The Unicorn Tapestries

Transcription

Grade Level or Special Area: Visual Arts, Fourth Grade
Written by:
Sarah C. Sykes, Frontier Academy, Greeley, CO
Length of Unit:
Four lessons (approximately six days; one day = 50 minutes)
I.
ABSTRACT
In an effort to acquaint students with the Middle Ages, the students will spend a large amount of
time looking at the Unicorn Tapestries and illuminated manuscripts such as The Book of Kells.
After studying the Unicorn Tapestries the students will make their own accordion style books
depicting the Unicorn story.
II.
OVERVIEW
A.
Concept Objectives
1.
Students will recognize and use the visual arts as a form of communication.
(Colorado Model Content Standard 1)
2.
Students will know and apply visual arts materials, tools, techniques, and
processes. (Colorado Model Content Standard 3)
3.
Students will relate the visual arts to various historical and cultural traditions.
B.
Content from the Core Knowledge Sequence
1.
Visual Arts: Fourth Grade: Art of the Middle Ages (p. 97)
a.
Illuminated manuscripts (such as The Book of Kells)
b.
Tapestries (such as the Unicorn Tapestries)
C.
Skill Objectives
1.
Students will create art to communicate real and imaginary sources.
2.
Students will create art inspired by spoken and written stories and poems.
3.
Students will use various art techniques and media to communicate ideas and
feelings.
4.
Students will learn proper techniques for using colored pencils.
5.
Students will compare and contrast artwork of different times and places.
6.
Students will use historical and cultural themes as a basis for creating art.
7.
Students will recognize and apply the Principles of Design.
8.
Students will recognize and apply the Elements of Art.
III.
BACKGROUND KNOWLEDGE
A.
For Teachers
1.
The Unicorn Tapestries, by Margaret B. Freeman, Curator Emeritus, The
Cloisters.
2.
Handmade Books and Cards, by Jean G. Kropper
3.
The Book of Kells, by Bernard Meehan
B.
For Students
1.
No prior knowledge in previous grade levels.
2.
Fourth Grade: History and Geography: Europe in the Middle Ages. (p. 91)
IV.
RESOURCES
A.
The Unicorn Tapestries, By Margaret B. Freeman, Curator Emeritus, The Cloisters. (a
history of the tapestries, along with pictures) (Lesson One)
B.
The Book of Kells, By Bernard Meehan. (a history of The Book of Kells) (Lesson One)
C.
Handmade Books and Cards, By Jean G. Kropper (there are many pictures and ideas for
creating handmade books) (Lesson Three)
Art (4th) Grade, The Unicorn Tapestries
2003 Colorado Unit Writing Project
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D.
Cover to Cover: Creative Techniques for Making Beautiful Books, Journals and Albums,
By Shareen La Plantz (pictures and techniques explaining books) (Lesson Three)
a. The Lady and the Unicorn, Written and illustrated by Cynthia and William Birrer (a
story about the unicorn) (Lesson One)
Internet Resources
Many of these sights have wonderful facts and pictures on the art of the Middle Ages. Be
prepared to print some interesting pages for the students, if students do not have computer access.
(Lesson One)
E.
Unicorn Tapestries: The Metropolitan Museum of Art:
http://www.fordham.edu/halsall/medny/albertini2.html
F.
The Lady and the Unicorn Tapestries:
http://orion.it.luc.edu/~avande1/unicorn.html
G.
Medieval Bestiary
http://www.geocities.com/Paris/3963/bestiary.html
H.
Art of the Middle Ages
http://witcombe.sbc.edu/ARTHmedieval.html#Manuscripts
I.
Making books with Susan Kapuscinski Gaylord
http://www.makingbooks.com/index.html
J.
Drawing Horses By Suzanne Jessup
http://elfwood.lysator.liu.se/farp/horses/horses.html
V.
LESSONS
Lesson One: The Unicorn Story (approximately one class period, 50 minutes)
A.
Daily Objectives
1.
Concept Objective(s)
a.
Students recognize and use the visual arts as a form of communication.
b.
Students relate the visual arts to various historical and cultural traditions.
2.
