MADISON PUBLIC SCHOOLS
Advanced Art Studio
Authored by: Kathryn Cimis-DeBiasse
Reviewed by: Lee Nittel,
Director of Curriculum and Instruction
Stacy Snider,
Supervisor of Visual and Performing Arts
Adopted by the Board: January, 2013
Members of the Board of Education:
Lisa Ellis, President
Patrick Rowe, Vice-President
David Arthur
Kevin Blair
Shade Grahling
Linda Gilbert
Thomas Haralampoudis
James Novotny
Superintendent: Dr. Michael Rossi
Madison Public Schools
359 Woodland Road, Madison, NJ 07940
www.madisonpublicschools.org
I. OVERVIEW
Advanced Art Studio is a junior or senior level art class designed for those students who are interested in
pursuing the study of art or design at the college level. This course is also for students who exhibit a high degree of
interest and/or aptitude and wish to continue to develop their artistic and design abilities for personal enrichment.
Advanced Art Studio presumes an intermediate to advanced painting and drawing ability. Students who enroll in
this class have typically taken Art Studio in their freshman year and Drawing and Painting in their sophomore
year. These pre-requisites may be waived pending a portfolio review, if the student has attended a pre-college
summer art program or has received high-school level private art instruction. Advanced Art Studio is a
comprehensive art course that is predominantly studio (production) oriented, but also integrates aesthetics, art
criticism, and art history as they relate to the various advanced studio projects. This art course provides students
with an in-depth study of drawing, painting, and two and three dimensional design. Students who have completed
Advanced Art Studio with a “B-” or higher average are prepared to take Art Major in their senior year.
II. RATIONALE
Advanced Art Studio provides students the opportunity to grow and learn in a serious studio environment
surrounded with peers who are committed to developing themselves as young artists and designers.This course
allows students to broaden their understanding of art from other cultures, refine their ability to communicate in a
variety of media, think and express themselves critically, strategize creative and novel solutions to problems, and
understand that a given objective can have more than one solution. Finally, colleges and universities offering
programs in art and design related fields of study such as architecture, industrial design, graphic design, and
interior design require a portfolio review as part of their admissions procedure. Advanced level studio art courses
provide students with an opportunity to prepare themselves for this rigorous admissions process.
III. STUDENT OUTCOMES (Linked to New Jeresey Core Curriculum Standards)
1. The student will gain knowledge and proficiency in advanced drawing techniques as they demonstrate their
mastery of contour line drawing, analytical drawing, expressive line quality, and the use of gray values and/or
color in their drawing compositions. (Standards 1.1, 1.2)
2. The students will demonstrate their mastery of advanced methods and techniques utilized to objectively render a
3-Dimensional environment in a 2-dimensional composition such as linear perspective, sighting, and/or gridding.
(Standards 1.1, 1.2)
3. The students will demonstrate their mastery of advanced color theory techniques utilized in painting, drawing,
and collage as they successfully integrate the use of various color media in their 2D and 3D compositions.
(Standards 1.1, 1.2, 1.3)
4. The students will gain knowledge and proficiency in advanced 3-dimensional design techniques as they
demonstrate their mastery of “freestanding” and/or “relief” compositions. (Standards 1.1, 1.2)
5. The students will demonstrate the ability to integrate technical proficiency in various media with artistic
expression to create successful 2D and 3D compositions that utilize the principles of design: rhythm, movement,
balance, proportion, variety, emphasis, harmony and unity.
6. The student will gain knowledge and proficiency in the advanced-level techniques utilized in the creation of
both “objective” and “nonobjective” compositions. (Standards 1.1, 1.2, 1.3)
7. The students will demonstrate advanced knowledge and proficiency in the methods of art criticism and
aesthetic judgment as the discuss, analyze and evaluate their own work, the work of the peers and the work of
professional artists. (Standards 1.1, 1.3, 1.4)
8. The students will demonstrate advanced knowledge and understanding of Art History and other cultures of the
world as they explore and master various methods and techniques utilized in the making of their own art.
(Standard 1.2)
9. The students will attain advanced proficiency in other modes of self expression as they master new media and
thus new modes of communication. (Standards 1.1, 1.2, 1.3, 1.4)
New Jersey Department Core Curriculum Content Standards for Visual and Performing
Arts
1.1
1.2
1.3
1.4
Creative Process
History of Arts and Culture
Performance
Aesthetic Response and Critique Methodologies
IV. ESSENTIAL QUESTIONS AND CONTENT
Unit 1: Rendering the Human Face (Frontal view, ¾ View, and Profile View) (6 - 8 weeks)
Obj. 1: SWBAT Demonstrate the ability to utilize a variety of references to establish the correct
proportions of the face (frontal, ¾, and/or profile). (Standard 1.2)
QUESTION: What kinds of methods does an artist use to establish accurate facial proportions of their
subject?
Suggested Activities:
A. Using a mirror, students will draw themselves from direct observation. (Standard 1.2)
B. Students may use a variety of references such as photographs, digitally manipulated images,
or even their memory to create a self-portrait or a portrait of someone else. (Standard 1.2)
Materials: Pencils, charcoal, paper, mirrors, photographs, digitally manipulated images
Obj. 2: SWBAT Use analytical drawing techniques such as sighting to
establish the correct proportions of the face (frontal, ¾, and/or profile).
(Standard 1.2)
QUESTION: What is the correct technique for sighting the face?
Suggested Activities:
A. Students will use sighting techniques to establish the correct proportions of their face and all
the facial features. (Standard 1.2)
B. Students may “practice” their sighting techniques by drawing a fellow student. (Standard 1.2)
Materials: Pencils, charcoal, paper, mirrors, models
Obj. 3: SWBAT Create a contour line drawing of the face (frontal, ¾, and/or profile). (Standard 1.2)
QUESTION: Why is establishing the foundational structure of the head using line important before
beginning to add value or color?
Suggested Activities:
A. Using a fellow student as a model, students will created timed, contour line drawings of the
face and shoulders. (Standard 1.2)
B. Using a mirror, students will create timed, contour line drawings of their own face from
observation. (Standard 1.2)
C. Using a photographic reference, students will create timed, contour line drawings of a face.
(Standard 1.2)
Materials: Pencils, charcoal, paper, mirrors, photographs, models
Obj. 4: SWBAT Utilize varied line weight to convey a sense of space in their rendering of the human face
(frontal, ¾, and/or profile). (Standard 1.2)
QUESTION: Why is varying the line weight in a face drawing important?
