River Dell Regional School District Visual and Performing Arts Curriculum · River Dell Regional School District Visual and Performing Arts Curriculum ART Grades 7-12 2015 Mr. Patrick

River Dell Regional School District

Visual and Performing Arts Curriculum

ART

Grades 7-12

2015

Mr. Patrick Fletcher

Superintendent River Dell Regional Schools

Ms. Lorraine Brooks Mr. Richard Freedman Principal Principal River Dell High School River Dell Middle School

Mr. William Feldman

Assistant Superintendent Curriculum & Instruction

Visual and Performing Arts Committee Chris Van Der Velde

Gale Sasson George Tucci Melissa Miller

Mercedes Faunde Saratheresa Bartelloni

River Dell Regional Schools

Visual and Performing Arts Curriculum – Art

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TABLE OF CONTENTS

Introduction Page 4

Grade 7 Page 5

Grade 8 Page 25

Grades 9 – 12 Page 41

Resources Page 353



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Philosophy

Art is a necessary component of our lives; a vital contributor to our learning, to our well-being and in essence, to our existence. It helps us develop values, understand the past and visually decipher our modern world. It enables us to communicate ideas, to express feelings and to respect the values, attitudes, and beliefs of our culturally diverse world. It encourages us to develop our creative and critical thinking skills and fosters self-esteem through discovery of our own aesthetic. It fosters an appreciation of how things are made and the skill and process that is involved in designing and creating everything in the world around us.

The Art Program of River Edge, Oradell, and River Dell School Districts is based on the philosophy of Discipline Based Art Education. DBAE includes the four disciplines of art; Art Production, Aesthetics, Art History and Art Criticism.

Art Production: Students will create works of art with a diversity of materials and techniques, both two and three-dimensional.

Aesthetics: Students will be engaged in philosophical questions such as what is art and aesthetic questions such as what defines an individual’s, societal and cultural definitions of beauty. Hence the term Beauty is in the eye of the beholder.

Art History: Students will learn a broad spectrum of Art from different time periods and civilizations around the world and learn how they influence our approach to art and design today.

Art Criticism: Students will be involved in the method of oral and written critique through description, analysis and interpretation of their own work, that of their peers and famous works of art and design.

It is our goal as well to enhance what is being taught in the core classrooms through a cross-curricular approach. Using grade level curriculums, (ex. - math, science, history), as motivational material for some art lessons enhances the students ability to make connections between subject areas. It creates a cohesive understanding of their world. Opportunities for displaying student work in exhibitions and competitions are provided within the school district and the community at large.

The goal of the Art Program is to foster creative problem solving and critical thinking skills. Creative freedom will enable experimentation with a diversity of materials, techniques, concepts and skills. Exposure to a variety of art and design across time and between cultures will enable students with the skills to describe, analyze, interpret and respond to the visual world around them.



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Introduction

The River Dell Public Schools Visual Arts curriculum is a comprehensive document to be implemented by state certified teachers in the area of art. This curriculum is written in direct accordance with the New Jersey Core Curriculum Standards for Visual and Performing Arts. The Standard’s grade level progress indicators are included in this document.

Each grade level includes a concept and objective for each Element of Art and Principle of Design as well as Aesthetics/Criticism and Art History. Each objective lists the state standards that are applicable. At the end of each grade level are Suggested Activities and Assessment Strategies. The activities are only suggestions. The teacher has full creative freedom as to what theme, material, or artist/culture to focus on. The lessons can highlight one element such as shapes, or it may combine many of the elements and principals of design. It is the grade level objectives and concepts that need to be followed, the means of actualizing these goals is open to the teacher’s own personal style, interests and approach. In this document the objectives of each concept progress through the grade levels. A concept which may be introduced in first grade may be built upon and mastered by the end of Twelfth grade. The state goals for grades 2, 4, 6, 8, and 12 act as bench marks for mastery by the end of those grade levels. The teacher should be aware of these when creating lessons so that a strong foundation is developed and at each grade level the student’s knowledge and application of it is built upon.

Motivation for lessons can be derived from various sources. Art Prints, reproductions and artifacts are available through our existing collections. Other resources are the internet, photographs, books, magazines, and newspapers. Real objects, both natural and manmade, should be used as well. Museum web sites offer great visuals of their permanent collections as well as virtual tours of special exhibits. Keeping the resources age appropriate and relative to the student’s world will capture their interest and spark the enthusiasm necessary for self-expression.

Art Safety

To promote the early learning of good safety habits, teachers should discuss general safety rules and procedures in all art classes, beginning in kindergarten. As they introduce more complicated materials, tools and equipment in later grades, teachers should implement a more comprehensive program of art safety.



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BY THE END OF SEVENTH GRADE MODERN ART

Standards

1.1.8.B.1 Analyze the application of the elements of music in diverse Western and non-Western musical works from different historical eras using active listening and by reading and interpreting written scores.

1.1.8.B.2 Compare and contrast the use of structural forms and the manipulation of

the elements of music in diverse styles and genres of musical compositions

1.2.8.A.1 Map historical innovations in dance, music, theatre, and visual art that

were caused by the creation of new technologies. 1.2.8.A.2 Differentiate past and contemporary works of dance, music, theatre, and

visual art that represent important ideas, issues, and events that are chronicled in the histories of diverse cultures.

1.2.8.A.3 Analyze the social, historical, and political impact of artists on culture and

the impact of culture on the arts. 1.3.8.D.1 Incorporate various art elements and the principles of balance, harmony,

unity, emphasis, proportion, and rhythm/movement in the creation of two- and three- dimensional artworks, using a broad array of art media and art mediums to enhance the expression of creative ideas (e.g., perspective, implied space, illusionary depth, value, and pattern).

1.3.8.D.2 Apply various art media, art mediums, technologies, and processes in the

creation of allegorical, theme-based, two- and three-dimensional works of art, using tools and technologies that are appropriate to the theme and goals.

1.3.8.D.3 Identify genres of art (including realism, abstract/nonobjective art, and

conceptual art) within various contexts using appropriate art vocabulary, and solve hands-on visual problems using a variety of genre styles.



1.3.8.D.4 Delineate the thematic content of multicultural artworks, and plan, design, and execute multiple solutions to challenging visual arts problems, expressing similar thematic content.

http://www.state.nj.us/education/cccs/def/1/VPAeleofmusic.html

http://www.state.nj.us/education/cccs/def/1/VPAhe.html


http://www.state.nj.us/education/cccs/def/1/VPAam.html

http://www.state.nj.us/education/cccs/def/1/VPAmed.html






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1.3.8.D.5 Examine the characteristics, thematic content, and symbolism found in

works of art from diverse cultural and historical eras, and use these visual statements as inspiration for original artworks.

1.3.8.D.6 Synthesize the physical properties, processes, and techniques for visual

communication in multiple art media (including digital media), and apply this knowledge to the creation of original artworks.

1.4.8.A.1 Generate observational and emotional responses to diverse culturally and

historically specific works of dance, music, theatre, and visual art. 1.4.8.A.2 Identify works of dance, music, theatre, and visual art that are used for

utilitarian and non-utilitarian purposes. 1.4.8.A.3 Distinguish among artistic styles, trends, and movements in dance, music,

theatre, and visual art within diverse cultures and historical eras. 1.4.8.A.4 Compare and contrast changes in the accepted meanings of known

artworks over time, given shifts in societal norms, beliefs, or values. 1.4.8.A.5 Interpret symbolism and metaphors embedded in works of dance, music,

theatre, and visual art. 1.4.8.A.6 Differentiate between “traditional” works of art and those that do not use

conventional elements of style to express new ideas. 1.4.8.A.7 Analyze the form, function, craftsmanship, and originality of representative

works of dance, music, theatre, and visual art. 1.4.8.B.1 Evaluate the effectiveness of a work of art by differentiating between the

artist’s technical proficiency and the work’s content or form. 1.4.8.B.2 Differentiate among basic formal structures and technical proficiency of

artists in works of dance, music, theatre, and visual art. 1.4.8.B.3 Compare and contrast examples of archetypal subject matter in works of

art from diverse cultural contexts and historical eras by writing critical essays.

BIG IDEAS/COMMON THREADS

Through a developed understanding of aesthetics and the Elements and Principles of Art, art students become critical thinkers, who combine visual





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literacy and various mediums to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Cubism

Students will identify and demonstrate fragmented form, simultaneous representation and multiple viewpoints on a 2D surface.

ESSENTIAL QUESTIONS PRIMARY: What is Cubism?

SECONDARY: How does Cubism influence artist and art today? What is fragmented form? What is simultaneous representation? What are multiple viewpoints? How does Analytic Cubism & Synthetic Cubism differ?

MODULE ASSESSMENT

Artwork - Cubism still life drawing, 12x18 color pencil

Cubism Rubric a. Strong composition b. Multiple View Points c. Shading (value) d. Proportion e. Proper Perspective

Reading, Writing and Oral skills a. Homework assignments: Cubism part & part two b. Reading Assignment - Scholastic Art: Cubism c. Class discussion: Cubism, Picasso and Braque, Differentiating

Analytic and Synthetic Cubism. d. Class critiques: Self assessment and peer assessment

MODULE OBJECTIVE Students will be able to…

explore historical background and artists involved in Cubism.

apply aesthetic and critical criteria in evaluating Cubist works of art.

differentiate Synthetic Cubism from Analytic Cubism.

visually define: repetition, overlap, simultaneous representation, multiple viewpoints, abstraction, line, contour, and composition through various drawings techniques.

create preliminary drawings focusing on accurate proportion and scale of objects and instruments, strong composition and value.

draw instruments and objects from a still life in the third dimension.

draw three different viewpoints simultaneously on a 2D surface using color pencil.

visually break down musical instruments into simple geometric forms.

apply value to their drawings through various shading techniques.

develop fine motor skills through different drawing techniques.



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MODULE SKILLS Students will able to…

demonstrate various drawing techniques.

use medium appropriately.

visually apply new vocabulary.

use the appropriate four steps of art criticism for constructive critiquing.

use critical thinking skills in class discussions and writing assignments. RESOURCES Page 353



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BY THE END OF SEVENTH GRADE

MODERN ART

Standards



the elements of music in diverse styles and genres of musical compositions.
























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Through a developed understanding of aesthetics and the Elements and Principles of art, art students become critical thinkers, who combine visual literacy and various mediums to become effective consumers and producers of art that reflects world cultures, history and societal issues.





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ENDURING UNDERSTANDINGS - Surrealism Students will identify and combine the element of surprise, unexpected juxtapositions, the subconscious, and the world of dream and fantasy to include the everyday rational world in a surreal reality on a 2D surface.

ESSENTIAL QUESTIONS PRIMARY: What is Surrealism? SECONDARY: How does Surrealism influence artists and art today? What is the element of surprise? What are unexpected juxtapositions? What is the subconscious? What is the visual outcome when we incorporate our everyday world with a world of dream and fantasy?

MODULE ASSESSMENT

Artwork – Surrealistic painting, 18” x 24” watercolor

Surrealsim Rubric: a. Surreal visual devices b. Strong Composition c. Value (tint and shade) d. Watercolor techniques e. Overall neatness

Reading, Writing and Oral skills a. Homework assignments: Surrealism b. Reading Assignment - Scholastic Art: Rene Magritte, Salvador Dali,

Frida Kahlo c. Class discussion: Surrealism, Compare & Contrast Surrealism and

Cubism, Rene Magritte, Salvador Dali, & Frida Kahlo. d. Class critiques: Self assessment and peer assessment

MODULE OBJECTIVE Students will be able to…:

explore historical background and artists involved in art movement Surrealism.

apply aesthetic and critical criteria in evaluating Surrealist works of art.

aesthetically break down the visual devices that produce a Surrealist work of art and orally discuss.

recollect a dream that is particularly memorable in order to visualize an altered reality and to stimulate a “Surreal World” acting as a catalyst for inspiration for their Surreal painting.

create preliminary drawings incorporating strong composition and surreal elements, and then complete a final drawing based on self, teacher and peer feedback to be used for their Surreal painting.



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apply Surrealist techniques to their own original work of art incorporating: the element of surprise, unexpected juxtapositions, and the subconscious, through various drawing and painting techniques.

apply value to their painting through tinting and shading techniques.

develop fine motor skills through different drawing and painting techniques.

apply numerous painting techniques using the medium, watercolor.

compare and contrast Cubism and Surrealism.

MODULE SKILLS

Students will be able to…


demonstrate various watercolor techniques.




use critical thinking skills in class discussions and writing assignments.

RESOURCES Page 353



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Standards



























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ENDURING UNDERSTANDINGS - Pop Art Students will identify and demonstrate themes and techniques drawn from popular mass culture, such as: advertisements, commercials, and everyday household objects, emphasizing kitschy elements stemming from the growth of materialism and consumerism in our society. In groups, students will create a three dimensional Pop art sculpture that targets a large audience.

ESSENTIAL QUESTIONS PRIMARY: What is Pop Art?

SECONDARY: How does Pop art influence artists and art today? What is popular mass culture and mass-produced? What is the goal of advertisements and/or commercials? What is the artist trying to achieve by changing the scale of an everyday household object? What is gimmicky? How did Pop artists “mock” fine arts?

MODULE ASSESSMENT

Artwork – A three dimensional Pop Art sculpture

Pop Art Rubric: a. Group Involvement b. Scale and Proportion to the original product/object c. Application of Pop Art techniques: Slick lettering and logos, exact

color reproduction, techniques of commercial art and popular illustration and exact product packaging.

d. Product/object choice e. Constructing, drawing and painting techniques

Reading, Writing and Oral skills a. Homework assignments: Pop Art b. Reading Assignment - Scholastic Art: Claes Oldenburg & Andy

Warhol and Roy Lichtenstein c. Class discussion: Pop Art, Claes Oldenburg, Andy Warhol, and Roy

Lichtenstein, Compare & Contrast: Pop Art, Expressionism, Surrealism and Cubism.

Class critiques: Self assessment and peer assessment


explore historical background and artists involved in art movement, Pop Art.

apply aesthetic and critical criteria in evaluating Pop Art works of art.

aesthetically break down the visual devices that produce a Pop Art work of art and orally discuss.

create, in groups, a preliminary three dimensional “mini-sculpture” focusing on proportion and scale of their chosen product/object.

assess their mini-sculpture for accurate proportion, scale and construction.



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create, in groups, a large scale version of their chosen product/object.

apply Pop Art techniques to their own original Pop Art sculpture employing the following: precise construction of the product/object, slick lettering and logos, exact color reproduction, techniques of commercial art and popular illustration and exact product packaging through various constructing, and drawing & painting techniques.

apply value to their sculptures through tinting and shading techniques with acrylic paint.

develop fine motor skills through numerous constructing, drawing and painting techniques.

compare and contrast Cubism, Surrealism, Expressionism and Pop Art.

use three materials to construct their sculpture: Oak Tag, Newspaper and masking tape.

MODULE SKILLS



demonstrate various painting techniques.

construct a three dimensional sculpture.

collaborate with peers to complete a group project.




RESOURCES Page 353



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Standards



























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1.3.8.D.5 Examine the characteristics, thematic content, and symbolism found in works of art from diverse cultural and historical eras, and use these visual statements as inspiration for original artworks.





utilitarian and non-utilitarian purposes.

1.4.8.A.3 Distinguish among artistic styles, trends, and movements in dance, music, theatre, and visual art within diverse cultures and historical eras.

1.4.8.A.4 Compare and contrast changes in the accepted meanings of known








BIG IDEAS/COMMON THREADS Through a developed understanding of aesthetics and the Elements and Principles of art, art students become critical thinkers, who combine visual literacy and various mediums to become effective consumers and producers of art that reflects world cultures, history and societal issues.





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ENDURING UNDERSTANDINGS - Expressionism

Students will identify and illustrate a world distorted under the pressure of intense personal moods, ideas, and emotions rather than depicting an external reality through a series of portraits using various media. Students will create a body of artwork that emphasizes subjective expression of their inner experiences.

ESSENTIAL QUESTIONS PRIMARY: What is Expressionism?

SECONDARY: How does Expressionism influence artists and art today? What is visual distortion? What is visual exaggeration? How does an artist apply vivid or intense color? What is the visual outcome when an artist applies intense color, agitated brushstrokes, and disjointed space? How do we depict the subjective emotions and responses that objects and events arouse in us rather than an objective reality?

MODULE ASSESSMENT

Artwork – A Book of portraits, 6 - 9” x 12” portraits encompassing written word

Expressionism Rubric: a. Expressionist visual devices b. Portraits demonstrate their subjective emotions c. Writing Component d. Drawing and painting techniques e. Overall presentation

Reading, Writing and Oral skills a. Homework assignments: Expressionism b. Reading Assignment - Scholastic Art: Edvard Munch & Vincent Van

Gogh c. Class discussion: Expressionism, Edvard Munch, and Vincent Van

Gogh, Compare & Contrast: Expressionism, Surrealism and Cubism.

d. Class critiques: Self assessment and peer assessment


explore historical background and artists involved in art movement Expressionism.

apply aesthetic and critical criteria in evaluating Expressionist works of art.

aesthetically break down the visual devices that produce an Expressionist work of art and orally discuss.

create preliminary portraits focusing on proportion and scale of facial features.



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create spontaneous portraits that are highly subjective, personal, and self-expressive.

apply distortion, exaggeration, and fantasy, through vivid, jarring, violent, or dynamic application of formal art elements.

emphasize their subjective emotions, which override the actual appearance of things. To employ expression of their inner experiences rather than a realistic portrayal, seeking to depict not objective reality but the subjective emotions and responses that objects and events arouse in them much like the Expressionists did.

apply Expressionist techniques to their own original work of art incorporating: exaggeration, distortion, vivid color, bold lines, monochromatic colors, warm and cool colors and strong value through various drawing and painting techniques.

apply value to their portraits through tinting and shading techniques.

develop fine motor skills through different drawing and painting techniques.

apply visual emotional expression in their portraits through numerous painting techniques: paint dilution, intense brush stroke, intense color, warm and cool colors, and monochromatic colors.

compare and contrast Cubism, Surrealism, and Expressionism.

use a variety of different media including: black charcoal, white charcoal, water soluble oil pastels, oil pastels, watercolor, marker on newspaper and pencil.

create an accordion book encompassing their self portraits with written quotes, phrases, words or poems printed on vellum paper that will accompany each portrait.

MODULE SKILLS




apply warm and cool colors, monochromatic colors, and intense colors.

use new media appropriately.




RESOURCES Page 353



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Standards



























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artists in works of dance, music, theatre, and visual art.

1.4.8.B.3 Compare and contrast examples of archetypal subject matter in works of art from diverse cultural contexts and historical eras by writing critical essays.







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ENDURING UNDERSTANDINGS - Op Art Students will identify and exploit the illusions or optical effects of perceptual processes in a series of two dimensional drawings.

ESSENTIAL QUESTIONS PRIMARY: What is Op Art?

SECONDARY: How does Op Art influence artists and art today? What is an optical illusion? How do we define abstract? What is the illusion of movement? What are optical effects? What is perception?

MODULE ASSESSMENT

Artwork – 6, 9” x 12” Op art drawings

Pop Art Rubric: a. Neatness b. Six drawings completed c. Application of Op Art techniques d. Composition e. Accurate measurements with ruler.

Reading, Writing and Oral skills a. Homework assignments: Op Art b. Reading Assignment - Scholastic Art: Victor Vasarely and Bridget

Riley c. Class discussion: Op Art, Victor Vasarely and Bridget Riley,

Compare & Contrast: Op Art, Pop Art, Expressionism, Surrealism and Cubism.

d. Class critiques: Self assessment and peer assessment


explore historical background and artists involved in art movement, Op Art.

apply aesthetic and critical criteria in evaluating Op Art works of art.

visually define the following words: Perception, optical, illusion, reality, geometric, repetition, recede, advance, positive and negative space, parallel lines through various seeing and drawing techniques.

aesthetically break down the visual devices that produce an Op Art work of art and orally discuss.

apply mathematic skills while using a ruler for accurate measurements.

create a series of drawings encompassing visual illusions through the use of pattern and line.

apply Op Art techniques to their series of two dimensional drawings: illusion of movement, pattern, geometric abstraction, vibration, and hidden images through various drawing techniques.

develop fine motor skills through numerous drawing techniques.

http://en.wikipedia.org/wiki/Victor_Vasarely

http://en.wikipedia.org/wiki/Bridget_Riley

http://en.wikipedia.org/wiki/Bridget_Riley



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compare and contrast Cubism, Surrealism, Expressionism Pop Art and Op Art.

MODULE SKILLS



accurately measure using a ruler and a compass.





RESOURCES Page 353



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BY THE END OF EIGHTH GRADE

MODERN ART

Standards



the elements of music in diverse styles and genres of musical compositions. 1.2.8.A.1 Map historical innovations in dance, music, theatre, and visual art that





unity, emphasis, proportion, and rhythm/movement in the creation of two- and three- dimensional artworks, using a broad array of art media and art

mediums to enhance the expression of creative ideas (e.g., perspective, implied space, illusionary depth, value, and pattern).


















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ENDURING UNDERSTANDINGS - Photorealism Richard Estes - Students will discover linear perspective and create a one point perspective watercolor painting. The painting will illustrate a fantasy reality that will encompass remarkably intricate detail and proper perspective, thus creating a somewhat believable realistic scene.

ESSENTIAL QUESTIONS PRIMARY: How do we draw three dimensional objects on a two dimensional surface? What is Photorealism? SECONDARY: How does Photorealism influence artists and art today? When do you think linear perspective came to fruition? How did perspective influence the art world? What defines a landscape? What connections can you make between the Renaissance artists and the twentieth century artists who employed linear perspective?

MODULE ASSESSMENT

Artwork – An 18” x 24” fantasy interior space painting

Photorealism - One Point Perspective: a. One point perspective b. Scale and proportion c. Creativity d. Watercolor techniques e. Value

Reading, Writing and Oral skills a. Homework assignments: Richard Estes, Fantasy room b. Reading Assignment - Scholastic Art: Perspective c. Technology Infusion – A step –by – step interactive tutorial that

demonstrates one point perspective through the use of the computer. An Internet website that allows students to design the layout of their room.

d. Class discussion: The Renaissance Era, Photorealism, Richard Estes, and one point perspective.

e. Class critiques: Self assessment and peer assessment


explore historical background and artists involved in the Renaissance Era.

apply aesthetic and critical criteria in evaluating Renaissance paintings that employed linear perspective.

aesthetically break down the visual devices of one point perspective and orally discuss.

explore historical background and artists involved in art movement Photorealism.



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apply aesthetic and critical criteria in evaluating Photorealist works of art.

aesthetically break down the visual devices that produce a Photorealist work of art and orally discuss.

make the connection between linear perspective and artists of the Renaissance Era with Richard Estes of the twentieth century.

use interactive websites on one point perspective and room designs to guide them through the basic fundamentals of perspective and room design.

demonstrate and develop ruler skills in employing the rules of perspective.

complete a series of preliminary one point perspective drawings.

learn and visually demonstrate the following: composition, proportion, scale, orthogonal lines, vanishing point, horizon line, and receding, through various drawing techniques.

develop fine motor skills through various drawing techniques.

create a fantasy interior space in watercolor using one point perspective.

apply values and create values using various painting techniques.

develop contrast through shading, highlighting and creating tones.

formulate color selections/color schemes for their interior room based on prior knowledge of the color wheel.

MODULE SKILLS




apply the “rules of perspective”.

demonstrate contrast and value.

illustrate knowledge of one point perspective using a ruler.

use Internet tutorials.






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MODERN ART

Standards



























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historically specific works of dance, music, theatre, and visual art . 1.4.8.A.2 Identify works of dance, music, theatre, and visual art that are used for
















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ENDURING UNDERSTANDINGS - Photorealism

Chuck Close - Students will identify that photorealists consciously took their cues from photographic images, often working very systematically from photographic slide projections onto canvases and using techniques such as gridding to preserve accuracy. Students will then create a 2D drawing with intense value involving thorough reproduction of detail working from a self portrait photograph.

ESSENTIAL QUESTIONS PRIMARY: What is Photorealism?

SECONDARY: How does Photorealism influence artists and art today? How do we differentiate a portrait from a self portrait? Why would artists want to employ the grid method for their artwork? How do we define photographic? How does an artist apply value with just a pencil? Why would an artist want to recreate a photograph – what is their purpose?

MODULE ASSESSMENT

Artwork – A 16” x 20” self portrait pencil drawing with intense value

Photorealism: Self Portrait Rubric: a. Photo resemblance b. Application of grid system c. Value d. Proportion and scale e. Drawing techniques

Reading, Writing and Oral skills a. Homework assignments: Photorealism b. Reading Assignment - Scholastic Art: Chuck Close c. Class discussion: Photorealism, Chuck Close, and compare &

contrast: Richard Estes & Chuck Close. d. Class critiques: Self assessment and peer assessment


explore historical background and artists involved in art movement Photorealism.

apply aesthetic and critical criteria in evaluating Photorealist works of art.

aesthetically break down the visual devices that produce a Photorealist work of art and orally discuss.

use a camera to take several self-portraits showing high contrast to use as a reference for their drawing.

demonstrate mathematic skills in creating a grid.



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develop skills in enlarging a composition using the grid system.

study proportion and scale.

apply values and create values using various drawings techniques.

develop contrast through shading, highlighting and creating tones.

learn and visually demonstrate the following: balance, composition, proportion, contrast, emphasis, unity, detail, and value through various drawing techniques.


compare and contrast Photorealist, Richard Estes and Chuck Close.

MODULE SKILLS




use a ruler to create a grid.






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MODERN ART

Standards
















conceptual art) within various contexts using appropriate art vocabulary, and solve hands-on visual problems using a variety of genre styles












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ENDURING UNDERSTANDINGS - Social Realism

Students will discover and develop an awareness of societal issues in today’s society. Students will depict an issue of importance to help generate activism through the process of printmaking.