Lesson Content
a.
i.
ii.
3.
Skill Objective(s)
a.
b.
Students will compare and contrast artwork of different times and places.
B.
Materials (for a class size of twenty)
1.
The Unicorn Tapestries, By Margaret B. Freeman, Curator Emeritus, The
Cloisters
2.
The Lady and the Unicorns, by Cynthia and William Birrer
3.
Slides showing the Unicorn tapestries (many of the works of art pertaining to
the Core Knowledge Sequence can be ordered through Universal Color Slide
Company 1-800-326-1367 or www.universalcolorslide.com)
4.
Examples of accordion style books (make your own, or check out the Susan
Kapuscinski Gaylord website)
5.
Book materials:
a.
Cardboard/Coverstock (50 sheets)
b.
Scissors (25)
c.
Glue (25)
d.
Strong Paper (25)
e.
Bone Folder/Popsicle sticks (10 to share)
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C.
D.
6.
Copies of Appendix A: Unicorn History for each student
7.
Copies of Appendix B: The Unicorn Tapestries for each student
8.
Copies of Appendix C: Project Checklist for each student
9.
Copy of Appendix J: Work Samples for teacher reference
Key Vocabulary
1.
Tapestries – large wall hangings, usually woven
2.
Book of Kells – a large format manuscript codex for the Latin text of the gospels;
it is the most lavishly decorated of a series of gospel manuscripts
3.
Codex – a book we typically see today; the signatures are sewn together at the
spine, and they’re protected by a hard cover on the front, spine, and back
4.
Accordion style books – this book is also called a concertina book; its pages are
folded out of a stiff paper; it will resemble an accordion when finished
5.
Fantasy – the free play of creative imagination
Procedures/Activities
Before Class Preparation:
1.
Prepare slides, and make needed copies.
2.
Preview work sample, so that you may understand the project.
3.
This lesson is meant to introduce the unicorn as a myth, in legend, and in history.
Please be familiar with the stories in the handouts, and in the book. This lesson
sets the stage for the rest of the unit.
4.
In lessons 2-4, the class will be working towards making an accordion book,
please be familiar with the following lessons so that you may answer questions
about the project at the end of this lesson.
5.
In the project, students will spend time learning about unicorns. Students will
learn how to draw unicorns. Students will then make up their own unicorn story.
Finally students will create their story in an accordion book that they make.
Class Time:
1.
Read the book, The Lady and the Unicorn, or a few myths and stories about the
unicorn to the students.
2.
Discuss the story and answer questions students might have about unicorns.
Here are some sample questions. (All the answers can be found in Appendix A:
Unicorn History and Appendix B: The Unicorn Tapestries.)
a.
Are Unicorns real?
b.
Why were unicorns hunted?
c.
What happened to unicorns when they were captured?
d.
What does a unicorn represent?
3.
Show the slides.
4.
Discuss the slides. The following are some sample questions you may ask when
looking at the slides of the tapestries.
a.
What is a tapestry?
b.
How old are these tapestries?
c.
How do these tapestries tell a story?
d.
What colors do you see in the works?
5.
Show many different pictures of the unicorn (listed internet sites).
6.
Pass out copies of Appendix A: Unicorn History.
7.
Pass out copies of Appendix B: The Unicorn Tapestries, which describes them in
depth.
8.
Give the students ten minutes to read these handouts.
9.
Answer any questions they may have about the handouts. These handouts are
meant to give the students strong background information about The Unicorn
Tapestries, and unicorns in general.
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10.
11.
E.
Pass out copies of Appendix C: The Unicorn Tapestries Checklist.
Explain to students that they are to use this checklist to keep track of their
progress while making their books.
12.
Explain the unicorn project and answer questions.
13.
Remind students to keep any notes they might have taken so that they can study
for their test at the end of the unit.
14.
They also need to be reminded to keep Appendix C: The Unicorn Tapestries
Checklist throughout this unit.
Assessment/Evaluation
This lesson is an introduction for the following lessons. Students will need to
demonstrate their knowledge of the Unicorn Tapestries in the following lessons.
1.
Spend five minutes of class addressing project questions.