Suggested Activities:
A. Students will create a line-drawing of the face using varied line weight to enhance the sense
of depth in the drawing.(Standard 1.2)
B. Using acetate and a marker, students will create a drawing based on an existing contour line
drawing of the face that they have completed, only this time they will vary the line weight to
enhance the sense of dept.(Standard 1.2)
Materials: Pencils, charcoal, paper, marker, tracing paper, light boxes
Obj. 5: SWBAT Plan and create a balanced composition within a drawing of the face. (Standard 1.2, 1.3)
QUESTION: Why is planning, and balancing a composition necessary prior to beginning a detailed
drawing of the face?
Suggested Activities:
A. Students will utilize a view finder to establish their composition. (Standards 1.2, 1.3)
C. Students will create “thumbnail” sketches to plan their compositions and experiment with
both symmetrical and asymmetrical balance. (Standards 1.2, 1.3)
D. Students will utilize the “cropping” tool to improve the final composition of existing
drawings. (Standards 1.2, 1.3)
Materials:
Pencils, paper, viewfinders
Obj. 6: SWBAT Utilize line density and/or cross hatching techniques to create sense of highlight and
shadows when drawing the face. (Standards 1.2)
QUESTION: How does an artist create the illusion of shades of gray within a face drawing using only
black lines?
Suggested Activities:
A. Create 10-step value scale using line density and/or cross hatching and apply these values to
an existing contour line drawing of the face (Standard 1.2, 1.3)
B. Using a photographic reference have students use an acetate overlay and marker and render
the face exclusively by building up the line density or using cross hatching. (Standard 1.2,
1.3)
Materials: Pencils, colored pencil, paper, rulers, fine-point sharpie markers, acetate
Obj. 7: SWBAT Create and apply grayscale values and/or color to their drawings to create a detailed, lifelike rendering of the human face. (Standards 1.1, 1.2)
QUESTION: How do artists create the illusion of life-like 3-dimensionality in a 2-dimensional drawing of
the face?
Suggested Activities:
A. Create 10 step value scale using different blend-able media such as graphite, charcoal, and/or
conte crayon. Then select one medium to use to render either a self portrait or a portrait of
someone else. (Standard 1.2)
B. After creating a 10-step value scale in a blend-able medium, create a self-portrait by rendering
only the shadows you see when holding a flashlight under your chin. (Standard 1.2)
C. Students will create a 10-step scale of tints and shades of two complementary colors in oil
pastel. Students will then apply this limited, complementary color scheme to a self-portrait.
Materials:
Pencils, charcoal, pastels, colored pencils, conte crayon, paper
Obj. 8: SWBAT Utilize the Elements & Principles of Design as they apply to drawing/painting the face.
(Standards 1.1, 1.3)
QUESTION: How might an artist use the Elements and Principles of Design to when rendering the face?
Suggested Activities:
A.
Assessment activities designed to evaluate students utilization and implementation of the
elements of design; line, shape, form, space, color, value and texture as they apply to their
drawings of the face. (Standards 1.1, 1.3, 1.4)
B. Assessment activities designed to evaluate students utilization and implementation of the
principles of design; rhythm, movement, balance, proportion, variety, emphasis, harmony, and
unity as they apply to their drawings of the face. (Standards 1.1, 1.3, 1.4)
Materials:
Assessment activity worksheet, completed student work, pencil
Obj. 9: SWBAT Gain an understanding of a given period of art history, a movement in art, and/or the
work of a particular artist as it relates to portraits and drawing the face. (Standard 1.5)
QUESTION: Why will studying the development of portraiture or a particular portrait artist impact or
improve one’s drawings of the face?
Suggested Activities:
Analysis of the portrait drawings of the renaissance artist Hans Holbein or the neoclassical artist
Jean-Auguste-Dominique Ingres. (Standard 1.5)
Materials:
Powerpoint presentation, LCD projector
Obj. 10: SWBAT Apply the methods of art criticism and aesthetic judgment as they assess their
renderings of the face, the work of their peers, and the work of professional artists. (Standard 1.4)
QUESTION: How will the students assess their face drawings during peer critiques and critiques of
professional artists?
Suggested Activities:
A. Students will apply the 4-step method for art criticism and aesthetic judgment to the portrait
drawings of various artists. (Standard 1.4)
B.Apply this method for art criticism and aesthetic judgment to the students drawings during a
formal critique. (Standard 1.4)
Materials: Activity Worksheet on 4-Step Method for Art Criticism and Aesthetic Judgment,
completed student work, powerpoint presentation of famous artists drawings
Unit 2: Figure Drawing (standing, seated, reclining, etc) (6 - 8 weeks)
Obj. 1: SWBAT Demonstrate the ability to utilize a variety of references to establish the correct
proportions of the human body in a compostion. (Standard 1.2)
QUESTION: What methods does an artist use to establish accurate proportions when rendering the
human figure in a variety of positions?
Suggested Activities:
A. Using a full length mirror, students will draw themselves from direct observation. (Standard
1.2)
B. Students may use a variety of references such as photographs, digitally manipulated images, or
even their memory to create figure drawing of themselves or someone else. (Standard 1.2)
Materials: Pencils, charcoal, pastels, colored pencils, tortillions, paper, mirrors, photographs,
digitally manipulated images
Obj. 2: SWBAT Use analytical drawing techniques such as sighting to establish the correct proportions of
the human figure in a composition. (Standard 1.2)
QUESTION: What is the correct technique for sighting the human figure standing vs seated or reclining?
Suggested Activities:
A. Using a mirror, students will use sighting techniques to establish the correct proportions of
their body. (Standard 1.2)
B. Students may practice their sighting techniques by drawing a fellow student. (Standard 1.2)
Materials:
Pencils, charcoal, pastel, paper, mirrors, models
Obj. 3: SWBAT Create contour line drawing of the human figure in a variety of positions. (Standard 1.2)
QUESTION: Why is establishing the foundational structure of the human figure using line important
prior to adding value or color to a composition?