ESSENTIAL QUESTIONS PRIMARY: How do we define social issues? What are some social issues of today? SECONDARY: How do Social Realists influence artists and art today? How do artists target large audiences? How do Social Issues influence society and the world we live in?

MODULE ASSESSMENT

Artwork – A series of prints

Social Realism - Printmaking: a. Depiction of social issue b. Strong composition c. Value d. Line quality e. Color Variation in the series of prints

Reading, Writing and Oral skills a. Homework assignments: Social Realism b. Reading Assignment - Scholastic Art: Keith Haring c. Class discussion: Social Realism, Keith Haring, and compare and

contrast Photorealism and Social Realism. d. Class critiques: Self assessment and peer assessment


explore historical background and artists involved in Social Realism.

apply aesthetic and critical criteria in evaluating a Social Realist work of art.

aesthetically break down the visual devices of a Social Realist work of art and orally discuss.

choose a social issue of significant importance and complete a series of preliminary sketches depicting their issue.

apply and demonstrate: line quality, composition and concept.


apply fine motor skills through the printmaking process.

create values by varying their line quality.

apply knowledge of complementary colors and monochromatic colors.

discover their own internal voices and viewpoints.



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MODULE SKILLS



demonstrate various printmaking techniques.


use medium appropriately




RESOURCES Page 353



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MODERN ART

Standards



























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Through a developed understanding of aesthetics and the Elements and Principles of art, art students become critical thinkers, who combine visual





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literacy and various mediums to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Dada

Students will discover the absurd and playful and the emotive and intuitive by creating a visual pun using Photoshop Elements.

ESSENTIAL QUESTIONS PRIMARY: What is Dada? How do we define a pun?

SECONDARY: How does Dada influence artists and art today? What is the difference between a pun and a visual pun? How do we provoke thought about artistic processes? How will the audience discover the playful and absurd without using words?

MODULE ASSESSMENT

Artwork – A digital file

Dada – Visual Puns: a. Depiction of saying, phrase or compound word b. Strong composition c. Application of Photoshop Elements d. Visual Humor/The Absurd e. Three layers minimum

Reading, Writing and Oral skills a. Homework assignments: Dadaism b. Reading Assignment - Scholastic Art: Marcel Duchamp c. Class discussion: Dadaism, Marcel Duchamp, and compare and

contrast Photorealism, Social Realism, Dadaism. d. Class critiques: Self assessment and peer assessment

MODULE OBJECTIVE


explore historical background and artists involved in Dadaism.

apply aesthetic and critical criteria in evaluating a Dada work of art.

aesthetically break down the visual devices of a Dada work of art and orally discuss.

create a visual pun by combining images that are not related to the pun itself.

learn the fundamentals of the computer program, Adobe Photoshop Elements.

apply knowledge of Adobe Photoshop Elements in creating their visual pun.

communicate the implied meaning of the (saying, phrase or compound word) through creatively combining images using Adobe Photoshop Elements.

develop their computer skills.

apply and visually demonstrate: strong composition, humor, and the absurd.



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discover that the concept behind the artwork is just as important as the actual artwork.

MODULE SKILLS


demonstrate computer knowledge.

demonstrate knowledge Photoshop Elements.

illustrate strong composition, visual humor and the absurd.

demonstrate proper use of media.

use the four steps of art criticism for constructive critiquing.

use critical thinking in class discussions and writing assignments.

RESOURCES Page 353



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BY THE END OF TWELFTH GRADE ART I

Standards 1.1.12.D.1 Distinguish innovative applications of the elements of art and principles of

design in visual artworks from diverse cultural perspectives and identify specific cross-cultural themes.

1.1.12.D.2 Translate literary, musical, theatrical, and dance compositions by using

them as stimulus/inspiration for corresponding visual artwork. 1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced

world cultures throughout history. 1.2.12.A.2 Justify the impact of innovations in the arts (e.g., the availability of music

online) on societal norms and habits of mind in various historical eras. 1.3.12.D.1 Synthesize the elements of art and principles of design in an original

portfolio of two- and three-dimensional artworks that reflects personal style and a high degree of technical proficiency and expressivity.

1.3.12.D.2 Produce an original body of artwork in one or more art mediums that

demonstrates mastery of visual literacy, methods, techniques, and cultural understanding.

1.3.12.D.5 Identify the styles and artistic processes used in the creation of culturally

and historically diverse two- and three-dimensional artworks, and emulate those styles by creating an original body of work.

1.3.12.D.3 Organize an exhibit of personal works of visual art that convey a high level

of understanding of how the expression of ideas relates to the art media,

art mediums, and techniques used.

1.3.12.D.4 Analyze the syntax and compositional and stylistic principles of two- and

three-dimensional artworks in multiple art media (including computer-

assisted artwork), and interpret themes and symbols suggested by the

artworks.

1.4.12.A.1 Use contextual clues to differentiate between unique and common

properties and to discern the cultural implications of works of dance,

music, theatre, and visual art.

1.4.12.A.2 Speculate on the artist’s intent, using discipline-specific arts terminology

and citing embedded clues to substantiate the hypothesis.

http://www.state.nj.us/education/cccs/def/1/VPAeleofart.html

http://www.state.nj.us/education/cccs/def/1/VPAprinofdesign.html




http://www.state.nj.us/education/cccs/def/1/VPAvisualliter.html



http://www.state.nj.us/education/cccs/def/1/VPAdisspecificartster.html



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1.4.12.A.3 Develop informed personal responses to an assortment of artworks across

the four arts disciplines (dance, music, theatre, and visual art), using

historical significance, craftsmanship, cultural context, and originality as

criteria for assigning value to the works.

1.4.12.A.4 Evaluate how exposure to various cultures influences individual,

emotional, intellectual, and kinesthetic responses to

artwork.

1.4.12.B.1 Formulate criteria for arts evaluation using the principles of positive

critique and observation of the elements of art and principles of design,

and use the criteria to evaluate works of dance, music, theatre, visual, and

multimedia artwork from diverse cultural contexts and historical

eras.



ENDURING UNDERSTANDINGS - Aesthetics

Artists and critics use a developed vocabulary to make informed judgments on the validity of a work of art.

ESSENTIAL QUESTIONS PRIMARY: What is Art? SECONDARY: How do we use the language of art to differentiate between what we see and what we think we know? How do personal & cultural values influence the aesthetic judgment of a piece of art?

MODULE ASSESSMENT Written self critiques using aesthetic vocabulary.

Oral group critique using aesthetic vocabulary.

Read, discuss and write a reaction essay in response to teacher selected articles.


make informed judgments and statements on the artist’s intentions & aesthetics of the work.

constructively express opinions.

look at art with an informed critical eye.





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MODULE SKILLS Students will be able to…

read current articles and develop critical thinking skills regarding aesthetics.

write reaction essays using aesthetic vocabulary.

apply aesthetic vocabulary in group discussions.

RESOURCES Page 353



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them as stimulus/inspiration for corresponding visual artworks. 1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced














artworks.














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artwork.





eras.


Through a developed understanding of aesthetics and the elements and principles of art, Art students become critical thinkers, who combine visual literacy and various media to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS – Creation and Performance Artists use conceptual and observational skills and a variety of materials & techniques to create works of art.

ESSENTIAL QUESTIONS PRIMARY: How is art created from what we observe? How is art created from memory? How do artists use imagination? SECONDARY: How does your tool & technique affect the outcome of the art?

MODULE ASSESSMENT

Production Portfolios and performance based assessment that: o Demonstrate appropriate use of materials & techniques in creation of

artwork and exercises. o Demonstrate an understanding of the assignment & concept. o Use the Elements of Art and Principles of Design in creation of artwork. o Demonstrates artistic intention. o Utilizes Sketchbook/Journal for concept development

Participation in class critiques

Written and oral self evaluations






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use the elements & principles of art in artwork.

create compositions as per compositional guidelines.

express individual ideas through the creation of artwork.

differentiate between conceptual and observational works of art.

explore different mediums & techniques.


use a variety of drawing techniques & materials.

create observational & conceptual 2D & 3D works.

apply aesthetic vocabulary & principles in the creation & critique of artwork. RESOURCES Page 353



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online) on societal norms and habits of mind in various historical eras.

1.3.12.D.1 Synthesize the elements of art and principles of design in an original












artworks.















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artwork.





eras.



ENDURING UNDERSTANDINGS –Elements & Principles of Art The Elements of art and Principles of design are the building blocks of art.

ESSENTIAL QUESTIONS PRIMARY: What are the elements of art? What are the principles of art?

SECONDARY: How do the elements of art support the principles of art? How do methods & techniques affect the elements & principles?

MODULE ASSESSMENT

Individual works of art that use the Elements of Art and Principles of Design

Written assignments using the Elements of Art and Principles of Design.


identify the Elements of Art and Principles of Design as they exist in the students’ work and the work of others.

learn to use a variety of materials and mediums and Identify which best achieves each Element of Art and Principles of Design.






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apply the Elements of Art and Principles of Design as the vocabulary for in-class critiques & written critiques.

discuss how Elements of Art and Principles of Design work together to create compositions.


create works of art that use the Elements of Art and Principles of Design.

use the Elements of Art and Principles of Design as the vocabulary for in-class critiques & written critiques.

RESOURCES Page 353



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artworks.















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artwork.





eras.


Through a developed understanding of aesthetics and the Elements and Principles of Art, art students become critical thinkers, who combine visual literacy and various media to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Critique Using the four steps of art criticism, description, analysis, interpretation & judgment, students can better organize their thoughts and make intelligent and educated statements about a work of art.

ESSENTIAL QUESTIONS PRIMARY: What is a critique? What are the four steps of art criticism?

MODULE ASSESSMENT A written critique using the four steps of criticism.

Oral critiques of student work that use the four steps of criticism and design vocabulary.


differentiate between the four steps of art criticism.

determine how to use critique to better understand artwork.

practice applying constructive criticism.

use critique to make changes and better their own work.






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choose a famous work of art and write a critique using the four steps of art criticism.

apply the four steps to their own work and the work of others.

use criticism to make changes and improve on future works. RESOURCES Page 353



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artworks.














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artwork.





eras.



ENDURING UNDERSTANDINGS - World Cultures, History and Society

Art is found in all cultures through all periods of history.

ESSENTIAL QUESTIONS PRIMARY: Why is art found in all cultures throughout history? How does art reflect the history and culture of a society? SECONDARY: How does art reflect the needs of the people? How does the individual artist affect the artistic, political, and social events of their time?

MODULE ASSESSMENT Self art work creation in response to contemporary issues and world cultures.

A visual presentation of a period of art history (i.e. PowerPoint, Inspiration)

MODULE OBJECTIVE


view artwork created in response to societal issues.

identify art specific to various world cultures.

understand how artists reflect the history of their society.






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appreciate the role art plays in their own lives.

differentiate between artistic styles and movements.


discuss world cultures and artwork unique to that society.

identify contemporary issues & create artwork in response to contemporary issues.

research and visually present a period of art history. RESOURCES Page 353



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BY THE END OF TWELFTH GRADE ART II



















artworks.















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1.4.12.A.2 Speculate on the artist’s intent, using discipline-specific arts

terminology and citing embedded clues to substantiate the

hypothesis.







artwork.





eras.

BIG IDEAS/COMMON THREADS:


ENDURING UNDERSTANDINGS - Working with Color

Artists and use a developed understanding of color theory when producing and critiquing artwork.

ESSENTIAL QUESTIONS PRIMARY: What is color theory? How is color used in art? SECONDARY: How can we use color theory when creating or critiquing artwork?

MODULE ASSESSMENT

Self-reflective journal entries on color theories as discussed in class.

Oral and/or written critique on the use of color theory.

Student produced Multimedia presentation on the use of color in a famous work of art.

Individual works of art applying color theory.







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discuss different color theories and how they are used.

identify traditional uses of color through the history of art (i.e. Color and symbolism).

understand and identify color schemes.

identify color schemes used in works of art from a variety of historical periods and cultures.

use col

or theory in their individual artwork and critiques.

compare and contrast the use of color across various historical periods of art.

understand the purpose and proper use of the color wheel.

identify various professions/careers that utilize color theory and how it is applied.

discuss the history of color theory and the history of the color wheel.

write journal entries that encourages self reflection and improve achievement.

write journal entries that elicit new ideas and creative thinking.

read various articles that concern issues pertaining to visual art and visual literacy.

connect journal articles to classroom learning.

MODULE SKILLS


properly use a color wheel.

apply color theory when creating artwork.

use a developed vocabulary when critiquing artwork.

participate in group critique of identifying the use of color in works of art.

offer and apply suggestions to better artwork through critique. RESOURCES Page 353



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artworks.















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artwork.





eras.


ENDURING UNDERSTANDINGS - The Genres of Art Portraiture

Artwork can be categorized into genres. Portraiture is a genre of art.

ESSENTIAL QUESTIONS PRIMARY: What is a portrait? SECONDARY: How is a portrait created in art? What different styles or movements have influenced portraits? How is color symbolically used in portraiture? What is the purpose of the portrait?

MODULE ASSESSMENT

Self-reflective journal entries on portrait symbols, themes & techniques

Multimedia presentation using the four steps of art criticism of teacher assigned portraits from the history of art

Student produced self-portraits


distinguish between the genres of art.

identify portraits and their historical purpose.

discuss symbolic color use in famous portraits.






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compare and contrast western and non-western portraits from the history of art.

identify Elements of Art and Principles of Design in famous portraits.

determine how portraiture has evolved through history.

use composition skills when creating portraits.

use graphing techniques to enlarge images.

determine how style and color affects portraits.

apply general proportion methods when creating portraits.

use design vocabulary and the four steps of art criticism when critiquing portraits.

create a multimedia or oral presentation highlighting a portrait from history.





MODULE SKILLS


create a self portrait.

use graphing techniques.


present a portrait and identify its purpose, symbols and other significant facts. RESOURCES Page 353



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artworks.















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artwork.





eras.



ENDURING UNDERSTANDINGS - The Genres of Art – Still Life

Artwork can be categorized into genres. Still Life is a genre of art.

ESSENTIAL QUESTIONS PRIMARY: What is a still life?

SECONDARY: What is the purpose of a still life? How is a still life different than a portrait? How is a still life similar to a portrait?

MODULE ASSESSMENT

Self-reflective journal entries on composition and still life techniques

Response writings on current issues in art

Oral presentation or written critique of teacher assigned still life from the history of art

Student produced still life



identify still life and their purpose.






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use the Elements of Art, Principles of Design and composition skills when creating still life.

draw relationships between historic events and trends in portraiture.

determine how style and color affects still life.

determine the best tools to use when creating still life.

compare and contrast western and non-western still life samples from the history of art.

identify traditional techniques used in still life from the history of art.

identify stylistic characteristics in sample still life.

use design vocabulary when critiquing still life.

apply the four steps of art criticism.





MODULE SKILLS


create a still life.

participate in group critique of sample still life and student work.

present a still life from the history of art as assigned by teacher. RESOURCES Page 353



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artworks.














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artwork.





eras.


ENDURING UNDERSTANDINGS - The Genres of Art - Landscape/Seascape

Artwork can be categorized into genres. Landscape/Seascape is a genre of art.

ESSENTIAL QUESTIONS PRIMARY: What is a landscape/seascape? SECONDARY: How is a landscape/seascape different from the other genres of art? How is a landscape/seascape similar to the other genres of art?

MODULE ASSESSMENT

Journal writing of teacher assigned “scapes” or artistic movements (ie. The Hudson River School) from the history of art

Self-reflective journal entries

Written or oral critique of “scapes” from the history of art

Student produced “scapes”






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create artwork in response to literary work.

identify landscapes/seascapes and their purpose.

determine how style and color affects “scapes”.

compare and contrast western and non-western landscapes.

use design vocabulary when critiquing “scapes”.

use the four steps of art criticism.





MODULE SKILLS



create a “scape” in response to a literary work.

present a “scape” from the history of art as assigned by teacher. RESOURCES Page 353



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Standards

1.1.12.D.1 Distinguish innovative applications of the elements of art and principles of


















artworks.















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artwork.





eras.



ENDURING UNDERSTANDINGS - Three Dimensional Design

Three dimensional works of art can be viewed from all sides and rely on an understanding of form.

ESSENTIAL QUESTIONS PRIMARY: What is three dimensional design? How is working three dimensionally similar to working two dimensionally? How is it different? How do we apply the Elements of Art and Principles of Design when working three dimensionally? SECONDARY: What must be considered when working three dimensionally? What materials are used in three dimensional works of art?

MODULE ASSESSMENT

Self-reflective journal entries on three dimensional art tools and techniques

Participation in written or oral critique

Student produced 3 dimensional artwork






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MODULE OBJECTIVE


discuss different techniques for three dimensional design.

work three dimensionally when creating artwork.

explore different materials for working three dimensionally.

apply the Elements of Art and Principles of Design when creating artwork.

discuss famous artists and their work.

identify techniques used in famous works of art.

critique three dimensional work using design vocabulary.


identify relationships between various art techniques and cultural heritage.





MODULE SKILLS


read current articles and develop critical thinking skills regarding three dimensional design.

write reaction essays using design vocabulary.

create three dimensional artwork that uses the Elements of Art and Principles of Design.

participate in group critique using the four steps of art criticism.

RESOURCES Page 353



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BY THE END OF TWELFTH GRADE

PAINTING



















artworks.















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artwork.





eras.



ENDURING UNDERSTANDINGS - Acrylic Paint The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS

PRIMARY: What is acrylic paint? What tools are used with Acrylic paint? What surfaces are used with Acrylic paint? What are the different properties Acrylic paint?

SECONDARY: How Is Acrylic paint used in the creation of a piece of art? How do tools effect the creation of the piece of art? How do the unique qualities of Acrylic paint create different results in the production of a piece of art?






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MODULE ASSESSMENT

Use of materials in individual works of art.

Sketchbook documentation

Written and or verbal class critiques.

Self evaluation.

Teacher / student evaluation.

Produce art work reflecting various styles of artist both traditional and contemporary

Stretch a canvas.

MODULE OBJECTIVE


identify the paint colors by proper names.

learn how to mix colors to create new individual colors.

discover the unique qualities of the different paints, tools, and surfaces.

identify and reproduce the styles of traditional and contemporary artists.

create art reflecting original personal expression.

defend their ideas through written and verbal evaluations.

learn how to respect their tools through proper care and up keep.

become a productive participant in a art studio environment.

learn to stretch a canvas.

MODULE SKILLS


create and paint original, expressive pieces of art influenced by the style of several different master painters.

discuss how today’s art is influenced by the master painters of the past.

demonstrate how tools and materials affect a painting through the creation of a piece of art.

demonstrate personal philosophy in the creation of a piece of art.

RESOURCES Page 353



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BY THE END OF TWELFTH GRADE PAINTING



















artworks.















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artwork.





eras.



ENDURING UNDERSTANDINGS - Watercolor paint The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS PRIMARY: What is watercolor paint? What tools are used with watercolor paint? What surfaces are used with watercolor paint? What are the different properties of watercolor paint? What are the techniques used with watercolor paint? SECONDARY: How are watercolor paints used in the creation of a piece of art? How do various tools effect the creation of a piece of art? How are watercolors used to create different results in a piece of art? How do the unique qualities of watercolor create different results in the production of a piece of art?

MODULE ASSESSMENT

Use of materials in original individual works of art.

Sketchbook documentation.







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Self evaluation.


Identify various styles of artist both traditional and contemporary.



learn how to mix colors to create new individual colors






MODULE SKILLS


create an original expressive piece of art influenced by the different styles of master painters.


show how tools and materials affect a painting through the creation of a piece of art.

show how personal philosophy affects a piece of art through the creation of a piece of art.

stretch and prepare watercolor paper.

prepare watercolor paints for use.

paint using several watercolor techniques. RESOURCES Page 353



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them as stimulus/inspiration for corresponding visual artworks.

1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced















artworks.












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1.4.12.A.3 Develop informed personal responses to an assortment of artworks

across the four arts disciplines (dance, music, theatre, and visual art),

using historical significance, craftsmanship, cultural context, and

originality as criteria for assigning value to the works.



artwork.





eras.



ENDURING UNDERSTANDINGS - Gouache Paint The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS PRIMARY: What is Gouache paint? What tools are used with Gouache paint? What surfaces are used with Gouache paint? What are the different properties of Gouache paint? SECONDARY: How is this paint used in the creation of a piece of art? How do various tools effect the creation of a piece of art? How do different paints create different results in a piece of art? How do the unique qualities of these different paints create different results in the production of a piece of art?






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MODULE ASSESSMENT




Self evaluation.











prepare the surface to be painted on.

MODULE SKILLS


create and paint original, expressive pieces of art influenced by the style of master painters.

discuss how today’s art is influenced by the master painters of the past?

show how tools and materials affect a painting through the creation of a piece of art.

create a piece of art using Gouache paint. RESOURCES Page 353



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artworks.















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artwork.





eras.



ENDURING UNDERSTANDINGS - Oil Paint The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS PRIMARY: What is Oil paint? What tools are used with Oil paint? What surfaces are used with Oil paint? What are the different properties of Oil paint? SECONDARY: How is Oil paint used in the creation of a piece of art? How do tools effect the creation of a piece of art? How do different paints create different results in a piece of art? How do the unique qualities of Oil paint create different results in the production of a piece of art?

MODULE ASSESSMENT









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Self evaluation.











prepare the surface for paint.





demonstrate personal philosophy in the creation of a piece of art. RESOURCES Page 353



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them as stimulus/inspiration for corresponding visual artworks.

1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced















artworks.












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artwork.





eras.



ENDURING UNDERSTANDINGS - Oil Pastel Paint The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS PRIMARY: What is Oil Pastel paint? What tools are used with Oil Pastel paint? What surfaces are used with Oil Pastel paint? What are the different properties of Oil Pastel paint? SECONDARY: How is Oil Pastel paint used in the creation of a piece of art? How do tools effect the creation of a piece of art? How do different paints create different results in a piece of art? How do the unique qualities of Oil Pastel paint create different results in the production of a piece of art?






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MODULE ASSESSMENT




Self evaluation.



MODULE OBJECTIVE













RESOURCES Page 353



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BY THE END OF TWELFTH GRADE COMMERCIAL DESIGN

Standards 1.1.12.A.1 Formulate responses to fundamental elements within an art form, based

on observation, using the domain-specific terminology of that art form. 1.1.12.A.2 Discern the value of works of art, based on historical significance,

craftsmanship, cultural context, and originality using appropriate domain specific terminology.

1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using

contemporary methodologies. 1.1.12.B.2 Formulate a personal philosophy or individual statement on the

meaning(s) of art. 1.2.12.D.1 Interpret themes using symbolism, allegory, or irony through the

production of two or three-dimensional art. 1.2.12.D.2 Perform various methods and techniques used in the production of works

of art. 1.2.12.D.3 Produce an original body of work in one or more mediums that

demonstrates mastery of methods and techniques. 1.2.12.D.4 Outline a variety of pathways and the requisite training for careers in the

visual arts. 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and

principles of design. 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can

provide inspiration for a work of art. 1.4.12.A.2 Categorize the artistic subject, the formal structure, and the principal

elements of art used in exemplary works of art. 1.4.12.A.3 Determine the influence of tradition on arts experience, as an arts creator,

performer, and consumer.



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1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria to evaluate one’s personal work and that of their peers, using positive commentary for critique.

1.4.12.B.2 Provide examples of how critique may affect the creation and/or

modification of an existing or new work of art. 1.5.12.A.2 Summarize and reflect upon how various art forms and cultural resources

preserve cultural heritage and influence contemporary art. 1.5.12.B.1 Evaluate the impact of innovations in the arts from various historical

periods in works of dance, music, theater, and visual art stylistically representative of the times.



ENDURING UNDERSTANDINGS - Lettering Styles

The elements and principles of art are essential to every piece of art work. Art is a visual means of expression and communication.

ESSENTIAL QUESTIONS PRIMARY: How can lettering be used in the creation of art? Is lettering art? What is the difference between traditional and non-traditional lettering? How do tools influence design? How does surface influence design? SECONDARY: How important is technique, style and form in lettering? How can letters as an art form communicate an idea to the viewer? What are the contemporary trends in lettering?

MODULE ASSESSMENT Evaluate lettering as an art form.

Evaluate sketchbook documentation.

Evaluate written and or verbal class critiques.

Self evaluation.





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MODULE OBJECTIVES Students will be able to…

identify different styles of lettering, traditional and non-traditional, historical and contemporary.

learn lettering techniques using appropriate tools, pens, brushes, etc.

identify the unique qualities of the different lettering styles.


create art reflecting original personal expression using letters.

defend their ideas through written and verbal evaluation

apply aesthetic criteria in evaluating commercial art.

utilize appropriate technical and aesthetic vocabulary.

demonstrate knowledge of safety procedures.

demonstrate appropriate use and care of tools.

become a productive participant in an art studio environment. .


demonstrate knowledge of a variety of lettering styles.

discuss contemporary and historical trends in lettering.

demonstrate knowledge of typography including traditional and non-traditional approaches to calligraphy.

demonstrate how the manipulation of letters as form can convey the artist’s idea.

demonstrate how tools and materials affect the outcome of a piece of art.

demonstrate the proper cleaning of commercial art tools. RESOURCES Page 353



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1.1.12.A.2 Discern the value of works of art, based on historical significance,

craftsmanship, cultural context, and originality using appropriate domain specific terminology.

1.1.12.A.3 Determine how historical responses affect the evolution of various artistic

styles, trends and movements in art forms from classicism to post-modernism.

