HIGH SCHOOL
VISUAL ARTS
CURRICULUM
GRADES 9-12
Approved by the Board of Education, November 2003
Update approved by the Board of Education, May 7, 2009
RAPID CITY AREA SCHOOLS
300 6th Street
Rapid City, South Dakota
BOARD OF EDUCATION:
Mrs. Sheryl Kirkeby ..................................................................................................................................... President
Mrs. Leah Lutheran ......................................................................................................................1st Vice President
Mr. Doug Kinniburgh................................................................................................................... 2nd Vice President
Mrs. Daphne Richards-Cook............................................................................................................. Board Member
Mr. Arnie Laubach .............................................................................................................................. Board Member
Mr. Wes Storm.................................................................................................................................... Board Member
Mr. Bret Swanson ............................................................................................................................... Board Member
ADMINISTRATION:
Dr. Peter M. Wharton.................................................................................................Superintendent of Schools
Dr. James F. Ghents ....................................................... Director of Curriculum, Assessment, Instruction
and Gifted Education Services
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9 - 12 VISUAL ARTS CURRICULUM COMMITTEE – 2009:
Nancy Ashley.............................................................................................................................Stevens High School
Shelley Byers ............................................................................................................................Stevens High School
Kristi Damrau ......................................................................................................................... Central High School
Lisa Evans ..............................................................................................................................Stevens High School
Bobbi Greenway ..................................................................................................................... Central High School
Jeff Gulbransen .................................................................................................................... Central High School
Melanie Kelley ........................................................................................................................ Central High School
Ardie Tatum ...................................................................................................... Rapid City Academy, Jefferson
6 - 12 VISUAL ARTS CURRICULUM COMMITTEE – 2003:
Nancy Ashley.............................................................................................................................Stevens High School
Shelley Byers ............................................................................................................................Stevens High School
Jeff Gulbransen .................................................................................................................... Central High School
Margaret Becket................................................................................................................. South Middle School
Ingrid Arlton ............................................................................................................... Southwest Middle School
Rui Sukut............................................................................................................................. Dakota Middle School
9 - 12 VISUAL ARTS COMMUNITY ADVISORY COMMITTEE – 2003:
Tom Hancock
Marilyn Jack
Jeff White Bear Claws
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CONTENTS
Introduction ........................................................................................ 1
Vision ............................................................................................... 2
Benefits............................................................................................. 2
Philosophy ........................................................................................... 3
National Visual Arts Standards Grades 9-12 .................................................... 4
State Visual Arts Standards Grades 9-12 ....................................................... 7
Elements of Design................................................................................ 10
Principles of Design ............................................................................... 16
Secondary Course Offerings ..................................................................... 19
Scope & Sequence Chart – Art 9 (2-Dimensional) .............................................. 23
Scope & Sequence Chart – Art 9 (3-Dimensional) .............................................. 24
Scope & Sequence Chart – Basic Drawing & Design............................................. 25
General Art terms .......................................................................... 27
Scope & Sequence Chart – Painting .............................................................. 37
Painting terms ............................................................................... 38
Scope & Sequence Chart – Advanced Art ....................................................... 40
Scope & Sequence Chart – Clay Construction & Design ......................................... 41
Clay Construction Terms .................................................................... 42
Scope & Sequence Chart – Advance Clay Construction ......................................... 44
Scope & Sequence Chart – Crafts ............................................................... 45
Craft Terms ................................................................................. 46
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Scope & Sequence Chart – Native American Arts .............................................. 48
Native American Arts Terms ............................................................... 50
Scope & Sequence Chart – Interior Design...................................................... 52
Interior Design Terms ...................................................................... 54
Scope & Sequence Chart – Commercial Art ..................................................... 60
Commercial Art Terms ..................................................................... 61
Scope & Sequence Chart - Beginning Photography .............................................. 62
Scope & Sequence Chart – Advanced Photography .............................................. 64
Photography Terms.......................................................................... 66
Career Education .................................................................................. 76
Career Listing for Artists .................................................................. 77
Suggested Technology Activities ................................................................. 79
Listing of Web sites to explore and visit ................................................. 80
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INTRODUCTION
The High School Visual Arts Curriculum for the Rapid City Area Schools (RCAS) District is aligned with the South
Dakota Content Standards (SD Department of Education and Cultural Affairs), and the National Standards for
Arts Education (The Consortium of National Arts Education Association).
The arts are an integral part of humanity and provide a way for South Dakota students to better understand the
concept of culture. Culture has been defined as the way groups of people approach the world and organize their
lives. The heart of a culture is the guiding principles and beliefs that people deem to be most important. Since
nomadic peoples first sang and danced for their ancestors, since hunters first painted their quarry on the walls of
caves, since parents first acted out the stories of heroes for their children, the arts have described, defined and
deepened human experiences. All people have an abiding need for meaning; to connect time and space, experience
and event, body and spirit, intellect and emotion. People use the arts to make these connections and to express
their individual experiences and creativity.
An education in the visual arts also enhances student computing skills. The inclusion of technology in the
educational environment is a direct compliment to the visual arts. Technology has the power to teach, to motivate,
to captivate, and to transform an ordinary classroom into a training ground for the next generation of artists,
entrepreneurs and government leaders. Virtually all work created on computers uses visual arts elements and
design elements are part of every document.
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VISION
The continued success of civilization to be both dynamic and nurturing ultimately depends on how well we develop
the capacities of our children to live rich, rewarding, and meaningful lives in a vastly complex world. The vision is to
affirm that a future worth having depends on being able to construct a vital understanding of the arts, and that by
doing so, students will be provided opportunities for personal study and fulfillment of self-potential.
BENEFITS
An education in the visual arts benefits society because students of the arts disciplines gain powerful tools for:
 Understanding human experiences, both past and present.
 Learning to adapt to and respect others’ (often very different) ways of thinking, working, and expressing
themselves.
 Learning artistic modes of problem solving, which bring an array of expressive, analytical, and developmental
tools to every human situation (this is why we speak, for example, of the “art” of teaching or the “art” of
politics.
 Understanding the influences of the arts, for example, in their power to create and reflect cultures, in the
impact of design on virtually all we use in daily life, and in the interdependence of work in the arts with the
broader worlds of ideas and action.
 Making decisions in situations where there are no standard answers.
 Analyzing nonverbal communication and making informed judgments about cultural products and issues.
 Communicating their thoughts and feelings in a variety of modes, giving them a vastly more powerful repertoire
of self-expression.
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PHILOSOPHY
The visual arts are that aspect of the art matrix, “the indispensable condition,” that connects our imaginations
visually with our world. Experiencing the creative process, we artists (students) give form to our individual
interpretations of life through:





Elements and principles of design.
Various art media and techniques, and technology.
Production.
Study of art history.
The joy of work.
The arts are integral to daily life. They refresh and invigorate us. They teach us to rigorously apply what we learn
in a “hands-on”, authentic way. In a rural and isolated area like South Dakota, schools are often the only place
where the visual arts and art education are accessible.
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NATIONAL STANDARDS FOR THE VISUAL ARTS GRADES 9-12
1.
CONTENT STANDARD:
Understanding and applying media, techniques and processes
ACHIEVEMENT STANDARDS
PROFICIENT: Students
a. Apply media, techniques, and
b. conceive and create works of visual
processes with sufficient skill,
art that demonstrate an
confidence, and sensitivity that their
understanding of how the
intentions are carried out in their
communication of their ideas relates
artworks.
to the media, techniques and
processes they use.
c. communicate ideas regularly at a high d. initiate, define, and solve challenging
level of effectiveness in at least one
visual arts problems independently
visual arts medium.
using intellectual skills such as
analysis, synthesis, and evaluation.
ACHIEVEMENT STANDARD,
Advanced
2.
CONTENT STANDARD:
Using knowledge of structures and functions
ACHIEVEMENT STANDARDS,
PROFICIENT: Students
a. demonstrate the ability to form and
defend judgments about the
characteristics and structures to
accomplish commercial, personal,
communal, or other purposes of art.
ACHIEVEMENT STANDARD,
Advanced
b. evaluate the effectiveness of
artwork in terms of organizational
structures and functions
c. create artworks that use
organizational principles and
functions to solve specific visual arts
problems
d. demonstrate
the ability to compare
e. create multiple solutions to specific
two or more perspectives about the
visual arts problems that
use of organizational principles and
demonstrate competence in
functions in artwork and to defend
producing effective relationships
personal evaluations of these
between structural choices and
perspectives.
artistic functions.
4
NATIONAL STANDARDS FOR THE VISUAL ARTS GRADES 9-12
3.
CONTENT STANDARD:
Choosing and evaluating a range of subject matter, symbols and ideas.
ACHIEVEMENT STANDARDS
FOR STUDENTS:
a. integrate visual, spatial, and
temporal concepts with content to
communicate intended meaning in
their artworks.
b. use subjects, theme, and symbols
that demonstrate knowledge of
contexts, values, and aesthetics
that communicate intended
meaning in artworks.
4.
CONTENT STANDARD:
Understanding the visual arts in relation to history and cultures
ACHIEVEMENT STANDARDS
FOR STUDENTS:
a. Know and compare the
characteristics of artworks in
various eras and cultures
c. analyze, describe, and demonstrate
how factors of time and place(such
as climate, resources, ideas and
technology) influence visual
characteristics and give meaning and
value to a work of art.
5
b. describe and place a variety of art
objects in historical and cultures.
NATIONAL STANDARDS FOR THE VISUAL ARTS GRADES 9-12
5.
CONTENT STANDARD:
Reflecting upon and assessing the characteristics and merits of their work the
work and others
ACHIEVEMENT STANDARDS
FOR STUDENTS:
a. compare multiple purposes for
creating work of art
b. analyze contemporary and historic
meanings in specific artworks
through cultural and aesthetic
inquiry
c. describe and compare a variety of
individual responses to their own
artworks and to artworks from
various eras and cultures.
6.
CONTENT STANDARD:
Making connections between visual arts and disciplines
ACHIEVEMENT STANDARDS
a. compare the characteristics of works in b. describe ways in which the principles
two or more art forms that share
and subject matter of other
similar subject matter, historical
disciplines taught in the school are
periods, or cultural context
interrelated with the visual arts
FOR STUDENTS:
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STATE VISUAL ART STANDARDS GRADES 9-12
STATE VISUAL ART STANDARD ONE:
Students will understand and use visual arts as means for creative self-expression and interpersonal communication.
RATIONALE:
Visual arts production provides a means for creativity and self-expression*. Creating visual art provides a way for
students to actively use traditional materials and contemporary techniques to demonstrate personal interpretations
of feelings, thoughts, and ideas. Integration of visual art with other disciplines helps students see relevance and
connections among all curricular areas and increases their knowledge base, self-esteem, and personal confidence.
9-12 STUDENTS WILL:
1. Communicate personal ideas, experiences, or emotions through a variety of visual art media, processes and
techniques.
2. Analyze how visual arts may express concepts, tell stories, evoke moods or emotions, and symbolize ideas.
3. Create* artwork which communicates an understanding of themes or concepts from other disciplines.
STATE VISUAL ART STANDARD TWO:
Students will understand the media, techniques and processes used in the production of visual arts.
RATIONALE:
Understanding various media and a variety of production techniques and processes provides students with knowledge
of how to use a diversity of appropriate elements and principles to solve visual arts problems. This knowledge base
provides students the background to effectively interpret and portray emotions and ideas. A well-rounded
understanding of its many components builds a foundation for life-long engagement in and enjoyment of visual arts
9-12 STUDENTS WILL:
1. Analyze the various media and processes used in creating a variety of art forms.
2. Analyze a variety of techniques, which give artwork definition and detail.
3. Determine and apply the appropriate compositional elements and organizational principles to solve specific
visual art problems
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STATE VISUAL ART STANDARDS GRADES 9-12
STATE VISUAL ART STANDARD THREE:
Students will understand the relationship between visual arts and history.
RATIONALE:
When students are given the opportunity to study and experience visual arts which represent other cultures and
time periods, they gain a deeper understanding of their own as well as other cultures. Knowledge of the
interrelationships between people and their art, and the influence one has on the other, helps students develop an
appreciation for and tolerance of differences. The visual arts provide a better understanding of and a common
bridge among cultures throughout the world.
9-12 STUDENTS WILL:
1. Analyze how the visual arts record, preserve, highlight and symbolize the history of humanity.
2. Analyze the role of visual arts in reflecting and influencing the culture and societies in which they are
created.
3. Analyze the influence of significant artists on the evolution of the various forms of visual arts.
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STATE VISUAL ART STANDARDS GRADES 9-12
STATE VISUAL ART STANDARD FOUR:
Students will demonstrate a capacity for critical and sensitive response to various visual arts experiences.
RATIONALE:
By describing, analyzing, and evaluating various processes, production techniques, and media used, students
develop the ability to more fully appreciate the visual arts. Students develop the capacity for critical and
sensitive response to the efforts of others by using appropriate criteria to evaluate various forms of artwork.
Students must establish criteria to assess their own art work and view self-evaluation as an opportunity for
personal improvement.
9-12 STUDENTS WILL:
1. Evaluate works of art in terms of artistic concepts, ideas, or intentions using criteria appropriate for the
style or form.
2. Justify visual art preferences using personal aesthetic criteria.*
3. Evaluate the quality and effectiveness of personal artwork using specific criteria.
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ELEMENTS OF DESIGN
ELEMENTS
LINE
DESCRIPTION
Line can be described as pat of a dot through
space. There are 5 main kinds of lines:
Vertical, Horizontal, Diagonal, Curved, Zigzag.
When a line is used in art work (and technology),
they describe ideas, emotions, objects, and
situations.





Vertical lines move straight up and down and
show dignity and strength.
Horizontal lines run parallel to the ground
and seem to rest or calm.
Curved lines change direction little by little
expressing movement in a graceful, flowing
way.
Diagonal lines slat and signal action and
excitement.
Zigzag lines create confusion and suggest
action.
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BENCHMARKS
DIRECTION:
 Show speed of movement with vertical,
horizontal, and diagonal lines.
 Use curved lines for flowing rhythms.
 Use jagged lines for angular rhythms.
 Use twisted lines for erratic rhythms.
 Cross lines to create points of conflict.
 Combine movements for interest.
 Combine movements to describe form.
COLOR:
Allow line to advance or recede in space by varying
light and dark value. Accomplished by pressure on
instrument, retracing to darken, moving within a
single line, and use of medium characteristics.
WEIGHT:
Use thin lines for delicate, graceful and fast
moving rhythms.
Use thick lines for heavy, sturdy slow moving
rhythms.
Vary thick and thin quality within single line
movements.
Vary thick and thin quality by character of
medium.
ELEMENTS OF DESIGN
ELEMENTS
SPACE
DESCRIPTION
Space is the distance or area between, around,
above, below, and within things.
BENCHMARKS
OVERLAPPING:
 Have shapes overlap one another.
In 2–dimensional art, Space is an illusion or air,
mass, depth, or distance.
SIZE:
 Make distant shapes smaller than closer
ones.
The relationship of line, form and color depend
upon the amount and variety of space in which
they exist.
Space is sometimes considered negative form
with a size, shape, and character of its own.
Space and break-up of space are the first
problems in every work of art. The size and
proportion of a 2-dimensional surface and the
amount of and shape of a 3-dimensional air mass
determine the type of line and form to use for
spatial design.
FOCUS:
 Add more detail to closer objects, less
detail to distant objects.
PLACEMENT:
 Place distant object higher up in the
picture, closer ones lower down.
INTENSITY & VALUE:
 Using colors that are lower in intensity
and lighter in value for objects in the
distance.
LINEAR PERSPECTIVE:
 Use slanting lines in objects so they
seem to come together in the distance.
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ELEMENTS OF DESIGN
ELEMENT
SHAPEFORM
DESCRIPTION
A SHAPE is a 2-dimensional form described by
line or by contour edge. Shapes are flat and
include length and width.
A FORM is an object with 3 dimensions:
 Length
 Width
 Depth
Forms are grouped as geometric or organic.
Geometric forms could be cylinders, cube or a
sphere. Organic forms could be a rock, tree or
mountain.
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BENCHMARKS
Create the shapes below.
Shapes belong in 1 or 2 classes:
1. Geometric Shapes:
These shapes look like they were made
with a ruler. The square, the circle, the
triangle, the rectangle, and oval are part of
the five basic shapes.
2. Organic Shapes:
Shapes that are or are-not regular or
even. These shapes are free-form shapes
that are often found in nature.
ELEMENTS OF DESIGN
ELEMENT
COLOR
DESCRIPTION
BENCHMARKS
COLOR is what the eye sees when sunlight or some other Use and understand elements of Color.
light source bounces off an object.
COLOR PROPERTIES:
 Hue
 Value
 Intensity
COLORS ON THE COLOR WHEEL:
The arrangement of the colors on the color wheel was
organized by Sir Isaac Newton in the 18th century.
Primary Colors: Red, Blue, Yellow
Used to mix all other colors on the wheel.
Secondary Colors: Orange, Green, Violet
Result from mixing 2 primary colors.
Tertiaries (Intermediates): Yellow-green, Blue-green,
Blue-violet, Red-violet, Red-orange, Yellow-orange.
Result from mixing a primary and secondary color.
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ELEMENTS OF DESIGN
ELEMENT
COLOR
(Cont.)
DESCRIPTION
BENCHMARKS
DEFINITONS:
 Value: The lightness or darkness of a color.
Use and understand elements of Color.
 Tints: Mix color into white for light value.
 Shade: Mix black into color for dark value.
 Intensity: the brightness or dullness of a color.
 A color’s intensity is changed by adding its complement
(opposite color on color wheel).
COLOR SCHEMES:
 Cool Colors: Blue, Violet, Green
 Suggest ice, water, foliage, Tend to recede.
 Warm Colors: Red, Orange, Yellow
 Reminds us of sunshine, fire, etc. Tend to advance.
 Monochromatic: Use values and intensities of 1 color.
 Analogous: Colors that are side-by-side on the color wheel
and share a hue.
 Complementary: Colors that are opposite each other on the
color wheel.
 Split-Complements: Use opposite colors, split & choose the
colors on either side of the complement.
 Triad: 3 colors that form an equilateral triangle on the
color wheel.
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ELEMENTS OF DESIGN
ELEMENT
TEXTURE
DESCRIPTION
TEXTURE refers to how things feel, or look as
though they might feel, if touched.
TEXTURE:
 Gives a tactile, as well as, visual impression.
 Adds interest & variety to structural form
enriches color and aids in description &
recognition.
 Experienced through the 2 senses-sight &
touch.
VISUAL & REAL TEXTURE:
 Visual Texture:
 When we see object with texture, we
experience “visual texture”.
 Real Texture:
 Actual texture or “real texture” is what we
experience when we touch the object
itself.
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BENCHMARKS
Use and understand elements of Texture.
PRINCIPLES OF DESIGN
The principles of design are the ways and the means of compositional organization (the “HOW” as applied to
structural elements. The principles of art are guidelines that govern the way elements go together.
The principles of Design are:
Balance
Proportion
Variety
Movement
Unity
Rhythm
Emphasis
ELEMENTS
BALANCE
DESCRIPTION
The arrangement of elements so that no one part of a
work overpowers, or seems heavier than any other part.
3 TYPES OF BALANCE:
1. Formal /Symmetrical: An even distribution of parts
when one half of a work is mirror image of the other
half.
2. Informal/Asymmetrical: Unequal distribution of
parts. Two unlike objects are made to seem to be
equal weight.
3. Radial: Happens when elements or objects are
centered around a center point.
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BENCHMARKS
Use and understand Principles of
Design.
ELEMENTS
VARIETY
UNITY
DESCRIPTION
BENCHMARKS
To combine one or more elements to add interest and avoid Use and understand Principles of
monotony by:
Design.
 Change of Size: Large with medium and small.
 Change of Shape: Round with pointed.
 Contrast in Value: Dark with medium and light.
 Grouping of Colors: Warm with cool, bright with
dull.
 Contrast with Texture: Rough with smooth, coarse
with fine.
 Change of Movements & Direction.
The blending art elements and principles in a pleasing way
creates unity and a feeling of completeness.
 Consistency of style and character.
 Clarity of a single or main idea.
 Organization of lines, space and tonal quality.
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Use and understand Principles of
Design.
ELEMENTS
EMPHASIS
PROPORTION
MOVEMENT
RHYTHM
DESCRIPTION
Stressing or making an element or object stand out over
other parts.
Using emphasis allows an artist to control what part of
the work the viewer looks at first and how long the viewer
will spend looking at each of the different parts through:
 Emphasis creates a focal point or center of
interest.
 Emphasis is created by contrast, or extreme
changes in an element.
The comparative relationship of one part to the whole and
one part to another.
Leads he viewer to sense action in a work of leads the
viewer’s eye throughout the work.
There petition of an element to make a work seem active.
Rhythm creates a flow of movement by:
 Repeating lines, shapes, colors, values, and
textures.
 Tension between the parts or certain parts.
 A similarity or resemblance of these parts.
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BENCHMARKS
Use and understand Principles of
Design.
Use and understand Principles of
Design.
Use and understand Principles of
Design.
Use and understand Principles of
Design.
SECONDARY COURSE OFFERINGS
COURSE
GRADE
# CREDITS
ART 9 (2D)
9
1/2
ART 9 (3D)
9
1/2
10, 11, 12
1
BASIC
DRAWING &
DESIGN
DESCRIPTION
Students are introduced to design and composition with
emphasis on the 2-dimensional format. Students are exposed
to the basic fundamentals, vocabulary, tools, and a variety of
media through drawing, painting, printmaking and mixed media.
Students will be introduced to examples of artists’ works and
their ideas to serve as a source of inspiration and
interpretations.
Students will create 3-dimensional projects using basic
fundamentals of design with emphasis on subtractive and
additive methods. A variety of materials such as clay, plaster,
wood, paper and wire will be used in creating a multitude of
sculptural forms.
Students explore a variety of drawing tools, techniques and
subjects. Emphasis on improving observational skills through
the introduction of the elements of design (line, form/shape,
value, color, space & texture) and the principles of design
(balance, variety, unity, emphasis, proportion, movement &
rhythm) using a variety of media. This class is recommended
prior to Painting and Advanced Art.
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COURSE
GRADE
# CREDITS
PAINTING
11, 12
1/2
(Central High
School students
can repeat this
class for
additional credit.)
ADVANCED ART
11, 12
1/2
(Central High
School students
can repeat this
class for
additional credit.)
10, 11, 12
1/2
CLAY
CONSTRUCTION
AND DESIGN
DESCRIPTION
Students will develop an individual style in painting through the
study of various styles in art history using acrylics, tempera,
watercolor, mixed media, and collage. Exploration of the
basics of color, design and composition, and drawing are the
strong foundation of this class. Development of a portfolio
and a language of art criticism is emphasized. Completion of
Basic Drawing or portfolio acceptance is essential for success
in this class.
Development and creation of ideas toward individual
expression using the elements of art and the principles design.
References of artists from various movements will serve as
catalysts to students in their own creations. Both 2dimensional and 3-dimensional projects allow students the
opportunity to explore their own creativity and make choices
(how to carry out a project and make best use of a medium).
Basic Drawing and Painting are recommended prior to this
class.
Students explore clay as a 3-dimensional medium through a
variety of hand-forming techniques including coil, pinch, slab,
and combinations. A variety of projects allow students to
build utilitarian wares or sculptural pieces. Along with learning
the basic techniques, tools, materials and vocabulary.
Students experiment with a variety of decoration processes
(including additive, subtractive, glazing, staining, and use of
mixed media).
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COURSE
GRADE
# CREDITS
ADVANCED
CLAY
10, 11, 12
CRAFTS
10, 11, 12
1/2
(Central High
School students
can repeat this
class for
additional credit.)
1/2
NATIVE
AMERICAN
ARTS
10, 11, 12
1/2
INTERIOR
DESIGN
10, 11, 12
1/2
DESCRIPTION
Continuation of clay hand-building and wheel throwing
techniques. Emphasis on creating an individual style.
Students discover a variety of craft techniques with an
emphasis on good craftsmanship. Exploration of various
mediums and equipment used in designing hand-crafted items
(may include fiber arts, glass etching, clay, basketry, jewelry
design).
Students become acquainted with traditional Native American
art form, design & techniques through the use of
contemporary media. Students utilize various methods & skills
of Native American arts within projects.
Students are introduced to the elements and principles of
design as they relate to interior decorating. Emphasis is
placed on color theory, furniture selection and arrangement,
floor planning, selecting wall treatments, types of flooring,
window covering and lighting. Historical styles and current
trends in decorating will be studied. Field trips to various
related businesses and homes. Computer-related technology is
used to reinforce classroom activities.
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COURSE
GRADE
# CREDITS
COMMERCIAL
ART
10, 11, 12
1/2
BEGINNING
PHOTOGRAPHY
10, 11, 12
1
ADVANCED
PHOTOGRAPHY
11, 12
1
(Students can
repeat this class
for additional
credit.)
DESCRIPTION
Students design creatively with the business world in mind.
Practical information provided on tools, techniques, layout,
typography and graphic design fundamentals. Portfolio
development (and practical applications), exploring team and
individual working environments are stressed. Students
examine commercial art careers.
Students learn technological processes and fundamentals of
art as they pertain to photography. They develop individual
expression, creativity, and a sense of culture. Students utilize
photography as a means of record and an alternative method
of communication.
Students explore further photo techniques and experience the
opportunity of photo-journalism as work is used for student
publications. Creative and critical thought are necessary.
Students develop portfolios that reflect publishing
experience, a mature artistic direction, and a higher level of
craftsmanship.
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ART 9 (2- Dimensional)
Emphasis on the elements of art with exercises on line, shape, space, value, color and texture.
REFERENCE
BENCHMARKS
POSSIBLE ACTIVITIES
STANDARDS
National Standards
1. a, b
2. c
5. a


SD STATE
STANDARDS
Number one
1, 2, 3
Number two
1, 2, 3
Number three
1, 2, 3
Number four
1, 2, 3


Recognize and use creatively, the
elements of art and principles of
design as they relate to each art
activity.
Be familiar with, and uses of, several
different media.
Develop personal expression and
originality through artwork.
Work independently on art projects
developing craftsmanship and
technique.
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 Gesture drawings of shapes, objects,
and figures.
 Cartooning.
 Portrait drawing.
 Grid drawing (enlarged landscape or still
life).
 Perspective drawings.
 Value drawings, variety of techniques to
add value.
 Space, positive/negative space.
 Experiment with a variety of media:
 Pen & ink, charcoal, pencil (colored and
graphite), conte crayon, scratchboard,
printmaking, pastels, tempera,
watercolor.
 Color wheel, basic color schemes.
ART 9 (3-DIMENSIONAL)
Emphasis on the elements of art and principles of design.
REFERENCE
STANDARDS
BENCHMARKS
NATIONAL
STANDARDS
 a, b
 c
 b
 a

SD STATE
STANDARDS
Number One
1, 2,3
Number Two
1,2,3
Number Three
3
Number Four
3



POSSIBLE ACTIVITIES
Recognize elements of art and
principles of design and use in original
formats.
Know usage of tools and a variety of
techniques.
Work independently on art projects to
develop craftsmanship.
Student’s art should develop personal
expression, originality and creativity.
24







Clay: small sculptures, containers.
Sculpture: wire, plaster, paper mache,
found objects, mixed media.
Fiber arts.
Jewelry.
Mat board tile collages.
Copper tooling.
Paper: bending, scoring, folding, curling,
and cutting.
BASIC DRAWING
The intent of this course is to practice basic drawing and design fundamentals, and to expose students to a
wide variety of materials and techniques.
REFERENCE
BENCHMARKS;
POSSIBLE ACTITIES;
STANDARDS
NATIONAL
STANDARDS
 a, b, c, d
 a, b, d, e
 a, b
 a, c
 a, b, c
 a, b




Recognize elements of art and
principles of design and use in original
formats.
Know usage of tools and a variety of
techniques.
Critical thinking/evaluation of own
work and others.
Develop skills to aid in self-expression.
SD STATE
STANDARDS
Number One
1, 2, 3
Number Two
1, 2, 3
Number Three
2, 3
Number Four
1, 2, 3








25
Use of elements of art and principles of
design in a variety of media.
Basic shapes and objects drawn with
gesture, blind contour and contour line.
Drawn with pencil, marker, pen and ink,
charcoal, conte crayon, ink wash.
Principles of showing space,
positive/negative, and perspective (one,
two and three point).
Shading techniques (values, stipple,
crosshatch, and scribble). Using pen ink,
scratchboard & pencil.
Design principles with simple shapes and
references through art history.
Art aesthetics, critical evaluation from
recognized works of art.
Printmaking (linoleum,
embossing/collograph, silk screen,
plexiglass drypoint, monoprint.)
Figure and portrait drawing, selfportraits.
REFERENCE
STANDARDS
BENCHMARKS;
POSSIBLE ACTITIES;


26
Color theory (color wheel, values,
intensities and color schemes).
Color (tempera, watercolor, pastels, oil
pastels, ink, mixed media.)
GENERAL ART TERMS
TERM
ABSTRACT ART
ACCENT
AESTHETICS
ANALOGOUS COLORS
APPRECIATION
ART CRITICISM
ART EXPRESSION
ASYMMETRY
ATMOSPHERIC
PERSPECTIVE
AVANT-GARDE
AXIS
BALANCE
BIRD’S EYE VIEW
DEFINITION
Art in which the subject matter has been simplified or distorted to he point that it
may or may not be easily discerned. Also art which expresses ideas and concepts
through imagery not completely related to the real or natural world.
A distinctive feature or quality, such as a feature that accentuates or complements a
decorative style.
The philosophy of art dealing with the relationship of both the emotional and physical
aspects of art to perception and appreciation.
Colors which possess one hue in common. Colors immediately adjacent on the color
wheel
Sensitive awareness. Awareness implies a discriminating perception or enjoyment of
art.
A special, concentrated way of looking at a piece of art with a purpose to receive
maximum enjoyment and meaning from it.
The act or process of representing ideas, reactions and emotion in art terms.
A type of balance that occurs when the elements of design on one side of center are
not identical in appearance or placement to those on the other, yet the sense of
balance prevails.
The effects of the layers of atmosphere and light, between artist and object, that
influence the artist’s perception of distance and result in the illusion of distance to
the viewer.
Very original, experimental art.
An imaginary line to which elements of a work of art are referred for measurement of
symmetry.
The equal or unequal distribution or arrangement of the elements within a work of art.
View you have if looking down on a scene from an elevated position
27
TERM
BRAYER
BURNISHER
CALLIGRAPHY
CARICATURE
CARTOON
CENTER OF INTEREST
CHIAROSCURO
CHROMA
CHROMATIC
CLASSICAL ART
COLLAGE
COLOR
COLOR WHEEL
COMPLEMENTARY
COLORS
CONTOUR LINES
COOL COLORS
DEFINITION
A roller made of rubber and used for applying ink to a flat printing surface.
A tool that serves especially to smooth or polish.
Beautiful handwriting
A drawing of a person in which certain features have been distorted to achieve a
humorous effect.
A drawing depicting a humorous situation, often accompanied by a caption. A
preliminary sketch similar in size to the work, such as a fresco, that is to be copied
from it.
The part of the work which has received special emphasis and around which the rest
of the work is organized.
The treatment (and use of) light and dark areas, patterns and gradation in 2dimensional works of art, especially gradations of light and dark that produce the
effect of modeling.
Intensity; the quality of brightness and dullness of a color.
Relating to color perceived to have saturation greater than zero.
A form of art derived from close study of the perfect antique examples from Greek
and Roman cultures. It is highly idealized.
A composition comprised of various materials attached to a common surface.
An element of visual sensation usually evoked by light stimulating the cones of the
retina of the eye. Color has 3 qualities: 1)Hue: the actual color itself-i.e. red, 2)
Chroma: The intensity or strength of a color, 3) Value: Lightness or darkness.
The genetic manner of arranging colors by relationship on a circle.
Colors that appear across from each other on the color wheel (red is opposite green).
This color scheme presents the maximum contrast. By mixing complementary colors,
the original intensity is neutralized.
Lines that show the edge of a shape.
Colors such as green, blue, or violet, which evoke a sense of coolness. They appear
opposite the worm colors on the wheel.
28
TERM
CROSS-HATCHING
CUBISM
CURATOR
DADA
DESIGN
DIAGONAL LINE
DISTORTION
DOCENT
DOME
DORIC COLUMN
DYNAMICS
ELEMENT
EMPHASIS
ETCHING
EXPRESSIONISM
EXPRESSIVE
EYE LEVEL
FAUVES
DEFINITION
A technique of modeling or shading used in drawing, involving crossing lines at varied
angles to develop shaded or modeled panes.
Art movement in which the subject is visually fragmented to reveal multiple
viewpoints.
A caretaker of a portion of museums collections.
An art movement whose silly name was used to express the artist’s personal attitudes
toward art in society.
The organization of the elements and principals of art, which create a pictorial or
abstract quality compatible with the idea, emotion or function, which initiates a work
of art.
Having a slanted or oblique direction.
The altering of an object from its natural appearance or shape.
A museum guide who conducts individual and group tours of museum’s collections.
A continuous series of rounded arches with a common center.
Columns with no decoration on the capital.
The rhythm and movement in art that expresses great action, energy and force.
A basic component or essential part of a work of art.
Technique used by an artist to place special importance on an element, subject, or
other aspect of a work of art.
The process of printing from a flat surface or plate an image, which that has been
scratched or cut into the surface.
Art movement with the main goal of expression of deeply felt emotions through art.
(Max Ernst, Wassily Kandinsky, Franz Marc, Emil Noide).
To be able to effectively communicate feelings and ideas in visual form.
The point of view held by the viewer of a work.
French term for “wildbeasts" a group a artists around the turn of the 20th century
with the main goals of experimentation and shocking the public.
29
TERM
FIGURATIVE
FINIAL
FIXATIVE
FLUTED COLUMN
FORESHORTENING
FORM
FORMAL BALANCE
FRESCOES
FUTURISM
GENRE
GEOMETRIC SHAPES
GESTURE DRAWING
GOTHIC
GOUGE
GRADATION
GRAFFITI ART
DEFINITION
Portrayal of the human figure.
The decorative top or fancy, uppermost tip of the spire of a structure.
Spry that seals a work so that no further smudging can take place.
Columns with a decorative pattern of grooves running from top to bottom on each
column.
Reducing or distorting shapes to give the illusion of 3-dimensional space as it is
actually seen by the human eye.
3-dimensional shapes.
Symmetrical, both sides are mirror images.
A style of painting in which tempera is applied to the wet plaster surface of building
walls.
A small group of Italian artists whose art is the marriage of the qualities of modern
technology with the expressive images of art (Umberto Bocioni, Giacomo Balla, Joseph
Stella).
A category of artistic composition marked by a distinctive style, form or content. A
realistic style of painting that depicts scenes from everyday life.
Circles, squares, rectangles, and triangles-mathematical in proportion.
Loose, quick renderings of a person, animal, or object that captures them in the act of
moving.
A term referring to the Goths, a fearsome Germanic people who destroyed a great
deal of classical art during the 400s; used to describe the architecture of the 1400
and 1500s.
A chisel with a rounded, trough-like blade.
To gradually change in value of color.
Art that consists of images and words applied to subway walls and trains, buildings and
public fixtures.
30
TERM
GRAPHIC ART
GRAPHIC DESIGNER
HARMONY
HATCHING
HIEROGLYPHICS
HORIZON LINE
HUE
INCISE
IMPLIED FORMS
INDUSTRIAL
DESIGNER
INFORMAL BALANCE
INSTALLATION ART
INTENSITY
INTERPRETATION
IONIC COLUMNS
LINE
MASS
MATTING
DEFINITION
In its broad sense, the 2-dimensional arts of design, painting and printmaking. Usually
graphics refers to black and white drawing or to printmaking.
An artist who solved visual problems by using the elements and principles of design.
The development of a relationship of the structural elements into a pleasing unit so
that they do not appear to be in conflict.
Drawing a series of parallel lines that are placed close together for dark areas and
farther apart for light shading.
Egyptian sacred writings.
A line drawn across the picture plane where the earth appears to meet the sky.
Actual name of a color, synonymous with color
To engrave into a surface; carve.
Forms that give the illusion of being 3-dimensional, but are represented on a flat, 2dimensional surface, like drawing paper or canvas.
An artist who designs functional products for public and private use.
See Asymmetrical.
A work of art that is built temporarily or permanently into a museum or gallery space.
Purity of brightness; strength of color as effected by mixing it with its complement.
An informed explanation of the meaning of a work of art.
Column with short, fluted shafts and scroll-like decorations on the capital
A moving point on the surface of a canvas, paper, slab of clay, or metal printing plate
that forms shapes, gives direction, and creates rhythm and movement within a work of
art.
The perception of filled space. It is the actual or felt space, which is inside any
shape, but not the border between shapes. Mass conveys a sense of weight and
density as well as contour. In composition it is considered the positive factor.
To frame artwork with mat board or poster board.
31
TERM
MECHANICAL OR
ARCHITECTURAL
DRAWINGS
MEDIA
MEDICAL
ILLUSTRATOR
MINIMAL ART
MODERNISM
MONOCHROMATIC
MONOPRINT
MONTAGE
MOTIF
MOVEMENT
MURAL
NEGATIVE SPACE
NEUTRALS
NIB
ONE-POINT
PERSPECTIVE
OP ART
DEFINITION
Detailed renderings of a plan for the assembling of an object, building, or environment.
Art materials such as paint, clay, wood, drawing tools, and fibers.
Artists who produce renderings of the external and internal parts of humans and
animals, such as tissues, organs, skeletal systems and cells.
A 20th Century art movement that sought to present ideas in the simplest forms
possible.
Art and ideas that stress individuality, originality, universal meaning, and for “art for
art’s sale.
The use of only one color and its different values in a work of art.
A process in which only 1 image can be lifted from a flat plate, such as a sheet of
plastic or linoleum.
A composite of separate pieces arranged on a surface in such a way so as to project a
uniform theme.
A visual theme or repeated pattern in a design.
The visual suggestion of action created by the placement of the elements in a work of
art.
A work of art, usually large in scale, painted on or attached to a wall or ceiling.
The unused area between, within and surrounding shapes and forms in an artistic
composition.
Of or indication a color, such as black, gay, or white, that lacks hue; achromatic.
The point of a marker or pen.
A work in which the artist has used only one vanishing point.
An art movement whose artists were interested in how the careful arrangement of
lines, colors, and geometric shapes to produce an optical effect.
32
TERM
OPAQUE
ORGANIC
PASTEL
PATTERN
PERSPECTIVE
PHOTO-REALISM
PICTURE PLANE
PIGMENT
POINTILLISM
POP ART
POSITIVE SPACE
POST IMPRESSIONISM
PRIMARY COLORS
PRINTMAKING
PROCESS ART
PROOF
PROPORTION
REGIONALISM
DEFINITION
A medium or quality which is impervious to rays of light or which is nontransparent.
Opaque paints, such as many poster colors, reflect light from their surface, but do not
transmit it to the surface below.
Shapes that are irregular, curvilinear, and not measurable.
Sticks of ground pigment.
The artistic arrangement of any area or object into a design. A plan or model to serve
as a guide for something to be made.
The ability to render on a flat surface the illusion of depth.
An art movement in which the artists painted with such precision and detail that their
work resembled a photograph if the image.
The flat surface on which a work of art is made.
Matter that gives color to materials such as paints, dyes, crayons and inks.
A painting style that consists of the application of small dots, or points of color.
An art movement that was a reflection of the popular culture, the media, and
advertising images
The space taken up by the shapes and forms themselves.
A late 20th Century French art movement that expanded ideas advanced by the
Impressionists (van Gogh, Cezanne, Gauguin).
Colors that cannot be made by the artist; red, blue, yellow.
The process of creating one or more images from a single prepared surface.
Art movement in which the art would undergo a performance or transformation; Hans
Haacke.
The initial print in the printing run of a work of art.
The relationship in size of one component of a work of art to another.
Art movement in which artists returned to the realistic representation of subject
matter characteristic of the part of the country in which they live; Grant Wood and
John Steuart Curry.
33
TERM
RENAISSANCE
REPETITION
REPRESENTATIONAL
OR REALISTIC
DRAWING
RHYTHM
SCREEN
SCUMBLING
SECONDARY COLORS
SERIGRAPH
SHADE
SMUDGING
SOCIAL REALISTS
SPACE
SPECTRUM
SQUEEGEE
STENCIL
STIPPLING
STRIATIONS
STYLE
DEFINITION
A French word meaning “rebirth”, the time period that followed the Middle Ages.
The recurrence of a single element or of several elements of design within a
composition and in the appearance of unity as well as providing a sense of rhythm.
A rendering that looks like the object or image the artist is viewing or imagining, often
uses perspective, shading and modeling techniques.
The regular repetition of elements, patterns, or movements in a work of art.
A fine mesh fabric stretched across a wooden frame; used for silkscreen printmaking.
Using the side in a back and forth motion of the tool to create a solid area of shading.
The result of mixing two primary colors in equal amounts: orange, violet, green.
A silkscreen print.
Colors to which darker colors or black have been added.
Using a finger or blending stick (compressed paper) to spread the medium.
A group of artists who dealt with themes such as poverty, oppression, and social
injustice.
The place containing tangible forms, it is absolutely essential to all works of art
because the other elements are composed and developed within it.
The full range of colors from red too violet, as seen in the rainbow.
A t-shaped implement having a crosspiece edged with rubber or leather that is drawn
across a surface to remove water or ink.
The profile of a shape cut form paper and used as a pattern to print with.
Using the point of the drawing tool to make small dots to create an area of dark or
light.
Incised line.
A characteristic manner of presenting ideas and feelings in visual form.
34
TERM
STYLIZED
SURREALISM
SYMBOLIC
SYMMETRICAL
TERTIARY COLORS
TEXTURE
THREE-DIMENSIONAL
THREE-POINT
PERSPECTIVE
THUMB-NAIL SKETCH
TINT
TONE
TOOTH
TRANSITION
TRANSPARENT
TRIADIC COLOR
SCHEME
DEFINITION
An artistic style in which the body parts of the figure have been simplified and
reduced to their most basic form, or an artistic room in which an object has been
changed or abstracted from nature in order to fit the artistic rules and traditions of a
culture.
An art movement in which artists combine naturally unrelated events, objects or
situations in a dreamlike scene; Salvador Dali.
Art in which symbols are used to represent or suggest ideas or feelings through
association.
A balancing of parts in which those on one side of the center are the exact reverse of
those on the other side.
Colors between the secondary colors and the primary colors on the color wheel (redorange, red-violet, yellow-orange, yellow-green, blue-violet, blue-green). Also, called
Intermediate Colors.
The surface tactile qualities in a work of art; rough or smooth, coarse or fine, shiny or
dull.
Having width, height, and depth.
The use of 3 vanishing points in a work.
Small, quick sketch used as a plan for a larger, finished piece of art.
Color with white added.
Color with gray added.
Slightly rough surface of paper.
An abrupt or gradual change in character; light to dark, thick to thin, vertical to
horizontal. Depends on the proximity of like elements of the contrast of opposites.
Permitting the passage of light rays; ability to see through certain materials.
Watercolors are transparent.
A group of 3 colors generally forming an equilateral triangle on the color wheel; red,
yellow, blue form a triangle.
35
TERM
TROMPEL’OEIL
TWO-DIMENSIONAL
TWO-POINT
PERSPECTIVE
UNITY
VALUE
VANISHING POINT
VARIETY
VERTICAL LINE
WOODCUT
WORM’S EYE VIEW
DEFINITION
A type of painting that is so realistic that viewers are not sure whether they are
looking at a painting of objects or the objects themselves.
Having height and width.
The use of 2 vanishing points in a work of art as a whole.
A principle that helps us see the components of a work of art as a whole.
The amount of lightness or darkness a color possesses.
Point to which all objects seem to recede.
A principle that focuses on differences and diversities in a work of art.
Straight up and down.
A relief form of printmaking in which the side grain of a wooden block is cut away and
the design printed from the raised surface. The print is usually bold and simple.
Wood engraving uses the end grain of the wood.
The view you would have if you were lying on the ground looking up; objects lies above
the horizon line.
36
PAINTING
This course offers students creative communication in the visual arts through painting, with emphasis on
basic skills and knowledge of tools for the beginning painter.
REFERENCE
BENCHMARKS
POSSIBLE ACTIVITIES
STANDARDS
NATIONAL
STANDARDS
 a, b
 a,b,c
 a, b
 a, b, c
 a,b
 a, b



Develop skills for a variety of painting
techniques and paint media.
Develop original interpretations from
an assortment of subjects.
Students become aware of major
artists and art movements.




SD STATE
STANDARDS
Number One
1, 2, 3
Number two
1, 2, 3
Number three
1, 2, 3
Number four
1, 2, 3




37
MEDIA: Watercolor, tempera, acrylic,
airbrush
Masonite, canvas panels, illustration
board, stretched canvas, paper, and
matboard scraps/cardboard.
Students combine concepts, elements,
and media to creatively express and
complete original paintings.
Research art history, idea resources,
local galleries and artists to help students
demonstrate and develop their own
personal styles within their projects.
Participate in critiques of their own
artwork and others.
Develop a portfolio.
SUBJECTS: Landscapes, wildlife,
architecture, still life, figure, portrait,
abstract, non-objective.
Classroom text: “Painting”
PAINTING TERMS
TERM
ABSTRACT
ACRYLIC
ANALOGOUS
COLORS
COLLAGE
COMPLEMENTARY
COLORS
CONTEMPORARY
ART
COOL COLOR
CUBISM
DRY BRUSH
ENCAUSTIC
FRESCO
GALLERY
GESSO
GOUACHE
IMPASTO
IMPRESSIONISM
INTENSITY
MATTE
MEDIUM
DEFINITION
Art in which shapes, forms and colors have been extracted and simplified from their
natural design.
A quick drying water-based synthetic paint.
Colors that are next to each other on the color wheel and have one hue in common.
A composition made from various cut or torn materials pasted to a surface.
Two colors directly opposite each other on the color wheel.
Any art currently being produced.
Colors that appear cool; such as blue and green.
The art movement which rendered objects in a geometric form.
A watercolor technique where excess moisture is wiped from a brush loaded with paint and
applied to the paper.
A painting medium where melted wax is added with pigments,
Water based paints applied to a freshly plastered wall.
A place where artist’s creations are displayed to be seen and appreciated.
A white pigment used to coat a surface and act as a ground for the paints that will be
applied.
A water based opaque paint; sometimes referred to as “opaque watercolors”.
Thick buttery layers of pigment.
An art style that attempted to capture the rapidly changing effects of light on objects.
The brightness or dullness of a hue.
A dull, flat surface, without gloss or sheen.
The materials used to produce an art object.
38
TERM
MONOCHROMATIC
NON-OBJECTIVE
OIL PAINT
OPAQUE
PAINTING
PALETTE
PALETTE KNIFE
PASTELS
PIGMENT
POINTILLISM
POP ART
SURREALISM
TEMPERA
TRANSPARENT
WARM COLOR
WASH
WATERCOLOR
DEFINITION
A color scheme using one color with its many shades and tints.
A work having no recognizable subject matter.
Pigment with an oil base.
A medium or quality that does not let the light show through.
The application of liquid pigment to a surface.
A surface where paints are mixed before use.
A spatula-like tool used to mix and and apply paints to a surface.
Finely ground pigments compressed into chalk-like sticks.
A finely ground, colored powder that gives paint color.
Color distributed systematically allowing the eye to mix optically.
An art style that uses familiar everyday objects,
An art movement that attempts to express and exhibit the subconscious mind or dreams.
A technique of painting using as a medium, pigment mixed with egg yolk, glue or cassein; also
the medium itself.
Use of clear or translucent materials.
Colors that express heat or brightness such as red, orange, and yellow.
A watercolor technique where paint is applied to a wet surface.
A painting medium in which pigment is mixed with gum arabic and water.
39
ADVANCED ART
For advanced art students to pursue various mediums and to further their development with skills &
techniques improving competency to express their personal creative expressions.
To prepare those students determined upon advanced training and career in art to better meet the
challenges of such an undertaking by giving varied, in-depth art experiences.
REFERENCE
BENCHMARKS;
POSSIBLE ACTIVITIES;
STANDARDS
NATIONAL
STANDARDS
 a, b, c
 a, c
 a, b
 a, b, c
 a, b, c
 a
SD STATE
STANDARDS
Number One
1, 2, 3
Number Two
1, 2, 3
Number Three
1, 2, 3


Using the skills and knowledge from

background art courses, art 9, basic
drawing, clay, and painting, students create
their own direction, personal expression
and creativity in their artwork.
Students use knowledge of a variety of
mediums and experiment with projects on

their own with instructor’s approval and
direction.

Number Four
1, 2, 3
40
Students work on two-dimensional
projects (drawing, painting,
printmaking, computer art) and will
explore three-dimensional work as
well (clay construction, sculpture,
mixed media).
Students explore and incorporate a
variety of media in their finished art
works.
Analyze the compositional features or
qualities in well-known art.
CLAY CONSTRUCTION
This course introduces students to ceramics as an art form that can be used as a profession or as a hobby.
REFERENCE
BENCHMARKS
POSSIBLE ACTIVITIES
STANDARDS
NATIONAL
STANDARDS:
 a, b, c, d
 a, b, c
 a, b
 a, b
 a, b
 a, b
SD STATE
STANDARDS
Number one
1, 2, 3
Number two
1, 2 , 3
Number three
1, 2
Number four
1, 2, 3







Introduce the 3 basic techniques of handbuilding projects in clay: pinch, coil, and slab.
Become familiar with the vocabulary related to
ceramics.
Experiment and become familiar with various
glaze techniques to apply to clay pieces.
Produce projects in different methods of
working in clay using: press mold, sculpture,
and combinations therein.
Introduce students to basic wheel-throwing
techniques.
Recognize the aesthetic appeal pottery has
brought to people for generations
Express ideas, thoughts, and feelings
creatively in the art of creating ceramic
pieces.










41
View various clay videos for technique
and possible project ideas.
Glaze tile: Make slab with various
textures, and record glazes and stains
used.
Pinch Pot
Coil Pot (use an extruder or hand-made
coils).
Slab Pot: Construct a slab project using a
pattern.
Press Mold: Using plaster or flexible
molds in combination of handbuilding
methods to create a mold.
Clay Mask: research various mask designs
and create clay mask. Use exaggeration
and distortion. Decorate with (beads,
metal, leather, raffia, etc.)
Sculpture: Human figure, animal forms,
and “pop art” project
Decorative relief tile or mosaic tile
design
Create a replica of art in clay using
historical resources.
CLAY CONSTRUCTION TERMS
TERM
BANDING WHEEL
BISQUE
CASTING
COIL
CONES
EARTHENWARE
FOOT
GLAZE
GREENWARE
KILN
KNEADING
LEATHER HARD
LIP
MATTE
OXIDES
PINCH
DEFINITION
A turn-table which permits work to be turned and rotated.
Pottery that has been fired once.
Pouring liquid slip into a mold.
Hand-built technique in using rope-like pieces of clay.
Pyramids of clay and glaze that help determine kiln temperatures.
A low-fire pottery clay.
A rim, leg, or base bottom.
A glassy coating which fuses to the surface of clay in heat.
Pottery that has not been fired; very fragile and dry.
Oven in which ceramic ware is fired.
Process of removing air from clay by working with fingers (similar to making bread).
Clay that is still flexible, but not plastic, and is suitable for carving.
The top rim of a pot.
Dull surface. Not shiny.
Chemicals used to color glazes.
A pot started from a ball of clay and shaped by pressing clay between thumb and
fingers.
PLASTICITY
POTTER’S WHEEL
PYROMETER
SCRAFFITO
SLAB
Clay with the correct amount of moisture. Easy to work with hands.
A machine in which pottery is made from a wheel.
A small clay rod that indicates kiln temperatures.
Scratching a design through one or more layers of glaze.
Hand-built technique using rolled out flat pieces of clay in construction.
42
TERM
SLIP
STILT
STONEWARE
TEXTURE
THROWING
UNDERGLAZE
WAX RESIST
WEDGING
DEFINITION
Liquid clay used as glue to join pieces of clay.
A small piece of kiln furniture used to hold the glazed pieces off of the kiln
surface.
A high fire clay with a rough texture.
Visual or tactile surface quality.
The process of making pots on a wheel.
A special paint used in decoration. Remains dull unless clear glaze is used.
A substance used to prevent glazed from sticking.
Process of removing air from clay by throwing against a hard surface.
43
ADVANCED CLAY CONSTRUCTION
This course is designed for students to further develop their skills and techniques in clay construction.
REFERENCE
BENCHMARKS
POSSIBLE ACTIVITIES
STANDARDS
NATIONAL
STANDARDS
 a,, b, c
 a, b
 a, b, c,
 a, ,b, c
 a, d
 a, b
SD STATE
STANDARDS
Number One
1, 2, 3
Number two
1, 2, 3
Number three
1,2, 3
Number four
1,2,3
Recognize and use creatively the elements
of art and the principles of design as they
relate to the art activity.
 Review hand-building projects in clay:
pinch, coil, slab, and press mold.
 Knowledge of ceramic vocabulary.
 Introduction to interested students of
wheel-throwing technique.
 Exploration of creative ways to decorate
pottery.
 Research of various glaze techniques and
applications of them to various clay pieces.
 Research and recognize historical
influences of pottery design using
technology, professional periodicals, and
clay books.
 Exploration of various clays such as
porcelain and raku









44
View clay related videos.
Create decorative and functional clay
items using hand building and wheelthrowing techniques.
Possible projects: stylized teapots,
garden pieces, sculpture, historical
pieces,
Decorate surfaces with carving,
scraffito, burnishing, colored clays,
latex or press mold additions, stamps,
and mixed media.
Glazing techniques such as wax resist,
dripping, pouring, crystals, mason
stains, and underglaze.
Create a relief tile or mosaic design.
Raku: Research on internet the
history, process, and types of raku
projects artists create.
Create a raku project and participate
in the firing process.
CRAFTS
This course offers students the opportunity to become familiar with and develop skills in a variety of craft
process and techniques.
REFERENCE
BENCHMARKS
POSSIBLE ACTIVITIES
STANDARDS
NATIONAL
STANDARDS
 a, b, c, d
 a, d, e
 a, b, c, d
 a,b,c,
 a, b, d
 a, b, c
SD STATE
STANDARDS
Number One
1, 2, 3
Number two
1, 2, 3
Number three
1,2, 3







Explore and become familiar with variety
of craft processes and techniques.
Develop awareness of design elements and
principles as they relate to each activity.
Recognize and develop skills for good
craftsmanship
Express ideas, thoughts, and feelings in a
personal way with a variety of craft media
and materials.
Show growth in problem-solving ability to
solve problems in project.
Demonstrate greater skills in handling
tools and materials to express ideas.
Research ideas


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
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45
Experiment with various techniques
of paper manipulation (paper folding,
stencil cutting, paper-making,
marbelizing, and printmaking
Glass etching using stencil designs
Jewelry design using copper
enameling, fimo, clay, ceramic beads,
and found objects.
Fabric designs using stamping,
stenciling, or batik processes.
Basket designs using coil method, pine
needles, or reeds.
Copper repoussage” (relief tooled
design )
Wood fabrication of items
Mosaic tiles designs using hand made
tiles
CRAFT DESIGN TERMS
TERM
APPLIED ART
BATIK
COILING
CORE
COUCHING
DEFINITIONS
Art made to be functional and decorative.
A wax resist process for decorating fabric.
An ancient technique using core to make a basket.
The foundation material such as rope used for basketry.
The process transferring newly formed sheets of paper from mold to felt.
CRAFTS
DECKLE
ENAMEL
ETCHING
FINDINGS
FIRE
GLAZE
KILN
MACRAME’
MOSAIC
PRINT
RELIEF PRINTING
PULP
REED
SCALEX
SCRAFFITO
SLIP
SPOKES
STENCIL
THREADS
Different areas in the applied arts.
The frame or mold used to form a sheet of paper
A glass coating fused to metal.
A scratching or burning into a surface.
The elements that joins or closes a piece of jewelry.
Heating clay in a kiln.
A thin, transparent layer of paint that turns to glaze when fired.
An oven used to fire clay or fuse enamel.
The art of knotting using the square knot, half-hitching, or alternating square knots.
Small bits of colored glass, ceramic tiles, or stones set in cement or grout.
An image that is transferred from a prepared surface to paper or fabric.
A printmaking method in which the image to be printed is raised from a background.
Pulverized cellulose suspended in water used for papermaking
A fiber or material used to weave a basket.
A product used to inhibit build-up of oxides on heated metal.
Scratching a design through a layer of unfired enamel.
Clay and water mixed and used to join pieces of clay.
Individual reeds used as the skeleton for a basket.
A cut-out design used to paint or etch over.
Small rods of colored glass used in enameling.
46
TERM
WARP
DEFINITIONS
Threads that run lengthwise in weaving.
WEFT
Threads that travel across the warp weaving.
47
NATIVE AMERICAN ARTS AND CRAFTS
This course introduces students to the practical application of traditional Native American arts and crafts
and allows students to become familiar with and develop skills in a variety of native crafts.
REFERENCE
BENCHMARKS
POSSIBLE ACTIVITIES
STANDARDS
NATIONAL
STANDARDS






a, b,
a, d,
a, b,
a, b,
a, b,
a, b,
c, d
e
c, d
c,
d
c
SD STATE
STANDARDS
Number One
1, 2, 3
Number two
1, 2, 3
Number three
1, 2, 3
Number four
1, 3





Introduce students to the practical
application of traditional Native American art
forms.
Students utilize various traditional and
contemporary methods and skills of several
Native American arts & crafts to complete
required projects.
Develop an awareness of the culture of the
Native Americans through a study of their
arts.
Express ideas, thoughts and feelings in a
personal way and apply the elements and
principles of design through Native American
activities.
View videos to learn about Native American
culture and history, art forms, and artists.







48
Study symbols & legends of the Native
Americans and write a story using
pictograms
Create painted pictographs or carved
petroglyphs,
Design and paint a winter count, hide
painting
shield, and parfleche’ container.
Study the art of beading with loom, lazy
stitch, gourd stitch, or peyote stitch and
create finished items such as bracelets,
key chains, or beading on leather pouches.
Explore various designs in sandpainting and
create a finished painting.
Study designs of the Southwest pottery.
Use the coil method to create and
decorate the clay pots to resemble the
early designs.
.
REFERENCE
STANDARDS
BENCHMARKS
POSSIBLE ACTIVITIES




49
Review examples of Native American
weaving and basketry. Design and create a
coiled basket form or small weaving that
has decorative or functional purpose
Introduce the legend of the dream catcher
and create a dream catcher
Create a clay storyteller sculpture.
Design a Kachina doll using paper mache’
NATIVE AMERICAN ARTS TERMS
TERM
FETISH
HIDE
IKOTOMI
KACHINAS
LAZY STITCH
LEGEND
LOOM
MOTIF
PARFLECHE
PETROGLYPHS
PICTOGRAMS
POTTERY
RAWHIDE
SAND PAINTING
SCRIMSHAW
SHAMAN
SHARD
SHIELD
SINEW
SYMBOL
TIPIS
DEFINITIONS
A shaped stone that resembles an animal and is used for good luck or to ward off evil
spirits.
Rawhide or leather from an animal.
A trickster.
Hopi or Zuni ancestral spirits personified in dances or doll form.
A beading stitch used by the Plains Indians for geometric designs.
A story passed down by word of mouth from generation to generation.
A frame used to weave cloth, rugs, or beading.
A design or image that is repeated to form a pattern.
A carrying case made from rawhide and decorated with geometric designs, commonly
found on the Great Plains.
Rock art or simple drawings carved or painted on rock.
Simple drawings or paintings painted on hide or rock.
The craft of making objects from clay.
Untanned animal hide.
A dry painting using sand, cornmeal, rock, etc. originally done by a shaman/holy man.
The art of scratching a line design into ivory or bone.
A medicine man used his special healing powers through sand paintings.
A piece of broken pottery.
A circular piece of decorated rawhide carried for protection.
Animal tendons or waxed thread used as sewing thread.
A decorative mark that has special meaning.
A cone shaped structure made out of buffalo hides and home to Northern Plains
Indians.
50
TERM
TOTEM POLE
WARP
WEAVING
WEFT
WINTER COUNT
YUCCA
DEFINITIONS
A carved cedar post showing carved and painted animals and the family crest.
Threads attached lengthwise to a loom.
Craft where strands of fiber are interlocked to make cloth/rugs.
T heads that travel through warp threads on a loom.
Record of outstanding yearly events painted on a large animal hide. Symbols radiate in a
spiral from the center.
A native plant; the stems, when chewed, made paint brushes. Spines could be used as
needles and roots could be made into soap.
51
INTERIOR DESIGN
This course introduces students to the use of design elements and principles in designing and decorating
interior rooms.
REFERENCE
BENCHMARKS
POSSIBLE ACTIVITIES
STANDARDS
NATIONAL
STANDARDS
 b, c, d
 a, c, d, e
 a, b, c, d
 a, b, c,
 a
 a, b, c
SD STATE
STANDARDS
Number One
1, 3
Number two
1, 2, 3
Number three
1,2
Number four
1,2,3






Introduce and become familiar with
architectural styles of homes
Recognize various styles in decorating.
Become familiar with the history of
furniture.
Utilize the elements and principles of
design in various activities.
Develop decorating knowledge that can be
used in present and future life of student.
Introduction to career options in the field
of interior design.
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52
Read and complete chapter handouts
from text: Homes Today and
Tomorrow.
View videos on architectural styles.
Collect various examples of housing
styles and identify (use magazines,
take photos of local homes, or search
internet).
Introduce furniture styles with slides
and photos. Practice identification of
styles with handouts and internet
research.
Utilize the elements and principles of
design in decorating activities in
designing a room and creating a color
board.
Identify color schemes.
Read and create floor plans to scale
using graph paper and computer aided
design program.
Study and practice the basics of
furniture arrangements using floor
plans and templates
REFERENCE
STANDARDS
BENCHMARKS
POSSIBLE ACTIVITIES
Increase knowledge of various wall
treatments, floor coverings, and
window treatment using current
decorating magazines, resource people
Decorating videos and field trips to
related businesses.
 Practice faux painting techniques such
as ragging, sponging, stenciling, etc.
 Selecting and buying furniture using
the internet and visiting furniture
store.
 Use decorating knowledge from class
to create a final project. Ex. (Repaint
furniture, paint a wall, and build a
model room…)

53
INTERIOR DESIGN TERMS
TERM
ADAPTATION
ALKYD PAINT
ANALOGOUS
ANTIQUE
ARMOIRE
ASYMMETRICAL
BALANCE
BALLOON SHADE
BAY WINDOW
BLUEPRINT
BUNGALOW
CABRIOLE LEG
CAPE COD HOUSE
CASE GOODS
DEFINITIONS
A piece of furniture that has some features, but is not an exact copy, of an older
furniture design
A substance made of a synthetic resin, which produces a washable, durable surface
when applied to walls and ceilings.
A color scheme made up of two or more colors that are next to each other on the
color wheel.
An object having special value because of its age; to be classified as an antique, a
piece of furniture must be at least 100 years old.
A free standing closet with doors in which clothing may be hung or stored flat.
A type of balance in which dissimilar objects are placed at unequal distances from a
center point, still giving the feeling of equal weight on both sides.
A principle of design that produces a sense of rest and occurs when the visual weight
of objects is balanced on each side of a center point.
A window shade made of fabric that creates a puffed effect when the shade is
raised.
A window with an angular or rounded sash that projects beyond the face of and
exterior wall.
A reproduction of a technical drawing showing a detailed floor plan of a structure.
A small house with one or one-and- half stories, and overhanging roof, and a covered
porch.
A form of furniture legs that curves outward and then narrows downward into an
ornamental foot.
A compact one or one-and-half story house with a pitched roof and a central chimney.
Furniture pieces that are not upholstered, such as chests, desks and tables.
54
TERM
CAST IRON
CHAIR RAIL
COMPLIMENTARY
CORNICE
DORMER
EMPHASIS
FLOOR PLAN
FLUORESCENT LIGHT
DEFINITIONS
A strong metal made of iron and other elements that is melted in a furnace and
poured into a mold to make such items as stoves, sinks, and bathtubs.
A decorative molding fixed on the wall about 3 feet up from the floor to prevent the
backs of chairs from damaging the wall.
A color scheme made up of two colors that are directly opposite each other on the
color wheel.
A horizontal, molded projection that completes a wall or building: inside, it is trim and
around the top of the room where the ceiling and wall join; outside, it is molding under
the eaves of the roof.
A structure that projects through a steeply sloping roof; also a name for a window
set into this structure.
A principle of design that, when used, causes one object or area to stand out or
dominate.
A diagram, usually drawn to scale, of a room or building: drawn as if seen from above.
HIGHBOY
A type of artificial light produced by chemicals inside a sealed glass tube that
transform ultraviolet rays into visible light.
An element of design referring to solid objects, which require space: also called
shape.
A two-sided roof with two slopes on each side: the upper slope being flatter than the
lower slope.
A table with legs on each side that can be swung out to support drop leaves that pull
up from the sides.
A type of rhythm of design achieved by gradually increasing or decreasing color, size,
or pattern.
A chest of drawers that is mounted on legs.
HUE
The specific name of a color.
FORM
GAMBREL ROOF
GATELEG TABLE
GRADATION
55
TERM
INCANDESCENT
LIGHT
INTENSITY
DEFINITIONS
A type of artificial light produced when electricity passes through a tungsten
filament that is in a glass bulb.
The brightness of dullness of a color.
ISLAND
A freestanding storage and countertop unit in a kitchen.
JALOUSIE WINDOW
JAPANNING
Window with a series of horizontal, adjustable louvers, or slats, made of glass or
metal.
The process of applying Japan, which is a glossy black lacquer, to furniture.
LATEX PAINT
A quick drying, water-based paint often used on interiors.
MANSARD ROOF
A roof with two slopes on all four sides, the lower one is very steep while the upper
one is almost flat.
A strip of wood used for decoration, usually applied to finish off a window, door, or
wall.
A color scheme that uses the tints and shades of one color on the color wheel.
MOLDING
MONOCHROMATIC
NEUTRAL
PARTICLEBOARD
PIGMENT
PLAIN WEAVE
PRIMARY
PROP0RTION
RADIATION
A color scheme based on the use of large areas of white, black, gray, or near-neutral
colors such as beige or brown.
A type of board made of wood particles that are pressed together with heat and
glue.
Substances in objects that reflect or absorb light, affecting the color of the
objects.
A type of weave in which each warp yarn passes alternately over and under one weft
yarn.
The basic colors- red, yellow, and blue – from which all other colors, are derived.
Primary colors form a triangle and are equal distance apart on the color wheel,
The principle of design that concerns the relationship (based on size and shape) of
objects or parts of objects to one another and to the design as a whole.
A type of rhythm of design achieved when lines move outward from a central point.
56
TERM
RANCH HOUSE
RATTAN
REEDING
REPETITION
REPRODUCTION
RESILIENT
FLOORING
RHYTHM
ROMAN SHADE
SALTBOX HOUSE
SAMPLE BOARD
SCALE
SECONDARY
SHADE
DEFINITIONS
A one-story home, characterized by open corridors, a picture window, and light
construction.
A strong, flexible palm-tree stem used to make wicker furniture.
Carved ornamentation consisting of a series of convex vertical lines that resemble
thin reeds of tall grass.
A type of rhythm of design achieved when certain colors, lines, forms, or textures
are repeated.
An accurate copy of an original.
A semi-hard surface that returns to its original shape after stress: available in both
tile and sheer form.
A principle of design that creates an effect by using certain colors, lines, forms, or
textures in a consistent pattern.
A window shade that is designed to be drawn up by cord into a series of horizontal
accordion folds and lies flat against a window when down.
A frame house that has two stories in the front and one story in the back topped by
a roof with a long rear slope.
A board prepared by an interior designer on which sample materials and pictures of
furniture, appliances, and accessories are arranged around a floor plan to give a client
an opportunity to review a design plan.
A principle of design that, like proportion, concerns the relationship of parts to each
other and to the design as a whole: concerns especially the relationship between sizes
of objects of areas. A design in which all the elements are in good proportion to each
other is said to be in scale.
One of three color-orange, green, and violet - derived form mixing equal amounts of
two primary colors.
A hue to which black has been added, creating a darker value.
57
TERM
SPLITCOMPLEMENTARY
STENCILING
SWAG
SYMMETRICAL
TERITIARY COLOR
TEXTURE
TINT
TRAFFIC PATTERN
TRIADIC
TRUNDLE BED
TURNING
UNITY
DEFINITIONS
A color scheme made up of one color and the two colors on either side of its
complement on the color wheel.
A type of wall decoration created by painting through cutout areas in paper plastic,
or metal templates.
A type of window treatment that is draped across the top of a window in a flowing
manner.
A type of balance in which like objects is placed in the same positions on both sides
of a center point. (Mirror image).
A color produced by mixing a primary and a neighboring secondary color on the color
wheel. Often called intermediate colors.
An element of design that refers to the surface of objects and describes how it
looks or feels.
A hue to which white has been added, creating a lighter value.
The easiest, most direct route people use to get from one room to another part of a
home.
A color scheme made up of any three hues that are equal distance apart on the color
wheel.
A low bed on rollers that can be stored under a higher bed during the day and slid out
a t night.
The process of spinning and shaping a piece of wood on a lathe.
VALANCE
A principle of design that occurs when all the parts of a room or home are related by
one design idea. Also called harmony.
A short piece of decorative material across the top of a window.
VALUE
The amount of black or white color.
VARIETY
A principle of design that occurs when different styles and materials are combined
VENEER
A layer of fine wood applied as an outer finish on furniture made of less expensive
wood.
58
TERM
VENETIAN BLIND
WARP
DEFINITIONS
A window blind consisting of horizontal slats that can be adjusted to regulate the
amount of light being admitted: the entire blind can be raised and lowered.
A window blind consisting of vertical slats that can be turned to adjust the amount of
light being admitted: the entire blind can be pulled across the window.
In weaving and fabric, the lengthwise threads.
WEFT
In weaving and fabric, crosswise threads.
WICKER
Material made of thin; flexible twigs, branches, and stems (usually rattan) and used
to make baskets and furniture.
A wood chair characterized by stick legs and spindles driven into a plank seat: a
simple design requiring not screws or nails.
An upholstered armchair with a high back from which large side pieces project.
VERTICAL BLIND
WINDSOR CHAIR
WING CHAIR
WORK TRIANGLE
WROUGHT IRON
The triangle in kitchen formed by drawing imaginary lines connecting the sink, range,
and refrigerator.
A metal – almost pure iron – that is durable and can be hammered and shaped into
decorative accessories and furniture.
59
COMMERCIAL ART
This course introduces students to creating designs related to advertising media with the business and
commercial world in mind.
REFERENCE
POSSIBLE ACTIVITIES
BENCHMARKS
STANDARDS






NATIONAL
STANDARDS
a, b, d
a, b, c
a, b
a, b
a. b,
a, b
SD STATE
STANDARDS
Number One
1, 2, 3
Number two
1, 2, 3
Number three
1,2, 3
 Use design elements and principles design
layouts
 Relate work expectations and specific
techniques to the commercial art field.
 Analyze commercials and ads to see how
the aesthetic and artistic appeal promotes
products
 Develop computer skills and use as a tool
for creating printed materials.
 Learn how to match creative skills to the
needs and desires of the client.
 Evaluate and critique professional and
student work.
 Develop a portfolio.
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60
Design an alphabet using unique and
creative lettering
Design descriptive words using
creative lettering.
Create logo designs for a business or
trademark.
Design letterheads and business
cards
Plan a layout for a package design
Plan a layout and design for magazine
layout.
Illustrate a drawing for story or
bookcover
Design posters for school events and
community happenings.
Design brochure or flyer to promote
a business
Use grid method to enlarge a image
to complete in paint, markers, ink,
etc.
COMMERCIAL ART TERMS
TERM
BUSINESS CARD
CAMERA READY
COPY
FONT
DEFINITIONS
Small car that provides name of business/person, address, phone, fax, e-mail address,
etc.
Lay out design or art ready for photographic reproduction.
Written work used in printed material.
Lettering styles found on the computer.
GRAPHIC DESIGN
The field of art that uses pictures and words to communicate messages.
ILLUSTRATORS
LAY OUT
LETTERHEAD
LOGO
MEDIA
PASTE-UP
Graphic artists who create printed materials.
The arrangement of words and pictures on a page.
Stationary that provides logo, name address of a business or company.
A special image or design representing a company, product, or business.
Describes all types of communication available to present a client’s message.
Putting together all material on a board (or with computer software) to complete
artwork.
Stylized designs used to identify objects.
Samples of completed work to show prospective clients or agencies.
Preliminary plans of a layout to show a client.
Who the company is aiming to sell to – (the market).
Styles of lettering to use in printed materials.
Designing with type.
PICTOGRAMS
PORTFOLIO
ROUGH
TARGET BUYERS
TYPE FACE
TYPOGRAPHY
61
BEGINNING PHOTOGRAPHY
This course offers a blend of technology and aesthetics. Students learn principles of photography,
fundamentals of art, and technological processes. They are encouraged to explore photography as a form
of creative expression, recreation, communication, and as a means of record.
REFERENCE
BENCHMARKS
POSSIBLE ACTIVITIES
STANDARDS
NATIONAL
 Experience an introduction to the field of
 Pinhole cameras from common
STANDARDS
photography including history, definition,
containers. Serves as an introduction
 a, b, c, d
purposes, and equipment.
to the relationship between light and
 a, b, c, d
 Exercise sound visual composition based on
photographic exposure. It also serves
 a, b
elements and principles of art as applied to
as an introduction to the darkroom
 a, b, c, e
2-dimensional art.
process.
 a, b, c, d
 Learn about the role of art criticism in
 Photography with strict boundaries.
 b, c
photography and exercise informed
Expose an entire roll of film within 10’
judgment.
square. This forces students to look
SD STATE
 Develop a working knowledge of exposure,
thoroughly into familiar surroundings
STANDARDS
and understand the relationship between
for creative expression.
Number One
type of light, film speed, shutter speed,
 Contrast. Thematic contrast and
1,2,3
and aperture.
technical contrast are used to invoke
Number Two
 Understand and utilize range of value.
impact. This activity encourages
1,2,3
 Have a working knowledge of film, paper,
investigation into type of light.
Number Three
enlargers, and various darkroom supplies.
 Story Illustration. An
1,2,3
 Know how to develop film.
interdisciplinary approach with visual
Number Four
 Know how to print a contact sheet.
arts/language arts. Students
1,2,3
 Know how to print a black and white
photographically illustrate a written
photograph.
work of their own or of another
student.
62
REFERENCE
STANDARDS
BENCHMARKS



POSSIBLE ACTIVITIES
Recognize methods of digital image
capture and acquisition.
Understand fundamentals of image editing.
Exercise reasonable file management.

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63
Vantage Point. The angles from which
photographs are taken offer students a
creative aspect to everyday surroundings.
Reflections. These can be staged or can
occur naturally. They can be found on
many available surfaces.
Architecture. There are as many varied
styles of architecture as there are
preferences among students.
Portraiture. Lighting, positioning,
expression, and props/backgrounds all
combine to invoke mood and personality in
portrait images.
Landscape/Nature. These can include a
combination of close-up photos and/or
horizon lines.
Montage. Texture and representational
images are combined by contact methods,
digital layers or filtration, or sandwiched
negatives.
Hand-Coloring. Dyes, sepia toner, and oil
paints, and digital editing tools are used
to hand-tint black and white photographs.
Creative Darkroom Techniques.
Experimentation with solarization
(Sabattier Effect), reversals, and
photograms.
ADVANCED PHOTOGRAPHY
This course is designed for students who have a profound interest in photography. It offers exploration of
further techniques and media as well as experience in photojournalism. Self-motivation and self-discipline
are necessary for success because expectations are patterned after the working world of photography.
Third year students develop portfolios that reflect publishing experience, a mature artistic direction, and a
higher grade of craftsmanship.
REFERENCE
BENCHMARKS
POSSIBLE ACTIVITIES
STANDARDS
NATIONAL
 Photojournalism: An ongoing unit as
 Emulsion Transfer and Image Transfer.
STANDARDS
Advanced Photography students are
A Polaroid process of transferring
 a, b, c, d
responsible for supplying photographs for
images to foreign surfaces.
 a, b, c, d,
the student yearbook and newspaper
 Low Light. Exercise various aspects of
 a, b
publications. Creativity, composition, and
low light photography. High-speed
 a, b, c, e
impact are continually emphasized.
films may or may not be used.
 a, b, c, d
 History of Photography: A selection of
 Large-scale printing. Second year
 b, c
historical photographers is presented to
student’s experience 11x14 size
offer students examples from which they
enlarging and third year students
SD STATE
can pattern themselves.
experience 16x20 size.
STANDARDS
 Current Trends in Photography: A library
 Infrared. Experimentation with
Number One
of current literature is available to
specialty film and its sensitivity to light
1,2,3
students through the internet, bound
beyond a visible range.
Number Two
literature, and current periodicals.
 Panalure. Experimentation with a
1,2,3
Students are encouraged to keep
specialty paper whereby black and
Number Three
themselves aware of new ideas,
white prints are produced from color
1,2,3
equipment, and techniques.
negatives.
Number Four
 Digital imaging. Photographs are
1,2,3
captured digitally and then manipulated
with Adobe software.
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REFERENCE
STANDARDS
BENCHMARKS



POSSIBLE ACTIVITIES
Communication: Students use photography
as an alternate form of communication.
Expressive technique, media, and subject
matter are used.
Creativity: Students are encouraged to
exercise original thought. The search for
new answers to old problems enhances
critical thinking skills.
Portfolio Development: Students in their
third year are required to establish a
portfolio of quality work. The intent of
which is for obtaining scholarships,
employment and/or acceptance into postsecondary programs.
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



