Unit Vocabulary
oil pastel blending
resist |
emphasis
balance |
pattern
value
still life |
Lessons 1-2: Georgia O'Keefe
Watercolor Nature 1: Leaf
Duration: 2 class periods
Standard 1:
Recognizes and uses the visual arts as a form of communication.
Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate use of tools and materials. Demonstrates instructed techniques and processes.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Enduring Understanding:
Specific techniques are used to
create different looks in art.
Essential Questions: What
techniques can be used to create different looks in art?
Assessment:
Art
Rubric
Vocabulary: Value, contrast
Materials Needed: pencil, sketchbook, bent wire for drawing
ritual, oil
pastels, 8"x8" painting paper, watercolors,
viewfinder (a note card with a 1"x1" box cut out from the center),
assorted potted plants or collected leaves
Activities
-
"An artist in
training ideally should first learn to see and draw edges using
line, then progress to drawing spaces and shapes in
proportion..."
~Betty Edwards
-
Begin with a Wire Drawing Ritual in
your Sketchbook - use the instructions for the
Wire Drawing. This is a 5 minute drawing time using thick
wire bent into an odd shape. Insert a pencil through an 8"x8"
BLINDER card.
The blinder card will keep you from looking down on your paper
while drawing.
Trace the
contour of the wire in the air by using your finger to follow
the contour of the wire SLOWLY until you reach the starting
point. Next, fix your eyes on the starting point and
position your pencil on the sketchbook. As your eyes follow the
contour of the wire your pencil follows your eye movements
exactly. Put the date in your sketchbook.
- For the teacher:
Here is a
Demo vs. Hands on Learning reading before beginning this
unit.
It is best to show artists works
at the end of the project so the students can practice creating
completely original and legitimate ideas on their own. Please
read
Creativity Killers in the Classroom.
"While "image flooding"
(showing many examples) may be inspirational, it can also be
intimidating and very suggestive. It can be argued that
"image flooding" creates slicker work, but less creative
thinking skills. It may win the scholastic awards, but it
teaches us to go through life in other people's skins."
~Marvin Bartel, Ed.D
If you prefer to show O'Keefe's paintings first go to lesson #5.
- Use a scrap sheet of
watercolor paper to explore wet color washes and then adding
more paint to create more intense colors. Saturate your brush
with one color and apply it on your paper. Add more water to
this to lighten this same color. Create a fade from another
deep, rich color to a light, diluted color. Try to begin with a
watery color wash (using lots of water and little paint) and
continue adding paint to this to make this color more intense
until your color is as rich or dark as it can get. Practice
using the technique on your practice page.
- You will create a
WATERCOLOR VALUE SCALE in your sketchbook. VALUE is the
lightness or darkness of a color. Follow this easy 5 step
WATERCOLOR VALUE LESSON using one or more colors. You
may need this as a VALUE reference in the future.
- And now for the drawing: In this lesson, you will
choose part of a plant that is at your table. Focus on one part
that has interesting variations of color and shape. Use a note
card with a square cut out of the middle (viewfinder) to locate the part of
the plant you want to draw. It is best if you can see some
NEGATIVE SPACE or background as well. Make sure your composition is
interesting to look at.
- On an 8' x 8" piece of paper,
lightly sketch the shape of the part you see when looking
through the box in the note card. Keep in mind the center point
when looking through your viewfinder and mark a center dot on
your paper. This will help guide you to place your contour lines
in the right places. Also look at where your lines come near the
corners of your viewfinder and draw them in the appropriate
areas on your paper.
- You may use a thin permanent
black marker to go over your contour lines. The watercolors will
bleed into each other so the black contour lines will keep your
leaf shapes crisp and clean.
- If you SQUINT at your flower,
your lightest and darkest VALUES pop out. Now use water colors to paint
the light colors first, then the darker parts. Use the water to
blend both colors together. Do you see the change in VALUES?
Do you have enough CONTRAST between your shapes? Do you
need to add darker values in some areas? Add another layer
of dark values if your painting needs it, but do not overwork your painting!
- Put this painting away to
dry. You will need it later. By-the-way...good job! You will
find that the more you watercolor the more skill you achieve!