1.1.12.B.1 Compose specific and metaphoric cultural messages in works of art, using

contemporary methodologies. 1.1.12.B.2 Formulate a personal philosophy or individual statement on the





visual arts. 1.4.12.B.1 Develop criteria for evaluating art in a specific domain and use the criteria

to evaluate one’s personal work and that of their peers, using positive commentary for critique.

1.4.12.B.2 Provide examples of how critique may affect the creation and/or

modification of an existing or new work of art.





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ENDURING UNDERSTANDINGS - Logos


ESSENTIAL QUESTIONS PRIMARY: Are Logos art? What is a logo? What is the difference between traditional and non-traditional Logos SECONDARY: How do tools influence design? How does surface influence design? How do logos communicate an idea to the viewer?

MODULE ASSESSMENT

Evaluate logos as an art form.



Self evaluation.


Produce a logo reflecting knowledge of various styles of artist both traditional and contemporary


identify different styles of logos both traditional and non-traditional.

demonstrate how to develop a logo through the creation of a personal logo.

identify the styles of traditional and contemporary logos.



learn how to respect their tools through proper care and upkeep.



create a personal logo.

discuss how today’s logos are influenced by the commercial artists of the past?





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Standards 1.1.12.B.2 Formulate a personal philosophy or individual statement on the





visual arts. 1.3.12.D.1 Compare and contrast innovative applications of the elements of art and

principles of design. 1.3.12.D.2 Analyze how a literary, musical, theatrical, and/or dance composition can

provide inspiration for a work of art.



ENDURING UNDERSTANDINGS - Package and Product Design


ESSENTIAL QUESTIONS PRIMARY: What are the elements of good package design? What are the elements of good product design? Is packaging art? What is the difference between traditional and non-traditional package designs? SECONDARY: How do tools influence design? How does surface influence design? How is package design used in advertising?



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MODULE ASSESSMENT Evaluate packaging and product design as an art form.



Self evaluation.


Produce a unique package design reflecting knowledge of various styles of artist both traditional and contemporary.


identify traditional and non-traditional package designs.



learn how to respect their tools through proper care and upkeep.



discuss how contemporary packaging /products are influenced by the commercial artists of the past?





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Standards

1.1.12.D.1 Distinguish innovative applications of the elements of art and principles of design in visual artworks from diverse cultural perspectives and identify specific cross-cultural themes.










1.3.12.D.3 Organize an exhibit of personal works of visual art that convey a high

level of understanding of how the expression of ideas relates to the art

media, art mediums, and techniques used.




artworks.















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1.4.12.A.3 Develop informed personal responses to an assortment of artworks

across the four arts disciplines (dance, music, theatre, and visual art),

using historical significance, craftsmanship, cultural context, and originality

as criteria for assigning value to the works.



artwork.





eras.



ENDURING UNDERSTANDINGS - Cartooning


ESSENTIAL QUESTIONS

PRIMARY: How do artist use cartooning? What are the different types of cartooning? SECONDARY: How is technique and style used in cartooning? What are the contemporary trends in cartooning?

MODULE ASSESSMENT Evaluate cartooning as an art form.



Self evaluation.








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identify different styles of cartooning traditional and non-traditional, historical and contemporary.

learn cartooning techniques using appropriate tools, pens, brushes, etc. .


create art reflecting original personal expression..

defend their ideas through written and verbal evaluation.

apply aesthetic criteria in evaluating cartooning.






demonstrate knowledge of a variety of cartooning styles.

discuss contemporary and historical trends in cartooning.

demonstrate how cartooning can convey the artist’s idea.





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artworks.












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artwork.





eras.


ENDURING UNDERSTANDINGS - Illustration


ESSENTIAL QUESTIONS PRIMARY: How do artist use illustration to express their ideas? What are the different types of illustration? SECONDARY: How is technique and style used in illustration? What are the contemporary trends in illustration?

MODULE ASSESSMENT

Evaluate illustration as an art form.








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Self evaluation.




identify different styles of illustration traditional and non-traditional, historical and contemporary.

demonstrate knowledge of appropriate use of tools.

identify the styles of traditional and contemporary artists.


defend their ideas through written and verbal evaluation.

apply aesthetic criteria in evaluating cartooning.






demonstrate knowledge of a variety of illustrating styles.

discuss contemporary and historical trends in illustration.

demonstrate how illustration can convey the artist’s idea.





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HONORS ART MAJOR



















artworks.















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artwork.





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ENDURING UNDERSTANDINGS - College Entrance Portfolio Artists produce a body of work to show their understanding of the Elements and Principles of Design using original ideas in a variety of mediums.

ESSENTIAL QUESTIONS PRIMARY: What is a college entrance portfolio? How can a student artist produce a coherent body of work? SECONDARY: How can a student artist express their views and ideas to produce a quality college entrance portfolio?

MODULE ASSESSMENT Self-reflective sketch book / journal entries discussing their work and the

process (self critiques).

Classroom oral and/or written critique incorporating the elements and principals of design to evaluate how to look at a piece of art work.

Student produced art work responding to the class assignments which reflect a variety of mediums and subject.

Teacher /student critiques





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discuss different art theories from the prerequisite courses.

identify traditional and non-traditional uses of materials.

identify styles of art used in works from a variety of historical periods and incorporate them into their work.

identify various professions/careers.

research colleges with art programs and Art Schools.

keep a sketch book that reflects personal ideas, creative thinking, responses to art work from museums, galleries, art shows, other students, media, etc.

visit museums, galleries and art shows to keep current with contemporary works.

record their reaction to what they have seen that concern issues pertaining to visual art and visual literacy.

produce 15 – 20 quality original pieces of art.

MODULE SKILLS


apply traditional and non-use of materials to their art work.

apply styles of art from a variety of historical periods into their art.

self critique using an advanced vocabulary of art.

participate in class critique using an advanced vocabulary of art.

create advanced quality 2-D and 3-D pieces of art.

create a college entrance portfolio

critique their work with the teacher.

RESOURCES Page 353



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BY THE END OF TWELFTH GRADE HONORS ART MAJOR



















artworks.















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artwork.





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ENDURING UNDERSTANDINGS - The Genres of Art – Portraiture Artwork can be categorized into genres. Portraiture is a genre of art.

ESSENTIAL QUESTIONS PRIMARY: What is a portrait? SECONDARY: How is a portrait created in art? What different styles or movements have influenced portraits? How is color symbolically used in portraiture? What is the purpose of the portrait?

MODULE ASSESSMENT Self-reflective journal entries on portrait symbols, themes & techniques

Multimedia presentation using the four steps of art criticism of teacher assigned portraits from the history of art

Student produced self-portraits



identify portraits and their historical purpose.

discuss symbolic color use in famous portraits.






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compare and contrast western and non-western portraits from the history of art.

identify Elements of Art and Principles of Design in famous portraits.

determine how portraiture has evolved through history.

draw relationships between historic events and trends in still life (not portraiture).

use composition skills when creating portraits.

determine how style and color affects portraits.

apply general proportion methods when creating portraits.

use design vocabulary and the four steps of art criticism when critiquing portraits.

create a multimedia or oral presentation highlighting a portrait from history.






create a self portrait.


present a portrait and identify its purpose, symbols and other significant facts. RESOURCES Page 353



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artworks.















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artwork.





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ENDURING UNDERSTANDINGS - The Genres of Art – Still Life Artwork can be categorized into genres. Still Life is a genre of art.

ESSENTIAL QUESTIONS PRIMARY: What is a still life? SECONDARY: What is the purpose of a still life? How is a still life different than a portrait? How is a still life similar to a portrait?

MODULE ASSESSMENT

Self-reflective journal entries on composition and still life techniques

Response writings on current issues in art

Oral presentation or written critique of teacher assigned still lifes from the history of art

Student produced still lifes



identify still lifes and their purpose.






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use the Elements of Art, Principles of Design and composition skills when creating still lifes.

draw relationships between historic events and trends in portraiture.

determine how style and color affects still lifes.

determine the best tools to use when creating still lifes.

compare and contrast western and non-western still life samples from the history of art.

identify traditional techniques used in still lifes from the history of art.

identify stylistic characteristics in sample still lifes.

use design vocabulary when critiquing still lifes.

apply the four steps of art criticism.






create a still life.

participate in group critique of sample still lifes and student work.

present a still life from the history of art as assigned by teacher. RESOURCES Page 353



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artworks.















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artwork.





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ENDURING UNDERSTANDINGS - The Genres of Art – Landscape/Seascape

Artwork can be categorized into genres. Landscape/Seascape is a genre of art.

ESSENTIAL QUESTIONS

PRIMARY: What is a landscape/seascape? SECONDARY: How is a landscape/seascape different from the other genres of art? How is a landscape/seascape similar to the other genres of art?

MODULE ASSESSMENTS Journal writing of teacher assigned “scapes” or artistic movements (i.e. The

Hudson River School) from the history of art

Self-reflective journal entries

Written or oral critique of “scapes” from the history of art

Student produced “scapes”






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create artwork in response to literary work.

identify landscapes/seascapes and their purpose.

determine how style and color affects “scapes”.

compare and contrast western and non-western landscapes.

use design vocabulary when critiquing “scapes”.

use the four steps of art criticism.







create a “scape” in response to a literary work.

present a “scape” from the history of art as assigned by teacher. RESOURCES Page 353



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1.1.12.D.2 Translate literary, musical, theatrical, and dance compositions by using them as stimulus/inspiration for corresponding visual artworks.

1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced world cultures throughout history.

1.2.12.A.2 Justify the impact of innovations in the arts (e.g., the availability of music online) on societal norms and habits of mind in various historical eras.

1.3.12.D.1 Synthesize the elements of art and principles of design in an original portfolio of two- and three-dimensional artworks that reflects personal style and a high degree of technical proficiency and expressivity.

1.3.12.D.2 Produce an original body of artwork in one or more art mediums that demonstrates mastery of visual literacy, methods, techniques, and cultural understanding.

1.3.12.D.5 Identify the styles and artistic processes used in the creation of culturally and historically diverse two- and three-dimensional artworks, and emulate those styles by creating an original body of work.







artworks.




















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artwork.





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ENDURING UNDERSTANDINGS - Three Dimensional Design Three dimensional works of art can be viewed from all sides and rely on an understanding of form.

ESSENTIAL QUESTIONS

PRIMARY: What is three dimensional design? How is working three dimensionally similar to working two dimensionally? How is it different? How do we apply the Elements of Art and Principles of Design when working three dimensionally? SECONDARY: What must be considered when working three dimensionally? What materials are used in three dimensional works of art?

MODULE ASSESSMENTS

Self-reflective journal entries on three dimensional art tools and techniques

Participation in written or oral critique

Student produced 3 dimensional artwork





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discuss different techniques for three dimensional design.

work three dimensionally when creating artwork.

explore different materials for working three dimensionally.

apply the Elements of Art and Principles of Design when creating artwork.

discuss famous artists and their work.

identify techniques used in famous works of art.

critique three dimensional work using design vocabulary.


identify relationships between various art techniques and cultural heritage.






read current articles and develop critical thinking skills regarding three dimensional design.

write reaction essays using design vocabulary.

create three dimensional artwork that uses the Elements of Art and Principles of Design.

participate in group critique using the four steps of art criticism. RESOURCES Page 353



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BY THE END OF TWELFTH GRADE ADVANCED PLACEMENT STUDIO ART


















artworks.














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artwork.





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ENDURING UNDERSTANDINGS Artists produce a body of work to show their understanding of the Elements and Principles of Design using original ideas in a variety of mediums.

ESSENTIAL QUESTIONS

PRIMARY: What is an AP Studio Art concentration? How can a student /artist formulate their ideas for their concentration? SECONDARY: How can a student /artist express their views and ideas to fill the AP Studio Art requirements? How can a student/artist manage their time? How does a student/artist select materials that best express their ideas?

MODULE ASSESSMENTS

Self-reflective sketch book / journal entries discussing their work and the process (self critiques).

Class room oral and/or written critique incorporating the elements and principals of design to evaluate how to look at a piece of art work.






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Student produced art work responding to student’s ideas.

Summer assignment critique.


Time management journal.

Teacher evaluation


identify student/ artist’s main idea for their concentration.

formulate a time management journal.

examine traditional and non-traditional materials that will best express the student/artist’s ideas.

differentiate between styles of art used in works from a variety of historical periods that may be reflected in their concentration.

apply domain specific terminology in a sketch book that encourages personal ideas, creative thinking, responses to art work from museums, galleries, art shows, other students, media, etc.


produce 12 original pieces of art reflecting a strong underlying visual theme.


apply materials in traditional and non-traditional ways to their art work.

apply styles of art from a variety of historical periods in their art.


participate in class critique applying domain specific terminology.

create advanced quality 2-D of art.


develop organizational skills

develop time management skills RESOURCES Page 353



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artworks.















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emotional, intellectual, and kinesthetic responses to artwork.





eras.



ENDURING UNDERSTANDINGS Artists produce a body of work to show their understanding of the Elements and Principles of Design using original ideas in a variety of mediums.

ESSENTIAL QUESTIONS

PRIMARY: What is the Breath section of the AP Studio Art Course? How can a student /artist formulate their ideas for this section? SECONDARY: How can a student /artist express their views and ideas to fill the AP Studio Art requirements? How can a student/artist manage their time? How does a student/artist select materials that best express their ideas?

MODULE ASSESSMENTS











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Teacher evaluation


identify student/ artist’s main idea for the breath section.






produce 12 original pieces of art demonstrating a variety of concepts and approaches in 2-D design.




self-critique using an advanced vocabulary of art.


create advanced quality 2-D and or 3-D pieces of art.


develop organizational skills

develop time management skills RESOURCES Page 353



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artworks.














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artwork.





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ENDURING UNDERSTANDINGS

Artists produce a body of work to show their understanding of the Elements and Principles of Design using original ideas in a variety of mediums.

ESSENTIAL QUESTIONS

PRIMARY: What is the Quality section of the AP Studio Art Course? How can a student /artist formulate their ideas for this section? SECONDARY: How can a student /artist express their views and ideas to fill the AP Studio Art requirements? How can a student/artist manage their time? How does a student/artist select materials that best express their ideas?

MODULE ASSESSMENTS







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Teacher evaluation


identify student/ artist’s main idea for the quality section.






produce 5 original top quality pieces of art no larger than 18 x 24 demonstrating the mastery of design, concept, composition and execution.






create advanced quality 2-D of art.


develop organizational skills. develop time manage ment skills.

RESOURCES Page 353



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BY THE END OF TWELFTH GRADE ADVANCED ART PROJECT


















artworks.














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artwork.





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ENDURING UNDERSTANDINGS

Each learning experience will be tailored to the needs of each Advanced Art Project student; however, the student will understand how to produce independent work(s) using the skills and content learned in Art Department courses previously enrolled.

RESOURCES Page 353






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River Dell Regional School District Department of Visual Arts Advanced Art Project Proposal Steps: 1. When a student would like to request an Advanced Art Project in Visual Arts, he/she must obtain a copy of the Request for Advanced Art Project Recommendation Sheet and packet from his/her guidance counselor. 2. The student writes a letter to describe the proposal for his/her Advanced Art Project. In this letter, the student should explain the proposed focus of the project, how he/she is capable of satisfactorily completing its requirements, and the culminating project(s) for assessment. 3. To accompany the letter, the student creates a portfolio of artwork. The student must complete the attached Student Portfolio Guideline sheet. 4. The student submits the Request Form, the proposal letter, and the portfolio to his/her current Art Department teacher. The current teacher completes the Analysis of Work Habits Rubric and attaches it to the packet. 5. The current Art Department teacher provides all three elements to the members of the Art Department Advanced Art Project Panel. The Art Department Panel reviews the completed packet with the student, and suggests any revisions to the proposal. The student takes suggestions and makes any alterations to the original proposal. If the panel accepts the student proposal, the student completes the Art Department Advanced Art Project Agreement form. This form, signed by the members of the Art Department Panel, requires the signatures of both the student and parent. 6. The signed agreement is then provided to the Principal. From this signed agreement, the Principal determines whether a request for placement in Independent Study is approved or is denied. That determination is presented to student’s counselor. The Principal informs the student of the determination. 7. Upon approval, the guidance counselor places the Independent Study in the student’s schedule. The guidance counselor maintains a copy of the agreement in the student’s file.



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River Dell Regional School District Department of Visual Arts Request for Advanced Art Project Recommendation Sheet Student__________________________________________ Grade __________ Student Signature____________________________________ Date ___________ Parent/Guardian Name_________________________________ Parent/Guardian Signature______________________________ Date __________ Guidance Counselor __________________________________ Current TV Studies Teacher____________________________ Level __________ Student should describe in detail the proposed focus for Advanced Art Project, how he/she is capable of satisfactorily completing the requirements and the culminating project(s) that will be used for assessment. A relevant portfolio as described on the Student Portfolio Guidelines sheet must accompany all Advanced Art Project Proposal letters. Attach your letter and portfolio to this form, then submit them to your guidance counselor as soon as possible. Only those requests that meet the requirements according to the directions provided above will be reviewed. NO REQUESTS WILL BE ACCEPTED AFTER __________________. Thank you.



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River Dell Regional School District Department of Visual Arts Student Portfolio Guidelines Students requesting Advanced Art Project placement must submit a portfolio for review. This portfolio is intended to demonstrate ability in production. Select artwork that best demonstrates your abilities. A minimum of two pieces of artwork is required and must be course related work. Return this form with the selected artwork. Sample 1: Please summarize what the artwork is, your process in the piece and why you have chosen it as your best representation of abilities: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ Sample 2: Please summarize what the artwork is, your process in the piece, and why you have chosen it as your best representation of abilities: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________



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Analysis of Work Habits Rubric

To Teacher: Please complete the following rubric regarding the prospective Advanced Art Project student. Your input about the student is an important element in this review.

STUDENT NAME: _________________________________________________

1 2 3 4 Score

Rarely completes class assignments

Occasionally completes class assignments (50%)

Frequently completes class assignments (80%)

Consistently completes class assignments (100%)

Rarely prepared for class

Occasionally prepared for class (50%)

Frequently prepared for class (80%)

Consistently prepared for class (100%)

Rarely prompt for class

Occasionally prompt for class (50%)

Frequently prompt for class (80%)

Always prompt for class (100%)

Rarely completes homework assignments

Occasionally completes homework assignments (50%)

Frequently completes homework assignments (80%)

Consistently completes homework assignments (100%)

Rarely asks for clarification when confused

Occasionally asks for clarification when confused

Frequently asks for clarification when confused

Always asks for clarification when confused

Rarely participates in class

Occasionally participates in class

Frequently participates in class

Consistently participates in class

Rarely cooperates with peers

Occasionally cooperates with peers

Frequently cooperates with peers

Consistently cooperates with peers

Rarely Organizes material or academic success

Occasionally Organizes material for Academic success

Frequently Organizes material for Academic success

Consistently Organizes material for academic success

Minimal respect for authority

Limited respect for authority

Frequent respect for authority

Respect for Authority

TOTAL

Teacher Name: __________________________________ Date: ____________



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Current Art Courses: _____________________________



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River Dell Regional School District Department of Visual Arts

Principal Review of Advanced Art Project Placement Request Student___________________________________ Date__________ Counselor_________________________________ Grade_________ ITEMS REVIEWED To Principal: Indicate source(s) of data reviewed. Teacher Commentary __________________________________________________________ Course History __________________________________________________________ Grade History __________________________________________________________ Other __________________________________________________________ Counselor Commentary __________________________________________________________ __________________________________________________________ Art Department Panel comments __________________________________________________________ __________________________________________________________ __________________________________________________________ Date of Student Interview: _________ In attendance: ______________________________________________ NO REQUESTS WILL BE ACCEPTED AFTER _____________. Principal’s determination: ________Approved ________Denied Principal’s Signature: _________________________________ Date: _________ This form should be returned to student’s guidance counselor for processing.



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River Dell Regional School District Department of Visual Arts

Advanced Art Project Agreement Student Name: _______________________________ Student Grade: ________ *Designated Teacher Supervisor:___________________________ Period: _______ Days: __________ Time: _________ Location: _____________ Duration of Course: Beginning Month_____________ Ending Month__________ Credit: Yes______ No_______ Amount: _______ Grading System: Pass/Fail_______________ Numerical Grade: _____________ (Must select one) Frequency: Quarterly__________ Semester ________ Yearly________ (Must select one) *The supervising teacher will assess the student based on the tasks as outlined in the Advanced Art Project proposal. Final culminating projects may be subject to change pending panel approval. Signature of Agreement Student: _________________________________________ Parent/ Guardian __________________________________ Teacher Supervisor_________________________________



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COMPUTER ART GRAPHICS



















artworks.















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ENDURING UNDERSTANDINGS - Graphic Images and Traditional Genres

Traditional genres found in the fine arts can be combined with graphic images and new technologies.

ESSENTIAL QUESTIONS PRIMARY: What is a graphic image? How are graphic images and traditional fine art similar? Different? SECONDARY: What are genres in the fine arts? How do contemporary digital artists combine the traditional and computer technology in new ways?

MODULE ASSESSMENTS Digital image using the elements and principal of design of a portrait,

landscape and/or still life.

Implementation of Adobe Illustrator software tools and techniques.

Participation in class critiques where opinions are expressed using appropriate aesthetic vocabulary.






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define genre as a class or category of artistic endeavor having a particular form, content, and technique. Study examples from contemporary artists working with new technologies and traditional genres.

create a computer generated image by learning the relevant software tools.

look at digital images with an informed critical eye and understand the difference and similarities between traditional fine art and graphic art.


create a portrait, landscape and/or still life using Adobe Illustrator.

use Adobe Illustrator’s Drawing Tools: Menu Commands, Selection Tools, Color Palette, Gradient Palette, Gradient Mesh, Layers Palette, and Brushes Palette.

use a digital camera and scanner upload and manipulate photographs.

make informed judgments and statements on the artist’s intentions and aesthetics of the work. This applies to their work and the work of other artists.

RESOURCES Page 353



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BY THE END OF TWELFTH GRADE COMPUTER ART GRAPHICS



















artworks.















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artwork.





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ENDURING UNDERSTANDINGS - Words, Graphic Symbols and Illustrations

Graphic artists frequently combine words, illustrations and symbols in their work. An illustration is an image such as a drawing, painting, or photograph that stresses subject more than form. The aim of an illustration is to clarify the meaning of a story, poem or piece of textual information (such as a newspaper article), traditionally by providing a visual representation of something described in the text. A logo is a graphic representation or symbol of a company name, trademark, abbreviation, etc., often uniquely designed for ready recognition.

ESSENTIAL QUESTIONS

PRIMARY: What is an illustration? What is the history of illustrations? SECONDARY: What are graphic symbols? How are images and symbols used to enhance the meaning of ideas and concepts?




http://www.reference.com/browse/wiki/Drawing

http://www.reference.com/browse/wiki/Painting

http://www.reference.com/browse/wiki/Photograph

http://www.reference.com/browse/wiki/Newspaper



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MODULE ASSESSMENTS

Digital illustration, using the elements and principal of design, of a story, newspaper article, poem and/or logo.




study history of illustrations and graphic symbols, from cave paintings, to hand painted books, to the printing press, and eastern block prints. Compare new contemporary artists, who use illustrations in graphic novels, video games and the internet.

create a computer generated illustration and/or graphic symbols by learning the relevant software tools.

look at illustrations with an informed critical eye and understand how illustrations and logos are an important part of the commercial art aesthetic.


create an illustration for a newspaper article, poem and/or logo.

use Adobe Illustrator’s Type Tools, Transform Tools, Filters, Effects.


RESOURCES Page 353



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artworks.














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artwork.





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ENDURING UNDERSTANDINGS - The Third Dimension

Graphic artists and designers are able to illustrate the illusion of depth and distance by using the mathematical system of linear perspective. Linear perspective is created by parallel lines that are drawn and radiate from one point (one-point perspective), two points (two-point perspective), or several points on a horizon line as perceived by a viewer in a fixed position.

ESSENTIAL QUESTIONS

PRIMARY: What is linear perspective? When was it created? How has it evolved? SECONDARY: How do graphic artists apply this mathematical system to their work? How can a computer aid in three-dimensional design? How can it help to create the illusion of 3-D space on a 2-D surface?






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MODULE ASSESSMENTS

Digital illustration, using the elements and principal of design, of a three-dimensional interior and/or exterior space.




study history of linear perspective from Roman wall paintings, to Arab mathematicians to Renaissance artists. Compare new contemporary artists, who use the rules of perspective in three-dimensional computer games.

create a computer generated three-dimensional image by learning the relevant software tools.

look at 3-D drawings with an informed critical eye and understand how the illusion of depth was a large step forward in Western art.


create a 3-D image of an interior or exterior space using the rules of linear perspective.

use Adobe Illustrator’s Transparency Palette, Smart Guides, Templates.


RESOURCES Page 353



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artworks.














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artwork.





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ENDURING UNDERSTANDINGS - Fantasy Images

Fantasy images belong to a genre that depicts mysterious or magic themes, creatures or settings. Dragons, wizards, fairies and other fantastical and mythical creatures are common features in fantasy art. Fantasy art can appear in many forms, and is sometimes called Neo-surrealism. Like the Surrealist of the early 20th century, contemporary Neo-Surrealism illustrates the complex and compound imagery of dreams or subconscious visions interlaced with ordinary objects in irrational space and form combinations.

ESSENTIAL QUESTIONS

PRIMARY: Why are fantasy images such a big part of popular culture and the internet? Why are they not considered fine art or “high culture”? Who defines “high” and “low” art? SECONDARY: What is the subject matter of fantasy art? Where does the artist gather inspiration?






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MODULE ASSESSMENTS Digital illustration, using the elements and principal of design, of an original

fantasy image.




study new contemporary fantasy artists that depict magical, mythological, supernatural themes, ideas, creatures or settings. Students will also look critically at graphic novels, science fiction, horror and other fiction art.

create a computer generated three-dimensional image by learning the relevant software tools.

look at fantasy art with an informed critical eye and understand the concept of high and low culture and how it relates to the consumption of mass media.


create an original fantasy image.

use Adobe Illustrator’s Swatches Palette, Stroke Palette.


