Studio Art A and Studio Art B

Enduring Understandings: 1. Creative expression allows an artist to express a personal response to inner and external prompts. 2. Artists and designers develop excellence through practice and constructive critique, reflecting on, revising and refining work over time. 3. Art allows us to create and see human expressions as God given gifts that we can value, nurture, and share. 4. Honoring the creative process as an instrument of unique expression allows us to come to an understanding of being beloved on the earth. 5. Artistic expression fosters creative problem solving and the ability to assess visual relationships. 6. Appreciation and creation of beauty inspires, educates, and enriches ourselves and others.

Essential Questions: 1. What is the value of understanding and participating in the creative process? (Standard #5 – Connections, Relationships, Applications) 2. What is the role of Fine Arts in past and present cultures? 3. Why do people past and present feel compelled to make art? (Standard #2 – Creative Expression)

List of Units: Studio Art A • Overview of the Course/Introduction to Forms of Art • Basic Visual Elements • Graphic Art • Historical Approaches: Viewpoints from Byzantine to the 20th Century • Drawing/Preparation for Skill • Concepts of Color • Painting

List of Units: Studio Art B • Review elements of composition and design • Techniques: contour, shading, detail • Observation and Sketching skills • Composite art: oil pastels, acrylic paint • Four Aspects of Self • De-Construction • Surrealism • Modern Art

A. M. D. G.

STUDIO ART A (6120)

KATIE WOLF Studio 108 email: [email protected] Fine Arts Chair Office hours: 8-8:30am or by appointment

Grade Level 9, 10, 11, 12 Length:1 semester Type of Course: Elective Prerequisite: None

Course Description: This course is a "hands-on" class designed to develop skills in design and composition, a variety of drawing styles, and acrylic painting. Students will receive instruction in a variety of media and will be required to use each of them in the creation of original work. The study of historical examples and observation of three-dimensional objects will be a springboard for the student's creative expression. No previous drawing skills are required to take this class; just come with an open mind!

ESSENTIAL QUESTIONS

1. Why do people past and present feel compelled to make art? (standard #2-Creative Expression) 2. What is the value of understanding and participating in the creative process? (standard #5- Connections, Relationships, Applications) 3. What is the role of fine arts in past and present cultures? (standard #3- Historical and Cultural Context)

ENDURING UNDERSTANDINGS

1) to see human expression as a God given gift- to value, nurture and share 2) to honor the creative process as an instrument of our unique expression 3) to come to an understanding of being beloved on the earth 4) to engage in critical assessment of visual relationships 5) to be open to creative problem-solving 6) to understand that appreciation and creation of beauty inspires, educates and enriches ourselves and others

ESSENTIAL KNOWLEDGE AND SKILLS Students will be able to: 1) develop basic skills in perceiving and rendering our visual world 2) develop and use a common visual language using terms of description: color, form, texture, line quality, repetition, contrast, etc. 3) develop a working knowledge of and skill level in creating works employing composition and elements of good design. 4) create works in a process that progresses from a non-objective approach image making through various styles of abstraction and on to the observation and painting of still life 5) identify various historical styles studied and executed by the class: Pointillism, Cubism, Expressionism, Surrealism, etc. 6) see creativity as a gift to value, nurture and share

We will begin our course work in pencils and progress to oil pastels, colored pencils and acrylic paints on canvas.

Our combined goal is to create an environment where a positive, creative experience is possible.

Evaluation:

1st Quarter Grades: Grades for the first quarter are based on our classroom studio assignments, (assignments started in the studio may be completed at home if the student needs more time), the 5 assigned artist units and a variety of other research and collaborative assignments. The student's attitude, positive class participation, initiative and progress are factored into the semester grade.

2nd Quarter Grades: The second quarter grade is based on the completed studio assignments and the compilation of the FINAL PORTFOLIO including 10 ARTIST UNITS. The Final Portfolio will be handed in on the last day of class and is required to have an original artistic cover inspired by our course work, the reflection paper and sketches on our museum visit and any other assignments. Thumbnail sketches (the quick sketch “tool” artists use in developing work) from all assignments shall be placed in the final portfolio as well as research and other small design work.