Differentiation
Support: Read or listen to the audio book,
Amazing Plants
or
Plants, Plants, Plants.
Extension: To learn more about watercolor techniques
visit
Watercolor Painting and Projects Website.
Lesson 3: Georgia O'Keefe Watercolor
Nature 2: Flower
Duration: 1 class period
Standard 1: Recognizes and uses the visual arts as a form of
communication. Selects visual images for works of art to communicate
ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate use of tools and materials. Demonstrates instructed techniques and processes.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Enduring Understanding:
Specific techniques are
used to create different looks in art.
Essential Questions: What
techniques can be used to create different looks in art?
Assessment:
Art
Rubric
Materials Needed: pencil,
sketchbook, blinder card and bent wire for the drawing ritual,
8"x8"
painting paper, watercolors,
viewfinder (a note card with a 1"x1" box cut out from the center),
potted plants with flowers
Vocabulary: Value,
contrast, negative space
Activities
-
Begin with a Wire Drawing Ritual in
your Sketchbook - use the instructions for the
Wire Drawing. This is a 5 minute drawing time using thick
wire bent into an odd shape. Insert a pencil through an 8"x8"
BLINDER card.
The blinder card will keep you from looking down on your paper
while drawing.
Trace the
contour of the wire in the air by using your finger to follow
the contour of the wire SLOWLY until you reach the starting
point. Next, fix your eyes on the starting point and
position your pencil on the sketchbook. As your eyes follow the
contour of the wire your pencil follows your eye movements
exactly. Put the date in your sketchbook.
- Choose another part of a plant with
part of the flower (not the center) using
the same process you used in the first lesson. Move
the viewfinder over the flower to find the most interesting
composition. It may be very interesting to see some of the
negative space or background.
Make a mental note of the middle area of the viewfinder and make
a dot in the middle of your 8"x8" paper. Your drawing will
be 8 times larger so carefully draw the contour lines of the
flower enlarging the shapes to fill the larger square.
Notice where the center point of the flower under the viewfinder
is and where the center of your drawing is. This will help guide
you to place your contour lines in the right places. Also look
at where your lines come near the corners of your viewfinder and
draw them in the appropriate areas on your paper.
- Complete your drawing as in lesson #1
.step 7.
Go over your contour lines with thin permanent marker.
- Finish painting as above in lesson #1
step 9.
Differentiation
Support:
Extension:
To learn more about watercolor techniques visit
Watercolor Painting and Projects Website.
Lesson 4: Georgia O'Keefe Watercolor
Nature 3: Stamen Pistol
Duration: 1 class period
Standard 1:
Recognizes and uses the visual arts as a form of communication.
Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate use of tools and materials. Demonstrates instructed techniques and processes.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Enduring Understanding:
Specific techniques are used to
create different looks in art.
Essential Questions: What
techniques can be used to create different looks in art?
Assessment:
Art
Rubric
Materials Needed: pencil, sketchbook, blinder card and bent wire for
the drawing ritual,
8"x8"
painting paper,
Tempera paint or watercolors,
viewfinder (a note card with a 1"x1" box cut out from the center),
potted plants with flowers
Vocabulary: Value,
contrast, negative space
Activities
-
Begin with a Wire Drawing Ritual in
your Sketchbook - use the instructions for the
Wire Drawing. This is a 5 minute drawing time using thick
wire bent into an odd shape. Insert a pencil through an 8"x8"
BLINDER card.
The blinder card will keep you from looking down on your paper
while drawing.
Trace the
contour of the wire in the air by using your finger to follow
the contour of the wire SLOWLY until you reach the starting
point. Next, fix your eyes on the starting point and
position your pencil on the sketchbook. As your eyes follow the
contour of the wire your pencil follows your eye movements
exactly. Put the date in your sketchbook.
- To identify the stamen and
pistol of a flower look at
PARTS OF A FLOWER website if you need to.
- Place the 1" square
viewfinder over the middle portion of the flower to zoom in on
the stamen and pistol. Your drawing will be 8 times larger so
carefully draw the contour lines of the flower enlarging the
shapes to fill the larger square. Keep in mind the center
point when looking through your viewfinder and mark a center dot
on your paper. This will help guide you to place your
contour lines in the right places. Also look at where your lines
come near the corners of your viewfinder and draw them in the
appropriate areas on your paper.
