Final Lesson Plan Proposal
Timothy Fenu Jr
Lesson Plan 1 Drawing: The Live
Girls- Sketchbook Project
Artist: Cathy Daley
“Live Girls” 1995
“Live Girls” 1995
“Lady” 1995
Lesson 1: The Live Girls
Statement of Origin
Objectives
After seeing Cathy Daley’s work through ARTstore, I
couldn’t help but want to make a lesson plan
revolving around her series of interesting feminist
gestural drawings. Cathy Daley’s work I feel would
be best used in a lesson about capturing a small
moment as it happens. Her work in “Live Girls” and
“Lady” are the result of drawing live women at that
very moment in time. Her work is almost gestural in
nature, trying to catch them at that point exactly
with less emphasis on realism and more on an
emotional level. After reading chapter 9 of
Secondary Art Education: An Anthology of Issues, I
felt inspired to use this as not only a lesson on
drawing in the moment, but a good way for students
to learn to use their sketchbooks effectively.
Anderson’s article Making women artists visible also
influenced my choice in Cathey Daley, as to give my
students not only a view of a female artists work, but
also to talk about the feminist ideals she stands
behind.

Students will create a series of sketches
through out the semester under a theme like
Live Girls, which will then be compiled and
presented at the end of the year.

Students will work through-out the year,
creating sketches for this project, practicing
their craft along the way.

Students will be introduced to Cathy Daley,
and also the concept of the feminine
representation in western culture. They will
explore her roots and style, examining her
representations of the female body in Live
Girls and Lady.

Students will learn and practice the process
of a gesture drawing, along with the
sketching process.
Lesson 1: The Live Girls
Standards

VA.912.C.2.1: Examine and revise artwork
throughout the art-making process to
refine work and achieve artistic objective.

VA.912.F.1.2: Manipulate or synthesize
established techniques as a foundation for
individual style initiatives in two-, three-,
and/or four-dimensional applications.

VA.912.O.2.4: Concentrate on a particular
style, theme, concept, or personal opinion
to develop artwork for a portfolio, display,
or exhibition.

VA.912.O.3.2: Create a series of artworks
to inform viewers about personal opinions
and/or current issues.
Materials

Pencils

Charcoal

Sketchbook

Paper
About the Artist:

Cathy Daley lives in Toronto and has been exhibiting her work through out Canada
and internationally since 1980.

She has received awards from the Canada Council for the Arts, the Ontario Arts
Council, the Toronto Art Council, and the Bertolt Brecht Fund of Berlin.

She is an Associate Professor at OCAD University.

Her works often include cultural images inspired by ballerina tutus, fairy-tale
princesses, and Barbie doll couture to investigate childhood memories of what it
means to be female in Western culture, and explore cultural representation of the
feminine and the body.

She works primarily in the medium of drawing, almost exclusively in black pastel
on translucent vellum. This medium offers her the possibilities of a spontaneous
and direct working process.

She also has worked on sculptural pieces, which also follow the same themes as
her artwork.
Questions to Consider

Describe what you see in these piece: What do you see?

Analyze what you are seeing in the pieces:



How does Cathy Daley utilize line in these works?

How does she use shape and form in these works?

What sort of style does Cathy Daley use to present her works?
Interpret a meaning in what you see:

What is the main theme of this breath of work?

How does she present her feminist themes in these works?

Why would she draw women who were living? How does she present the female form?

After learning about Cathy Daley, what do you think about this series of work?
Judge this piece:

What do you think about Cathy Daley’s style? Is it successful?

Would you consider these pieces successful finished pieces?

