Pop Art Wood

Lesson Objective: Students will learn about the Pop Art Movement. Students will create a Pop Art Food Sculpture in the style of the Pop Art Movement and Texture 

Project Requirements: 

Sketchbook: Create a full-color drawing of final food sculpture 

Include: Details

Texture

Pop Art Elements 

Final Project: 

Construction includes fully realized food structure

Student uses the additive construction method 

Details include accurate food texture and detail

Pop art sculpture is complete from all sides and is in keeping with pop art style

Assessment: 

Informal: Small group written critique

Formal: Artist Statement

Formal: Grading final sculpture

Modifications: 

English Language Learner: Handout for project, project samples, Powerpoint with visuals, Critique for additional understanding, Demonstration of techniques, group activities to check for understanding

Special Needs: Handout for project, project samples, Powerpoint with visuals, Critique for additional understanding, Demonstration of techniques

Accelerated Learner: Expand on skills learned to create a unique project. 

Advanced art students will be asked to increase the difficulty of their final sculpture They will also be expected incorporate more details and principles into the final project

Scaffolding adaptations: 

Students will revisit contrast, Color, Repetition, and Pattern from the earlier learning. We will use similar visuals to refresh earlier learning.  Notes on Art history, Key Vocabulary and artists will be taken throughout discussions for added understanding. Creating sketchbook plans and Constructing final sculpture will be demo started in class using guided instruction. 

Art Link: 

Compare Pop art and Op art

What is pop short for

What artist do you associate with Pop art? 

If you had to create a Pop art project what would you create? 

INTRODUCTION to the lesson (Anticipatory Set): 

Show Wayne Thiebaud’s ice cream

Analyze

Describe

Interpret

Key Vocabulary:

Pop Art

Texture

Physical Texture

Visual texture

CA STANDARDS: 

1.1 Analyze and discuss complex ideas, such as color theory, arbitrary color, scale, expressive content, and real versus virtual in works of art.

1.3 Research and analyze the work of an artist and write about the artist's distinctive style and its contribution to the meaning of the work.

1.6 Describe the use of the elements of art to express mood in one or more of their works of art.

1.4 Analyze and describe how the composition of a work of art is affected by the use of a particular principle of design.

2.1 Create original works of art of increasing complexity and skill in a variety of media that reflect their feelings and points of view.

2.2 Plan and create works of art that reflect complex ideas, such as distortion, color theory, arbitrary color, expressive content, and real versus virtual.

3.3 Identify and describe trends in the visual arts and discuss how the issues of time, place, and cultural influence are reflected in selected works of art.

4.4 Articulate the process and rationale for refining and reworking one of their own works of art.

5.2 Compare and contrast works of art, probing beyond the obvious and identifying psychological content found in the symbols and images.

5.3 Prepare portfolios of their original works of art for a variety of purposes 

INSTRUCTION: 

Students will receive details about Pop Art

Pop Artists

Texture in art

MATERIALS: 

Craft Sticks

Coffee stirrers

Wooden blocks

Small Wood pieces

DIRECT INSTRUCTION:

Day 1: PowerPoint Presentation Pop Art

Opening: Art Link:

What is pop short for?

When you hear the words Pop Art what artist comes to mind? 

If you were asked to create a Pop Art project, what would you 

Create? 

Pre-assessment: Sketchbook: Wayne Thiebaud’s Ice Cream Cones

How does this art effect you? 

Review: Describe, analyze, interpret

Teacher Models: 

Pop Art and art History

Students take notes in their sketchbooks 

Teacher Monitors throughout discussion

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion to be sure notes are being taken 

Presentation assessment

Art Activity: Critique Roy Lichtenstein’s Flag 

Think-Pair-Share Table Groups

Describe, Analyze, Interpret

Discussion: Pop Art

History

Pop Art defined

Pop Art Characteristics

TEXTURE: 

Texture: 

Discussion: Texture and Color

What is Texture? 

Physical Texture

Visual Texture

Teacher Models: 

Texture

Students take notes in their sketchbooks 

Teacher Monitors throughout discussion

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion to be sure notes are being taken 

Presentation assessment

ART HISTORY: Indirect Instruction

Each table will receive research paper on one of nine artists

Students will read, collect data and present one artist to the class as a

Group

The presentation will be of a group artwork inspired by their artist. 

