Color Wheel Perspective

Objective:  Students will create a color wheel using one point perspective, accurate color placement and value 

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.

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.

3.2 Identify and describe the role and influence of new technologies on contemporary works of art.

4.2 Compare the ways in which the meaning of a specific work of art has been affected over time because of changes in interpretation and context.

4.5 Employ the conventions of art criticism in writing and speaking about works of art.

5.0: Students apply what they learn in the visual arts across subject areas. 

Materials: 

Tag Board

Color Pencils 

Key Vocabulary: 

Hue, Value, One point Perspective, tertiary

Direct Instruction 

Color has a huge effect on our daily lives.

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

There are three (3) properties to color:  

Hue: the name we give to a color (red, blue, etc.).

Intensity: refers to the strength/vividness of the color. For example, we may describe the color blue as "royal" (bright, rich, vibrant) or "dull" (grayed).

Value: meaning its lightness or darkness. Shade and Tint are in reference to value changes in colors.

One-point perspective -contains only one vanishing point on the horizon line. 

This type of perspective is typically used for images of roads, railway tracks, hallways, or buildings viewed so that the front is directly facing the viewer.

Color Theory: is a body of practical guidance to color mixing and the visual effects of a specific color combinations

Teacher Models 

Examples of vocabulary on the board throughout discussion 

Students take notes in their sketchbooks 

Teacher Monitors room throughout discussion

Step by Step modeling on how to create color wheel

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion ensure comprehension and active note taking 

Various Activities Designed to check/enhance student comprehension

Project requirements:

Sketchbook: student uses sketchbook to complete studies on one point perspective and building details using a ruler

Final project: Student applies sketchbook skills onto final paper to create building color wheel

Student creates color wheel showing primary, secondary and tertiary colors

Student shows the shade, tint and pure color of 12 colors on the color wheel

Student added unique details on each of the 12 buildings using black ink

Final project is well thought out and executed

Student takes advantage of studio time by illustrating full effort in actions and final results. 

Adapted from lesson found: http://tartteaching.blogspot.com/2012_08_01_archive.html

Non-Objective Pattern Sculptures with Sol Lewitt

Lesson Objective:  

Work with the elements of line and space 

Work with the art principles of pattern and unity

Create a 3-D composition

Use paper Construction

Key Vocabulary: 

Non-objective sculture

Free standing Sculpture

Unity

Materials: 

Note Cards in two sizes

Glue

Black Card stock base

Fine point black sharpies

Focus Artist: Sol Lewitt: Pattern and structures 

Also study: Revisit:  Dongo Artwork to review and connect. 

Project requirements: 

Drawing is non-objective and shows attention to detail

Drawings incorporate 20 different patterns 

Small Group Critique at Midway point

Sculpture is free standing and non-objective

Shows unity through repetition of color and shape. 

Assessment:

Informal: Small Group Critique

Formal: Final Grading

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.

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

2.1 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.

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. 

Advanced art students will be asked to increase the difficulty of their pattern making and increase the final number of  paper rolls from 20 to 30. 

Scaffolding adaptations: 

Students will see several examples of each art element in different artwork shown in the power point. Notes on the elements of art will be taken throughout discussions for added understanding. Creating each side and Constructing the cube will be demo started in class using guided instruction. 

Day 1: 

Go Through Power Point Slides

Review: Dango Artwork to connect learning

Discuss Sol Lewitt’s artwork

Interpret line drawings as Principles and elements of design

State Project Objectives, Materials, Project Requirements, Due Dates

Plan ideas for patterns 

Day 2-4: Students will create 20 different patterns on 1/2 index cards

Day 3: Art Link: Peer Critique feedback on cards 

Focus on Line and pattern

Day 4: 

Art Link: Have students draw their ideas for construction

Roll 5 Cards to begin construction on Day 5

Day 5-8: Students will roll and construct sculptures. 

Day 6: Peer critique on cards and sculpture progress. 

Continue making cards throughout. 

Students who work quickly could be asked to create additional patterns on Cards

Students who work slowly will be checked-on regularly with possible adaptations of fewer then 20 notecards. 