Do you feel that Cathy Daley presents her theme well throughout these works?
Procedures
1.
The idea for this lesson is that the final product will be presented near the end of the semester. As
such, the first lesson will be used to introduce the idea of the project, and get the students ready to
work on their own. Students will receive the project rubric at the beginning of the semester to
follow along with.
2.
Class will begin with a quick lecture about the sketchbooks, and their importance. After which, the
artist Cathy Daley will be introduced to the class. A small discussion over her works in “Live Girls”
and “Lady” will be had. Students will discuss the Questions to Consider. Students will also learn
about the artist’s influences, namely her view of western femininity.
3.
Students will, after having this discussion, move on to a demonstration on gestural drawing. The
teacher will make connections between Cathy Daley’s style and work in comparison to this drawing
technique. Students will work along with the teacher, creating 4 gestural facial drawings of
classmates, along with 2 gestural body drawings. These in demonstration works will be graded for
class participation.
4.
Students will be told their assignment at the end of the class period: a semester long project in
which the students will create a series of 15 sketches, similar to Cathy Daley, which go by a theme
with a gestural style. Students will be able to choose the theme, however with a few constraints.
The teacher has the option of limiting the subjects to only humans, or leaving it open to “living”
beings. Also, feminist themes will be preferred, as it follows more of Cathy Daley’s style of
message. The teacher must accept the subject of the theme before the student can begin work.
The idea behind this assignment is that students will work over the year, creating as many quick
gestural drawings as they can, drawing things they see in reality. The subject must be alive, and the
drawings must show this. Students will be encouraged to work from a theme that interests them in
order to keep the words similar and group able.
5.
At the end of the semester, students will first choose 2 of their best gestural sketches and develop
them into more intricate drawings which follow their chosen theme. These works will include an
artist statement. Students will then have these two artworks group critiqued and submitted for
grading on quality and content. Students will also hand in their other sketches as a side grade for
completion, to make sure they created at least 15 quick sketch.
Assessment

Students will be graded on participation during demonstration. If the
students show that they have been working during class, they get their
participation points for that day. If they fail to show their work, they will not
get participation points for the day.

Main pieces will be graded using assessment Rubric. (See Appendix A for
Assessment Rubric)

Students will be assessed on their completion of the 15 sketches. For every
sketch missing, 5 points will be taken off. If the student submits less than 6
images, the student will get no credit for their sketches. If the student has
less than 15 sketches, they will receive partial credit. If the student has
above 15 sketches, there may be the possibility for extra points, at the
teacher’s discretion.
References
Anderson, H. (1992). Making women artists visible. Art Education, 45(2), 14-22.
Daley, C. (n.d.). Cathy Daley. Retrieved April 21, 2015, from
http://www.cathydaley.com/
Daley, Cathy. (1995) Lady [Drawing]. Retrieved from ARTstore database.
Daley, Cathy. (1995) Live Girls [Drawing]. Retrieved from ARTstore database.
Daley, Cathy. (1995) Live Girls [Drawing]. Retrieved from ARTstore database.
Little (1999). Secondary Art Education: An Anthology of Issues. NAEA Advisory,
Ed. Christian Davis, National Art Education Association.
Lesson Plan 2 Ceramics: My House
Artist: Graciela Olio
“Proyecto Sur, Serie Home (Project South,
Home Series)”, 2010
“Proyecto Sur, Serie Home (Project South,
Home Series)”, 2011
Lesson 2: My House Reflects Me
Statement of Origin
Objective
The inspiration for this lesson comes
from Chapter 3 of Secondary Art
Education: An Anthology of Issues which
deals with the transience period of a
student’s life. It also talks about the
importance of creativity and self
expression. In working to find ceramic
pieces which reflected the creator’s
personality and culture. Graciela Olio’s
Home Series does just this, reflecting
her own culture in each home she
creates. I want to include a lesson
where the children explore their home
life through an artistic medium.

Students will create their own home,
using artistic journals, personal photos,
and other media materials. They will
create a work which represents their own
life style or home.

Students will examine the work of
Graciela Olio, her roots and style. They
will be able to understand the artistic
choices she makes in assembling her
pieces.