- You may outline your lines
and shapes with a thin permanent marker.
- Now use water colors to paint
the light values first, then the darker values. Use the water to
blend both colors together.
Differentiation
Support:
Extension: To learn more about watercolor techniques
visit
Watercolor Painting and Projects Website.
Lesson 5: Georgia O'Keefe Watercolor
Nature 4: Stem
Duration: 1 class period
Standard 1:
Recognizes and uses the visual arts as a form of communication.
Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate use of tools and materials. Demonstrates instructed techniques and processes.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Enduring Understanding:
Specific techniques are used to
create different looks in art.
Essential Questions: What
techniques can be used to create different looks in art?
Assessment:
Art
Rubric
Materials Needed: pencil, sketchbook, blinder card and bent wire for
the drawing ritual,
8"x8"
painting paper, watercolors,
viewfinder (a note card with a 1"x1" box cut out from the center),
potted plants with flowers, four 9"x9" black paper for mounting the
four watercolors,
approx.18"x22" colored construction paper or poster board for the
final mount
Vocabulary: Value,
contrast, negative space
Activities
- Begin with a Drawing Ritual in
your sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute warm up in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card). The card will keep you from
looking down on your paper. You may look down only to
reposition your pencil when you begin a new line.
- Use your viewfinder to find
an interesting composition of the stem
using the same process you used in the first lesson. Is it
interesting to look at? Can you see some negative shapes? Your drawing will be 8 times larger so
carefully draw the contour lines of the stem enlarging the
shapes to fill the larger square. Keep in mind the center
point when looking through your viewfinder and mark a center dot
on your paper. This will help guide you to place your
contour lines in the right places. Also look at where your lines
come near the corners of your viewfinder and draw them in the
appropriate areas on your paper.
- Finish this watercolor as in lesson
#1. SQUINT at the stem to find the darkest and lightest values.
- Now to put your paintings
together- Mount the four watercolor paintings on top of the
larger black paper OR choose one color mat that compliments each
water color painting and mount them separately on each colored
mat. Then arrange all 4 of your
watercolor paintings that are matted in the way that looks best to you and mount
them on a large sheet 18'x22' of black poster board. Write you name on the lower right corner of
your masterpiece.
- You've worked hard, but it
was worth it! Next time you will be
exploring the paintings of Georgia O'Keefe and you will see some
similarities between her work and your own!
Differentiation
Support:
Extension: To learn more about watercolor techniques
visit
Watercolor Painting and Projects Website.
Lesson 6: Georgia O'Keefe Research
Duration: 1 class period
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Activities
-
Background Research:
Read Getting to Know the World’s Great Artists: Georgia
O’Keeffe. Look at the attachment of some of her most famous
works.
Where did Georgia grow up? Do you think her environment had
anything to do with her love for nature? Why or why not?
Why was it difficult during her early years to get into art
college and later, to become recognized as a painter? What was
her first painting of, where she won first prize in an art
contest?
After she graduated from college, what did she do in Texas?
What was the name of the gallery owner in New York, who invited
O’Keeffe to visit?
Why did Georgia paint her flowers so large when she was in New
York?
Georgia married and lived in New York, however, she was not
completely content there. Where did she long to visit?
If you could visit anywhere in the United States like Georgia
O’Keeffe, where would you go?
When she got to the desert, she bought a ranch. What was the
name of the ranch? What did she paint there? Looking at her
artwork, how does she use emphasis to draw attention to her
objects?
Look at her skull paintings in the attachment provided. What
does she paint with her skulls? Is this unusual to combine
these two objects in a painting? Why or why not?
- Look at the examples of
watercolor art from
Georgia O'Keefe.
Notice how she chose a very small part of a plant and made it
the subject for the entire painting almost as if she was looking
through a microscope or magnifying glass. Notice how she used
the power of watercolor to fade from deep, rich colors to very
light and pale washes of color.