ARTIST UNIT REQUIREMENTS:

For each artist studied you must submit the following: 1) 1and1/2 pages typed information on the context and style of the artist’s work 2) 4 printed images of works by the artist 3) 1 FULL page (8 ½”x11” paper) rendering of a work of the artist….various materials may be used: pencil, oil pastels, paint, charcoal, etc.

Artist units, as all assignments, are to be submitted to the teacher on the date due.

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FORMS OF ART SCULPTURE 3D, Defines space, Deals with form PAINTING 2D, Presentational, "all at once" MUSIC Linear, Sequential, Takes time LITERATURE Linear, Sequential, Takes time DANCE/THEATER 3D, Defines space, Linear ARCHITECTURE 3D, Domain, Functional VISUAL LANGUAGE . . . TERMS OF DESCRIPTION • COLOR Emotional Response • TEXTURE Surface treatment "feel with your eyes" • FORM 3D quality, scale and size • LINE QUALITY Indicates direction, movement or boundary Contrast • Creates visual interest and drama Repetition • Pattern creates familiarity Shading • Shadow and light sets a tone or mood Scale • Brings attention to size relationship, can be unexplained GIVING FORM TO FEELING Why do people present and past feel compelled to make art? • to bring order out of chaos • to make a personal expressive statement • to make a cultural statement • to record history We make art to express: 1. • THE WORLD AROUND US (reflection) 2. • THE WORLD INSIDE OF US (personal) 3. • THE UNEXPLAINABLE - GOD PERSPECTIVES OF ART • REALISM 3D, use of perspective to create: • foreground • middle ground • background sense of space, use of refined shading to create the illusion of reality on a flat surface • ABSTRACTION • [L. ab (from) trahere, (to draw) begins with an object or form in realty and changes it to create a "new reality" • NON-OJBECTIVE • using color, line and form to create a tone or feeling no objects from reality are used for image making 5 VIEWPPOINTS ON PAINTING FROM BYZANTINE TO THE 20TH CENTURY

• EARLY CHRISTIAN AND BYZANTINE ART: 323 1453 AD

A religious art that uses a flattened, two dimensional stylized human form with an intense gaze to depict a sense or the spiritual and other-world". The human form is always rendered in a rigid pose with designated colors to indicate a particular saint or holy person. Over the centuries this style remains true to its Orthodox beliefs and unchanging in its visual presentation.

• RENAISSANCE ART: 1400 - 1600 AD

The Humanistic movement of the period was reflected in the visual artists' desire to portray nature and people-centered scenes realistically. Academic study of nature led to art works that used the concepts of perspective, foreshortening, and shading to create the illusion of three-dimensional space on a flat surface.

DEVELOPMENTS AND INFLUENCES:

The development of photography in the 1850's captured an image of life realistically and caused painters and artists to explore other styles beyond realism.

African sculptures and masks were brought to Europe at this time and greatly influenced the Western-European artists. The use of simplified, 2D, geometric forms as found in native cultures were adapted to European painting and sculpture and termed "modern".

Now, when we see in art an emphasis on the two dimensional, abstracted, flattened imagery and use of an emotional or interior language, we owe much to traditional native peoples and their cultural expression.

• THE MODERN AGE

IMPRESSIONISM: Slice of Life", everyday subject matter rendered with hasty brush strokes to create a quick impression of the objects. Often forms are cut by the painting's edge--much in disregard of the academic centered painting of the Renaissance time