Students will learn how to create a slab
structure, using this as the base for their
home. Students will also learn how to
transfer an image onto the slab using
printed images.
Lesson 2: My House Reflects Me
Standards




Materials
VA.912.C.2.7: Assess the challenges and
outcomes associated with the media used
in a variety of one’s own works.

Clay

Glaze
VA.912.F.3.4: Follow directions and use
effective time-management skills to
complete the art-making process and
show development of 21st-century skills.

Inkjet printer

Scanner

Photoshop

Adhesive (Optional)

Artistic Journals/Magazines

Old Photos from Home

News Paper

Sketchbook and Pencil
VA.912.O.3.1: Create works of art that
include symbolism, personal experiences,
or philosophical view to communicate
with an audience.
VA.912.S.3.7: Use and maintain tools and
equipment to facilitate the creative
process.
About the Artist:

Born in La Plata, Argentine in 1959.

Arts graduate and Professor of Plastic Arts (with a main focus on Ceramics) at the
Fine Arts Faculty, National University of La Plata.

Graciela Olio’s work is built from a cultural mixed identity of Pre-Columbian,
Hispanic-American and European migratory past.

She gives account of her complex identity in her works by gathering multiple
cultural contributions, including things like historical events, memories, games,
ect which all shaped her.

Project South is a “work in progress” which she uses images transferred from
Simulcop booklets, which are Argentinean schoolbooks used to help draw during
the 60s and 80s to propose a journey through south America and Argentina.

“The Home Series, which is part of Project South, expresses and affirms a place of
belonging.”
Questions to Consider

Describe what you see in these piece: What do you see?

Analyze what you are seeing in the pieces:



What sort of technique does Graciela Olio utilize in creating her homes?

Are the homes symmetrically even?

What sort of medium does Graciela Olio use in the creation of these homes?

Are these pieces useable pieces?
Interpret a meaning in what you see:

What sort of message is Olio making about their own home?

Why use old news and other medium to adorn the outsides of these houses?

Based on Graciela Olio’s background, what can you tell she’s saying through these pieces?
Judge this piece:

Are these pieces aesthetically appeasing? Why or why not?

Do you like these pieces? Why or why not?

Would you consider these pieces successful in translating their meanings? Why or why not?
Procedures
1.
Before the class period in general, tell students to bring in a USB or other device with pictures, magazine
articles, ect that they feel relate to their home life. Expected class time: 1 week + firing time.
2.
Welcome the students and mention that today they will be looking at the works of Graciela Olio, and that
they would be working on slab construction today.
3.
Students will be introduced first to the work of Graciela Olio, going over her background, and the works in
the Project South: Home Series. We will make note of her heritage and relation to the project.
4.
Students will discuss the works shown in a class discussion, answering the Questions to Consider as a group.
5.
After discussing the QtC, we will move onto the demonstration, in which slab making and ink transferring
will be modeled. Students can either work alongside the demonstration for time constraints, as long as
they take notes. We will discuss slipping, scoring, slab making, and ink transferring. If there is no materials
for ink transferring (no computer/ink/proper paper), then students may instead adhesive
articles/picture/etc. in a mix media ceramics project.
6.
Students will begin rough sketching their assignments at this time, focusing on forming their slab homes.
7.
Students will begin this assignment, creating their own personal home out of slabs which have been dyed
with ink transfers of old photos, articles, or other materials that relate to the student’s home life, much
like Graciela Olio’s Home series, which reflects her cultural home background. Students will take turns
using Photoshop to transfer their photos and articles into the proper format to transfer. If there is not
enough time, students may instead add their outside decorations later with adhesive, after firing, in a mix
media ceramics project.
8.
Once the student is done, they will write up an artist statement about the piece, documenting what makes
their home their own.
9.
When all students are complete, a “home examination” will be held, in which all the homes are displayed
and everyone in the class looks at the finished work of their peers. This will take the place of a group
critique. The students will be given their grades following this home examination.
Assessment

Students will be assessed on the quality of their “home”, along with explain
how their house represents themselves.

See Appendix A

During the Home Examination, students should be able to explain about their
home, and how the parts they added relate to their own home experience.
This will be a participation grade, and as long as the student explains their
work, they will receive credit for this component of their grade.
References
Graciela Olio. (n.d.). Retrieved April 21, 2015, from
http://www.ceramicsnow.org/gracielaolio
Little (1999). Secondary Art Education: An Anthology of Issues. NAEA Advisory,
Ed. Christian Davis, National Art Education Association.
Olio, Garciela. (2010) Proyecto Sur, Serie Home (Project South, Home Series)
[Ceramics]. Retrieved from http://www.ceramicsnow.org/tagged/GracielaOlio-Ceramics
Olio, Garciela. (2011) Proyecto Sur, Serie Home (Project South, Home Series)
[Ceramics]. Retrieved from http://www.ceramicsnow.org/tagged/GracielaOlio-Ceramics
Lesson Plan 3 Sculpture: My Body
Tells a Message
Artist: Constance Mcbride
“The Economy” 2009-2013
“Name Dropper” 2009-2013
“Every Move You Make” 2009-2013
Lesson 3: My Body Tells a Message
Statement of Origin
Objectives
My main inspiration for this Lesson came
from viewing Constance Mcbride’s work
while searing for possible artist
candidates. Her stunning sculpture of
the hand grasping at straws,
representing her view on the economy
was simply amazing. In reading Elliot W.
Eisner’s article What the arts taught me
about education (1991), I learned the
importance of the arts in cognitive
thinking. I wish to show my students
Mcbride’s works, which have so much
inner meaning which the students need
to cognitively think about in order to
understand.

Students will learn how to create a
sophisticated and meaningful
message within their sculptural
pieces.

Students will study the works of
Constance Mcbride, her roots and her
style. Students will be able to
identify her work, explaining the
meanings behind each work.

Students will learn how to papiermâché, utilizing this as the main
method to creating their sculptural
pieces.
Lesson 3: My Body Tells a Message
Standards

VA.912.C.1.7: Analyze challenges and identify
solutions for three-dimensional structural
problems.

VA.912.C.1.8: Explain the development of
meaning and procedural choices throughout the
creative process to defend artistic intention.
Materials

Paper Mache

Clay

Glue

VA.912.O.1.2: Use and defend the choice of
creative and technical skills to produce artworks.

Acrylic Paint

VA.912.O.1.5: Investigate the use of space, scale,
and environmental features of a structure to
create three-dimensional form or the illusion of
depth and form.

Brushes

Sketchbook and Pencil

VA.912.O.3.1: Create works of art that include
symbolism, personal experiences, or
philosophical view to communicate with an
audience.
About the Artist:

Native of Philadelphia, PA, Mcbride relocated from the East Cost to the
Southwest in 2002 and resides in Phoenix, Arizona.

She is currently a member of eye lounge; a collective artist run space on
Roosevelt Row in Pheonix.

She is inspired by time, placing emphasis on dreams while examining her
family dynamics over various stretches of time.

Her figures are created to note the complexities of the human drama as we
age, and face the trials that come with it.

She tries to capture the essence of a range of human experiences that are
intensely personal yet universal.

She works mainly in slab clay, as the earthen medium is the most primary
element.
Questions to Consider

Describe what you see in these piece: What do you see?

Analyze what you are seeing in the pieces:



What sort of techniques would you utilize to create works similar to these?

What sort of medium would you consider using to create works like these?

How does Mcbride utilize texture and color in these works?
Interpret a meaning in what you see:

What are the messages being expressed in these works?

How does Mcbride utilize the human form to express these works?

After learning more about Mcbride, what can you tell about these pieces?
Judge this piece:

Do you like these pieces? Why or why not?

