Grade 7 Arts Education:
Visual Art Strand
Miss K. Yates
2010-2011
Miss K. Yates 2
Table of Contents
Overview
Aims and Goals
Outcomes
Unit One: From Source to Expression
Unit Two: What’s It All About
Unit Three: Traditions and Innovations
Unit Four: Interdisciplinary Art Exhibition
Proposed Daily Routine
Assessment
Appendices
Sample Art History Bites
Sample Art Journal Prompts
Interesting Resources
Glossary
Page
Page
Page
Page
Page
Page
Page
Page
Page
3
4-5
6
7-9
9-10
11-12
12-13
13
13
Miss K. Yates 3
Grade 7 Arts Education: Visual Art
Overview:
Some of the earliest records of humanity exist as markings on rocks and cave
walls. Art works throughout history have recorded and interpreted events from
various points-of-view: the artist's cultural grouping, the church, the monarchy,
the working class, the individual. Visual depictions offer many unique
perspectives and serve as "windows" to the past.
However, visual art is not valuable only for the sake of history. Visual art
experiences involve artist and viewer in a process of thinking about the world
and the artist's place in the world today.
It is important for students to experience visual art both as artists and as
audience. As artists, they can use the processes and materials of visual art to
explore their own ideas, experiences, feelings, cultural identities, observations
and imaginations. As audience, they can see how other artists have expressed
their ideas about the world and their place in the world we all share. In
contemporary art (including painting, print-making, architecture, sculpture,
craft, commercial art, film, video, gallery installations, etc.) we see artists'
reflections on the world in our own lifetimes. Through visual art, we come to
see and know ourselves.
The visual art program provides students with opportunities to:





develop their perceptual abilities
learn to use the language, methods and materials of visual art
explore their own and other artists' ideas, feelings, cultural identities,
observations and imaginations through visual art expressions
examine the role of visual art in cultures and societies, past and present,
and explore the role of visual images in their own daily lives
examine critically and reflect upon art works of all kinds.
(Saskatchewan Evergreen Curriculum, 2001)
In grade seven the focus of Arts Education is the concept of “place.” Students
will study the historical and cultural implications of place on artworks and the
artistic process. Students are expected to engage with art on a critical level and
learn methods of artistic response in addition to creating and producing their
own unique artworks.
Miss K. Yates 4
Aims and Goals:
 Cultural/Historical (CH)
o Students will investigate the content and aesthetics of the arts
within cultural, historical, and contemporary contexts and
understand the connection between the arts and the human
experience.
o This goal focuses on the role of the arts in various cultures, the
development of the arts throughout history, and factors that
influence contemporary arts and artists. It includes the historical
development of visual art within its social, cultural, and
environmental context. In addition, the goal includes learning
about the arts in contemporary societies, popular culture, and
interdisciplinary forms of expression. The intent is to develop
students' understanding of the arts as important forms of
aesthetic expression, and as records of individual and collective
experiences, histories, innovations, and visions of the future.
 Critical/Responsive (CR)
o Students will respond to artistic expressions of Saskatchewan,
Canadian, and International artists using critical thinking,
research, creativity, and collaborative inquiry.
o This goal enables students to respond critically and imaginatively
to images, sounds, performances, and events in the artistic
environment, including the mass media. Students become
participants in the interactive process between artist and
audience rather than passive consumers of the arts. Several
processes are provided to help teachers guide discussion and
encourage various responses to works of art; for example, visual
art works, musical compositions, or dance and drama
performances. The processes are intended to move students
beyond quick judgement to informed personal interpretation, and
can be used with each of the four strands and interdisciplinary
works. These processes are described in "Responding to Arts
Expressions", located in the curriculum support materials area of
the Ministry of Education website. The intent of this goal is also to
ensure that students are actively engaged with artists in their own
communities and recognize that the arts are integral to the lives
and cultures of every community.
 Creative/Productive (CP)
o Students will inquire, create, and communicate through visual art.
Miss K. Yates 5
o This goal includes the exploration, development, and expression
of ideas in the language of each strand or art form. Each art form
involves students in different ways of thinking, inquiring, and
conveying meaning. Each form involves students in creative
processes and different means of inquiry that require students to
reflect on big ideas, and investigate compelling questions using
the language, concepts, skills, techniques, and processes of that
discipline. In order for an activity to be creative, students must
be engaged in critical thinking, observation and other forms of
research, active exploration, and creative problem-solving
processes. Students learn where ideas come from, and how ideas
can be developed and transformed in each art form.