Last Day of Sculpture: 

Art Link: Self Critique: 

Describe, Analyze, Interpret and Evaluate. Draw on your notes and the rubric to complete for 10 points. 

Complete Rubric and turn in sculpture. 

Evaluation: successful for all engaged students and all abilities of students. Wonderful outcome

20 pattern minimum is accomplishable in the 3 days of studio time. 

Additive wooden sculpture with Barbara Spring

Lesson Objective 

Work with elements of art: Form, Shape, Color

Work with principles of Art: Balance 

Create a additive wooden sculpture in the style of Barbara Spring

Key Vocabulary: 

Additive: Is the process by which material is shaped and built up to create the desired image.

Achromatic:  Any color that lacks strong chromatic content is said to be unsaturated, achromatic, or near neutral. Pure achromatic colors include black, white and all grays; near neutrals include browns, tans, pastels and darker colors. Near neutrals can be of any hue or lightness.

Color Scheme: color scheme is the choice of colors used in design for a range of media. 

Assemblage: An assemblage is a sculpture constructed from found objects. Typically an assemblage does not disguise the original objects used, rather it either tries to show them in a new light, or forms a figurative sculpture from the collection of shapes.

Materials: 

Variety of wooden sticks

Craft Sticks

Tooth Picks

Coffee Stirrers

Wood chips

Brown craft crinkle

Glue:  white or wood

Focus Artist: 

Barbara Spring

Video for projection presentation: https://www.youtube.com/watch?v=CJcmv-3aUys

Project Requirements: 

Create a wooden cake in the style of Barbara spring using additive sculpture and assemblage. 

Assessment: 

Informal: Large group Oral Critique

Formal: Artist Statement

Formal: Grading final sculpture

CA 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. 

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

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

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.

4.1 Articulate how personal beliefs, cultural traditions, and current social, economic, and political contexts influence the interpretation of the meaning or message in a work of art.

4.5 Employ the conventions of art criticism in writing and speaking about works of art.

5.2 Create a work of art that communicates a cross-cultural or universal theme taken from literature or history.

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 Shape, Color and Form 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. 

DIRECT INSTRUCTION:

Art Link: 

Small Group Critique Barbara Spring’s A La Carte 

Describe

Analyze

Interpret

Large Group Critique 

INTRODUCTION: Barbara Spring Video

OBJECTIVE: Create Wooden cake using various wood pieces for structure and decoration

Students will understand new vocabulary as is relates to visual art

Students will discover review the elements of Shape, color and Form. They look at the artwork of Barbara Spring and use additive and assemblage techniques to create cake form with neutral/achromatic color format 

Discussion:

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".

Watch Video

Key Vocabulary:

Additive: Is the process by which material is shaped and built up to create the desired image.

Achromatic:  Any color that lacks strong chromatic content is said to be unsaturated, achromatic, or near neutral. Pure achromatic colors include black, white and all grays; near neutrals include browns, tans, pastels and darker colors. Near neutrals can be of any hue or lightness.

Color Scheme: color scheme is the choice of colors used in design for a range of media. 

Assemblage: An assemblage is a sculpture constructed from found objects. Typically an assemblage does not disguise the original objects used, rather it either tries to show them in a new light, or forms a figurative sculpture from the collection of shapes.

Teacher Models 

Examples of vocabulary on the board throughout discussion 

Students take notes in their sketchbooks 

Teacher Monitors room throughout discussion

Check for Understanding: 

Monitor room during Pre-assessment in sketchbook

Monitor throughout discussion ensure comprehension and active note taking 

Various Activities Designed to check/enhance student comprehension

Activity: 

Using 24 craft sticks, students build triangle shape for cake base

Using various wood “toppings”

Student decorate the top of the cake using achromatic color palette. 

FINAL PROJECT: 

Rubric Project: Create Wooden cake using various wood pieces for structure and decoration

Students will understand new vocabulary as is relates to visual art

Students will discover review the elements of Shape, color and Form. They look at the artwork of Barbara Spring and use additive and assemblage techniques to create cake form with neutral/achromatic color format 

Students will be assessed on: 

Effort in Class: Studio, Daily Art Link and Discussions 

Additive wood construction precise and cake like. 