RESOURCES Page 353

http://www.reference.com/browse/wiki/Magic_%28paranormal%29

http://www.reference.com/browse/wiki/Supernatural

http://www.reference.com/browse/wiki/Science_fiction

http://www.reference.com/browse/wiki/Horror_%28genre%29

http://www.reference.com/browse/wiki/Speculative_fiction



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artwork.





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ENDURING UNDERSTANDINGS - Everyday Design

The design of everyday objects shapes our lives, enabling it to function, not only in practical or utilitarian terms, but also in ways that give pleasure, meaning and significance to our lives. Computer graphics can be used to create for example, wood blocks prints used for patterns or cartoon-like graphics on T-shirts. Other objects can include and are not limited to books, gifts, tags, wearable art, posters, calendars, cards, mouse pads, bags and banners.

ESSENTIAL QUESTIONS

PRIMARY: What is form and function? Can art be useful? SECONDARY: How can everyday objects be commonplace and at the same time, extraordinary? Can mundane objects be beautiful and significant in our lives?






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MODULE ASSESSMENTS Original designs, using the elements and principal of design, for a beautiful,

utilitarian every day object.

Implementation of Adobe Illustrator software tools and techniques, scanners and printer.



study new contemporary Eastern and Western designers. View artwork from diverse cultures created in response to societal needs.

learning the relevant software tools and how to use the output equipment.

look at everyday objects with an informed critical eye and understand the concept of form and function in the creation of useful art.


create an original design for an everyday object.

use Adobe Illustrator’s Symbols Palette, Swatches Palette, Tessellations, Patterns.


RESOURCES Page 353



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artworks.














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artwork.





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ENDURING UNDERSTANDINGS - Power to the Pixel Digital paint programs are pixel-based and therefore resolution driven. Major topics such as, input / output issues and workflow will guide the creative thinking process throughout this course. Students will value the use and creative exploitation of digital and traditional techniques by understanding the strengths, weaknesses and differences inherent in each discipline. In order to create meaningful works of digital art, students must understand and master the mindset and creative strategies when using a paint program (Photoshop) versus a draw program (Illustrator). Photoshop (the main program used in ACAG) is a pixel-based software package. It is different from but closely wedded to Illustrator (used in CAG). Knowing and appreciating these differences will result in more intuitive and successful digital images.

ESSENTIAL QUESTIONS

PRIMARY: How can a paint program be used to advantage over, or in corroboration with, a draw program? SECONDARY: How does Photoshop’s interface, command structure and toolset differ from or augment that of Illustrator.






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MODULE ASSESSMENTS

Evaluation of digital images produced in accordance with project-specific rubrics.

Successful implementation of Adobe Photoshop software tools and techniques.


MODULE OBJECTIVES


define resolution and understand the difference between raster and vector based technology.

explore the relevance and fuctioanlity of the major tools, commands and techniques that panit and draw programs offer.

create digital images and master Photoshop’s basic toolset.

view and evaluate many images created with Photoshop and/or Illustrator.


use Adobe Photoshop to create various digital images by following teacher-directed tutorials, teacher generated handouts supplied via the River Dell Network or spontaneously created as assigned.

use and understand Photoshop tools such as Marquee, Lasso, Magic Wand, Move, Paintbrush, Shapes, Eye Dropper, Gradient, Crop, etc.

use and understand Photoshop commands such as Variations, Color Balance, Image and Canvas size changes, etc.

use and understand Photoshop techniques such as QuickMask, Layer Mask, Layer Blending, Opacity, Palettes, FX, etc.

use the internet for gathering reference and demonstration images.

use and understand methods and reasons for sharing files between Illustrator and Photoshop.

organize, label and submit files for grading and feedback via school network drives and the teacher drop box.

RESOURCES Page 353



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them as stimulus/inspiration for corresponding visual artworks. 1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced world

cultures throughout history. 1.2.12.A.2 Justify the impact of innovations in the arts (e.g., the availability of music














artworks.















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artwork.





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ENDURING UNDERSTANDINGS - Design

Computer imaging software allows artists to readily design, represent and manipulate many permutations of any given idea with ease and accuracy. Photoshop affords the luxury of non-destructive trial and error, which encourages students to approach their work fearlessly and with a new and dynamic vision. There is no one illustration or logo that satisfies all who view it. Art is all about communication, and design is the grammar of that visual Esperanto. Photoshop, in tandem with Illustrator, can be used to change or re-interpret images to tell a new story or clarify an existing one. The challenge of redesigning existing established iconography or inventing new ones expands the creative mind and lifts the level of intellectual discussion regarding just what it is we are seeing.

ESSENTIAL QUESTIONS

PRIMARY: How do images communicate via elements of design? SECONDARY: How has digital technology changed and facilitated the way design is used in contemporary society?






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152

MODULE ASSESSMENTS

Evaluation of digital images produced in accordance with project-specific rubrics.



MODULE OBJECTIVES


view, evaluate and dissect various images focusing on the use of design in their successful implementation.

use templates and guides to establish a grid upon which a design strategy can be built.

explore the use of color as a communicative tool for digital designers.

appreciate the value of design (and redesigning) in the communication of ideas.

establish guiding principles (not rules) for using design effectively.

evaluate the appropriateness of an image for its intended final output usage.


develop a strategy for creating or redesigning a logotype, or package of related images based upon research, aesthetics, logic and functionality.

create multiple variations on an original image via multiple Layers, Layer Groups, and blending operations.

offer constructive criticism of the work of their colleagues.

use Type as a design element in conjunction with any and all of the mastered tools in Photoshop.

RESOURCES Page 353



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artwork.





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ENDURING UNDERSTANDINGS - Mirrors and Windows

Inasmuch as every work an artist creates is a form of self portrait, no other work speaks to one’s individuality as a true attempt at representing some aspect of his or her persona or personal philosophy. Digital photography in conjunction with Photoshop and/or Illustrator opens new avenues for expressing one’s perception of, or reflection upon, the world as he or she experiences it. Extensive use and awareness of Filters, Layers, Opacity, Masking, Color spaces and multiple imaging techniques allow pre-conception of a final image or experimentation on the fly. This approach is crucial in using and exploiting Photoshop and Illustrator to their fullest potential. Even traditional drawing, painting and writing skills can be incorporated into these works via scanner or digital stylus. The result is more creativity, more self-confidence and more enduring imagery.






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155

ESSENTIAL QUESTIONS

PRIMARY: What is a self-portrait? SECONDARY: How can one exploit the power of digital imaging software and hardware technology creatively express one’s sense of self?

MODULE ASSESSMENTS

Evaluation of dynamic digital self-portraits produced in accordance with project-specific rubrics.

Successful implementation of Adobe Photoshop and/or Illustrator software tools and techniques.


MODULE OBJECTIVES


research, compare and contrast self-portraits from the entire spectrum of art history.

evaluate the influence of technology in the production of these images.

explore the tools Photoshop has to offer for digital photographic enhancement.

understand the resolution and output issues involved with digital images.

incorporate type and text into a personal visual representation of “self”.


use a digital camera or scanner to input photographic or drawn images for use in self-portraiture.

use Photoshop’s tools, commands and techniques to expand upon and enhance the initial images.

use multiple exposures, 3-D viewing techniques, masking, layers and image importing strategies to maximize creativity in fulfilling the original self-portrait concept.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Art, Inc. Though many artists may choose to work alone, it is important to be able to deal with other artists in collaboration on a given creative project. Students will be given several teacher-generated projects in which they will be required to work with one or two colleagues to produce a series of images. These projects may be commercial, community driven or editorial in nature, and afford a taste of real world art- team experience. Digital creativity tools and technology allow for a type of brainstorming that is more productive than traditional methods. Photoshop, in tandem with other Creative Suite applications and programs such as Inspiration, facilitates this kind of thinking. As a result, students can share and develop ideas with ease and efficiency. Projects can be divided into separate tasks, expediting an organized and clear delineation of each student’s role in the assignment. Cooperation among the artists is essential in achieving the completion of the assigned task with creativity and within the allowed deadline.

ESSENTIAL QUESTIONS

PRIMARY: How can digital imaging techniques and file sharing technology be used to facilitate small group project production?






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SECONDARY: How can group projects be successfully presented to an audience for evaluation?

MODULE ASSESSMENTS

Effective use of Photoshop and any and all other digital imaging software to produce quality work that meets the assigned problem’s criteria


MODULE OBJECTIVES


work in small groups in a productive and creative manner.

create Inspiration outlines and digital mock-ups, sketches that satisfy the assigned problem with style and consistency.

write about and orally critique the work of their colleagues.

research a given topic in order to make informed creative decisions.


use Inspiration to aid in organizing thoughts, ideas and projects.

use Photoshop tools and techniques to create and share artwork that is part of a larger group of images.

take responsibility for part of a larger project and work with others to achieve a unified final product under deadline conditions.

create artwork appropriate for the final output requirements of the project. RESOURCES Page 353



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artworks.














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eras.


Through a developed understanding of aesthetics, the elements and principles of art and traditional and technology-driven techniques, students become critical thinkers, who combine visual literacy and various mediums to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - The Journal: Art is Everywhere

Art can be found everywhere.

ESSENTIAL QUESTIONS

PRIMARY: What is art? How do artists record their experiences? SECONDARY: What is a journal? How can found objects stimulate ideas?

MODULE ASSESSMENTS Journal

Found object alphabet art


understand how artists use journals to record experiences.

apply knowledge of the broad scope of journals to their own journal.

understand how journals reflect the student’s culture.

understand how found objects can inspire art making.






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create an on-going journal.

create art from found objects using technology-driven and traditional methods.

demonstrate how visual art and written work can be combined.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - The Dot

The dot is a building block of art.

ESSENTIAL QUESTIONS

PRIMARY: What is a dot? What is a pixel? SECONDARY: How is the dot used in traditional art? How is the dot used in technology-driven art?

MODULE ASSESSMENTS Work on the computer and on paper and/or canvas board that uses the dot as

its basic structure.

Written assignments that describe and define the dot.

Pinhole cameras and photos.


identify how the dot is used in the student’s work and the work of others.






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describe the dot as a basic element of any art.

compare and contrast traditional and technology-driven art as they relate to the dot.


create traditional and technology-driven work that uses the dot.

use appropriate vocabulary for in-class and written critiques.

create pinhole cameras and process the prints. RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Line & Plane

Line and plane are building blocks of art.

ESSENTIAL QUESTIONS

PRIMARY: What is a line? What is op art? What is a plane? SECONDARY: How is a line a continuation of a dot? How is a plane a continuation of line?

MODULE ASSESSMENTS

Op art created on the computer and by traditional techniques.

Written assignments that describe and define line.

Written assignments that describe and define plane.

Work that uses the plane, employing 3-D programs for the computer and/or traditional techniques.


view examples of op art.

identify different varieties of line.






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learn to create op art on the computer and by traditional techniques.

identify how plane is used in art.

learn to create work that uses plane.

MODULE SKILLS


create op art on the computer and by traditional techniques.

create work using descriptive line.

create work using plane.

apply knowledge of line and plane in oral and written critiques.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Problem-Solving Methodologies

There are problem-solving methodologies including mechanical techniques that can aid the artist.

ESSENTIAL QUESTIONS

PRIMARY: What mechanical techniques can the artist use in technology-driven and traditional art? What experimental techniques can be used by the artist for problem-solving? SECONDARY: How do artists use graphing?

MODULE ASSESSMENT Graphing of images.

Creation of work using experimental techniques.


demonstrate understanding of graphing.

demonstrate accuracy in measurement and color application.

apply experimental methodologies in problem-solving.






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MODULE SKILLS


graph a small segment of a larger image.

enlarge the segment accurately.

work cooperatively to create a total image.

create work using experimental methodologies. RESOURCES Page 353



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ENDURING UNDERSTANDINGS - The History, The Science, The Magic

Flash’s digital prowess is impressive, but its roots are in traditional frame by frame animation that has been practiced in one form or another for centuries. This module will take students on a journey through the fascinating history of the moving image. Even cave paintings show evidence that artists were already struggling with the frustration of showing motion with still images. Students view Flash animations daily, (on the web, on their phones, in movies, in ads, in kiosks) but until taking this course, they may not have fully understood the machinations behind the scenes that make their world come alive.

ESSENTIAL QUESTIONS

PRIMARY: How has the art of animation evolved to its current state? How is the illusion of animation accomplished? SECONDARY: How does digital animation differ from traditional methodologies? Where is animation being used in contemporary society?






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MODULE ASSESSMENTS

Rubrics developed to evaluate animations created in response to teacher generated handouts

Implementation of Flash software tools and techniques.


MODULE OBJECTIVES


understand the long and ingenious history of man’s attempts at creating artificial motion via still images.

understand the thinking that goes into creating the various forms of animation.

observe and evaluate animations in class and on line.

create simple animation toys such as flip books and thaumatropes.


make connections between different strategies for producing the illusion of motion via still images over the ages.

use the internet to research the history of animation.

produce a simple example that demonstrates the way traditional and digital animation techniques differ.

explain how the persistence of vision produces the illusion of motion via still images.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Tools of the Trade

Establishing a distinctive style for an animation is accomplished through mastery of its most basic functions. Drawing and developing an efficient workflow strategy in Flash takes practice. Once the standard practices and procedures are understood, the creative process can flourish. Flash has a unique drawing environment, but offers many ways to assist the animation student in working efficiently and intuitively.

ESSENTIAL QUESTIONS

PRIMARY: How are digital animation tools used to facilitate animation production? SECONDARY: How does drawing with Flash differ from other digital drawing tools?

MODULE ASSESSMENTS

Rubrics for projects created as per teacher-generated handouts

Effective use of Flash as a drawing and basic animation tool







APPROVED May 2015

176

MODULE OBJECTIVES


familiarize themselves with the Flash user interface and tools.

explore how Flash is used on the internet.

understand the basic steps that need to be followed to create a simple animation.


use Flash to draw objects, simple characters and environments.

create simple animations with Flash.

use layers, symbols and grouping to organize animation elements.

RESOURCES Page 353



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ANIMATION I



















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ENDURING UNDERSTANDINGS - What would Disney do?

Walt Disney thought like an animator. He knew how to tell a story in a relatively short time span, yet keep it organized, interesting and entertaining. He and his crew were able to do this by creating a storyboard, a kind of comic strip-like synopsis of what is about to unfold. The storyboard must then be applied to the timeline, the framework that holds the entire animation together. Animators must always think in frames per second. Through the use of Layers, Libraries, Symbols, Sprites and specialized computer enhanced drawing techniques such as tweening, Flash lets animators spend more time creating and less time doing housework.

ESSENTIAL QUESTIONS

PRIMARY: What are the essential components of a storyboard? SECONDARY: How is the timeline used to make animations come alive?

MODULE ASSESSMENTS

Evaluation of storyboards produced in accordance with project-specific rubrics.






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179

Effective use of Flash tools and techniques as per assignments based on teacher generated handouts


MODULE OBJECTIVES


view, evaluate and dissect comic strips as storyboards.

create a storyboard template.

lay out a basic story line for an animation.

explore the use of text in a silent animation.


use templates and guides to develop a story line and create a storyboard.

evaluate the flow of a storyboard for continuity.

establish a beginning, middle and end to the story being told.

use tweening and frame by frame animation techniques.

use libraries, symbols and instances.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Once upon a time . . . Interactivity keeps the viewer involved in an animation. Buttons, sounds, sprites and other visual clues as to what to do and where to look, have been used to great effect on the internet, in games and on kiosks. One of the most effective uses of this interactivity is by allowing users to choose alternate endings for a story. This assignment requires students to create an interactive fairytale in which the user/viewer of the animation is allowed to alter the story’s flow by clicking on buttons or dragging objects on the screen.

ESSENTIAL QUESTIONS PRIMARY: What role does interactivity play in a creating a successful animation project? SECONDARY: How does one organize and balance all of the variables that make up even the simplest of animations?

MODULE ASSESSMENTS

Rubrics developed to evaluate student created animations.

Use of Flash tools and techniques to enhance interactivity






APPROVED May 2015

182


MODULE OBJECTIVES


create interactive animations based upon a storyboard.

coordinate the technology required to produce these animations.

incorporate imported images such as photos and other types of digital imagery.

understand the resolution and output issues involved in animation production.


create or import images for use in animations.

use Flash’s tools, commands and techniques to tell a story, make a simple game or create an interactive animation.

troubleshoot animations they create.

RESOURCES Page 353



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BY THE END OF TWELFTH GRADE ANIMATION II


















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ENDURING UNDERSTANDINGS - RD Comix

Animation is the art of storytelling. The creation of an original, interactive “Comic Book” forces students to think about telling a story in a new way. This challenges students to call upon all of the skills and strategies they have nurtured over the course of studying Animation 1. Design issues, writing skills, digital drawing and painting skills, creativity, storyline development, color theory, historical references and accurate output all come into play in the creation of this two person project.

ESSENTIAL QUESTIONS PRIMARY: How can animation bring new life to an art form that has traditionally been either hard copy (comic books) or fully animated (cartoons)? SECONDARY: How does user interface enhance or hinder the flow of an animation?

MODULE ASSESSMENTS

Rubrics for small group project completion

Effective use of Flash and other digital imaging software to solve the assigned problem






APPROVED May 2015

185


MODULE OBJECTIVES


work with a partner in a productive and creative manner.

create Inspiration outlines and digital images that satisfy the assigned problem with style and consistency.

produce quality output under deadline conditions.


use Inspiration to aid in organizing thoughts, ideas and projects.

use Photoshop tools and techniques to create and share artwork that is part of a larger group of images.


research their given topic in order to make informed creative decisions.

understand the final output requirements for the given project and create their artwork accordingly.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - A picture is worth 1k words

Just as a picture is said to be worth a thousand words, it is also true that a single word can inspire a thousand pictures. Programming images to move and react to user input via a specialized language may be foreign to most artists, but animators must learn to bridge the gap between word and image in order to fully tell their story. Flash allows students to communicate with their images and viewing audience with an English-like language called ActionScript. Though limited use of this language is applied in Animation 1, the more sophisticated projects required for Animation 2 demand the subtlety and power that a programming language allows.

ESSENTIAL QUESTIONS

PRIMARY: What is ActionScript? SECONDARY: How is ActionScript used to control different aspects of Flash animations?






APPROVED May 2015

188

MODULE ASSESSMENTS

Evaluation of ActionScript implementation in accordance with project-specific rubrics.


MODULE OBJECTIVES


understand ActionScript’s function.

use ActionScript to perform different tasks and functions within an animation.

gain a basic knowledge of ActionScript’s syntax.


use ActionScript to navigate within an animation.

use ActionScript to give interactivity to various elements of an animation.

create a simple game using ActionScript.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Publish or perish! Flash animations can play on many devices and in numerous venues. A single animation can be output to anything from a cell phone to a movie screen. This procedure is called publishing. It is a process that maximizes and compresses a Flash movie to accommodate the idiosyncrasies of any given output device. Of course one must think about the final output before creating the animation itself so as to take the greatest advantage of its strengths. In this module, the input/output thinking process is examined and utilized.

ESSENTIAL QUESTIONS

PRIMARY: How does final use determine how an animation’s content and makeup should be structured? SECONDARY: What is the procedure for publishing a Flash animation?

MODULE ASSESSMENTS

Rubrics developed to evaluate student created animations.

Use of Flash’s publishing function






APPROVED May 2015

191


MODULE OBJECTIVES


understand the benefits and pitfalls of publishing an animation.

maximize content for final output.

understand the rules of copyrights.

experiment with the many options available with Flash’s publishing function.


publish their animations for playback on various media.

use of Flash’s tools, commands and techniques to fine tune their animations.

publish their work as a digital portfolio on a DVD, web page, etc.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Synergy Studio

Even the simplest of professional animated cartoons or movies requires a team of dedicated and talented individuals. The entire class will put together a group project that will be determined, and executed by the group as a team. To maximize efficiency and creative quality, students will choose a specialty area and serve in that role. The final work must be published for several different media playback venues and presented to other animation students via digital projection.

ESSENTIAL QUESTIONS:

PRIMARY: How can digital imaging techniques be used to facilitate a large group project production? SECONDARY: What is the role of the project coordinator? How can Inspiration be used to facilitate Flowchart scheduling?

MODULE ASSESSMENTS

Rubrics for group project completion and presentation

Effective use of Flash and any and all other digital imaging software to solve the assigned problem






APPROVED May 2015

194


MODULE OBJECTIVES


work in groups in a productive and creative manner toward a common goal.

integrate separate parts of a project into a homogeneous final presentation.

produce quality output under a deadline.



research a given topic in order to make informed creative decisions and contribute meaningful content.

understand the final output requirements for the given project and create their artwork accordingly.

RESOURCES Page 353



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195

BY THE END OF TWELFTH GRADE MEDIA AS MESSAGE


















artworks.














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ENDURING UNDERSTANDINGS - The Lorax and the Power of GroupThink!

The history of advertising is as enthralling and fraught with emotion and drama as the history of mankind. It’s likely that commerce as we know it was born the moment one cave dweller realized that he had something someone else wanted. The ensuing millennia has brought more sophisticated methods for marketing products and services but the basic concept of creating a need and filling it hasn’t changed a bit. The psychology and strategy involved in a full blown ad campaign has all the earmarks of a major war effort. The history of advertising is forever intertwined with the history of human interaction. History has revealed the art of selling to be largely an exercise in the selling of art. It’s a visual world and advertisers have always taken that knowledge right to the bank. This module introduces all of the major terminology as well as tried-and-true methodologies that companies have used to get the public to buy their wares. From the days of snake oil salesmen hawking their goods from the back of a covered wagon to the personalized ads sent directly to a cell phone, it’s evident that the more things change, the more they remain the same!






APPROVED May 2015

197

ESSENTIAL QUESTIONS

PRIMARY: How has the history of advertising paralleled the history of art? SECONDARY: How has advertising taken advantage of human behavior? What is the role of art in advertising and society in general? What is the role/responsibility of the media?

MODULE ASSESSMENT Analysis of the message being sent by advertisements spanning several

centuries according to a rubric we will develop in class.

Dissection of old and new ads to see how composition, color, textual content and form shape their messages.

Participation in class, critiques regarding human behavior and advertising where opinions are expressed using appropriate aesthetic and industry vocabulary.

MODULE OBJECTIVES


define basic terminology used in advertising and art as it applies to the media.

explore how the history of the media has shaped and been shaped by contemporary culture.

create and compare mock ads and examine the styles of those from different eras.

view and evaluate modern ads and determine their effectiveness.

assess the true meaning of ads via group discussion and analysis.


use Adobe Photoshop and/or Illustrator to create various digital images by following teacher-directed tutorials, teacher generated handouts supplied via the River Dell Network or spontaneously created as assigned.

use and understand Photoshop tools such as Marquee, Lasso, Magic Wand, Move, Paintbrush, Shapes, Eye Dropper, Gradient, Crop, etc.

use and understand Photoshop commands such as Variations, Color Balance, Image and Canvas size changes, etc.

use and understand Photoshop techniques such as QuickMask, Layer Mask, Layer Blending, Opacity, Palettes, FX, etc.

use the internet for gathering reference and demonstration images.

use and understand methods and reasons for sharing files between Illustrator and Photoshop.

organize, label and submit files for grading and feedback via school network drives and the teacher drop box.

use Photoshop to scan images from hardcopy sources.



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ENDURING UNDERSTANDINGS - Truth in Advertising (and Other Oxymorons) Computer technology has had a profound influence on the way advertising and the art that accompanies it are presented to potential customers. Ironically, as the technology has grown more inclusive the message has attempted to become more personal. Indeed, the customers run ads on their own “personal pages” on forums like Facebook and MySpace. The unfortunate victim amid all the hoopla of the digital age has been the truth itself. While its definition is stretched to new and uncomfortably awkward limits, attorneys abound to make sure that no one has been “misled.” The irony leaves one nonplussed and frustrated. Photoshop, in all its digital majesty, has in a manner of speaking, changed the way we view reality!






APPROVED May 2015

200

ESSENTIAL QUESTIONS

PRIMARY: How do images communicate via elements of design? SECONDARY: How has digital technology changed and facilitated the way design is used in contemporary society? How do you determine if something you read, see or hear is true?

MODULE ASSESSMENT Evaluation of digital images produced in accordance with project-specific

rubrics.



MODULE OBJECTIVES


seek out international ads to compare and contrast visual and literal styles.

work in pairs to create a series of convincing ads for a real and made-up product.

discuss the meaning of “truth” and its ethical implications as it is used in advertising.

view and evaluate modern ads and relate them to those of the past.

explore the use of disclaimers and legal issues in advertising.


develop a strategy for creating or redesigning a logo, or package of related images based upon research, aesthetics, logic and functionality.

create multiple variations on an original image via multiple layers, layer groups, and blending operations.

offer constructive criticism of the work of their colleagues.

use Type as a design element in conjunction with any and all of the mastered tools in Photoshop.

demonstrate the use of product branding and impulse purchase visual strategy.

RESOURCES Page 353



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MEDIA AS MESSAGE


















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ENDURING UNDERSTANDINGS - The Mall: Media Paradise

Everything I learned about life, I learned at the mall. Nowhere else on earth is the human drama more evident than the place where thousands of strangers come together on a daily basis to spend (waste ?) time and money on a daily basis. Experiencing the embrace of the mall’s ever-welcoming automatic doors can quickly change one’s frame of mind from stressed to relaxed. Senses are instantly awakened to the sights, sounds and smells of the shops, food court and likeminded populace: electronic gadgets and racks of clothes just waiting to be touched and tried! The mall is a carnival of consumerism, an ongoing experiment in human interaction and the highpoint of the evolution of the ancient art of bartering.