Suggested Activities:
A. Using a fellow student as a model, students will created timed, contour line drawings of the
human body. (Standard 1.2)
B. Using a full-length mirror, students will create timed, contour line drawings of their body from
observation. (Standard 1.2)
C. Using a photographic reference, students will create timed, contour line drawings of the
human figure. (Standard 1.2)
Materials: Pencils, charcoal, pastels, erasors, tortillians, paper, mirrors, photographs, models
Obj. 4: SWBAT Utilize varied line weight to convey a sense of space in their rendering of the human
figure in a composition. (Standard 1.2)
QUESTION: Why is varying the line weight in a figure drawing important?
Suggested Activities:
A. Students will create a contour line composition of the body using varied line weight to
enhance the sense of depth in the drawing.(Standard 1.2)
B. Using acetate and a marker, students will create a composition based on an existing contour
line drawing of the body that they have completed, only this time they will vary the line weight to
enhance the sense of dept.(Standard 1.2)
Materials: Pencils, charcoal, pastel, colored pencil, paper, marker, tracing paper, light boxes
Obj. 5: SWBAT Plan and create a balanced composition within their drawing of the human figure.
(Standard 1.2, 1.3)
QUESTION: Why is planning, and balancing a composition necessary prior to beginning a detailed
drawing of the human figure?
Suggested Activities:
A. Students will utilize a view finder to establish their composition. (Standards 1.2, 1.3)
B. Students will create “thumbnail” sketches to plan their compositions and experiment with
both symmetrical and asymmetrical balance. (Standards 1.2, 1.3)
C. Students will utilize the “cropping” tool to improve the final composition of existing figure
drawings. (Standards 1.2, 1.3)
Materials: Pencils, charcoal, pastel, colored pencils, paper, viewfinders
Obj. 6: SWBAT Utilize line density and/or cross hatching techniques to create sense of highlight and
shadows when rendering a composition based on the human figure. (Standards 1.2)
QUESTION: How does an artist create the illusion shades of gray within a figure drawing using only
black lines?
Suggested Activities:
A. Create 10-step value scale using line density and/or cross hatching and apply these values to
an existing contour line drawing of human figure. (Standard 1.2, 1.3)
C. Using a photographic reference have students use an acetate overlay and marker and render
the human figure exclusively by building up the line density or using cross hatching. (Standard
1.2, 1.3)
Materials: Pencils, colored pencil, paper, rulers, fine-point sharpie markers, acetate
Obj. 7: SWBAT Create and apply grayscale values and/or color to their compositions to create a detailed,
life-like, rendering of the human form. (Standards 1.1, 1.2)
QUESTION: How does an artist create the illusion of life-like 3-dimensionality in a 2-dimensional
drawing of the human figure?
Suggested Activities
A. Create 10 step value scale using different blend-able media such as graphite, charcoal, and/or
conte crayon. Then select one medium to use to render either composition containing the fullfigure. (Standard 1.2)
B. After experimenting with a limited color palette, such as an analogous or monochromatic
color scheme using a blend-able medium, students will create a full-figure self-portrait (seated or
standing) by rendering only the shadows you see when placing a single light source on the ground
and shining up at yourself. (Standard 1.2)
Materials:
Pencils, charcoal, pastels, colored pencils, conte crayon, paper
Obj. 8: SWBAT Utilize the Elements & Principles of Design as they apply to creating a composition
based on the human figure. (Standards 1.1, 1.3)
QUESTION: How might an artist use the Elements and Principles of Design to when rendering the
human figure in a composition?
Suggested Activities:
A. Assessment activities designed to evaluate students utilization and implementation of the
elements of design; line, shape, form, space, color, value and texture as they apply to their
drawing compositions of the human figure. (Standards 1.1, 1.3, 1.4)
B. Assessment activities designed to evaluate students utilization and implementation of the
principles of design; rhythm, movement, balance, proportion, variety, emphasis, harmony, and
unity as they apply to their drawing compositions of the human figure. (Standards 1.1, 1.3, 1.4)
Materials: Assessment activity worksheet, completed student work, pencil
Obj. 9: SWBAT Gain an understanding of a given period of art history, a movement in art, and/or the
work of a particular artist as it relates to full-figure portraits and paintings/drawings of the human figure.
(Standard 1.5)
QUESTION: Why will studying the various developments in full figure portraiture or the work of a
particular artist impact or improve my drawings of the clothed figure?
Suggested Activities:
Analysis of the full-figure paintings of the baroque artist Diego Velazquez or the nineteenth
century artist John Singer Sargent. (Standard 1.5)
Materials:
Powerpoint presentation, LCD projector
Obj. 10: SWBAT Apply the methods of art criticism and aesthetic judgment as they assess their figure
drawing/painting, the work of their peers, and the work of professional artists. (Standard 1.4)
QUESTION: How will the students assess their figure drawings during peer critiques and critiques of
professional artists?
Suggested Activities:
A. Students will apply the 4-step method for art criticism and aesthetic judgment to the rendering
of the human figure by various artists. (Standard 1.4)
B.Apply this method for art criticism and aesthetic judgment to the students’ compositions
containing the human figure during a formal critique. (Standard 1.4)
Materials: Activity Worksheet on 4-Step Method for Art Criticism and Aesthetic Judgment,
completed student work, powerpoint presentation of famous artists drawings
Unit 3: Object Drawing and Still Life Compositions (6 - 8 weeks)
Obj. 1: SWBAT Use analytical drawing techniques such as sighting to establish the correct proportions
and structure of a still life composition from observation. (Standard 1.2)
QUESTION: How does an artist apply the sighting techniques used to establish the proportions of the
face or figure to various other subject matter?
Suggested Activities:
A. Students will use sighting techniques to establish the correct proportions and structure of
several objects they are rendering in composition. (Standard 1.2)
B. Students may practice their sighting techniques by photographing a set-up they have drawn
from observation and comparing the proportions of the various objects in their drawing to those
of the same objects in the photograph. (Standard 1.2)
Materials: Pencils, charcoal, pastel, paper, objects, digital camera, computer, printer
Obj. 2: SWBAT Create an objective contour line drawing composition of several objects from
observation. (Standard 1.2)
QUESTION: Why is establishing the foundational structure of an object or still life using line important
prior to adding value or color to a composition?