BEGIN SELECTION OF YOUR ARTIST UNITS FROM THIS POINT FORWARD: 6

POST IMPRESSIONISM: - various approaches to the new manner of image making - emphasis on 2D rather than 3D - background is becoming as important as the main subject matter - abstraction of reality A: FORMALISM PAUL CEZANNE (1839-1906) emphasis on solid clearly bounded color areas architectural approach to seeing the world in terms of geometric shapes; cones, cubes, cylinders worked to make impressionism solid and durable B: CUBISM: Pablo Picasso, Georges Braque, Juan Gris • monochrome palette - browns and grays • geometric breakup of space/shading dark to light • emphasis on 2D rather than 3D C: POINTILLISM OR DIVISIONISM George Seurat (1859-1891) • scientific exploration of color and the optical process • no line or plane of color is used - only dots D: EXPRESSIONISM Vincent Van Gogh (1853-1890) • vivid color • emotional content • vivid brush strokes E. SYMBOLISM Paul Gauguin (1848-1903) • quest for religious experience - religious theme • flat color areas • interest in "primitivism"- back to the non-European cultures that were in tune with nature and the deeper meaning of life F: EDWARD MUNCH (1863-1944) • psychological artistic representation of inner demons and emotions • starkly expressive style

Between 1901-06 comprehensive exhibits in Paris of the works of Van Gough, Gauguin and Cezanne introduced a broad range of new artists to these revolutionary painting styles. At the beginning of the 20th Century the influence of the "freeing up" of artists demanded by the advance of the Post Impressionists could be seen in the new directions art took at this time.

• 20TH CENTURY A: FAUVISM (Wild beasts) Henri Matisse (1869-1954) • violent colors to challenge old concepts • bold distortions B: ABSTRACTION Piet Mondrian (1872-1944) "reduce - simplify" • 30 year progression from realism through simplification and reduction

7 • clean orderly universal language-visual simplicity, limited palette • horizontal and vertical black lines 90 degree angles primary colors C: FANTASY • inner eye is more important than observed reality • Marc Chagall personal dream-like cubist Russian folk tales • Paul Klee (1879-1940) simple and childlike, influenced by Cubism and native arts • Henri Rosseau (1844-1910) language of symbols, folk artist enchanted world D: DADAISM Marcel Duchamp (1887-1908) Max Ernst (b. 1891) • anti modern movement, aggressive attitude toward established values • mechanized mass killing of WWI drove Duchamp and other artists to despair with the current order their protest art all values were rendered meaningless by the war E: SURREALISM The unconscious dream state could be transposed directly onto a canvas • Rene Magritte, Max Ernst, Salvador Dali • juxtaposition of objects • use of chance effects • use of elements (fire, water, air, earth) to create an environmental space • challenges our concept of the inner reality vs. importance of outer reality F: ABSTRACT EXPRESSIONISM action painting post WWII • Jackson Pollack (1912-1956) • drips and ribbons of paint • surface of the canvas becomes alive with paint and color G: POP ART 1950-1960 based on American mass media images • Roy Lichtenstein (b 1923) • Andy Warhol • popular commercial images, isolated setting • graphic 2D emphasis H: OP ART 1960 Victory Vasarely (b. 1908) • based on exploration of optical illusion • physical and psychological process of vision • stark visual contrasts • mathematical patterns • flat clear colors I. GEORGIA O'KEEFFE • naturalist • abstractionist

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SYLLABUS

STUDIO ART A Ms. Katie Wolf e-mail: [email protected] v-mail:(415) 731-7500, ext 767

Week 1-2 Overview Of Course: We begin our course with a clear description of work expectation, explanation of assignments and an accompanying powerpoint of student work to visually explain the extent of the skills learned and objectives of the coursework, distribution of materials and visual arts packet, in depth study of chronologically listed styles of art forms emphasizing the 20th Century, vocabulary list pertinent to the visual arts and discussion of: 1. Terms of description (visual assessment) 2. Why artists create 3. Stylistic perceptions of image making AND various historical styles

The class work supports the above-mentioned layout of the course, and as the work progresses the students will: 1. gain skills in image making 2. gain knowledge of visual hall marks in that designated era in art history 3. learn to use common visual language in describing concepts and assessing their own work and the work of others 4. learn to discern the important elements of a piece and give a positive critique 5. learn to honor the creative presence in themselves and others

The final project will be a booklet of information about ten artists' styles chosen from the Visual Arts packet supported with original interpretations of each artist's style rendered by the student. An original, creative cover is also required.