Students constantly deal with the paradoxes of being cool and being responsible, of instant gratification and earning your keep, of growing up and growing old; good versus evil, individual versus the crowd, work versus play . . . are all observable at the mall. The mall is a world within a world, a society within a society, a mass mingling of target groups, and cash cows waiting to be wooed and coddled. The mall is a place where browsing and carousing are honed to a fine art; a haven for young minds and bodies where the messages are plentiful, the media sources are ubiquitous and the parking is free!






APPROVED May 2015

203

ESSENTIAL QUESTIONS

PRIMARY: What is the role of art in the overall purpose of the mall? SECONDARY: How and why does shopping at the mall differ from online shopping? How are media messages altered for different venues? How is signage used to lure target audiences? What roles do logo and package design play in establishing vendor branding? Why do you go to the mall?

MODULE ASSESSMENT Evaluation of dynamic digital design-related works produced in accordance

with project-specific rubrics.

Successful implementation of Adobe Photoshop and/or Illustrator software tools and techniques.

Participation in class critiques and discussions where opinions are expressed using appropriate aesthetic and technological vocabulary.

MODULE OBJECTIVES


research the way art is used to promote a commercially successful environment.

evaluate the influence of technology in the production of these images.

explore the way multimedia is used to enhance a positive mindset.

understand the use of graphics and enhance product promotion.

experience the art environment that a mall attempts to create.


visit a mall and local businesses to conduct group research and surveys.

use Photoshop and hands-on materials to create point of sale materials for items researched at the mall.

use digital photography to document and enforce advertising theories discussed in class.

create ads for several forums to compare the effective use of media.

recognize the value of point of purchase graphics and design.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Advertainment: The World of iMedia! If Descartes were alive today and wanted to relate to the masses, he might proclaim, “iThink therefore iAm.” Thanks to Apple Computer’s ad-campaign masterpiece for the iPod, placing a ubiquitous lower case “i” in front of any other word when naming a new product gives that product magical properties and “must have” status. The “i” (which originally stood for internet on the iMac) has come to signify a personalized media device. So iPhones, iPods, iTunes, and the like have underlined the importance of individualized advertising focus. The “I” has come to mean “I”, as in “me”.

With Google gathering info on every living being and digital cookies littering every internet-connected computer, advertisers are in a feeding frenzy over who, how and when to target their next customer. The Gen Xers also need to be entertained as they consume (i.e. “Smells like Teenage Spirit”.) Accordingly, diverse forms of media have been synergistically combined into a contemporary commercial wonderland. In this Brave New Media-driven world everyone is selling or buying, producing or consuming, 24/7/365! Long live the Commercialopolis!

ESSENTIAL QUESTIONS

PRIMARY: What influence has the internet had on the way products are marketed, sold and developed?






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SECONDARY: How can students working in groups create projects that successfully address the needs of a targeted audience? What strategies can be used to effectively present and improve new products? How do ethics and privacy issues weigh against freedom of artistic creativity?

MODULE ASSESSMENT Rubrics for group project completion.

Effective use of the Adobe Creative Suite and all other available digital imaging programs to produce quality work that meets the assigned project requirements.


Presentation of media-message portfolios.

MODULE OBJECTIVES


work in small groups in a productive and creative manner.

create Inspiration outlines, digital and real product and display mock-ups that satisfy the assigned project with style, imagination and consistency.

write about and orally critique the work of their colleagues.

research a given topic in order to make informed creative decisions.

work as a class-wide group to produce all aspects of a board game based upon the Media industry (as a form of review for the course).

nominate and honor the best/worst ads of the year.


work in virtual Ad Agencies to produce ad campaigns using the Adobe Design Suite.

use FLASH to produce push ads for cell phones.

use Photoshop, Illustrator, et al. to produce print and online ad materials.

use Dreamweaver to create a web page for a given product.

use InDesign to produce point of sale mockups.

create full size and scale models of product packaging and display architecture.

RESOURCES Page 353



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BY THE END OF TWELFTH GRADE THE DIGITAL PAGE


















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ENDURING UNDERSTANDINGS - Digital Page: Newsletter

Hundreds of thousands of newsletters on every imaginable subject are produced each year. A newsletter is an excellent tool to convey information, get a message out and build relationships. Newsletters are printed through traditional correspondence or delivered electronically via email (e-Newsletters).

ESSENTIAL QUESTIONS

PRIMARY: What is the concept and content of the work? SECONDARY: Who is the audience? How will you convey information that is clear, concise and vivid?

MODULE ASSESSMENTS

A newsletter using the elements and principals of design.

Implementation of Adobe In Design software tools and techniques.







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examine the history of desktop publishing and the internet, beginning in the mid 1980’s to the present time. Companies such as Apple, Aldus and Adobe will be explored.

create a computer generated newsletter by learning the relevant software tools.

look at digital images with an informed critical eye and understand the difference and similarities between print media and electronic correspondence.


create a four page newsletter using Adobe In Design. Image editing applications like Adobe Photoshop will also be used.

set up the basic document, edit text, add color, place graphic elements and add photos. Students will also learn how to construct a table, set up styles and print the work or export it for digital delivery.


RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Newspaper

What works and what doesn’t in newspaper design? How can design help readers navigate through the stories? Good design serves readers by presenting well-edited information clearly. Also, in a visually savvy world, a poorly designed page can hurt credibility. Design is about how to tell the stories and how to package the photos and other information in a paper. The best designed newspapers have consistency, boldness, willingness to take informed risks, and sophistication.

ESSENTIAL QUESTIONS

PRIMARY: What works and what doesn’t in newspaper design? SECONDARY: How is design related to readership?

MODULE ASSESSMENTS

A redesigned newspaper layout, using the elements and principals of basic design.








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examine several newspapers and look for the specific traits of the best-designed newspapers – large and small.

redesign a newspaper layout by learning the relevant software tools.

look at newspapers with an informed critical eye and understand how good design affects readership.


redesign an existing newspaper layout in order to enhance readership and present the information more clearly.

know how to use rules, boxes, screens, white space, typography, photos and graphics.

make informed judgments and statements on the designer’s intentions and aesthetics of the page. This applies to their work and the work of other designers.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Magazine

Magazine and page layout is about the arrangement and treatment of elements or content on a page. With print media, elements usually consist of type or text, images, and graphics. Page layout has expanded to the digital page as well as print media. Since the arrival of the internet, the electronic page is now interactive with multimedia in addition to text and still images. Today, there is much overlap between visual communications and information technology in print and electronic media.

ESSENTIAL QUESTIONS

PRIMARY: What is visual communications and information technology? How do they work together? How are print media and the electronic pages similar? Different? SECONDARY: What are the elements of a page layout? What are grids and templates and how are they used in magazine design?

MODULE ASSESSMENTS

A magazine layout, using the elements and principal of design, text, images and graphics.




http://en.wikipedia.org/wiki/Typography

http://en.wikipedia.org/wiki/Image

http://en.wikipedia.org/wiki/Electronic_page

http://en.wikipedia.org/wiki/Multimedia

http://en.wikipedia.org/wiki/Visual_communication

http://en.wikipedia.org/wiki/Information_technology



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learn that beginning from early illuminated pages in hand-copied books of the Middle Ages and proceeding down to intricate modern magazine and catalog layouts, proper page design is important in effective visual communications.

create a magazine layout by learning the relevant software tools.

look at magazine layouts with an informed critical eye and reflection upon art, design, culture and mass media.


create a magazine layout that presents a balance of content, rules of composition and visual impact to the viewer.

know how to use rules, grids, templates, text, photos and graphics with InDesign.


RESOURCES Page 353

http://en.wikipedia.org/wiki/Illuminated

http://en.wikipedia.org/wiki/Middle_Ages

http://en.wikipedia.org/wiki/Art

http://en.wikipedia.org/wiki/Culture



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ENDURING UNDERSTANDINGS - Web Design

The intent of web design is to create a web site or collection of electronic files that presents information to the user in the form of web pages. The information can be published by a web browser or other web-based graphic user interfaces. The planning of a web site includes conceptualization, development, and execution of electronic media via the internet. The most important elements of a web page are content, user-friendliness, the design of text and images and accessibility.

ESSENTIAL QUESTIONS PRIMARY: What is web design? What are the most important elements? SECONDARY: Why is the attention to content so significant? Why is consistency of design so important in web pages?

MODULE ASSESSMENTS

Design of web pages that use the elements and principal of design.





http://en.wikipedia.org/wiki/Web_site

http://en.wikipedia.org/wiki/End-user_%28computer_science%29

http://en.wikipedia.org/wiki/Web_page

http://en.wikipedia.org/wiki/Web_browser

http://en.wikipedia.org/wiki/Graphical_user_interface

http://en.wikipedia.org/wiki/Electronic_media



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study the beginnings of the internet in the early 1990’s and the development of web sites and the new language of visual communication and information technology.

create several web pages by learning the relevant software tools.

look at web design with an informed critical eye and understand how this new information system has had a huge impact on contemporary society.


design several web pages by using templates and style sheets.

combine logos, photographs, text and graphics on a home page.


RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Adding Interactivity

A successful web site has content that is relevant, the graphics and text are consistent, and is user-friendly. The interface and navigation must be simple and reliable. This interactivity is created through the observable content (page layout, user interface, graphics, text, and audio), and also with tables, links, style sheets, and navigation menus. Lastly, the web site must be easy to find via most, if not all, major search engines and advertisement media.

ESSENTIAL QUESTIONS

PRIMARY: How do you create interactivity in a web site? What is user-friendliness and why is it so important in navigating the web site? SECONDARY: How can text, images, links and menus be organized in a clear and consistent manner? How can a web site be easy to find through major search engines and advertisers?

MODULE ASSESSMENTS

Design of web pages that use the elements and principal of design to enhance interactivity and user-friendliness.

Implementation of Dreamweaver software tools and techniques.





http://en.wikipedia.org/wiki/Page_layout

http://en.wikipedia.org/wiki/User_interface

http://en.wikipedia.org/wiki/Graphics

http://en.wikipedia.org/wiki/Writing

http://en.wikipedia.org/wiki/Audio



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study the importance of a target audience. The audience is the group of people who are expected to visit the website – the market being targeted. These people will be viewing the website for a specific reason and it is important to know exactly what they are looking for when they visit the site.

learning the relevant software tools and how to use the output equipment.

look other web sites with an informed critical eye and evaluate the content, design, consistency, navigation and user-friendliness of the site.


add interactivity and navigational tools to their web pages.

use Dreamweaver’s CSS style sheets, links and menus.


RESOURCES Page 353



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BY THE END OF TWELFTH GRADE iFOLIO


















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ENDURING UNDERSTANDINGS - Understanding E-portfolios and Identifying Artifacts for Inclusion

E- portfolios are electronic collections that show a person’s skills. Artifacts are the items that show a candidate’s growth in a particular area. Artifacts may be sample writings, video or sound files. Artifacts are carefully chosen by the candidate to highlight a particular strength to the viewer.

ESSENTIAL QUESTIONS PRIMARY: What is the scope, purpose and value of an e-portfolio? What is an artifact? What is a “Statement of Intention”? SECONDARY: How can we present a collection of artifacts to reflect our abilities and experiences to a targeted audience? How do we determine our intention and alert viewers of it?

MODULE ASSESSMENTS

Self-reflective journal entries on artifact choice

Student produced organizational chart of indexed artifacts. (ie. Inspiration diagram of possible items for inclusion)






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Draft copy of personal statement of intention (ie. Introduction of student e-portfolio with specific mention of its’ purpose)

MODULE OBJECTIVES


understand the purpose and proper use of an e-portfolio.

discuss the evolution of electronic media and its’ value.

discuss potential forms of media used for different artifacts.

understand basic structure of the e-portfolio.

outline individual e-portfolio with purpose in-mind (ie. College application supplement or job-specific resume of experience and skill)

identify individual artifacts for inclusion.



determine individual purpose for e-portfolio creation.

understand the purpose of a Statement of Intention.

use prewriting to create individual statement of intention.


create Diagram/Outline of individual e-portfolio structure.

choose artifacts for inclusion.

submit prewriting work and draft copies of individual “Statement of Intention” for teacher review.

write journal entries on the topic of choosing artifacts that answer the purpose of your e-portfolio.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Digitizing Artifacts

Electronic Portfolios require digitized copies of artifacts. Hard copy can be digitized through software applications and various forms of hardware such as scanners and digital cameras. Digitized artifacts can easily be published for electronic viewing.

ESSENTIAL QUESTIONS PRIMARY: What is the purpose of creating digital versions of hard copy? How can we digitize hard copy? SECONDARY: When digitizing hard copy, what must we consider in relation to file extensions, file formats and compatibility? How can we efficiently manage our digital files?

MODULE ASSESSMENTS

Student created file management system for digitized artifacts

Collection of digitized artifacts as required by individual organizational chart (ie. Inspiration diagram with attached links)






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discuss file management and proper file titling.

determine the best hardware to digitize each hard copy artifact.

develop an efficient file management for saving digitized artifacts.

understand the importance of file management.

understand how to create hyperlinks from original outline/diagram to artifacts.

determine the best file formats and extensions when digitizing artifacts.

understand issues with compatibility.

learn different programs offer different file formats/extensions.

determine needs for digitizing their individual artifacts.

troubleshoot various issues with digitizing artifacts.

understand legal and ethical responsibilities (ie. Proper use laws).




take notes from teacher presentations.

digitize artifacts using various software programs as needed.

efficiently manage files.

write journal entries on the topics of file management, compatibility and file format/extension considerations.

RESOURCES Page 353



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artwork.





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ENDURING UNDERSTANDINGS - Electronic Portfolio Design & Publishing- Tying it all together

Publishing an e-portfolio that is easy to navigate will encourage viewers to explore all included artifacts. This is referred to as user-friendly design.

ESSENTIAL QUESTIONS

PRIMARY: How can we encourage viewers to navigate through digitized artifacts? How can we organize digitized artifacts in a user-friendly way? SECONDARY: How does an understanding of the Elements and Principles of Design assist e-portfolio designers in creating user-friendly e-portfolios?

MODULE ASSESSMENTS

Self-reflective writings on contemporary issues in digital media.

Journal entries on e-portfolio publishing process and design issues

Student published e-portfolio






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critically identify effective e-portfolios and websites.

discuss the history of web-based portfolios and sites and how they have evolved.

define user-friendly and critique sample sites on user-friendliness.

determine what makes an e-portfolio or website user-friendly.

understand aesthetics and its’ relationship to electronic media.

draw relationships between e-portfolios and sample websites (business or personal).

critique sample e-portfolios and offer suggestions for improvement through journal writing.

identify successful components found in sample online sites and electronic portfolios.

identify and analyze key elements in web-design and e-portfolio design.

create a layout that meets the requirements of the viewer (ie. Organize files with primary artifacts listed first, secondary lower).

choose a theme that correlates to the purpose of the e-portfolio.

utilize web/portfolio publishing software as determined by student and teacher.

understand the four steps of art-criticism.

apply the four steps of art-criticism when discussing sample e-portfolios.

utilize journal entries and critique to make improvements.

discuss careers paths in Web-Design.

understand responsible web posting and current issues in relation to the internet.

understand publishing procedures for final product.

understand the responsibility and procedure for maintaining an updated e-portfolio.


participate in online teacher guided group collaboration on the topic of web design and/or e-portfolio purpose and creation.

consider Design Elements and Principles when creating e-portfolio.

use digital publishing software to upload and publish e-portfolio. artifiact.

choose a theme that meets the needs of the e-portfolio purpose.

participate in group critique using the four steps of art criticism.

use critique to improve work.

check that e-portfolio meets the needs as placed by the students’s Statement of Intention.

check for broken hyperlinks.

make changes/corrections to e-portfolio as needed.



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publish e-portfolio for web browsing or CD/DVD burning. RESOURCES Page 353



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BY THE END OF TWELFTH GRADE PHOTOGRAPHY I


















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Through a developed understanding of aesthetics, the elements and principles of art and photographic techniques, Photo students become critical thinkers, who combine visual literacy and an understanding of the medium of photography to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Composition/Elements of Art & Principles of Design

The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design? What are composition and the 9-grid system? SECONDARY: How do the elements of art support the principles of design? How does the use of the 9-grid system create effective composition?

MODULE ASSESSMENTS

Individual color photos using 10 design elements as per handout.

Written assignments and class discussions evaluating the use of the 9-grid system in a variety of photographs.

MODULE OBJECTIVES






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identify the Elements of Art & Principles of Design as they exist in the student’s work and the work of others.

apply the Elements of Art & Principles of Design as the vocabulary for in-class critiques and written critiques and quizzes.

discuss how the Elements of Art & Principles of Design and the 9-grid system work together to create compositions.

MODULE SKILLS


produce photographs that use the Elements of Art & Principles of Design.

use the Elements of Art & Principles of Design as the vocabulary for in-class critiques and written critiques and quizzes.

use critique (the 4 Steps of Art Criticism) to evaluate their own work and that of others and to improve their own work.

RESOURCES Page 353



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Through a developed understanding of aesthetics and the elements and principles of art, Photo students become critical thinkers, who combine visual literacy and an understanding of the medium of photography to become effective consumers and producers of art that reflects world cultures, history and societal issues.


Photography plays a prominent role in cultures in the contemporary world.

ESSENTIAL QUESTIONS

PRIMARY: How does photography reflect the history and culture of a society? How does photography differ from other art forms in reflecting the culture of a society? SECONDARY: How does photography reflect the needs of the people? How does the individual photographer affect the artistic, political and social events of the time?

MODULE ASSESSMENTS

Quizzes on individual photographers as presented by the teacher in class.

Individual research on a photographer for the final roll of film.

Readings and responses to contemporary issues in photography.


view photographs created in different societies.

identify the work of specific photographers.






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understand how photographers reflect their societies.


appreciate the role photography plays in their own lives.


MODULE SKILLS


describe the work of individual photographers.

discuss orally and in writing the role of photography in the contemporary world.

research, describe and imitate the style of an individual photographer.

RESOURCES Page 353



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artwork.





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ENDURING UNDERSTANDINGS - Technical Skills: Developing & Printing B & W Film

ESSENTIAL QUESTIONS

PRIMARY: What is a camera? What is used to develop and print b & w film? SECONDARY: How does the student use the SLR or point & shoot camera? How does the student develop b & w film? How does the student print b & w negatives?

MODULE ASSESSMENTS

Proper rolling and processing of b & w film.

Proper use of the darkroom, including enlargers and timers.

Tests on developing and printing film.

Demonstration of safe practices and responsible use of materials.






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demonstrate rolling of film using practice samples and using their own film.

demonstrate proper and safe use of chemicals & procedures in developing their own film.

demonstrate proper and safe use of darkroom equipment, enlargers and timers, and darkroom chemicals in producing well printed photos.

demonstrate proper use of test strips and use of photographic paper.


shoot, develop and print their own film.

work cooperatively and safely in the darkroom.

RESOURCES Page 353



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1.1.12.D.2 Translate literary, musical, theatrical, and dance compositions by using them as stimulus/inspiration for corresponding visual artworks.

1.2.12.A.1 Determine how dance, music, theatre, and visual art have influenced world cultures throughout history.

1.2.12.A.2 Justify the impact of innovations in the arts (e.g., the availability of music online) on societal norms and habits of mind in various historical eras.

1.3.12.D.1 Synthesize the elements of art and principles of design in an original portfolio of two- and three-dimensional artworks that reflects personal style and a high degree of technical proficiency and expressivity.

1.3.12.D.2 Produce an original body of artwork in one or more art mediums that demonstrates mastery of visual literacy, methods, techniques, and cultural understanding.

1.3.12.D.5 Identify the styles and artistic processes used in the creation of culturally and historically diverse two- and three-dimensional artworks, and emulate those styles by creating an original body of work.







artworks.






















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ENDURING UNDERSTANDINGS - Composition and Intent/Portraits

The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition. Proper technical skills in developing film and printing negatives help produce effective prints.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design? What are composition and the 9-grid system? What is artistic intent? SECONDARY: How do the elements of art and the principles of design apply to portrait photography? How does the use of the 9-grid system create effective composition in portrait photography?

MODULE ASSESSMENTS Individual black & white photos using portrait situations as per handout.

Oral evaluation of the portraits as per assignment.

Oral critique: use of contrast and composition in the photos.


identify the Elements of Art & Principles of Design as they exist in the student’s work.

identify the particular portrait assignment in each photo.

select the strongest and weakest work in regards to composition and apply knowledge to improve future photographs.





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produce portrait photographs that use the Elements of Art & Principles of Design.

create photographs that demonstrate effective composition and good use of contrast.

create photographs that demonstrate clear artistic intent.

RESOURCES Page 353



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artwork.





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ENDURING UNDERSTANDINGS - Composition/Concept The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition. Proper technical skills in developing film and printing negatives help produce effective prints.

ESSENTIAL QUESTIONS

PRIMARY: What is an artistic concept? SECONDARY: How is composition used to express artistic concept? How are the elements of art and the principles of design used to express artistic concept?

MODULE ASSESSMENTS

Individual black & white photos of selected concepts, i.e. mysterious and/or unexpected images.

Oral evaluation of the photos as per assignment.







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identify the Elements of Art & Principles of Design as they exist in the work.

identify how each photo fulfills the assignment.





create photographs that demonstrate the concept.

RESOURCES Page 353



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artwork.





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ENDURING UNDERSTANDINGS - Composition/Innovative Techniques


ESSENTIAL QUESTIONS

PRIMARY: What are alternative photographic techniques? SECONDARY: How is composition used? How are the elements of art and the principles of design used?

MODULE ASSESSMENTS

Creation of the biscenorama.

Creation of a double exposure.

Creation of a solarization.

Oral evaluation of the techniques as demonstrated by the work.






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249



identify how the work fulfills the assignment.

identify the strongest work in regards to composition and apply knowledge to improve future photographs.


produce photographs by alternative techniques.



RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Composition/ Imitation & Originality


ESSENTIAL QUESTIONS

PRIMARY: What is artistic style in photography? What is originality in concept and composition in photography? SECONDARY: How is composition used to express the student’s concept? How are the elements of art and the principles of design used to express the student’s concept? How can a student analyze a professional photographer’s work to imitate the style?

MODULE ASSESSMENTS

Individual black & white photos imitating a professional photographer’s style.

Individual b & w photos of an original theme.

Oral evaluation of the photos as per assignment.







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select the strongest work in regards to composition.

MODULE SKILLS





RESOURCES Page 353



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BY THE END OF TWELFTH GRADE PHOTOGRAPHY II, III & IV



















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ENDURING UNDERSTANDINGS - Composition/Elements of Art & Principles of Design

The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design? What are composition and the 9-grid system? SECONDARY: How do the elements of art support the principles of design? How does the use of the 9-grid system create effective composition?

MODULE ASSESSMENTS

Individual photos.

Written assignments evaluating the use of the 9-grid system in a variety of photographs.






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Identify the Elements of Art & Principles of Design as they exist in the student’s work and the work of others.

Apply the Elements of Art & Principles of Design as the vocabulary for in-class critiques and written critiques.

Discuss how the Elements of Art & Principles of Design and the 9-grid system work together to create compositions.



use the Elements of Art & Principles of Design as the vocabulary for in-class critiques and written critiques.


RESOURCES Page 353



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Photography plays a prominent role in cultures in the contemporary world.

ESSENTIAL QUESTIONS

PRIMARY: How does photography reflect the history and culture of a society? How does photography differ from other art forms in reflecting the culture of a society? SECONDARY: How does photography reflect the needs of the people? How does the individual photographer affect the artistic, political and social events of the time?

MODULE ASSESSMENTS

Individual research on photographers.

Readings and responses to contemporary issues in photography.


view photographs created in different societies.






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identify the work of specific photographers.


appreciate the role photography plays in their own lives.



MODULE SKILLS


describe the work of individual photographers.

discuss orally and in writing the role of photography in the contemporary world.

research and describe the style of individual photographers.

RESOURCES Page 353



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artwork.





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BIG IDEAS/COMMON THREADS Through a developed understanding of aesthetics and the elements and principles of art, Photo students become critical thinkers, who combine visual literacy and an understanding of the medium of photography to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Technical Skills: Developing & Printing B & W Film and/or Digital Photography and Photoshop

Proper knowledge and safe use of techniques and equipment in the photo lab and/or digital techniques and Photoshop enable students to produce effective photos.

ESSENTIAL QUESTIONS

PRIMARY: How does the digital camera work? What is Photoshop? SECONDARY: How does the student use the digital and/or film SLR or point & shoot camera? How does the student use Photoshop to enhance and alter digital photos?

MODULE ASSESSMENTS Proper rolling and processing of b & w film.

Proper use of the darkroom, including enlargers and timers.

Proper use of Photoshop techniques.






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Demonstration of safe practices and responsible use of materials.


demonstrate proper and safe use of chemicals & procedures in developing their own film.

demonstrate proper and safe use of darkroom equipment, enlargers and timers, and darkroom chemicals in producing well printed photos.

demonstrate proper use of digital camera and Photoshop.

demonstrate proper use of laser printer and appropriate computer printing programs.


shoot, develop and print their own film.

work cooperatively and safely in the darkroom.

produce and print digital photos.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Composition: Intent and Concept/Portraits, Landscapes, Still Lifes

The Elements of Art and Principles of Design used in conjunction with the 9-grid system are the building blocks of photographic composition. Proper knowledge and safe use of techniques and equipment in the photo lab and/or digital techniques and Photoshop enable students to produce effective photos.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design? What are composition and the 9-grid system? What is artistic intent and what is the underlying concept? SECONDARY: How do the elements of art and the principles of design apply to intent and concept in photography? How is composition used to convey intent and concept in photography? How is work properly mounted?

MODULE ASSESSMENTS

Individual photos demonstrating a unified theme.

Properly mounted work for exhibition.






APPROVED May 2015

264

Oral critique.


identify the Elements of Art & Principles of Design as they exist in the student’s work.

identify the particular theme in each group of photos.


mount work for exhibition.



create photographs that demonstrate effective composition.

create photographs that demonstrate clear artistic intent and a unified concept.

mount work for exhibition. RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Composition/Innovative Techniques


ESSENTIAL QUESTIONS

PRIMARY: What are alternative photographic techniques? SECONDARY: How is composition used? How are the elements of art and the principles of design used?

MODULE ASSESSMENTS

Use of alternative techniques such as Pinhole Camera, Polaroid Image Transfer, Solarization, Hand Coloring and/or Toning.

Oral evaluation of the techniques as demonstrated by the work.

Oral critique.







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identify how the technique enhanced the concept.

identify the strongest work in regards to composition and apply knowledge to improve future photographs.



produce photographs by alternative techniques.




RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Composition: Originality/ Themes


ESSENTIAL QUESTIONS

PRIMARY: What is theme in photography? What is originality in concept and composition in photography? SECONDARY: How is composition used to express the student’s concept? How are the elements of art and the principles of design used to express the student’s concept?

MODULE ASSESSMENTS

Individual photos that demonstrate a personal theme such as humor, location, progression, and/or language and visual art.

Individual oral evaluation of the photos.

Class critique.







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select the strongest work in regards to composition.






mount work for exhibition. RESOURCES Page 353



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BY THE END OF TWELFTH GRADE CRAFTS I


















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ENDURING UNDERSTANDINGS - Reclaimed and New Clay Preparation –

Techniques in Wedging Wedging new and reclaimed clay homogenizes the clay body and removes air pockets.

ESSENTIAL QUESTIONS

PRIMARY: What are the purposes of wedging clay? How do we wedge clay? SECONDARY: How can we recycle clay to minimize waste? What happens if clay is not properly wedged?

MODULE ASSESSMENTS Self-reflective journal entries on wedging techniques

Properly wedged and wrapped reclaimed or new clay.

Prepared slip (1 jar each) for project use


understand that air pockets in clay will expand upon firing and cause the work to explode.

learn effective ways to reclaim or recycle clay.






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learn proper ways to dry out clay that is too wet.

understand how to rehydrate clay.

understand wedging helps remove air pockets and homogenize the mixture.

properly wedge clay.

understand the use of slip.

learn how to create slip from reclaimed clay.

learn how to properly store prepared clay to keep from drying.

use proper tools for wedging and storing clay (i.e. Wire tool, wedging table, canvas boards, plastic wrap, spray bottle).


properly recycle clay.

work with reclaimed clay.

properly wrap and store wedged clay for later use.

prepare slip from new and reclaimed clay.

utilize course specific terminology in discussions.

compare and contrast wedging on varied surfaces.

identify tools using domain specific terminology.

thoroughly clean and maintain art studio.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Handbuilding Techniques with surface decorations in Ceramics

Clay can be manipulated into almost any shape or form.

ESSENTIAL QUESTIONS

PRIMARY: What ways do artists use hand-building techniques with clay? SECONDARY: How do artists choose which hand-building technique to use? How do different surface decorating techniques affect the art work? How does glazing affect the art work?

MODULE ASSESSMENTS Student created pinch method clay piece.

Student created coil method clay piece.

Student created slab method clay piece.

Student decorated the surfaces using a variety of techniques.

Student glazed projects.






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276


understand the three methods of hand-building in clay.

work with a variety of traditional and non- traditional methods of surface decorating.

work with different glazing techniques.

view samples from the history of ceramics that utilize hand-building techniques.

understand the proper way to create ceramics using the three hand-building techniques.

identify situations when slip is needed as part of the building technique.

understand that 3-dimensional ceramics should appear finished from all views.

differentiate between low and high-quality craftsmanship and the stages of clay.

identify aesthetic considerations when working with clay (i.e. Texture, surface, movement).

discuss hand-built ceramic samples using design and domain specific vocabulary.

utilize the four steps of art criticism when critiquing.

differentiate between non-functional and functional art.


roll slabs, coils, and use pinch techniques.

create ceramics using hand-building techniques.

properly and adequately apply slip to greenware.

identify functional & non-functional art.

apply techniques during the proper stage of clay.

create high-quality craftsmanship work.

use the four steps of criticism when discussing ceramics.


work with surface textures and design.

work with different glazing techniques.

thoroughly clean and maintain art studio and tools.

RESOURCES Page 353



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artworks.














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eras.


ENDURING UNDERSTANDINGS - Mosaic Design

Craft students will create a design using individually cut pieces of glass and or other appropriate objects (mirror, shells, beads. etc.)

ESSENTIAL QUESTIONS

PRIMARY: How do artists use mosaics to create art? SECONDARY: How do artists decide which materials are appropriate on different surfaces to express their ideas?

MODULE ASSESSMENTS Individual works of art demonstrating high quality mosaic techniques.

Written critiques

Teacher / student critiques


understand the historical importance of mosaics.

view samples of traditional and non-traditional mosaics.

understand the proper way to cut glass.






APPROVED May 2015

279

understand the limitations of glass.

use proper safety precautions when cutting glass.(wearing safety glasses).

use tools properly.

identify which materials are appropriate for different surfaces.

understand what a high quality finished mosaic is.

identify aesthetic considerations when working with mosaics.

discuss mosaic design using domain specific vocabulary.




create a design appropriate for mosaics.

learn how to cut glass safely.

accurately cut small pieces of glass to fit their designs.

properly assemble the piece

properly use grouting techniques.

create properly crafted piece of art.

use the four steps of art criticism when discussing their mosaic piece.


thoroughly clean and maintain art studio. RESOURCES Page 353



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artworks.














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281









artwork.





eras.


ENDURING UNDERSTANDINGS: Introduction to Book Arts Books come in many shapes and sizes.

ESSENTIAL QUESTIONS PRIMARY: How do artists create books as an art form? SECONDARY: How do artists decide which materials are appropriate for their original design?

MODULE ASSESSMENTS Production of a book using traditional book structure techniques.

Written critiques.

Teacher / student critiques

Class critiques


understand the historical importance of book structures.

view samples of traditional and non-traditional books.

work with a variety of materials to create books.






APPROVED May 2015

282

use tools properly.

identify which materials are appropriate for different book structures.

understand the qualities of finely crafted books.

identify aesthetic considerations when creating book structures.

discuss book arts using domain specific vocabulary.



create a book using traditional book structure techniques.

use the four steps of art criticism when discussing their book.


thoroughly clean and maintain art studio.

RESOURCES Page 353



APPROVED May 2015

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artworks.















APPROVED May 2015

284









artwork.





eras.


ENDURING UNDERSTANDINGS - Techniques in Glazing

Fired bisqueware that is finished with glaze is called glazeware. Glazing is caused by a chemical reaction in high heat situations such as firing. Depending on their chemical composition, glazes come in a variety of colors, textures, and sheens. It is important to note that surfaces that come in contact with food must be glazed with lead-free product.

ESSENTIAL QUESTIONS PRIMARY: What is glaze? How does it differ from other surface treatments? What is a test tile? SECONDARY: What is the purpose of a test tile? What hand-building techniques are used when creating test tiles? What chemical reactions occur during the glaze-fire process?

MODULE ASSESSMENTS

Evaluation of students’ learning reflection essays comparing and contrasting various effects caused by layering glazes and using glazes on textured surfaces






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285

Final evaluation of student created glaze ware


understand glazes are made of chemical mixtures that cause different effects when fired in a kiln.

know glaze chemistry formulas allow artists to mix chemicals to create their own glaze effects.

compare and contrast the glazing methods of various cultures from the history of ceramics.

understand the importance of checking lead components in readymade glazes when working with functional pottery.

differentiate between functional and non-functional pottery.

discuss the importance of test tiles.

draw connections between test tile creation and hand-building (i.e. slab technique, surface decoration).

recognize that glazes react differently to various clay bodies, textures and firing temperatures.

differentiate between 1, 2, and 3 layer glazing techniques by viewing test tiles.

Identify the Elements of Art and Principles of Design as they relate to glaze choice.

understand that glazing is one of many ways artists deal with ceramic surface.

differentiate between low and high-quality craftsmanship in regards to glazing technique.

synthesize glaze techniques with color theory and aesthetic knowledge.

plan for kiln maintenance by applying kiln wash to shelves for easy glaze removal.

connect journal entries to classroom learning.

recognize and apply high-quality glaze application.

journal personal thoughts on the glazing process of test tiles from start through glaze-firing noting changes.

identify and practice safety precautions when working with chemical glazes.

discuss proper cleaning, disposing and firing of glazes, fired and liquid-state.

analyze and compare glaze results on various textures.


use journal entries to ensure better glazing technique on final work for assessment.

create test tiles with surface texture.

use appropriate readymade glazes for functional and non-functional art.

identify tools and techniques using domain specific terminology.

properly mix & apply glaze.




APPROVED May 2015

286

thoroughly clean and maintain workspace.

participate in group critique of fired glazeware using the four steps of criticism. RESOURCES Page 353



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BY THE END OF TWELFTH GRADE CRAFTS DESIGN II, III, IV, & V



















artworks.















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artwork.





eras.


ENDURING UNDERSTANDINGS - Intermediate & Advanced Functional and Non-Functional Ceramics

Ceramic art can be created with a focus on form, function or a combination of both.

ESSENTIAL QUESTIONS

PRIMARY: What defines an intermediate & advanced piece of ceramics as functional or non-functional? What aesthetic aspects must be considered when creating both functional and non-functional ceramics? SECONDARY: How has the student artist’s ability to work with this medium advanced from the beginning level of Craft Design? How can the student artist use clay to express their ideas at a more advanced level from the previous course? What is the historical value of hand built ceramics?

MODULE ASSESSMENTS

Evaluation of student produced functional or non-functional ceramics

Evaluation of individual student artists’ ideas

Evaluation of craftsmanship appropriate for the medium.






APPROVED May 2015

289

Participation in group critique using the four steps of art criticism.

Self critique using the four steps of art criticism

Evaluation of examples of how critique may affect the creation and/or modification of an existing or new work of art.


identify intermediate & advanced techniques in hand-building.

understand that ceramics have appeared in the history of art as the medium for both functional and non-functional art.

differentiate between functional and non-functional ceramic art.

evaluate how need impacted ceramic art through history.

apply design vocabulary and domain specific terminology.

differentiate between surface treatments (i.e. patinas, glaze, underglaze, slips, sgraffito,).

identify how surface treatment affects functional or non-functional ceramic art.

understand the importance and procedure of maintaining a clean and safe studio environment.

develop more advanced techniques and skills appropriate for the level of the course.

produce an original body of work that demonstrates mastery of methods and techniques.


use intermediate & advanced hand-building techniques when creating ceramic art.

create functional and or non-functional ceramic art.

work with tools and techniques using domain specific terminology.

thoroughly clean and maintain a safe workspace.

develop skills appropriate for the medium and course level.

learn how to maintain tools appropriate for the medium.

production of an original body of work that demonstrates mastery of methods and techniques.

RESOURCES Page 353



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eras.


ENDURING UNDERSTANDINGS - Batik

Student artist use a variety of techniques to decorate fabric surfaces using the wax and dye method known as Batik.

ESSENTIAL QUESTIONS PRIMARY: What is Batik? How can Batik be used to decorate the surface of fabric? How is Batik fabric used traditionally and non-traditionally? What is the historical importance of Batik? SECONDARY: What are the advantages of using the Batik method of dying fabric?

MODULE ASSESSMENTS Evaluation of journal/sketchbook entries.

Evaluation of student produced functional or non-functional Batiks.

Evaluation of original student artists’ ideas.

Evaluation of craftsmanship appropriate for the course level.

Participation in group critique using domain specific terminology.

Self critique using the four steps of art criticism and domain specific terminology.






APPROVED May 2015

292

.


differentiate between batik and other fabric decorating techniques.


identify intermediate and advanced techniques in Batik.

identify appropriate surfaces for use in Batik.

identify advantages of Batik dying over other traditional dying methods.

understand processes of the medium.

choose the process which best meets the needs of the artist.

write journal entries that encourages self reflection.

use medium as a means of self expression.

develop more advanced skills appropriate for level of the course.

maintain a clean and safe studio environment.



select objects for use in Batik that meet the needs of the student’s art.

create a piece of art using the Batik method of dying fabric.

apply the Elements of Art and Principles of Design when creating a Batik design.

utilize domain specific terminology in class discussions and critique.

read current articles on contemporary issues in Batik art.

draw connections between reading articles and classroom learning through journal entries.




RESOURCES Page 353



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eras.


ENDURING UNDERSTANDINGS - Intermediate and Advanced Book Arts

Book Artist use a variety of processes to create traditional and non-traditional book structures.

ESSENTIAL QUESTIONS

PRIMARY: How do book artists express their ideas? How do artist select their materials to express their ideas? What shape and size can a book be? What are the characteristics of a book? SECONDARY: How do different materials affect design? What considerations must be made when choosing material?

MODULE ASSESSMENTS Evaluation of production of traditional and or non-traditional book structure.

Evaluation of original expressive student artist ideas.

Evaluation of journal/sketchbook entries.








APPROVED May 2015

295



understand there are many book structures both traditional and non-traditional.

understand that art can be inspired by literary works, music, and/or historic events and included in the contents of a variety of book structures.

know how to use critique to improve work.

write journal entries that encourages self-reflection and improve achievement.

maintain a clean and safe studio environment.


identify intermediate and advanced techniques in book arts.




develop more sophisticated level of skill appropriate for course level.



choose a book structure that best meets the needs of the students’ idea.

write journal entries about the process, result and use of various book structures.

read current articles on contemporary issues in art.

participate in group critique.


create a book structure including text.

apply the Elements of Art and Principles of Design to the book structure.


read current articles on contemporary issues pertaining to book arts.





RESOURCES Page 353



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artworks.















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criteria for assigning value to the work.







eras.


ENDURING UNDERSTANDINGS - The art of decorative Painting on traditional and non-traditional surfaces

Silk Painting is a creative surface decoration process for fabric.

ESSENTIAL QUESTIONS

PRIMARY: How do artist use silk painting to express their ideas? How have artists used Decorative Painting through history? What defines Decorative Painting? What aesthetic aspects must be considered when creating with decorative paints? SECONDARY: What characteristics are unique to painting on various surfaces? (glass, fabric, silk, beads)

MODULE ASSESSMENTS Student produced a piece of art using Decorative Paints.

Evaluation of individual artists’ statement

Participation in group critique using the four steps of art criticism

Evaluation of production of traditional and or non-traditional painting.

Evaluation of original expressive student artist ideas.







APPROVED May 2015

298





understand advanced techniques using Decorative painting techniques.

understand that decorative painting has appeared in the history of art as the medium for both functional and non-functional art

apply design vocabulary and domain specific terminology when viewing decorative painting. (Silk painting, glass painting, fabric painting, bead painting)


understand the importance and procedure of maintaining a clean and safe studio environment.




identify intermediate and advanced techniques in decorative painting.




develop more sophisticated level of skill appropriate for course level.

produce an original body of work that demonstrates mastery of methods and techniques for silk painting, glass painting, and or fabric painting.


use advanced decorative painting techniques on a variety of surfaces.

write an individual artists’ statement for body of work.

apply aesthetic understanding with creating and critiquing decorative painting.

use the four steps of art criticism when discussing Decorative Painting.

identify painting tools and techniques using domain specific terminology

thoroughly clean and maintain a safe studio environment.



write journal entries about the process.






APPROVED May 2015

299

RESOURCES Page 353



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artwork.





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ENDURING UNDERSTANDINGS - Stained Glass

Stained glass as a unique medium for expression.

ESSENTIAL QUESTIONS

PRIMARY: What is stained glass? How can we use it to express our ideas? SECONDARY: What are the advantages of using stained glass? How can stained glass be manipulated to express the ideas of the student artist?

MODULE ASSESSMENTS Evaluation of individual artists’ statement.

Evaluation participation in group critique using the four steps of art criticism.

Evaluation of original expressive student artist’s ideas.









APPROVED May 2015

302

understand course appropriate beginning, intermediate and advanced techniques of stained glass.

understand that stained glass has appeared in the history of art as the medium for both functional and non-functional art

apply design vocabulary and domain specific terminology when viewing stained glass art.

differentiate between the four steps of art criticism as they apply to stained glass.

understand the importance and procedure of maintaining a clean and safe work space.








create stained glass functional and/or non functional piece of art.

apply the Elements of Art and Principles of Design when creating stained glass art.





write an individual artists’ statement for body of work.

use the four steps of art criticism when discussing stained glass art.

identify stained glass tools and techniques using domain specific terminology.



RESOURCES Page 353



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artworks.















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eras.


ENDURING UNDERSTANDINGS - Glass Etching

Glass etching as a medium for expression.

ESSENTIAL QUESTIONS

PRIMARY: What is glass etching? How do artist use glass etching to express their ideas? SECONDARY: What are the unique qualities of this medium?







understand that art can be inspired by literary works, music, and/or historic events.

learn how glass etching can be used to express student artist’s ideas.






APPROVED May 2015

305

learn what surfaces are appropriate for glass etching.

learn about different methods of glass etching.

know how to use critique to improve work

choose the treatment that meets the needs of the artist to achieve original concept.



make connections between contemporary issues in art and personal experience


identify glass etching techniques using correct terminology.

choose a treatment that best meets the needs of the individual art

write journal entries about




RESOURCES Page 353



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artworks.















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criteria for assigning value to the work.



artwork.





eras.

ENDURING UNDERSTANDINGS - Paper Mache

Paper Mache uses recycled paper to create unlimited functional and non-functional forms.

ESSENTIAL QUESTIONS

PRIMARY: What is Paper Mache? How do artist use paper mache to express their ideas? SECONDARY: What are the unique qualities of this medium?








learn how paper mache can be used to express student artist’s ideas..

know how to use critique to improve work






APPROVED May 2015

308




make connections between contemporary issues in art and personal experience


identify paper mache techniques using correct terminology.

choose a treatment that best meets the needs of the individual art

write journal entries about




RESOURCES Page 353



APPROVED May 2015

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BY THE END OF TWELFTH GRADE CERAMICS I



















artworks.















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.BIG IDEAS/COMMON THREADS


ENDURING UNDERSTANDINGS - Reclaimed and New Clay Preparation – Techniques in Wedging

Wedging new and reclaimed clay homogenizes the clay body and removes air pockets.

ESSENTIAL QUESTIONS PRIMARY: What are the purposes of wedging clay? How do we wedge clay? SECONDARY: How can we recycle clay to minimize waste? What happens if clay is not properly wedged?

MODULE ASSESSMENTS

Self-reflective journal entries on wedging techniques

Properly wedged and wrapped (3) one pound balls of reclaimed or new clay

Prepared slip (1 jar each) for project use







APPROVED May 2015

311

understand that air pockets in clay will expand upon firing and cause the work to explode.

determine which wedging technique works best for the building. technique they will attempt (i.e. Hand-building vs. wheel throwing).

learn effective ways to reclaim or recycle clay.

learn proper ways to dry out clay that is too wet.

understand how to re-hydrate clay.

understand wedging helps remove air pockets and homogenize the mixture.

define homogenize.

utilize medium specific terminology (i.e. Grog, porcelain, wedge, slip).

properly wedge clay.

understand the use of slip.

learn how to create slip from reclaimed clay.

learn how to properly store prepared clay to keep from drying.

use proper tools for wedging and storing clay (i.e. Wire tool, wedging table, canvas boards, plastic wrap, spray bottle).



read articles on contemporary issues in art.


take notes on teacher demonstration.

properly recycle clay.

work with reclaimed clay.

wedge one pound clay balls.

properly wrap and store wedged clay for later use.

prepare slip from new and reclaimed clay.

utilize course specific terminology in discussions.

compare and contrast wedging on varied surfaces.




RESOURCES Page 353



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eras.



ENDURING UNDERSTANDINGS - Handbuilding Techniques in Ceramics

Potters work with clay using hand-building, wheel throwing and combination techniques. Pinch, coil and slab are hand-building techniques.

ESSENTIAL QUESTIONS

PRIMARY: What ways do artists hand-build with clay? SECONDARY: How do artists choose which hand-building technique to use?

MODULE ASSESSMENTS Self-reflective journal entries comparing hand-building techniques

Student created pinch method piece (i.e. Japanese tea bowl)

Student created coil method piece (i.e. Japanese Jōmon Period Pottery)

Student created slab method piece (i.e. Native American vessels)


understand the three methods of hand-building in clay.

view samples from the history of ceramics that utilize hand-building techniques.






APPROVED May 2015

314

understand the proper way to create pottery using the three hand-building techniques.

identify situations when slip is needed as part of the building technique.

understand that 3-dimensional pottery should appear finished from all views.

differentiate between low and high-quality craftsmanship and the stages of clay.

identify aesthetic considerations when working with clay (i.e. Texture, surface, movement).

discuss the history of pottery and how it has evolved.

identify pottery from the history of art that demonstrates the use of each hand-building technique.

write journal entries that elicit new ideas and creative thinking on how to use techniques from the history of art to inspire personal work.

discuss hand-built pottery samples using design and domain specific vocabulary.




compare and Contrast the value of functional and non-functional art.

discuss the evolution of ceramics technique and technology.


take notes from teacher presentations.

roll slabs & coils.

create pottery using hand-building techniques using methods that reflect on historic movements (i.e. Japanese Tea Bowl).

properly and adequately apply slip to greenware.

identify functional & non-functional art.

apply techniques during the proper stage of clay.


use the four steps of criticism when discussing art (pottery/ceramics).


present contemporary issues in art through journal writings and/or group presentations.


identify artistic movements in ceramics.

differentiate between hand-building techniques.

create hand-built pottery.

RESOURCES Page 353



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artworks.














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emotional, intellectual, and kinesthetic responses to artworks.





eras.



ENDURING UNDERSTANDINGS - Wheel Throwing Techniques in Ceramics

Potters work with clay using hand-building, wheel throwing and combination techniques. Pottery wheels allow artists to “throw” pots which may later be manipulated with hand-building techniques.

ESSENTIAL QUESTIONS

PRIMARY: How do artists “throw” pottery using the potter’s wheel? What is the advantage of a pottery wheel? SECONDARY: When used for mass production, does the potter’s wheel cheapen or enrich the process of art making?

MODULE ASSESSMENTS

A visual presentation of the history of ceramics (i.e. PowerPoint, PhotoStory).

Evaluation of students’ learning reflection essays comparing and contrasting hand-building and wheel throwing techniques.

Evaluation of (3) wheel thrown cylinders of equal size and calibration






APPROVED May 2015

317


understand the proper way of using the potter’s wheel including general maintenance and safety.

understand calibers allow artists to compare size.

differentiate between hand-building wedging techniques and wheel throwing wedging techniques.

understand that pottery has evolved with the introduction of the potter’s wheel.

identify how pottery wheels have changed the art of ceramics.

understand that pottery wheels may be used in mass production.

identify the intentional purposes for equal wall width as necessary for the purposes of strength and firing.

identify the Elements of Art and Principles of Design as they apply to wheel thrown pottery.

understand that 3-dimensional wheel thrown pottery should appear finished from all views.

differentiate between low and high-quality craftsmanship.

identify aesthetic considerations when working with wheel thrown clay (i.e. Texture, surface, movement).


recognize journal entries encourage self reflection and improve achievement.

differentiate between non-functional and functional wheel thrown pottery.

compare and Contrast the value of functional and non-functional wheel thrown pottery.

understand bats allow for easy transfer of wheel thrown pottery.

understand clay is easily manipulated when in certain stages of wet/dry.

differentiate between the stages of clay and when to perform certain tasks.

differentiate between the four stages of art criticism.

recognize careers that require an understanding of ceramic technique and process.

recognize literary works such as poetry can help inspire shape and form in pottery.


present contemporary issues in art through journal writings and/or group presentations.

identify artistic movements in ceramics, specifically from the introduction of the potter’s wheel.

identify functional and non-functional art.




APPROVED May 2015

318

prepare a potter’s wheel for use.

work with clay during the correct stages of wet/dry.

identify and properly use calibers to create equal shape and size work and measure wall width.

discuss the wheel throwing technique using domain specific vocabulary.

read literary works that inspire surface decoration (i.e. Texture, movement).


create wheel thrown pottery inspired by a literary work through the use of aesthetics.


participate in group critique using the four steps of criticism. RESOURCES Page 353



APPROVED May 2015

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artworks.















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emotional, intellectual, and kinesthetic responses to artworks.





eras.


ENDURING UNDERSTANDINGS - Techniques in Glazing

Fired bisqueware that is finished with glaze is called glazeware. Glazing is caused by a chemical reaction in high heat situations such as firing. Depending on their chemical composition, glazes come in a variety of colors, textures, and sheens. It is important to note that surfaces that come in contact with food must be glazed with lead-free product.

ESSENTIAL QUESTIONS PRIMARY: What is glaze? How does it differ from other surface treatments? What is a test tile? SECONDARY: What is the purpose of a test tile? What hand-building techniques are used when creating test tiles? What chemical reactions occur during the glaze-fire process?