Artwork must be of the subject matter most identified with the artist

Artwork must include characteristics of the artist

Students will aid in instruction by researching one of nine artists and sharing the information with the class. 

Students will take notes in their sketchbook about each of the nine artists

Wayne Theibaud

Jasper johns

Andy Warhol

Jim Dine

Roy Lichtenstein

Tom Wesselman

Claes Oldenburg

David Hockney

Robert Indiana

Day 3: Art Link: ART HISTORY: Wayne Thiebaud

VIDEO

Critique works of dessert

Color 

Texture

ART HISTORY: Barbara Spring 

Barbara Spring (1916- 2011)  94 years old

An exceptional wood sculptor, 

Barbara Spring's career began in 1935 in her native England 

She studied at the Gravesend School of Art in Kent and the Central School of Art in London. 

Her exhibits in this country span from 1962 to present.

Actively worked at the studio she built in 1972 next to her home in Big Sur. 

"Barbara is Magic.” "She can give an ordinary face so much emotion," says Greg Hawthorne of the Hawthorne Gallery, where much of her work is exhibited. 

She pokes fun at the human frailties of her characters, their pettiness, self-importance, and self-doubt

Spring's gentle sense of humor makes them sympathetically engaging. 

Her keen observation of human nature and genius for creating the subtlest nuances are further enhanced by punning titles like "Major Faupar" and "Upton O'Goode".

Sketchbook Activity: 

Begin to sketch your final wood project

Sketchbook Activity: 

Continue to sketch your final wood project add texture and color

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion to be sure notes are being taken 

Presentation assessment

Students will use texture (wood chips, saw dust) to achieve an emotion or mood

Art Element Cup

Lesson Objective: Introduction to the art elements through a styrofoam cup

Key Vocabulary: 

Materials: 

Styrofoam Cup

Xacto Knife 

Hot Glue 

Focus: Elements of Art 

CA Art Standards:

1.1 Identify and use the principles of design to discuss, analyze, and write about visual aspects in the environment and in works of art, including their own.

1.3 Research and analyze the work of an artist and write about the artist's distinctive style and its contribution to the meaning of the work.

2.1 Solve a visual arts problem that involves the effective use of the elements of art and the principles of design.

2.2 Prepare a portfolio of original two-and three-dimensional works of art that reflects refined craftsmanship and technical skills.

3.3 Identify and describe trends in the visual arts and discuss how the issues of time, place, and cultural influence are reflected in selected works of art.

4.3 Formulate and support a position regarding the aesthetic value of a specific work of art and change or defend that position after considering the views of others.

5.0 Connecting and Applying What Is Learned in the Visual Arts to Other Art Forms and Subject Areas and to Careers

Modifications: 

English Language Learner: Handout for project, project samples, Power point with visuals, Critique for additional understanding, Demonstration of techniques

Special Needs: Handout for project, project samples, Power point with visuals, Critique for additional understanding, Demonstration of techniques

Accelerated Learner: Expand on skills learned to create a unique project. 

Scaffolding adaptations: 

Students will revisit art elements from the earlier learning. We will use similar visuals to refresh previous knowledge.  Notes will be taken throughout discussions for added understanding. Creating sketchbook plans and Constructing final project will be demo started in class using guided instruction.

Direct instruction: Art Elements: 

LINE

What is a line?

Geometrically, it connects two points. 

A line is a path traced by a moving point, i.e. a pencil point or a paintbrush. 

We see lines all around us. 

Line is a vital element of any artwork.

Actual 

Implied

Contour

Horizontal 

Vertical

Diagonal

Flat

Sharp/Angled

Gestural 

Actual Line: Marks or objects that are real lines; they exist physically. 

Examples of actual lines include lines painted on a highway, tree branches & Ladder.

Contour lines define the edges of objects:

Edges of a table

Edges of figure

Contour lines define both the edges of the object & the negative space between them

Implied Lines

Lines that we see in our mind’s eye that fill in the spaces between objects: 

Rows of windows in a large office building.