Are they successful? Why or why not?
Procedures
1.
Welcome the class and explain that today we will be looking at the works of Constance Mcbride, and also be
creating a papier-mâché, mixed media project utilizing different materials. Expected class time: 1 to 2
weeks.
2.
Students will be put into 3 groups, and given one of Mcbride’s works. They will be asked to answer all the
Questions to Consider, along with trying to get a general idea of what messages are behind the works. This
will be a 10 minute discussion.
3.
After students have had time to talk about Mcbride’s works, they will relay their findings with the rest of
the class, talking about the work they were assigned. At this point, the teacher will give a bit of Mcbride’s
background and mentality of her works, and have the students quickly make assessments about the work
after discussing this. This will be a participation grade.
4.
Students will then be given a demonstration on casting using papier-mâché or clay in order to achieve a
human form for a base. Students will be asked to take notes carefully and utilize this later in their
assignment.
5.
Students will begin a conceptual sketch based off the human form, utilizing ideas for their assignment.
6.
Students will then begin their assignment: A mixed sculptural media project in which the students will
create a piece, similar to Mcbride which conveys a message to the audience through a humanoid medium.
They can concentrate on decorating the outside of a human body part like in “The Economy”, which
displays it’s message on the outside, or they may be a little more creative and make the form itself tell the
message, like in “Every Move You Make”. They have the option of working in a ceramic medium, or a
papier-mâché medium, and may also utilize other sculptural medium upon request.
7.
After completion of their assignment, students will write an artist statement, explaining the message
behind their work.
8.
A group critique will be performed with each student’s work, to see if they conveyed their message, and
were able to utilize technique properly. Students will be graded during this time, and given their final
grade at the end of the class.
Assessment

Students will be assessed on the quality of their body sculpture, and the
content of what it tells.

See Appendix A.
References
Eisner, E (1991). What the arts taught me about education. Art Education, 44(5),
10-19
McBride, C. (n.d.). About the Artist. Retrieved April 21, 2015, from
http://constancemcbride.com/about
Mcbride, Constance (2009-2013). Every Move You Make [Sculpture]. Retrieved
from http://constancemcbride.com/collections/26302
Mcbride, Constance (2009-2013). Name Dropper[Sculpture]. Retrieved from
http://constancemcbride.com/collections/26302
Mcbride, Constance (2009-2013). The Economy [Sculpture]. Retrieved from
http://constancemcbride.com/collections/26302
Lesson Plan 4 Painting/Color: Let Me
Tell You A Story
Kai Althoff
Kai Althoff, “Untitled (table scene)”, 2001
Kai Althoff, “Untitled (Two men and woman
with bicycle)”, 2001
Kai Althoff, “Untitled (Three men and a dog),
2001
Lesson 4: Let Me Tell You A Story
Statement of Origin
Objectives
What inspired this assignment was the
work of Kai Althoff himself. I found him
while looking through a few databases
on contemporary artists, and
immediately noticed these story filled
pictures which very interestingly all
showcased a story in some way. The
story was so interestingly showcased
that I just had to utilize this artist.
Chapter 3 also helped in influencing this
choice, as I believe a story based lesson
would be a good ideas to give the
students a chance for self expression and
creative, cognitive thinking.

Students will be able to create a
work based upon a story of their own
creation, which displays themes
relevant to themselves.

Students will learn about Kai Althoff,
his roots and inspirations. They will
understand the themes which Althoff
presents in his pieces, and the stories
he tells.

Students will learn to utilize acrylic
paint and watercolor together in a
piece.
Lesson 4: Let Me Tell You A Story
Standards

VA.912.C.1.2: Use critical-thinking skills
for various contexts to develop, refine,
and reflect on an artistic theme.

VA.912.O.1.1: Use the structural elements
of art and the organizational principles of
design in works of art to establish an
interpretive and technical foundation for
visual coherence.

VA.912.O.1.2: Use and defend the choice
of creative and technical skills to produce
artworks.