Week 3-5 Class Discussion of basic visual elements of line. texture, form, shadow, light, color and how we respond to them in observation and in original creation. Emphasis on non- objective approach to image making and elements of good design and composition.

Assignments: With lead pencil, pink and kneaded erasers; 1. Three full page sketches: a. straight line b. curved line 9 c. combination of straight and curved line 2. Ten square gradation bar to familiarize student with the variety of tone 3. Six textures drawn from observation 4. Exploration of variety of line quality; form, shading in non objective style - "doodle" page and area then selected to "blowup in scale in second rendering 5. Full page non objective composition including at least the following elements: a. dark circle d. curvilinear line b. light circle e. textured area c. broken line f. dark shape that goes off the edge of frame 6. Critique and evaluation of above piece 7. On a large square format a feeling of music is encouraged in a non- objective composition

Week 6-8: Discussion of Graphic Art We will focus on a more commercial approach to image making

Assignment: 1. The student will develop 8 original scripts combining the use of their three initials and the following words as a guide to style and feeling: a. vertical e. textured b. horizontal f. curvilinear c. diagonal g. 3-D geometric d. broken h. humorous 2. Four commercially rendered logos will be developed using the student's 3 initials and the following shapes: a. circle c. triangle b. square d. geometric shape of artist's choice

Week 9: Discussion of Historical Approaches to abstraction of the image will be supported by a thorough study of Cubism.

Assignments: 1. After study of various Cubist artists the student will observe an image from reality and abstract it in the Cubist manner. Emphasis on shading and structure. 2. Critique and evaluation

Week 10-12: In preparation for skill in drawing from observation and forms in reality, we discuss and implement the coordinating skill of: 10

Assignments: 1. Blind contour drawing 2. Sketch a form from nature with a geometric background 3. Sketch a mechanical form with a curvilinear background 4. Sketch your hand holding something 5. Shadow composition 6. Critique and evaluate compositions

Weeks 13-14: Introduce Concepts of Color to the solid base of composition and technique we have built in the preceding weeks.

Assignments: 1. Discussion of pointillism and color theory, composition from set-up, using only points of color rendered in color markers 2. Color wheel 3. Color bars (complementary colors) 4. Composition from still life 5. Discussion of expressionistic style (re: Van Gough) and implementation of that style in still life.

Weeks 14-16: Discussion and explanation of use of acrylic paint, brushes, canvas and distribution of materials.

Assignments: 1. Limit palette to black, white and a third color of student's choice. Paint from observation of set up and use the following stylistic techniques: a. Cubism c. Pointillism b. Expressionism d. Realism 2. Second Acrylic Painting: using full palette from observation of set- up with attention to variety of stylistic techniques previously studied. 3. Critique and evaluate paintings

~ SEMESTER END ~ 1. Final Portfolio (with original cover inspired by our course work) with TEN ARTISTS UNITS is due on the last day of class. Additional work included shall be all thumbnails, research, museum visit reflection/sketches, small design work etc. 2. Final Exam due on the last day of class.

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GLOSSARY REALISM ABSTRACTION NON-OBJECTIVE SURREALISM SYMMETRICAL ASSYMMETRICAL MONOCHROME POLYCHROME PLASTIC GRAPHIC ORGANIC GEOMETRIC BIOMORPHIC BAS RELIEF ASEMBLAGE SCALE TABLEAU LAMINATION JUXTAPOSED BALANCE CONTRAST PERSPECTIVE TONE HUE PRIMARY COLORS SECONDARY COLORS COMPLEMENTARY COLORS ACRYLIC CHIAROSCURO DIPTYCH TRIPTYCH FRESCO GESSO GLAZE PALETTE PRINT 12 STUDIO ARTS EVALUATION SHEET KATIE WOLF, INSTRUCTOR

COURSE:______DATE: ______

NAME: ______

PROJECT: ______

Score: 9/10 Excellent 8/7 Very Good 6/5 Needs Improvement 4/3 Poor

PROCESS: STUDENT TEACHER

1) Effort ______

2) Incorporation of critique ______

3) Thought in planning ______

4) Care in execution ______

5) Shows good use of Studio Time ______

PRODUCT:

1) Composition ______

2) Use of Shadow and Light ______

3) Use of line quality ______

4) Use of form ______

5) Creative originality ______

What surprised you about this assignment? Upon reflection of your work, what would you do differently? What do you want viewers to “get” from your work? What is the feeling of this piece? Title? 13 A. M. D. G.

