ART LESSONS GR.6 NOV/DEC/JAN, 12 13 Lesson:

ART LESSONS
GR.6
NOV/DEC/JAN, 12 13
Lesson: Art's Beginning
my art curriculum to follow a timeline of art history, beginning with Prehistoric
Art. * timeline of human art history somewhat grouped by region as well as era.
*third year to bring us up to speed with Contemporary Art. * second month of
school, we have moved through Prehistoric Europe (as pictured above, a photo of
Lascaux Caves
http://www.lascaux.culture.fr/?lng=en#/fr/00.xml
http://vistaartprojects.blogspot.com/2012/08/lascaux-cave-paintingsstories.html
Lesson: crumple brown piece of kraft paper *sketch with black paint/ sticks
*paint with temperas *artists; Cezanne, Cave Art,
Lesson: Is the art of curling paper strips into rolled forms and gluing them onto a
background to make beautiful designs and textures. Although it is believed that
the Egyptians were the first to begin quilling, the first clear reference to it as an
art is found in England in the 15th century. At that time, it was used by poor
church organizations to provide background for religious sculptures.
http://pinterest.com/talpup/christmas-quilled/
1. To prep, send strips of colored paper (nothing too stiff, copy paper is preferable
to construction paper) through a paper shredder that shreds strips. This will save
you time having to cut strips. You can buy quilling paper, but these are scrappy
lesson plans. Each student needs a back board; I am using tiny mat boards about
the size of a coaster. A smaller “canvas” for this project will reduce frustration as
it is hard to do a big design and this will help kids feel like they can complete the
project.
2. In class, ask students what kinds of art projects the colonists might have
worked on in their free time. Embroidery, quilting, painting, wood carving, and
drawing might be good suggestions. Quilling is sort of an unusual art form;
upperclass people had the time to practice it, since they probably had servants to
take care of more mundane household tasks. Most quilling designs are
reminiscent of the ironwork designs from the same time period.
3. A Tinker Toy stick is very similar to a commercially available quilling tool, and
will help the kids get the hang of this more quickly. Slide the end of a paper strip
into the slot on the end of the Tinker Toy. Hold it and wrap the paper around the
stick, or twirl the stick to get the paper to wrap around it (not in a spiral, on top of
itself like a cash register tape). Glue the end of the paper to the coil, and gently
slide it off the stick, leaving it intact.
4. Spread glue on a small area on the cardboard, then lay the coil flat (think of a
checker laying flat, not on edge, to get the idea) on top of the glue. Repeat with
various colors. If you pinch one side of the coil, you can make a leaf shape or a
form it into a crescent. Check this link for a chart of other options:
http://www.handmade-craft-ideas.com/image-files/quilled-shapes.jpg
5. Fill up the space with various colors; make some coils tighter to vary the texture
in your design. You can brush a glue water solution, or perhaps Mod Podge, over
your quilled creation when the original glue is dry to help preserve the artwork.
Eye-Popping Paper Curls
Quilling is also known as paper filligree, paper rolling, mosaic or paper folding (even
though the paper is really curled). In this project, students will try their hand at quilling
in a truly sculptural way. By using much larger, thicker strips of paper, the finished
product "pops" out in a very optical way. By using black on white, the effect is even
further emphasized.
quilling
Lesson: English Style, Victorian Christmas Tree, group mural
*Fruit Cake”; Christmas concert prop
Lesson: “Prop Painting” *British, Victorian Christmas Tree
Christmas Concert Prop
Study of England, “Victorian Tree”
Lesson: Christmas Cards for Newtown School, Conn.
Lesson: http://thecleverfeather.blogspot.com/2011/04/picasso-guitars.html
Picasso-Blue Guitar project
This is one of my favorite "go to" lessons that I have done many different ways
with many different ages and sizes of classes. I like using the guitar as subject
matter because it has all the different lines in it and can be as detailed or
simplified as you like and still look like a guitar. It is also a great lesson to teach
about composition and color mixing.