Suggested Activities:
A. Students will create timed, contour line drawings of a given object in various positions on the
same piece of paper. (Standard 1.2)
B. Using several photographic references of an object in a various positions students will create
timed, contour line drawings of the object on a single piece of paper. (Standard 1.2)
Materials: Pencils, charcoal, pastels, erasors, tortillians, paper, digital camera, printer,
computer, objects
Obj. 4: SWBAT Utilize varied line weight to convey a sense of space in their rendering of objects within
in a composition. (Standard 1.2)
QUESTION: Why is varying the line weight in a still life composition as in important as varying it in
figure drawing?
Suggested Activities:
A. Students will create a contour line composition of a still life using varied line weight to
enhance the sense of depth in the drawing. (Standard 1.2)
B. Using acetate and a marker, students will create a composition based on an existing contour
line drawing of a still life that they have completed, only this time they will vary the line weight
to enhance the sense of depth within the composition.(Standard 1.2)
Materials: Pencils, charcoal, pastel, colored pencil, paper, marker, tracing paper, light boxes
Obj. 5: SWBAT Plan and create a balanced composition within their drawing of a still life set-up.
(Standard 1.2, 1.3)
QUESTION: Why is planning, and balancing a composition necessary prior to beginning a detailed
drawing a still life? Can I also balance a composition after it is completed?
Suggested Activities:
A. Students will utilize a view finder to establish their composition. (Standards 1.2, 1.3)
B. Students will create “thumbnail” sketches to plan their compositions and experiment with
both symmetrical and asymmetrical balance. (Standards 1.2, 1.3)
D. Students will utilize the “cropping” tool to improve the final composition of an existing still
life composition they have completed. (Standards 1.2, 1.3)
Materials:
Pencils, charcoal, pastel, colored pencils, paper, viewfinders
Obj. 6: SWBAT Utilize line density and/or cross hatching techniques to render the highlights and
shadows within a still life composition. (Standards 1.2)
QUESTION: How does an artist create the illusion of an object’s surface quality such as the sheen of
metal or wood grain using only black lines?
Suggested Activities:
A. Create 10-step value scale using line density and/or cross hatching and apply these values to
an existing contour line drawing of a still life composition the student has previously created.
(Standard 1.2, 1.3)
C. Using a photographic reference have students use an acetate overlay and marker and render
the still life exclusively by building up the line density or using cross hatching. (Standard 1.2, 1.3)
Materials:
Pencils, paper, rulers, fine-point sharpie markers, acetate
Obj. 7: SWBAT Create and apply grayscale values and/or color to their still life compositions to create a
detailed objective rendering of the surface characteristics of these objects. (Standards 1.1, 1.2)
QUESTION: How does an artist create the illusion of 3-dimensionality and surface quality in a 2dimensional drawing of a still life?
Suggested Activities
A.
Create 10 step value scale using different blend-able media such as graphite, charcoal,
and/or conte crayon. Students will then select one medium to use to render the surface quality of
the objects in their still life. (Standard 1.2)
B. After creating a 10-step value scale in a blend-able medium, isolate a rectangular area of
previosly created contour-line drawing of this still life and now render the surface detail of the
objects within this area only. (Standard 1.2)
C. After experimenting with a colored medium and a particular color scheme, students will
render a still life composition using this particular limited palette.
Materials:
Pencils, charcoal, pastels, colored pencils, conte crayon, paper
Obj. 8: SWBAT Utilize the Elements & Principles of Design as they apply to creating a still life
composition. (Standards 1.1, 1.3)
QUESTION: How might an artist use the Elements and Principles of Design to when rendering a still life
composition?
Suggested Activities:
A. Assessment activities designed to evaluate students utilization and implementation of the
elements of design; line, shape, form, space, color, value and texture as they apply to their still
life compositions. (Standards 1.1, 1.3, 1.4)
B. Assessment activities designed to evaluate students utilization and implementation of the
principles of design; rhythm, movement, balance, proportion, variety, emphasis, harmony, and
unity as they apply to their still life compositions. (Standards 1.1, 1.3, 1.4)
Materials:
Assessment activity worksheet, completed student work, pencil
Obj. 9: SWBAT Gain an understanding of a given period of art history, a movement in art, and/or the
work of a particular artist as it relates to still life compositions. (Standard 1.5)
QUESTION: How will analyzing the various developments in still life compositions or the still life work
of a particular artist impact or improve my still life compositions?
Suggested Activities:
Analysis of the still life paintings of the Dutch baroque artist Jan Jansz Van de Velde III or the
twentieth century contemporary realist artist Janet Fish. (Standard 1.5)
Materials:
Powerpoint presentation, LCD projector
Obj. 10: SWBAT Apply the methods of art criticism and aesthetic judgment as they assess their still life
compositions, the work of their peers, and the work of professional artists. (Standard 1.4)
QUESTION: How will the students assess their still life compositions during peer critiques and critiques
of professional artists?
Suggested Activities:
A. Students will apply the 4-step method for art criticism and aesthetic judgment to the still life
compositions of various artists. (Standard 1.4)
B.Apply this method for art criticism and aesthetic judgment to the students’ still life
compositions during a formal critique. (Standard 1.4)
Materials: Activity Worksheet on 4-Step Method for Art Criticism and Aesthetic Judgment,
completed student work, powerpoint presentation of famous artists’ still life compositions.
Unit 4: Designing and Rendering Interior and/or Exterior Spaces (8 weeks)
Obj. 1: SWBAT Create a balanced composition that creatively utilizes 1-point perspective. (Standard 1.2)
QUESTION: What are some unusual applications of 1-point perspective?
Suggested Activities:
A. Create a 1-point perspective composition that uses foreshortening to render an object in an
architectural space that appears to be projecting out of the composition. (Standard 1.2)
B. Design an interior or exterior space using 1-point perspective that depicts a “fantastic” scene in
which the “impossible” can happen such as objects and funishings in a room, that defy the laws
of gravity. (Standards 1.1, 1.2, 1.3)
C. Create a 1-point perspective composition from an unusual vantage point, such as the point of
view of an insect. (Standards 1.1, 1.2, 1.3)
Materials: Pencils, colored pencils, oil pastel, paper, rulers, erasers, photographic references
Obj. 2: SWBAT Create a balanced composition that creatively utilizes 2-point perspective. (Standard 1.2)
QUESTION: How do artists integrate 2-point perspective into a composition when the vanishing points
are outside of the composition?
