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DRAWING&

PAINTING3 & 4

Written by:

Joan Gonzalez

Marissa Graña

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IntroductionDrawing & Painting

Explore the traditions of drawing and painting, while taking bold new risks as an artist. The Drawing and Painting curriculum celebrates the power of the mark of the human hand, with traditional methods and craft, while also embracing an innovative and expanded definition of the discipline. The student will be challenged to work both on and off canvas, to push into the experimental, and to redefine the rules of art itself. The curriculum of the Drawing and Painting program ensures a comprehensive exposure to an array of approaches to media, content, imagery and review. Students will be encouraged to explore the continuing traditions of drawing and painting as well working in pursuit of new forms and contemporary issues. Students will be highly encouraged to move between media within the discipline.

The intention of the Drawing and Painting program would be to inspire students to:

Stimulate artistic sensitivity, creative power and self-confidence Strengthen intellectual ability as it is applied to the creation of art solutions to drawing

and painting challenges Acquire technical and media skills needed for drawing and painting

The Drawing and Painting course would provide an exploration of:

Composition, the art elements, the principles of design, and the techniques and concepts of both drawing and painting

Skills, techniques and understandings that utilize the characteristics and expressive features of art and design to communicate meaning

Conceptual problem solving Recognizing, demonstrating, and debating philosophic arguments about the nature of art,

beauty and aesthetics Artistic self confidence Development of drawings and paintings in a variety of media

Suggested level: 11, 12 Grade

Suggested prerequisite: Drawing and Painting 1&2

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Table of Contents

Introduction – Drawing and Painting 1

1. Line Unit Overview 3a. Line: Weight-Contour Drawings – Lesson 1 5b. Line: Gesture – “Quick” Contour Drawings – Lesson 2 7

2. Drawing from Observation Unit Overview 9a. Drawing from Observation: Recognizing Edges and Spaces – Lesson 1 11b. Drawing from Observation: Proportions, Perspective, Scale & Angles 13

– Lesson23. Figure Drawing Unit Overview 15

a. Figure Drawing: Gesture – Lesson 1 17b. Figure Drawing: Subtractive and Additive – Lesson 2 19

4. Mixed Media Unit Overview 21a. Mixed Media: - Lesson 1 23b. Mixed Media: - Lesson 2 25

5. High Key/Low Key Unit Overview 27a. High Key/Low Key: Key Schemes – Lesson 1 29b. High Key/Low Key: Simplification and Abstraction – Lesson2 31

6. Canvas Preparation Unit Overview 33a. Canvas Preparation: Stretching Canvas – Lesson 1 35b. Canvas Preparation: Priming Canvas – Lesson 2 37

7. Painting from Observation Unit Overview 39a. Painting from Observation: Thumbnail Sketches – Lesson 1 41b. Painting from Observation: Tonal Value and Contrast – Lesson 2 43

8. Canvas Painting Unit Overview 45a. Canvas Painting: The Painter’s Set Up – Lesson 1 47b. Canvas Painting: Group Progress Critique – Lesson 49

9. Creative Portrait Unit Overview 51a. Creative Portrait: Assignment Introduction – Lesson 1 53b. Creative Portrait: Class Critique – Lesson 55

10.Thematic Series Unit Overview 57a. Thematic Series: Art History – Lesson 1 59b. Thematic Series: Brainstorming Ideas – Lesson2 61

Line2

Unit OverviewApproximate Time Frame: 1 Week

A line is the recorded movement of a dot on its journey from one place to another.

A line is a basic element of art, referring to a continuous mark, made on a surface, by a moving point. A line is long relative to its width. It can define a space, create an outline or pattern, imply movement or texture and allude to mass or volume.This unit will provide students with an opportunity to build on their understanding of line and create an original drawing that will lead the viewer on a journey through the drawing space. Students will be exposed to and critically analyze, a variety of master and contemporary artist examples to help inspire their work. A series of line exercises will expose the students to a variety of line techniques and encourage experimentation with mark making techniques and texture. Students will be encouraged to discuss, reflect, and analyze their work and the work of their peers through critique opportunities which may include, class, group or individual critiques.

Curricular Goals:Upon completion of this unit, students will be able to:

Define, analyze and identify the physical properties of line. Define, analyze and interpret the expressive properties of line. Demonstrate a sophisticated understanding of the spatial characteristics of line. Experiment with mark making and line which may include contour, cross-contour, and

gesture drawings. Complete a drawing that incorporates all of the above qualities of line into a personalized

approach. Apply art vocabulary in context.

Key Subject Competencies:By the end of this unit, students will be competent in:

1. Identifying the physical properties of line which may be short or long, thin or thick, straight or curved, direct or meandering, zigzag or serpentine, distinct or blurred.

2. Identifying the expressive qualities of line and how it can communicate emotion and states of mind through its character and direction.

3. Identify the spatial characteristics of line weight and direction and how artists have used it to create spatial order.

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4. Decision making and problem solving that involves how to interpret line and how to represent it in a work of art

5. Communicating ideas in a visual mode

General Study Skills:By the end of this unit, students will have reinforced the following skills:

Critical thinking skills Listening and communication skills Analytical assessment of line and its use Vocabulary recognition and application Time Management

Instructional Materials:

Teacher generated visuals/presentations Artist’s prints Computer and projector Pencils and erasers Drawing paper

Assessment:Students’ understanding will be checked formally and informally by use of the following:

Completion of student drawings Class preparation and demonstration of the ability to follow directions Participation in class discussions and question and answer opportunities Proper use of materials Fulfilling of objectives in classroom projects

Line: Weight - Contour DrawingsLesson 1

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Objectives: Students will develop contour drawings that describe an object and its position in space Students will acquire art vocabulary:

Line - a basic element of art, referring to a continuous mark, made on a surface, by a moving point. A line is long relative to its width. It can define a space, create an outline or pattern, imply movement or texture and allude to mass or volume.Contour – a linear means of defining formWeight – changes in value, thickness and characterMovement - a direction or a sequence of directionsEmphasis - center of interest; focusValue - the relationship between light and darkEdge - the place where one drawing area or form stops and the next one beginsLinear Character – results from the nature of the line itself and from the nature of the line’s contextual role in the drawing

Students will analyze how line can be expressive and create visual impact, statement and interest

Resources and Materials:Artist visualsLine examplesComputer and projectorVocabularySimple objects Easel with board and large paperPencils, vine charcoal, small brushesBlack water-soluble inkDrawing paper

Motivation: Gather the students around an easel and draw several lines with different media. Teacher

initiates the discussion…How are these lines different from each other?What might these lines indicate? (movement and direction, value, emphasis, symbolism, edge, energy and mood)

Facilitate a discussion about line in artist’s examples (suggestions):o Eve Aschheim – Title, Title 2006 Ink Gesso Graphiteo Egon Schiele – Self Portrait 1910 Pencilo Franz Kline – Study for Clockface 1951 Gouache

Procedure: Play Challenge #1 – the challenge in this exercise is to vary the weight of the line

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o Create a series of parallel lines, equidistant from one another with a single drawing medium of choice. Generate the first line with medium pressure.

o Now create an adjacent line to the right that is a bit darker.o Then, to the right, follow with another darker/heavier line.o Finally, add a line that is as heavy/thick as you can make it.o Then, begin the reverse sequence. Continuing on, make the next line a touch

lighter/thinner, the next another step lighter/thinner. Continue until the line is as light/thin as you possibly can make it, while still rendering it visible.

o Repeat with a different medium. Play Challenge #2 – the challenge in this exercise is to change the expressive quality of

the line by altering its weight as it moves through space.o Draw a series of lines running parallel to each other at regular intervals with a

drawing tool of choice.o Vary the line’s width/weight in the same way so that they mimic one another. A

visible rhythmic feeling of coming in and out, forward and back should be evident. After the challenges, demonstrate how to draw a simple object in space using only

line. Emphasize concave and convex turns, edge treatment and the description of object weight.

Direct the students to focus on the simple objects on their tables. Direct them to do a contour line drawing with the purpose of creating a descriptive drawing of the object using only the element of line, concentrating on line weight.

Teacher circulates the room providing assistance and redirection as needed.

Closure:Students will pin up their drawings for a brief review of the concepts learned.

Where is their visible weight in the object? How is it created?Did the artist create a sense of form? How was line used to do this?Was line weight used to create an emphasis?What point of view did the artist choose?