Outside line between fruit and background 

Sharply angled lines: Excitement, Anger, Danger & Chaos.

Gestural lines: reveal the touch of the artist’s hand, arm--and sometimes the entire body—in the artwork.

PROJECT: In Your sketchbook: 

Use your pencil

Draw three 3” squares

Try different ideas with a focus on LINE. 

How will you transition your line ideas to the cup? 

SHAPE: 

A shape is a closed line. A shape is flat.

The easiest way to see the shape of an object:  look at shadows. 

Shadows flatten a 3D object into a flat shape. 

Shadows enable you to see the object without details like color and texture.

Geometric Shape

Organic Shape

Implied Shape

Hard edge shape

Soft edge shape

Geometric shapes are mathematically determined

Organic shapes are the type you see in nature.

Implied Shape: The spaces between objects. We see those spaces as shapes, even though they are Implied. 

Hard Edged Shape: are clearly distinguished from each other 

Convey a sense of: 

order

clarity

strength.

Soft Edged Shape

Soft edged shapes have a tendency to blend with each other or the ground

Convey a sense of:

fluidity

flexibility

tend to feel lighter in weight.

PROJECT: In your sketchbook: Plan your cup using SHAPE

Use at one type of shape we discussed

organic

geometric

implied

hard edge

soft edge

When you have a concrete sketchbook plan completed/approved

Complete your plan using Practice cup and scissors 

If time allows, You can revisit: Line.

COLOR: 

Color has a huge effect on our daily lives.

Everyday our emotions, moods,  physical sensation (appetite) are influenced by the colors that surround us.

Primary: Red, Yellow, Blue

Secondary Colors: Green, Violet, Orange

Tertiary Colors: Yellow-Green, Yellow-Orange, Blue-Green, Blue-Violet, Red-Violet, Red-Orange

Complementary Colors

Colors Opposite on the color wheel: 

Red and Green

Yellow and Purple

Blue and Orange

High Contrast 

Draws attention

Analogous Colors

Colors Next door on the color wheel:

  Green and blue

Yellow and orange

Violet and red

Analogous colors blend with each other.

PROJECT: In your sketchbook: Plan your 3” Color cube side

Use at least two color schemes we discussed

Primary

Secondary

Tertiary 

Complementary

Analogous

When you have a concrete plan in place in your sketchbook:

Pick one of the 6 sides of your cube

Complete your plan using any materials provided 

VALUE : TINTS AND SHADES. VALUE is the lightness or darkness of a hue (color).

Pure Color (Hue) is located in the center of a value scale.

No added white or black

Color from the tube. 

Create lighter value by mixing white with pure color: This is called a TINT.

Create darker values by mixing black  with the Pure Color: This is called a SHADE.  

PROJECT: 

Create a Value Scale 

Hold your pencil in the middle to create a medium (pure) hue. 

Tint: Hold your pencil near the eraser

Shade: Hole your pencil near the lead. 

Create a five block value scale 

In your sketchbook: Plan value idea for the cup

Use value scale techniques we discussed

Add white and black to paint to show value scale

Use varying pressure with pencil to create value scale

 Use both techniques

When you have a concrete plan in place in your sketchbook:

Get it approved

Complete your plan using any materials provided 

Texture: The surface quality that can be seen and/or felt

Texture can be rough smooth soft or hard. (Actual) 

Textures do not always feel the way they look (visual).

The illusion of having physical texture.

Texture in 2D artwork

Artist gives the look of texture through the medium. 

Actual texture: the tactile qualities of the physical surface of the object. 

Differentiates from visual texture: It has a physical quality that can be felt by touch. 

PROJECT: In your sketchbook: 

Plan your texture for your cup

Use the two texture types we discussed

Visual

Tactile or Actual Texture

When you have a concrete Sketchbook plan approved 

Apply idea to your cup

Complete your plan using any materials provided 

SPACE: Positive shapes occupy positive space. 

The area around positive shapes (the background) is negative space. 

In this diagram, the negative shapes are as clear and distinct as the positive shapes.

Negative space: is the space around/between the subject(s) of an image. 

Negative space is most evident when the space around a subject forms an interesting/relevant shape. 

In this case, the NEGATIVE space: The Arrow. 

Space is  always a part of artwork

The setting a sculpture is in becomes part of how it is viewed and the overall effect 

Implied Space: Illusion. In two-dimensional (2D) work

PROJECT: In your sketchbook: Plan how you will show space in your cup

Use the types of Space we discussed

Positive/Negative

Implied

Overlapping

Size

Linear perspective 

When you have a concrete plan in place in your sketchbook:

Complete your plan using any materials provided 

FINAL PROJECT REQUIREMENTS: 

Design and create Art Elements Cup

Create sketchbook study of each element decision 

Complete each aspect of the cup with art elements based on knowledge gained in class discussions

Revise and refine final cup using various supplies provided 

Final cup should become a sculpture, must use all pieces of cup

Gargoyle Scale Sculpture

 Lesson Objective: Students will use the pinch pot construction method to create a gargoyle from 1.5 lbs. of clay while exploring the art principle of proportion and scale.  

·Learn the functions of gargoyles & other apotropaic devices from an Art History perspective. 

·Learn about the significance and symbolism of gargoyles in Gothic architecture.

Project Requirements: 

Sketchbook: Create a full color drawing of final gargoyle sculpture 

Include: Detail

Texture

Scale

Proportion/Distortion

Final Project: 

Construction includes fully realized gargoyle structure

Sculpture created from a basic, hollow form (pinch pot method)

Exhibit evidence of proper use of clay hand-building techniques (score and slip additive, smooth rough edges, etc.)

Sculpture features are built-up or developed in the clay

Texture somewhere (scales, resemble stone, have "hair")

Students create disproportionate scale in two places (ex: huge eyes, small arms)

Details with texture and a Vent Hole to kiln 

Gargoyle art sculpture is complete from all sides and has focus on disproportionate

               scale.  

CA Standards: 

1.1 Analyze and discuss complex ideas, such as distortion, color theory, arbitrary color, scale, expressive content, and real versus virtual in works of art.

1.5 Compare how distortion is used in photography or video with how the artist uses distortion in painting or sculpture.

2.2 Plan and create works of art that reflect complex ideas, such as distortion, color theory, arbitrary color, scale, expressive content, and real versus virtual.

3.3 Investigate and discuss universal concepts expressed in works of art from diverse cultures.

3.4 Research the methods art historians use to determine the time, place, context, value, and culture that produced a given work of art.

4.1 Describe the relationship involving the art maker (artist), the making (process), the artwork (product), and the viewer.

5.2 Compare and contrast works of art, probing beyond the obvious and identifying psychological content found in the symbols and images.

Assessment: 

Informal: Written critique

Formal: Artist Statement

Formal: Grading final sculpture

Modifications: 

English Language Learner: Handout for project, project samples, Power point with visuals, Critique for additional understanding, Demonstration of techniques, group activities to check for understanding

Special Needs: Handout for project, project samples, Power point with visuals, Critique for additional understanding, Demonstration of techniques

Accelerated Learner: Expand on skills learned to create a unique project. 

Advanced art students will be asked to increase the difficulty of their final sculpture They will also be expected incorporate more details and principles into the final project

Scaffolding Adaptations: 

Students will revisit texture and scale from the earlier learning. We will use similar visuals to refresh earlier learning.  Notes on Art history, Key Vocabulary and artists will be taken throughout discussions for added understanding. Creating sketchbook plans and Constructing final sculpture will be demo started in class using guided instruction. 

Vocabulary & Techniques discussed/shown:

Bisque Firing: The first firing of unglazed ware at a low temperature. Removes all moisture from the clay and makes it easier to handle.

Glaze: A compound of minerals that is applied to the surface of greenware or bisqued ware that forms a glassy coating when fired.

Glaze Firing: A kiln firing that reaches temperatures at which glaze will melt. A glaze firing typically brings the clay body to its maturation point.

Leather Hard: The condition of a clay body that has dried somewhat but can still be carved or joined.

Slip: A mixture of clay and water; Works as glue to fuse two clay pieces together.

Score: Making small marks into the surface of the clay before adding slip or water to help fuse clay.

Pinch Pot: Creating a piece of pottery by pinching and molding a solid piece of clay with your fingers/hands.

Also: wedging, kneading, hollow, clay thickness, joining two clay pieces, smoothing & "cleaning" of clay surface, glaze types & proper application

Gargoyle: comes from the Latin word 'gurgulio', not only meaning "throat" but also describing the "gurgling" sound made by water as it ran through the figure.

Vent hole: holes that will allow air to escape during the firing and prevent the piece from exploding.

Architecture: is both the process and the product of planning, designing, and constructing buildings and other physical structures. 

Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. 

Historical civilizations are often identified with their surviving architectural achievements.

Apotropaic: Ap·o·tro·pa·ic adj. Intended to ward off evil: an apotropaic symbol.

Art History: 

Architecture: is both the process and the product of planning, designing, and constructing buildings and other physical structures. 

Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. 

Historical civilizations are often identified with their surviving architectural achievements.

In architecture, a gargoyle is a carved with a spout designed to convey water from a roof and away from the side of a building

Sprout prevents rainwater from running down masonry walls and eroding the mortar between. 

Architects often used multiple gargoyles on buildings to divide the flow of rainwater off the roof to minimize the potential damage from a rainstorm. 

A trough is cut in the back of the gargoyle and rainwater typically exits through the open mouth. 

Gargoyles are usually an elongated fantastic animal

The length of the gargoyle determines how far water is thrown from the wall. 

The term originates from the Latin word 'gurgulio, which in English is likely to mean "throat" or  "gullet"and similar words derived from the root gar, "to swallow", which represented the gurgling sound of water. When not constructed as a waterspout and only serving an ornamental or artistic function, the correct term for such a sculpture is a grotesque. 

Gargoyles on buildings also served another purpose. They act as “Apotropaic devices,” or items intended to scare away evil spirits. 

ap·o·tro·pa·ic adj. Intended to ward off evil: an apotropaic symbol.

Gargoyles are said to frighten off and protect those that it guards, such as a church, from any evil or harmful spirits.

Non-functional figures are technically called “Grotesques,” but most people still refer to them as Gargoyles. 

Gargoyles on buildings also served another purpose. They act as “Apotropaic devices,” or items intended to scare away evil spirits. 

Apotropaic devices have been used since ancient times to scare away not only spirits, but also foreigners and would-be attackers. 

During the 12th century, when gargoyles appeared in Europe, the Roman Catholic Church was growing stronger and converting many new people. Most of the population at this time were illiterate, and therefore images were very important to convey ideas.

Gargoyles were viewed in two ways by the church throughout history. The primary use was to convey the concept of evil through the form of the gargoyle, which was especially useful in sending a stark message to the common people, most of whom were illiterate.

Gargoyles also are said to scare evil spirits away from the church, this reassured congregants that evil was kept outside of the church’s walls. However, some medieval clergy viewed gargoyles as a form of idolatry.

Sacramento Assembly is the Capitol's only gargoyle.

The little devil is on the ceiling of the chambers. Standing in the front of the room, it's the second row of octagons from the left, three up from the front.

With lolling tongue and bug eyes,

Teaching Tips:

• When building pieces that have sealed hollow spaces, make sure that every hollow space has a vent hole. These holes will allow air to escape during the firing and prevent the piece from exploding.

Make sure that you allow plenty of time for the figures to dry as hand-built items are usually built thicker than pottery or slip cast items. 

Fire the pieces slower than you would for pots or slip cast pieces. 

Process:

1. Prior to working with clay, students are given a history about gargoyles. This includes:

purposes of gargoyles as rain spouts and medieval church/cathedrals architecture

purposes of gargoyles in superstition & religion (warding off evil, protecting church, etc.)

different types of gargoyles (grotesques, chimeras, human or animal/like)

It is beneficial to show students a variety of images including the various types of gargoyles.

2. The teacher will also demonstrate various clay techniques essential to creating their finished piece.

3. After students have learned the background of the lesson & clay techniques, they will create two sketches of ideas for their creature-with attention to the requirements. The final product may not resemble their sketches but this is a good way to get students' creative juices flowing.