Suggested Activities:
A. Create a composition utilizing 2-point perspective that depicts an exterior of a structure that
has been illuminated by a street light nearby. (Standard 1.2)
B. Create a composition utilizing 2-point perspective that depicts an interior of a structure that
has been illuminated by the moonlight shining through a window or an “opening” to the outside.
(Standards 1.1, 1.2, 1.3)
C. Create a composition utilizing 2-point perspective that depicts chaos. (Standards 1.1, 1.2, 1.3)
Materials: Pencils, colored pencils, oil pastel, paper, rulers, erasers, photographic references
Obj. 3: SWBAT Create a balanced composition that creatively utilizes 3-point perspective.(Standard 1.2)
QUESTION: How do artists render skyscrapers or columns realistically to achieve that “keystoning
effect” you can observe when looking at a very tall structure?
Suggested Activities:
A. Create a composition utilizing 3-point perspective that depicts an object falling from the
corner of a tall structure that extends into the sky. (Standard 1.2)
B. Create a composition utilizing 3-point perspective that depicts an urban scene from the point
of view of Superman. (Standards 1.1, 1.2, 1.3)
C. Create a composition utilizing 3-point perspective that depicts a view of the George
Washington Bridge from the point of view of a fish in the river below. (Standards 1.1, 1.2, 1.3)
Materials: Pencils, colored pencils, oil pastel, paper, rulers, erasers, photographic references
Obj. 4: SWBAT Create a balanced composition that creatively uses size variation, overlapping, and
placement to create a sense of space.(Standard 1.2)
QUESTION: How does an artist create a sense of depth, or space when observing a natural landscape
devoid of man-made structures that would utilize linear perspective?
Suggested Activities:
A. Create a composition depicting a landscape scene that utilizes size variation, overlapping and
placement on the page to create a sense of space. (Standard 1.2)
B. Create a non-representational composition using geometric shapes to depict a congested space.
(Standards 1.1, 1.2, 1.3)
C. Create a non-representational composition using only organic shapes that depicts a “deep” or
“shallow” space. (Standards 1.1, 1.2, 1.3)
Materials: Pencils, colored pencils, oil pastel, paper, rulers, erasers, photographic references
Obj. 5: SWBAT Create a balanced composition that creatively utilizes color and/or value to render
atmospheric perspective.(Standard 1.2)
QUESTION: Why do objects that are far away seem less vivid in color and detail?
Suggested Activities:
A. Utilize atmospheric perspective to create a composition depicting a snow-covered landscape
scene. (Standard 1.2)
B. Utilize atmospheric perspective to create a composition depicting a man-made structure
emerging from the morning fog. (Standards 1.1, 1.2, 1.3)
C. Utilize atmospheric perspective to create a composition depicting a smoke-filled environment.
(Standards 1.1, 1.2, 1.3)
Obj. 6: SWBAT Utilize the Elements & Principles of Design as they apply to the use of perspective and
various spatial systems in their compostions. (Standard 1.3)
QUESTION: How does an artist decide which spatial systems to incorporate in a composition?
Suggested Activities:
A. Assessment activities designed to evaluate students utilization and implementation of the
elements of design; line, shape, form, space, color, value and texture as they apply to the use of
space in their compositions.
(Standards 1.1, 1.3, 1.4)
B. Assessment activities designed to evaluate students utilization and implementation of the
principles of design; rhythm, movement, balance, proportion, variety, emphasis, harmony, and
unity as they apply to the use of space in their compositions. (Standards 1.1, 1.3, 1.4)
Materials:
Rubric worksheet, pencil, paper
Obj. 7: SWBAT Gain an understanding of a given period of art history, a movement in art, and/or the
work of a particular artist as it relates to the illusion of space in a 2-dimensional composition. (Standards
1.1, 1.5)
QUESTION: What are the origins of linear perspective?
Suggested Activities:
A. Analysis/critique of the American Modernist Charles Sheeler’s “Power Series” depicting the
architecture of industry. (Standards 1.1, 1.4, 1.5)
B. Analysis/critique of the landscape paintings of Hudson River School artist Frederick Edwin
Church or Impressionist painter Camille Pissarro. (Standards 1.1, 1.4, 1.5)
Materials:
Worksheet, pencil, paper, computers with web access for online research
Obj. 8: SWBAT Apply the methods of art criticism and aesthetic judgment as they assess the use of space
in their work, the work of their peers, and the work of professional artists (Standards 1.1, 1.4)
QUESTION: Linear perspective is generally not used in Japanese or Chinese traditional art, what spatial
systems do they use?
Suggested Activities:
A. Apply the 4-step method for art criticism and aesthetic judgment to the Architectural paintings
of Precisionist, Charles Demuth or the landscape painting of Hudson River School founder,
Thomas Cole. (Standards 1.1, 1.4)
B. Apply this method for art criticism and aesthetic judgment to the students’ use of various
spatial systems in their own compositions through a formal critique. (Standards 1.1, 1.4)
Materials:
Art Criticism Worksheet, pencil, paper, computer, LCD projector
Unit 5: Modernism in Art: Applying Abstraction & Expressionism (6 - 8 weeks)
Obj. 1: SWBAT understand the development of abstraction and expressionism in relation to the
movements in art that preceeded them.(Standard 1.5)
QUESTION: What makes a composition abstract or expressionistic?
Suggested Activities:
A. Working in pairs or groups have students research both movements and their “opposite” and
report back to the class their findings. For example Abstraction vs Representationalism and
Expressionism vs Realism. (Standard 1.5)
B. Have a class discussion and brainstorm how various “realistic” (objective) compostions,
created by students or famous artists, might be re-interpreted through abstraction or
expressionism.
(Standard 1.5)
C. Have each student select a “realistic” (objective) composition they have created and reinterpret the same piece using either expressionism or abstraction. (Standard 1.5)
Materials: Worksheet, pencil, paper, computers with web access for online research, computer
with LCD projector, powerpoint presentation, Gardner’s “Art Through the Ages”, paint, pastels
Obj. 2: SWBAT Identify various forms of abstraction and expressionism such as Die Brucke or
Suprematism as well as the artists belonging to these movements. (Standards 1.1, 1.5)
QUESTION: How can you determine when looking at a painting you have never seen before which
“movement” it belongs to?