STUDIO ART B (6125)

KATIE WOLF Studio 108 email: [email protected] Fine Arts Chair Office hours: 8-8:30am or by appointment

Grade Level 9, 10, 11, 12 Length: 1 semester Type of Course: Elective Prerequisite: Studio Art I

Course Description: As a follow up course to Studio Art A, the Studio Art B class will place emphasis on the concept of connection and progression in developing and expanding a visual image. A more refined sense of visual decision- making and creative initiative will be stressed and expected of the mature visual arts student. Students will use a variety of materials, techniques and styles to explore themselves in relationship to their personal history, community, their sense of self and their God. We will work in acrylic paint, pencil, oil pastel, colored pencil and a variety of mixed media materials. A special project involving an in depth self study through visual images will urge the student to see her/himself in various aspects; with a connection to a specific community, a realistic self portrait and a non objective symbol that strikes a familiar resounding chord.

ESSENTIAL QUESTIONS

1. Why do people past and present feel compelled to make art? (standard #2-Creative Expression) 2. What is the value of understanding and participating in the creative process? (standard #5- Connections, Relationships, Applications) 3. What is the role of fine arts in past and present cultures? (standard #3- Historical and Cultural Context)

ENDURING UNDERSTANDINGS 1) to see human expression as a God given gift- to value, nurture and share 2) to honor the creative process as an instrument of our unique expression 3) to come to an understanding of being beloved on this earth 4) to engage in critical assessment of visual relationships 5) to be open to creative problem-solving 6) to understand that appreciation and creation of beauty inspires, educates and enriches ourselves and others 14

ESSENTIAL KNOWLEDGE AND SKILLS Students will be able to:

1) develop an understanding of various styles of visual expression by using historical examples as an inspirational spring board for original creative design projects 2) utilize their knowledge of design, composition and color from study in Studio Art A and refine these visual skills to create more significant pieces. 3) work on developing a personal style or symbol system 4) identify that one's creativity is a gift to value, nurture and share through use of the critique process and exhibition of original work

Our combined goal is to create an environment where a positive, creative experience is possible.

Evaluation: All assignments are to be completed as instructed and turned in to the teacher on the due date assigned. If a student needs more time to complete the work she/he may (1) complete the work at home or (2) come to the studio during lunch and work.

1st quarter grades: First quarter grades are based on completion of assignments both in the studio setting and homework, level of creative output, creative initiative, attitude, tests and mid-term test and the 5 Artist Units due by midterm.

2nd quarter grades: The second quarter grade is based on the completed studio assignments and the compilation of the ARTIST UNIT PORTFOLIO, a term project containing typed and printed visual information about 10 artists and/or styles together with a full page depiction of that artist’s style created by the student. The term portfolio will be turned on the last day of class and is required to have an original artistic cover and the assigned reflection paper and sketches of our museum visit and any other assignments. Thumbnail sketches (the quick sketch “tool” artists use in developing work) from all assignments shall be placed in the final portfolio. A final test is given.

15 ARTIST UNIT REQUIREMENTS:

For each artist studied you must submit the following: 1.) 1and1/2 pages typed information on the context and style of the artist’s work 2.) 4 printed images of the artist’s work 3.) 1 FULL page (81/2”x11”) rendering of a work of the artist...various materials may be used: pencil, oil pastel, paint, charcoal, etc.

Artist units, as all assignments, are to be submitted to the teacher on the date due.