Documentation is also an important part of the creative process,
and can be used for purposes of idea development and refinement,
assessment, and sharing learning with others. Reflection, both
ongoing and summative, is an essential part of every creative
process, and allows students to assess and evaluate their
continued growth in their creative endeavours.
Miss K. Yates 6
Outcomes
Creative/Productive (CP)
CP7.10
Create visual art works that express ideas about the importance of place (e.g.,
relationship to the land, local geology, region, urban/rural landscapes, and
environment).
CP7.11
Investigate and use various visual art forms, images, and art-making processes
to express ideas about place.
CP7.12
Use image-making skills, tools, techniques, and problem-solving abilities in a
variety of visual art media.
Critical/Responsive (CR)
CR7.1
Respond to professional dance, drama, music, and visual art works using
analysis, personal interpretation, and research.
CR7.2
Investigate and identify ways that the arts can communicate a sense of place.
CR7.3
Examine and describe how arts expressions of various times and places reflect
diverse experience, values, and beliefs.
Cultural/Historical (CH)
CH7.1
Investigate how artists’ relationship to place may be reflected in their work.
CH7.2
Investigate how Indigenous artists from around the world reflect the
importance of place (e.g., relationship to the land, geology, region,
urban/rural environments).
CH7.3
Investigate and identify a variety of factors that influence artists, their work,
and careers.
Miss K. Yates 7
Unit One: From Source to Expression
Mini Unit I: Observation (Introduction to the basics of art and
artistic expression)
 Experiment with proportion and distortion in depicting the human figure.
(C/H; C/P)
o Explore how understanding fundamentals informs art. Before
representing a human body one must know that there should be
arms, legs, torso, etc. Explore the fundamentals of art as a
building block process. This would be a good point to start
vocabulary building and have students begin to explore elements
and principles of design.
 Practice contour and gesture drawing. (C/P)
o Teach students the concepts of contour and gesture line drawings.
Have students go out into the world around them, hallways,
library, other classes (if allowed), outside and observe what they
see. Students should complete 5 contour line sketches and 5
gesture line sketches. Students should choose one (1) gesture line
and one (1) contour line sketch to do a more sustained piece on.
These will be portfolio pieces that have the potential to be in the
year end art exhibition.
 Experiment with different points-of-view. (C/H; C/P)
o Explore how point-of-view is reflective of art composition (1 point,
2 point, 3 point) as well as being an element of art message.
Expose students to different point-of-view art works with a
variety of messages. Students should work on one-point
perspective images at this stage in Arts Education. They should
explore prairie landscape through one point perspectives. This
will be a sustained piece for student portfolios and possibly for
the art exhibition.
 View art works. (C/R; C/H)
o In addition to daily Art History Bites students should be exposed to
Art History through art criticism. Have students practice art
critiques and critical thinking by viewing, responding to, and
discussing art prolific works as well as regional and diverse works.
 Investigate high contrast and movement in art. (C/R; C/H)
o Build student vocabulary of art by discussing contrast and
movement as a means of principles of design and composition.
 Compare and contrast representational and abstract art. (C/R; C/H)
o Explore the difference between these two types of art. Have
students complete a compare and contrast of two works of art in
small groups of 2 or 3.
 Brainstorm ideas for art works. (C/P; C/H)
o Students should be considering methods of inspiration and should
begin to understand that art is a deeply personal experience—
Miss K. Yates 8
make connections to how this should inform our critiques of art
and why it is important to be constructive with our feedback.
 Research art and artists. (C/H; C/R)
o Research different types of art forms from different cultures and
investigate how art informs the culture around is as well as how
art is influenced by its culture (explore this cyclical nature).
Mini Unit II: Where Ideas Come From (Inspiration and Expression)
 View films on artists and interview artists. (C/H; C/R)
o Show a minimum of 3 videos on a variety of art movements and
artists. One should be a prominent art form (Pop Art, Surrealism
etc) and one should focus on indigenous art forms, the remaining
video can be chosen at the discretion of the instructor.
 View artists' works. (C/H; C/R)
o This is another opportunity to discuss and critique art work.
Students should be shown work relating to the art films shown
previously. They should be encouraged to respond personally and
independently prior to contributing to a class discussion or small
group discussion.
 Create art works relating to how place influences artwork (rural/urban;
wealth/poverty; light/dark; warm/cold; etc.). (C/P)
o Students should use magazines, books, calendars, other visuals for
inspiration to explore how “place” changes the outcome of
artwork. This can be either a mixed media piece or a collage.
 Investigate how artists use symbol. (C/R; C/H)
o Discuss symbolism and how it is reflected in the art room. If the
students are capable begin to experiment with iconography etc.
