I created this project after researching the renaissance artist Donatello. During the time period in which Donatello worked he used a new, very shallow, sculptural technique called Bas Relief. This is the basis of coin design. The students were told to think of a symbol/animal. An addition to the original project, students could include a creative writing exercise. Students would create a country, listing the demographics of their coin of origin. Design of the coin should include one number and one symbol. When making their projects students should understand that the the bas relief process is reductive not additive. When using air dry clay, students may need to work when it is on the dryer side. Materials Sketchbook Pencil Clay Clay tools Newspaper ![]() Inspiration Donatello 1386-1466 He worked with stone, bronze, wood, clay, stucco and wax, and had several assistants, with four perhaps being a typical number. Though his best-known works were mostly statues in the round, he developed a new, very shallow, type of bas-relief or small works, and a good deal of his output was larger architectural reliefs.
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![]() In this lesson students learned about the Pop Art movement of the 1960's and looked to the work of Roy Lichtenstein and referenced vintage Batman episodes with exclamatory words, like POW, SOCK, ZOINK. We used our sketchbooks to practice illustrating our words. Students were also given the option to created a comic drawn portrait, like Mr. Lichtenstein. To create a manufactured look students learned masking techniques and used bubble wrap to create their project with some low-tech stamping and masking. ![]() Materials Sketchbook Pencil Canvas/illustration board/heavy paper Paint Masking tape Bubble wrap Brushes Roy Lichtenstein (1923-1997) became a leading figure in the new art movement of the 1960s, called “Pop Art”. His work defined the premise of pop art through parody (an imitation of the style of a particular writer, artist, or genre with deliberate exaggeration for comic effect). Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. He described pop art as "not 'American' painting but actually industrial painting". Lichtenstein's technique, which often involved the use of stencils, sought to bring the look and feel of commercial printing processes to his work. Through the use of primary colors, thick outlines, and Benday dots, Lichtenstein endeavored to make his works appear machine-made.
![]() Milo Gehring, 8th Grade In this lesson the students studied the aboriginal paintings in Australia. Although the technique, style, and concept of the dot Aboriginal painting of Australia was not taught first hand to me, I would like to teach appreciation and the style to students. We can respect indigenous cultures through emulating the work. Students were told they could focus their painting on a design or an animal. "As Aboriginal artwork is a form of visual storytelling, each tribe has symbols that relate to a meaning. There are iconic symbols too, which are relevant to multiple tribes and include eagle feet, waterholes and digging sticks. Colors can be linked to meaning as well, but this is rare, and only some tribes can understand what colors relate to which meaning. Blue tones (to represent the ocean) and warm tones of brown and orange (to represent the earth) are most commonly used. The symbols can also be used for teaching purposes, catering to both children and adults. Depending on the audience, each piece of iconography will differ in meaning, but the essence of the story will be the same. It seems obvious, but Aboriginal artwork is only considered Aboriginal if painted by someone who is of that origin. A non-Indigenous Australian does not have the authority to paint an Aboriginal piece of artwork. Where the artist comes from will inform how the painting will look. Since a non-Indigenous artist is not from a particular tribe, that person cannot represent any form of Aboriginal art. But this does not mean that all other ethnicities are banned from creating their own artwork. There are many workshops around Australia, which are open to anyone who would like to learn more about the art form." https://theculturetrip.com/pacific/australia/articles/10-things-you-should-know-about-aboriginal-art/ Materials
Sketchbook, Drawing media Dark construction paper, Black, Brown, etc Q-tips, round brushes Tempera paint (lighter colors) Visual aids for inspiration I really enjoyed teaching this lesson. The children also seemed to enjoy creating and learn through this project. Since it was very early in the year I feel that I did not focus on parts of the lesson that would have really created some deep learning moments. We discussed and talked about gothic architecture and I asked them what they knew about cathedrals? Most of them knew little, but that gave us an opportunity to discuss the parts of the cathedral and why the buildings had been able to have more windows, more light. We looked to stained glass windows, particularly the rosette window. In this project students create a "stained glass" window design and transfer the window design to a plastic protector sheet with permanent marker. On a black piece of paper student create an outline of the cathedral or building the window would be in. I was pretty loose on design of the window. In the future possibly keep the design to symmetry and possibly types of architecture. Although I really enjoy giving the children freedom of choice and these students did quite well. Materials Sketchbook Pencil Paper Circle template Plastic pocket protector Permanent Markers Tape White crayon Black Paper Inspiration