4. Students create their gargoyle. They begin with a chunk of clay and should utilize the techniques they were taught to build from clay. This includes wedging and kneading their clay (if necessary), creating a hollow form using the pinch pot technique, and building onto their gargoyle in order to meet the requirements.

5. Once clay pieces are completed, dried, and bisque fired, students will glaze their work and have it fired again. To create a more authentic stone-like creature, teachers may choose to have students use under-glaze only (which is not shiny) rather than glaze.

*Teachers may have students make their gargoyle out of clay but use paint instead of glaze to complete the project.

MATERIALS: 

Clay

Clay tools

Slip

Glaze is all colors 

DIRECT INSTRUCTION:

Day 1: Direct Instruction from PPT: 

Art Link: 

What is a gargoyle?

What is their purpose

Have you studied them in history? 

Where does this gargoyle live? 

(Sacramento Assembly)

Pre-assessment: Sketchbook: Answer questions in sketchbook

Critique Review: Describe, analyze, interpret 

Teacher Models: 

Gargoyles and Art History

Students take notes in their sketchbooks 

Teacher Monitors throughout discussion

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion to be sure notes are being taken 

Presentation assessment

Art Activity: Critique Assembly Gargoyle 

Discussion:Architecture 

Architecture: is both the process and the product of planning, designing, and constructing buildings and other physical structures. 

Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. 

Historical civilizations are often identified with their surviving architectural achievements.

Gargoyles are usually an elongated fantastic animal

The length of the gargoyle determines how far water is thrown from the wall. 

The term originates from the Latin word 'gurgulio, which in English is likely to mean "throat" or  "gullet"and similar words derived from the root gar, "to swallow", which represented the gurgling sound of water. 

When not constructed as a waterspout and only serving an ornamental or artistic function, the correct term for such a sculpture is a grotesque. 

Gargoyles on buildings also served another purpose. They act as “Apotropaic devices,” or items intended to scare away evil spirits. 

Gargoyles are said to frighten off and protect those that it guards, such as a church, from any evil or harmful spirits.

During the 12th century, when gargoyles appeared in Europe, the Roman Catholic Church was growing stronger and converting many new people. Most of the population at this time were illiterate, and therefore images were very important to convey ideas.

Gargoyles also are said to scare evil spirits away from the church, this reassured congregants that evil was kept outside of the church’s walls. However, some medieval clergy viewed gargoyles as a form of idolatry.

Day 2: Teacher Models: 

Texture and Pinch Pot 

Students take notes in their sketchbooks 

Teacher Monitors throughout discussion

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion to be sure notes are being taken 

Day 3: Art Link:

Sketchbook Activity: 

Begin to sketch your final clay project

Sketchbook Activity: 

Continue to sketch your final clay project add texture, color and scale

Day 4:

Art Link: 

What mood does this piece show? 

Discussion: Sculpture

Additive

Subtractive

Scoring and slipping

Teacher Models: 

Clay construction Pinch Pot and slab pot

Students take notes in their sketchbooks 

Teacher Monitors throughout discussion

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion to be sure notes are being taken 

Presentation assessment

FINAL PROJECT Painting: Day 9, 10, 11, 12

Students will paint clay sculpture using Pop Art style

Students will use color/texture to achieve an emotion or mood

Pop Art Clay with Wayne Thiebaud

Art Link: 

Compare Pop art and Op art

What is pop short for

What artist do you associate with Pop art? 

If you had to create a Pop art project what would you create? 

INTRODUCTION to lesson (Anticipatory set): 

Show Wayne Thiebaud’s ice cream

Analyze

Describe

Interpret

OBJECTIVE: Create clay sculpture inspired by Wayne Thiebaud’s desserts

Score Slip Hand-built Subtractive sculpture

Additive Sculpture Pop Art Texture

Physical Texture Visual texture Leather hard

Bone Dry

CA STANDARDS: 

1.1 Analyze and discuss complex ideas, such as distortion, color theory, arbitrary color, scale, expressive content, and real versus virtual in works of art.

1.3 Research and analyze the work of an artist and write about the artist's distinctive style and its contribution to the meaning of the work.