VA.912.O.2.4: Concentrate on a particular
style, theme, concept, or personal opinion
to develop artwork for a portfolio, display,
or exhibition.
Materials

Pencil

Sketchbook

Paper

Paints (Acrylic and watercolor)

Construction Paper
About the Artist:

Born in 1966, Cologne, Germany.

Currently lives and works in Cologne, Germany.

Althoff has had many solo exhibits, ranging in location from New York, to
Berlin, to Vancouver.

He has also been a part of many different group exhibitions.

His works often show homo-erotic subtext to the subject, showing violence as
somewhat tender in nature, often in a sensual way.

His style can have a similar feeling to that of folk tale fantasy works.
Questions to Consider

Describe what you see in these piece: What do you see?

Analyze what you are seeing in the pieces:



How does the artist utilize line pieces?

Do they have a specific central point of interest in them?

What kind of color scheme does Kai Althoff tend to use in this pieces?

How does Kai Althoff utilize point of view in his works? Compare Untitled (Three men and a dog) to Untitled (Table
Scene)
Interpret a meaning in what you see:

What stories are being told through these works?

What sort of themes are explored in these stories?

Do these works have any undertones which might be explored? Explain.

After learning more about Kai Althoff, what can you say about his works?
Judge this piece:

Would you consider this type of work successful? Why or why not?

Do you like these works? Why or why not?
Procedures
1.
Welcome the students to the class, and explain that today they will be learning about Kai Althoff, and creating a painting
which tells a story. Expected class time: 3 to 4 class periods.
2.
Begin the class by dividing the class into groups of three. Give each group the three pictures by Kai Althoff as an
example. Tell the students to, individually first look at one of the three artworks, and try to discern a story going on in
the picture. Then, after about 5 minutes, switch with another teammate, and look at another. Do this until all three
works have been examined. Afterward, as a group, talk about what you think was going on in the picture, and formulate
what you believe the story being told it. Each group will write out what they think the story of each painting is telling.
3.
After about 10 minutes, there will be a class discussion, talking about each of the works. Each group will say what they
believe the story being told is, and what kinds of themes or messages they got from the pictures. After all the paintings
are discussed, the teacher will present information about Kai Althoff, and give their own theory to the painting’s story and
meaning. The homosexual subtext should be included when talking about the stories and influences. Questions to
consider will be also talked about at this point.
4.
After this discussion, the groups will hand in their theories for participation grade. A small demo on acrylic and water
color techniques can be preformed at this time, however it is optional. You may also have the students begin
experimenting before they begin.
5.
Before beginning the sketching of their assignment, students will create a short story. This story will be 3 paragraphs
long, and can be about any approved subject matter. This story will be used in creating the student’s final product.
Students may work in groups to create a story together, however each student needs a final painting. Stories can be
personal non-fiction narratives, fantasy, fiction, anything as long as the student is the one who creates it.
6.
Students will begin sketching out a story idea for their assignment. They will use the story they came up with, and try to
re-create the story in their work. There should be at least 3 planning sketches before a final is chosen.
7.
Students will begin their painting assignment: They will create a story based image, based upon the story they came up
with. Students will utilize a similar color tone and style, demonstrated earlier as their basis for painting their piece.
Their work should emphasize the story above the style, content over technique.
8.
After all the students are complete, we will have a bit of story time as a final critique. Students will present their work,
reading the stories they wrote and explain how their paintings relate to the stories. Students will be graded at this time,
and after all presentations are complete, the students will receive a grade for their work.
Assessment

Students will be assessed on the content of the story they created in their
artwork, as well as the craftsmanship.

See Appendix A.