Emotion and Expression. Impact weighs
heavily in this project as students
convey expressive ideas exclusive of
facial expression.
Abstract. Students study examples of
abstract photography and practice
abstract expression.
Photo Essay. This project offers the
opportunity for in-depth research with
pictoral depiction of the breadth and
depth of an idea.
Halochrome.
PHOTOGRAPHY TERMS
TERM
5 STAGES OF IMAGE
PRODUCTION
ACETATE BASE
AGITATION
ANALYSIS
ANTIHALATION
BACKING
APERTURE PRIORITY
ASA
ASSYMETRICAL
BALANCE
BACKLIGHTING
BASE
BAYONET MOUNT
DEFINITIONS
1. Creating the Image
2. Storing the Image
3. Viewing the Image
4. Editing (modify or correct) the Image
5. Outputting the Image
Base support for film emulsions.
Method by which fresh solution is brought into contact with the surface of sensitive
materials during photographic processing.
Using theory and composition to break down an image.
Dye used on the back of most films capable of absorbing light which passes straight
through the emulsion.
Semi-automatic camera on which the photographer sets the aperture and the camera
automatically sets the shutter speed.
Speed rating for photographic materials devised by the American Standards Association.
The system is in the process of being replaced by the ISO system.
Equally weighted with varied elements.
Lighting from behind the subject.
Support for a photographic emulsion.
A lens mount system using flanges by which lens is aligned and seated in the mount and
turned slightly to lock it in place.
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TERM
BROMIDE PAPER
B SETTING
BURN
CABLE RELEASE
CAMERA
CASSETTE
CMYK
COLOR MODE
COMBINATION
PRINTING
COMPOSITION
CONTINUOUS TONE
CONTRAST
CROP
DARKROOM
DENSITY
DEFINITIONS
Most common type of photographic printing paper. It is coated with an emulsion of silver
bromide to reproduce black and white images.
Shutter setting that allows the shutter to stay open while the shutter release button is
pressed.
Add light for a certain amount of time during the exposure of paper to darken an area of a
photograph.
Method of releasing the shutter by means of a remote cable.
A light-tight receptacle designed to gather light rays and resolve them as an image.
“Camera” is the Latin word for “room”. Modern cameras can record the resolved image
permanently by means of light-sensitive film.
Container holding measured lengths of film which may be loaded into the camera.
Cyan, Magenta, Yellow, Black. The four colors in the inksets of many photo-quality printers.
Some printers use six ink colors to achieve smoother, more photographic prints. The two
additional colors are often lighter shades of cyan and magenta.
The way colors are represented in the digital image.
The printing of more than one negative onto a single sheet of paper to achieve a particular
effect.
Selection and arrangement of elements in a photograph.
Term applied to monochrome negatives and prints, where the image contains a graduation
of density from white through gray to black.
The difference between the darkest and lightest areas in a photo. The greater the
difference, the higher the contrast.
Adjusting the size of the image to include what is essential.
A facility designed for the handling, processing, and printing of photosensitive materials
and capable of maintaining levels of ambient illumination compatible with these activities.
Amount of silver deposit produced by exposure and development (relative opacity).
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TERM
DEPTH OF FIELD
DESCRIPTION
DIGITAL
PHOTOGRAPHY
DIGITAL WORKING
LAYER
DODGE
EASEL
EMULSION
ENLARGER
ENLARGEMENT
EXPOSURE
FILE SIZE
FILL THE FRAME
FILM
FIXATION
DEFINITIONS
The distance between the nearest point and the farthest point in the subject which is
perceived as focused.
Objectively labeling visual components of an image.
The production, viewing, or reproducing of photographic images by electronic means.
Objects are placed in separate layers and can be freely moved under and over each other.
Objects can always be added, and any object can be removed or changed without affecting
the others. The final result is the composite of all layers, which can be "flattened" into one
layer for conversion into a JPEG, BMP, GIF or other bitmapped file format. The original
image can be maintained in its layered format for future modifications, such as in
Photoshop's proprietary PSD format.
Layers will allow individual editing without adjusting the whole product.
Block light for a certain amount of time during exposure of paper to lighten values in an
area of a photograph.
A device placed at the base of an enlarger and designed to frame the image, hold the
enlarging paper in proper position, and create borders during exposure.
Light sensitive material which consists of a suspension of silver halides in gelatin.
A device used to project negative images in varying scale onto photosensitive materials for
the purpose of making prints larger or smaller than the original negative.
A print larger than the negative used to produce it.
The product of the intensity of light and the time the light is allowed to act on the film.
Depends on the number of pixels in the image.
Filling the photographic image with subject matter.
Photographic material consisting of a thin transparent plastic base coated with light
sensitive emulsion.
Chemical bath which converts unused halides to a soluble silver, making the image stable in
white light.
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TERM
FIXED FOCUS
FLASH
F-STOP NUMBERS
FOCAL LENGTH
FOG
FORMAT
FRAMING
GELATIN
GRAINS
GREYSCALE
HALATION
HIGH KEY
HISTOGRAM
HOT
HOT SHOE
IMAGE EDITOR
DEFINITIONS
Camera lens that has no method of focusing the lens.
Artificial light source giving brief but bright illumination.
Numbers on the lens barrel indicating the size of the aperture relative to the focal length
of the lens.
The distance between the rear focal point of the lens and the focal plane (film), when the
focus is set at infinity.
Density produced on a negative or print by chemical processing or accidental exposure to
light, which does not form part of the photographic image.
Horizontal or vertical layout
Use of environment to border and emphasize the subject.
Medium used on photographic materials as a means of suspending light sensitive halides.
Exposed and developed silver halides which have formed black, metallic silver grains,
producing the visible image.
A photo made up of varying tones of black and white. Grayscale is synonymous with black
and white.
Diffused image usually formed around bright highlights of the subject. It is caused when
light passes straight through the film, strikes the camera back and is reflected back
through the film.
Photograph which contains large areas of light values with few midtones and shadows.
A graphic representation of the range of tones from dark to light in a photo. Some digital
cameras include a histogram feature that enables a precise check on the exposure of the
photo.
An area in a photo that is too light and lacks details.
Camera location for attaching a flash.
A computer program that enables you to adjust a photo to improve its appearance. With
image editing software, you can darken or lighten a photo, rotate it, adjust its contrast,
crop out extraneous detail, remove red-eye and more.
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TERM
IMAGE RESOLUTION
INCIDENT LIGHT
INFRARED
INTERPRETATION
JPEG
JUDGEMENT
LARGE FORMAT
LATENT IMAGE
LATITUDE
LEAD-IN LINES
LENS
DEFINITIONS
The number of pixels in a digital photo is commonly referred to as its image resolution.
Combination of total number of pixels available in an image and the size at which it is
output results in a specific number of pixels per square inch.
Light rays falling upon or striking a subject.
Light that occurs beyond the red end of the electromagnetic spectrum and invisible to the
human eye. It can be recorded on specially sensitized film.
Exploring the meaning of an image.
A standard for compressing image data developed by the Joint Photographic Experts
Group, hence the name JPEG. Strictly speaking, JPEG is not a file format, it's a
compression method that is used within a file format, such as the EXIF-JPEG format
common to digital cameras. It is referred to as a lossy format, which means some quality is
lost in achieving JPEG's high compression rates. Usually, if a high-quality, low-compression
JPEG setting is chosen on a digital camera, the loss of quality is not detectable to the eye.
An informed evaluation of an image.
A camera that uses large sheet film.
The invisible image produced by exposure which can be made visible by development.
The degree by which exposure can be varied and still produce an acceptable result. The
degree of latitude varies with emulsion type. Faster films tend to have greater latitude
than slower films.
Environmental objects that visually lead to the subject.
A device consisting of one or more elements, usually transparent, designed to direct and
focus light; in photography, used to focus an image onto a focal plane.
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TERM
LIGHT
LOW KEY
MACRO
PHOTOGRAPHY
MEGABYTE (MG)
MEGAPIXEL
MERGER
MONTAGE
NEGATIVE
NEGATIVE CARRIER
NEUTRAL DENSITY
FILTER
NORMAL LENS
OPACITY
ORTHOCHROMATIC
PANCHROMATIC
DEFINITIONS
Electromagnetic radiation, including infrared, visible, ultraviolet, and x-rays, that act upon
the optical faculties and photographic emulsions.
Photograph in which tones are predominately dark and there are few highlights.
Photography which produces an image larger than the original subject without the use of a
microscope.
A measurement of data storage equal to 1024 kilobytes (KB).
Equal to one million pixels.
Subject too close to an object or the edge of the photo.
Composite picture made for a number of photographs.
The image produced on a photographic emulsion by the product of exposure and
development, in which tones are reversed so that highlights appear dark and shadows
appear light.
Supports the negative between the light source and the enlarging lens of an enlarger.
When you use a Neutral Density (ND) filter on your lens, it allows you to optically cut out
the amount of light going through the lens, but otherwise does not [ideally] affect image
quality. Usually used on bright sunny days to cut down on the amount of light and thus
allowing the photographer to use a slow shutter speed for recording effects depicting
motion (e.g. "water as a cloud").
Describes a lens with a focal length approximately equal to the diagonal of the film format
with which it is being used.
The light stopping power of a medium.
Used to describe an emulsion which is sensitive to blue and green light, but insensitive to
red.
Photographic emulsion sensitive to all colors of the visible spectrum.
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TERM
PANNING
PATH OF A MOVING
OBJECT
PATTERN
PERSPECTIVE
PHOTOGRAM
PHOTOGRAPHIC
PHOTOGRAPHIC
PAPER
PICTURE PLANES
PINHOLE CAMERA
PIXEL
POSITIVE
PPI
PRIMARY COLORS
PRINTING-IN
DEFINITIONS
Technique for photographing moving subjects. While the shutter is open, the camera is
swung in the same direction that the subject is moving. This creates a blurred background
with a focused subject. The technique works best with shutter speeds below 1/15 sec.
Offering visual room for the illusion of motion.
Repetition of an element.
The relationship of size and shape of three-dimensional objects represented in twodimensional space. Linear perspective is represented by diminishing size and converging
planes. Aerial perspective is a depth effect produced by haze where objects lose form and
are essentially recorded in terms of shape and color and give a visual impression of
distance.
Pattern or design produced by placing opaque or transparent objects on top of a sensitive
emulsion, exposing it to light and then developing it.
Writing with light.
Paper coated with a photosensitive emulsion and used for making photographic prints.
Consideration of foreground, midground, and background.
Camera without a lens which uses a very small hole pierced in one end to allow light to pass
through and form an image on the back of the camera which can be covered by film.
Picture Element: digital photographs are comprised of thousands or millions of them; they
are the building blocks of a digital photo. Each picture element can measure Illuminance.
Prints or transparencies in which values correspond to tonal range of original subject.
Pixels Per Inch
The three primary additive colors of the spectrum in terms of transmitted light are blue,
green and red. In painters’ pigments, primary mixing is considered to consist of blue,
yellow and red.
Additional exposure is given to selected areas of the print.
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TERM
PROCESSING
DEFINITIONS
The sequence of steps whereby a latent photographic image is converted into a visible,
permanent image.
RAW
The RAW image format is the data as it comes directly off the CCD, with no in-camera
processing is performed.
RESIN-COATED
Printing paper with a water-repellent base. RC papers can be processed faster, require
PAPER
less washing, and dry more quickly than fiber-based paper.
RETICULATION
Cracking or distorting of the emulsion during processing, usually caused by wide
temperature or chemical-activity differences between the solutions.
RGB
Red, Green, Blue: the three colors to which the human visual system, digital cameras and
many other devices are sensitive.
RINSE
Brief clean water wash between steps of a processing cycle which reduces carry-over of
one solution to another.
RULE OF THIRDS
Division of 2-D space to calculate placement of subject.
SABATTIER EFFECT
The part-positive part-negative effect formed when an emulsion is briefly re-exposed to
white light during development and then allowed to continue development.
SAFELIGHT
Darkroom illumination of such limited wavelength and brightness that it does not affct the
photosensitive materials being handled. Materials of different sensitivities require
different safelights.
SATURATION
How rich the colors are in a photo.
SHUTTER
The center of interest or central idea; the person, place, thing, or view photographed.
SHUTTER SPEED
How fast camera shutter operates affecting exposure.
SINGLE LENS REFLEX A system of viewing where the viewfinder is directed to the lens through a series of
mirrors.
SOLARIZATION
Reversal or partial reversal of the image by extreme over-exposure. Similar results can be
achieved with the Sabattier effect.
STANDARD LENS
A lens with a focal length approximately equal to the diagonal of the film format with
which it is used. Also known as a normal lens.
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TERM
STOP BATH
DEFINITIONS
Chemical bath whose purpose is to stop development by neutralizing unwanted developer.
This increases precision of development and prevents carry-over of one chemical into
another during processing.
STOP BATH
Chemical bath whose purpose is to stop development by neutralizing unwanted developer.
This increases precision of development and prevents carry-over of one chemical into
another during processing.
STOPPING DOWN
Reducing the size of the lens aperture and thus the amount of light passing into the
camera. It increases depth of field.
The center of interest of central idea; the person, place, thing, or view photographed.
The same composition left to right or top to bottom.
SUBJECT
SYMMETRICAL
BALANCE
TANKS
TELEPHOTO LENS
TEST STRIP
TEXTURE
TONE
TONERS
TRIPOD
Containers for holding chemical solutions for processing films and plates. Some are for
darkroom use only, others for daylight loading and others must be loaded in the dark,
but can then be used in daylight.
Compact lens construction which provides a long focal length with a short back focus.
Trial and error method of calculating exposure in photographic printing. A number of
exposures are given to a strip of emulsion over important areas of the image to help
judge the correct exposure for the final print.
The surface character of an object, e.g. rough, smooth.
Refers to the strength of grays between white and black. It relates to the brightness,
lightness and darkness of a subject and is determined by illumination.
Used to change the color of the photographic print by chemical baths. Through a
system of bleaching and dyeing, the black metallic silver image is converted to a dye
image.
Framework for stabilizing the camera.
74
TERM
TTL
TWIN LENS REFLEX
VALUE
VANTAGE POINT
VIEWFINDER
VIGNETTING
WASHING
WETTING AGENTS
WHITE BALANCE
WIDE-ANGLE LENS
XSYNCHRONIZATION
ZOOM LENS
DEFINITIONS
Abbreviation of “through-the-lens” as referring to a metering system in which a suitable
light-sensitive mechanism within the camera body measures exposure from image light
passing through the lens.
A system of viewing where the viewfinder leads to one lens and another lens leads to the
film.
An infinite range of grays from black to white.
The angle from which the photo is taken.
A mechanism on a camera that indicates to the photographer the details the camera will
record and commonly, the details that will be in focus.
Printing technique where the edges are faded out toward the border of the print.
Final part of the processing cycle that removes the residual chemicals and soluble silver
from the emulsion.
Chemicals which, when used in minute quantities, reduce the surface tension of water.
They are usually added to the final wash of films and plates to improve draining and thus
prevent drying marks from forming.
A function on the camera to compensate for different colors of light being emitted by
different light sources.
Lens with wide covering power. It has a focal length less than the diagonal of the film
format with which it is being used.
Mechanical synchronization of shutter and flash or use with electronic flash units.
A lens constructed to allow continuously variable focal length without disturbing focus
within a certain range (e.g. 80-200mm).
75
CAREER EDUCATION
Career education is that aspect of education, which results in preparing one for life’s work. Students need facts
about careers in art and related fields, the futures they offer, and the preparation necessary to enter them.
Professional artists or designers who work in one of the many career categories in the visual arts have created
much of the human-made environment. The buildings in which people live, work, and shop are the creation of
architects and interior designers. Art directors, magazine designers, and illustrators compose the magazines,
books, and catalogues that people read. Industrial designers create the vehicles in which people drive and ride, the
appliances and utensils used for preparing food, or the toys children play. Fashion illustrators and designers design
the latest clothing fashions. Computer technology has increased the need for graphic designers and computer
graphic specialists to design web pages, advertising and animated computer games. As people become aware of the
visual appearance of the environment the demand for professionally trained individuals in environmental design also
increases.
Career awareness can take place in every art course by inviting resource people who work in an art-related field
from the community to do a presentation. Invite a counselor from the guidance office or a representative from
schools and colleges that specialize in art-related fields to discuss possible careers in the art field.
76
CAREER LISTING FOR ARTISTS
ADVERTISING LAYOUT
AIRBRUSH ARTIST
AIRPLANE DESIGNER
ARCHAEOLOGIST
ARCHITECT
ARCHITECTURAL DRAFTSMAN
ART APPRAISER
ART CONSULTANT
ART CRITIC
ART HISTORIAN
ART RESTORER
ART SALESMAN
ART SUPERVISOR
ART TEACHER
ART THERAPIST
ARTIST IN RESIDENCE
AUTOMOBILE DESIGNER
BOOK-JACKET DESIGNER
BOOKBINDER
CABINET MAKER
CANDLEMAKER
CARICATURIST
CARPENTER
CARTOGRAPHER
INDUSTRIAL DESIGNER
INTERIOR DECORATOR
INTERIOR DESIGNER
JEWELER
JEWELRY DESIGNER
LEATHER ARTIST
LETTERING SPECIALIST
LITHOGRAPHER
MAKEUP ARTIST
MECHANICAL DRAFTSMAN
MEDICAL ILLUSTRATOR
METALSMITH/GOLDSMITH
MOSAIC ARTIST
MURAL SPECIALIST
MUSEUM DIRECTOR
MUSEUM EDUCATOR
MUSEUM PHOTOGRAPHER
NEEDLEWORK/APPLIQUE ARTIST
NEWSPAPER ART CRITIC
PAINTER
PRINTMAKER
PHOTOENGRAVER
PHOTOJOURNALIST
PORTRAIT ARTIST
77
CARTOONIST
CERAMIST
COMPUTER GAME DESIGNER
COMPUTER GRAPHICS DESIGNER
CONSTRUCTION DRAFTSMAN
CULTURAL ARTS CENTER INSTRUCTOR
CURATOR
DENTIST
DOCENT
ENVIRONMENTAL ARTISTS
FABRIC DESIGNER
FASHION CONSULTANT
FASHION COORDINATOR
FASHION DISPLAY SPECIALIST
FASHION ILLUSTRATOR
FRAMER
FURNITURE DESIGNER
GLASSBLOWER
GRAPHIC DESIGNER
GREETING CARD DESIGNER
PORTRAIT PHOTOGRAPHER
PROGRAM DESIGNER
SCENE AND SET PAINTER
SCULPTOR
SENIOR CENTER ART COORDINATOR
SET CONSTRUCTION DESIGNER
SHOWCARD ARTIST
SIGN PAINTER
SPECIAL EFFECTS DESIGNER
SPORTS EQUIPMENT DESIGNER
STAINED-GLASS ARTIST
TAILOR
TEXTILE AND FIBER DESIGNER
TOOL DESIGNER
TOPOGRAPHER
URBAN PLANNER
WEAVER
WEB PAGE DESIGNER
WOODCRAFT ARTIST
78
SUGGESTED TECHNOLOGY ACTIVITIES
Today artists and illustrators use computer art applications to combine images and make multiple copies in varying
sizes. The computer offers the advantage over conventional art techniques because it can quickly make a twodimensional object look three-dimensional. Some of the computer art applications provides tools or menus to add
textures, colors, and backgrounds that can change the surface quality of an image. Students can experiment with
simple draw and paint programs. Encourage students to scan their original work and use the computer programs to
manipulate and create a new piece of computer generated art. Students can create a CD portfolio of their art
projects work using the digital camera.
Travel the Internet to five or six art museums listed the Artist’s Passport using the Glencoe Online Art Web Site.
http://www.glencoe.com/sec/art. Students and teachers can visit the Studio Cyberspace, where creative
adventures on the Internet begin. This is an overview of what is available on this site:
Be a Museum Curator
Artists’ Favorite Places
Archeologist’s Journal
Museum Tour
Architectural Tour
Cultural Treasures
Artists and the WPA
Visiting and Artist
Critique Website
Pictures Worth 1,000 Words
Meet the Masters
Explore Art Schools
79
Art Exploration
http://www.getty.edu/artsednet/resources/Sampler/f.html
Visit the Getty Center ArtsEdNet for a good introduction to art resources using works from the Getty
collection.
Matisse
http://www.paceprints.com/modern/matisse/matisse-main.asp
This site is a good introduction to the artist and his works, and contains several examples of Matisse's art.
Georgia O'Keeffe
http://hudson.acad.umn.edu/OKeeffe.html
This site has two of O'Keeffe's paintings on display, Oak leaves, Pink and Gray (1929) and Oriental Poppies
(1929). A short description accompanies each picture. Some very bright and colorful images when enlarged.
http://www.ellensplace.net/okeeffe1.html
Artistic history of contemporary American artist, Georgia O'Keeffe. Her works are inspired by surroundings
in Texas; New York, especially the Adirondacks; and the deserts of northern New Mexico. Includes the
artist's comments and several works.
The Posters of Toulouse Lautrec
http://www.sandiegomuseum.org/lautrec/index.html
Possibly one of the best sites on the artist,Toulouse Lautrec. This page has links to sites that have
background information on the artist, images of over 20 posters of Toulouse Lautrec, information on the
artists life, bibliographies, and information on printmaking and printmaking history.
80
Kandinsky - Lyrisches (Lyrical)
http://www.boijmans.rotterdam.nl/engels/collec/mk/mk4.htm
This is an exciting collection of works by Wassily Kandinsky and other artists from the Rotterdam Museum,
includes several nonobjective works.
Twentieth Century Art
http://witcombe.sbc.edu/ARTH20thcentury.html#Early20century
This site provides an overview of art of the early twentieth century, and then lists links to some of the
influential artists of that time. What are some of the art movements of the twentieth century? Which early
twentieth century artist do you like the best, and why?
WebMuseum: Gauguin
http://www.oir.ucf.edu/wm/paint/auth/gauguin/
Explore the use of color in the expressive paintings of Gauguin. Provides some background information on styles and
art movements, as well as links to several other artists to investigate their use of the principles of art.
Kandinsky
http://www.boijmans.rotterdam.nl/engels/
collec/mk/mk4.htm
Start with this single image by Kandinsky and examine his use of the principles of art. then use the forward and
back buttons to view more examples of modern art and the principles.
Monet
http://webpages.marshall.edu/~smith82/monet.html
Extensive list of links to images of Monet's works, organized by museum location. Each picture downloads
quickly so tudents may view a large image of the artist's work.
81
Graphic Design
Special Interest Group on Computer Graphics (SIGGRAPH)
http://www.siggraph.org/home.html
This site is full of information from a leading computer graphics organization, and includes examples and
techniques useful for anyone interested in this technology field.
Graphic Designer
http://gallery.sjsu.edu/
This is an interesting site giving information and examples of student art from San Jose State University
School of Design.
Animation Art at Animation and Fine Art Galleries
http://animationandfineart.com/Animation/Anim.html
View individual drawings, storyboards, and colorful cells from some of the well-known animation studios.
Learn about animation art. Remind students that these images are copyrighted.
Ansel Adams
http://www.zpub.com/sf/history/adams.html
Here you can view black and white photography and find out about this nature photographer who devised
innovative printing techniques to obtain dramatic effects with his photography.
@rtifacts
http://www.arts.ufl.edu/art/rt_room/@rtifacts.html
This site contains an index of famous artists' birthdays and an art timeline, both of which provide easy and
interesting visuals for students to follow. Includes games of Art Scrabble and Art Trivia which engage
students in learning about art history.
82
Museum D'Orsay
http://www.paris.org/Musees/Orsay/Collections/Paintings
A visit to this site will expose students to the works of some of the 19th-century European artists, such as
Monet, Degas, Daumier, and Miller. Provides a link to a second collection of 19th-century European artists.
MOMA The Museum of Modern Art
http://www.moma.org/
Visit a comprehensive collection of modern art. Includes photography, sculpture, video, paintings, and more.
Gives detailed information on the museum in New York.
WWW Pop Art: Index
http://www.fi.muni.cz/~toms/PopArt/Overview/america.html
This site contains links to many modern and Pop artists and their works.
Architecture
Frank Lloyd Wright
http://lcweb.loc.gov/exhibits/flw/flw.html
Visit the Library of Congress exhibition on Wright's architecture. Includes several images and explanations
of his architectural style.
Native American Art Sites
Native American Jewelry
http://www.indiansun.net/education.htm
This site provides background information on Native American jewelry and pottery. The site displays images
of artworks from several different indigenous groups and provides historical information about these groups
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Kachina Dolls - Eagle Wing Indian Art
http://www.getty.edu/artsednet/resources/Maps/kachina.html
This site describes the history of Kachina dolls and explains their use in, and types of, ceremonies. It also
gives research synopsis based on Kachina dolls.
Chetro Ketl 3-D Great Kiva
http://sipapu.gsu.edu/html/kiva.html
Enter this site and view a 3-D image of an ancient Native American Kiva. Students will really enjoy exploring
the Kiva and discovering hidden niches in the walls of the dwelling.
Dance Costumes
http://www.powersource.com/powersource/gallery/
objects/dance.html
Investigate various American Indian powwow outfits modeled here by students. Includes comments about
the outfits, their history, and their use in dancing.
History of Beadwork
http://indy4.fdl.cc.mn.us/~isk/art/beads/art_bead.html
Take an in-depth look at the history of the art of beads and beadwork from early times to present-day
computer designing.
Beadwork Designs
http://indy4.fdl.cc.mn.us/~isk/art/beads/art_bea2.html
Discover the double needle applique technique of Peyote beadwork and loom woven beadwork. Includes
directions and illustrations of designs for young beadworkers.
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Basketry
http://indy4.fdl.cc.mn.us/~isk/art/basket/pomo.html
Thirteen baskets of the California Pomo Indians are superbly illustrated. Information on the materials used,
traditions, and their very interesting history are included.
Rock Art--Petroglyphs
http://www.crystalinks.com/petroglyphs.html
This site contains links to artifacts, rock art, petroglyphs and carvings from ancient cultures throughout
world history.
The American Craft Museum
http://www.americancraftmuseum.org/acm/
Visit this site to find out just how wide-ranging this field of art is. Visit an exhibition on quilts, explore
Native American work, or even view an exhibit on "Defining Craft."
Virtual Ceramics Gallery
http://www.ilpi.com/Artsource/vce/VCEhome.html
View several ceramics works. Click on an image and find out more about the piece and the artist who created
it.
The Sculpture Center
http://www.sculpturecenter.org/index.htm
The Ohio Outdoor Sculpture Inventory presents this site for the preservation of outdoor sculpture in Ohio.
Lots of places to visit from this site. Choose: Window to Sculpture or Works by Young Sculptors.
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Virtual Sculpture Gallery
http://www.stonecarver.com
Learn how stone is quarried and carved. Find out about the tools, techniques and traditions of carving. The
gallery also has a wide assortment of pictures of sculptures ranging from animals to fireplaces to gargoyles
and grotesques! There are some excellent images.
Good sites for:
Clipart
www.tudogs.com
www.coolgraphics
www.snowcrest.net/kitty/
Museums Tours
Museum of Ancient and Modern Art
http://www.mama.org/
exhibits – The Primitive Face: Masks of Africa
Joslyn Art Museum
http://www.joslyn.org/
Native American collection
Cincinnati Art Museum
http://www.cincinnatiartmuseum.com/
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National Museum of Art
http://www.nga.gov/exhibitions/
Collection tours – painting, sculpture, graphic arts, and decorative arts.
Escher
Some Online in-depth tours include: Picasso
Calder
Pollock
Architectural Tours
Virtual Exhibition Tours
Van Gogh
Calder
Smithsonian
http://www.si.edu/resource/tours/art/start.htm
http://www.cnam.fr/fractals.html
Drawing:
One point perspective by Harold Olejarz
www.olejarz.com/arted/perspective/index.html
Perspective Drawing by Jan Garner
http://mathforum.org/sum95/math_and/perspective/perspect.html
Sanford: A Lifetime of Color
www.sanford-artedventures.com/
Lesson Tutor Inc.
www.lessontutor.com/artgenhome.html
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