Supplies
acrylic paint
brushes
pencil
ruler
Sharpie
scratch paper
watercolor paper
*Review Picasso and his use of musical instruments as the subject for many of his
paintings. I also talk about his "blue period", and Cubism.
*show guitar and talk about all the types of lines and how they can go about
drawing it. * simplify it unless * basic drawing on a practice sheet, they re-draw it
on a sheet of poster board * use a ruler to break up the background of the guitar,
making several different geometric shapes. *section off their guitars in a few
shapes. * Sharpie black outline
*mix three different blues. They start with one blue filing in all the shapes they
want to be that color. Then they add a little bit of white and fill in all the shapes
they want with that color. They can get about four or five different values out of
one blue (or more) by continuing to add a little white *continue the same process
with the other two blues. When they are finished they go over the lines with
Sharpie.
Picasso Guitars
> learn about Picasso and all of his many styles of art.
>Learn the parts of a guitar and talked about the difference in an acoustic and
electric.
electric guitar - a guitar whose sound is amplified by electrical means
guitar - a stringed instrument usually having six strings; played by strumming or
plucking
. acoustic guitar - sound is not amplified by electrical means
guitar - a stringed instrument usually having six strings; played by
strumming or plucking
The Old Guitarist is an oil painting by Pablo Picasso created in 1903. It depicts an
old, blind, haggard man with threadbare clothing weakly hunched over his guitar,
playing in the streets of Barcelona, Spain. It is currently on display in the Art
Institute of Chicago.
At the time of The Old Guitarist’s creation, Modernism,Impressionism, PostImpressionism, and Symbolism had merged and created an overall movement
calledExpressionism, which greatly influenced Picasso’s style. Furthermore, El
Greco, Picasso’s poor standard of living, and the suicide of a dear friend
influenced Picasso’s style at the time, which came to be known as his Blue Period.
Several x-rays, infrared images, and examinations by curators revealed three
different figures hidden behind the old guitarist.
Contents
[hide]
1 Context and influences
2 Blue Period
3 Analysis
4 Infrared discoveries
5 Notes
6 External links
7 References
The Old Guitarist
Artist
Pablo Picasso
Year
1903
Type
Oil on panel
Dimensions 122.9 cm × 82.6 cm (48.4 in
× 32.5 in)
Location
Art Institute of Chicago
on the paper frame
Musical Medley…Music Art Collage
Lesson: Mesopotamia Art
http://tabathayeatts.blogspot.com/2012/04/seals.html
Lesson: Cartouche, http://plbrown.blogspot.com/2010/09/oh-what-relief.html
Oh, what a RELIEF!
6th grade Egyptian "cartouche" carved in sheetrock
* relief materials is tooling foil -
Egyptian cartouches. Students in 6th grade study ancient Egypt, so I do a related project in
art class. We discuss what a cartouche is, and learn how to read some hieroglyphics. The students
discovers that hieroglyphics can be written from left to right, right to left, or top to bottom, and they learn
how to determine which way to read it
Using a variety of hieroglyphic sheets, they plan how to write their own name for their cartouche. Some
use nicknames, some whole names, etc - I really leave it up to them, though the carving process is
different for the more complex projects. (If they are doing something with many characters, their work
will be more of an engraving than a relief, due to the limitations of the material.)
The art materials:
Leftover sheetrock (also called Drywall) can be easily cut/broken into whateve size you want. I usually find
a teacher who has done a home construction project over the summer and has leftovers to donate. Make sure you do
NOT use the type that is fireproof - that has fiberglass in it. It has nasty little 'fingers' that get into your skin and hurt
or itch. I believe the paper coating on the fiberglass stuff is a blueish or greenish color, rather than the regular gray
paper, but check to make sure. You can actually SEE the little fiberglass hairs sticking out on the cut sides.
Carving tools - V gouges, U gouges, and liner tools are all good.