- OPTIONAL: Choose one
of O'Keefe's paintings that is most similar to yours and print
the image if possible. On draft paper describe her "close-view"
painting-one or two sentences is fine. Then compare her painting
to yours. How are they similar? Is the subject the same? Did
both of you use any similar colors? Did you both zoom in on your
subject? Write you final copy on your writing paper and glue
both the print and your writing on construction paper.
- Now you are ready to show the
world your beautiful watercolors!. Hang this outside the art
room so all can see and enjoy! Display your four paintings
alongside your writing outside the art room for everyone to see
and admire. You did an OUTSTANDING job!
Differentiation
Support:
Extension:
Lesson 7: Georgia O'Keefe-Nature
Still-Life
Duration: 2 class periods
Enduring Understanding:
Essential Questions:
Assessment:
Students should demonstrate an understanding of the life and works
of Georgia O’Keeffe by being able to recall at least 6 things about
her life and paintings.
Students should be able to discuss the difficulty O’Keeffe had with
gaining popularity as an artist during this particular time period,
and should demonstrate an understanding of why her fame is important
in the history of art and American art.
Students should be able to discuss emphasis and focal point in the
works of O’Keeffe, and should be able to discuss her main subjects
in her paintings and how the subjects changed with her surroundings.
Students should be able to demonstrate a basic understanding of oil
pastel blending, pattern, and resist in creating a skull painting
after the skull series of Georgia O’Keeffe.
Materials: pencil, sketchbook, blinder card and found object for the
drawing ritual, Still-life display of skulls and flowers on a
southwestern blanket (if possible), pencil, oil pastels, thin
tempera paint or watercolors, water container, brushes, newspaper,
paper towels
Vocabulary: value, depth
Activities
-
An artist in
training ideally should first learn to see and draw edges using
line, then progress to drawing spaces and shapes in
proportion..."
~Betty Edwards
-
Begin with a Drawing Ritual in
your sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute warm up in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card). The card will keep you from
looking down on your paper. You may look down only to
reposition your pencil when you begin a new line.
-
Look at the still life display of a skull and flowers in your
art room. First, drawing very large, and filling your entire
paper, try to sketch as lightly and accurately as possible, the
contour line of the skull. Your drawing can go off the edges of
your paper, but try to get the proportion of the skull so that
most of it is visible. If your skull is too small, it will be
difficult to use the blunt oil pastels for blending, so try to
make it large.
-
Next, add the inner details, the cracks and crevasses of the
skull, including the eye sockets and texture on the horns.
-
Now, choose a pattern of your choice and add a blanket behind
the skull, creating folds and interesting curves to the
blanket. For the patterns of the blanket, you may want to
draw inspiration from Mexican-style serape blankets or New
Mexican Navajo rugs, you may look these up on the following
website:
Mexican-Style
Blankets and Rugs
Fill the inner part with pattern.
-
Finally, draw your
flower next to your skull.
-
When your drawing is finished, begin the oil pastel portion of
your project. Start with the horns. In order to demonstrate
the blending technique correctly, you must have two colors to
blend together. Start by coloring the horns and the entire
skull white. Remember to stay within the lines of your drawing,
because when you paint over the background, any oil pastel lines
will resist the watercolor. By coloring your whole skull first
with white, this will allow a base layer onto which you will
blend the shadows and grey values of the skull.
-
Next, look closely at the grey values and the values within the
holes of the skull. Where are the darkest values? Where are
the lightest? If you SQUINT at the still-life the darkest
and lightest values will pop out. On the underside of the horns of the skull,
gently draw a black line, and blend it with your finger in the
shape of the horn. This will add a shadow under the horns and
give them the illusion of three-dimensionality.
-
Now, add a light black line on the underside of the skull where
it is sitting on the blanket, as well as black inside the eye
sockets and inside the opening of the mouth or septum of the cow
skull. Blend gently with your finger. This will create the
illusion of depth inside the skull making it look hollow. Do not
outline your entire skull, as this will make it look flat and
will lose three-dimensionality.
-
Finally, trace your blanket and pattern with the oil pastel
colors of your choice and color the flower. You do not need to
blend these colors, you may keep them bright and solid. Bright
colors will look more impressive and give an overall more
dynamic affect.