Use of a neutral color palette for construction and toppings How sculpture looks from ALL sides

Value Pulling with Mike Henderson

Mike Henderson, Upstairs (not in crocker) Each way is at Crocker…similar

Recap: Colorwheel

Discussion: 

Value:

How do we make colors lighter?

How do we make colors darker?

What is value?

What is shade? 

What is tint? 

Draw a value scale

Artist: 

Born in the small farming town of Marshall, Missouri, in 1944

Mike Henderson was supposed to work in the local factory with his father. 

His passion for art led him across the country to one of the first integrated art schools in the United States, the San Francisco Art Institute. 

He earned a B.F.A. in 1969 and an M.F.A. in 1970. 

Henderson has been teaching art and art history at the University of California at Davis ever since

He is considered a prominent figure among the second generation of Bay Area abstract painters.

Project: Create a Mike Henderson inspired Value piece by pulling paint

Step1: With the long side of a craft stick, pick up white and any pure color

Step2: Place it on your paper and pull it across to create a new color

Step3: allow the mixing to show, so you get many colors in each pull

Step4: try and create a rectangle with each pull

Step5: repeat the process with each of your pure colors with black and white

Use a paper towel to wipe craft stick between

Step6: feel free to break your stick to get new shapes with your pulls

Materials: 

White paint 

Black Paint

Pure colors of paint, primary and secondary for each student

Pulls: pop sticks, illustration board 

Large Card stock White 

Recycled Robots with Clayton Bailey

Two Day Project

Discussion: Form 

Sculpture

Robots

Artist: Clayton Bailey (1939-       )

Born 1939- Clayton G. Bailey is born in Antigo, Wisconsin .

1960- Inspired by the abstract expressionist work of Peter Voulkos, he begins to make ripped and torn ceramic forms, and begins a series of unique "pinch pots". 

Bailey receives a B.S. Degree in Art Education in January 1961, and continues in the Graduate Program. Littleton hires him as studio technician, and instructor of a beginning pottery class.

1962- Bailey receives an M.S. Degree in Art and Art Education. 

His students in ceramics are children aged 4 to 18 years old, and adults of all ages; and his classes meet six days of the week. 

The slogan, "Think Ugly" is painted on the wall of the ceramic shop by one of Bailey's students as a rationalization for the ugly sculptures they are making.

Bailey notes that "beauty" is an attribute of the familiar and the comfortable. The artist, he claims, should seek to discover the new and unusual, and should not strive for beauty.

He moves to Northern California in 1968.

1968-The Funk Art Festival is organized by Bailey and Coelho at U.S.D., Vermillion. California artists Roy DeForest, David Gilhooly, David and Maija Zack are the invited guests.

During the next decades, this toy collection will grow to many hundreds of battery operated space and robot toys.

He is a featured ceramic artist, along with Peter Voulkos, Toshiko Takaezu, and Paul Soldner, in the ABC-TV prime time special; "With These Hands; The American Craftsman", sponsored by the S.C. Johnson Co.

Roy DeForest coins the term "Nut Art", saying that "it has to do with phantasmagoric ideas and fantasies. 

Bailey and friends often meet at the Dairyville Cafe or at the Rainbow House in San Francisco 

He is a panelist for the California Arts Commission Fellowship Program.

For additional information: http://www.claytonbailey.com/

Project: using collected cans create a robot sculpture

Step1: find two matching can legs

Step2: find a body

Step3: Find a head

Step4: help students glue them together

AFTER ALLOWING BODY TO DRY OVERNIGHT: 

Step5: add fun hardware for eyes, hair, body parts (switches) shoes etc...

Materials: 

Recycled cans of all sizes

Clear Silicone glue (Home Depot)

Hardware from around the house

This project was inspired by Jane Hastings Robot artwork for more info on Jane visit her on pinterest: http://pinterest.com/jane_hastings/?d

American Impressionist landscape with Birger Sandzen

Discussion: 

Birger Sandzen and the artwork

PINES AND ASPEN, ROCKY MOUNTAIN NATIONAL PARK, COLORADO, 1929, crocker Art Museum, Sacramento, CA

Impressionism

Pointillism

light values 

stencils

matisse method of painting with scissors for stencils

pollack method of spraying paint (we will use toothbrushes)

Artist: Birger Sandzen  (5 February 1871–19 June 1954), 

he was a Swedish-American painter best known for his landscapes. 