Suggested Activities:
A.
Relying on their knowledge and understanding of various movements in abstraction
students will identify the specific movement to which an “unknown artwork” belongs, the artist
who created it, and the possible influences on that artist. (Standards 1.1, 1.5)
B. Relying on their knowledge and understanding of various movements in expressionism students
will identify the specific movement to which an “unknown artwork” belongs, the artist who
created it, and the possible influences on that artist. (Standards 1.1, 1.5)
Materials: Worksheet, pencil, paper, powerpoint presentation, computers with web access for
online research, computer with LCD projector
Obj. 3: SWBAT Plan and create successful compositions that inventively utilize abstraction and/or
expressionism.(Standards 1.1, 1.2, 1.3, 1.5)
QUESTION: Why do artists seek to add a subjective quality to their artwork by incorporating abstraction
or expressionism?
Suggested Activities:
A. Have students research and analyze a particular movement and an artist belonging to it.
Then have the students create a piece of art that depicts the “next direction” this movement
would take if it existed today. (Standards 1.1, 1.2, 1.3, 1.5)
B. Have the students create a composition that combines aspects of two different movements in
abstraction and expressionism such Der Blaue Reiter (expressionism) and Die Stijl (abstraction).
(Standards 1.1, 1.2, 1.3, 1.5)
C. Allow students to explore expressionism as they re-interpret one of their own arworks in the
manner of an expressionist artist such as Egon Shiele, or El Greco. (Standards 1.1, 1.2, 1.3, 1.5)
Materials: Pencils, charcoal, pastels, paper, paint, brushes, canvas, collage material,
photographic references, scissors, glue
Obj. 4: SWBAT Utilize the Elements & Principles of Design as they apply to they create abstract or
expressionst compositions. (Standard 1.3)
QUESTION: Why does abstract art seek to focus almost exclusively in the elements and principles of
design?
Suggested Activities:
A. Assessment activities designed to evaluate students’ utilization and implementation of the
elements of design; line, shape, form, space, color, value and texture as they apply to the creation
of abstract and expressionist compositions. (Standards 1.1, 1.3, 1.4)
B. Assessment activities to evaluate students’ utilization and implementation of the principles of
design; rhythm, movement, balance, proportion, variety, emphasis, harmony, and unity as
they apply to the creation of abstract and expressionist compositions. (Standards 1.1, 1.3, 1.4)
Materials: Self /Teacher evaluation rubric, pencil, paper
Obj. 5: SWBAT Attain an in-depth understanding of various artists and movements within abstraction
and expressionism and the social, political, and economic factors that may have influenced them.
(Standards 1.1, 1.5)
QUESTION: Given the highly subjective nature of abstract and expressionist art, were these artists
concerned about issues relating to science, politics, economics, etc ?
Suggested Activities:
A. Students will research & discuss the possible connections between a given movement in
abstraction, such as Suprematism and the development of Quantum Physics during the early
1900s (Standards 1.1, 1.4, 1.5)
B. Students will research & discuss possible connections between the horrors of World War I and
the impact of the “machine” on warfare itself with the movements in the visual arts that occurred
during this period such as Futurism, Dadaism, and Surrealism . (Standards 1.1, 1.4, 1.5)
Materials:
Worksheet, pencil, paper, computers with web access for online research
Obj. 6: SWBAT Apply the methods of art criticism and aesthetic judgment as they assess their abstract
and expressive compositions, the work of their peers, and the work of professional artists.(Standards 1.1,
1.4)
QUESTION: Abstract and expressionism are highly subjective art forms, therefore how does one evaluate
or critique it?
Suggested Activities:
A. Apply the 4-step method for art criticism and aesthetic judgment to the artwork of Edvard
Munch, Wassily Kandinsky, Kasimir Malevich, and Piet Mondrian. (Standards 1.1, 1.4)
B. Apply this method for art criticism and aesthetic judgment to the students’ abstract or
expressive compositions during a formal critique. (Standards 1.1, 1.4)
Materials: Art Criticism Worksheet, pencil, paper, computer, LCD projector
Unit 6: 3- Dimensional Design: Creating Relief & Freestanding Compositions (6 - 8 weeks)
Obj. 1: SWBAT plan and create a 3-dimensional relief sculpture that incorporates either symmetrical or
asymetrical balance. (Standard 1.2)
QUESTION: How does a sculptor create a balanced 3-dimensional design?
Suggested Activities:
A. Students will create a radial design using relief inspired by something that existis in nature
(ie: a snowflake) as a way of exploring symmetry. (Standards 1.1, 1.2, 1.3)
B. Using only shape and color, have the students create a relief sculpture that depicts the contrast
between two concepts, such as ” peace” and “anxiety”. (Standards 1.1, 1.2, 1.3)
Materials: Pencil, paper, foamcore, exacto blades, paint, hot glue
Obj. 2: SWBAT plan and create a 3-dimensional design, either a freestanding or a relief composition, by
joining found objects together (assemblage). (Standards 1.1, 1.2)
QUESTION: What is assemblage?
Suggested Activities:
A. Students will create self portrait by assembling objects that “represent” them into a
freestanding composition. (Standards 1.1, 1.2, 1.3)
B. Students will experiment with repetition and variation by finding object with similar forms but
varying sizes and assemble them in a container, such as a box to create a relef sculpture in the
manner of Joseph Cornell (Standards 1.1, 1.2, 1.3)
Materials: Pencil, paper, found objects, foamcore, boxes, exacto blades, paint, hot glue
Obj. 3: SWBAT plan and create a 3-dimensional design, either a freestanding or a relief composition, that
incorporates abstraction. (Standard 1.2)
QUESTION: Does sculpture always have to be representational?
Suggested Activities:
A. Using only organic or geometric shapes have the students create a freestanding 3-dimensional
design that depicts the wind. (Standards 1.1, 1.2, 1.3)
B. Using only rectangles of various sizes have the students create a 3-dimensional relief design
that depicts the rain. (Standards 1.1, 1.2, 1.3)
Materials:
Pencil, paper, card board, foamcore, exacto blades, paint, hot glue
Obj. 4: SWBAT plan and create a 3-dimensional design, either a freestanding or a relief composition,
using intersecting geometic or organic shapes. (Standard 1.2)
QUESTION: When did sculptors begin working with non-traditional materials such as steel, and
aluminum rather then bronze or marble? Why?