-
Now that your drawing and blending is complete, you may paint
the background and remaining white parts of the blanket. Choose
a darker color for the background, like black or blue, as a dark
color will cause your skull to “pop”, or to show up more
prominently. Paint the remaining white of the blanket any
bright color you choose.
-
You have now created an “O’keeffe-Style” skull painting that
should be both stunning and colorful! Congratulations! You may
mount this onto brightly colored paper, and don’t forget to sign
your work somewhere in the corner.
Differentiation
Support:
Browse through the on-line gallery in the Georgia O’Keeffe Museum in
Taos, New Mexico to see an amazing collection from this famous
artist.
Extension:
Pick a flower, look at a silk flower, or even try to copy one of
Georgia O’Keeffe’s own paintings! Draw your flower large like
O’Keeffe, trying to touch all four sides of your paper with the
petals. Using Black marker, trace your lines, and then use chalk
pastels instead of oil pastels to blend and create a colorful
O’Keeffe-style flower. Blend from the middle to the outside of the
flower, taking care no to blend over your drawn lines. Also, use
more than one color and/or highlight the inside and outer edges of
your flower with white pastel or yellow. Choose a complimentary
color to fill in the background of your flower.
Lesson 8: Painting Exploration- A
Color Theory Lesson
Duration: 1 class period
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment: Students should complete a fairly
successful triangular color wheel, students should have the ability
to make three secondary colors from the primary colors, can look at
a color wheel and point out the complimentary colors
Materials: pencil, sketchbook, blinder card and found object for the
drawing ritual, Egg carton with tempera primary colors, mixing tray,
brushes, water container, paper towels, newspaper to cover the desk,
18"x24" newsprint or white paper, assorted music to listen to while
painting, print out of triangular color wheel (1 per student),
circular color wheel to show after students have completed their
triangular color wheel
Vocabulary: Primary, Secondary, Complimentary Colors (these
concepts will continually be reinforced all year-they do not have to
be mastered at this point)
Activities
- Begin with a Drawing Ritual in
your sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute warm up in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card). The card will keep you from
looking down on your paper. You may look down only to
reposition your pencil when you begin a new line.
- Try this
Triangular Color Wheel Lesson. It's
color mixing theory at it's most basic, an easier-to-understand
version than the traditional color wheel.
PRINT the Triangle
out and trace it onto a
sheet of watercolor paper or, if your printer has waterproof ink
in it, print the color mixing triangle directly onto a sheet of
watercolor paper.
- When you are finished your
color triangle, compare it to a color wheel. How are they
the same? And different? Are the PRIMARY and
SECONDARY colors in the same order in the triangle as in the
wheel?
- Experiment onto another sheet
of painting paper. Look at the triangular color wheel you
have completed. Make your secondary colors again by mixing two
primary colors again. Now use this secondary any way you'd
like on you paper. Make you two other secondary colors
from your primaries and use them however you wish. Use short
strokes, long strokes, dots, wavy and straight lines.. Try to
follow the music...do your strokes or colors change when the
music changes?
- Pick a primary color. What is it's opposite
or COMPLIMENT? Look directly across the triangle to find
it's opposite. Is its opposite a primary or secondary
color? A secondary color! COMPLIMENTARY colors on the
color wheel will always be a primary and secondary color pair. What is the
COMPLIMENT of red?
Green. Red and green are called COMPLIMENTARY colors. Use your paints to experiment with your complimentary color
pairs. Follow the music...Place them next to each other, criss-cross
them, create patterns...have fun! What do you notice when
you place your complimentary pairs next to one another? They are
supposed to compliment each other in a powerful way and can
vibrate the eye if you stare at them together! Many modern
artists like to use bold complimentary colors in their
paintings.
- Are there any empty areas?
Use line, shape and patterns to finish your color experiment.
- Put your name on the lower
right corner of your picture.
Differentiation
Support: To review colors explore this fun Color
Interactive Tool.
