase, ornaments, hurricane lamps, etc.) Markers Scissors Brushes Books Etching cream Contact paper Exacto knives Texts: Dobbins, Norman, Felberg, Debra Glass Etching Surface Techniques and Designs Literature: American Craft, current and past issues




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Supplies: Markers Scissors Brushes Books Art glue Exacto knives Paints Found and recycled objects Literature: American Craft, current and past issues

Ceramics I Supplies: Working with clay poster series Reclaimed/recycled clay Glaze Chart & supplies Slab Roller Test Tiles Texts: Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Sapiro, M.. Clay: Hand Building. Worcester, MA. Davis, 1979. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985. Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html Literature: Ceramics Monthly, current and past issues Scholastic Art, current and past issues American Craft, current and past issues

Ceramics II, III, IV Supplies: Working with clay poster series Test Tiles Glaze Charts








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Texts: Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Clark, Kenneth. The Potter's Manual: Complete, practical-essential reference for all potters. Edison, NJ: Chartwell Books, 1983. Sapiro, M.. Clay: Hand Building. Worcester, MA. Davis, 1979. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html Literature: Cermaics Monthly, current and past issues Scholastic Art, current and past issues American Craft, current and past issues

Sculpture I Acero, Raul. Making Ceramic Sculpture. NY: Lark Books, 2001. Bastian, H.. Ron Mueck. Germany: Hatje Cantz Verlag, 2005. Bruno, and Felton, Barrie. Mold Making, Casting & Patina for the Student. Princeton, NJ: Adams, Barrie, Felton and Scott, 1992. Chancy, C., and S. Skee. Plaster Mold and Model Making. NY: Van Nostrand Reinhold Co., 1973. Fiell, C. & P.. 1000 Chairs. Germany: Benedikt Taschen Verlag GmbH, 1997. Gault, Rosette. Paper Clay. London: A & C Black, 1998. Harper, Glenn, and Twylene Moyer. A Sculpture Reader: Contemporary Sculpture Since 1980. Hamilton, NJ: ISC Press, 2006. Hlobo, Nicholas. Izele. Capetown, South Africa: Hill House, 2006. Kapoor, Anish. Past Present Future. Boston: Institute of Contemporary Art, 2008. Kawiak, Tomek. Poches Mythologiques: Sculptures de Jeans. Orban, France: Editions Olivier, 1995. Krens, T., and A. Monroe. Cai Guo-Qiang: I Want To Believe. NY: Guggenheim Museum, 2008. Mabasa, Nona. Nona Mabasa. Johannesburg, South Africa: David Krut Publishing, 2003.








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Malmstrom, Margit, and Bruno Lucchesi. Modeling the Head in Clay. New York: Watson-Guptill, 1979. Peck, Judith. Sculpture as Experience. Radnor, PA: Chilton Book Co., 1989. Rinder, Lawrence. Tim Hawkinson. NY: Harry Abrams, Inc., 2005. Robinson, Aminah Brenda Lynn. Symphonic Poem. Columbus, OH: Columbus Museum of Art, 2002. Robison, Jim. Large-Scale Ceramics. London: A & C Black, 1998. Spencer, Dorothy. Found Object Art. Atglen, PA: Schiffer Publishing Ltd., 2002. Stewart, Mary. Launching the Imagination: 3D. NY: McGraw Hill, 2008. Strachan, W. J. Towards Sculpture. Boulder, CO: Westview Press, 1976. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. NY: College Art Association, 1985. http://artsedge.kennedy-center.org. www.metacafe.com/fplayer/816457/ron_mueck_australian_hyperrealist_sculptor.swf. Scholastic Art Sculpture

Sculpture II, III, IV Acero, Raul. Making Ceramic Sculpture. NY: Lark Books, 2001. Bastian, H.. Ron Mueck. Germany: Hatje Cantz Verlag, 2005. Bruno, and Felton, Barrie. Mold Making, Casting & Patina for the Student. Princeton, NJ: Adams, Barrie, Felton and Scott, 1992. Chancy, C., and S. Skee. Plaster Mold and Model Making. NY: Van Nostrand Reinhold Co., 1973. Fiell, C. & P.. 1000 Chairs. Germany: Benedikt Taschen Verlag GmbH, 1997. Gault, Rosette. Paper Clay. London: A & C Black, 1998. Harper, Glenn, and Twylene Moyer. A Sculpture Reader: Contemporary Sculpture Since 1980. Hamilton, NJ: ISC Press, 2006. Hlobo, Nicholas. Izele. Capetown, South Africa: Hill House, 2006. Kapoor, Anish. Past Present Future. Boston: Institute of Contemporary Art, 2008. Kawiak, Tomek. Poches Mythologiques: Sculptures de Jeans. Orban, France: Editions Olivier, 1995. Krens, T., and A. Monroe. Cai Guo-Qiang: I Want To Believe. NY: Guggenheim Museum, 2008. Mabasa, Nona. Nona Mabasa. Johannesburg, South Africa: David Krut Publishing, 2003. Malmstrom, Margit, and Bruno Lucchesi. Modeling the Head in Clay. New York: Watson-Guptill, 1979. Peck, Judith. Sculpture as Experience. Radnor, PA: Chilton Book Co., 1989. Rinder, Lawrence. Tim Hawkinson. NY: Harry Abrams, Inc., 2005. Robinson, Aminah Brenda Lynn. Symphonic Poem. Columbus, OH: Columbus Museum of Art, 2002. Robison, Jim. Large-Scale Ceramics. London: A & C Black, 1998. Spencer, Dorothy. Found Object Art. Atglen, PA: Schiffer Publishing Ltd., 2002.


http://www.metacafe.com/fplayer/816457/ron_mueck_australian_hyperrealist_sculptor.swf




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Stewart, Mary. Launching the Imagination: 3D. NY: McGraw Hill, 2008. Strachan, W. J. Towards Sculpture. Boulder, CO: Westview Press, 1976. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. NY: College Art Association, 1985. http://artsedge.kennedy-center.org. www.metacafe.com/fplayer/816457/ron_mueck_australian_hyperrealist_sculptor.swf. Scholastic Art Sculpture


http://www.metacafe.com/fplayer/816457/ron_mueck_australian_hyperrealist_sculptor.swf

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