Instead of an artist statement, the student will write a story which their
painting will be based upon. This can be about any approved subject matter,
but must be completely original by the student. They are not allowed to use
stories already existing in other media. Since this will take place of the artist
statement, it will be graded as part of the final painting.
References
Althoff, Kai. (2001) Untitled (table scene)[Painting]. Retrieved from ARTstore
database.
Althoff, Kai. (2001) Untitled (Two men and woman on bicycle)[Painting].
Retrieved from http://www.saatchigallery.com/artists/kai_althoff.htm
Althoff, Kai. (2001) Untitled (Three men and a dog)[Painting]. Retrieved from
ARTstore http://www.saatchigallery.com/artists/kai_althoff.htm
Kai Althoff. (n.d.). Retrieved April 21, 2015, from
http://www.saatchigallery.com/artists/kai_althoff.htm
Little (1999). Secondary Art Education: An Anthology of Issues. NAEA Advisory,
Ed. Christian Davis, National Art Education Association.
Lesson 5 Media Criticism: Lies from
the Table Cloth- Food Ads
Food Advertisements- That looks too good to be true!
Burger King
Mc Donalds
Lesson 5: Lies from the Table Cloth
Statement of Origin
Objectives
This lesson honestly came to me when I was having
the hardest time trying to think of a proper media
lesson. I wanted to show that sometimes
advertisements deliberately lie (Or with hold the
truth) to the viewer in order to generate more sales.
I also wanted to create a lesson which would use
computers in some way, inspired by chapter 10 of
Secondary Art Education: An Anthology of Issues,
which talks about the importance of the computer to
the art classroom. My consensus came to talking
about how fast food restaurants lie through their
imagery of the food they serve. Often the food is
much nicer looking in the advertisements than when
served. I feel often like this is because these fast
food places “Can’t” make this food, and merely use
the imagery to entice their viewer to buy the food.
By the time your there, you really don’t have a
choice after buying, and just accept the food as is. I
want students to take this lesson, and create a work
revolving the “truth” of how these meals really look.

Students will create an
advertisement piece which shows
the truth of fast food restaurant
food quality.

Students will look into how
advertising deliberately skews the
truth of their products in order to
sell more of a product.

Students will learn to utilize
Photoshop, along with other
mediums to create their product.
Lesson 5: Lies from the Table Cloth
Standards

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Materials
VA.912.C.3.1: Use descriptive terms and
varied approaches in art analysis to
explain the meaning or purpose of an
artwork.

Computer

Paper
VA.912.H.1.5: Investigate the use of
technology and media design to reflect
creative trends in visual culture.
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Sketchbook

Pencil
VA.912.H.3.2: Apply the critical-thinking
and problem-solving skills used in art to
develop creative solutions for real-life
issues.
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Access to Fast Food (Maybe
provided…)
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Camera

Green screen

Photoshop
VA.912.F.2.4: Research ideas to plan,
develop, and market art-related goods,
artworks, or services that influence
consumer beliefs and behaviors.
Questions to Consider

Describe what you see in these piece: What do you see?

Analyze what you are seeing in the Advertisements:
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How do these advertisements use color to their advantage?
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How do they place the food products? What sort of position on the Ad does it usually have?

How do the Ads utilize their text to convey the deliciousness of their products?
Interpret why the Ads do what they do:
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Who is this ad aimed for?
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What does the advertiser do to try and sell you their product?

Why do these ads present to the audience a “Perfect Product” over what the customer is more likely to receive?
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Would you consider what the advertiser does to be lying?
Judge this advertisement:

Would you buy the product based on the advertisement alone?

Why if you would.

Why not if you wouldn’t.

Do you consider these advertisements successful? Why?