Extension:
Lesson 9:
Painting – Shape, Color, and Pattern
in Plants (Part 1)
Duration: 1 class period
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment:
Art
Rubric
Materials Needed:
pencil, sketchbook, blinder card and found object for the drawing ritual,
Tempera paint, Mixing cans, Assortment of leaves and flowers, and
other things collected from outdoors like pods, twigs, weeds... Botanical prints,
Brushes, 12x18 or 18 x 24 white or colored paper, and Newspaper (for
desk protection)
Vocabulary:
Primary, Secondary, Complimentary Colors (these concepts will
continually be reinforced all year-they do not have to be mastered
at this point),
balance, movement, composition
Activities
-
Begin with a
Drawing Ritual in
your sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute warm up in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card). The card will keep you from
looking down on your paper. You may look down only to
reposition your pencil when you begin a new line.
-
Analyze the
art in the
Botanical Prints and
Nature Prints.
This lesson suggests using the subject, leaves, as an
idea for painting. Students should consider the following:
Look closely at leaves noting size and shape differences and
vein patterns.
Notice repeating painted shapes with variation (big, little,
fat, etc..).
Notice the repeating color around the paper space (Student will
then begin to see how repeated use of color on the paper leads
his/her eyes around the whole paper.)
Look for overlapping leaf shapes (one shape peeking out from
behind another shapes).
Observe the use of total paper space.
Remember the importance of a background color that will accent
the shapes.
-
Go
outside if you can to collect some botanical things to use in
your painting. Find things that are different in shape, size and
texture if possible..
Tip: When students can collect their own items to use in
art, their work becomes more personal and meaningful to them.
-
Use your pencil to fill the paper with assorted
things that were collected outside, some larger,
medium and some small in size.
Some shapes can touch each other and overlap each
other, some shapes can touch the edges and even come off of the
paper. Some shapes can be repeated. Use contour lines only.
-
Some thin shapes like twigs and leaves that come
to a point will lead your eyes in a certain direction and off
the page. You need to balance your picture with shapes
that lead your eyes back into the center or around your picture.
Be creative!
-
When flowers shapes are complete look over your
COMPOSITION. Do you need to add anything else to balance the
picture? Do your shapes lead your eyes around the picture?
-
Outline the shapes using colored or black
permanent markers. You will be using tempera paint on top
so tiny details will be covered. You may put in your details
back with marker later.
-
Write your name on the lower right corner of your
paper.
You will finish this lesson in the next art
class.
Differentiation
Extension:
Bring in fresh flowers or colorful photos of flowers.
Discuss shape, color, radial patterns, variety and repetition.
Lesson 10:
Painting – Shape, Color, and Pattern
in Plants (Part 2)
Duration: 1 class period
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment:
Art
Rubric
Materials: pencil, sketchbook, blinder card and found object for the
drawing ritual, drawings from last class, tempera paint in
egg carton, mixing tray, assorted brushes, water container,
newspaper to cover the desk, paper towels
Vocabulary: primary and secondary colors,
complimentary colors, value, tint and shade introduction, positive
and negative shapes, values
Activities
-
Begin with a Drawing Ritual in
your sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute warm up in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card). The card will keep you from
looking down on your paper. You may look down only to
reposition your pencil when you begin a new line.
-
Finish outlining your shapes with your permanent
markers if you have not done so.
-
Go ahead and fill in your negative space or
background area with shapes using your pencil. You can repeat
leaf or other nature shapes, think about lines and create
patterns and be as imaginative as possible!
-
You have painted your four views of your plant realistically.
You have created and blended your light and dark VALUES like
Georgia O'Keefe. This painting will be different.
You will still paint details in your shapes and paint values but
this painting does not have to be realistic. You are free to use
imaginative colors!
-
Let's go over the color wheel. Who can name the three primary
colors? Secondary colors? (Discuss the difference and how
the colors are made.)
Discuss with the students color opposites or compliments and
challenge them to put compliments next to each other when
painting.
-
Have a small amount of the primary and secondary
colors, and black or white in an egg carton or mixing tray (If
you are using a tray, use another tray for color mixing). Place
newspaper under your drawing and have your water container,
paper towel and assorted brushes near you. When you need to
rinse a color off the brush, first wipe the brush with a paper
towel. Then rinse the brush in water and dry it with a
paper towel. Now you are ready to change colors. This
keeps your rinse water as clean as possible. Also, try to keep
your tempera colors in your egg carton as clean as possible. DO
NOT dip dirty brushes in pure tempera color. Experiment with
color mixing, not mixing more than two colors at one time
(unless your are adding white or black in addition).
-
Begin to paint your nature shapes. Again you can
be imaginative with your colors! Use a small brush for small
areas. Try to stay inside the lines so the shape is recognizable
and intact.
You may darken the value by adding black to the color (called a
SHADE), or lighten the value by adding white (called a TINT).
DO NOT add black and white at this point. Add details to your
shapes like texture or lines to form veins or anything else. Do not linger too
long on one shape but move from shape to shape. Don't
worry too much!
-
When you are finished your nature shapes work on
your background. Do you want your background to be dark so
your positive shapes stand out? Do you want all the shapes to be
bold and bright so the foreground shapes mix with the background
patterns and shapes? Do you want to paint opposite or
complimentary colors behind your nature shapes?
All your paper space should be covered and be as
neat as possible.
-
For the teacher: As the students are
painting ask questions like: Who is painting compliments
next to each other? What are they and what is happening?
Did anyone else use compliments? Name your complimentary colors
that you used... Who has used all three primary
colors?...Secondary colors? Who made a SHADE? How did you
do this? Who made a TINT? How?
This reinforces old and new color theory concepts.
-
Put your painting away to dry. You will tidy this
up in the next art class.
Differentiation
Support:
Extension:
Lesson 11:
Painting – Shape, Color, and Pattern
in Plants- The Critique
(Part 3)
Duration: 1 class period
Standards-Based
Assessments
Standard 1:. Recognizes and uses the visual arts as
a form of communication. Selects visual images for works of art to communicate ideas.
Standard 2: Knows and applies elements of art and principles of design. Identifies primary colors.
Standard 3: Knows
and applies the use of tools, materials, techniques, and processes. Demonstrates appropriate used of tools and materials. Demonstrates instructed techniques and processes.
Standard 4: Demonstrates
an understanding of art in relation to history, culture, and community. Produces art that has
been influenced by aspects of history. Produces art that has been influenced by
aspects of culture. Produces art that has been influenced by aspects of
community.
Standard 5: Critiques
works of art through analysis, assessment, and evaluation. Describes/shows similarities and differences between works of art. Describes the mood and/or feeling in works of art. Explains personal likes and dislikes about works of art.
Assessment:
Art
Rubric
Materials: pencil, sketchbook, blinder card and found object for the
drawing ritual, art from last class, markers, black construction
paper to mount finished artwork, glue, color wheel
Vocabulary: primary
and secondary colors, complimentary colors, value, tint and
shade introduction
Activities
-
Begin with a Drawing Ritual in
your sketchbook- Look at this site for Rituals
to Start an Art Class. This is a five minute warm up in your
sketchbook.
Use a blinder card (place the pencil through a hole in the
center of a 8 x 8 inch card). The card will keep you from
looking down on your paper. You may look down only to
reposition your pencil when you begin a new line.
-
Tidy up your edges with markers and add some
detail that was lost.
- Mount this painting on black paper and be
sure your name is on the lower right corner.
- Use the rest of the class for a class
critique of all the paintings. This is a GREAT time to review
color theory that has been learned, like primary and secondary
colors, complimentary colors, tints and shades...and anything
else. The students can pick out things they enjoy OR talk
about facts about the paintings. They should only be positive
and encouraging. Negative and critical comments should not be
tolerated. Here are some questions to guide the student
discussions...How do the shapes move our eyes in this painting?
Are the colors realistic or not? Here is a color that has
a VALUE change. Tommy added black to darken the value of his
blue. Do you see it? He has also made a WHAT when he added
black the blue? That's right- a SHADE! Good observation,
Sue! Can you show the class where the TINT in John's
painting is? I see two complimentary colors here...Look at
these complimentary color PATTERNS! This really makes me
dizzy!...I see a TINT in this painting. Who can find it?
- Display the Nature Paintings outside the art room for all to
see and enjoy! Great job, everyone!
Differentiation
Support:
Extension:
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