 Compare and contrast the students' own lives and times to other times.
(C/R; C/H)
o Students should reflect upon how their artwork would differ from
other places and times. Things like gender, class, race, location,
etc. should be considered. Have students compare one of their
pieces to art of other places and times as selected by the
instructor.
 Reflect upon student and artists' works. (C/R; C/P)
o Students should write a one page reflection on how place
influences their work and how their work differs from that which
we have studied.
Mini Unit III: Communicating Meaning (Art with Purpose)
 Study body language through movement. (C/R; C/H)
o Students should discuss how to convey body language through
motion. Demonstrate this concept through visual images and
videos (performance art).
 Create art works. (C/P)
Miss K. Yates 9
o Students should choose a message relating place (environmental
issues, poverty, corruption, etc.) and create a piece (abstract or
representational) and write an artist statement about what their
piece is trying to convey.
 View artists' works (describe, analyse, interpret, judge). (C/R; C/H)
o Students will critique each others work in small groups and must
be reminded that art is personal so they should be constructive.
 Examine the functions of portraits, landscape, different forms of art
reflecting “place.” (C/R; C/H)
o Show students different types of artwork. They should be able to
understand the function of the different types and how an artist
develops a style and how that style evolves through the artists life.
 Interview people from the community. (C/H)
o Students should have the opportunity to interact with people from
the art community. Perhaps someone from the Mackenzie Art
Gallery, a photo journalist, and an aboriginal artist.
Unit Two: What’s It All About
Mini Unit I: A Sense of Order
 Discuss growing up and psychological landscape/place. (C/R; C/H)
o Students should be exposed to artworks that explore psychological
landscapes (ex: Salvador Dali). Students should explore both
external and internal landscapes of artists and how both affect
the intended purpose of the work.
 Create visual art works. (C/P)
o Students should be studying compositional elements of design and
how art has a natural order to it. Students should be exposed to
 Experiment with proportion and distortion in depicting the human figure.
(C/R; C/H; C/P)
o Students should explore historical work of distortion including,
but not limited to, cubism and Picasso. By studying how artists
distort the world around them students should create their own
distortion using paint or charcoal as their medium.
 Explore the elements of art and the principles of design in their own
work and the work of others. (C/R; C/H; C/P)
o Students should begin to build a vocabulary of elements and
principles of design to use in their critiques of their own work and
the work of others.
 Research art from other cultures and times. (C/R; C/H)
o In small groups, 2-3, students will be assigned a period of art
history to present on. Each group will be responsible for creating
an entry for their Art History period for an Art History book. They
need to highlight what was going on socially, who were prolific
Miss K. Yates 10
artists of the time, what were the “fringe” art movements and
highlight a minimum of 2 forms of art and 3 artists of the era.
 Write journals. (C/R)
o Students should continue their daily art journals.
 Create videos. (C/R)
o Students will be shown 2 or 3 short videos on “place”. They need
to consider what the artist is saying and the significance of this
piece. In groups of 2 or 3 students will need to shoot a video on
what they perceive as the importance of “place” in their lives.
 Reflect on, discuss and analyse art works. (C/R)
o Students should practice critiquing their own work, the work of
their peers and other significant works.
Mini Unit II A Sense of Purpose
 Discuss “beauty” and how perspectives of beauty can be regional. (C/R;
C/H)
o Students should be exposed to different types of art and their
perception of beauty. The hope of this section is to expand
students’ repetiore of regional notions of beauty. Students should
view local, national, and international works dealing with “place”.
 Create art works. (C/P)
o Students should create works to capture their ideas of beauty.
This should be a free choice of medium so that students get to
experiment with new materials.
 Explore the elements of art and principles of design in their own work
and the work of others. (C/R; C/H; C/P)
o Students should create artist statements for their work to
describe why they made the choices they did and discuss their
design/artistic process.
 Analyse magazines and advertisements (local, national, and
international). (C/R)
o Student should have a chance to become aware of the media
around them and how art plays an integral part in marketing
schemes as well as how we perceive everyday things, such as the
news.
 Question why individuals, art galleries, etc. collect art and why different
types of art have different purposes. (C/R)
o Students will be exposed to art galleries as a preliminary exercise
for their final project as well as to gain knowledge about art as a
cultural heritage as well as a source of revenue.
 View art works (describe, analyse, interpret, judge). (C/R; C/H)
o At the galleries students should practice their critiquing skills and
provide a minimum of 3 one-page critiques of pieces from the
gallery. Ideally, students should go to several galleries and their
critiques should each be from a different location/collection.
