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

Scale Dwelling Model

Lesson Plan Nest Dwelling Model  

OBJECTIVE: 

Design and create an architectural model of a dwelling for a specific species of bird of your choice.

MATERIALS: 

sticks, wooden matches, toothpicks, dowel rods, straws, mat board, cardboard, paper, Foam Core, wire any combination of the above, or similar materials of your choice.

CA Advanced Art Standards

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.

1.4 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 influenc

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.

DISCUSSION: 

• An architectural model is a type of scale model - a physical representation of a structure - built to study aspects of an architectural design or to communicate design ideas.
• Architectural models are a good way of presenting a 3D version of your architectural design, interior design, or urban design project. 
• They give you a sense of how the different elements will feel in reality combined together
• SCALE: In art the size relationship between an object and the human body is significant. In experiencing the scale of an artwork we tend to compare its size to the size of our own bodies. 
• Proportion refers to the relative size of parts of a whole (elements within an object, i.e.: your face). 

ARTIST: 

Tim Prythero

• Creates miniaturized structures that record nostalgic moments in time
• Small worlds are simple but powerful and dramatic 
• Favorite subjects include gas stations, trailer parks, diners, and architectural kitsch. 
• He researches his subjects and spends hours carving and assembling and hand painting his environments.  

ARTIST:

• M. Pei was born in China on April 26, 1917. 
• In 1935 he began studying architecture in the United States 
• He earned his B.A. from MIT and his M.A. from Harvard. 
• He started his own architectural firm in 1955, Pei designed such well-known structures as the Kennedy library, the glass pyramid at the Louvre. 
• Pei continued to design impressive buildings during the 1990s, including the United States Holocaust Memorial Museum in Washington, D.C., and the Rock and Roll Hall of Fame in Cleveland, Ohio.
• Now in his nineties, Pei continues to design innovative structures throughout the world. 
• He has countless honors for his work within the field of architecture.
• In December 1992, Pei was awarded the Presidential Medal of Freedom by President George H. W. Bush

PROJECT REQUIREMENTS:

Student will research a bird of their choosing

Based on that specific species birds habits, needs, etc., student will design (sketchbook) and build a scale architectural model of the bird's habitat. 

This habitat should not be traditional. Be creative. 

In the design, include a visual reference to at least one characteristic of the bird AND an element that references a specific human-made architectural structure. 

Additional Resources

You may want to explore the work of  Frank Gehry, Zaha Hadid, Moshie Safdie

Op Art Wire sculptures

Art Link: 

What an Optical Illusion

How do artists create illusions in their work

Name three ways we have used illusions in our artwork

INTRODUCTION to lesson (Anticipatory set): 

How does this art effect you? 

OBJECTIVE: Create wire sculpture from found objects, finished in two colors to give the illusion of visual movement. 

Students will understand new vocabulary as is relates to visual art: 

Op Art Kinetic Optical Illusion Chromatic Achromatic

Negative Space Positive Space Complementary

Neutral Contrast Value Hue

Saturation

CA STANDARDS: 

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.

1.4 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 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.

4.2 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.

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 wire sculpture with contrast that creates the illusion of movement

INSTRUCTION: 

Students will receive details about Op Art

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

MATERIALS: 

Wire Hangers

Wood block

Nylon sock

Acrylic paint

brushes

DIRECT INSTRUCTION:

Day 1: Power Point Presentation Op Art

Opening: Art Link: What is an Optical Illusion

Pre-assessment: Sketchbook: 

How does this art effect you? 