Suggested Activities:
A. Students will create a freestanding 3-dimensional design based on intersecting geometric
forms in the manner of British sculptor, David Annesley. (Standards 1.1, 1.2, 1.3)
B. Students will create a freestanding 3-dimensional design based on intersecting planes in the
manner of American sculptor Charles Ginnever . (Standards 1.1, 1.2, 1.3)
Materials:
Pencil, paper, card board, foamcore, exacto blades, paint, hot glue
Obj. 5: SWBAT design the surface of their 3-dimensional compositions utilizing color, pattern, and/or
texture as an integral part of the sculpture. (Standard 1.2)
QUESTION: Why is surface quality an important component of a sculpture?
Suggested Activities:
A. Students will select a previously completed sculpture and plan to incorporate a color scheme
to the 3-dimensional design. (Standards 1.1, 1.2, 1.3)
B. Students will select a previously completed sculpture and plan to incorporate a surface pattern
on the 3-dimensional design . (Standards 1.1, 1.2, 1.3)
Materials:
Paint, brushes, markers, contact paper, spray paint
Obj. 7: SWBAT Utilize the elements & principles of design as they apply to 3-dimensional design (either
freestanding or relief). (Standards 1.3)
QUESTION: Can the element of “line” exist in a 3-dimensional environment?
Suggested Activities:
A. Assessment activities designed to evaluate students’ utilization and implementation of the
elements of design; line, shape, form, space, color, value and texture as they apply to their
creation of 3-dimensional design. (Standards 1.1, 1.3, 1.4)
B. Assessment activities designed to evaluate students’ utilization and implementation of the
principles of design; rhythm, movement, balance, proportion, variety, emphasis, harmony, and
unity as they apply their creation of 3-dimensional design. (Standards 1.1, 1.3, 1.4)
Materials:
Self /Teacher evaluation rubric, pencil, paper
Obj. 8: SWBAT Gain an understanding of a given period of art history, a movement in art, and/or the
work of a particular artist as it relates to 3 dimensional design. (Standards 1.1, 1.5)
QUESTION: What is the advantage of doing site-specific 3-dimensional design as compared with
sculpture that may be moved?
Suggested Activities:
A. Students will research various contemporary sculptors, such as Mark DiSuvero, Kenneth
Snelson, or Herbert Ferber and discuss their contribution to the visual arts. (Standards 1.1, 1.4,
1.5)
B. Students will compare and contrast Jean Baptist Carpiaux realistic (objective) rendering of
the human form in marble with David Smith’s abstract expressionist interpretation of the human
form in welded steel. (Standards 1.1, 1.4, 1.5)
Materials: Worksheet, pencil, paper, computers with web access for online research
Obj. 9: SWBAT Apply the methods of art criticism and aesthetic judgment as they assess their 3dimensional design, the work of their peers, and the work of professional artists. (Standards 1.1, 1.4)
QUESTION: How can the assembling of found objects in the form of a 3-dimensional design be
considered “art”?
Suggested Activities:
A. Apply the 4-step method for art criticism and aesthetic judgment to the assemblage sculpture
of Joseph Cornell and Marcel Duchamp. (Standards 1.1, 1.4)
B. Apply this method for art criticism and aesthetic judgment to the students’ 3-dimensional
design during a formal critique. (Standards 1.1, 1.4)
Materials:
Art Criticism Worksheet, pencil, paper, computer, LCD projector
Unit 7: Art/Design Related Careers (2 - 3 weeks total: 10 – 15 days interspersed throughout the year)
Obj. 1: SWBAT Identify many art/design related careers.(Standard 1.5)
QUESTION: What art some of the various careers opportunities in art?
Suggested Activities:
A. Invite guest speakers who work in various art-related fields such as, architecture, industrial
design, fashion design, etc. to make a presention to the class. (Standards 1.1, 1.4)
B. Students can research various job titles and research the detailed description of these
positions and report back to the class their findings.
(Standards 1.1, 1.2)
Materials:Worksheet, pencil, paper, computer, LCD projector, guest speaker
Obj. 2: SWBAT Identify the some of the skills or apptitudes artists or designers need for various career
paths.(Standard 1.5)
QUESTION: How do I know I have the qualities and skills necessary to be a successful automobile
designer, photographer, interior designer, etc?
Suggested Activities:
A. By visiting the Association of Independent Colleges of Art and Design web site, students will
discover various colleges and universities that offer certain areas of concentration within art and
design. Students can then research the portfolio and application requirements for these specific
programs in order to prepare themselves. (Standards 1.1, 1.2)
B. Students can research members of the community who work in various art/design related
fields such as graphic design, photography, and film and interview them about how they prepared
themselves for their career path. (Standards 1.4, 1.5)
Materials: Worksheet, pencil, paper, computer, LCD projector, guest speaker
Obj. 3: SWBAT Make an educated decision about their own interest in possibly pursuing an art/design
related field.(Standard 1.4)
QUESTION: I love art and design as a class, but, how do I determine if this is my “calling”?
Suggested Activities:
A. Students are encouraged to visit art and design programs at local colleges of art and design to
better understand what these programs entail and then make a brief presentation to the class
about their personal discovery. (Standards 1.2, 1.4)
B. Students take time to work independently and research the areas of art and design that interest
them and reflect on their own desire to pursue this course of study. (Standards 1.1, 1.4)
Materials:
Worksheet, pencil, paper, computer with internet access, LCD projector
Obj. 4: SWBAT Identify the steps necessary to build a portfolio if their goal is to apply to an art/design
program at a college or university.(Standard 1.2)
QUESTION: Now that I have researched this particular career path and I feel inspired, how do I make
this dream a reality?
Suggested Activities:
A. Students may attend National Portfolio Days held in our area to have their artwork reviewed
and assessed by faculty from various colleges and universities. Students are invited to share the
feedback they received and their impression of the experience. (Standard 1.4)
B. Students who are juniors will review their body of work at the end of this course and establish
goals for the summer regarding building their personal portfolio. (Standards 1.2, 1.4)
Materials: Worksheet, pencil, paper, computer with internet access, LCD projector
V. STRATEGIES
1.
2.
3.
4.
5.
6.
7.
8.