Gothic Cathedral Built during the 12th through 16th centuries, these medieval masterpieces were born out of the Romanesque movement, which saw churches designed with thick walls, round arches, and large towers. Gothic architecture, on the other hand, focused on height and light—despite being constructed from heavy stone, Gothic cathedrals seem to defy the laws of gravity. Common traits include pointed arches, ribbed vaults, and flying buttresses, all of which enabled the structures to be built taller and stronger. Without the thick walls churches could have more windows to allow light to shine into what would be rather dark worship spaces. This also allowed for stained glass in colorful designs to be utilized to represent the stories of the bible. With the use of contact paper and tissue paper the results were whimsical. This is a lesson I taught to adults all the way down to kindergarteners. In the kindergarten classes through 3rd grade, the children were introduced to the work of Marc Chagall. We looked to his famous stained glass windows for inspiration, although children were encouraged to create their own unique designs. Many of them had no problem with putting their creative hats on. Earlier this year I was invited to teach art to incarcerated women. The interesting thing about teaching in a jail you have to plan around really specific regulations. It's a challenge to come up with new and creative projects that can engage, excite, or to be a positive outlet for them. Some of the bummers are no scissors, or anything metal of course not sharp, no string or anything in "length", no toxic substances, no rulers, etc. So on our first day I brought the "Stained Glass" project. I precut all of the contact paper, thin cut strips of black paper for borders and divisions, some smaller cut pieces of tissue paper, however that could be torn, if needed. The women embraced the project. They were able to have some time together making, talking (keeping it positive), and being creative. They encouraged each other and also helped each other. They were proud of their creations. I am a strong believer that art isn't a reward (although, it is often used as punishment when it is "taken away"). Art is a challenging way to express one self. Exercising self control and refinement in order to communicate emotions, feelings, or thoughts are extremely important skills in life. Materials Sketchbook Pencil Colored Pencils Contact paper Colored Tissue Paper Black Construction Paper Scissors Black Permanent Marker ![]() Inspiration
In this lesson the students combine observation, collage, and drawing. The students first create a collage of black and white print on which they draw a linear portrait in the style of Picasso. The collaged black and white print creates background in the style of the cubist movement. Students reference and look at portraits Picasso painted in his later works. They will observe that the faces he paints become a collection of shapes that represent facial features. After their portraits are drawn in black permanent marker, the facial planes are filled in with colorful oil pastel. Materials Heavy weight paper Scissors Newspaper Glue/Glue sticks Permanent Black Marker Oil Pastel ![]() Inspiration Pablo Picasso 1881-1973 Picasso displayed an interest in subject matter of every kind. Picasso was exceptionally prolific throughout his long lifetime. The total number of artworks he produced has been estimated at 50,000, comprising 1,885 paintings; 1,228 sculptures; 2,880 ceramics, roughly 12,000 drawings, many thousands of prints, and numerous tapestries and rugs. Picasso's early sculptures were carved from wood or modeled in wax or clay. Picasso abandoned modeling and instead made sculptural constructions using unconventional materials. Although his Cubist works approach abstraction, objects of the real world as subject matter were never completely unrecognizable. Prominent in his Cubist paintings are forms easily recognized as guitars, violins, and bottles. Picasso painted mostly from imagination or memory. In his paintings, Picasso used color as an expressive element, but relied on drawing rather than subtleties of color to create form and space. Picasso transformed the semiology (the study of signs and symbols and their use or interpretation) of painting and sculpture, expanding the way words, shapes, and objects could interact. He put ordinary objects in new situations that changed their nature. Many of his portraits are As much as I would like to claim that this was such a wonderful lesson, I must confess.. Although many successful drawings were created by the students, we had an "incident" as my 8 year son old would call it. On the day of art class for grades 4-8 about 11 students, I had gathered white legos for the subject matter. I began class by explaining the lesson, covering the paper with charcoal. I then demonstrated erasing the form on the page. I explained the point was not add to the page but erase. I then handed out the lego(s), paper, charcoal, and an eraser. First instruction cover the paper with charcoal. I didn't see it coming. I had no Idea! In a matter of seconds from one child thinking it was funny to put charcoal under his eyes, the chain reaction cause about 6 of the 11 to cover their faces entirely in charcoal. It never occurred to me (why would it?) that the students would interpret the use of the materials as a free for all on covering parts of their body. As I said every student attempted the lesson and many were successful. The last half of class was directing the ones with war paint to the sink, and cleansing before dismissal. We also had a discussion over the proper use of art room materials. "If materials are not used properly on paper, canvas, etc and instead put on our bodies, we will have to be limited to pencils and paper." Materials