Line: Gesture – “Quick” Contour Drawings6

Lesson 2

Objectives: Students will develop gesture drawings that describe an object/model and its position in

space Students will acquire/review art vocabulary:

“Quick” Contour – the same as a contour drawing but with a more rapid execution.Gesture - A gesture drawing is the representation of the essence of an object’s or figure’s position. It is the act of creating a drawing or sketch with a loose grip and movement of the drawing tool used. Gesture drawings are often very expressive and allow one the freedom to loosen up and not worry about small details.Line Gesture - Line gesture in drawing refers to a type of drawing that is made up of the interior of forms made from line. Line Weight Movement Emphasis Value Edge Linear Character

Students will analyze how line can be expressive and capture the essence of the stance, movement, and distribution of weight.

Resources and Materials:Artist visualsGesture examplesComputer and projectorVocabularySimple objects/model Easel with board and large paperPencils, vine charcoal, small brushesBlack water-soluble ink18”x24” white drawing paper on drawing boardsEasels

Motivation:Facilitate a discussion about line gestures in artist’s examples (suggested artists):

o Leonardo da Vincio Raphaelo Peter Paul Rubenso Albrecht Durero Andrew Wyeth

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Using a student model, demonstrate how to use “quick” contours to study the articulation of the figure in space. Quickly record the pose or gesture in its entirety in a matter of seconds. Discuss how there are no mistakes, only tracks of where you have been to get where you are. Refer to Raphael’s Madonna Reading in a Landscape, 1513.

Procedure: The students will produce a series of quick contours from student model volunteers.

Direct the students to pick the most important or most “readable” lines and put them down quickly and with authority. If they don’t like a line, simply re-draw it very quickly. No erasing.

Time permitting: Instruct the model to stay in constant motion. The students will produce a drawing that is their own personal way of translating motion into contour drawing.

Teacher circulates throughout the room providing assistance and redirection as needed.

Closure:Teacher will choose a few student drawings and display them on easels for a brief review of the concepts learned.

How do you judge the success of these drawings? Did the artist create a sense of form? Movement? Where is the weight of the figure? What challenges did you face along the way?

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Drawing from ObservationUnit Overview

Approximate Time Frame: 2 Weeks

Artists and designers use drawing from observation to develop skills in recording, to extend personal visual language and as a way of exploring subject matter and ideas. Drawing from observation can be used as a vehicle for enquiry and investigation, and can encourage fluid and tactile thinking. Artists such as David Hockney and Henri Matisse have used drawing from observation as an integral way of working and developing their personal visual language. This unit will provide students with an opportunity to acquire the ability to switch from left-brain or "L-Mode" functions like language, counting, logic, and the ability to abstract, etc., to right-brain, "R-mode" or Artist's Mode skills - these are the nonverbal, intuitive, spatially oriented, gestalt-like, “in-the-moment" skills. Students will have opportunities to develop drawing skills related directly to observational work. These will include different techniques for developing compositions, attaining accuracy, exploring personal ideas and training the eye. Emphasis will be placed on composition, object relationships, foreground/background relationships, value, point of view, focal point and technique. Students will be encouraged to discuss, reflect, and analyze their work and the work of their peers through critique opportunities which may include, class, group or individual critiques and written commentary or reflection


Demonstrate an understanding of composition utilizing the principles of design: balance, rhythm, movement, emphasis and unity

Experiment with spatial relationships, object relationships and /or narratives involving inanimate objects

Demonstrate an understanding of the skills of drawing including: identifying edges, recognizing spaces, calculating proportions and angles, judging light from shadow

Use tools such as pencils, graphite, erasers, charcoal, stumps, conte, oil pastel and ink. Complete a drawing that shows an understanding of form, light and space. Apply art vocabulary in context


1. Observational techniques such as: measuring, mapping, sight lines, constructing, comparing sizes, proportion, vanishing points, perspective, viewfinders

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2. Drawing techniques: line, tone, shading, blending, stippling, mark-making; composition, construction lines, center lines, tonal graduation, sketches, preliminary studies

3. Generating a finished work that represents a personal interpretation based on observational drawing

4. Evaluating, analyzing, reviewing, and critiquing one’s own work and the work of others based on formal elements (form, texture, space…), techniques, solutions, successes, difficulties


Critical thinking skills Listening and communication skills Analytical assessment of drawing skills Art vocabulary recognition and application Time Management


Teacher generated visuals/presentations Presentation Equipment: projector, computer, Elmo Artist’s prints/students examples Still life set ups Thumbnail examples Thumbnail paper and pencils Media: pencils, erasers, conte, charcoal, stumps, oil pastels, ink Paper: white drawing, tonal charcoal, Bristol board


Completion of student drawing using observational and drawing techniques and media Class preparation and demonstration of the ability to follow directions Participation in class discussions and question and answer opportunities Proper use of materials Fulfilling of objectives in classroom projects

Drawing from Observation: 10

Recognizing Edges/SpacesLesson 1

The drawing basics - the keys to opening your artistic brain- have little to do with drawing and everything

to do with learning to observe.

Objective: Students will develop the ability to decipher edges and non-object shapes or “spaces”. Students will acquire art vocabulary:

Edge- a place where two or more shapes or forms meet. This connection may occur where a line or tonal change occurs.

Space - The element of art that refers to the emptiness or area around or within objects. Positive space refers to the part of the artwork that takes up space. Negative space is the area around that object.

Students will complete an activity that will help them identify edges and spaces.

Resources and Materials:Artist visualsElmo or projector (if required)VocabularyEasel with board and large paperChairs or other objects with negative spacesPencilsSketching paper

Motivation: Seat the students together and discuss the basic skills of drawing:

1. identify edges2. recognize spaces3. calculate proportions and angles4. judge light from shadow5. the skill of "pulling it all together"

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Project an image of a landscape (or other image) that has clear edges. Visually walk the students through the scene describing all the edges that one comes in contact with. For example, “Focus on the "line", that is, the edge made by sky meeting ocean (also known as the horizon). They don't really touch, but you can say "at this point, the sky stops and the ocean begins". Now that's an edge.”

Have the students give examples and describe scenes within the classroom.

Procedure: After discussing edges, call the student’s attention to a chair placed high on a table.

Describe seeing the "Hole in the donut", or recognizing spaces. Demonstrate on the easel how to close one eye and draw those empty spaces - and just

those empty spaces. Describe how you're no longer looking at the chair per se. When you finish, the chair is drawn, but in reverse.

Direct the students to generate a negative space drawing of an object placed on one of the tables in the room. Emphasize careful observation of space and edge. Drawings should not be rushed.


Closure:Have the students pin up their drawings on the wall. Review all vocabulary learned by having the students describe the challenges they faced while completing the drawing. Discuss how by doing the unusual, putting your attention on what was not there, appreciating those non-chair spaces like they were as real as the chair itself, you actually tricked your brain. You went against the normal tendency to look at only what was there and ended up drawing a chair, and drawing it accurately. This is called recognizing negative space.

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Drawing from Observation: Proportions, Perspective, Scale & AnglesLesson 2Objective:

Students will develop the ability to use something convenient, constant and relatable to use while measuring an object’s dimension

Students will acquire art vocabulary:Sighting- refers to the measurement of figures/objects in a visual way between other figures/objects in the composition. Scale - refers to the size of an object (a whole) in relationship to another object (another whole).Proportion - refers to the relative size of parts of a whole (elements within an object).Perspective - is an art technique for creating an illusion of three-dimensions (depth and space) on a two-dimensional (flat) surface.

Students will acquire the skills to use a viewfinder. Students will complete an activity that will help them identify and recreate correct

proportions, perspective, scale and angles in a drawing.

Resources and Materials:Artist visualsElmo or projector (if required)VocabularyEasel with board and large paperViewfindersSimple still life set upsPencils/erasersSketching paper cut to viewfinder proportions

Motivation:Seat the students together around an easel and several objects. Facilitate a discussion about whether the students have ever seen an artist with his arm fully extended, sighting down an object like a hunter would aim down a rifle barrel. He's not admiring his thumb, he's asking this question: "how big is this part of the picture compared to my thumb or this pencil?" Once he's got a feel for "how many thumbs away one thing is from another,” he can accurately reconstruct what he's sees in the real world in front of him on to his drawing board and paper in those terms. Let's walk through an example.

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Procedure: Impart the two things you need to remember when sighting: you can use any kind of

measuring aid to size up your subject, but to keep your measurements consistent; your measuring tool must be consistent.

