Serving Art Educators
and Students Since 1994
Advanced Studio Lessons
Lessons from the AP Lesson Sharing Group
Submitted by: Laurie Poole, Nashville School of the Arts, Tennessee
GOOD FORTUNE
lesson #1
From direct observation students will create a quality composition of
fortune cookies. Using Colored Pencils
lesson #2
Open the fortune cookie and read the fortune. Contained fortune is the
starting point for project #2. Students should tape fortune into
sketchbook and make three idea sketches based on the one fortune. Sketches
will be discussed with teacher and the better idea will be developed into
an 18" x 24" (46 x 61 cm) piece for student portfolio. Medium is teacher or
student choice (Colored Pencils
lesson #3
Chinese take-out box. Students will review perspective drawing techniques by using Chinese take-out box and direct observation. Student will select three to five personal items of "good fortune". Using these personal items the student will create a composition using these items of "good fortune" and the Chinese take-out box. Sketch will be discussed with teacher. Final drawing or painting medium to be determined by teacher or student.
Submitted by: Leokadia Stanik
Exploring Compositional Schemes
I have begun to include this lesson, in different forms, at the beginning of the year for Art 2 Art 3 and AP, and depending on the students and their previous experience, in the advanced classes. I find that I spend a lot of time in the beginning classes developing skills and observation. Because of that, I can't seem to fit more than basic compositional schemes and guidelines. (i.e.: the golden section, avoid dividing down the center in either direction, avoid bulls-eye placement..., etc.)
I originally selected
compositional schemes for this lesson from the book "Celebrate Your Creative Self
Lesson Overview:
Working from a group of samples of each of the different compositional schemes, students are introduced to each scheme. They include: High Horizon Vertical, high Horizon Horizontal, Low Horizon Vertical, Low Horizon Horizontal, The ‘S" and " Z" and "L", The Grid, Circular, Cruciform, Strata/ Vertical Stripe, Triangular/ Angular etc...
The students are introduced to the concepts of each and discussion is encouraged.
· Students are then shown compositional schemes in slides of famous works of art. Slides are shown to them grouped by scheme. There is much discussion not only about the schemes, but also about creating shallow versus deep space. Work from contemporary art magazine and the high school poster collection is also used.
Finally, students are assigned 5 different schemes. They are to demonstrate these in colored pencil on small pieces of drawing board. (The sizes and shapes vary… 5x7 (12.7 x 17.7 cm), 4x6 (10 x 15 cm) and students cut their own pieces of board. They use Black Drawing Art Board
and white Bristol Board or other Drawing Paper
appropriate for Colored Pencils
and are posted.
During the presentation/ assessment phase, students guess each other's compositional scheme, participate in a group critique and finally take a comprehensive quiz. The students are expected to add these terms to their verbal and visual vocabulary.
The subject matter must be different for each scheme. The assigned subject matter has changed each year. Some have included: organic materials, school issues, landscape, portrait, and favorite possessions, social ethical or moral statement. Colored pencil layering techniques are reviewed as needed.
Submitted by: Jennifer Ievolo
CINDY SHERMAN: CONCEALING AND QUESTIONING IDENTITY
Objectives:
Students will observe the photographic work of Cindy Sherman and become familiar with her style and process. Each student will create a self-portrait that either conceals his or her identity or resembles a film still. The complexity of idea and style will vary based on student readiness and level of experience.
Materials:
Cindy Sherman
Slides/books
Hand out sheets on Cindy Sherman and Process
Students supplied variety of props/costumes, etc.
Camera/Film (or Digital Camera
Photo Paper
Filters
Motivation: Video segment on Cindy Sherman's work and mysterious personal nature will be viewed and discussed. Students will brainstorm ideas about concealing identity, and the questions that can be raised when discussing issues of identity, self, and gender. (NOTE: This video is out of print and hard to find. There are many books
Advanced level students will discuss and analyze the visual appearance of a "film still", and brainstorm ways to "set a scene" for their image.
Procedure:
a- Teacher will facilitate observation and discussion about Cindy Sherman and the nature of her work.
b- Students will write a proposal outlining their intention and process to plan for their photo.
c- Methods and techniques of self-portrait photography will be reviewed and discussed.
d- Based on their level of experience, students will shoot their self-portrait using one of the methods and techniques of Cindy Sherman.
e- Advanced level students will be encouraged to approach the assignment as a "film still"
f- Beginning students will be encouraged to create a portrait in which their identity is concealed in some way.
g- After shooting their roll, students will process their film and develop a contact sheet.
h- Students will review their images and with the guidance to the teacher, select the strongest for printing.
i- Students will print with the use of filters to enhance contrast in the image.
j- Advanced students will have the option of creating a SERIES of their film still images.
k- After the completion of the assignment, students will write a narrative describing their process, idea, and photographic composition.
