tri-district visual and performing arts curriculum...visual and performing arts curriculum – art...

Tri-District Visual and Performing Arts Curriculum

2008 ART

Grades K-12

Mr. Patrick Fletcher

Superintendent River Dell Regional Schools

Ms. Lorraine Brooks

Principal River Dell High School

Mr. Richard Freedman

Principal River Dell Middle School

Mr. Jeffrey Mohre Superintendent

Oradell Public School

Mr. Scott Ryan Principal

Oradell Public School

Ms. Suzanne Lynch Tri-District Supervisor

Curriculum and Instruction

Ms. Erika Steinbauer Superintendent

River Edge Public Schools

Ms. Denise Heitman Principal

Cherry Hill School

Mr. Tony Vouvalides Principal

Roosevelt School

Tri-District Visual and Performing Arts Committee Chris Van Der Velde

Ellen Heine Gale Sasson George Tucci Melissa Miller

Mercedes Faunde Michelle Rokjer Nova Vazquez

Saratheresa Bartelloni Toni Boccanfuso

Oradell, River Dell, and River Edge Public Schools Visual and Performing Arts Curriculum – Art Approved October 27, 2008

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BY THE END OF:

TRI-DISTRICT VISUAL ARTS CURRICULUM

SECOND Looking at Art Creating Art Intro to Elements

of Art Identify & Describe World Cultures

FOURTH Responding to Art Creating Art

Elements & Principles of Design

Identify & Describe History

SIXTH

What is Art? Creating Art

Elements & Principles of Design

Interpret & Evaluate Society

SEVENTH Cubism Surrealism Expressionism Pop Art Op Art

EIGHTH Photorealism Richard Estes

Photorealism Chuck Close Social Realism Dada

NINTH through

TWELFTH

Art I Art II

Computer Art Graphics P2P

Photography I Crafts I Ceramics I

Sculpture I

Painting Commercial Design

Advanced CAG Animation I Media as Message

Photography II Crafts II Ceramics II Sculpture II

Honors Art Major

The Digital Page Animation II iFolio

Photography III Crafts III Ceramics III Sculpture III

AP Studio Art

Advanced Art Project Photography IV Crafts IV,V

Ceramics IV Sculpture IV


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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 Tri-District 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 Edge, River Dell, & Oradell 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 Core Curriculum 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 SECOND GRADE AESTHETICS

State Standard 1.1.2.A.1 Observe the four art forms of dance, music, theater, and visual art. State Standard 1.1.2.A.2 Explain that dance, music, theater and visual art can generate personal feelings. State Standard 1.1.2.A.3 Interpret basic elements of style in dance, music, theater, and visual art as the foundation for a creative project. State Standard 1.1.2.B.1 Communicate observational and emotional responses to works of art from a variety of social and historical contexts. State Standard 1.1.2.B.2 Provide an initial response when exposed to an unknown artwork. State Standard 1.1.2.B.3

• understand that artists create art to express emotions.

Use imagination to create a story based on an arts experience in each of the art forms. 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

Students will develop the capacity to perceive and respond imaginatively to works of art.

ESSENTIAL QUESTIONS PRIMARY: What is Art? SECONDARY: Where do we see art in the world around us?

MODULE ASSESSMENT Students will use their imagination to interpret and create works of art.

LESSON OBJECTIVES Students will be able to…

• understand how an artist can get ideas from his/ her imagination. • understand that all artists create differently and viewers perceive their

work differently. • understand that art can tell a story. • develop self-esteem.


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MODULE SKILLS Students will be able to…

• look at and talk about art using art vocabulary. • describe how a work of art makes you feel. • identify moods and feelings in works of art. • express their moods and feelings through their own art and the viewing

of art. • recognize various art mediums.


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BY THE END OF SECOND GRADE CREATION AND PERFORMANCE

State Standard 1.2.2.D.1 Create works of art using the basic elements of color, line, shape, form, texture, and space for a variety of subjects and basic media. State Standard 1.2.2.D.2 Cite basic visual art vocabulary used to describe works of art. State Standard 1.2.2.D.3 Present completed works of art in exhibition areas inside and outside the classroom. State Standard 1.2.2.D.4

• have the opportunity to exhibit their artwork in the school and community.

Recognize how art is part of everyday life. BIG IDEAS/COMMON THREADS



Students will create works of art by exploring a variety of materials and techniques.

MODULE ASSESSMENT Students will demonstrate appropriate use of tools and techniques to create various works of art.

ESSENTIAL QUESTIONS PRIMARY: How do we create art? SECONDARY: Where do we see art in the world around us?


• identify and recognize art in their everyday life. • learn to use art vocabulary while creating a work of art. • work in small/large groups.


• use and care for tools (paintbrushes, scissors, etc) and materials appropriately.

• learn basic techniques for manipulating various mediums. • learn art safety procedures.


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BY THE END OF SECOND GRADE ELEMENTS AND PRINCIPLES

State Standard 1.3.2.D.1 Identify the basic art elements of color, line, shape, form, texture, and space. State Standard 1.3.2.D.2

• understand that lines, shapes, and colors can be repeated to create a pattern.

Discuss how art elements are used in specific works of art. BIG IDEAS/COMMON THREADS



Students will create works of art using their knowledge of the Elements of Design.

MODULE ASSESSMENT: Students will be able to identify the Elements of Design.

ESSENTIAL QUESTIONS PRIMARY: What are the Elements of Design? SECONDARY: How do you use the Elements of Design to create a work of art?


• understand that lines can make shapes. • understand the concept of overlapping shapes (“in front of” and “behind”). • recognize the existence of color in nature and in manmade objects. • understand that repeated lines can be used to show texture.


• identify and mix primary and secondary colors. • identify various types of lines (straight, wavy, zigzag, etc…) • identify texture as how something feels. • identify geometric and organic shapes. • distinguish between two -dimensional and three- dimensional art. • differentiate between tactile and visual texture.


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BY THE END OF SECOND GRADE CRITIQUE

State Standard 1.4.2.A.1 Explain that critique is a positive tool. Define the basic concepts of color, line, shape, form, texture, space, and rhythm. State Standard 1.4.2.B.1 Orally communicate opinion regarding dance, music, theater, and visual art based on observation. State Standard 1.4.2.B.2

• learn how to describe a work of art.

Express how individuals can have different opinions toward works of art. BIG IDEAS/COMMON THREADS



Students will be able to look at and talk about a work of art.

MODULE ASSESSMENT Students will participate in group oral critiques.

ESSENTIAL QUESTIONS PRIMARY: What is a critique? SECONDARY: How do we look at art?


• learn how to use art terminology when discussing a work of art. • learn that artists make choices as they create art. • learn that one way to look at art is to focus on how it was made.


• recognize and describe the elements of design through the observation of selected works of art.

• learn how to describe a subject matter in a work of art. • compare and contrast works of art with the use of art vocabulary. • describe how a work of art makes you feel.


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BY THE END OF SECOND GRADE HISTORY/CULTURE

State Standard 1.5.2.A.1 Recognize works of art from diverse cultures. State Standard 1.5.2.B.1

• recognize that people from all over the world have created art for a longtime.

Identify family and community as themes in art. BIG IDEAS/COMMON THREADS



Students will be exposed to artwork from around the world made by different cultures in different time periods with materials that were available. Historical works of art will be used as motivation for students to explore techniques, materials, methods, subject matter, and genres in their own works of art.

ESSENTIAL QUESTIONS

PRIMARY: How do we see art in the world around us? SECONDARY: What does artwork look like from different cultures around the world?

MODULE ASSESSMENT

Students will look at works of art from different time periods across cultures. They will create their own works of art that replicate the process, style, genre while still maintaining their own individual expression.


• recognize that artists use subjects such as people, animals and nature to create a work of art.

• observe paintings, sculptures, architecture, decorative objects, etc. that have been created by various artists and cultures from different time periods around the world.


• recognize that the art of different countries describes the people, places, and things pertaining to that country and the time the artwork was made.


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• demonstrate an understanding of the elements of design through the study of various artists and cultures.

• will create a work of art that uses materials and techniques used by artists and cultures from the past.


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SUGGESTED ACTIVITIES By the End of Second Grade: Create a paper collage i.e.: A Cat of Many Colors (read Dr. Seuss’s Joseph Katz and his Coat of Many Colors) by layering colored tissue paper, cut out shapes from magazines and drawing fine detail with markers. Create a Mexican Amate Painting (cross curricular) by drawing and painting repeated line and shape patterns on Kraft brown paper or brown paper bags. Draw a family portrait and have them at a favorite family place. Learn how to manipulate clay to create pinch and coil pots to make a snake, insect or sculpture. Students can create a work of art using butterfly theme (cross curricular) by painting a wax resist technique. Students can create a windsock out of paper or wind chimes out of clay (cross curricular-weather) Create a three dimensional sculpture of an insect (cross curricular) using paper mache, model magic clay and or found objects. Create a watercolor painting of their place of comfort zone (read Vera Williams’ A Chair for My Mother). Paint a metallic robot using geometric shapes and metallic tempera paints. Design a retro VW Bug car or a car of the future using basic shapes, symbols of past, current and future and repeated patterns. Students engage in introductory group critiques. They will display their finished art projects on the art room tables and take turns saying something they like about each students work and why they like it. Students look at reproductions of famous works of art and answer teacher directed questions that relate to identifying and describing the elements of design, subject matter or theme and the feelings and moods the art evokes.


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BY THE END OF FOURTH GRADE AESTHETICS

State Standard 1.1.4.A.1 Compose simple works of art in response to stylized characteristics observed in the dance, music, theater, and visual art of various cultures and time periods. State Standard 1.1.4.A.2 Communicate ideas reflecting on the nature and meaning of art and beauty. State Standard 1.1.4.A.3 Recognize works of art and art elements designed to imitate systems in nature. State Standard 1.1.4.B.1 Apply basic domain-specific arts language to communicate personal responses to dance, theater, music, and visual art. State Standard 1.1.4.B.2 Compare and contrast works of art that communicate significant cultural meanings. State Standard 1.1.4.B.3 Apply qualitative terms when responding to works of art. State Standard 1.1.4.B.4

• understand that style is an expression based on individual or cultural preferences.

Create an arts experience that communicates a significant emotion or feeling. BIG IDEAS/COMMON THREADS



Students will develop the ability to become critical thinkers. ESSENTIAL QUESTIONS

PRIMARY: What is Art? SECONDARY: How does art make you feel?

MODULE ASSESSMENT Students will express their individuality and creativity through their art. LESSON OBJECTIVES Students will be able to…

• understand how various cultures and styles influence individuals’ feelings about art.

• recognize that the elements of design can be used to express a mood or feeling through the discussion of a selected work of art.

• recognize that the beauty of nature can be used as an inspiration for art.


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• identify the expressive qualities in a work of art. • identify the style of various art movements and cultures. • discuss the meaning of art and beauty.


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BY THE END OF FOURTH GRADE CREATION AND PERFORMANCE

State Standard 1.2.4.D.1 Apply the basic principles of balance, harmony, unity, emphasis, proportion, and rhythm/movement to a work of art. State Standard 1.2.4.D.2 Explore the use of paint, clay, charcoal, pastels, colored pencils, markers, and printing inks and select appropriate tools in the production of works of art. State Standard 1.2.4.D.3 Generate works of art based on selected themes. State Standard 1.2.4.D.4

• have the opportunity to exhibit their artwork in the school and community.

Investigate careers in the world of visual arts. BIG IDEAS/COMMON THREADS




MODULE ASSESSMENT

Students will demonstrate appropriate use of tools and techniques to create various works of art.

ESSENTIAL QUESTIONS PRIMARY: How do we create art? SECONDARY: Who designs and creates the objects that we use every day?

MODULE OBJECTIVE Students will be able to…

• identify careers in the art world. • understand the difference between fine art and design. • use art vocabulary while creating a work of art.


• use and care for tools (paintbrushes, scissors, etc..) and materials appropriately.

• learn techniques for manipulating various mediums.


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• create works of art based on various themes. (including cross curricular connections)

• learn to make choices in the process of design.


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BY THE END OF FOURTH GRADE ELEMENTS AND PRINCIPLES

State Standard 1.3.4.D.1 Identify the design principles of balance, harmony, unity, emphasis, proportion, and rhythm/movement. State Standard 1.3.4.D.2

• understand that a contour line defines the edges and surface of an object.

Identify elements and principles of design in specific works of art. BIG IDEAS/COMMON THREADS



Students will create works of art using their knowledge of the Elements and Principles of Design.

MODULE ASSESSMENT Students will be able to demonstrate an understanding of the Elements and Principles of Design.

ESSENTIAL QUESTIONS PRIMARY: What are the Elements and Principles of Design? SECONDARY: Why are the Elements of Design necessary to create a work of art?


• understand the concept of foreground, middle ground, and background.

• recognize that value is the lightness or darkness of a color. • recognize that the repetition of the Art Elements can create unity,

balance, rhythm and movement.


• identify positive and negative shapes. • identify symmetrical and asymmetrical. • use a variety of techniques to create depth. • identify color relationships: complementary colors, warm/cool colors. • use a variety of tools and materials to create various textures.


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BY THE END OF FOURTH GRADE CRITIQUE

State Standard 1.4.4.A.1 Utilize basic arts terminology and arts elements in all four arts domains. State Standard 1.4.4.A.2 Recognize the value of critiquing one’s own work as well as the work of others. State Standard 1.4.4.B.1 Observe the basic arts elements in performances and exhibitions. State Standard 1.4.4.B.2 Formulate positive analysis of arts performances by peers and respond positively to critique. State Standard 1.4.4.B.3

• understand that the elements of design can be used to express a mood or feeling through the discussion of a selected work of art.

Recognize the main subject or theme in a work of art. BIG IDEAS/COMMON THREADS



Students will be able to describe and analyze a work of art.

MODULE ASSESSMENT Students will participate in group oral critiques.

ESSENTIAL QUESTIONS PRIMARY: What is the importance of the choices that an artist makes to create a desired affect in a work of art? SECONDARY: How do we describe and analyze a work of art?


• understand the importance of utilizing the elements of design in creating a composition.

• learn how to offer reasons to support general statements about a work of art.


• critique a work of art through a series of steps that involve describing and analyzing.


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• define composition as the arrangement and interaction of the elements and principles of design in a work of art.

• recognize the differences and similarities between various art mediums.


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BY THE END OF FOURTH GRADE HISTORY/CULTURE

State Standard 1.5.4.A.1 Identify works of art from various historical periods and diverse cultures. State Standard 1.5.4.A.2 Recognize arts resources that exist in communities. State Standard 1.5.4.B.1 Describe the general characteristics of artworks from various historical periods and world cultures. State Standard 1.5.4.B.2

• recognize that the style of art is affected by where and when the work of art was produced.

Examine art as a reflection of societal values and beliefs. BIG IDEAS/COMMON THREADS



Students will be exposed to artwork from around the world made by different cultures in different time periods with materials that were available. Historical works of art will be used as motivation for students to explore techniques, materials, methods, subject matter, genres in their own works of art.

ESSENTIAL QUESTIONS

PRIMARY: How does history influence art? SECONDARY: How does art change over time?

MODULE ASSESSMENT

Students will look at works of art from different time periods across cultures. They will create their own works of art that replicate the process, style, genre while still maintaining their own individual expression.


• understand that “Art Historians” study artwork from the past. • understand that creating art has been a form of human expression in

many cultures across the world since the beginning of time. MODULE SKILLS Students will be able to…

• learn how to describe works of art from the past.


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• Identify the different materials used by artists to create works of art. • Learn that “Art Historians” describe works of art in great detail such as

size, weight, location, condition, and visual qualities. • Identify characteristics of various art movements from different time

periods and cultures. • Identify a variety of techniques used by different cultures.


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SUGGESTED ACTIVITIES By the end of Fourth Grade: Create a positive/negative balance design using black and white cut out paper. Define the pinch and slab method of pottery by creating a fish/sea life pot using a variety of tools and materials to create a variety of textures found in the sea. (Cross curriculum) Create a repeated pattern using the Japanese printmaking form of Gyotaku (cross curricular). Students can use rubber or sponge fish shapes to create these historical prints. Students can experiment with contour line drawings of themselves or objects found in their environment. Create a linear landscape by drawing with a permanent fine marker emphasizing foreground, middle ground and background to show depth and then paint a watercolor wash. Create Native American weavings using cardboard looms and yarn. Define symmetry and asymmetry by creating painting inspired by nature or found objects in the classroom. Watercolor paint large flowers (Georgia O’Keeffe) using white Cray pas to draw the fine details, watercolor paint over for a resist effect and sprinkle kosher salt over the background painted area for texture. Each student make a fabric quilted square for a class quilt using fabric markers and fabric Cray pas. Repeated line patterns to show unity, balance rhythm and movement. Students engage in the role of Art Historian. Working in small groups, students look at reproductions of famous works of art and categorize them according to genre, time period, artist, or culture. They will also write down the artist, title, date, materials and collection the piece is in. This can be done with post cards from museums or small prints. Aesthetics- working in small groups, students play an art matching game. The theme can be cultural relating to ceramics, textiles etc… from around the world. Or the theme can be time periods/art movements in painting, sculpture or architecture. In this way students learn how to identify styles of art that are specific to a culture, society or artist.


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BY THE END OF SIXTH GRADE AESTHETICS

State Standard 1.1.6.A.1 Examine works of art that have a utilitarian purpose. State Standard 1.1.6.A.2 Analyze works of art that place emphasis on structural arrangement. State Standard 1.1.6.A.3 Describe how an element of an art form contributes to the aesthetic value of a particular work. State Standard 1.1.6.A.4 Describe the compositional design in selected works of art or performance. State Standard 1.1.6.B.1 Explain the aesthetic qualities of specified art works in oral and written responses. State Standard 1.1.6.B.2 Incorporate personal life experiences into an aesthetic response about an artwork. State Standard 1.1.6.B.3 Examine how exposure to various cultures and styles influence individuals’ feelings toward art forms and artworks. State Standard 1.1.6.B.4

• understand that personal preferences are influenced by many factors such as age, cultural/ ethnic background, and gender.

Communicate ideas about the social and personal value of art. BIG IDEAS/COMMON THREADS



Students will develop the ability to become critical thinkers.

ESSENTIAL QUESTIONS PRIMARY: What is Art? SECONDARY: How do we view art in the world around us?

MODULE ASSESSMENT Students will express their individuality and creativity through their art.


• differentiate between functional and decorative forms of art and design. • understand the importance of aesthetic value in their own life and

culture.


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• describe the compositional design in a work of art. • talk and write about the aesthetic qualities of a work of art. • express personal life experiences in their own artwork.


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BY THE END OF SIXTH GRADE CREATION AND PERFORMANCE

State Standard 1.2.6.D.1 Individually or collaboratively create two and three-dimensional works of art employing the elements and principles of art. State Standard 1.2.6.D.2 Distinguish drawing, painting, ceramics, sculpture, printmaking, textiles, and computer imaging by physical properties. State Standard 1.2.6.D.3 Recognize and use various media and materials to create different works of art. State Standard 1.2.6.D.4 Employ appropriate vocabulary for such categories as realistic, abstract, nonobjective, and conceptual. State Standard 1.2.6.D.5

• recognize and use various media and materials to create different works of art.

Investigate arts-related careers. BIG IDEAS/COMMON THREADS




ESSENTIAL QUESTIONS PRIMARY: How do we create art using a variety of media and materials? SECONDARY: Why do artists choose a specific method of using a material?

MODULE ASSESSMENT

Students will demonstrate appropriate use of tools and techniques to create various works of art.


• recognize some of the characteristics (realistic/abstract, objective/non objective) of art.

• investigate careers in the art world. • use art vocabulary while creating a work of art. • have the opportunity to exhibit their artwork in the school and community.


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• use and care for tools (paintbrushes, scissors, etc..) and materials appropriately.

• learn techniques for manipulating various mediums. • create works of art based on various themes. (including cross

curricular connections) • create two and three-dimensional works of art. • learn that the final result involves brainstorming, planning and editing.


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BY THE END OF SIXTH GRADE ELEMENTS AND PRINCIPLES

State Standard 1.3.6.D.1 Describe the emotional significance conveyed in the application of the elements. State Standard 1.3.6.D.2

• comprehend that the repetition of the Art Elements can create unity, balance, rhythm and movement.

Describe a work of art that clearly illustrates a principle of design. BIG IDEAS/COMMON THREADS



Students will create works of art using their knowledge of the Elements and Principles of Design.

ESSENTIAL QUESTIONS

PRIMARY: What are the Elements and Principles of Design? SECONDARY: Why are the Elements and Principles of Design necessary to create a work of art?

MODULE ASSESSMENT Students will be able to demonstrate an understanding of the Elements and Principles of Design.


• understand that line and shape may imply symbols, as signs and letters, through the discussion of selected artwork and artifacts.

• understand that form takes up space; it is solid, it has height, width, and depth.

• comprehend that a composition is the arrangement of shapes (positive/ negative) in a given space.

• understand that color combinations, value and hue can influence an emotional response.


• recognize that an outline can give a flat quality to a work of art whereas a contour line can be used to create the illusion of three-dimensional form.


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• identify the focal point in a work of art. • identify the difference between geometric and organic shapes. • demonstrate the ability to use additive and subtractive techniques in

the construction of a three dimensional work of art. • identify color relationships: monochromatic colors, analogous colors,

intermediate colors. • demonstrate value changes through the blending of tints, tones, and

shades. • identify neutral colors. • use a variety of tools and materials to create various textures.


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BY THE END OF SIXTH GRADE CRITIQUE

State Standard 1.4.6.A.1 Classify elements of unity or repetition in a work of art. State Standard 1.4.6.A.2 Apply domain specific arts terminology to express statements of both fact and opinion regarding works of art. State Standard 1.4.6.A.2 Describe the technical proficiency of the artist’s work, orally and in writing. State Standard 1.4.6.B.1 Critique performances and exhibitions based on the application of the elements of the art form. State Standard 1.4.6.B.2 Identify and differentiate among basic formal structures within artworks. State Standard 1.4.6.B.3

• learn to critique a work of art through a series of steps that involve describing, analyzing, interpreting, and evaluating.

Consider the impact of traditions in the critique of works of art. BIG IDEAS/COMMON THREADS



Students will be able to interpret and evaluate a work of art. ESSENTIAL QUESTIONS

PRIMARY: How is art used to communicate an idea? SECONDARY: How do we interpret and evaluate a work of art?

MODULE ASSESSMENT Students will participate in group oral and written critiques.


• learn that an objective response to a work of art deals with judgment verses a subjective response that deals with preference.

• understand that artists use art as a tool to communicate a message about their point of view or emotions.


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• identify the expressive qualities in a work of art. • identify and recognize the style of a specific art movement and/or

culture. • demonstrate the ability to write a formal analysis of their own artwork

using the components of art criticism.


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BY THE END OF SIXTH GRADE HISTORY/CULTURE

State Standard 1.5.6A.1 Reflect on a variety of works of art representing important ideas, issues, and events in a society. State Standard 1.5.6.A.2 Recognize that a chronology exists in all art forms. State Standard 1.5.6.B.1 Compare and contrast the contributions of significant artists from an historical period. State Standard 1.5.6.B.2

• understand that “Art Historians” determine when artifacts were made and by whom.

Hypothesize how the arts have impacted world culture. BIG IDEAS/COMMON THREADS



Students will be exposed to artwork from around the world made by different cultures in different time periods with materials that were available. Historical works of art will be used as motivation for students to explore techniques, materials, methods, subject matter, genres in their own works of art.

ESSENTIAL QUESTIONS

PRIMARY: How do the beliefs and events of society, politics and religion influence art? SECONDARY: How does the art of one time period influence the art of other time periods?

MODULE ASSESSMENT

Students will look at works of art from different time periods across cultures. They will create their own works of art that replicate the process, style, and genre while still maintaining their own individual expression.


• acquire an appreciation of historical preservation as a means of maintaining a visual heritage.

• understand that a work of art can express social, political and cultural ideas depending on the time the work was created.


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• recognize how the arts have impacted society and the way people think.

• identify various art movements and site characteristics and artists representative of this style.

• support conclusions about when artifacts or artworks were made. • understand how individual artist’s and cultural styles influence each

other.


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SUGGESTED ACTIVITIES By the end of Sixth Grade: Students learn about masks from a specific culture or cultures and then create their own. Students learn how to draw thumbnail sketches of a still life using a viewing frame. The final composition is drawn with pastels using a monochromatic color scheme. Reproduce the painting “Fabstudie Quadrate” by Kandinsky using a variety of media (paint, cray pas, cut paper and yarn) focusing on color theory of primary, secondary, complementary, warm and cool colors. Create Fauve “wild beast” still life using a variety of media and techniques after studying Henri Matisse and his influence on this style of art. Learn how to draw three-dimensional forms on various papers and then cut and glue them to create a fragmented collage using foreground, middle ground and background to show depth. Using all methods of clay hand building (coil, slab and pinch) create foods (i.e.: pizza, burgers, pizza) in the Pop art style. Take a photo of each student, print their black and white photo on copy paper, create a self portrait by manipulating the photo (cutting, painting, and drawing). Create an original tessellation pattern in the style of MC Escher emphasizing positive/negative space and symmetry. Discuss Impressionism and create a painting using oil pastels to blend analogous colors. Create theme boxes in the style of Joseph Cornell using mixed media and found objects. (Shadow Boxes) Critique- Conduct a group oral critique of the students completed artwork. Promote constructive criticism. Ask the students to consider how the lesson’s objectives were met and expressed in each individual artwork. What elements work and what can be improved upon. Working in small groups, students write answers to specific questions about several works of art from one artist, art movement or culture/society. The questions relate to how the artist/s expresses the attitudes, beliefs, and events of their time, culture/society in their artwork. Famous Artist Research Report- (Collaborative project with Librarian) Students select a famous artist and create a power point presentation and work of art in the style of that artist.


34

Technology Resources: A. Pintura: Art Detective- Solve "The Case of Grandpa's Painting"; great art history lesson. http://eduweb.com/pintura ARTcapades- K-3 bilingual online art activities and lessons. http://www.kn.pacbell.com/wired/capades/ ArtEdventures and a Lifetime of Color- Create art through hands on interactive activities and demos. http://www.alifetimeofcolor.com/ Carmine's Introduction to Color http://www.alifetimeofcolor.com/play/color1/color1.html Carmine's Introduction to Line and Shape http://www.alifetimeofcolor.com/play/lineshape/index2.html Carmine’s Introduction to Portraits http://www.alifetimeofcolor.com/play/portrait1/portrait.html Carmine’s Landscape Adventure http://www.alifetimeofcolor.com/play/landscape1/index.html From Cave Art to Your Art http://www.alifetimeofcolor.com/play/caveart/index.html The Artist's Toolkit (Minneapolis Institute of Art)- An Interactive lesson that explores visual elements and principles. http://www.artsconnected.org/toolkit/ Artsonia Kids Art Museum- Artsonia is a kids art museum where young artists and students display their art for other kids worldwide to view. http://www.artsonia.com/ Cartoonster- Learn about the basics of cartoon animation. Simple tutorials that help you understand the concepts of frame by frame animation. http://cartoonster.kidzdom.com Crayola- Online Art activities, Crafts, Lessons and games for Kids, Parents and Teachers! http://www.crayola.com/ Cinema Exhibits Collection- This interactive site sets the creative process of filmmaking in motion for students. http://www.learner.org/exhibits/cinema

http://eduweb.com/pintura�

http://www.kn.pacbell.com/wired/capades/�

http://www.kn.pacbell.com/wired/capades/�

http://www.sanford-artedventures.com/play/play.html�

http://www.alifetimeofcolor.com/�

http://www.alifetimeofcolor.com/play/color1/color1.html�

http://www.alifetimeofcolor.com/play/lineshape/index2.html�

http://www.alifetimeofcolor.com/play/portrait1/portrait.html�

http://www.alifetimeofcolor.com/play/landscape1/index.html�

http://www.alifetimeofcolor.com/play/caveart/index.html�

http://www.artsconnected.org/toolkit/�

http://www.artsconnected.org/toolkit/�

http://www.artsonia.com/�

http://www.artsonia.com/�

http://cartoonster.kidzdom.com/�

http://www.crayola.com/�

http://www.learner.org/exhibits/cinema�


35

CMA Kids (The Cleveland Museum of Art)- Interactive and fun activities for kids. http://www.clevelandart.org/kids/ Destination: Modern Art- Interactive online gallery offers an educational tour of The Museum of Modern Art and the Contemporary Art Center. Learn about the artists and their techniques. http://www.moma.org/destination/ Getty Museum- Education-related activities, lessons, and resources offered by the Getty Museum for teachers, students, professionals, and the general public. http://www.getty.edu/artsednet Haring Kids- Official Keith Haring website for children: fun interactive activities to inspire a love of learning. Great lesson plan database for teachers. http://www.haringkids.com/ KidsArt- Hands on art activities fro home and school. http://www.kidsart.com KinderArt- A large collection of online art lessons, activities, resources for teachers and art education. http://www.kinderart.com/ Metropolitan Museum Of Art for Kids- Includes family guides, museum hunts and art games. http://www.metmuseum.org/explore/museumkids.htm MOMA Kids Wing- Interactive fun that showcases web-exclusive art in a virtual-museum atmosphere. Play, create, and participate, or just listen to a story. http://www.mowa.org/kids/kids_enter.html Mr.PicassoHead- Create your own abstract caricatures just like the modern master himself. http://www.mrpicassohead.com/ National Gallery of Art: NGA Kids ArtZone- Introduces kids to the world of art through interactive online art activities. Provides information on techniques and periods of art. http://www.nga.gov/kids/ Online Etch-a-Sketch http://www.ohioart.com/etch/ Renaissance Connection- A great site with games, quizzes, lessons, and resources on the Renaissance. http://www.renaissanceconnection.org/index2.cfm

http://www.clevelandart.org/kids/�

http://www.moma.org/destination/�

http://www.moma.org/destination/�

http://www.getty.edu/artsednet�

http://www.haringkids.com/�


http://www.kidsart.com/�

http://www.kinderart.com/�

http://www.metmuseum.org/explore/museumkids.htm�

http://www.mowa.org/kids/kids_enter.html�

http://www.mrpicassohead.com/�

http://www.mrpicassohead.com/�

http://www.nga.gov/kids/zone/zone.htm�

http://www.nga.gov/kids/�

http://www.ohioart.com/etch/�

http://www.renaissanceconnection.org/index2.cfm�


36

SmART Kids- For students to discover ways to look at, think about, and respond creatively to art from the Smart Museum of Art, University of Chicago. http://smartmuseum.uchicago.edu/smartkids/index.html Smithsonian Education For Students- This is a place for kids to explore, discover and learn. Find out about art, science, history and the secrets of the museums. http://smithsonianeducation.org/students/explore_by_topic/everything_art.html Other Resources For Students: Books and Videos Getting To Know The Worlds Greatest Artists Venezia Book and video series Dropping In On… Series Stephens& Wass Draw Series DuBosque Clip Art Book Series Design Source Clip Art Books Pictura Full-color Clip Art Books and CD-Rom The Fantastic World of M.C. Escher video I Can Fly video series Tar Beach , Faith Ringold The Cave Painter of Lascaux, Angeletti The Color Tree, Bennett Mouse Paint, Ellen Stoll Walsh The Dot , Reynolds Regina’s Big Mistake, Marissa Moss My Name is Georgia, Winter Frida, Winter & Juan Ish, Reynolds Games Art Memo Game Series Books Drawing On The Right Side OF The Brain, Betty Edwards Games for Teaching Art, Alger Children and Painting, Topal Mandalas of the World Janson Art History Books History of Art For Young People, Janson Children Clay and Sculpture, Topal The Great Clay Adventure, Kong Book Maskmaking, Carole Sivin Art From Many Hands, Schuman Cover to Cover, La Plantz Draw Real People, Hammond The Sumi-e Book, Mayhall

http://smartmuseum.uchicago.edu/smartkids/index.html�

http://smithsonianeducation.org/students/index.html�

http://smithsonianeducation.org/students/explore_by_topic/everything_art.html�


37

Posters and Prints Shorewood Collection of Art Prints Huffman Art Visual Sets with Teacher Reference Guide Cultural Mask Prints Elementary Elements of Art & Principles of Design Poster Sets Art History Time Line Set of 9 Panels Modern Art History Time Line Prints Set of 30 prints Know the Artist Poster Sets Prints of 3-D art 12 prints Recycled Art 12 prints Museum Resources The Newark Museum Educational Loan Collection & Busless Field Trips 973 596-6630 www.newarkmuseum.org/schoolandteacher The Metropolitan Museum of Art Nolen Library in the Uris Center for Education Multi-Media Teacher Resource Kits and more www.metmuseum.org/education The Montclair Art Museum (973) 746-5555 http://www.montclairartmuseum.org/

http://www.newarkmuseum.org/schoolandteacher�

http://www.metmuseum.org/education�

http://www.montclairartmuseum.org/�


38

BY THE END OF SEVENTH GRADE MODERN ART

State Standard 1.1.8.A.3 Analyze how art is often defined by its originality. State Standard 1.1.8.B.2 Distinguish among artistic styles, trends, and movements in various art forms. . State Standard 1.1.8.D.1 Incorporate various art elements and principles in the creation of works of art. State Standard 1.2.8.D.2 Explore various media, technologies and processes in the production of two and three dimensional art. State Standard 1.2.8.D.3 Identify form, function, craftsmanship, and originality when creating a work of art. State Standard 1.3.8.D.2 Apply the principles of design to interpret various masterworks of art. State Standard 1.4.8.A.1 Explain the process of critique using the progression of description, analysis, interpretation, and evaluation. State Standard 1.4.8.A.2 Compare artistic content among contrasting art works in the same domain. State Standard 1.5.8.B.1

• Cubism Rubric

Indentify the common artistic elements that help define a given historical period. 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?

MODULE ASSESSMENT

Artwork - Cubism still life drawing, 12x18 color pencil

a. Strong composition b. Multiple View Points c. Shading (value)


39

d. Proportion 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


• 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.

MODULE 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 308


40


State Standard 1.1.8.A.1 Examine works of art that communicate significant cultural beliefs or set of values. State Standard 1.1.8.A.2 Use domain-specific vocabulary relating to symbolism, genre, and performance technique in all arts areas. State Standard 1.1.8.A.3 Analyze how art is often defined by its originality. State Standard 1.1.8.B.2 Distinguish among artistic styles, trends, and movements in various art forms. State Standard 1.1.8.B.3 Express how art is inspired by an individual’s imagination. State Standard 1.1.8.B.4 Describe changes in meaning over time in the perception of a known work of art. State Standard 1.1.8.D.1 Incorporate various art elements and principles in the creation of works of art. State Standard 1.2.8.D.3 Identify form, function, craftsmanship, and originality when creating a work of art. State Standard 1.3.8. D.2 Apply the principles of design to interpret various masterworks of art. State Standard 1.4.8.A.1 Explain the process of critique using the progression of description, analysis, interpretation, and evaluation. State Standard 1.4.8.A.2 Compare artistic content among contrasting art works in the same domain. State Standard 1.4.8.B.2 Compare and contrast the technical proficiency of artists. State Standard 1.5.8.B.1 Indentify the common artistic elements that help define a given historical period. State Standard 1.5.8.B.2 Discuss how cultural influences add to the understanding of works art. BIG IDEAS/COMMON THREADS


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?


41

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?

MODULE 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

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 MODULE 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.


42


• demonstrate various drawing techniques. • demonstrate various watercolor 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 308


43


State Standard 1.1.8.A.3 Analyze how art is often defined by its originality. State Standard 1.1.8.B.1 Differentiate between the unique and common properties in all of the arts. State Standard 1.1.8.B.2 Distinguish among artistic styles, trends, and movements in various art forms. State Standard 1.1.8.B.4 Describe changes in meaning over time in the perception of a known work of art. State Standard 1.1.8.D.1 Incorporate various art elements and principles in the creation of works of art. State Standard 1.2.8.D.2 Explore various media, technologies and processes in the production of two and three dimensional art. State Standard 1.2.8.D.3 Identify form, function, craftsmanship, and originality when creating a work of art. State Standards 1.3.8.D.1 Define the elements of art and principles of design that are evident in everyday life. State Standard 1.3.8.D.3 Compare and contrast works of art in various media that utilize the same arts elements and principles of design. State Standard 1.4.8.A.2 Compare artistic content among contrasting art works in the same domain. State Standard 1.5.8.A.1

SECONDARY: How does Pop art influence artists and art today? What is popular mass culture and mass-produced? What is the goal of

Analyze how technological changes have influenced the development of the arts. BIG IDEAS/COMMON THREADS


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?


44

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?

MODULE ASSESSMENT

Artwork – A three dimensional Pop Art sculpture • Pop Art Rubric:

a. Group Involvement b. Scale and Proportion to the original product/object 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 MODULE OBJECTIVE Students will be able to…

• 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.


45

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

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


• demonstrate various drawing techniques. • demonstrate various painting techniques. • construct a three dimensional sculpture. • collaborate with peers to complete a group project. • use medium appropriately. • use the appropriate four steps of art criticism for constructive critiquing. • use critical thinking skills in class discussions and writing assignments.

RESOURCES Page 308


46


State Standard 1.1.8.A.2 Use domain-specific vocabulary relating to symbolism, genre, and performance technique in all arts areas. State Standard 1.1.8.A.3 Analyze how art is often defined by its originality. State Standard 1.1.8.B.2 Distinguish among artistic styles, trends, and movements in various art forms. State Standard 1.1.8.B.3 Express how art is inspired by an individual’s imagination. State Standard 1.1.8.D.1 Incorporate various art elements and principles in the creation of works of art. State Standard 1.2.8.D.2 Explore various media, technologies and processes in the production of two and three dimensional art. State Standard 1.2.8.D.3 Identify form, function, craftsmanship, and originality when creating a work of art. State Standard 1.3.8.D.2 Apply the principles of design to interpret various masterworks of art. State Standard 1.4.8.A.1 Explain the process of critique using the progression of description, analysis, interpretation, and evaluation. State Standard 1.4.8.A.2 Compare artistic content among contrasting art works in the same domain. State Standard 1.4.8.B.2 Compare and contrast the technical proficiency of artists. State Standard 1.5.8.B.1 Indentify the common artistic elements that help define a given historical period. State Standard 1.5.8.B.2 Discuss how cultural influences add to the understanding of works art. BIG IDEAS/COMMON THREADS


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?


47

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?

MODULE ASSESSMENT

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

• 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 MODULE OBJECTIVE Students will be able to…

• 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.


48

• 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.

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


• demonstrate various drawing techniques. • demonstrate various painting techniques. • apply warm and cool colors, monochromatic colors, and intense colors. • use new media 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 308


49


State Standard 1.1.8.A.2 Use domain-specific vocabulary relating to symbolism, genre, and performance technique in all arts areas. State Standard 1.1.8.A.3 Analyze how art is often defined by its originality. State Standard 1.1.8.B.2 Distinguish among artistic styles, trends, and movements in various art forms. State Standard 1.1.8.B.3 Express how art is inspired by an individual’s imagination. State Standard 1.1.8.D.1 Incorporate various art elements and principles in the creation of works of art. State Standard 1.2.8.D.2 Explore various media, technologies and processes in the production of two and three dimensional art. State Standard 1.2.8.D.3 Identify form, function, craftsmanship, and originality when creating a work of art. State Standard 1.3.8. D.2 Apply the principles of design to interpret various masterworks of art. State Standard 1.3.8.D.3 Compare and contrast works of art in various media that utilize the same arts elements and principles of design. State Standard 1.4.8.A.1 Explain the process of critique using the progression of description, analysis, interpretation, and evaluation. State Standard 1.4.8.A.2 Compare artistic content among contrasting art works in the same domain. State Standard 1.4.8.B.2 Compare and contrast the technical proficiency of artists. State Standard 1.5.8.A.1 Analyze how technological changes have influenced the development of the arts. BIG IDEAS/COMMON THREADS


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?


50

MODULE 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.

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.


• demonstrate various drawing techniques. • accurately measure using a ruler and a compass. • 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 308

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

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


51

BY THE END OF EIGHTH GRADE MODERN ART

State Standard 1.1.8.A.2 Use domain-specific vocabulary relating to symbolism, genre, and performance technique in all arts areas. State Standard 1.1.8.A.3 Analyze how art is often defined by its originality. State Standard 1.1.8.B.2 Distinguish among artistic styles, trends, and movements in various art forms. State Standard 1.1.8.B.3 Express how art is inspired by an individual’s imagination. State Standard 1.1.8.B.4 Describe changes in meaning over time in the perception of a known work of art. State Standard 1.1.8.D.1 Incorporate various art elements and principles in the creation of works of art. State Standard 1.2.8.D.2 Explore various media, technologies and processes in the production of two and three dimensional art. State Standard 1.2.8.D.3 Identify form, function, craftsmanship, and originality when creating a work of art. State Standard 1.2.8.D.4 Identify careers and lifelong opportunities for making art. State Standards 1.3.8.D.1 Define the elements of art and principles of design that are evident in everyday life. State Standard 1.3.8. D.2 Apply the principles of design to interpret various masterworks of art. State Standard 1.3.8.D.3 Compare and contrast works of art in various media that utilize the same arts elements and principles of design. State Standard 1.4.8.A.1 Explain the process of critique using the progression of description, analysis, interpretation, and evaluation. State Standard 1.4.8.A.2 Compare artistic content among contrasting art works in the same domain. State Standard 1.4.8.B.2 Compare and contrast the technical proficiency of artists. State Standard 1.5.8.A.1 Analyze how technological changes have influenced the development of the arts. State Standard 1.5.8.B.1 Indentify the common artistic elements that help define a given historical period. State Standard 1.5.8.B.2 Discuss how cultural influences add to the understanding of works art. BIG IDEAS/COMMON THREADS



52

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?

MODULE ASSESSMENT

Artwork – An 18” x 24” fantasy interior space painting • Photorealism - One Point Perspective:

a. One point perspective b. Scale and proportion 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 MODULE OBJECTIVE Students will be able to…

• 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.


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• 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. MODULE SKILLS Students will be able to…

• demonstrate various drawing techniques. • demonstrate various painting techniques. • apply the “rules of perspective”. • demonstrate contrast and value. • illustrate knowledge of one point perspective using a ruler. • use Internet tutorials. • 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.

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State Standard 1.1.8.A.3 Analyze how art is often defined by its originality. State Standard 1.1.8.B.2 Distinguish among artistic styles, trends, and movements in various art forms. State Standard 1.1.8.D.1 Incorporate various art elements and principles in the creation of works of art. State Standard 1.2.8.D.2 Explore various media, technologies and processes in the production of two and three dimensional art. State Standard 1.2.8.D.3 Identify form, function, craftsmanship, and originality when creating a work of art. State Standard 1.3.8.D.2 Apply the principles of design to interpret various masterworks of art. State Standard 1.3.8.D.3 Compare and contrast works of art in various media that utilize the same arts elements and principles of design. State Standard 1.4.8.A.1 Explain the process of critique using the progression of description, analysis, interpretation, and evaluation. State Standard 1.4.8.A.2 Compare artistic content among contrasting art works in the same domain. State Standard 1.4.8.B.2 Compare and contrast the technical proficiency of artists. State Standard 1.5.8.A.1 Analyze how technological changes have influenced the development of the arts.

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 - 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?


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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?

MODULE ASSESSMENT

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

• develop fine motor skills through various drawing techniques. • compare and contrast Photorealist, Richard Estes and Chuck Close.


• demonstrate various drawing techniques. • demonstrate contrast and value. • use a ruler to create a grid.


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• 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.

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State Standard 1.1.8.A.1 Examine works of art that communicate significant cultural beliefs or set of values. State Standard 1.1.8.B.4 Describe changes in meaning over time in the perception of a known work of art. State Standard 1.1.8.D.1 Incorporate various art elements and principles in the creation of works of art. State Standard 1.2.8.D.2 Explore various media, technologies and processes in the production of two and three dimensional art. State Standard 1.3.8.D.2 Apply the principles of design to interpret various masterworks of art. State Standard 1.4.8.A.1 Explain the process of critique using the progression of description, analysis, interpretation, and evaluation. State Standard 1.4.8.B.1 Evaluate the judgment of others based on the process of critique. State Standard 1.5.8.A.2 Examine how the social and political environment influences artists in various social/historical/political contexts. State Standard 1.5.8.B.2

• Social Realism - Printmaking:

Discuss how cultural influences add to the understanding of works of art.


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?

MODULE ASSESSMENT

Artwork – A series of prints

a. Depiction of social issue


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b. Strong composition c. Value d. Line quality e. Color Variation in the series of prints

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. • develop fine motor skills through various drawing techniques. • 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 drawing techniques. • demonstrate various printmaking techniques. • demonstrate contrast and value. • 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.

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State Standard 1.1.8.A.1 Examine works of art that communicate significant cultural beliefs or set of values. State Standard 1.1.8.A.3 Analyze how art is often defined by its originality. State Standard 1.1.8.B.3 Express how art is inspired by an individual’s imagination. State Standard 1.2.8.D.1 Incorporate various art elements and principles in the creation of works of art. State Standard 1.2.8.D.2 Explore various media, technologies and processes in the production of two and three dimensional art. State Standard 1.2.8.D.4 Identify careers and lifelong opportunities for making art. State Standard 1.3.8.D.2 Apply the principles of design to interpret various masterworks of art. State Standard 1.3.8.D.3 Compare and contrast works of art in various media that utilize the same arts elements State Standard 1.4.8.A.1 Explain the process of critique using the progression of description, analysis, interpretation, and evaluation. . State Standard 1.5.8.A.1

• Dada – Visual Puns:

Analyze how technological changes have influenced the development of the arts.


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?

MODULE ASSESSMENT

Artwork – A digital file


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a. Depiction of saying, phrase or compound word b. Strong composition c. Application of Photoshop Elements d. Visual Humor/The Absurd 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. MODULE SKILLS Students will be able to…

• 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.

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BY THE END OF TWELFTH GRADE ART I

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3

• Written self critiques using aesthetic vocabulary.

Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Aesthetics

Artists and critics use a developed vocabulary to make informed judgments on the validity of a work of art.

ESSENTIAL QUESTIONS

PRIMARY: What is Art? SECONDARY: How do we use the language of art to differentiate between what we see and what we think we know? How do personal & cultural values influence the aesthetic judgment of a piece of art?

MODULE ASSESSMENT

• Oral group critique using aesthetic vocabulary. • Read, discuss and write a reaction essay in response to teacher

selected articles.


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• make informed judgments and statements on the artist’s intentions & aesthetics of the work.

• constructively express opinions. • look at art with an informed critical eye.


• read current articles and develop critical thinking skills regarding aesthetics.

• write reaction essays using aesthetic vocabulary. • apply aesthetic vocabulary in group discussions.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3

• Production Portfolios and performance based assessment that:

Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. 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 media to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS – Creation and Performance

Artists use conceptual and observational skills and a variety of materials & techniques to create works of art.

ESSENTIAL QUESTIONS

PRIMARY: How is art created from what we observe? How is art created from memory? How do artists use imagination? SECONDARY: How does your tool & technique affect the outcome of the art?

MODULE ASSESSMENT

o Demonstrate appropriate use of materials & techniques in creation of artwork and exercises.

o Demonstrate an understanding of the assignment & concept. o Use the Elements of Art and Principles of Design in creation of

artwork. o Demonstrates artistic intention. o Utilizes Sketchbook/Journal for concept development


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• Participation in class critiques • Written and oral self evaluations


• use the elements & principles of art in artwork. • create compositions as per compositional guidelines. • express individual ideas through the creation of artwork. • differentiate between conceptual and observational works of art. • explore different mediums & techniques.


• use a variety of drawing techniques & materials. • create observational & conceptual 2D & 3D works. • apply aesthetic vocabulary & principles in the creation & critique of

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2

• Individual works of art that use the Elements of Art and Principles of Design

Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS –Elements & Principles of Art

The Elements of art and Principles of design are the building blocks of art. ESSENTIAL QUESTIONS PRIMARY: What are the elements of art? What are the principles of art?

SECONDARY: How do the elements of art support the principles of art? How do methods & techniques affect the elements & principles?

MODULE ASSESSMENT

• Written assignments using the Elements of Art and Principles of Design.


• identify the Elements of Art and Principles of Design as they exist in the students’ work and the work of others.

• learn to use a variety of materials and mediums and Identify which best achieves each Element of Art and Principles of Design.


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

• discuss how Elements of Art and Principles of Design work together to create compositions.


• create works of art that use the Elements of Art and Principles of Design.

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

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2

• A written critique using the four steps of criticism.

Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. 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 media to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Critique

Using the four steps of art criticism, description, analysis, interpretation & judgment, students can better organize their thoughts and make intelligent and educated statements about a work of art.

ESSENTIAL QUESTIONS

PRIMARY: What is a critique? What are the four steps of art criticism? MODULE ASSESSMENT

• Oral critiques of student work that use the four steps of criticism and design vocabulary.


• differentiate between the four steps of art criticism. • determine how to use critique to better understand artwork. • practice applying constructive criticism. • use critique to make changes and better their own work.


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• choose a famous work of art and write a critique using the four steps of art criticism.

• apply the four steps to their own work and the work of others. • use criticism to make changes and improve on future works.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - World Cultures, History and Society

Art is found in all cultures through all periods of history.


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ESSENTIAL QUESTIONS PRIMARY: Why is art found in all cultures throughout history? How does art reflect the history and culture of a society? SECONDARY: How does art reflect the needs of the people? How does the individual artist affect the artistic, political, and social events of their time?

MODULE ASSESSMENT

• Self art work creation in response to contemporary issues and world cultures.

• A visual presentation of a period of art history (i.e. PowerPoint, Inspiration)


• view artwork created in response to societal issues. • identify art specific to various world cultures. • understand how artists reflect the history of their society. • appreciate the role art plays in their own lives. • differentiate between artistic styles and movements.


• discuss world cultures and artwork unique to that society. • identify contemporary issues & create artwork in response to

contemporary issues. • research and visually present a period of art history.

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BY THE END OF TWELFTH GRADE ART II

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS:


ENDURING UNDERSTANDINGS - Working with Color

Artists and use a developed understanding of color theory when producing and critiquing artwork.

ESSENTIAL QUESTIONS

PRIMARY: What is color theory? How is color used in art?


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SECONDARY: How can we use color theory when creating or critiquing artwork?

MODULE ASSESSMENT

• Self-reflective journal entries on color theories as discussed in class. • Oral and/or written critique on the use of color theory. • Student produced Multimedia presentation on the use of color in a

famous work of art. • Individual works of art applying color theory.


• discuss different color theories and how they are used. • identify traditional uses of color through the history of art (i.e. Color and

symbolism). • understand and identify color schemes. • identify color schemes used in works of art from a variety of historical

periods and cultures. • use color theory in their individual artwork and critiques. • compare and contrast the use of color across various historical periods

of art. • understand the purpose and proper use of the color wheel. • identify various professions/careers that utilize color theory and how it

is applied. • discuss the history of color theory and the history of the color wheel. • 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.


• properly use a color wheel. • apply color theory when creating artwork. • use a developed vocabulary when critiquing artwork. • participate in group critique of identifying the use of color in works of

art. • offer and apply suggestions to better artwork through critique.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS



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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?

MODULE 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. • 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. • use composition skills when creating portraits. • use graphing techniques to enlarge images. • 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




• create a self portrait. • use graphing techniques. • use a developed vocabulary when critiquing artwork.


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

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS


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?


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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?

MODULE 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 life from

the history of art • Student produced still life


• distinguish between the genres of art. • identify still life and their purpose. • use the Elements of Art, Principles of Design and composition skills

when creating still life. • draw relationships between historic events and trends in portraiture. • determine how style and color affects still life. • determine the best tools to use when creating still life. • compare and contrast western and non-western still life samples from

the history of art. • identify traditional techniques used in still life from the history of art. • identify stylistic characteristics in sample still life. • use design vocabulary when critiquing still life. • apply the four steps of art criticism. • write journal entries that encourages self reflection and improve




• create a still life. • participate in group critique of sample still life and student work. • present a still life from the history of art as assigned by teacher.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. BIG IDEAS/COMMON THREADS


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?


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MODULE ASSESSMENT • Journal writing of teacher assigned “scapes” or artistic movements (ie.

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”


• distinguish between the genres of art. • create artwork in response to literary work. • 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. • write journal entries that encourages self reflection and improve




• 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.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Three Dimensional Design

Three dimensional works of art can be viewed from all sides and rely on an understanding of form.


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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?

MODULE ASSESSMENT

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

• Participation in written or oral critique • Student produced 3 dimensional artwork


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




• 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.

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BY THE END OF TWELFTH GRADE PAINTING

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art.


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State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2

• Use of materials in individual works of art.

Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS


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?

MODULE ASSESSMENT

• 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 • 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.


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• 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.

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• Use of materials in original individual works of art.



ENDURING UNDERSTANDINGS - Watercolor paint


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?

MODULE ASSESSMENT

• Sketchbook documentation. • Written and or verbal class critiques. • Self evaluation. • Teacher / student evaluation. • Identify various styles of artist both traditional and contemporary.


• 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.


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• learn how to respect their tools through proper care and up keep. MODULE SKILLS Students will be able to…

• 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.

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ENDURING UNDERSTANDINGS - Gouache Paint


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?

MODULE ASSESSMENT

• Sketchbook documentation • Written and or verbal class critiques. • Self evaluation. • Teacher / student evaluation. • Identify various styles of artist both traditional and contemporary.


• 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. • prepare the surface to be painted on.


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• 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.

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ENDURING UNDERSTANDINGS - Oil Paint


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?

MODULE ASSESSMENT

• Sketchbook documentation • Written and or verbal class critiques. • Self evaluation. • Teacher / student evaluation. • Identify various styles of artist both 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. • prepare the surface for paint.


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• demonstrate personal philosophy in the creation of a piece of art. RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. BIG IDEAS/COMMON THREADS



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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?

MODULE ASSESSMENT • Use of materials in individual works of art. • Sketchbook documentation • Written and or verbal class critiques. • Self evaluation. • Teacher / student evaluation. • Identify various styles of artist both 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.





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BY THE END OF TWELFTH GRADE COMMERCIAL DESIGN

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1

Through a developed understanding of aesthetics and the Elements and Principles of art, art students become critical thinkers, who combine visual

Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. BIG IDEAS/COMMON THREADS


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literacy and various mediums to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Lettering Styles


ESSENTIAL QUESTIONS

PRIMARY: How can lettering be used in the creation of art? Is lettering art? What is the difference between traditional and non-traditional lettering? How do tools influence design? How does surface influence design? SECONDARY: How important is technique, style and form in lettering? How can letters as an art form communicate an idea to the viewer? What are the contemporary trends in lettering?

MODULE ASSESSMENT

• Evaluate lettering as an art form. • Evaluate sketchbook documentation. • Evaluate written and or verbal class critiques. • Self evaluation. • Teacher / student evaluation. • Produce art work reflecting various styles of artist both traditional and

contemporary MODULE OBJECTIVES Students will be able to…

• identify different styles of lettering, traditional and non-traditional, historical and contemporary.

• learn lettering techniques using appropriate tools, pens, brushes, etc. • identify the unique qualities of the different lettering styles. • identify and reproduce the styles of traditional and contemporary

artists. • create art reflecting original personal expression using letters. • defend their ideas through written and verbal evaluation • apply aesthetic criteria in evaluating commercial art. • utilize appropriate technical and aesthetic vocabulary. • demonstrate knowledge of safety procedures. • demonstrate appropriate use and care of tools. • become a productive participant in an art studio environment.

. MODULE SKILLS Students will be able to…

• demonstrate knowledge of a variety of lettering styles.


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• discuss contemporary and historical trends in lettering. • demonstrate knowledge of typography including traditional and non-

traditional approaches to calligraphy. • demonstrate how the manipulation of letters as form can convey the

artist’s idea. • demonstrate how tools and materials affect the outcome of a piece of

art. • demonstrate the proper cleaning of commercial art tools.

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State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Logos


ESSENTIAL QUESTIONS

PRIMARY: Are Logos art? What is a logo? What is the difference between traditional and non-traditional Logos SECONDARY: How do tools influence design? How does surface influence design? How do logos communicate an idea to the viewer?


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MODULE ASSESSMENT • Evaluate logos as an art form. • Evaluate sketchbook documentation. • Evaluate written and or verbal class critiques. • Self evaluation. • Teacher / student evaluation. • Produce a logo reflecting knowledge of various styles of artist both

traditional and contemporary MODULE OBJECTIVES Students will be able to…

• identify different styles of logos both traditional and non-traditional. • demonstrate how to develop a logo through the creation of a personal

logo. • identify the styles of traditional and contemporary logos. • create art reflecting original personal expression. • defend their ideas through written and verbal evaluations. • learn how to respect their tools through proper care and upkeep. • become a productive participant in an art studio environment.


• create a personal logo. • discuss how today’s logos are influenced by the commercial artists of

the past? • demonstrate how tools and materials affect the outcome of a piece of


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State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2

• Evaluate packaging and product design as an art form.

Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Package and Product Design


ESSENTIAL QUESTIONS

PRIMARY: What are the elements of good package design? What are the elements of good product design? Is packaging art? What is the difference between traditional and non-traditional package designs? SECONDARY: How do tools influence design? How does surface influence design? How is package design used in advertising?

MODULE ASSESSMENT

• Evaluate sketchbook documentation. • Evaluate written and or verbal class critiques. • Self evaluation. • Teacher / student evaluation. • Produce a unique package design reflecting knowledge of various

styles of artist both traditional and contemporary.


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MODULE OBJECTIVES Students will be able to…

• identify traditional and non-traditional package designs. • create art reflecting original personal expression. • defend their ideas through written and verbal evaluations. • learn how to respect their tools through proper care and upkeep. • become a productive participant in an art studio environment.


• discuss how contemporary packaging /products are influenced by the commercial artists of the past?

• demonstrate how tools and materials affect the outcome of a piece of art.

• demonstrate the proper cleaning of commercial art tools. RESOURCES Page 308


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State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2

• Evaluate cartooning as an art form.

Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Cartooning


ESSENTIAL QUESTIONS

PRIMARY: How do artist use cartooning? What are the different types of cartooning? SECONDARY: How is technique and style used in cartooning? What are the contemporary trends in cartooning?

MODULE ASSESSMENT


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• Evaluate sketchbook documentation. • Evaluate written and or verbal class critiques. • Self evaluation. • Teacher / student evaluation. • Produce art work reflecting various styles of artist both traditional and


• identify different styles of cartooning traditional and non-traditional, historical and contemporary.

• learn cartooning techniques using appropriate tools, pens, brushes, etc. .

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

• create art reflecting original personal expression.. • defend their ideas through written and verbal evaluation. • apply aesthetic criteria in evaluating cartooning. • utilize appropriate technical and aesthetic vocabulary. • demonstrate knowledge of safety procedures. • demonstrate appropriate use and care of tools. • become a productive participant in an art studio environment.


• demonstrate knowledge of a variety of cartooning styles. • discuss contemporary and historical trends in cartooning. • demonstrate how cartooning can convey the artist’s idea. • demonstrate how tools and materials affect the outcome of a piece of


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State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Illustration


ESSENTIAL QUESTIONS

PRIMARY: How do artist use illustration to express their ideas? What are the different types of illustration? SECONDARY: How is technique and style used in illustration? What are the contemporary trends in illustration?


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MODULE ASSESSMENT • Evaluate illustration as an art form. • Evaluate sketchbook documentation. • Evaluate written and or verbal class critiques. • Self evaluation. • Teacher / student evaluation. • Produce art work reflecting various styles of artist both traditional and


• identify different styles of illustration traditional and non-traditional, historical and contemporary.

• demonstrate knowledge of appropriate use of tools. • identify the styles of traditional and contemporary artists. • create art reflecting original personal expression. • defend their ideas through written and verbal evaluation. • apply aesthetic criteria in evaluating cartooning. • utilize appropriate technical and aesthetic vocabulary. • demonstrate knowledge of safety procedures. • demonstrate appropriate use and care of tools. • become a productive participant in an art studio environment.


• demonstrate knowledge of a variety of illustrating styles. • discuss contemporary and historical trends in illustration. • demonstrate how illustration can convey the artist’s idea. • demonstrate how tools and materials affect the outcome of a piece of


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BY THE END OF TWELFTH GRADE HONORS ART MAJOR

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.5.12.A.2

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

Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. BIG IDEAS/COMMON THREADS


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?

MODULE ASSESSMENT


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• 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 MODULE OBJECTIVE Students will be able to…

• discuss different art theories from the prerequisite courses. • identify traditional and non-traditional uses of materials. • 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. MODULE SKILLS Students will be able to…

• 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.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various methods and movements in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in both western and techniques. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2

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



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?

MODULE ASSESSMENT

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

• Student produced self-portraits


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• distinguish between the genres of art. • identify portraits and their historical purpose. • 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




• create a self portrait. • use a developed vocabulary when critiquing artwork. • present a portrait and identify its purpose, symbols and other

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS


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?


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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?

MODULE 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


• distinguish between the genres of art. • identify still lifes and their purpose. • 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. • write journal entries that encourages self reflection and improve




• 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.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. BIG IDEAS/COMMON THREADS


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?


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MODULE 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”


• distinguish between the genres of art. • create artwork in response to literary work. • 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. • write journal entries that encourages self reflection and improve




• 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.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Three Dimensional Design

Three dimensional works of art can be viewed from all sides and rely on an understanding of form.


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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?

MODULE ASSESSMENTS

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

• Participation in written or oral critique • Student produced 3 dimensional artwork


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




• 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.

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BY THE END OF TWELFTH GRADE ADVANCED PLACEMENT STUDIO ART

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. BIG IDEAS/COMMON THREADS




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?


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MODULE 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. • Teacher /student critiques • 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. • self critique using an advanced vocabulary of 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

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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?


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• identify student/ artist’s main idea for the breath section. • formulate a time management journal. • examine traditional and non-traditional materials that will best express





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


• 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. • self critique using an advanced vocabulary of art. • participate in class critique applying domain specific terminology. • create advanced quality 2-D and or 3-D pieces of art. • critique their work with the teacher. • develop organizational skills • develop time management skills

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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?


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• identify student/ artist’s main idea for the quality section. • formulate a time management journal. • examine traditional and non-traditional materials that will best express





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


• 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. • self critique using an advanced vocabulary of 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.

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BY THE END OF TWELFTH GRADE ADVANCED ART PROJECT



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State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS



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.


125

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.


126

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.


127

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.


130

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_________________________________


131

BY THE END OF TWELFTH GRADE COMPUTER ART GRAPHICS




132

ENDURING UNDERSTANDINGS - Graphic Images and Traditional Genres Traditional genres found in the fine arts can be combined with graphic images and new technologies.

ESSENTIAL QUESTIONS PRIMARY: What is a graphic image? How are graphic images and traditional fine art similar? Different? SECONDARY: What are genres in the fine arts? How do contemporary digital artists combine the traditional and computer technology in new ways?

MODULE ASSESSMENTS

• Digital image using the elements and principal of design of a portrait, landscape and/or still life.

• Implementation of Adobe Illustrator software tools and techniques. • Participation in class critiques where opinions are expressed using

appropriate aesthetic vocabulary. MODULE OBJECTIVES Students will be able to…

• define genre as a class or category of artistic endeavor having a particular form, content, and technique. Study examples from contemporary artists working with new technologies and traditional genres.

• create a computer generated image by learning the relevant software tools.

• look at digital images with an informed critical eye and understand the difference and similarities between traditional fine art and graphic art.


• create a portrait, landscape and/or still life using Adobe Illustrator. • use Adobe Illustrator’s Drawing Tools: Menu Commands, Selection

Tools, Color Palette, Gradient Palette, Gradient Mesh, Layers Palette, and Brushes Palette.

• use a digital camera and scanner upload and manipulate photographs. • make informed judgments and statements on the artist’s intentions and

aesthetics of the work. This applies to their work and the work of other artists.

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ENDURING UNDERSTANDINGS - Words, Graphic Symbols and Illustrations Graphic artists frequently combine words, illustrations and symbols in their work. An illustration is an image such as a drawing, painting, or photograph that stresses subject more than form. The aim of an illustration is to clarify the meaning of a story, poem or piece of textual information (such as a newspaper article), traditionally by providing a visual representation of something described in the text. A logo is a graphic representation or symbol of a company name, trademark, abbreviation, etc., often uniquely designed for ready recognition.

ESSENTIAL QUESTIONS

PRIMARY: What is an illustration? What is the history of illustrations? SECONDARY: What are graphic symbols? How are images and symbols used to enhance the meaning of ideas and concepts?

MODULE ASSESSMENTS

• Digital illustration, using the elements and principal of design, of a story, newspaper article, poem and/or logo.



• study history of illustrations and graphic symbols, from cave paintings, to hand painted books, to the printing press, and eastern block prints. Compare new contemporary artists, who use illustrations in graphic novels, video games and the internet.

• create a computer generated illustration and/or graphic symbols by learning the relevant software tools.

• look at illustrations with an informed critical eye and understand how illustrations and logos are an important part of the commercial art aesthetic.


• create an illustration for a newspaper article, poem and/or logo. • use Adobe Illustrator’s Type Tools, Transform Tools, Filters, Effects. • make informed judgments and statements on the artist’s intentions and


RESOURCES Page 308

http://www.reference.com/browse/wiki/Drawing�

http://www.reference.com/browse/wiki/Painting�

http://www.reference.com/browse/wiki/Photograph�

http://www.reference.com/browse/wiki/Newspaper�


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ENDURING UNDERSTANDINGS - The Third Dimension Graphic artists and designers are able to illustrate the illusion of depth and distance by using the mathematical system of linear perspective. Linear perspective is created by parallel lines that are drawn and radiate from one point (one-point perspective), two points (two-point perspective), or several points on a horizon line as perceived by a viewer in a fixed position.

ESSENTIAL QUESTIONS

PRIMARY: What is linear perspective? When was it created? How has it evolved? SECONDARY: How do graphic artists apply this mathematical system to their work? How can a computer aid in three-dimensional design? How can it help to create the illusion of 3-D space on a 2-D surface?

MODULE ASSESSMENTS

• Digital illustration, using the elements and principal of design, of a three-dimensional interior and/or exterior space.



• study history of linear perspective from Roman wall paintings, to Arab mathematicians to Renaissance artists. Compare new contemporary artists, who use the rules of perspective in three-dimensional computer games.

• create a computer generated three-dimensional image by learning the relevant software tools.

• look at 3-D drawings with an informed critical eye and understand how the illusion of depth was a large step forward in Western art.


• create a 3-D image of an interior or exterior space using the rules of linear perspective.

• use Adobe Illustrator’s Transparency Palette, Smart Guides, Templates.

• make informed judgments and statements on the artist’s intentions and aesthetics of the work. This applies to their work and the work of other artists.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS



138

ENDURING UNDERSTANDINGS - Fantasy Images Fantasy images belong to a genre that depicts mysterious or magic themes, creatures or settings. Dragons, wizards, fairies and other fantastical and mythical creatures are common features in fantasy art. Fantasy art can appear in many forms, and is sometimes called Neo-surrealism. Like the Surrealist of the early 20th century, contemporary Neo-Surrealism illustrates the complex and compound imagery of dreams or subconscious visions interlaced with ordinary objects in irrational space and form combinations.

ESSENTIAL QUESTIONS

PRIMARY: Why are fantasy images such a big part of popular culture and the internet? Why are they not considered fine art or “high culture”? Who defines “high” and “low” art? SECONDARY: What is the subject matter of fantasy art? Where does the artist gather inspiration?

MODULE ASSESSMENTS

• Digital illustration, using the elements and principal of design, of an original fantasy image.



• study new contemporary fantasy artists that depict magical, mythological, supernatural themes, ideas, creatures or settings. Students will also look critically at graphic novels, science fiction, horror and other fiction art.

• create a computer generated three-dimensional image by learning the relevant software tools.

• look at fantasy art with an informed critical eye and understand the concept of high and low culture and how it relates to the consumption of mass media.


• create an original fantasy image. • use Adobe Illustrator’s Swatches Palette, Stroke Palette. • make informed judgments and statements on the artist’s intentions and


RESOURCES Page 308

http://www.reference.com/browse/wiki/Magic_%28paranormal%29�

http://www.reference.com/browse/wiki/Supernatural�

http://www.reference.com/browse/wiki/Science_fiction�

http://www.reference.com/browse/wiki/Horror_%28genre%29�

http://www.reference.com/browse/wiki/Speculative_fiction�


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ENDURING UNDERSTANDINGS - Everyday Design The design of everyday objects shapes our lives, enabling it to function, not only in practical or utilitarian terms, but also in ways that give pleasure, meaning and significance to our lives. Computer graphics can be used to create for example, wood blocks prints used for patterns or cartoon-like graphics on T-shirts. Other objects can include and are not limited to books, gifts, tags, wearable art, posters, calendars, cards, mouse pads, bags and banners.

ESSENTIAL QUESTIONS

PRIMARY: What is form and function? Can art be useful? SECONDARY: How can everyday objects be commonplace and at the same time, extraordinary? Can mundane objects be beautiful and significant in our lives?

MODULE ASSESSMENTS

• Original designs, using the elements and principal of design, for a beautiful, utilitarian every day object.

• Implementation of Adobe Illustrator software tools and techniques, scanners and printer.

• Participation in class critiques where opinions are expressed using appropriate aesthetic vocabulary.


• study new contemporary Eastern and Western designers. View artwork from diverse cultures created in response to societal needs.

• learning the relevant software tools and how to use the output equipment.

• look at everyday objects with an informed critical eye and understand the concept of form and function in the creation of useful art.


• create an original design for an everyday object. • use Adobe Illustrator’s Symbols Palette, Swatches Palette,

Tessellations, Patterns. • make informed judgments and statements on the artist’s intentions and


RESOURCES Page 308


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BY THE END OF TWELFTH GRADE ADVANCED COMPUTER ART GRAPHICS

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS



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ENDURING UNDERSTANDINGS - Power to the Pixel Digital paint programs are pixel-based and therefore resolution driven. Major topics such as, input / output issues and workflow will guide the creative thinking process throughout this course. Students will value the use and creative exploitation of digital and traditional techniques by understanding the strengths, weaknesses and differences inherent in each discipline. In order to create meaningful works of digital art, students must understand and master the mindset and creative strategies when using a paint program (Photoshop) versus a draw program (Illustrator). Photoshop (the main program used in ACAG) is a pixel-based software package. It is different from but closely wedded to Illustrator (used in CAG). Knowing and appreciating these differences will result in more intuitive and successful digital images.

ESSENTIAL QUESTIONS

PRIMARY: How can a paint program be used to advantage over, or in corroboration with, a draw program? SECONDARY: How does Photoshop’s interface, command structure and toolset differ from or augment that of Illustrator.

MODULE ASSESSMENTS

• Evaluation of digital images produced in accordance with project-specific rubrics.

• Successful implementation of Adobe Photoshop software tools and techniques.



• define resolution and understand the difference between raster and vector based technology.

• explore the relevance and fuctioanlity of the major tools, commands and techniques that panit and draw programs offer.

• create digital images and master Photoshop’s basic toolset. • view and evaluate many images created with Photoshop and/or

Illustrator. MODULE SKILLS Students will be able to…

• use Adobe Photoshop to create various digital images by following teacher-directed tutorials, teacher generated handouts supplied via the River Dell Network or spontaneously created as assigned.


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• use and understand Photoshop tools such as Marquee, Lasso, Magic Wand, Move, Paintbrush, Shapes, Eye Dropper, Gradient, Crop, etc.

• use and understand Photoshop commands such as Variations, Color Balance, Image and Canvas size changes, etc.

• use and understand Photoshop techniques such as QuickMask, Layer Mask, Layer Blending, Opacity, Palettes, FX, etc.

• use the internet for gathering reference and demonstration images. • use and understand methods and reasons for sharing files between

Illustrator and Photoshop. • organize, label and submit files for grading and feedback via school

network drives and the teacher drop box. RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


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State Standard 1.5.12.B.2




ENDURING UNDERSTANDINGS - Design

Computer imaging software allows artists to readily design, represent and manipulate many permutations of any given idea with ease and accuracy. Photoshop affords the luxury of non-destructive trial and error, which encourages students to approach their work fearlessly and with a new and dynamic vision. There is no one illustration or logo that satisfies all who view it. Art is all about communication, and design is the grammar of that visual Esperanto. Photoshop, in tandem with Illustrator, can be used to change or re-interpret images to tell a new story or clarify an existing one. The challenge of redesigning existing established iconography or inventing new ones expands the creative mind and lifts the level of intellectual discussion regarding just what it is we are seeing.

ESSENTIAL QUESTIONS

PRIMARY: How do images communicate via elements of design? SECONDARY: How has digital technology changed and facilitated the way design is used in contemporary society?

MODULE ASSESSMENTS




• view, evaluate and dissect various images focusing on the use of design in their successful implementation.

• use templates and guides to establish a grid upon which a design strategy can be built.

• explore the use of color as a communicative tool for digital designers.


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• appreciate the value of design (and redesigning) in the communication of ideas.

• establish guiding principles (not rules) for using design effectively. • evaluate the appropriateness of an image for its intended final output

usage. MODULE SKILLS Students will be able to…

• develop a strategy for creating or redesigning a logotype, or package of related images based upon research, aesthetics, logic and functionality.

• create multiple variations on an original image via multiple Layers, Layer Groups, and blending operations.

• offer constructive criticism of the work of their colleagues. • use Type as a design element in conjunction with any and all of the

mastered tools in Photoshop. RESOURCES Page 308


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• Evaluation of dynamic digital self-portraits produced in accordance with project-specific rubrics.



ENDURING UNDERSTANDINGS - Mirrors and Windows

Inasmuch as every work an artist creates is a form of self portrait, no other work speaks to one’s individuality as a true attempt at representing some aspect of his or her persona or personal philosophy. Digital photography in conjunction with Photoshop and/or Illustrator opens new avenues for expressing one’s perception of, or reflection upon, the world as he or she experiences it. Extensive use and awareness of Filters, Layers, Opacity, Masking, Color spaces and multiple imaging techniques allow pre-conception of a final image or experimentation on the fly. This approach is crucial in using and exploiting Photoshop and Illustrator to their fullest potential. Even traditional drawing, painting and writing skills can be incorporated into these works via scanner or digital stylus. The result is more creativity, more self-confidence and more enduring imagery.

ESSENTIAL QUESTIONS

PRIMARY: What is a self-portrait? SECONDARY: How can one exploit the power of digital imaging software and hardware technology creatively express one’s sense of self?

MODULE ASSESSMENTS

• Successful implementation of Adobe Photoshop and/or Illustrator software tools and techniques.



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• research, compare and contrast self-portraits from the entire spectrum of art history.

• evaluate the influence of technology in the production of these images. • explore the tools Photoshop has to offer for digital photographic

enhancement. • understand the resolution and output issues involved with digital

images. • incorporate type and text into a personal visual representation of “self”.


• use a digital camera or scanner to input photographic or drawn images for use in self-portraiture.

• use Photoshop’s tools, commands and techniques to expand upon and enhance the initial images.

• use multiple exposures, 3-D viewing techniques, masking, layers and image importing strategies to maximize creativity in fulfilling the original self-portrait concept.

RESOURCES Page 308


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• Effective use of Photoshop and any and all other digital imaging software to produce quality work that meets the assigned problem’s criteria



ENDURING UNDERSTANDINGS - Art, Inc.

Though many artists may choose to work alone, it is important to be able to deal with other artists in collaboration on a given creative project. Students will be given several teacher-generated projects in which they will be required to work with one or two colleagues to produce a series of images. These projects may be commercial, community driven or editorial in nature, and afford a taste of real world art- team experience. Digital creativity tools and technology allow for a type of brainstorming that is more productive than traditional methods. Photoshop, in tandem with other Creative Suite applications and programs such as Inspiration, facilitates this kind of thinking. As a result, students can share and develop ideas with ease and efficiency. Projects can be divided into separate tasks, expediting an organized and clear delineation of each student’s role in the assignment. Cooperation among the artists is essential in achieving the completion of the assigned task with creativity and within the allowed deadline.

ESSENTIAL QUESTIONS

PRIMARY: How can digital imaging techniques and file sharing technology be used to facilitate small group project production? SECONDARY: How can group projects be successfully presented to an audience for evaluation?

MODULE ASSESSMENTS



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• work in small groups in a productive and creative manner. • create Inspiration outlines and digital mock-ups, sketches that satisfy

the assigned problem with style and consistency. • write about and orally critique the work of their colleagues. • research a given topic in order to make informed creative decisions.


• use Inspiration to aid in organizing thoughts, ideas and projects. • use Photoshop tools and techniques to create and share artwork that

is part of a larger group of images. • take responsibility for part of a larger project and work with others to

achieve a unified final product under deadline conditions. • create artwork appropriate for the final output requirements of the

project. RESOURCES Page 308


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BY THE END OF TWELFTH GRADE PENCIL TO PIXEL

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art.


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BIG IDEAS/COMMON THREADS Through a developed understanding of aesthetics, the elements and principles of art and traditional and technology-driven techniques, 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 - The Journal: Art is Everywhere Art can be found everywhere.

ESSENTIAL QUESTIONS

PRIMARY: What is art? How do artists record their experiences? SECONDARY: What is a journal? How can found objects stimulate ideas?

MODULE ASSESSMENTS

• Journal • Found object alphabet art


• understand how artists use journals to record experiences. • apply knowledge of the broad scope of journals to their own journal. • understand how journals reflect the student’s culture. • understand how found objects can inspire art making.


• create an on-going journal. • create art from found objects using technology-driven and traditional

methods. • demonstrate how visual art and written work can be combined.

RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art.


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ENDURING UNDERSTANDINGS - The Dot The dot is a building block of art.

ESSENTIAL QUESTIONS

PRIMARY: What is a dot? What is a pixel? SECONDARY: How is the dot used in traditional art? How is the dot used in technology-driven art?

MODULE ASSESSMENTS

• Work on the computer and on paper and/or canvas board that uses the dot as its basic structure.

• Written assignments that describe and define the dot. • Pinhole cameras and photos.


• identify how the dot is used in the student’s work and the work of others.

• describe the dot as a basic element of any art. • compare and contrast traditional and technology-driven art as they

relate to the dot. MODULE SKILLS Students will be able to…

• create traditional and technology-driven work that uses the dot. • use appropriate vocabulary for in-class and written critiques. • create pinhole cameras and process the prints.

RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art.


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ENDURING UNDERSTANDINGS - Line & Plane Line and plane are building blocks of art.

ESSENTIAL QUESTIONS

PRIMARY: What is a line? What is op art? What is a plane? SECONDARY: How is a line a continuation of a dot? How is a plane a continuation of line?

MODULE ASSESSMENTS

• Op art created on the computer and by traditional techniques. • Written assignments that describe and define line. • Written assignments that describe and define plane. • Work that uses the plane, employing 3-D programs for the computer

and/or traditional techniques. MODULE OBJECTIVES Students will be able to…

• view examples of op art. • identify different varieties of line. • learn to create op art on the computer and by traditional techniques. • identify how plane is used in art. • learn to create work that uses plane.


• create op art on the computer and by traditional techniques. • create work using descriptive line. • create work using plane. • apply knowledge of line and plane in oral and written critiques.

RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. BIG IDEAS/COMMON THREADS

Through a developed understanding of aesthetics, the elements and principles of art and traditional and technology-driven techniques, 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 - Problem-Solving Methodologies There are problem-solving methodologies including mechanical techniques that can aid the artist.


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ESSENTIAL QUESTIONS PRIMARY: What mechanical techniques can the artist use in technology-driven and traditional art? What experimental techniques can be used by the artist for problem-solving? SECONDARY: How do artists use graphing?

MODULE ASSESSMENT • Graphing of images. • Creation of work using experimental techniques.


• demonstrate understanding of graphing. • demonstrate accuracy in measurement and color application. • apply experimental methodologies in problem-solving.


• graph a small segment of a larger image. • enlarge the segment accurately. • work cooperatively to create a total image. • create work using experimental methodologies.

RESOURCES Page 308


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BY THE END OF TWELFTH GRADE ANIMATION I



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• Rubrics developed to evaluate animations created in response to teacher generated handouts



ENDURING UNDERSTANDINGS - The History, The Science, The Magic

Flash’s digital prowess is impressive, but its roots are in traditional frame by frame animation that has been practiced in one form or another for centuries. This module will take students on a journey through the fascinating history of the moving image. Even cave paintings show evidence that artists were already struggling with the frustration of showing motion with still images. Students view Flash animations daily, (on the web, on their phones, in movies, in ads, in kiosks) but until taking this course, they may not have fully understood the machinations behind the scenes that make their world come alive.

ESSENTIAL QUESTIONS

PRIMARY: How has the art of animation evolved to its current state? How is the illusion of animation accomplished? SECONDARY: How does digital animation differ from traditional methodologies? Where is animation being used in contemporary society?

MODULE ASSESSMENTS

• Implementation of Flash software tools and techniques. • Participation in class critiques where opinions are expressed using


• understand the long and ingenious history of man’s attempts at creating artificial motion via still images.

• understand the thinking that goes into creating the various forms of animation.

• observe and evaluate animations in class and on line.


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• create simple animation toys such as flip books and thaumatropes. MODULE SKILLS Students will be able to…

• make connections between different strategies for producing the illusion of motion via still images over the ages.

• use the internet to research the history of animation. • produce a simple example that demonstrates the way traditional and

digital animation techniques differ. • explain how the persistence of vision produces the illusion of motion

via still images. RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


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• Rubrics for projects created as per teacher-generated handouts



ENDURING UNDERSTANDINGS - Tools of the Trade

Establishing a distinctive style for an animation is accomplished through mastery of its most basic functions. Drawing and developing an efficient workflow strategy in Flash takes practice. Once the standard practices and procedures are understood, the creative process can flourish. Flash has a unique drawing environment, but offers many ways to assist the animation student in working efficiently and intuitively.

ESSENTIAL QUESTIONS

PRIMARY: How are digital animation tools used to facilitate animation production? SECONDARY: How does drawing with Flash differ from other digital drawing tools?

MODULE ASSESSMENTS

• Effective use of Flash as a drawing and basic animation tool • Participation in class critiques where opinions are expressed using


• familiarize themselves with the Flash user interface and tools. • explore how Flash is used on the internet. • understand the basic steps that need to be followed to create a simple

animation. MODULE SKILLS Students will be able to…

• use Flash to draw objects, simple characters and environments. • create simple animations with Flash. • use layers, symbols and grouping to organize animation elements.

RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


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• Evaluation of storyboards produced in accordance with project-specific rubrics.



ENDURING UNDERSTANDINGS - What would Disney do?

Walt Disney thought like an animator. He knew how to tell a story in a relatively short time span, yet keep it organized, interesting and entertaining. He and his crew were able to do this by creating a storyboard, a kind of comic strip-like synopsis of what is about to unfold. The storyboard must then be applied to the timeline, the framework that holds the entire animation together. Animators must always think in frames per second. Through the use of Layers, Libraries, Symbols, Sprites and specialized computer enhanced drawing techniques such as tweening, Flash lets animators spend more time creating and less time doing housework.

ESSENTIAL QUESTIONS

PRIMARY: What are the essential components of a storyboard? SECONDARY: How is the timeline used to make animations come alive?

MODULE ASSESSMENTS

• Effective use of Flash tools and techniques as per assignments based on teacher generated handouts



• view, evaluate and dissect comic strips as storyboards. • create a storyboard template. • lay out a basic story line for an animation. • explore the use of text in a silent animation.


• use templates and guides to develop a story line and create a storyboard.


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• evaluate the flow of a storyboard for continuity. • establish a beginning, middle and end to the story being told. • use tweening and frame by frame animation techniques. • use libraries, symbols and instances.

RESOURCES Page 308


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• Rubrics developed to evaluate student created animations.



ENDURING UNDERSTANDINGS - Once upon a time . . .

Interactivity keeps the viewer involved in an animation. Buttons, sounds, sprites and other visual clues as to what to do and where to look, have been used to great effect on the internet, in games and on kiosks. One of the most effective uses of this interactivity is by allowing users to choose alternate endings for a story. This assignment requires students to create an interactive fairytale in which the user/viewer of the animation is allowed to alter the story’s flow by clicking on buttons or dragging objects on the screen.

ESSENTIAL QUESTIONS

PRIMARY: What role does interactivity play in a creating a successful animation project? SECONDARY: How does one organize and balance all of the variables that make up even the simplest of animations?

MODULE ASSESSMENTS

• Use of Flash tools and techniques to enhance interactivity • Participation in class critiques where opinions are expressed using


• create interactive animations based upon a storyboard. • coordinate the technology required to produce these animations. • incorporate imported images such as photos and other types of digital

imagery. • understand the resolution and output issues involved in animation

production. MODULE SKILLS Students will be able to…

• create or import images for use in animations.


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• use Flash’s tools, commands and techniques to tell a story, make a simple game or create an interactive animation.

• troubleshoot animations they create. RESOURCES Page 308


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BY THE END OF TWELFTH GRADE ANIMATION II



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• Rubrics for small group project completion



ENDURING UNDERSTANDINGS - RD Comix

Animation is the art of storytelling. The creation of an original, interactive “Comic Book” forces students to think about telling a story in a new way. This challenges students to call upon all of the skills and strategies they have nurtured over the course of studying Animation 1. Design issues, writing skills, digital drawing and painting skills, creativity, storyline development, color theory, historical references and accurate output all come into play in the creation of this two person project.

ESSENTIAL QUESTIONS

PRIMARY: How can animation bring new life to an art form that has traditionally been either hard copy (comic books) or fully animated (cartoons)? SECONDARY: How does user interface enhance or hinder the flow of an animation?

MODULE ASSESSMENTS

• Effective use of Flash and other digital imaging software to solve the assigned problem



• work with a partner in a productive and creative manner. • create Inspiration outlines and digital images that satisfy the assigned

problem with style and consistency. • produce quality output under deadline conditions.


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• use Inspiration to aid in organizing thoughts, ideas and projects. • use Photoshop tools and techniques to create and share artwork that

is part of a larger group of images. • take responsibility for part of a larger project and work with others to

achieve a unified final product under deadline conditions. • research their given topic in order to make informed creative decisions. • understand the final output requirements for the given project and

create their artwork accordingly. RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1

Just as a picture is said to be worth a thousand words, it is also true that a single word can inspire a thousand pictures. Programming images to move and react to user input via a specialized language may be foreign to most artists, but animators must learn to bridge the gap between word and



ENDURING UNDERSTANDINGS - A picture is worth 1k words


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image in order to fully tell their story. Flash allows students to communicate with their images and viewing audience with an English-like language called ActionScript. Though limited use of this language is applied in Animation 1, the more sophisticated projects required for Animation 2 demand the subtlety and power that a programming language allows.

ESSENTIAL QUESTIONS

PRIMARY: What is ActionScript? SECONDARY: How is ActionScript used to control different aspects of Flash animations?

MODULE ASSESSMENTS

• Evaluation of ActionScript implementation in accordance with project-specific rubrics.



• understand ActionScript’s function. • use ActionScript to perform different tasks and functions within an

animation. • gain a basic knowledge of ActionScript’s syntax.


• use ActionScript to navigate within an animation. • use ActionScript to give interactivity to various elements of an

animation. • create a simple game using ActionScript.

RESOURCES Page 308


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178


• Rubrics developed to evaluate student created animations.

Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art.

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 media to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Publish or perish! Flash animations can play on many devices and in numerous venues. A single animation can be output to anything from a cell phone to a movie screen. This procedure is called publishing. It is a process that maximizes and compresses a Flash movie to accommodate the idiosyncrasies of any given output device. Of course one must think about the final output before creating the animation itself so as to take the greatest advantage of its strengths. In this module, the input/output thinking process is examined and utilized.

ESSENTIAL QUESTIONS PRIMARY: How does final use determine how an animation’s content and makeup should be structured? SECONDARY: What is the procedure for publishing a Flash animation?

MODULE ASSESSMENTS

• Use of Flash’s publishing function • Participation in class critiques where opinions are expressed using

appropriate aesthetic vocabulary.


• understand the benefits and pitfalls of publishing an animation. • maximize content for final output. • understand the rules of copyrights. • experiment with the many options available with Flash’s publishing

function.


• publish their animations for playback on various media. • use of Flash’s tools, commands and techniques to fine tune their

animations. • publish their work as a digital portfolio on a DVD, web page, etc.

RESOURCES Page 308


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180


• Rubrics for group project completion and presentation


BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Synergy Studio

Even the simplest of professional animated cartoons or movies requires a team of dedicated and talented individuals. The entire class will put together a group project that will be determined, and executed by the group as a team. To maximize efficiency and creative quality, students will choose a specialty area and serve in that role. The final work must be published for several different media playback venues and presented to other animation students via digital projection.

ESSENTIAL QUESTIONS:

PRIMARY: How can digital imaging techniques be used to facilitate a large group project production? SECONDARY: What is the role of the project coordinator? How can Inspiration be used to facilitate Flowchart scheduling?

MODULE ASSESSMENTS

• Effective use of Flash and any and all other digital imaging software to solve the assigned problem



• work in groups in a productive and creative manner toward a common goal.

• integrate separate parts of a project into a homogeneous final presentation.

• produce quality output under a deadline.


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• take responsibility for part of a larger project and work with others to achieve a unified final product under deadline conditions.

• research a given topic in order to make informed creative decisions and contribute meaningful content.

• understand the final output requirements for the given project and create their artwork accordingly.

RESOURCES Page 308


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BY THE END OF TWELFTH GRADE MEDIA AS MESSAGE

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


183


• Analysis of the message being sent by advertisements spanning several centuries according to a rubric we will develop in class.



ENDURING UNDERSTANDINGS - The Lorax and the Power of GroupThink!

The history of advertising is as enthralling and fraught with emotion and drama as the history of mankind. It’s likely that commerce as we know it was born the moment one cave dweller realized that he had something someone else wanted. The ensuing millennia has brought more sophisticated methods for marketing products and services but the basic concept of creating a need and filling it hasn’t changed a bit. The psychology and strategy involved in a full blown ad campaign has all the earmarks of a major war effort. The history of advertising is forever intertwined with the history of human interaction. History has revealed the art of selling to be largely an exercise in the selling of art. It’s a visual world and advertisers have always taken that knowledge right to the bank. This module introduces all of the major terminology as well as tried-and-true methodologies that companies have used to get the public to buy their wares. From the days of snake oil salesmen hawking their goods from the back of a covered wagon to the personalized ads sent directly to a cell phone, it’s evident that the more things change, the more they remain the same!

ESSENTIAL QUESTIONS

PRIMARY: How has the history of advertising paralleled the history of art? SECONDARY: How has advertising taken advantage of human behavior? What is the role of art in advertising and society in general? What is the role/responsibility of the media?

MODULE ASSESSMENT

• Dissection of old and new ads to see how composition, color, textual content and form shape their messages.

• Participation in class, critiques regarding human behavior and advertising where opinions are expressed using appropriate aesthetic and industry vocabulary.


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• define basic terminology used in advertising and art as it applies to the media.

• explore how the history of the media has shaped and been shaped by contemporary culture.

• create and compare mock ads and examine the styles of those from different eras.

• view and evaluate modern ads and determine their effectiveness. • assess the true meaning of ads via group discussion and analysis.


• use Adobe Photoshop and/or Illustrator to create various digital images by following teacher-directed tutorials, teacher generated handouts supplied via the River Dell Network or spontaneously created as assigned.

• use and understand Photoshop tools such as Marquee, Lasso, Magic Wand, Move, Paintbrush, Shapes, Eye Dropper, Gradient, Crop, etc.

• use and understand Photoshop commands such as Variations, Color Balance, Image and Canvas size changes, etc.

• use and understand Photoshop techniques such as QuickMask, Layer Mask, Layer Blending, Opacity, Palettes, FX, etc.

• use the internet for gathering reference and demonstration images. • use and understand methods and reasons for sharing files between

Illustrator and Photoshop. • organize, label and submit files for grading and feedback via school

network drives and the teacher drop box. • use Photoshop to scan images from hardcopy sources.

RESOURCES Page 308


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BY THE END OF TWELFTH GRADE

MEDIA AS MESSAGE



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ENDURING UNDERSTANDINGS - Truth in Advertising (and Other Oxymorons)

Computer technology has had a profound influence on the way advertising and the art that accompanies it are presented to potential customers. Ironically, as the technology has grown more inclusive the message has attempted to become more personal. Indeed, the customers run ads on their own “personal pages” on forums like Facebook and MySpace. The unfortunate victim amid all the hoopla of the digital age has been the truth itself. While its definition is stretched to new and uncomfortably awkward limits, attorneys abound to make sure that no one has been “misled.” The irony leaves one nonplussed and frustrated. Photoshop, in all its digital majesty, has in a manner of speaking, changed the way we view reality!

ESSENTIAL QUESTIONS

PRIMARY: How do images communicate via elements of design? SECONDARY: How has digital technology changed and facilitated the way design is used in contemporary society? How do you determine if something you read, see or hear is true?

MODULE ASSESSMENT




• seek out international ads to compare and contrast visual and literal styles.

• work in pairs to create a series of convincing ads for a real and made-up product.

• discuss the meaning of “truth” and its ethical implications as it is used in advertising.

• view and evaluate modern ads and relate them to those of the past. • explore the use of disclaimers and legal issues in advertising.


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• develop a strategy for creating or redesigning a logo, or package of related images based upon research, aesthetics, logic and functionality.

• create multiple variations on an original image via multiple layers, layer groups, and blending operations.

• offer constructive criticism of the work of their colleagues. • use Type as a design element in conjunction with any and all of the

mastered tools in Photoshop. • demonstrate the use of product branding and impulse purchase visual

strategy. RESOURCES Page 308


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BY THE END OF TWELFTH GRADE MEDIA AS MESSAGE



189


• Evaluation of dynamic digital design-related works produced in accordance with project-specific rubrics.



ENDURING UNDERSTANDINGS - The Mall: Media Paradise

Everything I learned about life, I learned at the mall. Nowhere else on earth is the human drama more evident than the place where thousands of strangers come together on a daily basis to spend (waste ?) time and money on a daily basis. Experiencing the embrace of the mall’s ever-welcoming automatic doors can quickly change one’s frame of mind from stressed to relaxed. Senses are instantly awakened to the sights, sounds and smells of the shops, food court and likeminded populace: electronic gadgets and racks of clothes just waiting to be touched and tried! The mall is a carnival of consumerism, an ongoing experiment in human interaction and the highpoint of the evolution of the ancient art of bartering.

Students constantly deal with the paradoxes of being cool and being responsible, of instant gratification and earning your keep, of growing up and growing old; good versus evil, individual versus the crowd, work versus play . . . are all observable at the mall. The mall is a world within a world, a society within a society, a mass mingling of target groups, and cash cows waiting to be wooed and coddled. The mall is a place where browsing and carousing are honed to a fine art; a haven for young minds and bodies where the messages are plentiful, the media sources are ubiquitous and the parking is free!

ESSENTIAL QUESTIONS

PRIMARY: What is the role of art in the overall purpose of the mall? SECONDARY: How and why does shopping at the mall differ from online shopping? How are media messages altered for different venues? How is signage used to lure target audiences? What roles do logo and package design play in establishing vendor branding? Why do you go to the mall?

MODULE ASSESSMENT

• Successful implementation of Adobe Photoshop and/or Illustrator software tools and techniques.

• Participation in class critiques and discussions where opinions are expressed using appropriate aesthetic and technological vocabulary.


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• research the way art is used to promote a commercially successful environment.

• evaluate the influence of technology in the production of these images. • explore the way multimedia is used to enhance a positive mindset. • understand the use of graphics and enhance product promotion. • experience the art environment that a mall attempts to create.


• visit a mall and local businesses to conduct group research and surveys.

• use Photoshop and hands-on materials to create point of sale materials for items researched at the mall.

• use digital photography to document and enforce advertising theories discussed in class.

• create ads for several forums to compare the effective use of media. • recognize the value of point of purchase graphics and design.

RESOURCES Page 308


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MEDIA AS MESSAGE



192


• Rubrics for group project completion.



ENDURING UNDERSTANDINGS - Advertainment: The World of iMedia!

If Descartes were alive today and wanted to relate to the masses, he might proclaim, “iThink therefore iAm.” Thanks to Apple Computer’s ad-campaign masterpiece for the iPod, placing a ubiquitous lower case “i” in front of any other word when naming a new product gives that product magical properties and “must have” status. The “i” (which originally stood for internet on the iMac) has come to signify a personalized media device. So iPhones, iPods, iTunes, and the like have underlined the importance of individualized advertising focus. The “I” has come to mean “I”, as in “me”.

With Google gathering info on every living being and digital cookies littering every internet-connected computer, advertisers are in a feeding frenzy over who, how and when to target their next customer. The Gen Xers also need to be entertained as they consume (i.e. “Smells like Teenage Spirit”.) Accordingly, diverse forms of media have been synergistically combined into a contemporary commercial wonderland. In this Brave New Media-driven world everyone is selling or buying, producing or consuming, 24/7/365! Long live the Commercialopolis!

ESSENTIAL QUESTIONS

PRIMARY: What influence has the internet had on the way products are marketed, sold and developed? SECONDARY: How can students working in groups create projects that successfully address the needs of a targeted audience? What strategies can be used to effectively present and improve new products? How do ethics and privacy issues weigh against freedom of artistic creativity?

MODULE ASSESSMENT

• Effective use of the Adobe Creative Suite and all other available digital imaging programs to produce quality work that meets the assigned project requirements.


• Presentation of media-message portfolios.


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• work in small groups in a productive and creative manner. • create Inspiration outlines, digital and real product and display mock-

ups that satisfy the assigned project with style, imagination and consistency.

• write about and orally critique the work of their colleagues. • research a given topic in order to make informed creative decisions. • work as a class-wide group to produce all aspects of a board game

based upon the Media industry (as a form of review for the course). • nominate and honor the best/worst ads of the year.


• work in virtual Ad Agencies to produce ad campaigns using the Adobe Design Suite.

• use FLASH to produce push ads for cell phones. • use Photoshop, Illustrator, et al. to produce print and online ad

materials. • use Dreamweaver to create a web page for a given product. • use InDesign to produce point of sale mockups. • create full size and scale models of product packaging and display

architecture. RESOURCES Page 308


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BY THE END OF TWELFTH GRADE THE DIGITAL PAGE




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ENDURING UNDERSTANDINGS - Digital Page: Newsletter Hundreds of thousands of newsletters on every imaginable subject are produced each year. A newsletter is an excellent tool to convey information, get a message out and build relationships. Newsletters are printed through traditional correspondence or delivered electronically via email (e-Newsletters).

ESSENTIAL QUESTIONS

PRIMARY: What is the concept and content of the work? SECONDARY: Who is the audience? How will you convey information that is clear, concise and vivid?

MODULE ASSESSMENTS

• A newsletter using the elements and principals of design. • Implementation of Adobe In Design software tools and techniques. • Participation in class critiques where opinions are expressed using


• examine the history of desktop publishing and the internet, beginning in the mid 1980’s to the present time. Companies such as Apple, Aldus and Adobe will be explored.

• create a computer generated newsletter by learning the relevant software tools.

• look at digital images with an informed critical eye and understand the difference and similarities between print media and electronic correspondence.


• create a four page newsletter using Adobe In Design. Image editing applications like Adobe Photoshop will also be used.

• set up the basic document, edit text, add color, place graphic elements and add photos. Students will also learn how to construct a table, set up styles and print the work or export it for digital delivery.

• make informed judgments and statements on the artist’s intentions and aesthetics of the work. This applies to their work and the work of other artists.

RESOURCES Page 308


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ENDURING UNDERSTANDINGS - Newspaper

What works and what doesn’t in newspaper design? How can design help readers navigate through the stories? Good design serves readers by presenting well-edited information clearly. Also, in a visually savvy world, a poorly designed page can hurt credibility. Design is about how to tell the stories and how to package the photos and other information in a paper. The best designed newspapers have consistency, boldness, willingness to take informed risks, and sophistication.

ESSENTIAL QUESTIONS

PRIMARY: What works and what doesn’t in newspaper design? SECONDARY: How is design related to readership?

MODULE ASSESSMENTS

• A redesigned newspaper layout, using the elements and principals of basic design.

• Implementation of Adobe In Design software tools and techniques. • Participation in class critiques where opinions are expressed using


• examine several newspapers and look for the specific traits of the best-designed newspapers – large and small.

• redesign a newspaper layout by learning the relevant software tools. • look at newspapers with an informed critical eye and understand how

good design affects readership. MODULE SKILLS Students will be able to…

• redesign an existing newspaper layout in order to enhance readership and present the information more clearly.

• know how to use rules, boxes, screens, white space, typography, photos and graphics.

• make informed judgments and statements on the designer’s intentions and aesthetics of the page. This applies to their work and the work of other designers.

RESOURCES Page 308


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ENDURING UNDERSTANDINGS - Magazine Magazine and page layout is about the arrangement and treatment of elements or content on a page. With print media, elements usually consist of type or text, images, and graphics. Page layout has expanded to the digital page as well as print media. Since the arrival of the internet, the electronic page is now interactive with multimedia in addition to text and still images. Today, there is much overlap between visual communications and information technology in print and electronic media.

ESSENTIAL QUESTIONS

PRIMARY: What is visual communications and information technology? How do they work together? How are print media and the electronic pages similar? Different? SECONDARY: What are the elements of a page layout? What are grids and templates and how are they used in magazine design?

MODULE ASSESSMENTS

• A magazine layout, using the elements and principal of design, text, images and graphics.

• Implementation of Adobe In Design software tools and techniques. • Participation in class critiques where opinions are expressed using


• learn that beginning from early illuminated pages in hand-copied books of the Middle Ages and proceeding down to intricate modern magazine and catalog layouts, proper page design is important in effective visual communications.

• create a magazine layout by learning the relevant software tools. • look at magazine layouts with an informed critical eye and reflection

upon art, design, culture and mass media. MODULE SKILLS Students will be able to…

• create a magazine layout that presents a balance of content, rules of composition and visual impact to the viewer.

• know how to use rules, grids, templates, text, photos and graphics with InDesign.

• make informed judgments and statements on the designer’s intentions and aesthetics of the page. This applies to their work and the work of other designers.

RESOURCES Page 308

http://en.wikipedia.org/wiki/Typography�

http://en.wikipedia.org/wiki/Image�

http://en.wikipedia.org/wiki/Electronic_page�

http://en.wikipedia.org/wiki/Multimedia�

http://en.wikipedia.org/wiki/Visual_communication�

http://en.wikipedia.org/wiki/Information_technology�

http://en.wikipedia.org/wiki/Illuminated�

http://en.wikipedia.org/wiki/Middle_Ages�

http://en.wikipedia.org/wiki/Art�

http://en.wikipedia.org/wiki/Culture�


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201

ENDURING UNDERSTANDINGS - Web Design The intent of web design is to create a web site or collection of electronic files that presents information to the user in the form of web pages. The information can be published by a web browser or other web-based graphic user interfaces. The planning of a web site includes conceptualization, development, and execution of electronic media via the internet. The most important elements of a web page are content, user-friendliness, the design of text and images and accessibility.

ESSENTIAL QUESTIONS

PRIMARY: What is web design? What are the most important elements? SECONDARY: Why is the attention to content so significant? Why is consistency of design so important in web pages?

MODULE ASSESSMENTS

• Design of web pages that use the elements and principal of design. • Implementation of Adobe Illustrator software tools and techniques. • Participation in class critiques where opinions are expressed using


• study the beginnings of the internet in the early 1990’s and the development of web sites and the new language of visual communication and information technology.

• create several web pages by learning the relevant software tools. • look at web design with an informed critical eye and understand how

this new information system has had a huge impact on contemporary society.


• design several web pages by using templates and style sheets. • combine logos, photographs, text and graphics on a home page. • make informed judgments and statements on the designer’s intentions

and aesthetics of the page. This applies to their work and the work of other designers.

RESOURCES Page 308

http://en.wikipedia.org/wiki/Web_site�

http://en.wikipedia.org/wiki/End-user_%28computer_science%29�

http://en.wikipedia.org/wiki/Web_page�

http://en.wikipedia.org/wiki/Web_browser�

http://en.wikipedia.org/wiki/Graphical_user_interface�

http://en.wikipedia.org/wiki/Electronic_media�


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ENDURING UNDERSTANDINGS - Adding Interactivity A successful web site has content that is relevant, the graphics and text are consistent, and is user-friendly. The interface and navigation must be simple and reliable. This interactivity is created through the observable content (page layout, user interface, graphics, text, and audio), and also with tables, links, style sheets, and navigation menus. Lastly, the web site must be easy to find via most, if not all, major search engines and advertisement media.

ESSENTIAL QUESTIONS

PRIMARY: How do you create interactivity in a web site? What is user-friendliness and why is it so important in navigating the web site? SECONDARY: How can text, images, links and menus be organized in a clear and consistent manner? How can a web site be easy to find through major search engines and advertisers?

MODULE ASSESSMENTS

• Design of web pages that use the elements and principal of design to enhance interactivity and user-friendliness.

• Implementation of Dreamweaver software tools and techniques. • Participation in class critiques where opinions are expressed using


• study the importance of a target audience. The audience is the group of people who are expected to visit the website – the market being targeted. These people will be viewing the website for a specific reason and it is important to know exactly what they are looking for when they visit the site.

• learning the relevant software tools and how to use the output equipment.

• look other web sites with an informed critical eye and evaluate the content, design, consistency, navigation and user-friendliness of the site.


• add interactivity and navigational tools to their web pages. • use Dreamweaver’s CSS style sheets, links and menus. • make informed judgments and statements on the artist’s intentions and


RESOURCES Page 308

http://en.wikipedia.org/wiki/Page_layout�

http://en.wikipedia.org/wiki/User_interface�

http://en.wikipedia.org/wiki/Graphics�

http://en.wikipedia.org/wiki/Writing�

http://en.wikipedia.org/wiki/Audio�


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BY THE END OF TWELFTH GRADE iFOLIO

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2

E- portfolios are electronic collections that show a person’s skills. Artifacts are the items that show a candidate’s growth in a particular area. Artifacts



ENDURING UNDERSTANDINGS - Understanding E-portfolios and Identifying Artifacts for Inclusion


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may be sample writings, video or sound files. Artifacts are carefully chosen by the candidate to highlight a particular strength to the viewer.

ESSENTIAL QUESTIONS

PRIMARY: What is the scope, purpose and value of an e-portfolio? What is an artifact? What is a “Statement of Intention”? SECONDARY: How can we present a collection of artifacts to reflect our abilities and experiences to a targeted audience? How do we determine our intention and alert viewers of it?

MODULE ASSESSMENTS

• Self-reflective journal entries on artifact choice • Student produced organizational chart of indexed artifacts. (ie.

Inspiration diagram of possible items for inclusion) • Draft copy of personal statement of intention (ie. Introduction of student

e-portfolio with specific mention of its’ purpose) MODULE OBJECTIVES Students will be able to…

• understand the purpose and proper use of an e-portfolio. • discuss the evolution of electronic media and its’ value. • discuss potential forms of media used for different artifacts. • understand basic structure of the e-portfolio. • outline individual e-portfolio with purpose in-mind (ie. College

application supplement or job-specific resume of experience and skill) • identify individual artifacts for inclusion. • write journal entries that encourages self reflection and improve

achievement. • write journal entries that elicit new ideas and creative thinking. • determine individual purpose for e-portfolio creation. • understand the purpose of a Statement of Intention. • use prewriting to create individual statement of intention.


• create Diagram/Outline of individual e-portfolio structure. • choose artifacts for inclusion. • submit prewriting work and draft copies of individual “Statement of

Intention” for teacher review. • write journal entries on the topic of choosing artifacts that answer the

purpose of your e-portfolio. RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.2

• Student created file management system for digitized artifacts

Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Digitizing Artifacts

Electronic Portfolios require digitized copies of artifacts. Hard copy can be digitized through software applications and various forms of hardware such as scanners and digital cameras. Digitized artifacts can easily be published for electronic viewing.

ESSENTIAL QUESTIONS

PRIMARY: What is the purpose of creating digital versions of hard copy? How can we digitize hard copy? SECONDARY: When digitizing hard copy, what must we consider in relation to file extensions, file formats and compatibility? How can we efficiently manage our digital files?

MODULE ASSESSMENTS

• Collection of digitized artifacts as required by individual organizational chart (ie. Inspiration diagram with attached links)


• discuss file management and proper file titling. • determine the best hardware to digitize each hard copy artifact. • develop an efficient file management for saving digitized artifacts. • understand the importance of file management.


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• understand how to create hyperlinks from original outline/diagram to artifacts.

• determine the best file formats and extensions when digitizing artifacts. • understand issues with compatibility. • learn different programs offer different file formats/extensions. • determine needs for digitizing their individual artifacts. • troubleshoot various issues with digitizing artifacts. • understand legal and ethical responsibilities (ie. Proper use laws). • write journal entries that encourages self reflection and improve

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


• take notes from teacher presentations. • digitize artifacts using various software programs as needed. • efficiently manage files. • write journal entries on the topics of file management, compatibility and

file format/extension considerations. RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


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• Self-reflective writings on contemporary issues in digital media.



ENDURING UNDERSTANDINGS - Electronic Portfolio Design & Publishing- Tying it all together

Publishing an e-portfolio that is easy to navigate will encourage viewers to explore all included artifacts. This is referred to as user-friendly design.

ESSENTIAL QUESTIONS

PRIMARY: How can we encourage viewers to navigate through digitized artifacts? How can we organize digitized artifacts in a user-friendly way? SECONDARY: How does an understanding of the Elements and Principles of Design assist e-portfolio designers in creating user-friendly e-portfolios?

MODULE ASSESSMENTS

• Journal entries on e-portfolio publishing process and design issues • Student published e-portfolio


• critically identify effective e-portfolios and websites. • discuss the history of web-based portfolios and sites and how they

have evolved. • define user-friendly and critique sample sites on user-friendliness. • determine what makes an e-portfolio or website user-friendly. • understand aesthetics and its’ relationship to electronic media. • draw relationships between e-portfolios and sample websites

(business or personal). • critique sample e-portfolios and offer suggestions for improvement

through journal writing. • identify successful components found in sample online sites and

electronic portfolios. • identify and analyze key elements in web-design and e-portfolio

design. • create a layout that meets the requirements of the viewer (ie. Organize

files with primary artifacts listed first, secondary lower).


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• choose a theme that correlates to the purpose of the e-portfolio. • utilize web/portfolio publishing software as determined by student and

teacher. • understand the four steps of art-criticism. • apply the four steps of art-criticism when discussing sample e-

portfolios. • utilize journal entries and critique to make improvements. • discuss careers paths in Web-Design. • understand responsible web posting and current issues in relation to

the internet. • understand publishing procedures for final product. • understand the responsibility and procedure for maintaining an

updated e-portfolio. MODULE SKILLS Students will be able to…

• participate in online teacher guided group collaboration on the topic of web design and/or e-portfolio purpose and creation.

• consider Design Elements and Principles when creating e-portfolio. • use digital publishing software to upload and publish e-portfolio.

artifiact. • choose a theme that meets the needs of the e-portfolio purpose. • participate in group critique using the four steps of art criticism. • use critique to improve work. • check that e-portfolio meets the needs as placed by the students’s

Statement of Intention. • check for broken hyperlinks. • make changes/corrections to e-portfolio as needed. • publish e-portfolio for web browsing or CD/DVD burning.

RESOURCES Page 308


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BY THE END OF TWELFTH GRADE PHOTOGRAPHY I

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2

• Individual color photos using 10 design elements as per handout.


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/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?

MODULE ASSESSMENTS

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


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

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

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


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

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

• 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 308


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


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 - 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?

MODULE ASSESSMENTS

• Individual research on a photographer for the final roll of film. • Readings and responses to contemporary issues in photography.


• view photographs created in different societies. • identify the work of specific photographers. • understand how photographers reflect their societies. • understand how photographers reflect their societies. • appreciate the role photography plays in their own lives. • differentiate between artistic styles and movements.


• 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.

RESOURCES Page 308


215


State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2

• Proper rolling and processing of b & w film.


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 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 use of the darkroom, including enlargers and timers. • Tests on developing and printing film. • Demonstration of safe practices and responsible use of materials.


216


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

• 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 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. BIG IDEAS/COMMON THREADS


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.


218

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?

MODULE 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.


• 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. MODULE SKILLS Students will be able to…

• 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 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. BIG IDEAS/COMMON THREADS


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.


220

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?

MODULE ASSESSMENTS

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

• Oral evaluation of the photos as per assignment. • Oral critique: use of contrast and composition in the photos.


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

• identify how each photo fulfills the assignment. • select the strongest and weakest work in regards to composition and

apply knowledge to improve future photographs. MODULE SKILLS Students will be able to…



• create photographs that demonstrate the concept.

RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.B.1

The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition. Proper



ENDURING UNDERSTANDINGS - Composition/Innovative Techniques


222

technical skills in developing film and printing negatives help produce effective prints.

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?

MODULE ASSESSMENTS

• Creation of the biscenorama. • Creation of a double exposure. • Creation of a solarization. • Oral evaluation of the techniques as demonstrated by the work. • Oral critique: use of contrast and composition in the photos.


• identify how the work fulfills the assignment. • identify the strongest work in regards to composition and apply

knowledge to improve future photographs. MODULE SKILLS Students will be able to…

• produce photographs by alternative techniques. • create photographs that demonstrate effective composition and good

use of contrast. • create photographs that demonstrate the concept.

RESOURCES Page 308


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



ENDURING UNDERSTANDINGS - Composition/ Imitation & Originality 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 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?

MODULE ASSESSMENTS

• Individual b & w photos of an original theme. • Oral evaluation of the photos as per assignment. • Oral critique: use of contrast and composition in the photos.



• identify how each photo fulfills the assignment. • select the strongest work in regards to composition.


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• create photographs that demonstrate the concept. RESOURCES Page 308


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BY THE END OF TWELFTH GRADE PHOTOGRAPHY II, III & IV

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Composition/Elements of Art & Principles of Design


227

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?

MODULE ASSESSMENTS

• Individual photos. • Written assignments evaluating the use of the 9-grid system in a

variety of photographs. MODULE OBJECTIVES Students will be able to…

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

• 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.


RESOURCES Page 308


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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


229


• Individual research on photographers.



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?

MODULE ASSESSMENTS

• Readings and responses to contemporary issues in photography. MODULE OBJECTIVES Students will be able to…

• 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. • differentiate between artistic styles and movements.


• 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.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2

PRIMARY: How does the digital camera work? What is Photoshop? SECONDARY: How does the student use the digital and/or film SLR or



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


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point & shoot camera? How does the student use Photoshop to enhance and alter digital photos?

MODULE 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.

• 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. MODULE SKILLS Students will be able to…

• shoot, develop and print their own film. • work cooperatively and safely in the darkroom. • produce and print digital photos.

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• Individual photos demonstrating a unified theme.



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?

MODULE ASSESSMENTS

• Properly mounted work for exhibition. • Oral critique.


• 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. • select the strongest and weakest work in regards to composition and

apply knowledge to improve future photographs. • mount work for exhibition.


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

concept. • mount work for exhibition.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


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• Use of alternative techniques such as Pinhole Camera, Polaroid Image Transfer, Solarization, Hand Coloring and/or Toning.



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?

MODULE ASSESSMENTS

• Oral evaluation of the techniques as demonstrated by the work. • Oral critique. • Properly mounted work for exhibition.


• identify how the technique enhanced the concept. • identify the strongest work in regards to composition and apply

knowledge to improve future photographs. • mount work for exhibition.


• produce photographs by alternative techniques. • create photographs that demonstrate effective composition. • create photographs that demonstrate the concept. • mount work for exhibition.

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



ENDURING UNDERSTANDINGS - Composition: Originality/ Themes


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?

MODULE ASSESSMENTS

• Individual oral evaluation of the photos. • Class critique. • Properly mounted work for exhibition.



• identify how each photo fulfills the assignment. • select the strongest work in regards to composition. • mount work for exhibition.



• create photographs that demonstrate effective composition.


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• create photographs that demonstrate the concept. • mount work for exhibition.

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BY THE END OF TWELFTH GRADE CRAFTS I

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2

• Self-reflective journal entries on wedging techniques



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?

MODULE ASSESSMENTS

• Properly wedged and wrapped reclaimed or new clay. • Prepared slip (1 jar each) for project use


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

• 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). MODULE SKILLS Students will be able to…

• 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.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. BIG IDEAS/COMMON THREADS


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?


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MODULE 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.


• 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. • 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.


• 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. • identify tools using domain specific terminology. • work with surface textures and design. • work with different glazing techniques. • thoroughly clean and maintain art studio and tools.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1

State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art.

Examine the artwork from a variety of historical periods in both western and non-western culture(s).

State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. BIG IDEAS/COMMON THREADS


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.)


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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?

MODULE ASSESSMENTS

• Individual works of art demonstrating high quality mosaic techniques. • Written critiques • Teacher / student critiques


• 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. • utilize the four steps of art criticism when critiquing. • differentiate between non-functional and functional art.


• 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. • identify tools using domain specific terminology. • thoroughly clean and maintain art studio.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art.


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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?

MODULE 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. • understand the qualities of finely crafted books. • identify aesthetic considerations when creating book structures. • discuss book arts using domain specific vocabulary. • utilize the four steps of art criticism when critiquing.


• create a book using traditional book structure techniques. • use the four steps of art criticism when discussing their book. • identify tools using domain specific terminology. • thoroughly clean and maintain art studio.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS


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.


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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?

MODULE 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 MODULE OBJECTIVES Students will be able to…

• 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.


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• analyze and compare glaze results on various textures. MODULE SKILLS Students will be able to…

• 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. • create high-quality craftsmanship work. • thoroughly clean and maintain workspace. • participate in group critique of fired glazeware using the four steps of

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BY THE END OF TWELFTH GRADE CRAFTS DESIGN II, III, IV, & V

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art.


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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?

MODULE 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 • Evaluation of examples of how critique may affect the creation and/or

modification of an existing or new work of art. MODULE OBJECTIVES Students will be able to…

• 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.


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• 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

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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?

MODULE 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. . MODULE OBJECTIVES Students will be able to…

• differentiate between batik and other fabric decorating techniques. • apply design vocabulary and domain specific terminology. • 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. • produce an original body of work that demonstrates mastery of

methods and techniques.


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• 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. • thoroughly clean and maintain workspace. • learn how to maintain tools appropriate for the medium. • production of an original body of work that demonstrates mastery of



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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?

MODULE ASSESSMENTS

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

• Evaluation of original expressive student artist ideas. • Evaluation of journal/sketchbook entries. • 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. MODULE OBJECTIVES Students will be able to…

• 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. • apply design vocabulary and domain specific terminology. • identify intermediate and advanced techniques in book arts. • understand processes of the medium. • choose the process which best meets the needs of the artist. • use medium as a means of self expression.


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• develop more sophisticated level of skill appropriate for course level. • produce an original body of work that demonstrates mastery of

methods and techniques. MODULE SKILLS Students will be able to…

• 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. • learn how to maintain tools appropriate for the medium. • create a book structure including text. • apply the Elements of Art and Principles of Design to the book

structure. • utilize domain specific terminology in class discussions and critique. • read current articles on contemporary issues pertaining to book arts. • draw connections between reading articles and classroom learning

through journal entries. • thoroughly clean and maintain workspace. • learn how to maintain tools appropriate for the medium. • production of an original body of work that demonstrates mastery of



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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)

MODULE 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. • Evaluation of journal/sketchbook entries. • 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. MODULE OBJECTIVES Students will be able to…

• 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. • know how to use critique to improve work. • write journal entries that encourages self reflection and improve

achievement.


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• apply design vocabulary and domain specific terminology. • identify intermediate and advanced techniques in decorative painting. • understand processes of the medium. • choose the process which best meets the needs of the artist. • use medium as a means of self expression. • 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. • learn how to maintain tools appropriate for the medium. • produce an original body of work that demonstrates mastery of

methods and techniques. • write journal entries about the process. • participate in group critique. • utilize domain specific terminology in class discussions and critique. • produce an original body of work that demonstrates mastery of



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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?

MODULE 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. • Evaluation of journal/sketchbook entries. • Evaluation of craftsmanship appropriate for the course level.


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

• 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.

• know how to use critique to improve work. • write journal entries that encourages self reflection and improve

achievement. • apply design vocabulary and domain specific terminology. • understand processes of the medium. • use medium as a means of self expression. • produce an original body of work that demonstrates mastery of

methods and techniques.


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• 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. • utilize domain specific terminology in class discussions and critique. • read current articles on contemporary issues in art. • draw connections between reading articles and classroom learning

through journal entries. • produce an original body of work that demonstrates mastery of

methods and techniques. • 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. • learn how to maintain tools appropriate for the medium. • participate in group critique.

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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?

MODULE ASSESSMENTS




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

achievement. • write journal entries that elicit new ideas and creative thinking. • make connections between contemporary issues in art and personal

experience MODULE SKILLS Students will be able to…

• identify glass etching techniques using correct terminology. • choose a treatment that best meets the needs of the individual art • write journal entries about • read current articles on contemporary issues in art.


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• participate in group critique. • produce an original body of work that demonstrates mastery of



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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?

MODULE ASSESSMENTS




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

• learn how paper mache can be used to express student artist’s ideas.. • know how to use critique to improve work • choose the treatment that meets the needs of the artist to achieve

original concept. • write journal entries that encourages self reflection and improve


experience MODULE SKILLS Students will be able to…

• identify paper mache techniques using correct terminology. • choose a treatment that best meets the needs of the individual art • write journal entries about • read current articles on contemporary issues in art. • participate in group critique. • produce an original body of work that demonstrates mastery of



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CERAMICS I State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. BIG IDEAS/COMMON THREADS


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?

MODULE 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.

• 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.


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

achievement. • write journal entries that elicit new ideas and creative thinking. • 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. • read current articles on contemporary issues in art. • identify tools using domain specific terminology. • thoroughly clean and maintain workspace.

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BY THE END OF TWELFTH GRADE CERAMICS I

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art.


274


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?

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

achievement.


275

• utilize the four steps of art criticism when critiquing. • 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. • create high-quality craftsmanship work. • use the four steps of criticism when discussing art (pottery/ceramics). • identify tools using domain specific terminology. • present contemporary issues in art through journal writings and/or

group presentations. • thoroughly clean and maintain workspace. • identify artistic movements in ceramics. • differentiate between hand-building techniques. • create hand-built pottery.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art.


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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?

MODULE 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 MODULE OBJECTIVES Students will be able to…

• 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).


278

• connect journal entries to classroom learning. • 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. MODULE SKILLS Students will be able to…

• 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. • identify tools using domain specific terminology. • prepare a potter’s wheel for use. • work with clay during the correct stages of wet/dry. • 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 high-quality craftsmanship work. • create wheel thrown pottery inspired by a literary work through the use

of aesthetics. • thoroughly clean and maintain workspace. • participate in group critique using the four steps of criticism.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS


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.


280

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?

MODULE 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 MODULE OBJECTIVES Students will be able to…

• 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.


281

• 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. MODULE SKILLS Students will be able to…

• 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. • create high-quality craftsmanship work. • thoroughly clean and maintain workspace. • participate in group critique of fired glazeware using the four steps of

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BY THE END OF TWELFTH GRADE ADVANCED CERAMICS II, III & IV




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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?

MODULE 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


• 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. MODULE SKILLS Students will be able to…

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


284

• 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.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times. State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS



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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?

MODULE 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.

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


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. MODULE SKILLS Students will be able to…

• 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.


287

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

• utilize domain specific terminology in class discussions and critique. • read current articles on contemporary issues in art. • draw connections between reading articles and classroom learning

through journal entries. • manipulate clay surface by working with texture. • thoroughly clean and maintain workspace.

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State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.1 Parallel historical events and artistic development found in dance, music, theater, and visual art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


289

State Standard 1.5.12.B.2 Compare and contrast the stylistic characteristics of a given historical period through dance, music, theater, and visual art. BIG IDEAS/COMMON THREADS


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?

MODULE 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) MODULE OBJECTIVES Students will be able to…

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

• recognize different treatments and their purposes. • understand that art can be inspired by literary works, music, and/or

historic events. • understand the procedures involved for working with various surface

treatments. • know how to use critique to improve work. • 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. • choose the treatment that meets the needs of the artist to achieve

original concept. • know how glaze chemists create glaze formulas. • write journal entries that encourages self reflection and improve

achievement.


290

• write journal entries that elicit new ideas and creative thinking. • 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. • read current articles on contemporary issues in art. • participate in group critique.

RESOURCES Page 308


291

BY THE END OF TWELFTH GRADE SCULPTURE I

State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. BIG IDEAS/COMMON THREADS

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?

MODULE 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.


292


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

be fired and patinaed. MODULE SKILLS Students will be able to…

• 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 308


293


State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


294

BIG IDEAS/COMMON THREADS 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 - Materials (Mediums) Used in 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?

MODULE ASSESSMENTS • Body Part II (same body part as in clay) in any material or materials

other than clay. MODULE OBJECTIVES Students will be able to…

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

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

• use materials properly and safely. MODULE SKILLS Students will be able to…

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



• use materials properly and safely. RESOURCES Page 308


295


State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the visual arts. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.4.12.A.1 Examine the artwork from a variety of historical periods in both western and non-western culture(s). State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


296


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


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?

MODULE 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. • apply the Elements of Art & Principles of Design as the vocabulary for

in-class critiques. • use materials properly and safely.


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





297


State Standard 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based on observation, using the domain-specific terminology of that art form. State Standard 1.1.12.A.2 Discern the value of works of art, based on historical significance, craftsmanship, cultural context, and originality using appropriate domain specific terminology. State Standard 1.1.12.A.3 Determine how historical responses affect the evolution of various artistic styles, trends and movements in art forms from classicism to post-modernism. State Standard 1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using contemporary methodologies. State Standard 1.1.12.B.2 Formulate a personal philosophy or individual statement on the meaning(s) of art. State Standard 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the production of two or three-dimensional art. State Standard 1.2.12.D.2 Perform various methods and techniques used in the production of works of art. State Standard 1.2.12.D.3 Produce an original body of work in one or more mediums that demonstrates mastery of methods and techniques. State Standard 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and principles of design. State Standard 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can provide inspiration for a work of art. State Standard 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal elements of art used in exemplary works of art. State Standard 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator, performer, and consumer. State Standard 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique. State Standard 1.4.12.B.2 Provide examples of how critique may affect the creation and/or modification of an existing or new work of art. State Standard 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources preserve cultural heritage and influence contemporary art. State Standard 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical periods in works of dance, music, theater, and visual art stylistically representative of the times.


298


ENDURING UNDERSTANDINGS - Concept: Rethinking the Common Object


ESSENTIAL QUESTIONS

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

MODULE ASSESSMENTS

• 25 Objects: altering a common object according to handout. • Transforming/Deconstructing a functional object, i.e. a chair, stool,

table, etc. MODULE OBJECTIVES Students will be able to…

• conceptualize and create the 25 Objects with appropriate presentation. • conceptualize and create a transformed/ reconstructed sculpture from

a functional object. • use materials properly and safely. • apply the Elements of Art & Principles of Design as the vocabulary for

in-class critiques. MODULE SKILLS Students will be able to…

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





299

BY THE END OF TWELFTH GRADE SCULPTURE II, III & IV



300



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?

MODULE 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.


• create additive sculpture. • apply the Elements of Art & Principles of Design as the vocabulary for

in-class critiques. • demonstrate proper use of the selected medium and safe practices in

the studio. MODULE SKILLS Students will be able to…

• conceptualize and create additive sculpture.


301

• 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 308


302




303



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?

MODULE ASSESSMENTS

• Representational, abstract and/or non-objective sculpture created through a subtractive process.

• Oral presentation on a contemporary sculptor selected by the teacher. • Written and oral responses to readings on sculpture.


• 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. MODULE SKILLS Students will be able to…

• create subtractive sculpture.


304

• 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 308


305




306



ENDURING UNDERSTANDINGS- Sculpture: Scale, Proportion, Positive/ Negative Space, Texture, Repetition


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?

MODULE ASSESSMENTS

• Sculpture that explores the three-dimensional elements of art and principles of design.

• Oral presentation on a contemporary sculptor selected by the teacher. MODULE OBJECTIVES Students will be able to…

• 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.

• use materials properly and safely. MODULE SKILLS Students will be able to…

• create sculpture from observation, memory and/or imagination that explores scale, proportion, positive/negative space, texture and/or repetition using a variety of materials.


307

• 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.




308

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


309

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/�


310

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.

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http://www.ramourflannigian.com/�

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311

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/�

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http://www.npg.si.edu/�


312

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 Commercial Design Supplies:



313

Color Wheel Elements of Art Posters Principles of Design Posters Calligraphy pens and calligraphy markers and variety of papers Variety of brushes and lettering tools Rulers, pencils, pens, glues, tapes Pastels, acrylics, oil paint, pen and inks, colored pencil, 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 and Daniels, Alfred The Complete Artist Wellfleet Press Warren, Jack, Basic Graphic Design & Paste-Up North Light Publications Murphy,John & Rowe, Michael How To Design Trade Marks & Logos North Light Books Literature: Scholastic Art Magazine, current and past issues Step By Step Graphics, current and past issues Scholastic Art Magazine, current and past issues American Showcase Illustration Websites: www.artchive.com Honors Art Major Supplies: Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Acrylic, water color, oil, etc. paints.



314

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 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.





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http://www.npg.si.edu/�

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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 Computer Arts Graphics Supplies/ Technology Computers, Scanner, Printer, Digital Camera, Projector, Screen Texts Adobe Illustrator CS3 How-To’s 100 Essential Techniques by David Karlins and Bruce K. Hopkins Peachpit Press 2008 Illustrator for Windows & Macintosh By Elaine Weinmann and Peter Lourekas Peachpit Press 2002 I’ve Got A Human in my Throat, Create More Optical Delusions with Adobe Photoshop By The Worth1000.com Artists Thomson Course Technology 2006 Maggie Taylor’s Landscape of Dreams (Adobe Photoshop Master Class)







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By Amy Standen Peachpit Press 2005 Photoshop Fine Art Effects Cookbook By John Beardsworth O’Reilly Media 2006 Adobe Photoshop Techniques Newsletter Photoshop Elements User-Periodical Professional References Adobe Professional Association & User Groups Advanced Computer Art Graphics Supplies/ Technology Computers, Scanner, Printer, Digital Camera, Projector, Screen Texts: (Partial List) Illustrator CS3 Visual Quickstart Guide by Elaine Weinmann and Peter Lourekas Photoshop CS3 Visual Quickstart Guide by Elaine Weinmann and Peter Lourekas Adobe Photoshop CS3 A-Z Tools and Features by Philip Andrews The Adobe Photoshop Layers Book by Richard Lynch How To Wow: Photoshop CS3 for Photography by Jack Davis Mastering Photoshop CS3 for Print, Design and Production by Ted LoCascio Real World Adobe Photoshop CS3 by David Blatner, Conrad Chavez and Bruce Fraser Creative Photoshop: Digital Illustration and Art Techniques by Derek Kea The Photoshop CS3 Bible by Laurie Ulrich Fuller and Robert C. Fuller Beyond Portraiture: Creative People Photography by Bryan Pererson Literature: Newspaper and magazine articles as are relative to course’s scope and content Professional References Adobe Professional Association & User Groups Professional References Adobe Professional Association & User Groups Pencil to Pixel Texts: Arnheim, Rudolf. Visual Thinking. Berkeley: University of CA Press, 1969. Aronson, Marc. Art Attack. NY: Clarion Books, 1998. Berger, John. Ways of Seeing. NY: Penguin Books Ltd., 1979. Buchanan-Smith, Peter. Speck No. 1. NY: Princeton Architectural Press, 2001. Cote, Beth, and Cindy Pestka. Altered Books. Fort Worth, TX: Design Originals, 2002. Curtiss, D. Introduction to Visual Literacy. Englewood Cliffs, NY: Prentice-Hall, Inc., 1987.

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Eldon, Kathy. The Journey is the Destination: The Journals of Dan Eldon. San Francisco: Chronicle Books, 1997. Goleman, D., and P. Kaufman. The Creative Spirit. NY: Penguin Books, 1992. Harmon, Katharine. You Are Here. NY: Princeton Architectural Press, 2004. Hung, Shu, and Joseph Magliaro. By Hand. NY: Princeton Architectural Press, 2007. La Plantz, Shereen. Cover to Cover. NY: Lark Books, 2000. Livingstone, Margaret. Vision and Art: The Biology of Seeing. NY: Harry Abrams, 2002. McKim, Robert. Experiences in Visual Thinking. Monterey, CA: Brook/Cole Publishing Co., 1972. Michel, Karen. The Complete Guide to Altered Imagery. Gloucester, MA: Quarry Books, 2005. New, Jennifer. Drawing from Life:The Journal as Art. NY: Princeton Architectural Press, 2005. Otto, Elizabeth. Tempo, Tempo!. Berlin: Bauhaus-Archiv, 2005. Perrella, Lynn. Artists Journals & Sketchbooks. Gloucester, MA: Quarry Books, 2004. Pixar at the Museum of Modern Art. San Francisco: Chronicle Books LLC, 2005. Ringgold, Faith. Dancing at the Louvre. NY: New Museum of Contemporary Art, 1998. Stewart, Mary. Launching the Imagination:2D. NY: McGraw Hill, 2008. "The Art Quilt Now." FiberArts Nov/Dec 2003: Vieth, Ken. From Ordinary to Extraordinary. Worcester, MA: Davis Publications, 1999. Waller, Julian. Safe Practices in the Arts & Crafts. NY: CAA, 1985. http://artsedge.kennedy-center.org. Innovative Learning Group, "Thinking Maps." www.thinkingmaps.com/. April 11, 2003. International Visual Literacy Association, "International Visual Literacy Association." www.ivla.org/index.htm. Iowa State University, "Brain-based visual education." www.public.iastate.edu/~design/ART/NAB/bbased.html. www.lachances.com/Humor/OpArts.html. Pomona College, "The online visual literacy project." http://www.pomona.edu/Academics/courserelated/courseprojects/Visual-lit/intro/intro.html. Scholastic Art Animation I Supplies/ Technology: Computers, Scanner, Printer, Digital Camera, Projector, Screen Books: (Partial List)


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The Animation Bible: A Practical Guide to the Art of Animating from Flipbooks to Flash By Maureen Furniss Flash CS3 Professional QuickStart Guide by Katherine Ulrich How to Cheat in Flash CS3: The art of design and animation in Adobe Flash CS3 by Chris Georgenes 99 Ways to Tell a Story: Exercises in Style By Matt Madden Graphic Storytelling and Visual Narrative by Will Eisner Comics and Sequential Art by Will Eisner Drawing Words and Writing Pictures: by Jessica Abel and Matt Madden Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels by Scott McCloud Vanishing Point: Perspective for Comics from the Ground Up By Jason Cheeseman-Meyer Webcomics: Tools and Techniques for Digital Cartooning By Steven Withrow Facial Expressions: A Visual Reference for Artists by Mark Simon Video: Steamboat Willy, Fantasia, The Simpsons, various 2D cartoon shows Literature: Magazine and newspaper articles as applicable Professional References: Adobe Professional Association & User Groups Animation II Supplies/ Technology Computers, Scanner, Printer, Digital Camera, Projector, Screen Books: (Partial list) Flash CS3 Professional QuickStart Guide by Katherine Ulrich Alan Moore's Writing For Comics Volume 1 by Alan Moore and Jacen Burrows Webcomics: Tools and Techniques for Digital Cartooning By Steven Withrow 99 Ways to Tell a Story : Exercises in Style By Matt Madden Foundation ActionScript Animation: Making Things Move! by Keith Peters Graphic Storytelling and Visual Narrative by Will Eisner Flash 3D: Animation, Interactivity and Games by Jim Ver Hague and Chris Jackson Real World Adobe Flash CS3 Professional by Shane Rebenchied Character Animation Crash Course! By Eric Goldberg Hi-Fi Color For Comics: Digital Techniques for Professional Results by Brian Miller Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels by Scott McCloud


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Video: Anime (various), Other Animation as applicable to current project Literature: Newspaper and magazine articles as available Professional References: Photoshop User NAPP (National Assoc. of Photoshop Professionals) Adobe Professional Association & User Groups Media as Message Supplies: Foam board, corrugated cardboard, mat board, Plexiglas and associated presentation tools and supplies. Technology: computers, scanners, printers, digital cameras, projector, supplies and peripherals to support all. Texts: Illustrator CS3 Visual Quickstart Guide Photoshop CS3 Visual Quickstart Guide InDesign CS3 Visual Quickstart Guide Flash CS3 Professional Visual Quickstart Guide Adobe Photoshop CS3 A-Z Tools and Features by Philip Andrews Mastering Photoshop CS3 for Print, Design and Production by Ted LoCascio Creative Photoshop: Digital Illustration and Art Techniques by Derek Kea Beyond Portraiture: Creative People Photography by Bryan Pererson Books: The Lorax by Dr. Seuss On the Wisdom of Words by Geoffrey Wagner The Hidden Persuaders by Vance Packard Generation Me by Jean M. Twenge They Say/I Say by Gerald Graff and Cathy Birkenstein Fame Junkies by Jale Halpern Don’t Make Me Think by Steve Krug Made to Stick by Chip and Dan Heath A Whole New Mind by Ken Veith Newspapers: The New York Times, Wall Street Journal, The Record Magazines: WIRED, American Photo, PRINT, BusinessWeek, Fast Company, Inc., TIME, Newsweek, eWEEK, InformationWeek, People, Psychology Today, etc.


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Online sources of news, articles and ads as are relative to course’s scope and content; i.e.: The Brain-Dead Megaphone by George Saunders Class trips and assigned research media areas: Local Malls, restaurants, shopping venues and businesses for comparison Public spaces including Post Office, Library, Town Hall comparison Various relevant TV/Radio shows, videos and web sites: MadMen Trust Me InfoGraphics, design and creativity-oriented media sources The Digital Page Supplies Computers, Scanner, Printer, Digital Camera, Projector, Screen Texts Adobe Illustrator CS3 How-To’s 100 Essential Techniques by David Karlins and Bruce K. Hopkins Peachpit Press 2008 Visual Quick Project: Creating a Newsletter in InDesign by Katrin Straub and Torsten Buck Peachpit Press 2005 Visual Quick Project: Creating a Web Site in Dreamweaver CS3 by Nolan Hester Peachpit Press 2007 Macromedia Dreamweaver Visual Quickstart Guide By Tom Negrino and Dori Smith Peachpit Press 2006 Technology Adobe Illustrator CS3 DVD Helvetica, Documentary Commemorating the 50th Anniversary 2007 Professional References Adobe Professional Association & User Groups iFolio Supplies: Sample e-portfolios Sample artifacts “Identifying Artifacts” handout Digitized artifacts Web Publishing Software (ie. Dreamweaver CS3) Digitized artifacts & Statement of Intention


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Texts: Hume, Helen D.. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. D’Ambrosio, J. E-Teaching: Creating Web Sites and Student Web Portfolios Using Microsoft PowerPoint. Stefani, Lorraine. The Educational Potential of e-Portfolios, Vol. 1. Krug, S. Don’t Make me think!. Hester, Nolan. Visual Quick Project: Creating a Web Site in Dreamweaver CS3. Peachpit Press, 2007 Websites http://www.ed.gov/pubs/OR/ConsumerGuides/classuse.html http://electronicportfolios.com/ http://www.essentialschools.org/cs/resources/view/ces_res/225 http://www.ed.gov/pubs/OR/ConsumerGuides/admuses.html Literature: THE Journal, current and past issues EdUtopia, current and past issues Professional References: http://cnets.iste.org/ncate/n_fac-stands.html 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.

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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. 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.


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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 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


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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 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

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325

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. 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






326

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 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.





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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 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






328

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 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


329

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. 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


330

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 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.


331

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 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










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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. 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.


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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. 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




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