MODULE ASSESSMENTS

Evaluation of students’ learning reflection essays comparing and contrasting various effects caused by layering glazes and using glazes on textured surfaces

Final evaluation of student created glaze ware






APPROVED May 2015

321


understand glazes are made of chemical mixtures that cause different effects when fired in a kiln.

know glaze chemistry formulas allow artists to mix chemicals to create their own glaze effects.

compare and contrast the glazing methods of various cultures from the history of ceramics.

understand the importance of checking lead components in readymade glazes when working with functional pottery.

differentiate between functional and non-functional pottery.

discuss the importance of test tiles.

draw connections between test tile creation and hand-building (i.e. slab technique, surface decoration).

recognize that glazes react differently to various clay bodies, textures and firing temperatures.

differentiate between 1, 2, and 3 layer glazing techniques by viewing test tiles.

identify the Elements of Art and Principles of Design as they relate to glaze choice.

understand that glazing is one of many ways artists deal with ceramic surface.

differentiate between low and high-quality craftsmanship in regards to glazing technique.

synthesize glaze techniques with color theory and aesthetic knowledge.

plan for kiln maintenance by applying kiln wash to shelves for easy glaze removal.


recognize and apply high-quality glaze application.

journal personal thoughts on the glazing process of test tiles from start through glaze-firing noting changes.

identify and practice safety precautions when working with chemical glazes.

discuss proper cleaning, disposing and firing of glazes, fired and liquid-state.

analyze and compare glaze results on various textures.


use journal entries to ensure better glazing technique on final work for assessment.

create test tiles with surface texture.

use appropriate readymade glazes for functional and non-functional art.

identify tools and techniques using domain specific terminology.

properly mix & apply glaze.



APPROVED May 2015

322



participate in group critique of fired glazeware using the four steps of criticism.

RESOURCES Page 353



APPROVED May 2015

323

BY THE END OF TWELFTH GRADE ADVANCED CERAMICS II, III & IV


















artworks.














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eras.


ENDURING UNDERSTANDINGS - Functional and Non-Functional Pottery

Ceramic art can be created with a focus on form, function or a combination of both.

ESSENTIAL QUESTIONS PRIMARY: What defines a piece of pottery as functional or non-functional? What aesthetic considerations must be considered when creating both functional and non-functional pottery? SECONDARY: What must be considered when creating functional and non-functional pottery?

MODULE ASSESSMENTS

Evaluation of journal entries on form vs. function in art

Student produced functional and non-functional pottery (i.e. pouring vessel or aesthetic cylinders)

Evaluation of individual artists’ statement

Participation in group critique using the four steps of art criticism


understand advanced techniques in hand-building and wheel throwing.






APPROVED May 2015

325

understand that ceramics have appeared in the history of art as the medium for both functional and non-functional art.

differentiate between art for form and art for function.

differentiate between functional and non-functional ceramic art.

evaluate how need impacted ceramic art through history.

explain how artists approach different subjects such as satire through various art forms

know the importance and purpose of a well developed artists’ statement.

apply design vocabulary and domain specific terminology when viewing ceramic art.


differentiate between surface treatments (i.e. patinas, glaze, underglaze).

identify how surface treatment affects functional or non-functional ceramic art.

connect journal articles to current learning through journal writing.

understand the importance and procedure of maintaining a clean and safe work space.


use advanced hand-building and wheel throwing techniques when creating ceramic art.

create functional and non-functional ceramic art.

write an individual written artists’ statement for body of work.

read contemporary articles/text/media sources that complement classroom learning and write reflections in the student journals.

create pottery that reflects the styles of various movements and periods from the history of ceramic art.

apply aesthetic understanding with creating and critiquing pottery.

use the four steps of art criticism when discussing ceramic art.

identify ceramic tools and techniques using domain specific terminology.

thoroughly clean and maintain a safe workspace.

RESOURCES Page 353



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ENDURING UNDERSTANDINGS - Molded Pottery

Ceramicists use a variety of techniques for creating pottery including molding. Clay may be draped over or poured into a form. As the clay enters the leatherhard stage, it maintains the form of the mold.

ESSENTIAL QUESTIONS

PRIMARY: What is a drape mold? How can we use draping when working with clay? SECONDARY: What advantages exist when working with drapes? How can we manipulate draped clay before the leatherhard stage?

MODULE ASSESSMENTS

Evaluation of artists’ statement on drape mold pottery

Creation of drape mold pottery


differentiate between drape mold pottery and hand-built or wheel thrown pottery.






APPROVED May 2015

328

identify objects for use in draping.

identify advantages of draping.

understand processes of draped and poured mold.

compare and contrast the drape and poured mold process.

choose the process which best meets the needs of an artist.

discuss the uses of poured mold ceramics.

discuss the advantages of drape and poured mold techniques.

understand the process of creating and selecting molds for draping use.

understand how drape molding techniques are affected by the stages of clay.



make connections between contemporary issues in art and personal experience with ceramics.

identify careers in ceramics that utilize drape or poured mold processes.

explain how molding processes impacted the advancement of mass production of ceramics.


select objects for use in creating drape mold pottery that meet the needs of the student’s art.

create drape mold functional and/or non functional ceramic art.

apply the Elements of Art and Principles of Design when creating drape mold pottery.




manipulate clay surface by working with texture.

thoroughly clean and maintain workspace. RESOURCES Page 353



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artworks.















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artwork.





eras.



ENDURING UNDERSTANDINGS - Advanced & Alternative Surface Treatments

Ceramicists use a variety of processes to deal with the surface of the fired bisqueware. Different treatments cause different visual effects.

ESSENTIAL QUESTIONS PRIMARY: How do ceramic artists approach surface? What options do we have when working with the surface of a fired clay body? SECONDARY: How do surface treatments vary? What considerations must be made when choosing surface material?

MODULE ASSESSMENTS

Evaluation of journal entries on the comparison of surface treatments

Student created test tiles using various surface treatments

Application of surface treatment to bisqueware (i.e. patina, glaze, burnish)


understand that various surface treatments serve different functions and have many different visual effects.

recognize different treatments and their purposes.






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understand the procedures involved for working with various surface treatments.


understand that creating test tiles allows an artist to make informed decisions when selecting surface treatments.

identify traditional uses of surface treatments from the history of art.

understand the connection between ceramics and sculpture.


know how glaze chemists create glaze formulas.



make connections between contemporary issues in art and personal experience with ceramics.


take notes on teacher demonstration.

break down simple glazes using glaze chemistry formulas.

identify surface treatments using correct terminology.

create test tiles of various surface treatments.

choose a treatment that best meets the needs of the individual art.

write journal entries about the process, result and use of various surface treatments.


participate in group critique. RESOURCES Page 353



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BY THE END OF TWELFTH GRADE SCULPTURE I


















artworks.














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eras.


Through a developed understanding of aesthetics and the elements and principles of art, students become critical thinkers, who combine visual literacy to become effective consumers and producers of art that reflects world cultures, history and societal issues.

ENDURING UNDERSTANDINGS - Modeling from Life: Observation in Clay The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design that relate to three-dimensional art? What is modeling from life? SECONDARY: How does sculpture differ from two-dimensional art? How is clay manipulated for sculpting?

MODULE ASSESSMENTS

Life-size ear in clay.

Life-size body part that is directly observed that can be exposed in public.

Life-size bell pepper and glove in clay.


model in clay life-size body parts.

model in clay for homework bell pepper and glove.






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apply the Elements of Art & Principles of Design as the vocabulary for in-class critiques.

demonstrate proper and safe use of the medium of clay so that it can be fired and patinaed.

MODULE SKILLS


develop eye/hand coordination to create sculpture from observation in clay.

use the Elements of Art & Principles of Design as they relate to three-dimensional art as the vocabulary for in-class critiques.

use critique (the 4 Steps of Art Criticism) to evaluate own work and that of others and to improve own work.

use clay for sculpture.

RESOURCES Page 353



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artworks.














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eras.



ENDURING UNDERSTANDINGS - Materials (Mediums) Used in Sculpture

The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture.

ESSENTIAL QUESTIONS

PRIMARY: What materials can sculpture be made of? How does use of material(s) alter the effect of a sculpture? What is artistic intent? SECONDARY: How do sculptors convey their artistic intent?

MODULE ASSESSMENTS

Body Part II (same body part as in clay) in any material or materials other than clay.


conceptualize and create a life-size body part in material(s) other than clay.


use materials properly and safely.






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MODULE SKILLS


create sculpture from observation and imagination in a variety of materials.




RESOURCES Page 353



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artworks.















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eras.



ENDURING UNDERSTANDINGS - Finishing Three-Dimensional Art: Patinas & Pedestals


ESSENTIAL QUESTIONS

PRIMARY: What surface treatment can be used to finish a sculpture? What is a pedestal or base and why is it necessary for sculpture? What is a pedestal or base and why is it necessary for sculpture? SECONDARY: How do pedestals enhance a sculpture?

MODULE ASSESSMENTS Completed Body Part I with surface patina and base.

Completed Body Part II with base.

Participation in class critique.


create bases for Body Part I & II and patina Body Part I.






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MODULE SKILLS


conceptualize and create sculpture and bases from observation and imagination in a variety of materials.




RESOURCES Page 353



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artworks.














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eras.



ENDURING UNDERSTANDINGS - Concept: Rethinking the Common Object The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture.

ESSENTIAL QUESTIONS

PRIMARY: What is an artistic concept? What is an everyday object? SECONDARY: How can the artist transform everyday objects?

MODULE ASSESSMENTS

25 Objects: altering a common object according to handout.

Transforming/Deconstructing a functional object, i.e. a chair, stool, table, etc.


conceptualize and create the 25 Objects with appropriate presentation.

conceptualize and create a transformed/ reconstructed sculpture from a functional object.







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create sculpture from observation and imagination in a variety of materials.




RESOURCES Page 353



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BY THE END OF TWELFTH GRADE SCULPTURE II, III & IV



















artworks.















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criteria for assigning value to the works







eras.



ENDURING UNDERSTANDINGS - Additive Sculpture

The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture. Sculpture makes use of additive and/or subtractive processes.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design that relate to three-dimensional art? What is additive sculpture? What is representational sculpture? What is non-objective sculpture? What is abstract sculpture? SECONDARY: How does sculpture differ from two-dimensional art? How are additive materials manipulated for sculpting?

MODULE ASSESSMENTS

Representational, abstract and/or non-objective sculpture created through additive processes.

Oral presentation on a contemporary sculptor selected by the teacher.

Written and oral responses to readings on sculpture.







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create additive sculpture.


demonstrate proper use of the selected medium and safe practices in the studio.

MODULE SKILLS


conceptualize and create additive sculpture.

use the Elements of Art & Principles of Design as they relate to three-dimensional art as the vocabulary for in-class critiques and in written work on selected readings.


use selected medium for sculpture.

RESOURCES Page 353



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artworks.















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eras.



ENDURING UNDERSTANDINGS - Subtractive Sculpture

The Elements of Art and Principles of Design used in three-dimensional art are the building blocks of sculpture. Sculpture makes use of additive and/or subtractive processes.

ESSENTIAL QUESTIONS

PRIMARY: What are the elements of art and the principles of design that relate to three-dimensional art? What is subtractive sculpture? What is representational sculpture? What is non-objective sculpture? What is abstract sculpture? SECONDARY: How does sculpture differ from two-dimensional art? How are subtractive materials manipulated for sculpting?

MODULE ASSESSMENTS

Representational, abstract and/or non-objective sculpture created through a subtractive process.


Written and oral responses to readings on sculpture.







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conceptualize and create subtractive sculpture.

apply the Elements of Art & Principles of Design as the vocabulary for in-class.

demonstrate proper use of the selected medium and safe practices in the studio.

MODULE SKILLS


create subtractive sculpture.

use the Elements of Art & Principles of Design as they relate to three-dimensional art as the vocabulary for in-class critiques and in written work on selected readings.


use selected medium for sculpture.

RESOURCES Page 353



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artworks.















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artwork.





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ENDURING UNDERSTANDINGS- Sculpture: Scale, Proportion, Positive/ Negative Space, Texture, Repetition


ESSENTIAL QUESTIONS

PRIMARY: How do scale and proportion affect sculpture? How is positive and negative space used in sculpture? How is texture used in sculpture? How is repetition used in sculpture? SECONDARY: How are the elements of art and principles of design used to best convey the student’s artistic intent and concept?

MODULE ASSESSMENTS

Sculpture that explores the three-dimensional elements of art and principles of design.







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conceptualize and create work that uses three-dimensional elements and principles.

apply the Elements of Art & Principles of Design as the vocabulary for in-class critiques and in oral presentations.


MODULE SKILLS


create sculpture from observation, memory and/or imagination that explores scale, proportion, positive/negative space, texture and/or repetition using a variety of materials.

use the Elements of Art & Principles of Design as they relate to three-dimensional art as the vocabulary for in-class critiques and oral presentations.


use materials properly and safely. RESOURCES Page 353



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RESOURCES Art 7 Images: Cubism Posters Surrealism Posters Pop Art Posters Expressionism Posters Op Art Posters Drawing Technique Posters Sculpture Technique Posters Color Wheel posters Painting Technique Posters Optical Illusion Technique Posters Slide presentations: Pablo Picasso & Cubism Past and current student artwork Surrealism Past and current student artwork Pop art Expressionism Op Art Past and current student Op Art drawings Texts: Picasso Salvador Dali Imagine That! Activities and Adventures in Surrealism Pop Art: Andy Warhol Pop Art: Roy Lichtenstein Imagine That! Activities and Adventures in Pop Art! Vincent Van Gogh Imagine That! Activities and Adventures in Expressionism Op Art DVD: Dropping in on Picasso Surrealism Pop Art: Creating a three dimensional sculpture Dropping in on Andy Warhol Expressionism



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Op Art: Detour Websites: www.moma.org Technology: Computer – Internet Research Literature: Scholastic Art past and current issues Professional References: Trip to the MOMA Critical thinking games: Cards depicting Optical illusions

Art 8 Images: Perspective Posters Drawing Technique Posters Richard Estes Posters Renaissance Posters Portrait Posters Chuck Close Posters Line Posters Keith Haring Posters Social Issue Images Dadaism Posters Marcel Duchamp Posters Art Reproductions Dadaism Posters Slide presentations: Richard Estes Past and current student one point perspective drawings Chuck Close Past and current student portraits Chuck Close Past and current student portraits Who was Keith Haring? Social Issues surround us Marcel Duchamp, Past and present student work

http://www.moma.org/



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Contemporary visual pun Images Texts: Drawing 3D Chuck Close up Close Keith Haring DVD: Perspective Chuck Close Keith Haring Dada Websites: http://www.olejarz.com, http://www.ramourflannigian.com www.moma.org http://www.haring.com http://www.haringkids.com/ http://www.marcelduchamp.net/ Technology: Computer – Internet Research Step-by-step interactive perspective tutorial Interactive room layout/design website Literature: Scholastic Art past and current issues

Art I Supplies: Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Texts: Cohen, Ph.D., George M.. The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D.. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995.

http://www.olejarz.com/

http://www.ramourflannigian.com/

http://www.moma.org/

http://www.haring.com/

http://www.haringkids.com/

http://www.marcelduchamp.net/



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Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Literature: Scholastic Art Magazine, current and past issues Websites: www.artchive.com http://artsedge.kennedy-center.org http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/About%20This%20Site.htm

Art II Supplies: Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Texts: Ames, Jim. Color Theory Made Easy. New York, NY: Watson-Guptill Publications, 1996. Brommer, Gerald F. and Joseph A. Gatto. Careers in Art: An Illustrated Guide. 2nd ed. Worcester, MA: Davis Publications, Inc. 1999. Cohen, Ph.D., George M.. The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D.. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Mittler, Ph.D., Gene, and Rosalind Ragans, Ph.D.. Understanding Art. 1st ed. Mission Hills, CA: Glencoe, 1992. Parramón's Editorial Team, All About Techniques in Color. 2nd ed. Hauppague, NY: Barron's Educational Series, 2000. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Literature: Scholastic Art Magazine, current and past issues Websites: www.artchive.com http://artsedge.kennedy-center.org http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/About%20This%20Site.htm http://www.npg.org.uk/live/index.asp http://www.npg.si.edu/

http://www.artchive.com/

http://artsedge.kennedy-center.org/

http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/About%20This%20Site.htm






http://www.npg.org.uk/live/index.asp

http://www.npg.si.edu/



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Painting Supplies: Scholastic Art Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Acrylic paint Canvas Easels (floor and table) Variety of brushes and painting tools Watercolor paint Watercolor paper Matt board

Gouache Water paper Illustration board Oil paint Oil Pastels Texts: Ames, Jim. Color Theory Made Easy. New York, NY: Watson-Guptill Publications, 1996. Brommer, Gerald F. and Joseph A. Gatto. Careers in Art: An Illustrated Guide. 2nd ed. Worcester, MA: Davis Publications, Inc. 1999. Cohen, Ph.D., George M.. The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D.. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Mittler, Ph.D., Gene, and Rosalind Ragans, Ph.D.. Understanding Art. 1st ed. Mission Hills, CA: Glencoe, 1992. Parramón's Editorial Team, All About Techniques in Color. 2nd ed. Hauppague, NY: Barron's Educational Series, 2000. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Clark,Timothy J. Focus On Watercolor Watson-Guptill Publications Wade,Robert A. Painting More Than The Eye Can See North Light Books Seslar, Patrick The One Hour Watercolorist North Light Books Shook,Greog and Witt,Gary Sharp Focus Watercolor Painting Watson- Guptill Willis, Lucy Light How To See It How To Paint It North Light Books Sidaway, Ian The Watercolor Artist’s Paper Directory North Light Books Kunz, Jan Painting Watercolor Portraits That Glow North Light Books/Literature: Scholastic Art Magazine, current and past issues Websites:



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www.artchive.com

Commercial Design Supplies: Color Wheel Elements of Art Posters Principles of Design Posters Calligraphy pens and calligraphy markers and variety of papers Variety of brushes and lettering tools Rulers, pencils, pens, glues, tapes Pastels, acrylics, oil paint, pen and inks, colored pencil, Texts: Ames, Jim. Color Theory Made Easy. New York, NY: Watson-Guptill Publications, 1996. Brommer, Gerald F. and Joseph A. Gatto. Careers in Art: An Illustrated Guide. 2nd ed. Worcester, MA: Davis Publications, Inc. 1999. Cohen, Ph.D., George M. The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Mittler, Ph.D., Gene, and Rosalind Ragans, Ph.D. Understanding Art. 1st ed. Mission Hills, CA: Glencoe, 1992. Parramón's Editorial Team, All About Techniques in Color. 2nd ed. Hauppague, NY: Barron's Educational Series, 2000. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Harrison,Hazel and Daniels, Alfred The Complete Artist Wellfleet Press Warren, Jack, Basic Graphic Design & Paste-Up North Light Publications Murphy,John & Rowe, Michael How To Design Trade Marks & Logos North Light Books Literature: Scholastic Art Magazine, current and past issues Step By Step Graphics, current and past issues Scholastic Art Magazine, current and past issues American Showcase Illustration Websites: www.artchive.com

Honors Art Major





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Supplies: Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Acrylic, water color, oil, etc. paints. Variety of surfaces (found and purchased) paper, canvas, cardboard, etc. Colored pencils, ebony pencils, graphite pencils, charcoal pencils etc. Oil pastels, pastels, inks, markers, etc. Various art materials Texts: Ames, Jim. Color Theory Made Easy. New York, NY: Watson-Guptill Publications, 1996. Brommer, Gerald F. and Joseph A. Gatto. Careers in Art: An Illustrated Guide. 2nd ed. Worcester, MA: Davis Publications, Inc. 1999. Cohen, Ph.D., George M... The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Mittler, Ph.D., Gene, and Rosalind Ragans, Ph.D. Understanding Art. 1st ed. Mission Hills, CA: Glencoe, 1992. Parramón's Editorial Team, All About Techniques in Color. 2nd ed. Hauppague, NY: Barron's Educational Series, 2000. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Harrison, Hazel. Art School Drawing: Step-by-step teaching through inspirational projects. New York, NY: Lorenz Books, 1998. Literature: Scholastic Art Magazine, current and past issues Websites: www.artchive.com http://artsedge.kennedy-center.org http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/About%20This%20Site.htm http://www.npg.org.uk/live/index.asp http://www.npg.si.edu/ http://www.albany.edu/~hh4500/pathfinder2.htm

Advanced Placement Studio Art Supplies:





http://www.npg.org.uk/live/index.asp

http://www.npg.si.edu/

http://www.albany.edu/~hh4500/pathfinder2.htm



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Color Wheel Elements of Art Posters Principles of Design Posters Art Reproductions Acrylic, water color, oil, etc. paints. Variety of surfaces (found and purchased) paper, canvas, cardboard, etc. Colored pencils, ebony pencils, graphite pencils, charcoal pencils etc. Oil pastels, pastels, inks, markers, etc. Various art materials Found objects Texts: Ames, Jim. Color Theory Made Easy. New York, NY: Watson-Guptill Publications, 1996. Brommer, Gerald F. and Joseph A. Gatto. Careers in Art: An Illustrated Guide. 2nd ed. Worcester, MA: Davis Publications, Inc. 1999. Cohen, Ph.D., George M... The Essentials of Art History. 1. Piscataway, NJ: Research & Education Association, 1999. Hume, Helen D. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Mittler, Ph.D., Gene, and Rosalind Ragans, Ph.D. Understanding Art. 1st ed. Mission Hills, CA: Glencoe, 1992. Parramón's Editorial Team, All About Techniques in Color. 2nd ed. Hauppague, NY: Barron's Educational Series, 2000. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Literature: Scholastic Art Magazine, current and past issues Websites: www.artchive.com http://artsedge.kennedy-center.org http://artsedge.kennedy-center.org http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/About%20This%20Site.htm

Computer Arts Graphics Supplies/ Technology Computers, Scanner, Printer, Digital Camera, Projector, Screen








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Texts Adobe Illustrator CS3 How-To’s 100 Essential Techniques by David Karlins and Bruce K. Hopkins Peachpit Press 2008 Illustrator for Windows & Macintosh By Elaine Weinmann and Peter Lourekas Peachpit Press 2002 I’ve Got A Human in my Throat, Create More Optical Delusions with Adobe Photoshop By The Worth1000.com Artists Thomson Course Technology 2006 Maggie Taylor’s Landscape of Dreams (Adobe Photoshop Master Class) By Amy Standen Peachpit Press 2005 Photoshop Fine Art Effects Cookbook By John Beardsworth O’Reilly Media 2006 Adobe Photoshop Techniques Newsletter Photoshop Elements User-Periodical Professional References Adobe Professional Association & User Groups

Advanced Computer Art Graphics Supplies/ Technology Computers, Scanner, Printer, Digital Camera, Projector, Screen Texts: (Partial List) Illustrator CS3 Visual Quickstart Guide by Elaine Weinmann and Peter Lourekas Photoshop CS3 Visual Quickstart Guide by Elaine Weinmann and Peter Lourekas Adobe Photoshop CS3 A-Z Tools and Features by Philip Andrews The Adobe Photoshop Layers Book by Richard Lynch How To Wow: Photoshop CS3 for Photography by Jack Davis Mastering Photoshop CS3 for Print, Design and Production by Ted LoCascio Real World Adobe Photoshop CS3 by David Blatner, Conrad Chavez and Bruce Fraser Creative Photoshop: Digital Illustration and Art Techniques by Derek Kea The Photoshop CS3 Bible by Laurie Ulrich Fuller and Robert C. Fuller Beyond Portraiture: Creative People Photography by Bryan Pererson Literature: Newspaper and magazine articles as are relative to course’s scope and content Professional References Adobe Professional Association & User Groups Professional References Adobe Professional Association & User Groups

Pencil to Pixel Texts: Arnheim, Rudolf. Visual Thinking. Berkeley: University of CA Press, 1969. Aronson, Marc. Art Attack. NY: Clarion Books, 1998.

http://www.amazon.com/Real-World-Adobe-Illustrator-CS3/dp/0321496213/ref=sr_1_8?ie=UTF8&s=books&qid=1222704117&sr=1-8



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Berger, John. Ways of Seeing. NY: Penguin Books Ltd., 1979. Buchanan-Smith, Peter. Speck No. 1. NY: Princeton Architectural Press, 2001. Cote, Beth, and Cindy Pestka. Altered Books. Fort Worth, TX: Design Originals, 2002. Curtiss, D. Introduction to Visual Literacy. Englewood Cliffs, NY: Prentice-Hall, Inc., 1987. Eldon, Kathy. The Journey is the Destination: The Journals of Dan Eldon. San Francisco: Chronicle Books, 1997. Goleman, D., and P. Kaufman. The Creative Spirit. NY: Penguin Books, 1992. Harmon, Katharine. You Are Here. NY: Princeton Architectural Press, 2004. Hung, Shu, and Joseph Magliaro. By Hand. NY: Princeton Architectural Press, 2007. La Plantz, Shereen. Cover to Cover. NY: Lark Books, 2000. Livingstone, Margaret. Vision and Art: The Biology of Seeing. NY: Harry Abrams, 2002. McKim, Robert. Experiences in Visual Thinking. Monterey, CA: Brook/Cole Publishing Co., 1972. Michel, Karen. The Complete Guide to Altered Imagery. Gloucester, MA: Quarry Books, 2005. New, Jennifer. Drawing from Life:The Journal as Art. NY: Princeton Architectural Press, 2005. Otto, Elizabeth. Tempo, Tempo!. Berlin: Bauhaus-Archiv, 2005. Perrella, Lynn. Artists Journals & Sketchbooks. Gloucester, MA: Quarry Books, 2004. Pixar at the Museum of Modern Art. San Francisco: Chronicle Books LLC, 2005. Ringgold, Faith. Dancing at the Louvre. NY: New Museum of Contemporary Art, 1998. Stewart, Mary. Launching the Imagination:2D. NY: McGraw Hill, 2008. "The Art Quilt Now." FiberArts Nov/Dec 2003: Vieth, Ken. From Ordinary to Extraordinary. Worcester, MA: Davis Publications, 1999. Waller, Julian. Safe Practices in the Arts & Crafts. NY: CAA, 1985. http://artsedge.kennedy-center.org. Innovative Learning Group, "Thinking Maps." www.thinkingmaps.com/. April 11, 2003. International Visual Literacy Association, "International Visual Literacy Association." www.ivla.org/index.htm. Iowa State University, "Brain-based visual education." www.public.iastate.edu/~design/ART/NAB/bbased.html. www.lachances.com/Humor/OpArts.html. Pomona College, "The online visual literacy project." http://www.pomona.edu/Academics/courserelated/courseprojects/Visual-lit/intro/intro.html. Scholastic Art