If you were to make your own advertisement, would you use advertisements like this as a bit of a starting point? Why or why not?
Procedures
1.
Before class begins, buy some fast food from Mcdonalds or Burger King to be used as the subject for today’s lesson. Possibly a variety of
different items. NOTE: This is for use in the lesson, do not eat or let the students eat. However, if money allows, you may want to buy
each student a food item to make this lesson a bit more fun. Wavers may be passed out before this lesson, in case this happen. IF THE
SCHOOL DOES NOT ALLOW THIS, then digital pictures of real fast food taken by the teacher, prepared locally can be uploaded for student
uses.
2.
Welcome the student to the class and begin the class by saying that today we will be talking about shifty practices made by advertisement
companies. Estimated time for this project is 2 weeks, depending on the number of computers.
3.
Project each food ad, and have the students first describe what they see, and tell how the ad makes them feel. After going through all the
Ads, go over the Questions to Consider.
4.
Explain that these ads are create the way they are for a reason, and show the video by Mcdonalds :
https://www.youtube.com/watch?v=oSd0keSj2W8. Ask students what they feel after watching this ad, which talks about the process used
to create the ads which they watch.
5.
Ask the students if they think fast food companies should make their food look more like the ads. Have them discuss if this is a viable
option for the companies. As the discussion winds down, show this video: https://www.youtube.com/watch?v=XrZFM2nvLXA.
6.
Have the students discuss their opinions on how places like Mcdonalds, Burger King, and other restaurants withhold information and
deliberately do not produce a product like the ads. Tell students that they will now be beginning the assignment: To create a more
realistic food ad.
7.
Students will work to create their own food ads which better showcase the food they are receiving. Using digital cameras, the students will
take a picture of a locally bought food item on a green screen. They will then use their sketch books to come up with an interesting
realistic slogan for the restaurant, and finally utilize photoshoot to ultimately create their product. A demo on photoshop will take place
before the lesson to make sure students know how to utilize the program. If the student wishes to take a picture of a food item not
provided they must get permission from the teacher.
8.
After completion of their ad, students will print it out, and submit their food ad. An artist statement should be included, on how their ad
more realistically showcases the fast food industry.
9.
After completion of their self made, more realistic ad, students will write a 1 page response to these questions:

Why do advertising companies try their best to present a “Perfect” representation of their product in their ads?
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Do you think companies like Mcdonalds would be nearly as successful if they presented their meals in a more realistic light?

Would you like advertisers to keep presenting perfect representations of their products, or try a more realistic approach like the assignment
completed in class.
Assessment
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Students will be assessed on their completion of their own “advertisement”
over the ‘truth’ of fast food. The student will be graded similarly to other
projects (See Appendix A).
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In addition, students will also be assessed on their written response to the
question of why they think advertisement companies try to create a perfect
representation of their product that is almost never achieved? This will be a
single paragraph response, and students will be graded on grammar and
spelling (5 points), content (30) points, and original insight (15 points) for a
total of 50 points. This will be graded separately from the group
advertisement project.
References
20% of McDonald’s Facebook Ad is Hamburger Legalese. (2010, July 12). Retrieved April 21, 2015,
from http://ryanspoon.com/2010/07/12/20-of-mcdonalds-facebook-ad-is-hamburger-legalese/
Benson, G. [MediocreFilms]. (2014, Jun, 15th). Fast Food ADS vs. REALITY Experiment [Video file].
Retrieved from https://www.youtube.com/watch?v=XrZFM2nvLXA
Burger King Creative Advertisements. (n.d.). Retrieved April 21, 2015, from
http://www.splandex.com/2014/06/burger-king-creative-advertisements/
Burger King: The “Whopper Lust” Challenge. (n.d.). Retrieved April 21, 2015, from
http://www.digitalbuzzblog.com/burger-king-whopper-lust-interactive-tv-ad-challenge/
Little (1999). Secondary Art Education: An Anthology of Issues. NAEA Advisory,
National Art Education Association.
Ed. Christian Davis,
McDonads [McDonald's Canada]. (2012, June, 19th). Behind the scenes at a McDonald's photo shoot
[Video file]. Retrieved from https://www.youtube.com/watch?v=oSd0keSj2W8
Our Work - Mcdonalds. (n.d.). Retrieved April 21, 2015, from http://www.sternadvertising.com/ourwork/mcdonalds/
Appendix A