Teacher demonstrations
Guided practice
Independent studio projects
Class discussions & critiques
Guest speakers
Reading/researching artists & movements in art history
Multi-media presentations
Collaborative projects
VI. EVALUATION
Evaluations and assessments allow a teacher to analyze their students’ present levels of knowledge, skill and
understanding of the visual arts; it’s content, processes, techniques and meanings. This process assesses the
individual’s growth and development as a student and an artist. Grades are a means of communication with
students and parents - letting them know what is expected in the course and where they stand in relation to
achieving those expectations. Evaluations, critiques and grades should be seen as a means to expand one’s growth,
not a goal. Grades should not interfere with spontaneity and experimentation. Emphasis should be placed on the
intrinsic reward of the art process, not on using grades as rewards. Rather, evaluations should be used to reveal
progress to the student and help the teacher guide them to further growth. As art is a fluid and ever changing
activity with different types of objectives and outcomes, it demands different evaluative techniques or
combinations of techniques. The following areas are all to be considered when engaging in the process of
evaluation or assessment::
Knowledge: Can students articulate in writing or verbally concepts or facts using the correct visual arts
terminology?
Skill: Do the students demonstrate their mastery of the media and techniques in the way they create their
artworks? Are students able to employ certain effects in a new an novel way?
Work Habits/Attitude: Is the student committed to their work? Do they work diligently? Does the student
contribute to a positive classroom environment? Does the student create artwork that represents their
absolute best effort?
Growth: Has the student grown as an artist in the course? Does the student internalize and implement
revisions based on constructive criticism from both the instructor and their peers?
METHODS OF EVALUATION & ASSESSMENT
Observation - The instructor can observe the student at work to assess his/her confidence, self reliance,
ability to work collaboratively, attitude, application of knowledge, commitment to the task, skill, and work habits.
Individual Critiques - This kind of dialogue between the instructor and the student allows the instructor
to assess the student’s intentions and compare it with the possible results. This process allows the instructor to give
the student feedback before the project is completed allowing the student the opportunity to make changes.
Through one-on-one discussion, the instructor can assess the student’s ability to verbally communicate
information about their artwork in a coherent and logical manner. This process is important as it allows the
teacher to have a clear idea of the student’s needs, strengths and weaknesses.
Portfolio Assessment - This can be a series of reflective activities that encourage students and teachers to
compare and contrast a sequence of works. This encourages recognition of the evaluation of a student’s work over
time. Whenever possible this type of review is recommended.
Written Evaluations - Students will have the opportunity to write critiques of their own work and the
work of their peers using the appropriate visual arts terminology. Students will also have the opportunity to write
critiques of works generated by professional artists.
Group Critiques - This involves a class discussion of an assignment or project upon its completion. This
process is invaluable because it allows the student to see their work in the context of the entire class. An important
goal in this process is to build a sense of community and build collaborative relationships between student artists.
The students will review the problem (assignment), discuss possible solutions (brainstorming), discuss why a
particular solution was chosen (intention), discuss if design decisions were successful (achievement of objectives),
discuss any revisions that could be made (improvement), discuss what each student would do differently (reflect
on lessons learned).
Behavior Assessment - This involves both the instructor and the students identifying and demonstrating
behaviors that reflect a feeling for the dignity and worth of other people,including those of other ethnic, cultural,
linguistic and economic groups.
Self/Peer Evaluation - Rubrics will be used to enable students to evaluate themselves and others during
the process of completing a project . Rubrics will also provide students with and understanding of their strengths
and weaknesses.
VII. REQUIRED RESOURCES
Art Talk, Rosalind Ragans, Ph. D.
Glencoe Publishers
Drawing the Human Head, Burne Hogarth, Watson-Guptill Publications
Discovering Art History, Gerald F. Brommer, Helen Ronan, Virginia L. Fitzpatrick, Davis Publicatons, Inc.
Experiencing Art Around Us 2nd Edition: Thomas Buser, Thompson Wadsworth
From Ordinary to Extraordinary: Art and Design Problem Solving, Ken Vieth, Davis Publications
Gardner’s Art Through the Ages 12th Edition, Fred S. Kliener, Christin J. Mamiya, Wadsworth Publishing
History of Art 6th Edition, H.W. Janson, Anthony F. Janson Prentice Hall
Keys to Drawing, Bert Dodson, Northlight Books
Multicultural Studio Art Projects for Secondary Students, Susan Hogan, Prentice Hall
The New Drawing on the Right Side of the Brain, Betty Edwards, Penguin Putnam, Inc
The New Drawing on the Right Side of the Brain Workbook, Betty Edwards, Penguin Putnam, Inc.
Sculpture as Experience, Judith Peck, Krause Publications
VIII. SCOPE AND SEQUENCE:
The Units and Objectives are intended to provide the instructor with guidelines and parameters as they deliver the
curriculum for this course. The “Units” may be delivered in any order. For example, one year the instructor may
begin with Unit 6 (as per this curriculum) “3-Dimensional Design: Creating Relief & Freestanding Compositions”
or Unit 3 “Object Drawing and Still Life Compositions”. In addition, the time allocated for each Unit of Study is
expressed as a variable ie: (6-8 weeks) or (2 – 3 weeks). This flexibility has been designed into this course to allow
each instructor to adapt the curriculum to the needs of the learners. It is also intended to allow the instructor to
adjust for varying time needed for certain studio projects. The “Suggested Activities” listed under each Unit of
Study are intended inspirational examples that demonstrate how an instructor might accomplish a given objective.
The “Suggested Activities” are not intended to be a limiting framework. Each instructor is encouraged to use their
creativity to develop projects that accomplish the objectives for each Unit of Study.
Unit 1: Rendering the Human Face (frontal view, ¾ view, and profile view) (6 – 8 weeks)
Unit 2: Figure Drawing (standing, seated, reclining, etc) (6 - 8 weeks)
Unit 3: Object Drawing and Still Life Compositions (6 - 8 weeks)
Unit 4: Designing and Rendering Interior and/or Exterior Spaces (6 - 8 weeks)
Unit 5: Modernism in Art: Applying Abstraction & Expressionism (6 - 8 weeks)
Unit 6: 3- Dimensional Design: Creating Relief & Freestanding Compositions (6 - 8 weeks)
Unit 7: Art/Design Related Careers (2 - 3 weeks total: 10 – 15 days interspersed