Vocabulary:
Cindy Sherman
Film Still
Identity
Self Portrait
Closure:
Students will participate in critique, during which the images will be analyzed and discussed, along with the artist narratives. Students will discuss what they observe directly, as well as what may lay beneath the surface
Note: Cindy Sherman video clip came from the EGG: The Arts Show
http://www.pbs.org/wnet/egg/218/sherman/
Jennifer taped it from Trio.
Who am I: Exploring Identity - online lesson:
http://www.thirteen.org/edonline/lessons/whoami/b.html
Submitted by: Laurie Poole
Identity Boxes
This is an Art I or Art II lesson based on the knowledge of Lucas Samaras
Students are then asked to define and list objects personal objects that express their identity. Students bring from home certain objects that they use in their work.
Art Department supplies small wood boxes. Students may use more than one if needed. Art Department supplies paint and Hot Glue Sticks
Identity Box Sculpture Assessment
Artist Name________________________ Date:_______________
Title:______________________________
Did you bring personal items that identity you? Yes or No
List them:
Content:
Personal items contained in work Title is reflected in artwork? Signs & symbols about YOU? Meaning obvious to viewer? Have you revealed & concealed
Composition: Organized color scheme Planned placement of objects?
Execution: Painting is clean & neat (all over?) What is successful about your IDENTITY BOX? What would you change about the work? |
1 1 1 1 1
1 1 1 1 1 1
1 1 1 1 1 1 |
2 2 2 2 2
2 2 2 2 2 2
2 2 2 2 2 2 |
3 3 3 3 3
3 3 3 3 3 3
3 3 3 3 3 3 |
4 4 4 4 4
4 4 4 4 4 4
4 4 4 4 4 4 |
5 5 5 5 5
5 5 5 5 5 5
5 5 5 5 5 5 |
Artists write artists statements to enhance the understanding of their work, to express verbally what they have expressed visually, to explain their work to viewers, & for gallery, museum and university purposes. Write a good artist statement on the BACK. Do not begin with I and do not write about assessment matters. EXPLAIN your IDENTITY BOX in a brief create essay! (This is as a separate grade!)
Submitted by: Carolyn Patton
Distorted Grid Figure Study
I spend a good deal of time working with my Art II students to help them master drawing the human form and face. This is an assignment my students enjoy. Once the distorted figure is drawn, the project can be developed in several different ways.
Select a head or figure study that you have drawn previously. If you have no drawing that you wish to work with, begin by creating a new drawing. On the original work establish a grid. To do this fold the image in half horizontally, then in half again horizontally. While folded, fold it in half vertically, then in half again vertically. This will establish a grid. On a new sheet of paper that is either wider or taller but not the same, fold the same grid as you did on your original piece. It will have the same number of squares as the original piece but they will be shaped differently. Begin your new work, drawing what you see in the first square on the original piece, in the first square of the new piece, stretching it to fit. Continue this process until you have the whole distorted figure reproduced. Your drawing may be shaded as a value study, or painted in your favorite medium. Specific palettes - using only warm colors or cool, primary or secondary or monochromatic, make an painting assignment and add to the distorted feel of the figure.
Submitted by: Denise Phalan
Art History - Updated for 21st Century
Last year I worked with the Drama teacher (as we often do) and the Art III students painted an exemplar -- a copy of an art work that was produced during the timeline of the the play that was being performed. The time period was American Art from 1650 to 1780. These exemplars were then exhibited in the lobby outside the auditorium for the duration of the play and beyond. The students had to research the painting chosen, the artist, etc and make a presentation along with replicating the painting... as closely as they could... down to the size, medium, brushstrokes...
THEN, I had them "update" the painting to the 21st century (style, feeling, ambiance, etc.)... if it was a landscape... they had to do a "modern" painting of that exact place... how did it change? was it now a city? a dump? still "the same landscape"? If it were a portrait, then they had to update in style, color, dress... etc., the portrait. It worked out fabulously! Several of the updated versions earned gold keys on the regional level in Scholastics...
New assignment: I am going to have the students produce an exemplar prior to 1850 or 1800, and not limit them to America. I would keep them far away from the Impressionists and advent of high camera usage... but I would have them do the same process of researching the painting and the artist, putting them in context, and producing them true to size, medium, style and then updating them to the 21st century.
I feel that this gives them an art history lesson, makes the artist "alive and human" to them, helps them focus on another's point of view (why did they make THESE choices of color, value, lighting, objects, placement, etc), and gives them a challenge to take someone else's choices and make a good painting that is totally theirs, from it. Really, I got fabulous pieces from them and will do it again this year. We stretch canvas, use Masonite, cardboard... whatever it takes to replicate the size. Some I can provide, others the kids purchased stretchers and some painted really, on cardboard primed with Gesso... I feel that art III and AP Studio can use this assignment.
Links:
Bill Root - Carborundum Prints Lesson Plan
Cindy Hiers - Inside Outside Drawing Lesson idea
Connie Jimenez - Reflection/Refraction Colored Pencil (Image)
Louise Housman - Two Abstraction Lessons
Margaret Kunkel - Pasta Drawing
Melinda Zacher - Self Portrait Sculpture