Paper White Legos Charcoal Eraser The weaving of baskets is as old as the history of man. Traces of baskets have been found in the Egyptian pyramids, and woven basket liners have left their impressions inside the fragments of ancient pottery.As soon as humans were able to plait fibers together, they began to experiment with structures for woven containers. Baskets were needed as containers for everything imaginable- food, clothing, seeds, storage and transport. So how did baskets travel from one part of the world to another? With the explorers, of course. And this is how the various techniques of baskets also traveled to other parts of the world. As the explorers arrived in new lands, they traded goods. The goods were contained in baskets- thus, as the recipient of the goods looked over the basket, he/she then applied that technique to the materials of their own land. This explains how so many Asian techniques are found in European baskets, and how European techniques were then carried over to the Americas. How then may we take and make this craft our own? First we must learn the technique, the basics of vessel construction. Then with that knowledge we need to apply our creative mind. Materials Clothesline Yarn Scissors Darning needle Inspiration
Learn the technique. Once that has been mastered try to make a freeform basket or structure using the technique. What can you make a basket look like that it is not? Or choose a theme, color, texture.. The students were introduced to Pablo Picasso and looked at his constructions and collages. In the lesson students were instructed on the basic anatomy of a guitar, neck, sound hole, head stock, body, strings. Students were given a template and cardboard shapes, to construct a guitar form and special papers to decorate the constructed cardboard guitar. String added for strings. Materials Sketchbook Pencil Cardboard guitar template Background paper Newspaper Pattern Paper Scissors Tape Glue String Inspiration
Sometime between October and December 1912, Pablo Picasso (1881–1973) made a guitar. Cobbled together from cardboard, paper, string, and wire, materials that he cut, folded, threaded, and glued, Picasso’s silent instrument resembled no sculpture ever seen before. In 1914 the artist reiterated his fragile papery construction in a more fixed and durable sheet metal form. These two Guitars, both gifts from the artist to MoMA, bracket an incandescent period of material and structural experimentation in Picasso’s work. Picasso: Guitars 1912–1914 explores this breakthrough moment in 20th-century art, and the Guitars’ place within it. Bringing together some 70 closely connected collages, constructions, drawings, mixed-media paintings, and photographs assembled from over 30 public and private collections worldwide, this exhibition offers fresh insight into Picasso’s cross-disciplinary process in the years immediately preceding World War I. The students were introduced to Pablo Picasso and looked at his constructions and collages. In the lesson students were instructed on the basic anatomy of a guitar, neck, sound hole, head stock, body, strings. Students were given a template and cardboard shapes, to construct a guitar form and special papers to decorate the constructed cardboard guitar. String added for strings. Materials Sketchbook Pencil Cardboard Scissors Tape Glue String Inspiration
Sometime between October and December 1912, Pablo Picasso (1881–1973) made a guitar. Cobbled together from cardboard, paper, string, and wire, materials that he cut, folded, threaded, and glued, Picasso’s silent instrument resembled no sculpture ever seen before. In 1914 the artist reiterated his fragile papery construction in a more fixed and durable sheet metal form. These two Guitars, both gifts from the artist to MoMA, bracket an incandescent period of material and structural experimentation in Picasso’s work. Picasso: Guitars 1912–1914 explores this breakthrough moment in 20th-century art, and the Guitars’ place within it. Bringing together some 70 closely connected collages, constructions, drawings, mixed-media paintings, and photographs assembled from over 30 public and private collections worldwide, this exhibition offers fresh insight into Picasso’s cross-disciplinary process in the years immediately preceding World War I. https://www.moma.org/calendar/exhibitions/1088 |
AuthorI have a passion for the visual arts and love sharing it with others. I have enjoyed teaching all ages and love to incorporate art history and traditional disciplines as well as innovative ideas. Art is vital to who I am as a creator and educator. Archives
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