2.
Students should also start to use Appendix C: Project Checklist. Since this is a
lengthy project, students are to use this checklist to keep track of their progress.
Lesson Two: How to Draw Unicorns (approximately one class period, 50 minutes)
A.
Daily Objectives
1.
Concept Objective(s)
a.
b.
Students will know and apply the visual arts materials, tools, techniques
and processes. (Colorado Model Content Standard 3)
2.
Lesson Content
a.
i.
ii.
3.
Skill Objective(s)
a.
b.
Students will recognize and apply the Principles of Design.
c.
Students will recognize and apply the Elements of Art.
B.
1.
Copies of Appendix D: Horses and Proportions for each student
2.
Slides showing the Unicorn tapestries (many of the works of art pertaining to
the Core Knowledge Sequence can be ordered through Universal Color Slide
Company 1-800-326-1367 or www.universalcolorslide.com)
3.
Drawing paper (25 sheets)
4.
Pencils (25)
5.
Copies of Appendix C: Project Checklist (students should have these from the
previous lesson)
C.
Key Vocabulary
1.
Composition – arrangement in specific proportion or relation
2.
Sketch – a rough drawing representing the chief features of an object or scene
and often made as a preliminary study
3.
Proportion – harmonious relation of parts to each other or to the whole
D.
1.
Pass out copies of Appendix D: Horses and Proportions.
2.
Discuss the importance of drawing from life and photographs.
3.
Discuss the proportions of the horse and how it resembles the unicorn.
4.
Pass out the scrap paper.
5.
Pass out the pencils.
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6.
E.
Once the students have everything, they may begin sketching their practice
unicorns.
7.
Students should work on this the rest of the class period.
8.
Students will turn in their work at the end of the period. (This will help to keep
track of progress when grading the book.)
1.
This assignment is practice for Lesson Three.
a.
Students need to understand and work on proportion.
b.
This assignment is only practice; they will be evaluated on their drawing
skill improvements at the end of the unit.
2.
Students should use Appendix C: Project Checklist, to keep track of their
progress.
Lesson Three: The Unicorn Story Retold (approximately three class periods, 150 minutes)
A.
Daily Objectives
1.
Concept Objectives
a.
b.
Students know and apply visual arts materials, tools, techniques, and
processes. (Colorado Model Content Standard 3)
c.
(Colorado Model Content Standards 4)
2.
Lesson Content
a.
Visual Arts: Fourth Grade- Art of the Middle Ages (p. 97)
i.
ii.
3.
Skill Objectives
a.
b.
c.
Students will use various art techniques and media to communicate ideas
and feelings.
d.
e.
B.
1.
Drawing paper (a thicker paper is advised; cut 25 sheets, 6” x 24”)
2.
Scrap paper (50 sheets)
3.
Drawing pencils (25 pencils)
4.
Erasers (25 erasers)
5.
Colored pencils (25 packs or a classpack)
6.
Color wheels (if students are familiar with using them)
7.
Copies of Appendix C: Project Checklist (students should have these from the
previous lessons)
8.
Copies of Appendix E: Drawing Vocabulary for each student
9.
Copies of Appendix F: How to Fold Accordion Books for each student
10.
Copies of Appendix H: Student Evaluation-Book Checklist for each student
C.
Key Vocabulary
1.
Pencils – these tools are the most simplest and most immediate of drawing
media, enabling you to create a versatile range of strong or sensitive marks; a
“lead pencil” is actually made of graphite- a mixture of clay and the mineral
graphite
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2.
D.
Colored pencils – wax-based crayons in a pencil format and available in a wide
selection of colors; colored pencils cannot be blended
3.
Color Wheel – the primary, secondary, and tertiary colors arranged in a circle as
colors are refracted in a rainbow: red, red/orange, orange, orange/yellow, yellow,
yellow/green, green, green/blue, blue, blue/violet, violet, violet/red
4.
Primary Colors – the three colors, red, blue, and yellow, which cannot be
produced by mixing other colors and which, in different combinations, form the
basis of all the other colors
5.
Secondary Colors – green, orange, and purple, the colors arrived at by mixing
two primaries and which lie between them on the color wheel
6.