Miss K. Yates 11
Unit Three: Traditions and Innovations
Mini Unit I Visual Images and Daily Life
 Discuss foods and traditions in other cultures. (C/H)
o Students will explore how everyday life informs art work.
Showing students a sample of a variety of still life images from
around the world and then landscapes from around the world will
demonstrate how the world surrounding an artist can play a
profound role in how an artist’s craft evolves.
 Research political and social realities of food production and how daily
life impacts art. (C/H)
o Students should begin to see a correlation between economy and
art production. The stronger the economy—the more diverse the
artistic landscape (generally speaking). Poverty and civil unrest
often lend themselves to protest art with limited media. This
would be a good section to explore the realm of found-object art.
 View artists' works (describe, analyse, interpret, judge). (C/H; C/R)
o Students should have a strong visual literacy component in this
mini-unit. They will need guidance for their research as many
students may not have a wide-range of art knowledge.
 Create art works. (C/P)
o Students should create art that stems from their lives and the
world as they see it. This should also be a new media exploration.
 Examine mass media. (C/R; C/H)
o Students should examine mass media and the idea of art as
propaganda as well as the implications of this.
 Explore symbol in art. (C/R; C/H)
o Symbols play an important role in art, Christian iconography
(Byzantine Empire era), social protest symbolism, Pagan
iconongraphy as well as other religious symbolism.
 Explore the elements of art and principles of design in their own and
others' work. (C/R; C/P; C/H)
o Students should continue their critiques of their own work, the
work of their peers, and international art.
 Discuss, "What is Art?" (C/R; C/H)
o Now that students have a working art vocabulary have them
revisit “what is art” and assess how their ideas and opinions have
changed or been strengthened.
 Discuss how artists' ideas change. (C/R; C/H)
o Discuss how as an artist changes, evolves, and is exposed to new
ideas and media their work also changes. Have students reflect
on where they first began as art students to where they are now.
Have students predict where they might end up (producers of art,
consumers of art, indifferent to art etc.)
 Tour a film or television studio. (C/R; C/H)
Miss K. Yates 12
o This is optional as a television studio may not be accessible. As
an extension of the media influences on art, students should see
how art that is popular and consumed at incredibly high rates is
made. Students should come out of this experience appreciative
of how artistic television and filmmaking is.
 Write in journals. (C/R)
o Students should continue to write in their art journals daily.
Mini Unit II Artist Study
 Discuss related topics. (C/R; C/H)
o Have students begin to narrow down the topics for their research
project.
 Invite resource personnel to the classroom. (C/R; C/H)
o Working with the school librarian/resource person introduce
students to appropriate art research methods and have students
begin their research on an artist of their choice.
 Learn print-making techniques and processes. (C/P)
o Since the vast majority of consumer art are prints students
should take the time to learn how to make prints and begin to
understand that often the only economical way to create and own
art is through the production of these prints.
 Experiment with new media and techniques. (C/P)
o Students should be given “free art” type to explore new media
and employ the skills they have learned throughout the semester.
They should be informed of the conventional use of the media
and techniques but should be encouraged to approach this task
with creative minds.
 Visual and Written Essay (C/H; C/R; C/P)
o C/H- Students will connect an artist to his or her cultural
significance and discuss the importance of their work on the Art
History landscape. There should be a focus on how the artists
used the world around them in their artwork (this does not limit
to landscape artists—students will need to consider urban v.s.
rural; historical time and social movements).
o C/R- Students will choose two (2) works of the artist to respond to
in their essay and visual representation.
o C/P- Students will write an essay (basic 5 paragraph) and create
and image representing the artist, through collage etc. as well as
create their own original piece inspired by the artist of their
choice.
Unit Four: Interdisciplinary
 Currating an Art Exhibit
o As a final project for this class students will be asked to create
and facilitate an art exhibit for the community. Having just
Miss K. Yates 13
begun to appreciate how enriching an accessible art community
is—students should put their knowledge into practice and create
their exhibits of their research, artistic work and perhaps explore
giving artists talks to younger students. If time permits students
should plan a gallery opening, organize a reception, give artistic
talks and tours and be able to appreciate the artistic process from
a new perspective.
Proposed Daily Routine:
1) Art History Bite (featuring new artist or art movement each day to give
students breadth to their learning)
2) Art journals (responding to a quote re: art, an image, or another prompt)
3) Lesson
4) Work time
5) Clean-up and debrief
Assessment
Daily processes (time on task, class contributions)
Art Journal (daily reflections)
Art Projects
Major projects
-Art Essay
-Portfolio
-Art Exhibition
Final Exam
** Many components of assessment are formative and require student input and
reflection.
Miss K. Yates 14
Sample Art History Bites
Andy Warhol
American Pop Artist
1928-1987
Born Andrew Warhola, August 6, 1928, in the industrial city of Pittsburgh, Pennsylvania, Andy
Warhol is best known for his exploration of Pop Art, mass producing images of mass produced
objects.
His most famous works depicted Campbell's soup cans. Enlarged, hand-painted or silkscreened,
framed, and hung in an art gallery, Warhol succeeded in turning these mundane images into
ironic "art".
Warhol experimented in media such as film, sculpture, paint, and silkscreen, but perhaps his
greatest work was his invention of himself as an international celebrity and pop culture icon.
Mickey Mouse, 1980s
Jackie, 1964
Beethoven, 1987
Miss K. Yates 15
Dadaism
Europe, 1916-1924
Dada was a protest by a group of European artists against World War I, bourgeois society, and
the conservativism of traditional thought. Its followers used absurdities and non sequiturs to
create artworks and performances which defied any intellectual analysis. They also included
random "found" objects in sculptures and installations.
The founders included the French artist Jean Arp and the writers Hugo Ball and Tristan
Tzara. Francis Picabia and Marcel Duchamp were also key contributors.
The Dada movement evolved into Surrealism in the 1920's.
Voliere, 1919
Man Ray
1890-1976
American Photographer/Painter
Spring Picture, 1930s
Kurt Schwitters
1887-1948
German Painter/Sculptor
Nude Descending a Staircase, No. 2
Marcel Duchamp
1887-1968
French/American Conceptual Artist
Miss K. Yates 16
Sample Art Journal Prompts:
 “What is peace?”
 “What is beauty?”
 “How does what you experience change the way you view the world?”
 Read a passage of a poem or listen to a song with students eyes closed.
When they open their eyes have them write and illustrate what they
visualized through the poem.
 Have students do reverse association. Show them an image for an
allotted period of time (30 seconds) and then have them record initial
reactions and opinions.
 Students can use their journals to practice their critiquing skills.
Miss K. Yates 17
Sample Rubrics:
Sample Rubric for Assessing A Visual Product
1 (Beginning
2
3 Proficient
Satisfactory
Apparently
Intent can be Follows a
Purpose/
purposeless:
no
seen to be
common pattern,
Intent
intent can be
seen beyond the
need to have
something.
Media/Mode
of
Presentation
Content
Viewer
Response
Chosen materials
are inappropriate
to project,
making
presentation less
clear or more
difficult to
interpret. Little
apparent effort
has been
expended in
producing
project.
Disordered
picture plane or
use of
negative/positive
space. Space
appears
cluttered or not
resolved:
elements obscure
content/concept.
Viewer is
confused or
apathetic.
4 Excellent
Clear,
thoughtful
exploration
with clear
intent/purpose.
emerging,
but apparent
randomness
makes this
unclear.
Chosen
materials
appear
thrown
together and
quickly
done,
making
project
appear
careless and
unclear.
and delivers an
adequate
product whose
intent is seen.
Chosen materials
soundly
represent the
idea or image, if
in a common
way. Effort has
been expended
to produce an
acceptable
product.
Chosen
materials
contribute to
an effective
presentation of
idea or image.
Effort and
attention to
detail enhance
project.
Immature or
sketchy
appearance.
Negative/
positive
space not
clearly
related.
Irrelevant
elements
contribute to
haphazard
appearance.
Viewer
understands
pretty much
what the
attempt is,
but is
disappointed
in its
execution.
Adequate
content informs
image/project.
Elements support
concept/content.
Image/project
is crisp and
stimulating.
Effective use of
elements
clearly support
and enhance
concept/
content.
Viewer accepts
image/ project
and understands
intent.
Viewer is
engaged in
image/project.
Content/
concept is
transformed by
presentation.
Miss K. Yates 18
Sample Rubric for Assessing Student Portfolios
Level 1
Level 2
Objectives or
Performance
Criteria
Understands and
applies the
elements of art
Unable to
demonstrate basic
understanding of the
elements of art.
Errors often
observed in
understanding and
application of the
elements of art.
Errors often
observed in
understanding and
application of arts
principles.
Proficiency of
skills/techniques is
lacking in many key
areas.
Level 3
Level 4
Some items
demonstrate basic
understanding and
application of the
elements of art.
Some items
demonstrate basic
understanding of arts
principles.
Most items demonstrate
excellent understanding
and application of the
elements of art.
Some degree of
proficiency of
skills/techniques
observed, but
requires additional
work in a few key
areas.
Often expresses ideas
individually and when
working with groups.
Techniques/skills
consistently applied in
accurate and expressive
manner, often going
beyond what is
expected.
Understands and
applies the arts
principles
Unable to
demonstrate basic
understanding of art
principles.
Displays proficiency
in techniques/skill
development
There has been little
or no skill
development.
Expresses ideas
individually and
within a group
Very reluctant to
express ideas
individually or
contribute to group
projects.
Sometimes
expresses ideas
individually but has
difficulty expressing
ideas within groups.
Willing to take risks
Items demonstrate
that student is not
willing to try new
approaches (e.g.,
repetitive visual
images.)
No attempt or
interest in reflecting
on development of
own work.
Items reflect a
reluctance to try
new approaches but
will try something
new occasionally.
Items demonstrate
that student will
often try new
approaches (e.g., use
of new media).
Has difficulty
describing his/her
own creative
process.
Can describe some
key aspects of
decision-making and
problem-solving
process.
Demonstrates
cultural and
historical interest
and understanding
No interest in cultural
and historical
contexts (e.g., does
not listen or
contribute to
discussions on this
topic).
Limited interst in
cultural and
historical contexts
(e.g., recognizes
that Ukrainian and
First Nations art are
not the same).
Includes a variety of
items or projects in
portfolio
Items included
demonstrate very
little variety.
Two or three items
reflect variety of
learning.
Often demonstrates
interest in cultural
and historical
contexts (e.g.,
demonstrates and
interest in learning
about architecture
from various time
periods).
Includes items that
reflect some variety
of skill and
understanding.
Reflects on own
work and learning
Most items demonstrate
excellent understanding
and application of arts
principles.
Consistently expresses
ideas individually and
when working with
groups. Items reflect
high degree of original
thought.
Items demonstrate that
student regularly
pushes self in new
directions to explore
beyond the usual.
Clearly discusses or
explains in writing why
choices were made and
describes with insight
what did or did not
work.
High degree of interest
in cultural and
historical contexts
(e.g., eager to earn
about a wide range of
artists, their lives, and
their work).
Includes items that
reflect a wide range of
skills and
understanding.
Miss K. Yates 19
Interesting Resources:
ArtSask http://www.artsask.ca/
National Film Board www.nfb.ca
Cultural Politics: Art Activism http://culturalpolitics.net/social_movements/art
Art Encyclopedia http://www.artcyclopedia.com/
Allen Sapp’s Art: Art Through the Eyes of the Cree and Beyond
Includes a book, a DVD, a CD, and a teachers guide. Available through
SK curriculum online
Art First Nations: Tradition and Innovation
Includes posters of painting, carving, clothing, basketry, jewellery, and
masks of several First Nations. Available through SK curriculum online.
Canadian Heritage Collection Series
Focuses on Canada during the 20th century. Available through SK
curriculum online.
Canadian Museum of Civilization
Internet site with access to displays related to arts and culture.
Available teaching resources. Available through SK curriculum online.
Careers in Culture
Interactive website informs students about the many fields of
employment within the cultural sector. Available through SK curriculum
online.
Celebrating Saskatchewan Artists
Divided into three parts: “Status of the Artist”, “Artists in Community
and Business”, and “Artists’ Stories”. Available through SK online
Curriculum
Engaging the Adolescent Mind Through Visual Problem Solving
Includes non-traditional ways to identify and solve thought-provoking
visual problems. Available through SK curriculum online.
Other resources are also available through the SK online curriculum:
https://www.edonline.sk.ca/webapps/moe-curriculumBBLEARN/index.jsp?view=resources&lang=en&XML=arts_education_7.xml
Miss K. Yates 20
Glossary
Abstract art
A style of art that uses lines, shapes, colours and textures to
depict an object without attention to depicting the object in a
realistic manner.
After- image
Weak image of the complementary colour created by the brain
as a reaction to prolonged looking at a colour. (After looking at
red, the after-image is green).
Alternating rhythm
Repeating motifs but changing the position, content or spaces
between them.
Analogous colour
Colours that are beside each other on the colour wheel.
Arbitrary colour
Colours chosen by the artist to symbolize an idea or express a
mood or feeling.
Art criticism
The process and result of critical thinking about art. It usually
involves the description, analysis and interpretation of art, as
well as some kind of judgment.
Assemblage
Sculpture consisting of many objects and materials which have
been put together.
Asymmetrical balance
Informal balance in which unlike objects have equal visual
weight.
Background
Part of the picture plane that seems to be farthest from the
viewer.
Balance
Principle of design that deals with arranging the visual elements
in a work of art for harmony of design and proportion.
Bas- relief
Sculpture in which part of the surface projects from a flat plane.
Bonsai
Artificially dwarfed plant or tree common in the Japanese
culture.
Calligraphic line
Flowing line made with brushstrokes, similar to oriental writing.
Calligraphy
Miss K. Yates 21
Handwriting usually very beautifully formed with a flat-nibbed
pen or brush.
Chiaroscuro
Using contrast of light and dark to create the illusion of threedimensional form on a two- dimensional surface. Clustering
In design, creating a focal point by grouping different objects or
shapes together.
Collage
A work of art made from pieces of pictures, paper, found
materials, etc. juxtaposed and glued to a surface.
Colour interactions
An optical sensation that colours are changed by their
relationship to other colours.
Colour scheme
Plan for selecting or organizing colour (monochromatic,
analogous, complementary, triad, split-complementary, warm,
cool or neutral colours).
Colour triad
Three colours spaced an equal distance apart on the colour
wheel (e.g., red, yellow, and blue).
Colour wheel
A tool for organizing colour.
Complementary colour
Colours that are opposite each other on the colour wheel (e.g.,
blue and orange). These colours are the strongest contrast to
each other. When a hue is mixed with its complement, its
intensity is reduced.
Composition
Arrangements of elements in a work of art.
Continuation (continuity)
In design, arranging shapes so that the line or edge of one shape
leads into another (technique for creating unity).
Contour lines
Contour lines define edges, ridges or outlines of a shape or form.
Contrast
A principle of design used to emphasize, provide variety and
interest, or to create a certain feeling in the work.
Convergence
Technique for creating focal point by arranging visual elements
so that many edges or lines point to one area.
Cool colours
Miss K. Yates 22
Green, blue and purple. Colours often associated with cool
places, things or feelings.
Crafts
Art works that are both decorative and functional. (weaving,
fabric design, jewelry- making and pottery).
Crosshatch
Technique for shading, using two or more crossed sets of parallel
lines.
Culture
Behaviours, ideas, skills and customs of a group of people.
Distortion
Changing an object's usual shape to communicate ideas and
feelings.
Documentary film
A film based on facts or real events.
Documented
Often art works which are temporary in nature are photographed
or filmed to record their existence.
Dominant element
Element in a work of art which is noticed first (elements noticed
later are subordinate).
Draftsperson
An artist who draws plans for machinery and buildings.
Elements of art
Colour, line, texture, shape and form.
Emphasis
Principle of design that stresses one element or area to attract
the viewer's attention first.
Exaggeration
Increasing or enlarging an object or figure to communicate ideas
or feelings.
Fine art
A traditional term for art that is valued for its qualities, ideas or
expressiveness and not just its technical excellence; for example,
painting, sculpture and architecture.
Flowing rhythm
Visual rhythm which is created by repeating wavy lines.
Focal point
Area of an art work which attracts the viewer's attention first.
Contrast, location, isolation, convergence and the unusual are
used to create focal points.
Miss K. Yates 23
Foreground
Part of a picture which appears closest to the viewer and often
is at the bottom of the picture.
Foreshortening
A form of perspective where the nearest parts of an object or
form are enlarged so that the rest of the form appears to go
back in space.
Gesture drawing
A drawing done quickly to capture a movement.
Harmony
Refers to ways similarities in a work are accentuated to create
an uncomplicated, uniform appearance.
Hatching
Technique of shading using a series of parallel lines.
Hieroglyphics
Egyptian writing using symbols.
Hue
Another word for colour (colour has three properties: hue, value
and intensity).
Illusion
A deceptive or misleading image.
Illustrator
An artist who creates images for books, magazines, etc.
Installation art
A work of art which is made for and placed within a certain
space. It can activate the viewer to become involved in the
space or react to the environment.
Intensity
Brightness or dullness of a colour. Intensity can be reduced by
adding the colour's complement.
Isolation
Technique for creating focal point by putting one object or
image alone.
Juxtapose
To place objects side by side.
Kinetic art
Art work which depends on movement for its effect.
Linear perspective
Technique of creating the illusion of depth on a flat surface. The
lines of buildings and other objects converge to a vanishing point
on a horizon line (viewer's eye level).
Miss K. Yates 24
Logo
A visual symbol that identifies a business, club, individual or
group.
Maquette
A small preliminary model made by a sculptor before
undertaking a larger work.
Media
Any materials and techniques used to produce a work of art,
such as paint, glass, clay, fibre, etc.
Middleground
Area in a picture between the foreground and the background.
Mixed media
Any art work which uses more than one medium.
Monochromatic colour
Colour scheme which uses one hue and all its tints and shades
for a unifying effect.
Motif
Repeated unit to create visual rhythm.
Negative space
Space around an object or form.
Neutral colours
Black, white and grey. Non- objective
An art work without a recognizable object.
Opaque
Quality of a material that does not let any light pass through.
Organic form
Shapes or forms that are free-flowing and non- geometric.
Path of movement
The path along which the viewer's eye moves from one part of
an art work to another.
Pattern
Lines, colours or shapes repeated in a planned way.
Perspective
Method used to create the illusion of space on a two-dimensional
surface. It can be created by overlapping, placement, detail,
colour intensity or value, converging lines and size variations.
Petroglyph
A carving or inscription on a rock surface.
Pictograph
A drawing or painting on a rock surface.
Picture plane
Miss K. Yates 25
The surface of a drawing or painting.
Point-of- view
The angle from which something is viewed.
Positive space
Shapes or forms on a two-dimensional surface.
Principles of design
Guidelines that artists use in composing designs and controlling
how viewers are likely to react to the image. Balance, contrast,
proportion, rhythm, emphasis, harmony, variety and unity are
examples of the principles of design.
Progressive rhythm pattern
Visual rhythm that changes the motif each time it is repeated.
Proportion
Principle of design concerned with the relationship of one object
to another with respect to size, amount, number and degree.
Radial balance
Kind of balance where the elements branch out from a central
point.
Random rhythm
Visual rhythm in which a motif is repeated in no apparent order.
Regular rhythm
Visual rhythm created through repeating the same motif with
the same distance between the repetitions.
Repetition
Technique for creating unity and rhythm by using a single
element or motif over and over again.
Reproduction
Copy of a work of art.
Rhythm
Principle of design that repeats elements to create the illusion
of movement. Rhythm can be random, regular, alternating,
progressive and flowing.
Scale
The proportion between two sets of dimensions.
Shade
Dark value of a colour made by adding black.
Shape
Element of art that is two-dimensional and encloses space.
Shapes are usually geometric or organic and have length and
width.
Sighting
Miss K. Yates 26
Technique used in drawing to determine the proportional
relationships of one part of an object to another.
Simplicity
Technique used to create unity by limiting the number of
variations of an element.
Space
Space in an art work can be the area around, within or between
images or elements. Space can be created on a two-dimensional
surface by using such techniques as overlapping, object size,
placement, colour intensity and value, detail and diagonal lines.
Split complementary
A colour scheme based on one hue and the hues on either side of
its complement on the colour wheel.
Stippling
Technique of shading using dots.
Style
Style is the artist's ways of presenting things. Use of materials,
methods of working, design qualities, choice of subject matter,
etc. reflect the individual, culture or time period.
Subject
A topic or idea represented in an art work.
Subordinate element
Element in an art work noticed after the dominant element.
Subtractive method
Sculpture that is made by cutting, carving or otherwise removing
material.
Surrealism
A style of painting concerned with the subconscious mind and
dreams. Many surrealist artists make unusual combinations of
objects which appeared very realistic.
Symbols
Objects that are intended to represent something other than
themselves.
Symmetrical balance
Formal balance where two sides of a design are identical.
Thumbnail sketch
Quick sketches that an artist uses to work out ideas.
Tint
Light value of a colour made by adding white.
Translucent
Miss K. Yates 27
Quality of a material which allows diffused light to pass through
it.
Transparent
Quality of a material which allows light to pass through it.
Trompe- l'oeil
Means "fool-the-eye". Style of painting where the artist creates
the illusion of three- dimensional objects.
Unity
Principle of design that gives the feeling that all parts are
working together.
Value
The lightness or darkness of a colour.
Vanishing point
In perspective drawing, a point or points on the horizon where
receding parallel lines seem to meet.
Variety
Principle of design that artists use when they want to add
interest to a work of art.
View finder
A small, hand-held paper with an opening cut in it in proportion
to the paper size used for drawing. Students use it by closing
one eye and looking through the opening to determine a pleasing
composition.
Visual weight
The interest or attraction that certain elements in an art work
have upon the viewer. It can be affected by size, contour,
intensity of colour, warmth or coolness of a colour, contrast in
value, texture and position.
Warm colours
Red, yellow and orange. They suggest warm places, things and
feelings.