1.6 Describe the use of the elements of art to express mood in one or more of their works of art.

1.4 Analyze and describe how the composition of a work of art is affected by the use of a particular principle of design.

2.1 Create original works of art of increasing complexity and skill in a variety of media that reflect their feelings and points of view.

2.2 Plan and create works of art that reflect complex ideas, such as distortion, color theory, arbitrary color, scale, expressive content, and real versus virtual.

3.3 Identify and describe trends in the visual arts and discuss how the issues of time, place, and cultural influence are reflected in selected works of art.

4.4 Articulate the process and rationale for refining and reworking one of their own works of art.

5.2 Compare and contrast works of art, probing beyond the obvious and identifying psychological content found in the symbols and images.

5.3 Prepare portfolios of their original works of art for a variety of purposes (e.g., review for post secondary application, exhibition, job application, and personal collection).

PURPOSE: Complete a clay sculpture with texture and an emotional mood based on the art element color. 

INSTRUCTION: 

Students will receive details about Pop Art

Hand built sculpture

Pop Artists

Mood and emotion in art

MATERIALS: 

Clay

Toothpicks

Clay tools

Slip

Acrylic paint

DIRECT INSTRUCTION:

Day 1: Power Point Presentation Pop Art

Opening: Art Link: Compare Op Art to Pop art

What is pop short for?

When you hear the words Pop Art what artist comes to mind? 

If you were asked to create a Pop Art project, what would you 

Create? 

Pre-assessment: Sketchbook: Wayne Thiebaud’s Ice Cream Cones

How does this art effect you? 

Review: Describe, analyze, interpret

Teacher Models: 

Pop Art and art History

Students take notes in their sketchbooks 

Teacher Monitors throughout discussion

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion to be sure notes are being taken 

Presentation assessment

Art Activity: Critique Claes Oldenburg’s Dropped Cone

Think-Pair-Share Table Groups

Describe, Analyze, Interpret

Discussion: Pop Art

History

Pop Art defined

Pop Art Characteristics

ART HISTORY: Wayne Thiebaud

VIDEO

Critique works of dessert

Color 

Texture

Bio Info

Claes Oldenburg steals from Wayne

We steal from them both!!!

Sketchbook Activity: 

Begin to sketch your final clay project

Day 2: Texture and Color

Art Link: What is Pop Art, compare to Op art

Relate texture to the Wayne Thiebaud video from

                        yesterday

Discussion: Texture and Color

What is Texture? 

Physical Texture

Visual Texture

Color: Mood and emotion

Teacher Models: 

Texture and color

Students take notes in their sketchbooks 

Teacher Monitors throughout discussion

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion to be sure notes are being taken 

Presentation assessment

Sketchbook Activity: 

Continue to sketch your final clay project add texture and color

Day 3:

Art Link: 

What mood does this piece show? 

Discussion: Sculpture

Additive

Subtractive

Scoring and slipping

Teacher Models: 

Clay construction Pinch Pot and slab pot

Students take notes in their sketchbooks 

Teacher Monitors throughout discussion

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion to be sure notes are being taken 

Presentation assessment

Sketchbook Activity: 

Continue to sketch your final clay project add texture and color and add 

Plans for scoring and slipping the final project. 

Day 4, 5, 6: create clay and allow it to get leather hard add texture/details when leather 

hard

Final Dry time art activity Day 7 and 8: 

Each table will receive research paper on one of nine artists

Students will read, collect data and present one artist to the class as a

Group

Presentation will be of a group artwork inspired by their artist. 

Artwork must be of the subject matter most identified with the artist

Artwork must include characteristics of the artist

Students will aid in instruction by researching one of nine artists and sharing the information with the class. 

Students will take notes in their sketchbook about each of the nine artists

Wayne Theibaud

Jasper johns

Andy Warhol

Jim Dine

Roy Lichtenstein

Tom Wesselman

Claes Oldenburg

David Hockney

Robert Indiana

FINAL PROJECT Painting: Day 9, 10, 11, 12

Students will paint clay sculpture using Pop Art style

Students will use color/texture to achieve an emotion or mood