Complementary Colors – those colors of maximum contrast, opposite each other
on the color wheel; for example, the complementary color of a primary color is
the mixture of the other two primaries, i.e., green is the complementary of red
because it is made up of yellow and blue, and purple is the complementary of
yellow because it is made up of red and blue
7.
Blending – a soft , gradual transition from one color to another
8.
Cross-hatching – parallel marks overlaid roughly at right angles to another set of
parallel marks
9.
Bone folders – bone folders are made specifically for scoring paper to make neat
folds
10.
Scoring – a way of folding paper to get a clean fold
1.
Students are to recreate their own unicorn story based on the Unicorn tapestries.
a.
Discuss the facts and stories they heard in Lesson One.
b.
The students are going to have four pages in their book to recreate what
they remember and learned about The Unicorn Tapestries.
c.
Students may recreate one scene on all four pages, from the tapestries, or
they may recreate the story in four pages with a different image on each
page.
2.
Pass out Appendix E: Drawing Vocabulary, or write it on the board.
3.
Discuss the vocabulary.
Time to Make the Book
4.
Pass out the paper.
5.
Pass out copies of Appendix F: How to Fold Accordion Books.
6.
Students need to follow the instructions on Appendix F: How to Fold Accordion
Books. At this point the teacher should be in front of the classroom going over
the steps with the class. Do each step as a class. Do not leave anyone behind.
Here are the simple instructions. Follow Appendix F: How to Fold Accordion
Books, if you need pictures.
a.
Students need to fold this paper in half.
b.
They need to fold the halves in half.
c.
At this time they should have four six inch wide sections if you unfold
the paper.
7.
Once students have their book folded they are ready to draw their story.
8.
Pass out copies of Appendix H: Student Evaluation-Book Checklist.
9.
Students should use this to help them finish their book.
10.
Students should be advised that they are to draw on all four sections but only on
one side.
11.
Remind them to write their name neatly on the back.
While Drawing
12.
Students may break the story down, or choose one scene to depict in their book.
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(Remind them to consider composition.)
First the students are to sketch their story in pencil.
They need to use all of the spaces provided.
Students are not to use words.
Students should then finish their drawings by using colored pencils.
Once they are finished with the colored pencils they need to wait for your
instructions.
18.
Students should mark off these steps on Appendix C: Project Checklist.
Lesson Three’s results will continue to Lesson Four. Students will be evaluated on the
overall finished project at the end of Lesson Four.
1.
Appendix H: Student Evaluation-Book Checklist should be used by students to
assess their work up to this point.
2.
Students should keep track of their progress using Appendix C: Project Checklist.
13.
14.
15.
16.
17.
E.
Lesson Four: The New Unicorn Stories (approximately one class period, 50 minutes)
A.
Daily Objectives
1.
Concept Objectives
a.
Students know visual arts materials, tools, techniques, and processes.
b.
2.
Lesson Content
a.
i.
ii.
3.
Skill Objectives
a.
b.
c.
Students will use various art techniques and media to communicate ideas
and feelings.
d.
e.
B.
1.
Thin cardboard or rough poster board for the covers-50 pieces, cut to 6.5” x 6.5”
2.
Oil pastels (class pack)
3.
Glue (25)
4.
Scissors (25)
5.
Copies of Appendix C: Project Checklist (students should have these from
previous lessons)
6.
Copies of Appendix H: Student Evaluation - Book Checklist (students should
have these from the previous lesson)
7.
Copies of Appendix I: Teacher Evaluation - The Unicorn Book for the teacher to
use when grading
C.
Key Vocabulary
1.
Signatures – the pages in a book
2.
Head – the top of the book
3.
Tail – the bottom of the book
4.
Spine – the spine is where the pages of the book are sewn together
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5.
D.
E.
Book Arts – this term refers to all types of handcrafted books, including blank
books, rebinds, albums, journals, and artists’ books; artists books are those that
combine structure (or techniques), format, visual images, and presentation; text is
optional—some artists’ books are strictly visual
1.
In this lesson the students will be making the covers for their books, and putting
their books together. They will use oil pastels and blend many different colors to
make their books look very old, as old as The Unicorn Tapestries.
2.
Pass out two pieces of cardboard to each student. (The cardboard will be the
covers.)
3.
Demonstrate how to layer oil pastels in order to make the color and texture look
like old leather (mixing many different colors to create shades of brown).
4.
Students should then color one side of each piece of cardboard to look like
leather.
Putting the Books Together
5.
Students need to glue their book together.
6.
They need to have their two pieces of cardboard, and their accordion page.
7.
They are going to glue the front cardboard cover to the backside of page one.
Easiest way to do this-place glue on the backside of page one, then place the
cardboard evenly on top.
8.
Students need to complete this step before moving on.
9.
Students should repeat steps 7 and 8 for their back cover.
10.
The student books should now resemble accordions.
11.
The books should also be able to stand up, and display their stories.
12.
Before turning in their books, students should look at Appendix C: Project
Checklist and check off everything they needed to do in order to finish their
books.
1.
Students should use Appendix C: Project Checklist before determining if
finished.
2.
Students should use Appendix H: Student Evaluation-Book Checklist to
determine the quality of their book.
3.
Use Appendix I: Teacher Evaluation to grade the books.
VI.
CULMINATING ACTIVITY
A.
Discuss the books with the students. Did they enjoy making them? What do the students
like about the books. What do the students dislike about the books.
B.
Everyone will display the books in the room. As a class spend 15 minutes sharing the
many new books and reflecting on the project.
C.
As a final evaluation of the unit, students need to take a test. Appendix G: The Unicorn
Tapestries Assessment.
VII.
HANDOUTS/WORKSHEETS
A.
Appendix A: Unicorn History
B.
Appendix B: The Unicorn Tapestries
C.
Appendix C: Project Checklist
D.
Appendix D: Horses and Proportions
E.
Appendix E: Drawing Vocabulary
F.
Appendix F:
How to Fold Accordion Books
G.
Appendix G: The Unicorn Tapestries Assessment
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H.
I.
J.
K.
Appendix H:
Appendix I:
Appendix J:
Appendix K:
Student Evaluation-Book Checklist
Teacher Evaluation-The Unicorn Book
Work Samples
Assessment Key
VIII. BIBLIOGRAPHY
A.
B.
C.
D.
E.
Freeman, Margaret B. The Unicorn Tapestries. New York: Metropolitan Museum of Art:
distributed by Dutton, 1976, ISBN 0870991477.
Kropper, Jean G. Handmade Books and Cards. Worcester, Massachusetts: Davis
Publications, Inc., 1997, ISBN 0-87192-334-3.
LaPlantz, Shereen. Cover to Cover: Creative Techniques for Making Beautiful Books,
Journals and Albums. North Carolina, Lark Books, 1995, ISBN 0-937274-81-X
Meehan, Bernard. The Book of Kells. London: Thames and Hudson Ltd., 1994, ISBN 0500-27790-7.
Smith, Ray., Wright, Horton. An Introduction to Art Techniques. New York: DK
Publishing Inc., 1999, ISBN 0-7894-5151-4.
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Appendix A, page 1
Unicorn History
The Unicorn in the Middle Ages
No fabulous animal received more attention than the unicorn. His origins are in antiquity as well,
but as a topic of zoology rather than legend. He came in many forms, and I can recall seeing a
medieval manuscript that actually described three different species. But let us focus on the
medieval unicorn, as best suited to our context.
The beautiful unicorn combines the physical characteristics of both horse and goat. His horn is
unique, not only in his having only one (and in the centre of his brow), but in that it is shaped as
a spiral. The learned were aware that, were the horn to be sliced in half, there would be naturally
carved images to be found within.
The unicorn's horn was greatly valued, because it had the power of detecting and removing
poisons. Place a piece of the horn in poisoned water, and it would bubble at the injustice. The
medicinal values of the horn were vast, and a bit sprinkled upon suspect food would counteract
the effects of any poisons therein.
The exquisite Unicorn Tapestries, which are on display at The Cloisters, a branch of New York's
Metropolitan Museum of Art, well depict the unicorn as a Christian symbol, with strong
elements of death and resurrection. At the outset, we see him dipping his horn into the waters,
thereby purifying them for use by the various animals that surround the pool. Intentionally or
not, the artist placed a hart directly next to the pool, bringing to mind the words of the psalmist,
"Like as the hart longs for the running streams, so my soul thirsts for you, O my God."
It was well-known that only a virgin's sweet scent could attract the unicorn, and there was a
popular identification of the virgin with the Blessed Virgin Mary. Personally, I always have
found that problematic. Considering that the virgin is used as "bait" for the hunters who seek to
kill the unicorn, the mental picture of the Blessed Virgin's tricking her Son is repellant. But it
would require a very active imagination to identify Mary with the "virgin" who appears in these
tapestries. Her alluring, frankly flirtatious look makes us wonder if the unicorn is duped in more
ways than one.
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Appendix A, page 2
Then, we see the hunters encircle and stab the unicorn, and an association with those who
planned Christ's death can be interpreted. But the strongest symbol is the final tapestry, where
the unicorn, resurrected and with an expression of majesty, reigns in the shade of the
pomegranates. I always have wondered why the unicorn, in captivity, symbolizes Our Lord, but
this reasoning remains unclear.
I reference these glorious tapestries because, after spending many a Sunday at The Cloisters, they
are strongly in my memory. However, this work is by no means a singular, purely artistic
interpretation. Identification of the pure, noble unicorn with Christ was very common in the
Middle Ages, and perhaps that is why his popularity was great.
Though the majority of our medieval friends were illiterate, they were well-acquainted with the
tales of fabulous beasts, partly from word of mouth, but mainly because these wonderful
creatures were common illustrations in the church windows and common art of the period.
Those fortunate enough to be literate were treated to many an image of a mythical beast, since
the illuminators inserted them into the marginalia and illustrations of the rich Books of Hours
that were the prayer books of the period.
Mythical creatures have their origins in antiquity, as anyone who met Vergil or Homer during
Latin classes knows well. (Please note that the medieval graphics used on this sited frequently
do not show the creatures described in the text.) However, there were two strong elements in
why they are of particular value in the medieval context. First, even such classically naughty
creatures as the centaur were used to illustrate Christian values, allegories, morality and the like.
Secondly, Western Europe’s vision of the animal kingdom was expanding, as those trading in the
Far East and that vast area known collectively as “India” were bringing back tales of creatures
that were no less foreign to the hearers.
* Adapted from: Medieval Bestiary, by Elizabeth G. Melillo, Ph.D.,
http://www.geocities.com/Paris/3963/bestiary.html
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Appendix B
http://www.fordham.edu/halsall/medny/albertini2.html
The myth of the unicorn has been around since Ancient China and yet still appears in modern
culture--from literature to art to music. What is it that enchants us with a creature that has never
roamed the Earth? We may never understand our fascination with this mythical beast, but we
can appreciate the artists who try to bring it to life for us.
Much like the unicorn itself, the famed Unicorn Tapestries at the Cloisters, leave the viewer with
many questions.
The tapestries were thought to have been designed in France and made in Brussels. The
recipient of these magnificent tapestries is unknown. Some clues to the identity of this person
have been left behind in the tapestries themselves. Much has been made of the initials A and a
reversed E that are joined together by a bow. This was an insignia of Anne of Brittany, twice
queen of France. The same theory suggests that in the sixth tapestry, the lovers who look at each
other are Anne and Louis XII.
The theme of the tapestries is the fight between the unicorn and the humans who are in pursuit of
it.
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Appendix B, page 2
The first tapestry, The Start of the Hunt, introduces us to the hunters but not the unicorn. The
hunters are not dressed for hunting, but rather in clothing in rich colors and textures.
The second tapestry, The Unicorn at the Fountain, is where the unicorn uses his magical horn
to remove the snake's venom from the water. It is here that the theory begins that the unicorn is a
symbol of Jesus Christ. Here the unicorn, Christ, saves all from the snake's poison, Satan. Even
the humans who were hunting the unicorn are awed by this act.
The third tapestry is The Unicorn Leaps the Stream. Here the serenity of the second tapestry is
abandoned as one looks at a highly charged action scene. The hunters now have ugly and cruel
faces--symbolizing the persecutors of Jesus Christ.
For the fourth tapestry, The Unicorn Defends Himself, the unicorn becomes savage, kicking and
butting people and animals. A new comer to the scene, a man with a horn, is thought to
symbolize the archangel Gabriel.
Unfortunately, the fifth tapestry, The Unicorn is Captured by the Maiden", is now in fragments
because of mishandling over the years. According to tradition, the unicorn can only be trapped
by a virginal maiden. The enclosed garden that the two are in was a medieval symbol of chastity.
Also, the apple tree in the center of the tapestry has many religious meanings. The most obvious
is a reminder of the Fall of Adam and Eve, hence suggesting that the unicorn, Christ, and is the
Redemption after the Fall.
The sixth tapestry, The Unicorn is Killed and Brought to the Castle is wrought with emotion.
The overall scene is centered the slain unicorn, who is bleeding in the upper left hand corner. All
in the scene seem to be awed and shocked by the sight of the slain beast being brought towards
them.
The seventh tapestry, The Unicorn in Captivity is the most famous of all the Unicorn Tapestries.
The unicorn here is miraculously alive again. In this tapestry he rests chained to a circular
wooden gate. The rising unicorn is symbolic of the risen Christ. However, since the unicorn is
chained there is some confusion to this symbolism. One theory is that the unicorn, like Jesus
Christ, is linked to life or humanity forever. The other theory is that the unicorn symbolizes a
bridegroom secured by his lover.
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Appendix C
Project Checklist
Name _________________________________
There are many steps included in this project. When you are finished with a step,
place a star beside that step, then move on to the next direction.
1.
____ Listen to the history and stories about the unicorn.
2.
____ Learn about the history of the unicorn tapestries.
3.
____ Practice drawing unicorns on scrap drawing paper.
4.
____ Learn about the different styles of books.
You are making an accordion style book.
5.
____ Fold your paper to make the pages of the book.
6.
____ Recreate the unicorn story on the folded pages.
You may choose one scene, or draw different scenes on each page.
7.
____ Use a pencil when drawing your illustrations for your book.
8.
____ Add color to your drawings using colored pencils.
The colors should be dark and vibrant.
9.
____ You now need two pieces of cardboard for your front and back cover.
10.
____ The covers are to be colored in oil pastels to resemble leather.
Only color one side, blending and layering browns and blacks to create
a leather look.
11.
____ Once you have finished your covers you need to glue them to the end
pages of your book.
12.
____ Your covers should be free of glue drips and constructed neatly. Your
book should be able to stand on the table.
14
Appendix D, page 1
Horses and Proportions
Understanding anatomy will help you to create a solid understanding of how a horse is put together, and it
will help to give you a strong foundation to build your horses. The following is a sketch of a basic equine skeleton.
It is very helpful to actually draw. It is easier to remember where the bones are, which bones connect to which
bones, and it helps to give me a better understanding of how a horse is built. Understanding the placement of the
muscles will help your horse take on a more realistic look also. Placing muscle definition correctly in your drawing
will help give a more life-like touch to your horse. Good muscle placement also helps make action drawings more
realistic and can help your drawing take on a sense of movement as opposed to a simple pose drawing.
15
Appendix D, page 2
Walk
Trot
16
Appendix D, page 3
Canter
Gallop
17
Appendix D, page 4
18
Appendix E
Drawing Vocabulary
1.
Pencils – these tools are the most simplest and most immediate of drawing media, enabling you to
create a versatile range of strong or sensitive marks; a “lead pencil” is actually made of graphitea mixture of clay and the mineral graphite
2.
Colored pencils – wax-based crayons in a pencil format and available in a wide selection of
colors; colored pencils cannot be blended
3.
Color Wheel – the primary, secondary, and tertiary colors arranged in a circle as colors are
refracted in a rainbow: red, red/orange, orange, orange/yellow, yellow, yellow/green, green,
green/blue, blue, blue/violet, violet, violet/red
4.