SYLLABUS

STUDIO ART B

Week 1-2: Review of the elements of composition and design: balance, contrast, line quality, form, texture, symmetry, etc., and discussion of the three basic approaches to image making; realism, abstraction, non-objective.

Assignments: 1. Using definitions for a vocabulary list with discussions and examples in class 2. Using a non-objective approach; develop an image in pencil that exemplifies the concept of vertical symmetry 3. Bring in photos from magazines that display various axis of symmetry: radial, horizontal, vertical 4. Evaluate assignment using written form

Week 2: Discussion of Techniques: Those techniques used when sketching from observation: contour, shading, detail. Evaluate certain images presented to the class in terms of what makes a drawing with visual impact.

Assignments: 1. Observe each other's ear…. draw in a realistic manner the observed ear. Compliment the ear study with an intentional background. 2. Bring in an interesting 3D object that is unique in style and form. Begin a full-page study of this object from three different perspectives; a variety of shading and scale change are encouraged. 3. Evaluate the piece using the written format.

Week 3: Continuation: Support and refresh observation and sketching skills 16

Assignments: 1. Finish three views of 3D object with attention to addressing the background in an interesting manner. 2. Hand in and discuss the first of Ten Artist units for final project portfolio.

Week 4: The Composite: A large-scale piece will begin with individual units unified into a whole.

Assignments: 1. Using oil pastels or acrylic paint on paper or markers on fabric, each student will develop a 12" square image from a given 1" square portion of a large photo. Upon completion the 12" square will be assembled to create a large scale composite done by the class Weeks 5-6: Four Aspects of Self: Using a variety of materials students will design and create 4 images that speak to their understanding of themselves: 1.) Ancestry, 2.) Abstract Self, 3.) Figurative Self and 4.) Non-Objective Symbol

Weeks 7-9: De-Construction: Using acrylic paint, students will develop a four part series that will explore the de-construction of the realistic image: 1. Realism 2. Cubism 3. Line Reduction 4. Severe Abstraction

Assignments: 1. Observing the object set-ups displayed on the tables in class, students will use acrylic paint to create as realistic an image as possible 2. Using the same set-ups as a point of departure, students will apply the concept of cubism. A limited pallet is suggested. 3. Reducing the image to only essential lines, students will paint a simplified image of the objects originally observed 4. Students will use Piet Mondrian's sense of severe abstraction to translate the set-up objects into abstract art 5. Students will verbally evaluate the series in a public critique format as well as in a written form

Weeks 10-13: Surrealism: A discussion of Surrealism will inspire the students as they develop an original painting using symbolic and personal images and a combination of images from nature and the constructed world.

17 Assignments: 1. From the list of artists distributed at the beginning of class, write up a comparison of all the surreal artists 2. Class discussion of elements that define surrealism 3. Use the surrealist hand out, develop a composition that fits the criteria of surrealism 4. Paint the surrealist painting 5. Submit a written evaluation of the work

Weeks 14-16: Accordion Book and Museum of Modern Art: The class will visit the Museum of Modern Art and have a guided tour of the permanent collection and touring collections. From this tour several assignments will evolve.

Assignments: 1. Select two works from the permanent collection and one work (2D or 3D) found in the galleries that engage you. 2. Sketch the major elements of each selected piece in a “thumbnail” format. 3. Sketch an area of the museum building by architect Mario Botta that has strong visual impact. Describe the visual language of the architectural elements that make it interesting, ie: contrast, texture, repetition, scale, etc. 4. Accordion Book- Inspired by the range of art displayed at MOMA students will explore a common object in depth. Things we take for granted may have a mysterious and deeper meaning to us. 1. Bea Nettles: research and print out contextual information and 6 images of her work 2. Select an everyday object that engages you visually. 3. Create multiple images of your chosen object using a digital scanner, printer, sketches or other rendering then arrange these images in a meaningful way as an according book. Pay attention to the presentation and cover. 4. Write a reflection on the process, product and meaning of this work.