Demonstrate on the easel how to look through the viewfinder, close one eye, keep the measuring tool at “arm’s length” and draw the relationships of one object to another. Emphasize that the measuring device must always be the same distance from your eye.

Demonstrate how to “sight” angles and relate them to the formatted paper using the vertical and horizontal edges to guide the mapping of the angle.

Discuss how to locate key intersecting points, use center lines, and find large shapes and angles within the view.

After the demonstration, direct the students to find a set up within the room and practice using the viewfinder to create a drawing with accurate proportions, perspective, scale and angles.


Closure:Students are asked to summarize the day’s lesson by recalling key points of the demonstration and activity:

What tools could you use in creating a drawing from observation? Describe how you would use them.

Why is it important to have your paper formatted to the size of the viewfinder? What is an important rule to remember when sighting? Why??

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Figure DrawingUnit Overview

Approximate Time Frame: 2-3 Weeks

This unit will provide students with an opportunity interpret the human figure using a variety of different drawing styles and materials. Students will learn the basics of human anatomy and proportion by studying artist examples and models. A variety of approaches to the figure will be covered including gesture, line drawing, and rendered studies that show the form of the figure. Suggested materials include ink, sharpie, conté, charcoal, watercolor, and paint. Students will have the opportunity to hone their observational skills and learn and develop a more confident approach to drawing through timed studies of live models. Students will be exposed to and critically analyze, a variety of master and contemporary artist examples to help inspire their work. Students will be encouraged to apply their knowledge of composition to design the figure(s) on the page as models assume a variety of positions including seated, standing, and reclining poses that will emphasize the effects of foreshortening. Students will be encouraged to discuss and analyze their work and the work of their peers through critique opportunities which may include, class, group or individual critiques and written commentary or reflection. At the end of this unit students will have a collection of figure drawings demonstrating a range of techniques and materials.


Use a variety of tools and materials in the creation of original figure studies and drawings.


Experiment with materials and techniques. Complete a portfolio of figure drawings that explore various approaches and mediums. Apply art vocabulary in context


1. Decision making and problem solving to design a figure in a space.2. Using tools and media specific to the project in a safe and appropriate manner3. Communicating and working collaboratively with peers

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Critical thinking skills Listening and communication skills Vocabulary recognition and application Time Management


Teacher generated visuals Artist example images Various art materials. Suggested materials may include: ink, charcoal, sharpie, conté,

paint, and mixed media.


Completion of a portfolio of figure studies and drawings. Class preparation and demonstration of the ability to follow directions Participation in class discussions, critiques, and question and answer opportunities Proper use of materials Fulfilling of objectives in classroom projects

Figure Drawing: Gesture Drawing16

Lesson 1

Objectives: Students will acquire art vocabulary:

Gesture- is the representation of the essence of an object’s or figure’s position, a loose drawing that quickly captures the pose or movement of the figure.

Students will visualize the form of the figure in space and translate the pose into a gestural drawing.

Students will learn the importance of observation in this exercise. Students will gain an understanding of the purpose of a gesture study as a drawing

exercise, warm-up, and preparatory study for a final artwork. Use line and mark to capture the pose of a figure.

Resources and Materials:

Teacher generated visualsArtist printsNewsprintCompressed charcoal/ vine charcoal/ contéModelDrawing horses/easelsDrawing boardsBull dog clips/tacks

Motivation: Teacher introduces the concept of a gesture and initiates a discussion.

o How can you capture the pose of the figure if you only had a few seconds to draw? What would be essential to include?

o Why do you think gesture drawing is such a common artist practice? o What do you think are the benefits and uses of this style of drawing?

Procedure: Teacher demonstrates the activity.

o Teacher selects a model and instructs model to take a natural pose, resting or active.

o Teacher demonstrates how to use materials to quickly capture the line of the body and establish how the figures weight is balanced in their pose. The importance of looking is stressed. It is key to look at the model while drawing (not the paper!) and to keep your arm moving.

o Drawing is displayed to the class and the essentials of the technique are briefly discussed. Are details included? Where were my eyes while I was drawing? Did my arm stop moving during the drawing time? How long did it take?

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o Basic proportions and anatomy of the figure are briefly reviewed but students are told to focus on the pose and weight of the figure.

Students gather needed supplies and return to their seats and label their papers with their names and the date. A model is selected and assumes a pose once the other students are set up.

Drawing activity begins and teacher circulates the room providing tips, re-iterating instructions on technique, and keeping students aware of time as they work while stressing the importance of using all the time allotted. Individual or small group review demos may be provided as needed.

Students will be asked to pause in their drawings to display them to the class to check progress and re-establish the goal of the activity – capturing the pose of the form. This gives an opportunity to correct problem areas and discuss issues that may arise such as proportion, anatomy, foreshortening, etc.

As students are able to capture more basic poses, the challenge level can be increased by instructing the model to assume more challenging poses that incorporate foreshortening and/or changing the length of time of the poses.

Closure:Review the concept of a gesture style drawing through a short class critique incorporating critical thinking questions.

Does this fit all the criteria of a gesture drawing? Explain.What is the figure doing in this pose?How is the weight of the figure balanced? How can you tell?How could this drawing be developed for a more finished drawing?

Figure Drawing:

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Establishing form using subtractive & additive charcoal methodsLesson 2

Objectives: Students will utilize their understanding of composition to design the figure on the page. Students will use their observation skills and knowledge of anatomy to capture the pose

of the figure. Students will create a rendered drawing showing the form of the figure using additive and

subtractive charcoal techniques.


Teacher generated visualsArtist printsWhite sulphite paper 12” x18”Compressed charcoal/ vine charcoal/ charcoal pencilsPaper towelsErasers (white &/or kneaded)Pen or pencil to label drawingsNewsprint cover sheets 12” x 18”Masking tape

Motivation: Ask students to assess and critique the figure drawings they have previously created in

terms or line, proportion, and form. Discuss the value of a more developed drawing showing form and analyze a fully

rendered figure drawing sample. o What is necessary to show form in a drawing? / How can you make a circle look

like a sphere? (rendering to show the categories of light & shadow)o Looking at this drawing, how do you think the highlights and light was created?o How were the core shadows added?

Procedure: Teacher demonstrates the activity.

o Students will need to prepare a surface –creating a light to medium gray tone by covering the white paper in charcoal dust that will be rubbed into the surface.

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o Teacher selects a model and demonstrates how to begin a drawing, starting by lightly blocking in the pose with vine charcoal. It is emphasized that this part should be treated as a gesture – a QUICK establishment of the basic pose. Students are reminded of the time constraints and the importance of making every second count. Students may choose to draw the whole figure or zoom in to create their composition – larger drawings can be easier to render.

o The drawing is continued by identifying the light source. (Where is the light coming from?) Then the light on the figure is established using the subtractive method to erase out the light areas. (How can we create lighter values in our drawing?)

o What values are now present in the drawing? What values need to be added to complete the sense of form? A full value range is established by the addition of darker shadows using charcoal.

o Drawing is completed by created transitions between the different values. You now have light, medium, and dark values. How can you create a smooth transition between them? Teacher demonstrates the use of a tortillion (blending stump) to blend areas of value, fully rendering the form.

Students gather needed supplies and return to their seats to prepare their drawing surface. A model is selected and assumes a comfortable pose while other students set up.

Drawing activity begins and teacher circulates the room providing tips, re-iterating instructions on technique, and keeping students aware of time as they work and stressing the importance of using all the time allotted. If time allows, students will be asked to pause in their drawings to display them to the class to check progress and re-establish the goal of the activity - achieving form!

Closure:Students are asked to summarize the day’s lesson in a quick critique. Drawings are displayed to the class…

By a show of hands, how many of you feel like you were able to establish a sense of form in your drawing today?

Identify an area where the form of the figure is clearly established. How were you able to transform your line into form?

Students are reminded that they can complete an unfinished drawing by having a friend resume the pose.

Mixed Media20

Unit OverviewApproximate Time Frame: 3-4 Weeks

Students have been acquiring skills and familiarity with a variety of different drawing and painting materials and techniques through their experiences in Studio in Art, Drawing and Painting 1, 2, and 3. During this unit students will have the opportunity to experiment with how to combine the traditional materials they are already accustomed to, as well as unconventional materials, to provide greater range of artistic expression. Students will be asked to choose a concept to help focus their design and development of a personal concept will be a key focus of the unit. Suggested subject matter may include but is not limited to: political, social, or personal event, narrative, or abstraction. Students will be asked to brainstorm a variety of ideas and create sketches to develop these ideas more fully before selecting the best concept to move forward with. Students will be exposed to and critically analyze, a variety of artist examples to help inspire their work. After guided experimentation students will be allowed to select the materials they feel will be best suited to execute their concept with the guidance of their teacher. Risk and exploration will be encouraged. Students will be encouraged to discuss, reflect, and analyze their work and the work of their peers through critique opportunities which may include, class, group or individual critiques and written commentary or reflection.