Sponges cut into small pieces
Paints as desired - acrylic, watercolor, tempera, gloss, etc. It all depends on what kind of look you want.
The steps:
Students should write their name with a Sharpie on the heavier cardboard side of the sheetrock, and then
need to remove the paper from the other side.
To remove the paper, moisten with a small sponge, and let wait for a minute to soak in (we sing the theme
song from Jeopardy to determine whether it is ready). Then peel or use thumb to roll off paper coating. Repeat until
all layers of paper are off. This will take a bit of time. Use just tiny sponges to prevent over-soaking the sheetrock. If
it gets too too wet, it will break.
Let dry until next art class, and then draw design what you plan to carve w/pencil.
Get to work carving, moistening one area at a time with the tiny sponge. Students will need to understand
relief vs engraving to determine what to carve. (Do I want the characters engraved IN, or do I want to carve around
them so that they stand OUT?)
Sheetrock is not thick, so discourage kids from carving down to the cardboard base. Oops! It's broken!!
Sometimes, sheetrock that has been moistened or carved too much will crack. We tried to make our
cartouches look ancient, so the kids didn't mind the breaks at all; actually they encouraged them, to my chagrin. Let
all moisture dry out before gluing with Elmer's Glue-All
Students painted in a variety of ways - some used gold paints, both tempera and acrylic, rubbing different
golds on with fingertips for a richer look. I offered a limited selection of colors traditionally found in Egyptian
carving, plus some students rubbed black into cracks and rubbed it back off for an antique look. The white carving
above was not complete when I took the photos, so you can see what an unpainted piece looks like.
Lesson:
I’m so anxious to work with you have the portraits. I will plan on getting the 6th graders to the lab within
the next two weeks to print off a black and white portrait-type picture of the people they have chosen. I
went to Google images and an 7 ½ x 10 copy should be no problem. I checked several examples from
our oldest to our youngest research choice. Whenever you are ready to go with this, let me know. Will
you grade this for art class? If so, rather than using the art standards from my end, I will just grade this
assignment on completion and general quality. If it can be completed during the first two weeks of
March or before, that would be perfect.
Let me know your thoughts,
Sharon
http://www.kinderart.com/drawing/portraitdrawinggrid.shtml
Image:
DRAWING PORTRAITS
USING A GRID
Grade:
Age: 11+
Activity Summary:
Using artist Chuck Close as inspiration, students
will learn how to draw portraits using the grid
system.
Discovering ways to instill in them and give
confidence that they can draw is a difficult task.
This past fall we discussed various American
artists; Chuck Close was one of them. Students
were curious about his way of painting and his
disability. When many of them learned that he
paints with a paintbrush strapped to his hand and is
wheelchair bound, they thought that if he could
paint like that, they could try to draw. By showing
them examples of his work and presenting them
with the grid system, they seemed more
comfortable... focusing on one inch at a time. I also gave them a viewfinder so they could just see
that 1-inch section and not be overwhelmed by the thought of the whole portrait.
The most difficult part then was ruler skills. Many students were having difficulty with the exact grid
dimensions on their photocopied portrait picture and their drawing paper. I found them to be losing
patience and getting frustrated, so making a grid on drawing paper myself 1 inch by 1 inch squares
on a 8 ½" X 11" sheet and putting in the photocopier with transparencies to have them be the same,
simplified things tremendously.
All the students had to do was to tape the grid transparency to the portrait photocopy.
Length of Project:
3-4 (1 period = 45 min)
Introduction:
Prior Knowledge/Experience:
Students are familiar with materials.
Students are familiar with drawing activities and producing artwork.
Students are familiar with following multi-step directions.
Objectives:
Students will:
Learn about the American Artist Chuck Close.
Produce portrait drawing containing shape and value.
Recall information and vocabulary terms.
Make decisions about their art process and compositions.
Work with shape, and a variety of value.
Be able to work properly and safely with art materials.
Compare and contrast different artwork and give an opinion about their artwork.
Evaluate and participate in a critique of own and peers artwork.