Animation I Supplies/ Technology: Computers, Scanner, Printer, Digital Camera, Projector, Screen Books: (Partial List)


http://www.public.iastate.edu/~design/ART/NAB/bbased.html

http://www.lachances.com/Humor/OpArts.html

http://www.pomona.edu/Academics/courserelated/courseprojects/Visual-lit/intro/intro.html

http://www.pomona.edu/Academics/courserelated/courseprojects/Visual-lit/intro/intro.html



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The Animation Bible: A Practical Guide to the Art of Animating from Flipbooks to Flash By Maureen Furniss Flash CS3 Professional QuickStart Guide by Katherine Ulrich How to Cheat in Flash CS3: The art of design and animation in Adobe Flash CS3 by Chris Georgenes 99 Ways to Tell a Story: Exercises in Style By Matt Madden Graphic Storytelling and Visual Narrative by Will Eisner Comics and Sequential Art by Will Eisner Drawing Words and Writing Pictures: by Jessica Abel and Matt Madden Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels by Scott McCloud Vanishing Point: Perspective for Comics from the Ground Up By Jason Cheeseman-Meyer Webcomics: Tools and Techniques for Digital Cartooning By Steven Withrow Facial Expressions: A Visual Reference for Artists by Mark Simon Video: Steamboat Willy, Fantasia, The Simpsons, various 2D cartoon shows Literature: Magazine and newspaper articles as applicable Professional References: Adobe Professional Association & User Groups

Animation II Supplies/ Technology Computers, Scanner, Printer, Digital Camera, Projector, Screen Books: (Partial list) Flash CS3 Professional QuickStart Guide by Katherine Ulrich Alan Moore's Writing For Comics Volume 1 by Alan Moore and Jacen Burrows Webcomics: Tools and Techniques for Digital Cartooning By Steven Withrow 99 Ways to Tell a Story : Exercises in Style By Matt Madden Foundation ActionScript Animation: Making Things Move! by Keith Peters Graphic Storytelling and Visual Narrative by Will Eisner Flash 3D: Animation, Interactivity and Games by Jim Ver Hague and Chris Jackson



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Real World Adobe Flash CS3 Professional by Shane Rebenchied Character Animation Crash Course! By Eric Goldberg Hi-Fi Color For Comics: Digital Techniques for Professional Results by Brian Miller Making Comics: Storytelling Secrets of Comics, Manga and Graphic Novels by Scott McCloud Video: Anime (various), Other Animation as applicable to current project Literature: Newspaper and magazine articles as available Professional References: Photoshop User NAPP (National Assoc. of Photoshop Professionals) Adobe Professional Association & User Groups

Media as Message Supplies: Foam board, corrugated cardboard, mat board, Plexiglas and associated presentation tools and supplies. Technology: computers, scanners, printers, digital cameras, projector, supplies and peripherals to support all. Texts: Illustrator CS3 Visual Quickstart Guide Photoshop CS3 Visual Quickstart Guide InDesign CS3 Visual Quickstart Guide Flash CS3 Professional Visual Quickstart Guide Adobe Photoshop CS3 A-Z Tools and Features by Philip Andrews Mastering Photoshop CS3 for Print, Design and Production by Ted LoCascio Creative Photoshop: Digital Illustration and Art Techniques by Derek Kea Beyond Portraiture: Creative People Photography by Bryan Pererson Books: The Lorax by Dr. Seuss On the Wisdom of Words by Geoffrey Wagner The Hidden Persuaders by Vance Packard Generation Me by Jean M. Twenge They Say/I Say by Gerald Graff and Cathy Birkenstein Fame Junkies by Jale Halpern Don’t Make Me Think by Steve Krug Made to Stick by Chip and Dan Heath



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A Whole New Mind by Ken Veith Newspapers: The New York Times, Wall Street Journal, The Record Magazines: WIRED, American Photo, PRINT, BusinessWeek, Fast Company, Inc., TIME, Newsweek, eWEEK, InformationWeek, People, Psychology Today, etc. Online sources of news, articles and ads as are relative to course’s scope and content; i.e.: The Brain-Dead Megaphone by George Saunders Class trips and assigned research media areas: Local Malls, restaurants, shopping venues and businesses for comparison Public spaces including Post Office, Library, Town Hall comparison Various relevant TV/Radio shows, videos and web sites: MadMen Trust Me InfoGraphics, design and creativity-oriented media sources

The Digital Page Supplies Computers, Scanner, Printer, Digital Camera, Projector, Screen Texts Adobe Illustrator CS3 How-To’s 100 Essential Techniques by David Karlins and Bruce K. Hopkins Peachpit Press 2008 Visual Quick Project: Creating a Newsletter in InDesign by Katrin Straub and Torsten Buck Peachpit Press 2005 Visual Quick Project: Creating a Web Site in Dreamweaver CS3 by Nolan Hester Peachpit Press 2007 Macromedia Dreamweaver Visual Quickstart Guide By Tom Negrino and Dori Smith Peachpit Press 2006 Technology Adobe Illustrator CS3 DVD Helvetica, Documentary Commemorating the 50th Anniversary 2007 Professional References Adobe Professional Association & User Groups

iFolio



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Supplies: Sample e-portfolios Sample artifacts “Identifying Artifacts” handout Digitized artifacts Web Publishing Software (ie. Dreamweaver CS3) Digitized artifacts & Statement of Intention Texts: Hume, Helen D.. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. D’Ambrosio, J. E-Teaching: Creating Web Sites and Student Web Portfolios Using Microsoft PowerPoint. Stefani, Lorraine. The Educational Potential of e-Portfolios, Vol. 1. Krug, S. Don’t Make me think!. Hester, Nolan. Visual Quick Project: Creating a Web Site in Dreamweaver CS3. Peachpit Press, 2007 Websites http://www.ed.gov/pubs/OR/ConsumerGuides/classuse.html http://electronicportfolios.com/ http://www.essentialschools.org/cs/resources/view/ces_res/225 http://www.ed.gov/pubs/OR/ConsumerGuides/admuses.html Literature: THE Journal, current and past issues EdUtopia, current and past issues Professional References: http://cnets.iste.org/ncate/n_fac-stands.html

Photography I Barrett, Terry. Criticizing Photographs. 3rd Edition. NY : McGraw-Hill, 2000. Bartlett, Larry. Black & White Photographic Printing Workshop. Surrey, England: Fountain Press, Ltd., 2000. Blacklow, Laura. New Dimensions in Photo Processes. Burlington, MA: Focal Press, 2007. Caplin, Steve. How to Cheat in Photoshop CS3. Burlington, MA: Focal Press, 2007. Caulfield, P. Capturing the Landscape with Your Camera. NY: AMPHOTO, 1987. Clarke, Graham. The Photograph. NY: Oxford University Press, 1997. Coleman, A. D. The Grotesque in Photography. NY: Summit Books, 1977. Horenstein, Henry. Beyond Basic Photography. Canada: Little, Brown & Co., 1977. Horenstein, Henry. Black & White Photography. NY: Little, Brown & Co., 1983. Kelby, Scott. The Adobe Photoshop CS3 Book for Digital Photographers. New Riders, 2008. London, Barbara, and John Upton. Photography. 8th Edition. Upper Saddle River, NJ: Prentice Hall, 2005. Newhall, Nancy. The Daybooks of Edward Weston: II. California. Millerton, NY: Aperture, 1973.

http://www.ed.gov/pubs/OR/ConsumerGuides/classuse.html

http://electronicportfolios.com/

http://www.essentialschools.org/cs/resources/view/ces_res/225

http://www.ed.gov/pubs/OR/ConsumerGuides/admuses.html

http://cnets.iste.org/ncate/n_fac-stands.html



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O'Brien, Michael F., and Norman Sibley. The Photogaraphic Eye. Worcester, MA: Davis Publications, Inc., 1995. Rosenblum, Naomi. A World History of Photography. 3rd Edition. NY: Abbeville Press, 1997. Schaub, Grace & George. Marshall's Handcoloring Guide & Gallery. John G. Marshall Co., 2002. Siemans, Jochen. "Elliott Erwitt." Fotografie portfolio no.39: Smith, Bill. Designing a Photograph. NY: Amphoto Books, 2001. Stone, B., and J. Stone. A Short Course in Photography. NY: Harper Collins, 1996. Taylor, Martin. Advanced Black-and-White Photography. Rochester, NY: Silver Pixel Press, 2002. Thompson, Jerry L.. Truth and Photography. Chicago: Ivan R. Dee, 2003. Waller, Julian. Safe Practices in the Arts & Crafts. NY: CAA, 1985. Worobiec, T., and R. Spence. Black & White Photography in the Digital Age. Cincinnati: David & Charles, 2007. http://artsedge.kennedy-center.org. http://masters-of-photography Scholastic Art Rangefinder pdnedu

Photography II, III, IV Barrett, Terry. Criticizing Photographs. 3rd Edition. NY : McGraw-Hill, 2000. Bartlett, Larry. Black & White Photographic Printing Workshop. Surrey, England: Fountain Press, Ltd., 2000. Blacklow, Laura. New Dimensions in Photo Processes. Burlington, MA: Focal Press, 2007. Caplin, Steve. How to Cheat in Photoshop CS3. Burlington, MA: Focal Press, 2007. Caulfield, P. Capturing the Landscape with Your Camera. NY: AMPHOTO, 1987. Clarke, Graham. The Photograph. NY: Oxford University Press, 1997. Coleman, A. D. The Grotesque in Photography. NY: Summit Books, 1977. Horenstein, Henry. Beyond Basic Photography. Canada: Little, Brown & Co., 1977. Horenstein, Henry. Black & White Photography. NY: Little, Brown & Co., 1983. Kelby, Scott. The Adobe Photoshop CS3 Book for Digital Photographers. New Riders, 2008. London, Barbara, and John Upton. Photography. 8th Edition. Upper Saddle River, NJ: Prentice Hall, 2005. Newhall, Nancy. The Daybooks of Edward Weston: II. California. Millerton, NY: Aperture, 1973. O'Brien, Michael F., and Norman Sibley. The Photogaraphic Eye. Worcester, MA: Davis Publications, Inc., 1995. Rosenblum, Naomi. A World History of Photography. 3rd Edition. NY: Abbeville Press, 1997. Schaub, Grace & George. Marshall's Handcoloring Guide & Gallery. John G. Marshall Co., 2002. Siemans, Jochen. "Elliott Erwitt." Fotografie portfolio no.39: Smith, Bill. Designing a Photograph. NY: Amphoto Books, 2001.


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Stone, B., and J. Stone. A Short Course in Photography. NY: Harper Collins, 1996. Taylor, Martin. Advanced Black-and-White Photography. Rochester, NY: Silver Pixel Press, 2002. Thompson, Jerry L.. Truth and Photography. Chicago: Ivan R. Dee, 2003. Waller, Julian. Safe Practices in the Arts & Crafts. NY: CAA, 1985. Worobiec, T., and R. Spence. Black & White Photography in the Digital Age. Cincinnati: David & Charles, 2007. http://artsedge.kennedy-center.org. http://masters-of-photography Scholastic Art Rangefinder pdnedu

Crafts I Supplies: Working with clay poster series Reclaimed/recycled clay Wedged clay Hand-building tools (i.e. texture tools, sculpting tools) Wedging boards Rolling pins Boards of equal thickness (for slab rolling & or slab roller) Kiln for firing Glaze Glaze brushes Ceramics books Texts: Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Sapiro, M.. Clay: Hand Building. Worcester, MA. Davis, 1979. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985 Warshaw, Josie The Practical Potter Hermes House. Connell, Jo The Potter’s Guide To Ceramic Surfaces Krause Publications Peters, Lynn Surface Decoration For Low Fire Ceramics Lark Books Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com


http://masters-of-photography/

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Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html Literature: Ceramics Monthly, current and past issues Scholastic Art, current and past issues American Craft, current and past issues Supplies: Glass cutters Running pliers Breaking pliers Protective cutting boards Glass, stone chips, wood, Beads Mirror Grout Framing boards Samples Safety glasses Texts: American Craft Magazine Literature: Scholastic Art, current and past issues American Craft, current and past issues Vance,Peggy & Clark, Goodrick The Mosaic Book Ideas, Projects, and Techniques Trafalgar Square Publishing Wates, Rosalind The Mosaic Book of Ideas North Light Books Baird, Helen The Complete Practical Guide to Book Mosaics Hermes House Goodwin, Elaine Classic Mosaics Trafalgar Square Publishing Supplies: Paper Cords, string, ribbon, shoe laces, thread, etc. Protective cutting boards Beads Chip boards Fabric Rulers Awls Needles

http://www.ceramicartsdaily.org/index.aspx

http://www.goshen.edu/~marvinpb/throw/contents.html



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Punches Stamps Markers Texts: American Craft Magazine Literature: Scholastic Art, current and past issues American Craft, current and past issues Smith, Esther How To Make Books Potter Craft Thomas, Peter and Donna Making Books By Hand Quarry Golden, Alisa Unique Handmade Books Sterling LaPlantz, Shereen Cover To Cover Lark Books LaPlantz, Shereen The Art And Craft Of Handmade Books Lark Books Barton, Carol The Pocket Engineer Popular Kinetics Press Supplies: Working with clay poster series Wedged clay Hand-building tools (i.e. texture tools, sculpting tools) Texts: Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Clark, Kenneth. The Potter's Manual: Complete, practical-essential reference for all potters. Edison, NJ: Chartwell Books, 1983. Hume, Helen D.. The Art Teacher's Book of Lists. Paramus, NJ: Prentice Hall, 1998. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Sapiro, M.. Clay: Hand Building. Worcester, MA. Davis, 1979. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985. Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html Literature: Cermaics Monthly, current and past issues Scholastic Art, current and past issues







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American Craft, current and past issues Supplies: Glaze Chart & supplies Slab Roller Test Tiles Texts: Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Clark, Kenneth. The Potter's Manual: Complete, practical-essential reference for all potters. Edison, NJ: Chartwell Books, 1983. Sapiro, M.. Clay: Hand Building. Worcester, MA. Davis, 1979. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985. Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Literature: Cermaics Monthly, current and past issues Scholastic Art, current and past issues American Craft, current and past issues

Crafts II, III, IV Supplies: Working with clay poster series Variety of clays(raku, white, red, porcelain) Clay tools( wooden, wire, loop, needle, decorative) Clay boards and sticks of various thicknesses Water and slip containers Rolling pins Fabric and paper towels Glazes and glaze brushes Kiln, stilts, kiln wash, kiln shelves Dust pan and brush Extruder Slab roller Plastic bags






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Ceramic pencils Plaster molds Plaster wedging boards Turn tables Texts: Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Clark, Kenneth. The Potter's Manual: Complete, practical-essential reference for all potters. Edison, NJ: Chartwell Books, 1983. Sapiro, M. Clay: Hand Building. Worcester, MA. Davis, 1979. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985. Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html Literature: Ceramics Monthly, current and past issues American Craft, current and past issues Supplies: Batik poster Wax, resin, salt Batik Dyes and brushes Cotton fabric Adjustable wood frames Tjanting tool Iron Needle and thread Wax melting pot Fabric markers Mat board Frames Texts: Jameson, Norma Batik for Beginners Watson-Guptill Meilach,Dona Contemporary Batik And Tie-Dye Crown Publisher Griffin, Heather & Hone, Margaret Introduction To Batik Search Press Campbell, Joy Start A Craft Batik Chartwell Books, Inc. Belfer, Nancy Designing In Batik and Tie-Dye Davis Publications, Inc.







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Literature: American Craft, current and past issues Supplies: Variety of decorative papers & boards Bone folders, tongue depressors Unbleached linen threads, ribbons, cords, shoe laces Whole punches, decorative punches Various size needles Drills and drill bits Weights PVA Glue, glue stick, glue tabs Brushes Beads Found objects Markers, colored pencils, pencils, inks, paints Stamping tools Exacto knives, pliers, tweezers, hammer, awl Various size cutting boards Mat board Stencils Calligraphy pens Computer, scanner, copy machine & printer Books Texts: Kropper, Jean G. Handmade Books And Cards Davis Publications Perrella,Lynn Artists Journals & Sketchbooks Exploring and Creating Personal Pages Quarry Diehn, Gwen The Decorated Page Lark Books Diehn, Gwen The Decorated Journal Lark Books Smith, Esther How To Make Books Potter Craft Thomas, Peter and Donna Making Books By Hand Quarry Golden, Alisa Unique Handmade Books Sterling LaPlantz, Shereen Cover To Cover Lark Books LaPlantz, Shereen The Art And Craft Of Handmade Books Lark Books Barton, Carol The Pocket Engineer Popular Kinetics Press Literature: American Craft, current and past issues Supplies: Variety of silk painting brushes Silk dyes and resists, fabric paints, glass paints



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Silk pins Adjustable frames Iron Silk fabric, scarves, ties, silk hoops, canvas bags, Mat board Needles and threads Markers Scissors Glasses, glass vases, glass objects, beads Beads and decorative accessories Books Texts: Mariotti, Christine The Art of Silk Painting Walter Foster Publishing Moyer, Susan Louise Silk Painting The Artist’s Guide to Gutta and Wax Resist Techniques Waston- Guptill Tuckman, Diane, Janas, Jan The Complete Book of Silk Painting North Light Books Diephouse, Judy, Deptula, Lunn, Fantastic Floorclothes,North Light Cooper, Cathy, Hersey, Jan, The Complete Book of Floorcloths Design & Techniques For Painting Great-Looking Canvas Rugs Lark Books Elskus, Albinas, The Art of Painting on Glass, Scribners Howarth, Lynda, Neal, Moira Painting On Glass, Lark Books Literature: American Craft, current and past issues Supplies: Variety of glass (colors, textures, densities) Glass pins Adjustable frames Copper foil. Mat board Markers Scissors Solder and soldering irons Flux Glass cutters Pliers (breaking, running, wheel) Cutting boards Brushes Books Copper wire Patinas Steel wool Polishing cloth



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Suction cups Safety glasses Dust pan and brush Texts: Sharp, Leslie, The Book of Fans Designed For Stained Glass, Clarity Glass Design Martin, Tammie, Classic Alphabets , Wardell Publications Duncan,Alastair Tiffany Stained Glass Windows ,Dover Publications Sibbett, Ed Jr. Art Nouveau Stained Glass Pattern Book, Dover Publications Lips, Claude Art and Stained Glass, Doubleday French, Jennie, Glass-Works The Copperfoil Technique of Stained Glass, Van Nostrand Reinhold Sibbet, Ed Jr. Decorative Alphabets Stained Glass Patterns, Dover Cullenbine Woody, Carol Stained Glass Reflections, Hidden House Literature: American Craft, current and past issues Supplies: Glass objects (vase, ornaments, hurricane lamps, etc.) Markers Scissors Brushes Books Etching cream Contact paper Exacto knives Texts: Dobbins, Norman, Felberg, Debra Glass Etching Surface Techniques and Designs Literature: American Craft, current and past issues Supplies: Markers Scissors Brushes Books Art glue Exacto knives Paints Found and recycled objects Literature: American Craft, current and past issues



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Ceramics I Supplies: Working with clay poster series Reclaimed/recycled clay Glaze Chart & supplies Slab Roller Test Tiles Texts: Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Sapiro, M.. Clay: Hand Building. Worcester, MA. Davis, 1979. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985. Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html Literature: Ceramics Monthly, current and past issues Scholastic Art, current and past issues American Craft, current and past issues

Ceramics II, III, IV Supplies: Working with clay poster series Test Tiles Glaze Charts Texts: Chavarria, Joaquim. Hand-building techniques. New York, Watson-Guptill Publications, 1999. Clark, Kenneth. The Potter's Manual: Complete, practical-essential reference for all potters. Edison, NJ: Chartwell Books, 1983. Sapiro, M.. Clay: Hand Building. Worcester, MA. Davis, 1979. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. 2nd ed. New York, College Art Association of America, 1985. Pierce, James Smith. From Abacus to Zeus: A Handbook of Art History. 5. Englewood Cliffs, NJ: Prentice Hall, 1995. Stokstad, Marilyn. Art History. 1. New York: Harry N. Abrams, Inc., 1995.







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Websites: Claystation: http://claystation.com Clayzee World of Ceramics & Pottery: http://www.clayzee.com Ceramics Arts Daily: http://www.ceramicartsdaily.org/index.aspx Learning to Throw: http://www.goshen.edu/~marvinpb/throw/contents.html Literature: Cermaics Monthly, current and past issues Scholastic Art, current and past issues American Craft, current and past issues

Sculpture I Acero, Raul. Making Ceramic Sculpture. NY: Lark Books, 2001. Bastian, H.. Ron Mueck. Germany: Hatje Cantz Verlag, 2005. Bruno, and Felton, Barrie. Mold Making, Casting & Patina for the Student. Princeton, NJ: Adams, Barrie, Felton and Scott, 1992. Chancy, C., and S. Skee. Plaster Mold and Model Making. NY: Van Nostrand Reinhold Co., 1973. Fiell, C. & P.. 1000 Chairs. Germany: Benedikt Taschen Verlag GmbH, 1997. Gault, Rosette. Paper Clay. London: A & C Black, 1998. Harper, Glenn, and Twylene Moyer. A Sculpture Reader: Contemporary Sculpture Since 1980. Hamilton, NJ: ISC Press, 2006. Hlobo, Nicholas. Izele. Capetown, South Africa: Hill House, 2006. Kapoor, Anish. Past Present Future. Boston: Institute of Contemporary Art, 2008. Kawiak, Tomek. Poches Mythologiques: Sculptures de Jeans. Orban, France: Editions Olivier, 1995. Krens, T., and A. Monroe. Cai Guo-Qiang: I Want To Believe. NY: Guggenheim Museum, 2008. Mabasa, Nona. Nona Mabasa. Johannesburg, South Africa: David Krut Publishing, 2003. Malmstrom, Margit, and Bruno Lucchesi. Modeling the Head in Clay. New York: Watson-Guptill, 1979. Peck, Judith. Sculpture as Experience. Radnor, PA: Chilton Book Co., 1989. Rinder, Lawrence. Tim Hawkinson. NY: Harry Abrams, Inc., 2005. Robinson, Aminah Brenda Lynn. Symphonic Poem. Columbus, OH: Columbus Museum of Art, 2002. Robison, Jim. Large-Scale Ceramics. London: A & C Black, 1998. Spencer, Dorothy. Found Object Art. Atglen, PA: Schiffer Publishing Ltd., 2002. Stewart, Mary. Launching the Imagination: 3D. NY: McGraw Hill, 2008. Strachan, W. J. Towards Sculpture. Boulder, CO: Westview Press, 1976. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. NY: College Art Association, 1985. http://artsedge.kennedy-center.org.








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www.metacafe.com/fplayer/816457/ron_mueck_australian_hyperrealist_sculptor.swf. Scholastic Art Sculpture

Sculpture II, III, IV Acero, Raul. Making Ceramic Sculpture. NY: Lark Books, 2001. Bastian, H.. Ron Mueck. Germany: Hatje Cantz Verlag, 2005. Bruno, and Felton, Barrie. Mold Making, Casting & Patina for the Student. Princeton, NJ: Adams, Barrie, Felton and Scott, 1992. Chancy, C., and S. Skee. Plaster Mold and Model Making. NY: Van Nostrand Reinhold Co., 1973. Fiell, C. & P.. 1000 Chairs. Germany: Benedikt Taschen Verlag GmbH, 1997. Gault, Rosette. Paper Clay. London: A & C Black, 1998. Harper, Glenn, and Twylene Moyer. A Sculpture Reader: Contemporary Sculpture Since 1980. Hamilton, NJ: ISC Press, 2006. Hlobo, Nicholas. Izele. Capetown, South Africa: Hill House, 2006. Kapoor, Anish. Past Present Future. Boston: Institute of Contemporary Art, 2008. Kawiak, Tomek. Poches Mythologiques: Sculptures de Jeans. Orban, France: Editions Olivier, 1995. Krens, T., and A. Monroe. Cai Guo-Qiang: I Want To Believe. NY: Guggenheim Museum, 2008. Mabasa, Nona. Nona Mabasa. Johannesburg, South Africa: David Krut Publishing, 2003. Malmstrom, Margit, and Bruno Lucchesi. Modeling the Head in Clay. New York: Watson-Guptill, 1979. Peck, Judith. Sculpture as Experience. Radnor, PA: Chilton Book Co., 1989. Rinder, Lawrence. Tim Hawkinson. NY: Harry Abrams, Inc., 2005. Robinson, Aminah Brenda Lynn. Symphonic Poem. Columbus, OH: Columbus Museum of Art, 2002. Robison, Jim. Large-Scale Ceramics. London: A & C Black, 1998. Spencer, Dorothy. Found Object Art. Atglen, PA: Schiffer Publishing Ltd., 2002. Stewart, Mary. Launching the Imagination: 3D. NY: McGraw Hill, 2008. Strachan, W. J. Towards Sculpture. Boulder, CO: Westview Press, 1976. Waller, Julian. Safe Practices in the Arts & Crafts: A Studio Guide. NY: College Art Association, 1985. http://artsedge.kennedy-center.org. www.metacafe.com/fplayer/816457/ron_mueck_australian_hyperrealist_sculptor.swf. Scholastic Art Sculpture

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Documents

River Dell Regional School District Visual and Performing Arts Curriculum · River Dell Regional School District Visual and Performing Arts Curriculum ART Grades 7-12 2015 Mr. Patrick