1. Experiment with different material and technique combinations and gain an understanding of compatible materials and successful mixed media processes and sequences.

2. Select and combine a variety of art materials to develop a unique process and end product.

3. Complete a mixed media artwork that shows a personalized concept or point of view with clarity

4. Begin to use art as a means of visual communication5. Demonstrate an understanding of a unifying idea, image, or motif, repeated or developed

throughout a work6. Discuss and recall thematic works of art from several modern and contemporary artists.7. Experiment with creative formatting and arrangement of work to be displayed. 8. Use medium specific to their work in a masterful way.9. Complete a series of work that reveals a cohesive theme.10.Apply art vocabulary in context


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5. Visual brainstorming techniques6. Evaluating, analyzing, reviewing, and critiquing works of art from the contemporary and

modern art eras in relation to a represented theme7. Generating a finished series of work that represents a personal interpretation of a theme8. Evaluating, analyzing, reviewing, and critiquing one’s own work and the work of others

based on formal elements (form, texture, space…), techniques, solutions, successes, difficulties


Critical thinking skills Listening and communication skills Analytical assessment of mixed media works Art vocabulary recognition and application Time Management


Teacher generated visuals/presentations Presentation Equipment: projector, computer, Elmo Artist’s prints/students examples Sketchbooks Media: pencils, erasers, conte, charcoal, oil pastels, ink, paint, etc.


Completion of student mixed media piece Class preparation and demonstration of the ability to follow directions Participation in class discussions and question and answer opportunities Proper use of materials Fulfilling of objectives in classroom projects

Mixed Media: Incorporating alternative materialsLesson 1

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Objectives: Students will recognize how non-traditional materials can be used in a work of art to

provide greater range of artistic expression Students will critically analyze mixed media work made by a variety of artists exploring

their use of unconventional materials. Students will utilize art vocabulary during discussion. Students will critically analyze their ideas and the ideas of their peers in order to provide

feedback to help each other improve and focus their ideas. Students will work collaboratively and improve interpersonal and communication skills


Artist and student sample worksEasels or tack board with paper & markers/ Elmo and projectorStudent sketchbooksPencils/pens, colored pencils

Motivation:Students at this point have gained experience using a variety of traditional drawing and painting materials and techniques. Students will be exposed to a variety of artist sample images that incorporate unconventional artist materials to expand their preconceptions about what materials can be used to create are. Students will view and analyze artist sample works as inspiration for beginning to create their artwork.

o What concept do you think the artist was trying to convey in this piece? What visual clues

o What materials stand out in this work?o How does this material help convey the artist’s intent?o Is there another material that could be substituted for the same effect?

Procedure: Have students brainstorm individually or in small groups lists of items that would be

interesting to incorporate into a mixed material piece. Have students volunteer to share some of their ideas with the class and compile a class

list. Discuss the practicality of suggested items and how they could be incorporated into a mixed media piece. Methods of attachment, durability, archival qualities will be considered.

Provide students time to use their sketchbooks to strategize using thumbnails and notations to plan how they could incorporate unconventional materials to enhance their concept.

Have students break into small groups to trade sketchbooks and present their ideas for using unconventional materials in their work. The group will help the presenter narrow

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down his/her choice by brainstorming ideas and providing material and compositional suggestions. Students may sketch as a means of communicating ideas. Teacher will circulate around the room and help facilitate student discussions and

development of ideas.

Closure:Ask for student volunteers to share with the class the progression of their ideas thus far. Shared information may be pinned up or projected using an Elmo and include:

Initial ideas Group input Thumbnail sketches Individual projected direction of work

Mixed Media: Creating a surfaceLesson 2

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Objectives: Students will recognize how color scheme and repetition can be used to create unity in

artwork. Students will critically analyze mixed media work made by a variety of artists exploring

their choices of materials and color scheme. Students will utilize art vocabulary during discussion. Students will create a surface for their mixed media piece.


Artist and student sample worksWatercolor paper 18”x24”Magazines, patterned papers, collage scrapsStudent collage materials GessoMatte mediumAcrylic paintBrushesWaxed Paper

Motivation:Students have selected a concept for their mixed media piece and have begun to prepare by creating thumbnails and gathering materials to incorporate. Students will view and analyze artist sample works as inspiration for beginning to create their artwork.

o What materials do you recognize in this piece?o What do you believe the concept of the piece? What visual clues bring you to this

conclusion?o How was unity created in the piece?o How do the colors used contribute to the mood of the piece?

Students will be guided to recognize how color schemes and repetition of elements can help bring unity to a mixed media piece.

Procedure: Demonstrate how to collect materials that can be collaged into the surface focusing on

color and texture. Students will need to keep their color scheme in mind when selecting materials and be discriminating about what they select.

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Demonstrate how collected materials can be collaged to form a surface that can serve as the background for their mixed media piece.

Discuss how elements can be emphasized or downplayed by how they are placed, juxtaposed, or painted over, etc. Encourage students to consider what materials they plan to use on their surface to prepare accordingly ex: a surface for a charcoal will need a tooth.

After the demonstration, direct the students to begin collecting needed materials to begin creating a surface for their work.

Teacher circulates the room providing assistance and redirection as needed. This will provide opportunities to help individual students focus on the direction their artwork will take.

o How does that element relate to your concept?o What color scheme are you considering? How will that help convey your idea?

Closure:Students are asked to summarize the day’s lesson by recalling key points of the demonstration and activity:

What techniques can you use to help create unity in your artwork? How does your chosen color scheme relate to your concept? What can you do to make sure this element is featured? Downplayed?

High Key/Low KeyUnit Overview

Approximate Time Frame: 1 Week26

In order to create drama and a strong value structure for a painting, artists often choose to work in either a high or low "key" in which to compose their work. Thinking about a painting or drawing in this way helps to simplify value choices, emphasize areas of focus, and create a pleasing interaction of shapes when the painting is considered abstractly. This unit will introduce the students to the overriding value, or key, of works of art. A review of the gray scale, and the determination of where high key or low key works would fall on that scale, will be examined through the careful analysis of artist’s prints. Students will be asked to choose one of several prints to affect their own key study. Students will be directed to create a non-objective design that will be influenced by the color palette and key of the original work.


Define, analyze and identify value, intensity and key Interpret the key within existing works of art Understand how mood is effected by the key of a work Design a non-objective, geometric drawing based on the key of a realistic painting Apply art vocabulary in context during discussions and critiques


1. Decision making and problem solving that involves how to interpret key and how to represent it in a work of art

2. Interpreting an existing work of art into a new non-objective design3. Generating drawings that are composed of geometric and/or bio-morphic shapes4. Communicating ideas in a visual mode


Critical thinking skills Listening and communication skills Analytical assessment of high and low color schemes Art vocabulary recognition and application Time Management


Teacher generated visuals/presentations

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Artist’s prints Value scale Oil pastels/colored pencils Drawing paper Student design examples


Completion of student drawing Class preparation and demonstration of the ability to follow direction Participation in individual/group presentation and critique Proper use of materials Fulfilling of objectives in classroom projects

High Key/Low Key: Identifying High Key/Low Key SchemesLesson 1

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Objectives: Students will explore high and low key schemes in works of art Students will acquire art vocabulary:

Value - the lightness or darkness of a color – where the color falls on a grayscaleHigh Key - colors that fall in the lighter half of the value rangeLow Key - colors that fall in the darker half of the value rangeIntensity - the brightness or strength of a color

Students will analyze how key can affect mood and emotion


Artist prints Monet’s cathedral (2 images)VocabularyLarge reference value scale Oil pastelsColor chartsColor swatch example in progressStudent design examples

Motivation: Seat the students around several artist prints and ask:

How are these prints different other than subject content?Does overall value affect your response to the work? What mood is conveyed?

Discuss the difference between high key and low key value schemes. Using Monet’s Rouen Cathedral Series, compare schemes to value scale.

Procedure: Move students to a demonstration area. After presenting past student work of colored

pencil or oil pastel, demonstrate how to break down an artist print into color value on a chart.

Students will then choose a high or low key artist print to analyze into areas of color value.

Students will begin by isolating and identifying the color values within the artist’s print, and replicating them in oil pastel on the color chart.

Students will clean up and return work/materials to the appropriate places.

Closure:Review all vocabulary learned by posing critical thinking questions relating to completed student charts such as:

What key is represented by this chart?

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Where on the value scale does the majority of these colors fall?What mood is conveyed by this color scheme?What imagery might work well using this key and set of colors?

High Key/Low Key: Simplification and Abstraction Lesson 2

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Objectives: Students will analyze an image through a process of simplification and abstraction Students will acquire art vocabulary:

Abstraction- refers to art unconcerned with the literal depiction of things from the visible worldGeometric abstraction - a form of abstract art based on the use of geometric forms often combined into non-objective compositions.Biomorphic - design elements or shapes reminiscent of nature and living organisms.Non-objective - non-representationalUnity - occurs when all of the elements of a piece combine to make a balanced, harmonious, complete whole.Variety - is the use of different elements in the artwork.

Students will make a drawing in which they will depict a non-objective design using geometric and /or biomorphic shapes


Artist prints Pencils/erasersRulersDrawing paperStudent design examples

Motivation: Gather the students around a demonstration area and present student design examples that

depict the desired outcome. Ask critical thinking questions such as:How are these designs similar?How would you describe the shapes that are used in the design? Could you categorize the shapes?Is the illusion of space created, and if so, how?Which designs are most successful and why?

Discuss the process and demonstrate the following:o Construction of a 1” bordero Process of analyzing a work of art and identifying shapes and space that might

influence their non-objective designo Construction of an abstract design

Procedure: After the discussion and demonstration, students will return to the print that they used in

the color study from the previous lesson.31

Students will then create 1” border on an 8” square. Students will begin identifying geometric or biomorphic shapes inherent in the artist’s

print and create an abstract design within the 6” remaining square. An overall unified design should permeate the finished work.

Students will clean up and return work/materials to the appropriate places.

Closure:Set out student work on a table/wall and gather the students around for a brief discussion. Review all vocabulary learned by posing critical thinking questions relating to completed student designs such as:

Which designs have more of a geometric sense? Biomorphic?In what designs is there a sense of unity? Variety? Are the designs well balanced or boring/too busy?

Canvas PreparationUnit Overview


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This unit will provide students with the ability to stretch and prepare their own canvas for use as a painting support. Students will learn about the advantages of using stretched over other painting surfaces as well as the advantages of stretching your own canvas versus purchasing a commercially prepared canvas. During this unit students will have the opportunity to work with a variety of new artist tools and techniques as they learn the skills needed to stretch and prepare a canvas to use as a professional painting support.


Use tools such as T-square, hammer, staple gun, and canvas pliers to craft a canvas. Develop an understanding of how canvas works as a structural support. Recognize the advantages of preparing a canvas compared with other painting supports Apply art vocabulary in context


1. Decision making and problem solving to troubleshoot difficulties that arise during the stretching process

2. Using tools and media specific to the project in a safe and appropriate manner3. Communicating and working collaboratively with peers4. Designing and crafting a structural painting support that is personalized to their needs


Critical thinking skills Listening and communication skills Following a series of sequential steps with precision Vocabulary recognition and application Time Management


Teacher generated visuals Stretchers bars Canvas roll Scissors

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T-squares Hammers Canvas pliers Staple guns Staples Gesso Sandpaper Storage shelves


Completion of student prepared canvas Class preparation and demonstration of the ability to follow directions Participation in class discussions and question and answer opportunities Proper use of materials

Fulfilling of objectives in classroom projects

Canvas Preparation: Stretching CanvasLesson 1

Objectives: Students will recognize the advantages of stretching a canvas as a support for a painting

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Students will acquire art vocabulary:Stretcher - stretcher - Wooden bars, usually made of pine, that constitute a frame over which the canvas of a painting is stretched. The size of a stretcher can be changed slightly through the adjustment of keys at the four corners (as opposed to strainers that have a set size).Warp - the vertical threads of a canvasWeft – the horizontal threads of a canvas

Students will use tools such as T-square, hammer, staple gun, and canvas pliers to craft a canvas.

Students will develop an understanding of how canvas works as a structural support.


Stretchers barsCanvas rollScissorsT-squaresHammersCanvas pliersStaple gunsStaples

Motivation: Ask students about their previous painting experiences, and to compare working on

canvas to use of other painting supports Discuss the advantages of using a stretched canvas as a painting support Discuss the advantages of artist preparing their own canvases vs. commercially prepared

canvas.

Procedure: Teacher demonstrates how to fit pairs of stretcher bars together to form a frame. T-

squares are used to check to ensure the stretchers are perfectly square. A hammer can be used to tap them into place or adjust positioning.

Once the stretcher frames are fitted squarely a piece of canvas should be cut from the roll that is approximately 3 inches larger stretcher bars on all sides. Students are cautioned to make sure the warp and the weft (fibers of the canvas material) are positioned perfectly parallel to the stretcher bars to prevent distortion of the material and ensure proper craftsmanship.

Teacher demonstrates how to load and use staple guns safely. Students are cautioned to act responsibly with all the tools and only use them as instructed. It is desirable to stretch the canvas as tightly as possible to ensure a taught working surface. Students are instructed to staple the canvas in a specific order, starting with the middle of the longest side. Before adding each staple the canvas should be pulled first horizontally away from

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the middle, then vertically away from the middle. Staples should be placed no more than an inch apart. Students should leave at least 2 inches unstapled at the corners for now. How to finish corners will be demonstrated in the following lesson.

Students who have larger canvases or who are having difficulty stretching may opt to use canvas pliers to help pull the canvas tighter. The pliers are used to grip the material tightly and the knob is placed on the edge of the stretcher bar to create leverage. Students are encouraged to help each other with the process.

Students are reminded to carefully consider the shape and size of the canvas they chose to work on. Before choosing a shape they should consider if they want a square or rectangular format and what the proportions of the rectangle should be for the image they are considering. Size is also an important factor because larger canvases may look impressive but are more difficult to stretch tightly and may take longer to paint.

Students are directed to select stretchers and begin assembling their frames. Teacher circulates the room providing assistance and redirection as needed as students begin preparing their canvas.

Closure:Students are asked to summarize the day’s lesson by recalling key points of the discussion. Holding up successful student work in progress…• How can you tell if your stretcher bars are fitted squarely?• How should the fabric of the canvas be lined up with the stretchers?• Where should you begin adding staples? In what order should the other staples be

added? Why is this order important?

Canvas Preparation: Priming CanvasLesson 2

Objectives: Students will understand the purpose and process of priming a canvas

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Students will acquire art vocabulary:Gesso – A surface to which paint is applied, or the material used to create that surface.

Students will use tools such as staple gun, canvas pliers, brush and sandpaper to complete stretching and begin priming their canvas.

Students will develop an understanding of how canvas works as a structural support.


Canvas pliersStaple gunsStaplesGessoWax paperBrushesSandpaperStorage shelves

Motivation:Students are finishing stretching their canvas and are eager to complete the process. Yesterday’s demonstration is reviewed before demonstrating the next steps in the procedure.

How can you fold and prepare the corners of your canvas?Teacher reviews demonstration on how to finish corners.

Procedure: Once the final stages of the stretching process have been reviewed teacher demonstrates how

to prime the canvas to prepare it for painting. Coating the canvas with gesso will provide a protective coating to support the paint.

Teacher demonstrates how to coat the edges and front of the canvas with a thin layer of gesso. The canvas will need two to three thin coats of gesso, sanded in between each layer to properly prime it. This will create a smooth workable surface. Additional layers may be applied if desired.

Criteria for assessment of prepared canvas are reviewed. Students are instructed to get their materials and continue preparing their canvas. Teacher

circulates the room providing assistance and direction as needed. Students will clean up and return work/materials to the appropriate places.

Closure:Students are asked to summarize the day’s lesson by recalling key points of the discussion. Holding up successful student work in progress…• What parts of the canvas need to be covered in gesso?• What do you need to do in between each layer of gesso? Why?

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Painting from ObservationUnit Overview

Approximate Time Frame: 2 Weeks

“The art of painting, for those who know how to use their eyes, resides in an apple on the corner of a table. What could be more stupid than painting an apple! And yet to make of such a simple fact something that will be elevated to beauty, painting will have to engage all of its means; it will have to be solid, flexible, and rich in substance, suggestive too, so

suggestive that it will have the luxury, the grandeur of revealing man’s presence in the apple — the apple surrounded with an atmosphere of thought.”

From "To Myself," Odilon Redon38

This unit will provide students with an opportunity to strengthen their observational skills while being introduced to a painting medium. Painting media may include: acrylic, oil, watercolor or gauche. Students will be exposed to and critically analyze, a variety of master and contemporary artist examples to help inspire their work. Suggested subject matter may include but is not limited to the “painting a day” movement and still life images. During this unit, students will be painting on canvas, canvas board or watercolor paper. Emphasis will be placed on composition, object relationships, foreground/background relationships, high key/low key color schemes, and color theory. Point of view, focal point and a possible narrative will be studied in depth. Students will be encouraged to discuss, reflect, and analyze their work and the work of their peers through critique opportunities which may include, class, group or individual critiques and written commentary or reflection.



Experiment with spatial relationships, object relationships and /or narratives involving inanimate objects

Demonstrate an understanding of color including use of color schemes, key, hue, value, and intensity.

Use tools such as brushes, palettes, easels in the creation of the painting. Complete a painting that shows an understanding of form, light and color. Apply art vocabulary in context


1. Decision making and problem solving that involves how to interpret a simple object(s) from observation and represent it in a work of art

2. Interpreting an object’s color, value and placement and assessing it’s interaction with surrounding colors

3. Generating a painting that represents a personal interpretation of the still life set up4. Communicating ideas in a visual mode


Critical thinking skills Listening and communication skills

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Analytical assessment of mapping and sight lines Art vocabulary recognition and application Time Management


Teacher generated visuals/presentations Presentation Equipment: projector, computer, Elmo Artist’s prints/students examples Still life set ups Thumbnail examples Thumbnail paper and pencils Paint: acrylic, oil or watercolor Paint mediums (may include matte or gel medium, retarders, extenders, odorless mineral

spirits, liquin, etc.) Palettes (glass or plexi, wax paper or stay-wet palette) Brushes: natural or synthetic in a variety of sizes Standing and tabletop easels Storage containers for water, mediums, paint rags as needed


Completion of student painting Class preparation and demonstration of the ability to follow directions Participation in class discussions and question and answer opportunities Proper use of materials Fulfilling of objectives in classroom projects

Painting from Observation: Thumbnail SketchesLesson 1

“…no one shape should become an orphan, separated from the rest of the painting.” Ramon Kelley

Objectives: Students will develop thumbnail sketches to help determine compositional choices Students will acquire art vocabulary:

Composition- the placement or arrangement of the elements of art in a work

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Rule of Thirds - placing the subject near one of the lines that would divide the image into three equal columns and rows, ideally near the intersection of those lines.Emphasis - center of interest; focusBalance - the consideration of visual weight and importance; a feeling of equality in weight, attention, or attraction of the various visual elements within the pictorial fieldDominance - the principle of visual organization that suggests that certain elements should assume more importance than others in the same compositionLeading lines - are the key compositional element that carries our eye through a compositionPoint of View – what position an observer is in relation to the objects in the picture

Students will analyze how composition can play an important role in impact, statement and interest

Resources and Materials:Artist visualsThumbnail examplesVocabularyStill life set upsEasel with board and large paperPencilsSketching paperElmo

Motivation:Seat the students around several artist prints and ask:

What is the main subject/focus in each print? Why? How did the artist accomplish this? What is the relationship between the focal point and the rest of the composition? How did the artist create visual interest, spatial dynamic or a narrative?

Procedure: After discussing compositional rules and techniques, provide thumbnail examples and

demonstrate how to generate several thumbnail sketches of a simple still life arrangement. Discuss format, gestural drawing technique, variation.

Students will then survey the room, pick up supplies and choose a set up to begin a thumbnail sketch. Encourage students to observe first, and then produce a quick sketch of no more than 3-5 minutes.

Students will generate several sketches throughout the class time alternating between set ups, formats and perspectives.


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Closure:Gather several student thumbnail examples and project them on the Elmo. Discuss the students’ transitions and compositional strategies. Review all vocabulary learned by posing critical thinking questions such as:

Where is the emphasis and why?How does the format help/hinder the composition?What art elements were applied to create a dynamic composition?Where is the observer’s point of view?

Painting from Observation:Tonal Value & ContrastLesson 2

Objectives: Students will choose a thumbnail sketch from the previous class that epitomizes

composition, balance, impact, statement and interest Students will use art vocabulary from the previous lesson in describing one’s choice view Students will acquire new art vocabulary:

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Tonal value- the relative lightness or darkness of shades between black and whiteContrast - the effect of the juxtaposition of different colors, tones, etc.

Students will sketch their view on canvas board, canvas or watercolor paper Students will begin to identify simplified tonal values in their painting

Resources and Materials:Artist visualsThumbnail sketchesVocabularyELMOStill life set upsPaint (raw umber, burnt sienna, burnt umber)BrushesPalettes/palette paperMineral spirits, rags, jars as needed

Motivation:Project a series of thumbnail sketches on the ELMO and facilitate a discussion that invokes critical thinking/decision making concerning composition.

Which sketch(es) have a clear emphasis? What art elements enhance your decision? Where is it placed in relationship to the picture plane?

What is the point of view? Do any of the sketches create a tension or a narrative? Which composition would you choose and why? Would you change anything?

Procedure: After the discussion, gather the students around an easel and still life set up. Describe how, in order to be effective, the lights and darks in a painting must at least be

consciously considered if not deliberately planned. Introduce Mostly, some, and a bit – a basic formula for achieving a composition that works in terms of tonal contrast. Value contrast is so compelling that it is the best way to establish a strong focal point. All it takes is a preliminary sketch before starting the painting.

Refer to two examples of paintings: one with a strong contrast and one with a weak contrast. Varied values create interest.

Demonstrate how to rough in the outline of the subject painting directly on the canvas. Paint in the shadows, or dark areas. Using transparent washes, loosely identify areas of tonal change.

Direct the students to set up at their views, and begin sketching in their compositions.

Closure:Gathering the students around several easels and using student sketches on canvas, have the students respond to and give examples of whether or not the following is evident:

Tonal value43

Contrast Mostly, some, and a bit

Canvas PaintingUnit Overview


This unit will provide students with an opportunity to build on their painting experience and create an original painting that showcases their own painting style, composition, and concept. Students will be exposed to and critically analyze, a variety of master and contemporary artist examples to help inspire their work. Suggested subject matter may include but is not limited to: portraiture, landscape, narrative painting, or a modernized masterwork. During this unit students will be painting on canvas and will have the opportunity to use an easel as a painting tool and to help gain perspective on their work. Students will be exposed to a variety of

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painting techniques and will be encouraged to experiment with their mark making techniques and use of texture. This painting should encourage students to reach a new level in their work and develop their sense of color, concept, and use of design principles. Students will be encouraged to discuss, reflect, and analyze their work and the work of their peers through critique opportunities which may include, class, group or individual critiques and written commentary or reflection.


Use tools such as brushes, palette knives, palettes, easels in the creation of the painting. Demonstrate an understanding of composition utilizing the principles of design: balance,

rhythm, movement, emphasis and unity Demonstrate a sophisticated understanding of color including use of color schemes,

subtle variation of the colors hue, value, and intensity, use of special color theory such as atmospheric perspective.

Experiment with mark making and painting techniques which may include under painting, direct painting, glazing, impasto, palette knife painting

Begin to develop a personalized approach and style to painting Complete a painting that shows a personalized concept or point of view with clarity Apply art vocabulary in context


1. Decision making and problem solving to troubleshoot difficulties that arise during the stretching process

2. Using tools and media specific to the project in a safe and appropriate manner3. Communicating and working collaboratively with peers4. Designing and crafting a structural painting support that is personalized to their needs


Critical thinking skills Listening and communication skills Following a series of sequential steps with precision Vocabulary recognition and application Time Management


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Teacher generated visuals Useful technology: PowerPoint, projector, computer, Elmo Artist example images Paint: acrylic or oil Paint mediums (may include matte or gel medium, retarders, extenders, odorless mineral

spirits, liquin, etc.) Palettes (glass or plexi, wax paper or stay-wet palette) Brushes: natural or synthetic in a variety of sizes Palette knives easels Storage containers for water, mediums, paint rags as needed Storage shelves for canvases


Completion of student painting on canvas Class preparation and demonstration of the ability to follow directions Participation in class discussions and question and answer opportunities Proper use of materials Written student reflection Fulfilling of objectives in classroom projects

Painting: The Painter’s SetupLesson 1

Objectives: Students will learn how to setup and adjust an easel Students will develop an understanding of the purpose and advantages of painting on an

easel versus a flat table surface Students will review color mixing and proper set up and use and cleanup of artist painting

materials Students will review and utilize art vocabulary Students will complete a warm up painting activity

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PaintsBrushesEaselsPalettesContainers for water/solventsPaper towels/ ragsPainting worksheet

Motivation:Students have had previous experience painting but most have not had an opportunity to use an easel before. For this unit students will be introduced to the easel as an artist’s tool. Easels have many advantages as opposed to laying the painting on a table surface. Some advantages of painting on an easel include …

Ability to view painting upright while working prevents distortion of image. Easy to step back to view your work. Less danger of water/solvent dishes or other materials spilling on your work.

Students will recognize that some adaptations will be needed to work with an easel. It is important to have a firm palette so that it can be supported on your arm while you work. Water/solvent cup, brushes, and other painting tools can be stored on the small tray provided on the easel.

Teacher demonstrates how to adjust and use the easel to hold the drawing board or canvas.

Procedure:After introducing the accommodations needed with an easel it is important to review the proper painting setup to ensure students recall proper procedures. Teacher leads a discussion and uses student response to guide the demonstration of how to set up a palette.

What supplies should you have out when you prepare to paint? Where should paints be placed on the palette? How much of each color should be laid out? Why is it important to set up a full palette every time you paint?

Teacher introduces warm-up painting exercise and demonstrates how to complete the activity. Students will be asked to recall and demonstrate how to dull colors using the complement, how to mix black and other neutrals, how to match colors and change their values.

What is the hue of a color? How can you adjust a color’s hue? What is the value of a color? What colors are naturally light in their purest state? Naturally dark?

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How can you adjust the value of a color? What is the intensity of a color? How can you make a color less intense? What is the complement of a color? Provide an example. How can you mix black?

Distribute ditto for warm up painting activity. Students are instructed to setup their palette and painting supplies and begin the painting activity. Teacher circulates the room providing assistance and redirection as needed.

Closure:Students are asked to summarize the day’s lesson by recalling key points of the discussion:Holding up successful student work in progress…

What are the advantages of using an easel to paint? How can you adjust the easel? How were you able to change the hue of a color? How were you able to change the value of a color? How were you able to dull the intensity of a color?

Painting: Group Progress CritiqueLesson 2

Objectives: Students will critically analyze their work and the work of their peers in order to provide

feedback to help each other improve and complete their paintings Students will review key concepts of the unit Students will utilize art vocabulary during discussion Students will foster feeling of camaraderie and improve interpersonal and communication

skills


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Student canvas paintings in progressTacksGallery space

Motivation:To ensure students are on track they will have small group progress critiques with their peers to gauge their progress, discuss problem areas, review key concepts, and discuss suggestions for improving and finishing their work. Students are eager to get positive feedback and approval on their work from peers and this often serves as a motivating factor for them to make their best work. This critique also serves as a “warm up” to ease anxieties and establish expectations for the final critique involving the whole class that will take place in a few days.

Procedure:Call 1st group of students into the gallery. Students are provided with tacks to hang their work and reminded to put two tacks as level as possible in the wall, then to hang the canvas over the tacks. Teacher initiates the discussion…

What is the purpose of having a progress critique?Each student is asked in turn to discuss their progress with the group.

What are you happy with? What are your problem areas? What are you planning to do next?

Peers are asked to help students work through problem areas, provide encouragement, and suggestions for improvement. Students are encouraged to respond to one another as well as the teacher. Students are asked if they agree or disagree with the responses of others and why. Discussion questions may include:

What are the strengths of the artwork? Does the environment created seem realistic? Are there any areas that stand out? Is atmospheric perspective used to enhance depth? How does the use of color change from the foreground to the background? How does the use of texture change from the foreground to the background? Is the color unified throughout the piece? What helps create unity? How could unity be

improved?Small group critiques often foster feeling of camaraderie and students often feel better about their work after receiving praise from their peers and seeing they are not alone in struggling with more difficult techniques. At the conclusion of the progress critique each student should have a clear idea of what to work on next, how to address problem areas, and renewed enthusiasm to complete their work.

The initial group is dismissed to return to the class and continue working and the next group of students is called out to the gallery for a progress critique. This is repeated until all students have had the opportunity to get feedback on their work.

Closure:Students are asked to summarize the day’s lesson by recalling key points of the discussion:

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What was the point of the progress critique? What helpful suggestions did you receive? What do you need to do to improve and finish your painting?

Creative Portrait Unit Overview


This unit will provide students with an opportunity to think conceptually and discover new approaches to portraiture through the creation of an original portrait that showcases their own style, composition, mood, and concept. Students will be exposed to and critically analyze, a variety of master and contemporary artist examples to help inspire their work. Students will be asked to brainstorm a variety of ideas and create sketches to develop these ideas more fully before selecting the best concept to move forward with. Since students at this point have had experience with a wide range of drawing and painting materials and mixed media they will be allowed to select the materials they feel will be best suited to execute their concept. Risk and exploration will be encouraged. This assignment offers much more freedom to personalize in preparation for the freedom they will experience in the Advanced Placement Studio in Art class. Students will be encouraged to discuss, reflect, and analyze their work and the work of their

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peers through critique opportunities which may include, class, group or individual critiques and written commentary or reflection.


Use a variety of tools and materials in the creation of an original portrait. Demonstrate an understanding of composition utilizing the principles of design: balance,

rhythm, movement, emphasis and unity Demonstrate a sophisticated understanding of color including use of color schemes,

subtle variation of the colors hue, value, and intensity, Experiment with materials and techniques. Begin to develop a personalized approach and style Complete a portrait that shows a personalized concept or point of view with clarity Apply art vocabulary in context


1. Decision making and problem solving to design a conceptual portrait2. Using tools and media specific to the project in a safe and appropriate manner3. Communicating ideas in a visual mode4. Communicating and working collaboratively with peers 5. Evaluating, analyzing, reviewing, and critiquing one’s own work and the work of

others based on formal elements (form, texture, space…), techniques, solutions, successes, difficulties.


Critical thinking skills Listening and communication skills Analytical assessment of drawing, painting, and visual communication skills Vocabulary recognition and application Time Management


Teacher generated visuals Useful technology: PowerPoint, projector, computer, Elmo

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Artist example images Art materials of students choosing. Suggested materials may include: acrylic, oil or

watercolor paint, pencil, oil pastel, charcoal, collage, ink, mixed media. Supports may include canvas, sulphite, canvas board, illustration board, charcoal paper

where appropriate to materials selected.


Completion of creative portrait drawing of painting Class preparation and demonstration of the ability to follow directions Participation in class discussions, critiques, and question and answer opportunities Proper use of materials Written student reflection Fulfilling of objectives in classroom projects

Creative Portraiture: Assignment IntroductionLesson 1

Objectives: Students will critically analyze portraits made by a variety of artists exploring their

choices regarding composition, concept, and stylistic approach. Students will review key concepts of the unit and gain an understanding of the

expectations of the assignment. Students will expand their definition of what a portrait can be. Students will utilize art vocabulary during discussion. Students will analyze how composition and stylistic approach can play an important role

in the communication of concept and mood.


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ProjectorComputerProjector screen or gallery wallPowerPoint with artist examples

Motivation:Students Seat the students together and discuss the basics of a portrait drawing.

What makes a work of art a portrait? How can portraiture be defined? Does it have to include a person’s face? What other ways could you represent a person?

Students have all had previous experience with portraiture, and will be challenged in this assignment to expand their definition of what a portrait can be, taking risks and experimenting with composition, materials, stylistic approaches, and concept and developing more of their personal voice as artists.

Procedure: Students will view a PowerPoint presentation of artist sample images as a prompt for

discussion. Artists may include: Lucien Freud, Salvador Dali, Gustav Kimpt, M.C. Escher, Norman Rockwell, Chuck Close, Frieda Kahlo, Kathy Kollwitz, Francis Bacon, Rembrandt, Van Gogh, contemporary artists, etc. A variety of different stylistic, compositional, and conceptual approaches are discussed. Discussion questions may include:o What can you infer about this person from their portrait? What visual clues give you

this impression?o How did this artist approach their composition differently? What is the focus of the

piece?o What do you think the artist was trying to convey about their subject? How did they

reveal this?o How did the artist create a narrative in this image?o How does the use of material enhance the mood of the piece?o How does the style the artist used help communicate their idea?

Students will analyze the images and consider point of view, what portions of the person were shown, distortion or breakdown of the image, stylistic approach, medium, environment, props, and use of color and how these devices work to make a successful portrait that communicates something about its subject.

If time allows students may be given some time to brainstorm and thumbnail potential ideas.

Closure:Students are asked to share their questions and some of their potential ideas with the class to get feedback and suggestions to help guide them in the right direction.

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What are you thinking of doing? What materials would be best suited to this idea? How can you make this piece more unique, what risk will you take? How could this be composition be set up to help clarify the idea?

Students are assigned to consider their options and come in with more ideas to begin their proposals for the next class session.

Creative Portraiture: Class CritiqueLesson 2

Objectives: Students will critically analyze their work and the work of their peers in order to provide

feedback to help each other improve and complete their portraits Students will review key concepts of the unit and assess how individual pieces were able

to meet the criteria. Students will utilize art vocabulary during discussion. Students will foster feeling of camaraderie and improve interpersonal and communication

skills. Students will gain perspective about how their work is interpreted by viewers and

feedback or how work can be improved.


Student original portrait artwork

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TacksGallery spaceSketchbooksScrap paperPen/pencilsPost-itsMarker

Motivation:Students are eager to get positive feedback and approval on their work from peers and this often serves as a motivating factor for them to make their best work. This critique will take place shortly before the class time on this project will be ending, giving students an opportunity to see how their work is interpreted by their peers, and get feedback that will help them best express their ideas and personal direction.

Procedure: Students are provided with tacks to hang their work in a gallery setting and gather to view

the artwork for the critique. Teacher initiates the discussion by reviewing the goals of the assignment and making the students part of the assessment process.o What were the goals of this assignment? What criteria should be factored in when

determining how successful your portraits are? Students are then asked to present their projects to the class and explain their concept, what

they are proud of, and what they need help with. Peers are asked to help students work through problem areas, provide encouragement, and

suggestions for improvement. Students are encouraged to respond to one another as well as the teacher. Students are asked if they agree or disagree with the responses of others and why. Discussion questions may include:o What can you infer about the person in this portrait and what about the piece gives you

that impression?o How does the environment/color scheme/style/ etc. help support the concept or mood of

the piece? Are there any areas that stand out? o Does the portrait have good likeness to its subject? Are there any changes you would

suggest to the proportions or features?o Is there anything you would suggest the artist do to help clarify their concept?

At the conclusion of the critique each student should have a clear idea of what to work on next, how to address problem areas, and renewed enthusiasm to complete their work.

Closure:Do to time limitations not all pieces may be fully discussed during the class discussion. To make sure all students have an opportunity to get peer feedback on their work students are

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asked to provide written feedback to at least two other students. Each student is given two numbered slips of paper and the option of additional “free choice” slips for extra credit. Students are asked to provide written feedback for the pieces whose numbers they receive answering the following questions.

What do you feel the artist is trying to communicate about their chosen subject? What are the greatest strengths of the portrait? What can you suggest the artist do to make the piece its best?

Students write their names on the bottom of their slips to receive credit for their comments, which will be assessed based on the quality of feedback and successful use of vocabulary. Names can be cut off to provide anonymity (and encourage more honest feedback) before being returned to the artists.

Thematic SeriesUnit Overview


In the visual arts, a theme is a broad idea or a message conveyed by a work. This work is usually about life, society or human nature. Themes are the fundamental and often universal ideas explored in a work, implied rather than explicitly stated. Analysis of changes (or implied change) in dynamic characteristics of the work can provide insight into a particular theme. It deals less with the subject as does an implicit or recurrent idea. This unit will provide students with an opportunity to research a variety of artists and how they explored a theme within a body of work. Students will have opportunities to brainstorm and develop a series of drawings, paintings, prints or mixed media works that are linked together in a series. Different techniques for developing compositions and analyzing works of art will be explored while encouraging personal growth of ideas. Different formats and final display of work will be discussed. Students will be encouraged to discuss, reflect, and analyze their work and the work of their

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peers through critique opportunities which may include, class, group or individual critiques and written commentary or reflection.


Demonstrate an understanding of a unifying idea, image, or motif, repeated or developed throughout a work

Discuss and recall thematic works of art from several modern and contemporary artists. Experiment with creative formatting and arrangement of work to be displayed. Use medium specific to their work in a masterful way. Complete a series of work that reveals a cohesive theme. Apply art vocabulary in context


1. Visual brainstorming techniques2. Evaluating, analyzing, reviewing, and critiquing works of art from the contemporary and

modern art eras in relation to a represented theme3. Generating a finished series of work that represents a personal interpretation of a theme4. Evaluating, analyzing, reviewing, and critiquing one’s own work and the work of others

based on formal elements (form, texture, space…), techniques, solutions, successes, difficulties


Critical thinking skills Listening and communication skills Analytical assessment of drawing skills Art vocabulary recognition and application Time Management


Teacher generated visuals/presentations Presentation Equipment: projector, computer, Elmo Artist’s prints/students examples Thumbnail paper and pencils

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Media: pencils, erasers, conte, charcoal, oil pastels, ink, paint, etc.


Completion of student works in a series based on a theme Class preparation and demonstration of the ability to follow directions Participation in class discussions and question and answer opportunities Proper use of materials Fulfilling of objectives in classroom projects

Thematic Series: Art HistoryLesson 1

Objective: Students will develop the ability to recognize and discuss a theme in works of art. Students will acquire art vocabulary:

Theme - a unifying idea, image, or motif, repeated or developed throughout a workMotif - a distinctive feature or dominant idea in an artistic or literary compositionSymbolism - an object that represents, stands for, or suggests an idea, visual image, belief, action, or material entity.Series - a group or connected succession of similar or related thingsConcept - an abstract idea; a general notion

Students will complete an pre-class activity that will help them identify a theme or connection within an artist’s collection of works

Resources and Materials:Artist visualsElmo or projector

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VocabularyPencils and paper

Motivation: Pre-assessment: Project a thematic series on the screen. Without giving the students any

information or allowing them any discussion with one another, have them write down their observations.

Ask for volunteers to share what they wrote. Facilitate an open discussion about the observations, being sure to introduce/include the

new vocabulary.

Procedure: After the discussion, introduce the artist and give an explanation of the artist’s intention

and include information about composition, elements and principles of art, technique, and format.

Continue to present works from several artists who worked in a series. Artists may include, but are not limited to:

o Rene Magritteo Edward Hoppero Edgar Degaso Claude Moneto Paul Bloomer – wind farm series

Facilitate student discussions about presented work.

Closure:Review all vocabulary learned by having the students clarify intent, purpose and advantage to creating a series of work by asking critical thinking questions such as:

What is a theme as it relates to art?Why would an artist create a series of work?What are some components that could hold a series together?

Ask the students to come into the next class with a minimum of five listed ideas that they would consider pursuing as a series. They should be prepared to share their thoughts with a group.

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Thematic Series: Brainstorming IdeasLesson 2

Objective: Students will review key concepts of the unit Students will utilize art vocabulary during discussion Students will critically analyze their ideas and the ideas of their peers in order to provide

feedback to help each other improve their thematic studies Students will work collaboratively and improve interpersonal and communication skills

Resources and Materials:Artist VisualsProjectorVocabularyEasels with paperMarkersPencils and paper

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Motivation:To ensure students understand the idea of a thematic series, students are asked to summarize the previous day’s lesson by recalling key points of the discussion. Projecting a series of work ask…

What ties this work together (subject, concept, sequence…)?What underlying theme permeates the work?What key elements and principles did the artist use to link the work?Does the choice of media connect the series?What could be the next work in this series?

Procedure: After the review, have the students break down into small groups of 4-5 students each.

(This same group may be reassembled at a later date and used during a progress critique.) Each student in turn will present his or her ideas for a concentration of work formulated

the night before. The group will help the presenter narrow down his/her choice by brainstorming ideas, compositions, and cohesiveness of thought. Students may sketch on paper or easels as a means of communicating ideas.

Teacher will circulate around the room and help facilitate student discussions and development of ideas.

Closure:Ask for student volunteers to share with the class the progression of their thematic series thus far. Shared information may be pinned up and include:

Initial five ideas Group input Thumbnail sketches Individual projected direction of work

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