Primary Colors – the three colors, red, blue, and yellow, which cannot be produced by mixing
other colors and which, in different combinations, form the basis of all the other colors
5.
Secondary Colors – green, orange, and purple, the colors arrived at by mixing two primaries and
which lie between them on the color wheel
6.
Complementary Colors – those colors of maximum contrast, opposite each other on the color
wheel; for example, the complementary color of a primary color is the mixture of the other two
primaries, i.e., green is the complementary of red because it is made up of yellow and blue, and
purple is the complementary of yellow because it is made up of red and blue
7.
Blending – a soft, gradual transition from one color to another
8.
Cross-hatching – parallel marks overlaid roughly at right angles to another set of parallel marks
9.
Bone folders – bone folders are made specifically for scoring paper to make neat folds
10.
Scoring – a way of folding paper to get a clean fold
19
Appendix F, page 1
How to Fold Accordion Books
Accordion books are great because you can stand them up and view all the pages at once.
This makes them perfect for displays and exhibits. Accordion books have a rich history
around the world. They are made in many parts of Asia, including China, Japan, Korea,
Thailand, India, and Burma. They were also the book form of the Aztecs and Maya in
Mexican and Central America. Book artists frequently experiment with the form.
Let’s begin!
1. Place the paper in front of you horizontally.
2. Fold it in half.
3. Fold the top page in half by folding it back to meet the fold.
4. Turn the paper over.
20
Appendix F, page 2
5. Fold the top page in half by bringing it back to meet the fold.
The accordion is made.
6. At this point write your name on the back. Remember to write it neatly, because others
will see it.
7. Begin your unicorn composition.
21
Appendix G
The Unicorn Tapestries Assessment
Name____________________
Please answer the following questions.
1.
The Unicorn Tapestries are thought to be created in ____________.
a. France
b. China
c. Australia
d. Sweden
2.
The Unicorn Tapestries were created in the _____________.
e. 1200s
f. 1900s
g. 1500s
h. 1800s
3.
The unicorn is sometimes thought to be a symbol for _______________.
i. love
j. Jesus Christ
k. flowers
l. both a and b
m. both b and c
4.
True or False
The book you created was an accordion style book.
5.
The title of your unicorn story is…
____________________________________________________
22
Appendix H
Student Evaluation
Book Checklist
Student: _____________________________
The Book
1.
_____
The pages are folded correctly.
2.
_____
The composition of your story is strong.
3.
_____
The use of elements and principles show.
4.
_____
The unicorns show good scale and proportion.
5.
_____
Your book shows a relationship to the Unicorn Tapestries.
6.
_____
Colored pencil techniques are used.
The Cover
1.
_____
Oil pastels are used correctly on the cover
2.
_____
The cover is placed correctly onto the book pages.
3.
_____
The cover is not messy. (No glue.)
_____
Your name should be written neatly on the back of the book.
Name
1.
When you have checked off everything on this list you may turn your book in.
23
Appendix I
Teacher Evaluation
The Unicorn Book
Student: _____________________________
Points
1- Does not meet expectations
2- Average grasp of directions, showed some skill
3-Very good idea of the class, followed all directions
4-Above average art skill, exceptional skill with media
5-Above and beyond expectations for this lesson, creativity and skill
1.
An understanding of art elements and principles shows within the story.
1
2.
2
3
4
5
2
3
4
5
2
3
4
5
The student used the color pencil techniques shown in class.
1
6.
5
The oil pastels on the cover are used correctly.
1
5.
4
The artwork is creative, and shows a relationship to the Unicorn Tapestries .
1
4.
3
The craftsmanship of the book is strong and well put together.
1
3.
2
2
3
4
5
The student followed all directions and the book was finished on time.
1
2
3
4
5
Total Points:_________
Additional Comments:
24
Appendix J, page 1
Work Samples
25
Appendix J, page 2
26
Appendix K
Assessment Answer Key
1. France
2. 1200s
3. Love and Jesus Christ
4. True
5. The title should describe the student’s picture.
27

The Unicorn Tapestries

Transcription

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