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ARTIST UNIT PORTFOLIO

LIST OF ARTISTS

RENE MAGRITTE ALEXANDER CALDER MAX ERNST GUSTAV KLIMT MERET OPENMHEIM DIEGO RIVERA YVES TANGUY HENRY MOORE ODILON REDON JACOB LAWRENCE JOAN MIRO HENRI ROUSSEAU FRIDA KAHLO ALBERTO GIACOMETTI HIROSHIGE WILLIAM BLAKE DI CHIRICO KATSUSHIKA HOKUSAI FRANK STELLA WASSILY KANDINSKY KATHE KOLLWITZ EDWARD HOPPER MARK ROTHKO WILLEM de KOONIG

ARTIST UNIT PORTFOLIO

TEN artists chosen from the above list; 5 by midterm, 10 by term’s end:

For each artist studied you must submit the following:

1) 1 ½ pages typed information on the context and style of the artist’s work 2) 4 printed images of works by the artist 3) 1 FULL page (81/2”x11” paper) rendering of a work by the artist….various materials may be used: pencil, oil pastels, paint charcoal, etc.

Artist units, as all assignments, are to be submitted to the teacher on the date due. 19 FORMS OF ART SCULPTURE 3D, Defines space, Deals with form PAINTING 2D, Presentational, "all at once" MUSIC Linear, Sequential, Takes time LITERATURE Linear, Sequential, Takes time DANCE/THEATER 3D, Defines space, Linear ARCHITECTURE 3D, Domain, Functional VISUAL LANGUAGE . . . TERMS OF DESCRIPTION • COLOR Emotional Response • TEXTURE Surface treatment "feel with your eyes" • FORM 3D quality, scale and size • LINE QUALITY Indicates direction, movement or boundary Contrast • Creates visual interest and drama Repetition • Pattern creates familiarity Shading • Shadow and light sets a tone or mood Scale • Brings attention to size relationship, can be unexplained GIVING FORM TO FEELING Why do people present and past feel compelled to make art? • to bring order out of chaos • to make a personal expressive statement • to make a cultural statement • to record history We make art to express: 1. • THE WORLD AROUND US (reflection) 2. • THE WORLD INSIDE OF US (personal) 3. • THE UNEXPLAINABLE - GOD PERSPECTIVES OF ART • REALISM 3D, use of perspective to create: • foreground • middle ground • background sense of space, use of refined shading to create the illusion of reality on a flat surface • ABSTRACTION • [L. ab (from) trahere, (to draw)] begins with an object or form in realty and somehow changes it to create a "new reality" • NON-OJBECTIVE • using color, line and form to create a tone or feeling - no objects from reality are used for image making 20 GLOSSARY REALISM ABSTRACTION NON-OBJECTIVE SURREALISM SYMMETRICAL ASSYMMETRICAL MONOCHROME POLYCHROME PLASTIC GRAPHIC ORGANIC GEOMETRIC BIOMORPHIC BAS RELIEF ASEMBLAGE SCALE TABLEAU LAMINATION JUXTAPOSED BALANCE CONTRAST PERSPECTIVE TONE HUE PRIMARY COLORS SECONDARY COLORS COMPLEMENTARY COLORS ACRYLIC CHIAROSCURO DIPTYCH TRIPTYCH FRESCO GESSO GLAZE PALETTE PRINT 21 STUDIO ARTS EVALUATION SHEET KATIE WOLF, INSTRUCTOR

COURSE:______DATE: ______

NAME: ______

PROJECT: ______

Score: 9/10 Excellent 8/7 Very Good 6/5 Needs Improvement 4/3 Poor

PROCESS: STUDENT TEACHER

1) Effort ______

2) Incorporation of critique ______

3) Thought in planning ______

4) Care in execution ______

5) Shows good use of Studio Time ______

PRODUCT:

1) Composition ______

2) Use of Shadow and Light ______

3) Use of line quality ______

4) Use of form ______

5) Creative originality ______

What surprised you about this assignment? Upon reflection, what would you do differently? What do you want viewers to feel when viewing your piece? Title?