Review: Describe, analyze, interpret

Discussion: Op Art

History

Impact on culture

Objective of Op Art

Requirements to be considered Op art

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

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

MC Esher

Julian Stanczak

Josef Albers

Yaacov Agam

Jesus-Rafael Soto

Richard Anuszkiewicz

Bridget Riley

Frank Stlla

Victor Vasarely

Teacher Models: 

Optical illusion 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

FINAL PROJECT: Students will create a wire sculpture using op art style

Sculptures must be made from supplies received

Students will use two contrasting colors to achieve optical movement

Day 2: Color theory

Art Link: Prep for presentations

Student artist Presentations

Day 3:

Art Link: 

Favorite artist studied from day 2

Discussion:

Complete presentations

Rubric

Studio: Begin to construct sculptures

              Wire hanger into wood block

Day 4: Color Theory

Art Link: Compare and contrast Vasarely’s two works of art

One black and white, one in color. 

Studio: Artists construct their three piece wire sculpture. 

               Paint it with a glue mixture

                     1/3 Elmers glue 2/3 water

Discussion: 

Color Theory with Josef Albers

Day 5: Black and white study

Art Link: 

Studio: artists paint sculpture with glue mixture

Draw sculpture in sketchbook to study

Fill in sculpture study with black and white pattern

Day 6: Color study

Art Link

Studio: artists paint sculpture with glue mixture

Draw sculpture in sketchbook to study

Fill in sculpture study with a two color pattern

              Paint with acrylic paint

                 no blue tape allowed

MATERIALS: 

   Wood blocks (all shapes) two drilled holes that will hold wire hanger

   Wire hanger

   Glue 

   Water

   Paint brushes (small brushes for details)

Cubist Cityscape with Ethel Pearce Nerger

DISCUSSION: 

Cubism

artist and the artwork: Red Car on view at the Crocker Art Museum, Sacramento, CA

geometric shape and organic shapes

above art and artist

reducing city scape to geometric shapes, reducing a car to shapes

Artist: Ethel Pearce Nerger 

1901-1985

American Painter

Born on February 16, 1901 in Norfolk, West Virginia, Nerger was one of seven children.

In 1932, they moved to San Francisco. 

She was a prominent West Coast abstract impressionist, 

She was active during the 1940's and 50's in San Francisco art circles. 

Many of the over 200 paintings she produced in her career were sold in that period. 

A member of the San Francisco Women Artists

Her work was also shown in the 1950 New York Metropolitan Museum exhibition, "American Art Today."

Nerger began painting in 1936 and from then on, she once said, "I had no other goal." 

My experimenting has led me to what I call my sublinear paintings, many of which are based on my relationship with my children."

Though Nerger's farm background had family inspired many of her works, her "sublinear" style was at time highly abstract, confusing to some peers and critics while it was likened by others to that of Picasso or Chagall. 

In 1948, she defined her style and philosophy in a submission to a book on California art by Arthur Miller, Los Angeles Times art critic:

I will attempt to explain why I describe my style as sublinear. It is to me similar to a combination of several mathematical equations. The given area is designed by shapes, either solid or by implied line, with the negative (the sub) bearing a very close relationship to the principal shape. This happens throughout my work almost automatically as lines define forms and planes. I use all mediums, but water color is my more natural way of expression.

In 1957, frustrated by the politics of the Bay Area art world, Nerger withdrew, continuing to sculpt and paint, but exhibiting infrequently and refusing to promote her work. 

Nerger exhibited for the final time in 1969. Shortly afterward, 1n 1971, she suffered several strokes and never painted again. She died in 1985.

In June of 2009 two of her oil paintings have been accepted for permanent collection by the prestigious Crocker Art Museum in Sacramento

for additional information: ethelnerger.com/paintings05.html

PROJECT: students use geometric wooden shapes to create cubist style cityscape

Step1: using blocks create a car in the foreground lightly trace the blocks with a pencil once created

Step2: using lines create at least two buildings. Using the wooden blocks add windows, doors and details of a building

Step3: using organic shape create several trees in the middle ground of your piece

Step4: using a series of organic shapes create mountains behind your buildings

Step5: trace all pencils line with Sharpie add a few extra lines in the mountains 

Step6: add in oil pastels of all colors and blue tape

Step7: paint in these different shapes using values of colors. Really think about color choices before applying.

MATERIALS:

Wooden blocks

watercolor paint and paper

pencils