National (USA) Standards for Visual Arts Education: 1.a, 1.b, 1.d, 2.a, 2.b, 2.c, 5.a, 6.b
Vocabulary:
Chuck Close
Shapes, Geometric Shapes, Freeform Shapes Organic Shapes
Value, Shading, Tones
Grid system
Portraits
What You Need:
8½" X 11" Paper
Pencils
Pencils (4H, 2H, HB, 2B, 3B, 4B, 5B, 6B)-for shading
Rulers
Erasers
Clear Transparencies with 1" X 1" Grid copied on it
Masking tape or scotch tape
Class Art Folders/Portfolios
Optional Materials: Drawing boards, Sketchbooks
Resources:
Greenberg, Jan, & Sandra Jordan. Chuck Close Up Close. DK Publishing, INC. New York,
1998.
Video: Chuck Close Up Close-A Portrait in Progress. 1998.
Value Chart
Henley, David R. Exceptional Children, Exceptional Art, Davis Publications, Worcester, MA,
1992.
Motivation:
Samples, examples, modifications.
What You Do:
DEVELOPMENT
Procedures/Activities:
Introduce and review selected Elements/Principles of Design: Color, Shape, Value, Form,
and Space.
Discuss artist and relation to American painting and the time period; make comparisons to
the past and present.
Discuss artwork and have students pick out different shapes, colors, etc. Discuss and ask
students questions and what they see. It is important for them to use their imagination and to
discover different shapes, colors, etc. They need to be reassured that they have excellent
ideas and to use them and that there is more than one solution to the art problem. Give them
confidence that they can do it they often want to give up at the start and not even give an
attempt.
Chuck Close-Drawing portraits in the grid system. Using value and different pencils. The
directions for the grid will be the most crucial.
CLOSURE
Summary:
Instruct student to clean up and return their materials to the proper places.
Have students put names on their artwork and place in class folder/portfolio.
Transfer/Extensions:
Complete a triptych of portraits in pencil, colored pencil and in tempera or acrylic paint.
ASSESSMENT
Attendance, Behavior, Effort, Verbal Discussion, Rubric or Checklist, Finished Project, Critique or
Class Review or Discussion.
Students learned:
About American artists: Chuck Close and his artwork.
To remember and to recall vocabulary terms and processes.
To produce and create artwork inspired by American Artists and themes.
To work properly and safely with art materials.
To follow directions.
To make their own decisions about their art process and compositions.
To positively participate in a critique and receive feedback from others.
To experiment with value scale and variety of shapes.
To compare and contrast between, artists, examples, and own artwork.
To evaluate own and peers artwork.
Recommended Websites:
Close Call Part One
http://www.washington.edu/alumni/columns/june97/close1.html
Part
http://www.washington.edu/alumni/columns/june97/close2.html
Two
Part
http://www.washington.edu/alumni/columns/june97/close3.html
Three
Part
http://www.washington.edu/alumni/columns/june97/close4.html
Four
Recommended Books:
Chuck Close, Up Close
by Jan Greenberg, Sandra Jordan
Chuck
Close:
A
Portrait
in
Progress (VHS
Video)
Featuring interviews with Close, Chuck Close: A Portrait in Progress traces the artist's evolution
Chuck
Close
by
Chuck
Close,
Robert
Storr,
Kirk
Varnedoe
This volume, the most comprehensive assessment of Chuck Close's work yet published,
accompanied a mid-career retrospective exhibition that opened at The Museum of Modern
Lesson: Portrait Drawing, Egyptian with Headdress
http://www.docstoc.com/docs/91707914/Worksheet-Portrait-Drawing-Grade
Drawing on the reverse side of a matte sheet of acetate,
students create “windows” into the work of a chosen artist,
using similar colors, subject matter and style to describe
the artist’s focus. See if the class can guess which artists
are represented on each student’s “palette.”
Grade Level: K – 6
http://www.dickblick.com/lesson-plans/masterpalettes/