He produced most of his work while working as an art professor at the Bethany College, Lindsborg, Kansas.[1]

A painter and printmaker, Birger Sandzén was one of the first European-trained, avant-garde artists to settle in the American heartland. 

Born in the village of Blidsberg, Sweden 

Took classes with the internationally known Swedish Impressionist painter and etcher Anders Zorn. 

In 1894, he moved to Paris to attend a painting class by Edmond François Aman-Jean and encountered firsthand the Pointillism of Georges Seurat. 

Sandzén was drawn to Kansas to teach at Bethany College

He immediately assumed a leading role in the cultural life of the Midwest, exerting enormous influence upon the development of art in Kansas and surrounding states. 

He traveled to find his subjects, not just in Kansas but extensively in the desert Southwest and Rocky Mountains of Colorado. 

This painting of Rocky Mountain National Park is a scene that the artist depicted often. 

As in much of Sandzén’s production, the subject matter of rocks, water, and trees is secondary to the artist’s expressive color and application of pigment. 

With thick areas of impasto and brushwork left evident, highkeyed colors exist side by side in full intensity, mixing optically to produce an expressive surface that celebrates both the topography depicted and the art of painting.

For additional information: www.crockerartmuseum.org/art?page=shop.product_details&category_id=43&product_id=596%3D0

PROJECT: students create pointillism landscape using stencils tape resist and toothbrushes

picture landscape in your mind: trees in middle ground, mountains behind, pond in foreground

Step1: in the middle ground draw a rock shape

Step2: in the foreground draw a pond

Step3: using blue tape tear and place in your tree onto your rock in the middle ground

Step4: using poster board cut a mountain range

Step3: place mountain range on to your paper protecting all below

                tape down your painting and the mountain stencil so that they won't move during the 

                splattering

Step4: using a toothbrush and scissors spray in your sky in teh background

Step4: remove mountains paint in mountains and middle ground using the side of your medium brush like oval dots

Step5: paint in your pond using the tip of a q-tip small round dots

Step6: remove your tape from the trees using the side of your small brush add in black side brush ovals creating a birch tree

Step7: using the small point dot of the tip of your paint brush add in the leaves of the tree.

MATERIALS: 

watercolor paper and paints

q-tips

blue tape

poster board

card stock or poster board for mountain stencils

Van Gogh's Mulberry Tree ASAP

Lesson Plan for 6-8 Grade

DISCUSSION:  Van Gogh's Mulberry Tree

Texture, movement, balance, 

        color and value

        perspective, 

Why does it work?

What do we think of

Why does it feel like we are there?

ARTIST: VAN GOGH

Vincent  van Gogh (30 March 1853 – 29 July 1890)

Dutch Post-Impressionist painter 

His work had a far-reaching influence on 20th century art

Known for his  vivid colors and emotional impact. 

Van Gogh did not begin painting until his late twenties

most of his best-known works were produced during his final two years. 

He produced more than 2,000 artworks, consisting of around 900 paintings and 1,100 drawings and sketches. 

His work was a strong influence on the Modernist art that followed. 

Today many of his pieces—including his numerous self portraits, landscapes, portraits and sunflowers—are among the world's most recognizable and expensive works of art.

Known for his paint application creating texture and movement.

He suffered from anxiety and increasingly frequent bouts of mental illness throughout his life,

died largely unknown, at the age of 37

sold only one painting while he was alive

for additional information, please visit: http://en.wikipedia.org/wiki/Vincent_van_Gogh

PROJECT: 

Each student is given 1/6 of the mulberry tree painting to recreate on their canvas. 

There are no parameters they may interpret it anyway they like. 

MATERIALS:

Canvas

Acrylic paints

Paint brushes

water


ADDITIONAL Student picture from a similar project students did with Picasso: