DOCUMENT RESUME

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TITLE Fundamentals of Art, Grades 9-12. Instructional Guide. INSTITUTION Montgomery County Public Schools, Rockville, Md. PUB DATE 86 NOTE 77p.; For related document, see SO 017 529. PUB TYPE Guides - Classroom Use Guides (For Teachers) (052) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Art Education; Commercial Art; Curriculum Development; Design; Film Production; Freehand Drawing; Handicrafts; High Schools; Instructional Materials; Junior High Schools; Learning Activities; Learning Modules; Learning Strategies; *Lesson Plans; Painting (Visual Arts); Photography; Printing; Sculpture; Teacher Education; Teaching Guides; Television; Units of StUdy; *Visual Arts ABSTRACT This instructional guide is written for junior/senior high school art teachers as an aid to teaching an elective visual arts course. The guide consists of 10 units, each with instructional objectives further defined through suggested performance objectives. Some performance objectives provide specific student activities to assist teacher planning. Each performance objective contains suggestions for instruction, assessment measures, and instructional materials. All of the sample lessons can be modified to accommodate varied student needs and interests. The lessons include drawing, design, painting,crafts, commercial art, printmaking, sculpture, environmental design, photography, and film/television. Six appendices include: (1) curriculum design; (2) suggested guidelines for art class critiques; (3) outstanding artists (women, Native American, and Afro-American); (4) general health and safety procedures; (5) a coding chart; and (6) art activities supporting the teaching of reading. (TRS)

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'VW ," i 0. , 4'," AL I. . 7 " ,." ." -a TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC)." Grades 942 Montgomery County Public Schools Rockville, Maryland -

.4 N.... Instructional Guide for Fundamentals of Art

1986 Department of Aesthetic Education Montgomery County Public Schools Rockville, Maryland Copyright 1986 by The Montgomery County Board of Education Rockville, Maryland

4 Table of Contents Acknowledgments Introduction Overview vi Maryland State Department of Education Goals, Objectives, and Expectancies for Art Education, Grades 9-12 vii Program of Stucikr; Description viii Drawing 1 Sample Units 2 Design 9 Sample Units 10 Painting 13 Sample Units 14 Crafts 18 Sample Units 19 Commercial Art 24 Printmaking 25 Sample Units 26 Sculpture 28 Sample Units 29 Environmental Design 33 Photography 35 Sample Units 36 Film and Television 39 Sample Units 40 Appendix A 43 Appendix B 44 Appendix C 45 Appendix D 47 Appendix E 50 Appendix F 51 Student Bibliography 52 Teacher Bibliography 60 Acknowledgments The course structure and the content of Funda- Between the writing sessions, groups of teachers mentals of Art were developed by several teams of reviewed drafts of the course objectives and sample art teachers during summer workshops. Included units at countywide meetings. The contributions of among the writers in these sessions were John all who wrote or reviewed this material are appreciat- Blodsoe, Helen Crown, Mildred Doud, Lee Klop, ed. Emil Hrebenach, coordinator of Secondary Art, Linda Kozak, Dan O'Boyle, and Barbara Timmons. coordinated the writing and edited the content.

Introduction The visual arts, as presented in the MCPS art student. The classroom should be adjusted to allow education program, relate to people, their cultures, for individual and group needs. It is imperative that and their environments. The students' sensory and safety be given constant consideration and that intellectual explorations of cultures and environ- teachers adhere to the MCPS policy on the use of, ments help them develop aesthetic awareness, criti- hazardous tools and materials, as outlined in the cal thought, and cultural understanding. Montgomery County Public Schools Safety Hand- This instructional guide was written for junior/ book, revised edition. senior high school art teachers as an aid toward This outline of units is intended to serve as a guide attaining the instructional objectives prescribed for to teachers in preparing to teach this elective art Fundamentals of Art in the Program of Studies. course. The course has been organized around a Fundamentals of Art provides instruction in a wide series of instructional objectives as prescribed in the range of art concepts that will lead to a better Program of Studies, and it enlarges upon the understanding of art and its history. The content of concepts presented in the seventh and eighth grades. this course is based on criteria established in the The sample instructional units described may be Maryland State Department of Education frame- expanded, combined, or refined to accommodate work for art education. Successful completion of several instructional objectives. Teachers are encour- Fundamentals of Art will provide credit toward the aged to develop other performance objectives, along graduation requirement in fine arts. with appropriate methods of instruction and assess- This guide consists of a sequence of units, each ment, which would meet the needs of several levels of with instructional objectives based on a set of student ability. The suggested performance objec- concepts appropriate to the unit. These concepts are tives should be adapted to classroom situations. translated into instructional objectives, and then Activities should provide instruction for all levels of further defined through suggested performance ob- students. jectives. Some of these performance objectives are In art education, the development of aesthetic illustrated in order to provide the teacher with awareness, critical thought, and cultural understand- well-planned activities. All of the sample lessons, as ing share equal importance with art-making experi- well as the suggested performance objectives, can be ences. Students can develop an appreciation for art modified to accommodate the varied needs and by becoming more aware of their own art styles and interests of students. by recognizing that their cultural heritage includes The instructional materials needed to carry out the art of many ethnic groups. By comparing various these units of instruction are generally available art forms, styles, and movements, the student learns from the MCPS warehouse, but additional resources to make critical judgments about the quality of the may be purchased from other vendors. The bibliogra- work. In understanding the artists' place in history, phy lists approved MCP3 library books as well as the student experiences a greater awareness of the teacher reference books. A collection of art reproduc- individual's place in time and in society. tions, filmstrips, and slides is essential to presenting Some students anticipate careers in art or in the concepts. A well-planned instructional program art-related fields, but all students need to develop should also include field trips and outdoor activities cultural interests and acquire a sense of responsibili- designed to support the development of concepts ty for an aesthetic environment. Through art educa- related to art history and design. tion, students should develop an openness to new Although most instruction is designed for the ways of seeing and thinking that will enable them to typical student, the teacher should accommodate the better appreciate all fonns of visual art. needs of both the handicappcd and the gifted Overview At any level, art education helps students develop into each unit. Generally, instruction will focus on skills of observation, production, evaluation, and three types of processesthe design process, the appreciation. The Fundamentals of Art course ex- production process, and the process ofcritical plores a range of art forms and develops a conceptual analysis. basis for further study. A major goal of this course is The time constraints of the 18-week semester will to plovide opportunities for students of all abilities, require careful planning and flexibility. An average backgrounds, and ::nterests to succeed and grow in of 20 periods of class time is suggested for each unit; their understanding of art. To help accomplish this, however, consideration must be given to the resourc- each unit should provide optional learning activities es available and the ability or interest level of the and opportunities for group interaction along with students. The unit on photography, television, and the planned sequence of instruction. Art production, filmmaking represents a new area of focus for this art criticism, art history, creative expression, cultur- course and is intended to introduce some basic al awareness, and problem solving are included as concepts related to those significant areas of the foundations for the development of a sensitivity that visual arts. The suggested performance objectives will help students make critical aesthetic judgments. were designed for implementation with minimal In addition, students should become aware of career requirements for equipment or facilities. The school opportunities in the visual arts, recognize responsi- media specialist and technical assistant may provide bility for the environment, and learn about the valuable resources in this area. impact of society and technology on art. The units described in this guide are designed to The studio art lessons given in Fundamentals of meet the course expectancies listed in the Program of Art A and B will include several forms of fine art, one Studies. The lists of suggested performance objec- or more crafts, and at least two forms of commercial tives given for each unit are a small sample of art. Four general objectives related to design, art possible objectives. Teachers are encouraged to heritage, art careers, and art-related health and select from and expand upon the lists of activities safety are incorporated throughout the courses. and to provide resources to accommodate individual Fundamentals of Art A and B are basic elective needs. The sample lessons refer to books and other courses offered to all students in Grades 9-12, and resources that are annotated for teacher or student they are listed in Category 1 of the basic core of use in the bibliography. In utilizing this guide, it is courses for senior high schools. Semester A is not a recommended that the teacher use the Art Concepts prerequisite to Semester B, but the successful and Activities Bank for additional lessons that completion of Fundamentals of Art A or B is a support these instructional objectives. Teachers are prerequisite to Commercial Art I and Studio Art I. also encouraged to refer to other MCPS instructional The difference between Semesters A and B is in the guides for additional support. Helpful information is art forms studied. Semester A includes drawing and available in A Survey of World Art, Twentieth design, painting, craft, and commercial design. Se- Century Art and Architecture, Commercial Art, mester B includes printmaking, sculpture, environ- Environmental Design, and Visual Art Instructional mental design and visual communication. Art histo- Guide, Grades 7 and 8. ry and art criticism skills and concepts are integrated

vi 7 Maryland State Department of Education Goals, Objectives, and Expectancies for Art Education Grades 9-12

Goal I: To develop, through the visual arts, the Goal III: To develop and organize knowledge and ability to perceive and respond to ideas, experiences, ideas for expression in the production of art. and the environment. A. Develop coordination and skills for using art A. Develop an awareness that visual form and other tools, materials, and techniques. phenomena affect perception. Learn to identify, classify, and select the ap- Learn to identify and name selected aspects of propriate tools, materials, and techniques for visual form and how changes in them affect making art. one's perception. B. Develop the ability to create visual images. B. Develop an understanding of how visual art is Learn to create images based upon observed created as a response to images, forms, and and imagined experiences. experience. C. Develop the ability to utilize design concepts for Learn to recognize how visual art may express visual expression. a concept, tell a story, evoke a mood or emo- Learn to apply the elements of art for purposes tion, symbolize an idea. of planning and executing a visual composition. C. Develop comprehension of design concepts in D. Develop an understanding of health and safety works of art and in the environment. rules in the art classroom. Learn to identify the elements of art and Learn to take adequate measures for the pro- design principles and their relationships to one tection of eyes, face, skin, etc., when working another. in art. Goal II: To develop an understanding of the visual Goal IV: To develop the ability to identify, analyze, arts as a basic aspect of history and human experience. and apply criteria for making visual aesthetic A. Develop the ability to recognize the visual arts as judgments. forms of cultural expression. A. Develop an understanding of the aesthetic quali- Learn how visual art reflects social, political, ties which exist in both natural and human-made and ethical issues of individuals and society. environments. B. Develop an understanding of the relationships Learn to describe and interpret the aesthetic among works of art, individuals, and societies in quality of a visual form through the use of which they are created. design concepts. Learn factors which influence artists in specific B. Develop the skills and sensitivity to apply aes- historical eras and places. thetic criteria to works of art. C. Develop an understanding and appreciation of Learn to focus upon and emphasize the distinc- the diversity and idiosyncratic quality of individ- tive aesthetic contributions of various cultural ual artistic expression. forms. Learn to analyze and classify artists by their C. Develop the ability to identify, describe, apply, styles, subject matter, techniques, etc. and communicate personal criteria for assessing D. Develop a comprehension of how the visual arts one's own work. interrelate with other forms of human creativity, Learn co apply and communicate personal aes- such as the humanities and the sciences. thetic criteria. Learn to identify the relationships between problem-solving in art and in the humanities and sciences.

vii Program of Studies Description Revised June 1981 Art, Grades 9-12

Fundamentals of Art graphic design or industrial design (Linking number for Fundamentals of Art A and B: identify sources of design in nature and use one 6050) of several design structures or systems in a work The studio art lessons given in these courses will of art or craft include several forms of fine art, one or more crafts, identify works of art and craft that are represen- and at least two forms of commercial art. Lessons tative of various cultures or ethnic groups, and and activities will provide information about sources name their characteristic features of design, our art heritage, and art careers. Exercises demonstrate the ability to analyze the art or in which designs and works of art are studied will design of an historical period, and make evalua- help students better understand and appreciate art tive statements styles and applied designs. identify health and safety precautions related to Fundamentals of Art A and B are basic elective the art and craft processes studied courses offered to students in Grades 9-12, and they are listed in Category 1 of the Basic Core of Courses Fundamentals of Art B for senior high schools. Successful completion of 6056 (Basic Core Category 1) Fundamentals of Art A or B is a prerequisite to 1 semester Commercial Art and Studio Art 1. Semester A is not 1/2 credit prerequisite to Semester B, and either semester may be taken by a student any time during Grades 9-12. Instruction will be given in printmaking, sculp- The difference between Semesters A and B is in ture, environmental design, and some form of visual the art forms studied. Semester A will include communication. Students may, attimes,select drawing, painting, crafts, and commercial design. media and subject matter for their art work. Stu- Semester B will include printmaking, sculpture, dents may also participate in a planned art show. environmental design, and visual communication. Upon completion of the Fundamentals of Art B course, the student should be able to: Fundamentals of Art A demonstrate an awareness of positive/negative 6055 (Basic Core Category 1 ) space in a work of art by designing a relief or 1 semester stencil print identify the compositional and expressive ele- 1/2 credit ments in representational and abstract sculp- Jnstruction will be given in drawing, painting, a ture, and create an example of either one creative craft, and commercial design. Students will analyze architecture and environmental design be given some options in selecting media and subject in a natural, technological, historical, and/or matter. An opportunity to exhibit art work will be social context by making a project available. describe and/or demonstrate the influence of Upon completion of the Fundamentals of Art A photography, fihnmaking, and television pro- course, the student should be able to: cesses on the visual arts demonstrate drawing and design techniques identify sources of design in nature, and use one utilizing natural and other forms and emphasiz- of several design structures or systems in a work ing the depiction of mass, volume, and space uf art or craft distinguish between various forms of balance identify works of art and craft that are represen- and color harmoay in realistic, abstract, and tative of various cultures or ethnic groups, and nonobjective paintings, and demonstrate one name their characteristic features painting style demonstrate the ability to analyze the art or compare traditional and contemporary craft design of a historic period, and make evaluative styles by demonstrating a craft technique in statements fiber, metal, wood, paper, or clay identify health and safety precautions related to identify the skills required for a career in the art and craft processes studied commercial art by producing an example of

viii 9 Drawing

Concepts are enriched throughout the course. The student Drawings are made for many reasons. We assume should be encouraged to think of drawing as a means that ancient cave drawings were made to record of learning to see and as a way in which to react to major events associated with nature. Painters, sculp- the world around him/her. Therefore, the drawings tors, and craftsmen draw to develop and refine their created during this unit are not to be considered as ideas about a subject or object. The commercial end products, but as the natural results of experienc- artist draws to enhance a written statement, convey ing and experimenting with materials and ideas. a message, or decorate a surface. Graffitti often include drawings that are intended to communicate Instructional Objective personal or social concerns. Drawing has been a Demonstrate drawing and design techniques uti- visual form of expression throughout history. lizing natural or other forms and emphasizing the Drawing is concerned with all the elements of art, depiction of niass, volume, and space. including, at times, color. Line, however, is the major Suggested Performance Objectives component from which shape, texture, value, aod form evolve. The continuous line of contour and Use gesto..e drawing techniques to graphically gesture drawing can be used to quickly emphasize demonstrate the wholeness of an object or form.* mass, volume, and space. The weight and character Use contour drawing as a means of mentally of a drawn line will enhance or affect the appearance feeling the form of an object.* of a form. Through drawing, the elements of line, Use line variation in relating form to space.* form, and texture can be composed to create spatial Depict negative space as positive space in a relationships and illusions of form. Linear perspec- drawing.* tive is a systematic mechanical process used to Use light and shadow in unifying forms and space record three-dimensional forms on a two-dimensional in a drawing.* surface. The following performance objectives and activi- ties are intended as brief, continuing exercises that- * Sample lessons are provided.

1 1 0 Demonstrate a method of unifying pictorial space mass and volume. in terms of movement.* Develop eye-hand coordination in contour draw- Demonstrate Impressionism as a style and as a ing. (DR-23) point of view in drawing.* Use variations in the weight of a line to show Demonstrate the use of exaggeration and distor- movement and volume in plant forms. tion in search of more expressive statements in Draw negative space as positive forms. drawing.* Draw an illusion of form using a controlled light Identify and describe the drawing style of one source on an object. artist of the nineteenth or twentieth century.* Compose several views of hands rendered with Demonstrate a knowledge of gesture drawing light and shade. techniques.* Produce a high contrast drawing. (DR-21) Demonstrate a technique for depicting kinesthetic Make a drawing with a bristle brush depicting action.* only texture to express mass and volume. Use light and shade modeling to depict weight and Demonstrate the use of one- and two-point per- volume in a drawing.* spective by drawing simple geometric forms in Use line and texture to express mass and volume space. in natural forms such as driftwood fragments and Draw a large object using one- or two-point seashells.* perspective. Draw an enlarged segment of a natural form Create a design abstracted from a natural object. stressing mass and volume.* (DR-32) Use a variety of tools and materials to achieve Compare techniques used by Western, Oriental, different techniques in representing mass, volume, and Near Eastern artists to depict space within a and space.* composition. Identify lineal qualities and group a set of repre- Make a page of figure drawings from student sentative drawings accordingly.* models stressing mass, volume and space to analyze Use contour drawing as a means of expressing facial and figure structure through abstraction (DR-41).

Sample Units

Performance Objective Assessment Measures Use gesture drawing techniques to graphically Student work is critiqued in terms of: demonstrate the wholeness of an object or form. basic feeling of pose (Does the figure look as if it is sitting or standing naturally?) Suggestions for Instruction looseness and spontaneity of drawings Obtain or prepare examples of gesture drawing sensitivity to materials using different media, e.g., charcoal, pencil, felt pen, use of entire drawing space and crayon. Show these and examples from Nicolaides' The Natural Way to Draw, pp. 15-19, 46, 47, 160, Instructional Materials 161, 194, and 195, as well as Goldstein's The Art of Books: Responsive Drawing, pp. 4-5. As you model, have Goldstein, Nathan. The Art of Responsive Drawing. students do a 30-second gesture drawing that cap- Nicolaides, Kimon. The Natural Way to Draw. tures the basic movement of the pose. Point out Other Resources: successful results and give reasons for your selec- Teacher-prepared examples of gesture drawings. tion. Repeat the exercise for the rest of the class period. Have students take turns modeling for gesture Performance Objective drawing. Have them do gesture drawings from objects or from landscape. Vary the subject and Use contour drawing as a means of mentally media each day. Increase the drawing time from 30 feeling the form of an object. seconds to 10 minutes over the first 2 weeks. Have Suggestions for Instruction students do as many drawings per half-period as Demonstrate and show examples of different types possible. For the other half-period see next objective. of contour drawing. Refer to Nicolaides' The Natural Way to Draw, pp. 8, 10, 15, 76, and 77. Also show the NOTE: The DR number following an objective film Introduction to Contour Drawing, F-4455. refers to the drawing section of the Art Concepts and Have the students begin drawing something Activities Bank. simple and close. Vary the subject matter and *Sample lessons are provided. increase the time limit from 5 minutes to 30 minutes

2 over a 2-week period. (Alternate with gesture drawing.) assessments should be made at regular intervals and If students have a tendency to fall back on sketchy should stress positive results. Criteria should center technique, have them draw with the other hand. on line variation and the use of line to feel the form of Do not push for the completion of drawings; the object as it exists in space. In addition, the instead stress the need to experience and sense the effective use of the whole drawing area and the volume of the object. student's sensitivity to media should be considered. Assessment Measures Instructional Materials Assess student's ability to focus on the object's Books: contour during the exercise. Goldstein, Nathan. The Art of Responsive Drawing. Suggested Criteria Nicolaides, Kimon. The Natural Way to Draw. To what extent: Schickel, Richard. The World of Goya. (Use for Does the contour line feel the form? reproductions.) Is the line quality even? Wallace, Robert. The World of Rembrandt. ( Use for Has the line been drawn too fast or too slow? reproductions.) Has the whole drawing space been used? Wedgwood, Cicely V. The World of Rubens. (Use for Has the allotted time been used? reproductions.) Filmstrip: Instructional Materials "Basic Drawing: Drawing with Line." Book: Nicolaides, Kimon. The Natural Way to Draw. MCPS Film: Performance Objective F-4455 Introduction to Contour Drawing. Use light and shade modeling to depict weight and Fihnstrip: volume in a drawing. "Drawing People." Suggestions for Instruction Other Resources: Refer to Nicolaides, pp. 36 and 37. Demonstrate Teacher-prepared examples of contour drawings. the process and show examples of this technique. Using student models in a simple standing pose, have students draw for 10 to 20 minutes at first. Performance Objective Then arrange longer poses using seated models. Use Use line variation in relating form to space. crayon and/or conte crayon. Suggestions for Instruction Conduct group critiques of drawings. Demonstrate drawing from a simple object like a Assessment Measures still life bottle. Vary the thickness of the line in response to the feeling of depth in the object. Do not Suggested Criteria use shading. In some places, the line may disappear To what extent do students demonstrate: totally. Sensitivity to lights and darks in drawing to Show examples of drawings, using reproductions interpret volume and weight? by Rembrandt, Rubens, and Fragonard. See page Sensitivity to the potential and limitation of 175 of The Natural Way to Draw for a good example media? by El Greco, and page 3 of The Art of Responsive Effective use of drawing area? Drawing for an example by Rembrandt. Instructional Materials Have students work from a simple object. Limit drawing time to ten minutes. Book: As students acquire an understanding of the Nicolaides, Kimon. The Natural Way to Draw. objective, introduce subject matter such as parts of the body, more complicated objects, and groups of objects. Ask students to define their drawing area Performance Objective with a border line before drawing. See examples in Depict negative space as positive space in a The Art of Responsive Drawing. drawing. Periodically hold group critiques. In the first critique demonstrate how to compare and evaluate Suggestions for Instruction drawings based on the criteria established for the Show examples from Nicolaides, p. 37. In the problem. Line variation and a mental feel of the form Watteau drawing, the dark area on the left establish- of the object merging into the pictorial space are es a positive position in space. Also study drawings important. Discourage general remarks that are not by Degas, pp. 15 and 26, and by Wilitchew, p. 230 in based on critical observation, such as "I like it" or "It The Art of Responsive Drawing. looks real." Pose the model for 20 minutes while students start with light gesture drawing that fills the space as in Assessment Measures Nicolaides, page 160 (right-hand side of page ). Then Since this is a continuing process of developing the have students work more carefully with definite abilities of students to perceive and react to form, negative spaces that are formed by the arms, legs, 3 12 and contours of figure. See The Art of Responsive Assessment Measures Drawing, p. 22, illustration 2.8. Suggested Criteria Vary the activity by having students draw, with To what extent: contour technique, the shapes between objects in a Do lights and darks destroy the wholeness of ob- still life (30 minutes). The form of the object is jects? revealed by the shapes around it. Do drawings reflect a loose and responsive use Show an example of a Seurat drawing, The of media? Natural Way to Draw, p. 90. Have students tone the Are lights and darks accurately perceived in whole paper lightly with the side of a black crayon on relation to still-life forms? textured white paper. They then draw a figure and continue using the side of the crayon to gradually Instructional Materials darken the negative spaces. The contour of the figure Book: should be approached gradually during 40- to 50-minute Goldstein, Nathan. The Art of Responsive Drawing. work period. Other Resources: Assessment Measures Examples of drawings by Rembrandt, El Greco, and Suggested criteria Carravaggio. To what extent: Teacher-prepared examples as needed. Is the negative space seen as supporting the object form? Performance Objective Does the negative space become positive in Demonstrate a method of unifying pictorial space relation to object form? in terms of movement. Is the whole space developed? Is there evidence of sensitivity to media? Suggestions for Instruction Refer to section 19, The Natural Way to Draw. Instructional Materials Contrasting straight and curved lines, have students Books: do quick exercises from a model. Demonstrate the Goldstein, Nathan. The Art of Responsive Drawing. way to find and alternate curved and straight lines in Nicolaides, Kimon. The Natural Way to Draw. the figure. Other Resources: Study reproductions of Renaissance, Baroque, and Teacher-prepared examples as needed. Rococo paintings for movement of line and form. Examples of Seurat drawings. (Section 20, The Natural Way to Draw, has good exercises and illustrations.) Have students do small- scale gesture drawings that capture the flow of form through the reproduction. The previous exercises will develop into larger Performance Objective studies from still life or still life and figure. Use light and shadow in unifying forms and space Students should select lines from the "source" in in a drawing. response to the need for straight or curved lines in Suggestions for Instruction the drawing. The lines should move the eye through the entire space. Concentrate first on surface move- Have students &raw from a section of a complicat- ment. Later exercises can integrate this with move- ed still life which has been spotlighted for maximum ment in depth. contrast of dark and light areas. Students should use Have students do extended drawing from still life black and white chalk on gray paper and border the or landscapes that incorporate the idea of movement paper with a light line to define the working space. Have students begin drawing with the side of the with the use of lights and darks. The drawing should chalk to establish large areas of darks and lights, take at least three class periods and can be used as a using the point of chalk only to intensify and culminating activity. sharpen lights and darks. The objects will become Give students a choice of materials. submerged in the flow of light and dark. Drawing Assessment Measures should last 45 minutes. Suggested Criteria After the first drawing, critique student work and To what extent: compare it with drawing reproductions of Rem- Is the student using the medium effectively? brandt, El Greco, Carravaggio, and Rubens. Point Does the drawing reveal a careful study of the out the flow from one object to another and the way subject being drawn? the whole is organized by lights and darks. Is the drawing organized in terms of movement Then have students work on studies from figure through the pictorial space? and landscape using different media such as charcoal Hold a final group critique using these critera. and kneaded erasure on white vellum. Have them saturate the space with dark and vary this approach Instructional Mater:iuls with white chalk on gray or black paper. The idea is Books: to develop a sustained study in connection with Coughlan, Robert. The World of Michelangelo. (Use perceiving lights and darks. for reproductions.)

4 13 Goldstein, Nathan. The Art of Respon.sive Drawing. Matisse (Fauve period), Picasso, Modigliani, Munch, Hill, Edward. The Language of Drawing. and Kollwitz. Through questions and answers, point Nicolaides, Kimon. The Natural Way to Draw. out instances of distortion for spatial organization as Pitz, Henry. Ink Drawing Techniques. well as for emotional effect. Review concepts that Schickel, Richard. The World of Goya. (Use for deal with spatial organization through gesture and reproductions.) movement. Wallace, Robert. The World of Rembrandt. (Use for Define the problem as stated in the objective. reproducti ons. ) Have 'students work from a model in class or outside Wedgwood, Cicely V. The World of Rubens. (Use for the classroom. In either case the final drawing will be reproduc tions. ) done .in class. Have students begin by making Wertenbckir, Lael. The World of Picasso. (Use for several small contour drawings and gesture draw- reproductions.) ings to get the feel of the form and the mood of the subject. One or more of these quick drawings could become the basis for the final drawing. Students Performance Objective should make separate thumbnail drawings that Demonstrate Impressionism as a style and as a explore possible distortions and exaggerations that point of view in drawing. help organize the space. Final drawings should be on large (18" x 24") paper using any medium. Allow Suggestions for Instruction one and a half to two weeks for this assignment. Display large reproductions of Impressionist paint- ings and drawings. Point out and describe the Assessment Measures following qualities: (1) importance of surface tex- Suggested Criteria ture; (2) subject matter submerged in spatial unity; Does the drawing work as a composition? (3) "unfinished" yet resolved appearance. Also point Does the distortion help the composition? out the following ways of working: (1) drawing Has the integrity of the medium been maintained? directly from subject; (2) visually reacting to sensa- Is the drawing expressive of the subject and/or of tions of light; (3) sensitivity to medium; (4) evolving the feelings of the artist? the whole surface gradually and stopping when the space and subject merge in a total impression. Instructional Materials Have students make two large (18" x 24") draw- Use Shorewood Reproductions as available. ings from still life, figure, or landscape using crayon, charcoal, cont.& or soft black pencil. Performance Objective Allow two weeks for the assignment. Encourage Identify and describe the drawing style of one students to make quick thumbnail drawings in order artist of the nineteenth or twentieth century. to make sure the vantage point selected isof sufficient interest; however, do not insist that Suggestions for Instruction students do this. Display a list of artists whose life and work are Assessment Measures easily researched and whose works include consider- Hold a group critique at the end of each week, able numbers of drawings. Include artists such regardless of whether drawings are finished.If Goya, Daumier, Ingres, Delacroix, Degas, Menne, possible, select one student from volunteers to lead Seurat, Matisse, Klee, and Kollwitz. Select an area in the critique. the classroom where reproductions of their work can be displayed and where books can be read to find Suggested Criteria examples and information. Unity through surface texture Have students select one artist and prepare a Subject submerged in spatial unity paper that addresses these considerations: Effective use of the medium point of view or approach to seeing The whole drawing appears to be in a state of style and handling of media emerging. subject matter use in relation to treatment of space Instructional Materials major influences on the life of the artist, plus Book: basic where/when facts Hill, Edward. The Language of Drawing. The first three items can be researched by analyz- ing drawings and by making four or five thumbnail drawings. Performance Objective Have students do larger final drawing(s) based on Demonstrate the use of exaggeration and distor- the point of view and the means of dealing with tion in search of more expressive statements in pictorial space but not the "style" of the artist. The drawing. drawing should be done from a model, still life, a landscape, or personal experiences of the student Suggestions for Instruction rather than from photographs or reproductions. Show slides or reproductions of figurative paint- Have students display their work and give oral ings and drawings by such artists as El Greco, reports on information researched about the artist.

5 14 Provide reproductions of original artists and conduct Boccioni. Dynamism of a Cyclist. a group critique. Duchamp. Nude Descending No. 2. Reproductions and books on nineteenth and twen- tieth century painters are listed in the bibliography. Performance Objective Assessment Measures Demonstrate a knowledge of gesture drawing Conduct a group critique. techniques. Suggested Criteria Suggestions for Instruction To what extent: Refer to section 19, The Natural Way to Draw by Is the approach to seeing similar to that of the Nicolaides. Have students do quick exercises from a original artist? model, contrasting straight and curved lines. Dem- Does the student's drawing reveal sensitivity to onstrate the way to find and alternate curved and media concern for wholeness of composition? straight lines in the figure. Students may under- Does the student's drawing explore the same stand this technique better if it is referred to as a problems of spatial organization as did the controlled scribble. artist? Study reproductions of Renaissance, Baroque, and Does the student's drawing reflect his/her own Rococo paintings for movement of line and form. The personality or interpretation? Natural Way to Draw has good exercises and Instructional Materials illustrations. Have students do small-scale gesture Books: drawings that capture the flow of movement through Murphy, Richard W. The World of Cezanne. the composition. Russell, John. The World of Matisse. The previous exercises will develop into larger Schickel, Richard. The World of Goya. studies from still life or still life and figure. Students Werten baker, Lael. The World of Picasso. should select lines from the "source" in response to the need for straight or curved lines in the drawing. Other Resources: The lines should move the eye through the entire Examples of drawings by Klee, Seurat, and Van space. Concentrate first on surface movement. Later Gogh. exercises can integrate this with movement in depth. Use Reinhold Visuals, Portfolio 1, Line. Compare Honore Daumier's The Clown with Henry Moore's Performance Objective Studies for Stone Sculpture. Demonstrate a technique for depicting kinesthetic Have students do extended drawings from still life action. or landscapes that incorporate the idea of movement with the use of lights and darks. Suggestions for Instruction Have the students, using finished gestures, shade Display several Calder-type mobiles and ask stu- in areas where a pre-determined light source has been dents to create a drawing that reflects tfie shapes selected. and spaces in the mobiles. Have students draw a mobile in their choice of media. Halt the activity at Assessment Measure the end of ten minutes and compare the unfinished Have students distinguish between the gesture drawings. Display reproductions of drawings by drawings of contemporary artists and other drawing Boccioni, Giacometti, and Cezanne and Duchamp's styles. painting, Nude Descending the Stair. Instructional Materials Assessment Measures Books: In a group critique, compare student experiments Nicolaides, Kimon. The Natural Way to Draw. with reproductions of drawings by Boccioni, Giaco- Rottger, Ernst, and Klante, Driter. Creative Drawing: metti, Cezanne, and Duchamp. Point and Line. Suggested Criteria To what extent does student work show: Performance Objective Tentative quality of relationships among drawn Use light and shade modeling to depict weight and forms and shapes? volume in a drawing. Loss of object integrity? Sensitivity to use of materials? Suggestions for Instruction Surface unity through repetition of line? Arrange a still life of simple forms such as boxes, bottles, and balls which have been painted white. Instructional Materials Light it with a single spotlight and have students Books: make a contour and value study. Then have students Kepes, Gyorgy, Language of Vision. draw only the negative areas of a still-life arrangement. Moholy-Nagy, Laszlo. Vision in Motion. Demonstrate the use of dots, cross-hatching or Other Resources: washes and suggest ways to include these techniques Shorewood Reproductions: in the drawings. Have students collect natural forms 6 15 and draw them using shading to depict mass and ment of two or more natural forms that combine a volume. variety of line and texture techniques to express Using student models in a simple standing pose, mass and volume. Refer to Gerald F. Brommer's have students draw for 10 to 20 minutes. Then Drawing: Ideas, Materials, Techniques. arrange longer poses using seated models. Have Set up a still life and have students use crayon, students, using crayon and/or conte crayon, employ pencil, pen and ink, or washer to represent mass and shading to depict mass and volume. Ask students to volume. Refer to Reinhold Visuals, Portfolio 1, Line. concentrate on using light and dark to achieve solidity in space. Refer to The Natural Way to Draw Assessment Measures by Kimon Nicolaides. Demonstrate the process and Have each student write a paragraph that com- show examples of this technique. pares the techniques developed by selected artists to express mass and volume. Have them include the Assessment Measure following points: Conduct group critiques of drawings which stu- To what extent the drawings are successful in dents volunteer to show. depicting mass and volume How different media and different tools using Instructional Materials the same medium can be used to achieve mass, Nicolaides, Kimon. The Natural Way to Draw. volume, and space Instructional Materials Performance Objectives Books: Use line and texture to express mass and volume Brommer, Gerald F. Drawing: Ideas, Materials, in natural forms such as driftwood fragments and Techniques. seashells. Clark, Gilbert, and Zimmerman, Enid. Art Design: Draw an enlarged segment of a natural form Communicating Visually. stressing mass and volume. Escher, M. C., and Locher, J. C. The Graphic Work Use a variety of tools and materials to achieve of M. C. Escher. different techniques in representing mass, volume, Goldstein, Nathan. The Art of Responsive Drawing. and space. Nicolaides, Kimon. The Natural Way to Draw. Pitz, Henry C. Charcoal Drawing. Suggestions for Instruction . Ink Drawing Techniques. One of the most important co,zt =>-ts to be learned in drawing is how to bridg gap between MCPS Film: expressing forms as outline and aalizing objects F-4455 Introduction to Contour Drawing. in terms of light and dark, values and texture. Filmstrip: Display a group of reproductions and original "Drawing Basics." drawings that exhibit the use of line and texture in different media to express mass and volume. Show Other Resources: and discuss the film Introduction to Contour Drawing. Shorewood Reproductions: Ask students to make a series of drawings in Boucher. Girl with Jug. various media using a line that has variations in Degas. Ballet Dancer. weight to show volume and mass. Have them use the Ingres. Iliad Study. same materials and technique on dampened paper. Maillol. Female Nudes. Refer to Kimon Nicolaides, The Natural Way to Van Gogh. The Blue Cart. Draw, for examples. Discuss the use of line and texture drawing techniques to create a threedimensional effect on Performance Objective paper. Have students practice the expression of Identify lineal qualities and group a set of repre- graduated values in line and texture in pencil on sentative drawings accordingly. rough and smooth paper. Have them use parallel lines, cross-hatching, dot, and scribbling techniques. Suggestions for Instruction Refer to The Graphic Works of M. C. Escher for Compare contour drawing with sketching by illustrations. Ask students to make a pen-and-ink demonstrating each technique and by referring to art drawing of a piece of driftwood in which the wood reproductions. Have students do a different drawing texture emphasizes the expression of form. with each technique from a simple but interesting Review the techniques for making scratchboard object. In a group critique, compare the different drawings. Ask students to make a scratchboard linear effects. drawing of an animal that uses a textural technique Show and discuss the films The Dot and the Line, to express form. Refer to Drawing: Ideas, Materials, F-5211, and/or Discovering Line, F-2728. Have Techniques for examples. students draw and identify as many different types Using a photograph or a segment of half-tone or of lines as possible and display the results. Have color photograph of an enlarged plant form as the students identify each type of line by stating an basis for a stippled pen-and-ink drawing, have stu- emotional reaction or by citing a source from nature. dents make a pen-and-ink drawing of an arrange- Show reproductions such as a Picasso for contour e drawing; Rubens, Rembrandt, and Degas for line MCPS Films: variation; Kollwitz for emotional use of line; and F-5211 The Dot and the Line. Matisse for the structural use of line. F-2728 Discovering Line. Other Resources: Assessment Measures Shorewood Reproductions: In class discussion have students point out differ- Boucher. Girl with Jug. ent line qualities and how they function in several Corot. Girl in Beret. published drawings. Degas. Ballet Dancer. Given a set of numbered drawings, the student Klee. Harbor Scene. will group them first according to aesthetic qualities Kollwitz. Mother and Chikl. and then by compositional structure. Leonardo. Portrait of Isabella d'Este. Modigliani. Women. Instructional Materials Picasso. Mother and Chikl. Books: Rembrandt. Prodigal Son. Evans, Helen. Man the Designer. Rubens. Head of a Boy. Harlan, Calvin. Vision and Invention. Van Gogh. Iron Bridge. Moholy-Nagy, Laszlo. Vision in Motion. Reinhold Visuals: Schinneller, James A. Art/Search and Self-Discovery. Line (Portfolio 41).

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Design Concepts strate an understanding of design organization.'' Drawing and design are closely related skills that (Refer to Appendix E.) the student uses interchangeably. In the develop- Produce a series of designs based on drawings mental stages of artistic expression, an understand- from natural objects.* ing of the principles of design is necessary. The Produce six designs using the same basic elements primary need for the artist to communicate an idea as a starting point.* or expression can best be handled through the Create a composition in which a small segment of a understanding of the basic design principles: unity, natural object is greatly magnified.* balance, rhythm, repetition, proportion, and variety. Identify several systems of spatial organization Most designs are categorized into one of the used in art or design.* several basic structures found in nature. Natural Identify positive and negative shapes in a design objects exemplify shapes and patterns that the or painting.* student can translate into design. Designs are Create positive and negative shapes in an organic derived from the total natural object or partial detail, and a geometric design.* from familiar images or abstIncted motifs and Create a composition of formal or informal balance. symbols. Demonstrate the importance of unity in a Good composition adheres to the principles of composition. design and develops from the need of the artist to Create a design of rhythmic patterns. communicate through an honest expression of ideas Demonstrate the ability to arrange proportions in and use of materials. a design. Create a repeated design from an organic or Instructional Objective mechanical object. The student should be able to identify sources of Design an environment based on a natural form. design in nature and use one of several design Create a design contrasting color, size, shape, or structures or systems in a work of art or craft. texture. Suggested Performance Objectives Identify 15 basic design structures and demon- * Sample lessons are provided. 18 Sample Units

Performance Objective design in the series. Emphasis for this design is to be Identify 15 basic design structures and demon- on a color scheme, either complementary, analogous, strate an understanding of design organization. or a limited palette. The dynamics of the student's color sense can be explored and supported. Suggestions for Instruction The last design for this series calls for the student Identify, through discussion with students, the 15 to produce a repeated design in either a relief or structures into which designs most frequently fall. silk-screen print. This design presents a new problem Discuss the order and organization of the groups, for the student to explore. A repeated design must be pointing out the simpler structures versus the more capable of linking to itself as it is moved along in the complicated and sophisticated ones. Ask the stu- printing process. Positive and negative shapes should dents to describe examples of each system found in be reviewed before the design is carried into the nature or their environment. Then, have the students printing process. cut appropriate examples from magazines or suggest that the students create designs to fitspecific Assessment Measures structures. Upon completion of this assignment, students Next, direct the students to break down the 15 should observe the series from the point of view of structures so that the designs fit into the formal or how a design can progress from the initial drawing of informal design groups. Discuss which groups ap- a natural object. pear to be rigid and controlled and which appear To what extent: more casual and free. Does the design relate to the drawing? Has positive and negative shape been controlled? Assessment Measures Does color enhance the particular object? Critique the finished designs, considering how Does the repeated design work in all directions? they fit into the overall organization of design. Test the students for their recall of the 15 design Instructional Materials structures. Books: Bevlin, Marjorie. Design Through Discovery. Instructional Materials Rowland, Kent. Pattern and Shape. Appendix E, "Basic Structures." Stevens, Peter S. Patterns in Nature. Books: Bev lin, Marjorie. Design Through Discovery. Performance Objective Feldman, Edmund. Becoming Human Through Art. Produce six designs using the- same basic elements as a starting point. Performance Objective Suggestions for Instruction Produce a series of designs based on drawings Give the students a photocopied page with six from natural objects. boxes, each having a circle, a dot, and a line in the Suggestions for Instruction same position. Have the students use these marks to start different designs. Encourage the students to Start this assignment by explaining to the stu- think about the principles of design in solving these dents how a series or a progression of designs will problems as opposed to making a drawing. A helpful develop from an initial group of drawings. suggestion to the student is to repeat the shapes The student will first choose a natural object. given and to move the design to the edges of the After looking closely at the object, the student will boxes. produce a group of drrwings to demonstrate his/her ability to observe ar, -I select the pertinent details Assessment Measures from a particular object. To what extent: Once the drawings are compleiei, the object can Do the circle, dot, and line change from one be set aside. The student is to arrive at the first design to the next? design by looking closely at the arrangements of Does each square show a different feeling or lights and darks. Sitg7est tha; the student simplify mood? the shapes as well l'he lights and darks. All the gray or middle t,-f45 ':alues) should be translated Instructional Materials into a light or dnfkrending on the demands of the Books: design. This des0.:then completed in either brush Clark, Gilbert, and Zimmerman, Enid. Art Design: and ink or cut pa, ,f, Communicating Visually. Next, the stIrfi...i!,is 0 return to the original Gatto, Joseph, and others. Exploring Visual Design. drawings and soIei: new view to make the next Harlan, Calvin. Vision and Invention.

Th Performance Objective Emphasis or variety Chagall's The Street or Create a composition in which a small segment of a Rain. Monochromatic color swatches from .the natural object is greatly magnified. previous unit may also be used. Refer also to examples or reproductions depicting Suggestions for Instruction various kinds of natural and made objects. Catego- The tendency for students to look but not "see" rize these according to the chart of basic structures often results in having difficulty with translating the provided in Appendix E. commonplace into a design. To give students prac- Have students search magazines and/or their tice in seeing, have them cut out paper viewing environment in order to develop two abstract de- frames of different sizes and study segments of the signs,, one based on a natural object and one on a room or various objects. A natural object, no matter made object. Designs will be done in tempera in a how minute, seems to offer ideas, links, and compari- 5" x 7" area. sons for developing designs. Since we project our- Analyze art reproductions for organic and formal selves onto what we see, no two people will interpret composition as suggested on page 20 in The Meaning the form in the same way. These objects will only and Wonder of Art. Describe and demonstrate how stimulate the imagination. Refer to Natalie d'Arbeloff's to diagram a Renaissance painting using lines and Designing with Natural Forms. geometric shapes to show the pattern of figure in Have students draw a segment of a fruit, vegeta- space. Raphael's Alba Madonna, for example, will ble,or other natural object and magnify this show the triangle with its base parallel to the segment to encompass an entire page. Have students horizon line, which stabilizes the figures within the create a stylized pattern by examining the structure circular space. Do the same with a Baroque painting of an object and simplifying it. They should render using light and shadows. Any Rubens painting with this design using any combination of media such as numerous figures will usually reveal an organic, collage, ink, and tempera. circular movement in space. Have students select Have students select a black-and-white photo- either a Renaissance or a Baroque reproduction and graph of a natural object that is not readily found in analyze the composition by tracing or drawing. the local environment and create a design that Insist on accurate proportion of design space. resembles the object but faithfully uses the values in Display the results alongside the reproduction. In a the reference photo. Colors may be either natural or group critique, have students compare the analysis imaginative for this design. Discuss the color in the with the reproduction. Note the differences between paintings of Georgia O'Keefe. Baroque and Renaissance composition as suggested in Wofflin's Principles of Art History. Assessment Measures Design can be thought of as structural or applied. Have students complete a student self-evaluation Review the criteria for evaluating each as suggested form. in chapter 6, "Evaluation of Design," in Man the Have students compare the completed paintings Designer by Helen M. Evans. Display examples of with the object(s) depicted and with other paintings pottery, furniture, textiles, and household items, of the same object(s). both good and poor. Have students critique items in Instructional Materials terms of the following criteria: In structural design, to what extent: Books: Does form follow function? Bev lin, Marjorie. Design Through Discovery Is the material used appropriate for the form? d'Arbeloff, Natalie. Designing with Natural Forms. Has the nature of the material been respected? Rowland, Kent. Pattern and Shape. Have the concepts of spatial organization been Stevens, Peter S. Patterns in Nature. considered? In applied design, to what extent: Performance Objective Is the applied design necessary? Identify several systems of spatial organization Is the design harmonious in color, line, form and used in art or design. idea? Is the structure functional? Suggestions for Instruction Is the object designed to relate to the space in Show examples from Kepes' Language of Vision which it is placed? and the Reinhold Portfolio on organization which demonstrate the most common approaches to visual Assessment Measures composition. Have students use colored paper and Students should be able to identify examples of crayon to create a 5" x 7" example of each of the each principle of spatial organization discussed. The following principles of design: following procedure is suggested: B alance ( symmetrical/asymmetrical ) Ce zanne's Select and display 15 representative examples The Card Players and Dali's Last Supper from the class's work and number them. Movement ( depth and surface)Arp's Configur- Have students write the principle which is most ation aptly described by the example beside its Unity Constable's Salisbury Cathedral and identifying number. Raphael's Alba Madonna Test students' ability to identify organic form as

&O opposed to synthetic form. Flash slides or reproduc- Suggestions for Instruction tions while students identify each. Develop the concept of positive and negative space Evaluate the student designs based on natural or by: made objects. defining the words showing art print examples that use positive Suggested Criteria: and negative shapes and discussing their appar- Do designs reflect harmony of line, shape, and ent interaction color? cutting out positive and negative shapes from Does each design reflect the source from which it construction paper and was conceived? - separating the shapes from each other - gluing the positive shapes onto a contrasting Instructional Materials sheet of construction paper Books: - repeating the same process with the negative ;vans, Helen. Man the Designer. shapes Gettings, Fred. The Meaning and Wonder of Art. - discussing with students how positive and Kepes, Gyorgy. Language of Vision. negative shapes work on a flat surface Have students repeat the exercise above using a MCPS Films: contour drawing of a still life as the subject. First F-1037 Art and Motion. review contour drawing techniques. F-5650 Discovering Harmony in Art. Have students make a repeated design based on geometric shapes using rulers, compasses, and tem- Other Resources: plates. This will produce a controlled design in which Shorewood Reproductions: students will see the specific positive and negative Arp. Configuration. shapes more easily. Repeat the design eight times. Calder. The Stars. (Review the concept of repeated shape.) Students Cezanne. The Card Players. should paint in the positive shapes with warm colors Chagall. Chambon-sur-Lac. and the negative shapes with cool colors in four of Rain. the designs. (Review warm and cool colors from the The Street. color wheel.) Reverse the colors in the second group Constable. Salisbury Cathedral. of four designs. Currier and Ives. National Game of Baseball. Have students draw an organic object such as a Dali. Sacrament, Last Supper. flower, animal, cell, human figure, bone, pinecone, or Lawrence. Parade. bird. Students should simplify the drawing into a Lee-Smith. Boy with a Tire. design emphasizing the positive shapes of the Raphael. The Alba Madonna. background. Students should paint the design as in Reinhold Visuals the previous assignment using warm and cool colors. Line (Portfolio #1). Organization (Portfolio #3). Assessment Measures Color (Portfolio #5). Review the lessons, critique the results obtained in Perception (Portfolio #7). student projects, and reinforce the concepts pre- Space (Portfolio #8). sented. Have students do the following: Identify which design worked best on a large scale. Small scale. State reasons for the choice. Identify positive and negative shapes in such Performance Objectives things as wallpaper, wrapping paper, fabrics, Identify positive and negative shapes in a design and interior designs. or painting. Compare art prints that use obvious positive Create positive and negative shapes in an organic and negative shapes with prints that use subtle and a geometric design. shapes.

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Painting Concepts In retrospect, painting has evolved full circle from Some form of painting has developed in every the cave and is once again an integral part of culture since the beginning of humanity. Since the architecture and media where it influences our daily cave paintings at Lascaux, France, diverse styles, lives. techniques, and media have been employed. In Instructional Objective painting, the artist is concerned primarily with color and composition. The overall design of a composition Distinguish between various forms of balance in may be symmetrical or asymmetrical. Each painting realistic, abstract, and nonobjective painting, and be mediumwatercolor, tempera, oil, or acrylichas able to demonstrate one painting style. unique characteristics which may tend to influence a Suggested Performance Objectives painter's style. For example, watercolors provide Identify symmetrical, asymmetrical, and radial transparent forms while tempera and acrylics may be balance in painting reproductions representing a used in an opaque manner. Oil paint dries slowly and variety of styled and periods.* can more easily be blended or mixed on the canvas. Demonstrate techniques for representing texture In another way, painting has progressed from the in a painting.'' fixed cave paintings and wall frescoes of early Analyze the painting style(s) of an historical period cultures to portable canvas and computer-generated and identify the materials used.* paintings. Painting today is sometimes three Demonstrate methods for preparing a watercolor dimensional in form or combined with printmaking surface.* and photography processes. During the last century, Create a watercolor using the wet-on-wet, wet-on- a wide range of painting styles has evolved, some of dry, and dry-on-wet techniques.* them as the result of the working properties of Demonstrate an understanding of hard-edge acrylic pigments. The fast-drying, intense colors of painting.* acrylic paint also permit the artist to work on a larger scale and on a variety of surfaces. Computer paintings can be changed with the press of a button. *Sample lessons are provided. 13 22 Demonstrate radial symmetry by making a kalei- Create an optical illusion using a monochromatic doscopic design. (P-30) color scheme. Design and paint an abstract symmetrical compo- Create a painting using a natural form as a unit of sition which is balanced by both shape and color. design and radial symmetry. Identify positive and negative shapes in a painting.' Paint a repeat pattern in tempera using one or Demonstrate the ability to mix colors in a given more natural forms. sequence.' Compare the axial balance of Oriental paintings Design and paint a representational symmetrical with the Western view of balance. composition which is balanced by both shape and Identify concepts of spatial organization. color. Create a balanced composition by contrasting value. (P-75)

Sample Units

Performance Objective Performance Objective Demonstrate the ability to mix colors in a given Identify symmetrical, asymmetrical, and radial sequence. balance in painting reproductions representing a Suggestions for Instruction variety of styles and periods. Seeing color: Ask students to collect natural forms Suggestions for Instruction such as leaves, pebbles, and shells. In class, students Review the elements of art. Reinforce the concept may trade objects in order to assemble a grouping of of visual balance by demonstrating physical balance one color or texture and arrange them in a value scale with objects on a balance beam. Discuss the effects and display the arrangement. of color on visual balance by referring to the varying Mixing colors: Have each student, using primaries intensities of color and the size of each color area in a plus black and white, mix 30 to 40 colors varying in given painting. hue, value, and intensity. Have the student select Show reproductions of famous paintings and one hue for analysis and mount these samples in discuss the types of balance used in each. The order according to value or intensity. (Store samples following Shorewood Reproductions can be used to for use in later design problems.) illustrate obvious forms of balance: Show slides or reproductions of Johns, Mondrian, Symmetrical and Albers, and discuss the different effects of color Dali. Sacrament, Last Supper. relationships. Have students make a 12-hue color Leonardo. Mona Lisa. wheel with a movable indicating device in the center that will point to analogous, complementary, and Raphael. The Alba Madonna triadic sets of colors. Asymmetrical Dubuffet. Parade of Objects. Assessment Measures Picasso. Guernica. Have students pick out examples of basic color -. Guitar, Glass, Fruit Dish. harmonies from magazines and identify each one. Administer a written or oral exam that measures Radial the student's understanding of color terms. Currier and Ives. National Game of Baseball. Demuth. Figure Five in Gold. Instructional Materials Vasarely. Vega Kontash. Books: Kepes, Gyorgy. Language of Vision. The Reinhold Visuals can also be used to illustrate Moholy-Nagy, Laszlo. Vision in Motion. balance in realistic, abstract, and nonobjective paint- ing. The portfolios on line and movement are MCPS Films: especially useful. F-4380 Color and Pigment in Art. Discuss various painting styles and how balance F-2124 Discovering Color. often determines the composition. Discuss the inter- play of line, shape, form, texture, and color and how these elements affect balance in still life, landscape, NOTE: Numbers in parentheses indicate a refer- and portrait paintings. Discuss balance in three ence to the painting section of the Art Concepts and classifications of art movements or periods: Activities Bank. Realism: Renaissance, Neo-Classicism, and Ameri- * Sample lessons are provided. can Realism

14 2 3 Abstract: Cubism, Constructivism, and Geometric Harlan, Calvin. Vision and Invention. Abstraction Morman, Jean Mary. Art: Of Wonder and a World. Nonobjective: Op Art, Color-field, and Minimalism . Art: Tempo of Today. A ssessmen t Measures MCPS Film: Display and number student paintings. Have F-2126 Discovering Texture. students classify each one in terms of the art Other Resources: stylerealistk, abstract, or nonobjective. Have Shorewood Reproductions: students also identify the type of balance depicted in Chardin. Still Life with Pipe. each painting. Painting reproductions may either Durer. The Hare. supplement or be used in place of student work. Hoiner. Breezing Up. Level 1 Koson. On the Wing. Have students pick out symmetrical balance in Matisse. Dahlias. realistic and abstract paintings. Students should Monet. Boats on the Beach. analyze balance by tracing over major elements in a . Tulips in Holland. reproduction. A symmetrically balanced design can Rembrandt. Man with Helmet. be altered by applying different colors to certain Renoir. Girl with Sheaf of Corn. areas outlined in the tracing. Van Gogh. Sunflowers. Reinhold Visuals: Level 2 Surface (Portfolio 4). Have students collect natural objects, arrange a still life, and paint it with a concentration on color balance. Some students can sketch the still life and rearrange the shapes to paint an abstract design. Performance Objective Instructional Materials Identify positive and negative shapes in a painting. Books: Suggestions for Instruction MCPS. Survey of World Art. Compare made shapes with natural shapes by . Twentieth Century Art and Architecture. making a list of distinguishing characteristics identi- Other Resources: fied by the class. For examples, refer to Art as Reproductions from Shorewood's Art Programs for Design: Design as Art and to the Reinhold Portfolio Education #5015: Shape, Balance and Composition. on Mass. Have students analyze positive and negative shapes by completing one of the following exercises: Level 1 Performance Objective Using the reproductions of Baroque painting, Demonstrate techniques for representing texture make tracings or sketches of the major forms. in a painting. Exchange work with another student and identify Suggestions for Instruction positive sections in his/her work by shading them Instruct students how to make crayon rubbings with chalk or crayon. from different surfaces in the classroom or around Level 2 the school building. Display these rubbings and have Draw a still life, concentrating on the negative students identify the source of each one. shapes only. (Student self-assessment criteria should Show the film Discovering Texture and discuss specify that objects should be apparent in each various sources. Refer to the textured and patterned drawing as a result of seeing tbe negative shape.) masks from the central Congo depicted in African Level 3 Art in Cultural Perspective. Show slides, reproduc- Crop and enlarge a section of a Roman type face. tions, or actual examples of other interesting applica- tions of texture in a design such as in pottery, Emphasize the negative space with color or tone. sculpture, weaving, and architecture. Assessment Measures Have students bring in samples of textures. Make an arrangement placing the samples in order from Level I rough to smooth; then ask each student to create a Have students compare their tracings with the collage using any sample textures. Have students Baroque reproduction. Display and number the paint a copy of their collage, trying to reproduce the reproductions and the students' drawings. Have the textures. students match each drawing with a reproduction. Level 2 Assessment Measure Have the students compare their drawings with Compare the student collages with their paintings. the still-life composition. Instructional Materials Level 3 Books: Have the students compare the type-face drawings Bascom, William. African Art in Cultural Perspective. with the original letter form. 15 24 Instructional Materials Create a watercolor using the wet-on-wet, wet-on- Books: dry, and dry-on-wet techniques. Clark, Gilbert, and Zimmerman, Enid. Art Design: Conznzunicating Visually. Suggestions for Instruction Evans, Helen. Man the Designer. Show and discuss the MCPS films Watercolor McIlhany, Sterling. Art as Design: Design as Art. Painting: The Marine Scene with Herb Olsen; Dong Other Resources: Kingnzan; and Wor''ing with Watercolor. Make some Shorewood Reproductions: general observationE about the spontaneity of water- Chagall. Rabbi: The Pinch of Snuff. and the several ways to use them. Feininger. Upper Weimar. color.Discuss the content and making of watercolor Gauguin. Harvest Scene. papera higher percentage of rag content in paper Klee. Sinbad the Sailor. makes a better quality and more expensive paper. A . Viaducts. 140 lb. paper means 500 sheets would weigh 140 Picasso. The Lovers. pounds. A 300 lb. paper has better qualities for Van Gogh. Child with a Dove. watercolor but is too expensive for the beginner. Vermeer. Milkmaid. Obtain several varieties (weights and textures) of Wonzan in Blue. watercolor paper along with newsprint, typing pa- Reinhold Visuals: per, sketchbook paper, tissue paper, layout paper, Mass (Portfolio 2). illustration board, vellum, and bristol board. Label the samples and pass them around the class for study. Discuss the possibilities and limitations of Performance Objectives using each of these papers with the watercolor Analyze the painting style(s) of an historical medium. Demonstrate a brush stroke on each sam- period and identify the materials used. ple. Demonstrate three different watercolor tech- niques, wet-on-wet, wet-on-dry, and dry-on-wet, and Suggestions for Instruction discuss appropriate brushes and their use andcare. Divide the class into small groups and assign each Briefly discuss the merits of both cake and tube group a separate style of painting. Each group will watercolors. determine what materials and style were used by Demonstrate two methods of stretching watercol- artists of the period being studied by reading study or paper: sheets prepared by the teacher. Wet watercolor paper and mount with gummed Unique styles of painting can be shown from paper tape on a drawing board. various periods in art such as Renaissance, Byzan- Show how one can staple wet watercolor paper tine, Gothic, Impressionism, Cubism, and Pop Art. on painting stretchers and how the paper Each style has a variety of materials and techniques becomes very tight when it has dried. associated with it. For example, Cubist works of art Display various reproductions of watercolor paint- were done in tempera, watercolor, oil, and collage. ings and discuss with students the three basic Multimedia works emerged during this time. techniques (wet-on-wet, wet-on-dry, dry-on-wet) and Have students in each group execute a small the skills involved in these paintings. Oil or acrylic sample of the style and techniques of their assigned techniques may also be compared with the tech- period of painting. Follow up with a discussion and a niques used with watercolor. comparison of student's sample paintings, paying Set up a still life and have students sketch the particular attention to how different forms of paint- forms realistically. Students should then rearrange ings evolved throughout history. Discuss the types all forms and create an abstract painting of the of supports used for the painting method being composition. Have students identify and discuss described, methods *of applying pigments to sup- forms of balance used in the realistic and abstract ports and grounds, materials and equipment used in sketches. the actual painting, and the purpose of the painting. Discuss how balance can influence the composition Assessment Measures of a painting. Compare student watercolors for their use of the Assessment Measures techniques wet-on-wet, wet-on-dry, and dry-on-wet. Give students a number of paintings that have Suggested Criteria: been produced by students for this assignment, and To what extent: have them identify the style of each painting. Did the student establish a recognizable form of Show selected samples of paintings representative balance? of prehistoric times to the present day, and have Did the student successfully execute the water- students identify the painting method used in each. color techniques? Do the paintings reflect a knowledge of realism and abstraction as styles? Performance Objectives Display and number all student sketches and Demonstrate methods for preparing a watercolor paintings in a random sequence separating the still- surface. life sketch from the abstract painting. All students

16 25 will identify appropriate pairings for tho works on Demonstrate tho procedures for stretching a can- display. vas and applying gesso to masonite or canvas, Instructional Materials Assessment Measures MCPS Films: Ask student to produco a painting using tho hard- F-0800 Dong Kingnzan. edge style on gessoed masonite, canvas, or board. F-6260 Watercolor Painting: The Marine Scene with Have students participate in a group critique and Herb Olsen. make 'statements that: F-1646 Worhing with Watercolor. describe one or more painting techniques and Other Resources: variations, including hard edge Shorewood Reproductions: describe the characteristics of acrylics Picasso. Fruit Basket. . Lemon and Oranges. Instructional Materials Rohlfs. Sunflowers. Books: Wyeth. April Wind. Ballinger, Harry R. Painting Landscapes. Brommer, Gerald F. Transparent Watercolors. Davidson, Abraham. The Story of American Painting. Performance Objective de la Croix, Horst, and Tansey, Richard G. Art Demonstrate an understanding of hard-edge Through the Ages. painting. Fabri, Ralph. Artist's Guide to Composition. Gupta Arthur. Watercolor Painting Step-by-Step. Suggestions for Instruction Taubes, Frederick. Acrylic Painting for the Beginner. Show examples of acrylic paintings by contempo- Timmons, Virginia. Painting: Ideas, Materials, rary painters such as Gene Davis, Frank Stella, Processes. Joseph Stella, and Kenneth Noland. Compare these with commercial acrylic illustrations found in maga- Periodicals: zines and in advertising and promotional materials. "The Art of Design," Art and Man, Vol. 8, ). 3, Discuss the origin of hard-edge painting. Compare Dec. '77/Jan. '78. this nonobjective style with realism and give empha- Other Resources: sis to the different forms of balance. Refer to Shorewood Reproductions: Painting: Ideas, Materials and Processes, by Virgin- Botticelli. Adoration. ia Timmons. Have other books available to review Brueghel, Pieter. Harvestors' Meal. information on acrylics. Many painting books have a Evergood. Sunny Street. chapter or two on am.) /ics. Assign readings in Homer. Snap the Whip. Taubes' book Acrylic Painting for the Beginner. Lee-Smith. Boy with a Tire. Display reproductions from Shorewood, such as: Millet. The Gleaners. Vasarely. Vonal KSZ Monet. Women in a Garden. Stella, J. Brooklyn Bridge Picasso. Fruit Basket. Still. 1957, No. 1 Rohlfs. Sunflowers. Shahn. Still Music Seurat. Bathing Place at Asnieres. Prepare and display visual aids showing the Shahn. Still Music. following. Stella. Brooklyn Bridge. Haid-edge painting Still. 1957, No. 1. Paint with matte medium added Vasarely. Vonal KSZ. Paint with gloss medium added Wyeth. Study for "April Wind." Paint with gel added Sand, modeling paste and mixed media Filmstrips: Acrylic with varnish medium applied "Appreciating Abstract Art." Demonstrate the use of acrylic paint and tape to "Appreciating Representational Art." produce a hard-edge painting. "Art and the Masters." Discuss tools and their care, stressing the follow- "Kinetic Art." ing rules: "20th Century American ArtRepresentational Keep brushes clean with soap er detergent. Tradition." Keep brushes in water during the process of "Understanding Pop Art." painting. MCPS Films: Avoid pouring paint into sinks. F-0800 Dong Kingman. Keep palette and palette knife wiped and washed F-6260 Watercolor Painting: The Marine Scene with after each painting session. Herb Olsen. Do not get acrylics on clothing. F-1645 Working with Watercolor.

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Crafts Concepts record the socN1 history of every culture, the study Craft objects are generally considered to be of crafts affois.s an excellent opportunity to relate aesthetic, functional items which are applicable to the process or the product to other school disciplines. everyday use. Traditionally, crafts were integrated Instructional Objectives with basic survival skills to provide wearing apparel, shelter, tools, and utensils. Every culture has cele- Compare traditional and contemporary craft styles brations and ceremonies based on its traditioL.s or by demonstrating a craft technique in fiber, metal, beliefs. Historically, some cultures have influenced wood, paper, or clay. e crafts of other cultures through the development Identify works of art and craft that are representa- of specialized subject matter, styles, or motifs based tive of various cultures or ethnic groups and name on location, beliefs, or resources. their characteristic features. Many of today's machine-made articles were origi- Identify health and safety precautions related to nally handmade and still frequently imitate the the art and craft processes studied. handmade object. Most contemporary crafts are Identify sources of design in nature and use of handcrafted not because of economic necessity but to several design structures or systems in a work of art satisfy a desire for the uniqueness and beauty of a or craft. one-of-a-kind object. QuaWof design and crafts- Demonstrate the ability to analyze the art or manship separate souvenir crafts from significant design of an historical period, and make evaluative crafts. Good design considerr the relatio-- -hip of statements. form, material, and structurr function. Decorative Suggested Peformance Objectives design applied to the surf Ltze should enhe -se the Compare the basic techniques employed in crayon underlying structure. Good design and souLdd tech- batik and traditional batik.* nique will elevate a crafted object to an aesthetically satisfying form. Traditional designs, techniques, and materials can be studied and adapted to current styles or methods of production. Since the crafts *Sample lessons are provided.

18 Describe thematic and design differences among of the world. the batiks found in Africa, Asia, and the Western Identify classical furniture styles by naming the civilizations. designer or the culture from which it is derived. Utilize several methods for designing and produc- Using the medium of wood, produce a toy that ing a batik on fabric or some other material. moves. Describe the past and present uses of macrame Describe the symbolism and techniques of the and basketry in various societies. paper-cutting crafts of Poland, Mexico, Germany, Compare ancient styles of weaving by referring to and Japan. pattern, texture, color, material, and function, and Make a small functional form in papier-mfiché and produce a woven length of fabric.* decorate it using simplified decoupage techniques. Compare weaving among selected cultures during (C-22, C-95) a specific time period by referring to looms, materi- Produce a contemporary piece of pottery by als, functions, and art elements and principles. combining classical and popular forms. Compare containers found in nature with made Compare the forms and motifs generally used in containers.* ancient Greek and American Indian pottery. Use a design structure from nature to produce a Collect examples of natural forms found in craft functional form.* designs and categorize them according to form. Produce a contemporary, nontraditional woven Develop and produce a symbol based on personal item by utilizing the third dimension and incorporat- heritage. ing materials other than yarn. Develop a chart or map to relate specific crafts to Distinguish between the general characteristics of geographical locations. an oriental rug and a Navajo rug. List and identify obsolete craft items and catego- Compare techniques of enameling on metal in rize them by process. terms of physical characteristics and the historical Identify examples of the meander motif in the context of the process, and produce an enameled crafts of various cultures. shape.* Demonstrate a simple bookbinding process and Recycle a throw-away object by adapting a tradi- incorporate a creative design on the cover. tional toleware (japanned tinware) treatment to its Research the lifestyles of ancient and contempo- surface. rary craftspeople. Compare examples of a piece of furniture, such as Trace the development of animal forms as a design a chair, from a given time in history in different parts motif in crafts.

Sample Units Performance Objectiver studied, the following chart illustrates how a craft Compare containers found in nature with made unit could be structured within an art course. The containers. crafts are categorized according to process. Note Use a design structure from nature to produce a that some media and/or craft objects fit into all or functional form. nearly all of the process categories. A classroom may be organized with a number of Suggestions for Instruction centers or options from which students may choose. Form and function are synonymous with contain- The suitability of a craft for class options depends ers. Our designs have been influenced by nature's upon the interest and ability of the students, the own containers, by available materials, and by the availability of tools and materials, the physical intended function. Forms are further influenced by facilities, and the management skills of the teacher. the working attributes of the material. In addition to Three or four different or related crafts are a taking care of the basic functional requirements reasonable number to offer. The accompanying chart (including lids, handles, closings), people frequently may be used in two ways: decorate containers, which become symbols of pride The teacher might first choose a process and in workmanship and objects for rituals. then identify design concepts and hiisic tech- Nature's containers include nests, turtles, gourds, niques for it. He/she would then provide medi- barnacles, eggs, kangaroo pouches, cocoons, anthills, um and craft form options among which stu- pelican bills, bananas, pods, and people themselves. dents could choose. Containers made by people include jewelry, build- After the craft problem or theme of containers ings, bags, baskets, bottles, packaging, clothing, has been selected, students could interpret it caskets, furniture, dishware, frames, capsules, can- through several processes. The class would dlesticks, utensils, planters, and pipes. discuss design concepts relative to that craft Since there are many craft forms that could be project, and students would work with one or more chosen processes. Instruction in the safe use of tools and materials * Sample lessons are provided. should be given for whatever processes are used. 19 28 Unit Topic: Containers Historical/Cultural Process Activities References Instructional Materials Craft Form Weaving Materials offer a wide Refer to the distinctive Books: tapestry, coiling, twining, range in which to manipu-Crow Indian beadwork bas-Christopher, F. sprang. loom late texture, line, color, kets with floral motifs. Basketry. elasticity: Plaited and coiled basketsNaumann, Rose, and Hull, Coil a basket. from Africa, Asia, and Raymond. Weave a handbag on a America are very similar. The Off-Loom Weaving cardboard loom. Book. Incorporate natural ob-Tablet weaving had Oka, Hideyuka. jects. reached a high state of de- Five More Eggs. velopment in Egypt 4,000 years ago. MCPS Films: F-5533 Basketmaking in Colonial Virgina F-6378 Weaving with Looms You Can Make MCPS Activity Bank: Cl, C6, C57 Carving/ Materials offer no abso- Refer to ornamental carv-Book: scrimshaw, sgriffito, topi- Incising lutes in terms of softness ing in Morocco for archi- Di Valentin, Maria. ary, chip carving, whittling or hardness: tP,tural use. Since Muslim Practical Encyclopedia Think form and mass. g :on prohibits carving of Crafts. Carve a planter from ;14%,,I-Jus or animals, geo- feather rock. mcLric designs are typical. Chip carve a design un Mayan Indians carved lava a basic block of wood for stone with symbols akin use as a candleholder. to hieroglyphics. Forming/ Materials offer a range inRefer to many contempo- Books: forging, hammering, tool- Modeling which to control texture, rary clay pieces which pro-Berensohn, Paulus. ing, vacuum forming shape, rhythm, pattern, ject political and/or social Finding One's Way mass, and space: comment. with Clay. Pinch a clay pot. The traditional black pot-Harvey, Marian. Incorporate the texturetery of Mexico or south- Crafts of Mexico. of bark by impressing it west American Indians isNewman, Thelma and directly on bark. very different from Raku. Jay. Recycle a container by The Container Book. Papier-mâché forms appear covering it with foil re- MCPS Films: poussé. in Latin American cere- monies. F-0051 Arts and Crafts of Mexico: Pottery and Weaving F-7217 Hands of Maria MCPS Activity Bank: C21, C38, C91 Folding/ Materials must yield to Introduce comparisons ofBooks: origami, quilling, filigree Blending/ pressure and then resist symbols as shown in Swe-Di Valentin, Maria. Curling it; involve all design ele- dish grove crosses Practical Encyclopedia ments and principles: (wrought iron) and the Al- of Crafts. Fold a paper box or boatgerian "hamsa" (gold or sil-Plath, Iona. in original style and fill itver filigree). The Decorative Arts of with a handcrafted "unex-Quilling traditionally was Sweden. pected." done by women. Discuss Change a soft drink canother crafts traditionally to another container form.done by men or by wom- Quill a frame for a smallen. Why? mirror. Surface Materials place no limits Describe CzechoslovakianBook: batik, tie-dye, enameling, Designing on use of color, pattern, peasant-designed eggs. De-Vlach, John Michael. adinkra, stencil, toleware, style, scale. They enhancesigns were applied on raw The Afro-American Tra-laquerware, mosaic, stitch- underlying structure: eggs, put away for months dition in Decorative ery, appliqué, decoupage Decorate an egg using until contents had dried Arts. batik method. up, and then given as to- MCPS Films: Appliqué a soft con- kens of friendship, not F-6379 Batik tainer. food. F-7178 Pysanka, The Afro-American quilts show Ukranian Easter Egg us how European artifactsF-6380 With Fabric and may be modified by Afri- Thread can canons of design and MCPS Activity Bank: thus stand as statements C8, C18, C37 of cultural survival.

20 29 Historical/Cultural Process Activities References Instructional Materials Craft Form Piercing Activities are concerned Japan has been called a Books: paper sculpture, bookbind- with shapes and patterns "paper country" because Christensen, Erwin 0. ing, paper jewelry created by paint and line of the extent to which pa- The Index of American on a form. per has been used artisti- Design. Cut and pierce paper tocally. Jablonski, Ramona. make a lampshade. China, Mexico, Poland, The Paper Cut-Out De- Cut and pierce a tall and Germany are all fa- .sign Book. can to convert it to a lan-mous for paper cutting. Moseley, Spencer, and others. tern. Make a lid and Ilan- Crafts Design. dle, too. In the 18th and 19th cen-Sargent, Lucy. turies, perforated tin lan- Tincraft for Christmas. terns were named after Paul Revere. Knotting/ Materials offer flexibility Primitive people laced fursBooks: plaiting, hooking, lace Looping or rigidity for control of and hides together to makeMeilach, Dona Z. making, tatting, crochet- line direction, pattern, andclothing. They stitched de- Macrame Accessories. ing, knitting, macrame form; texture; and space. signs to enhance appear- Newman, Thelma and Jay. Macrame leather strips ance and for ceremonial The Container Book. and incorporate them intovestments. Rainey, Smite R. a natural container (e.g., Seamen made knots for Fiber Techniques: a coconut). function and decoration. Knotting and Looping. Knot a pop art state- -. Wall Hangings: ment. Designing with Fabric and Thread. MCPS Film: F-6076 Macrame MCPS Activity Bank: C13, C15, C62, C64, C65 ConstructingMaterials offer unlimited Universal basic forms; all Books: model building, toy mak- choices. Forms are influ- phenomena can be expres-Newman, Thelma and ing, kite making, quilting. enced by materials. Posi- sed in fewer than 15 basic Jay. tive-negative space, scale,structures. The Container Book. texture, thickness, and The use of plastics in craftVon Frisch, Karl. transparency. work has grown in the Animal Architecture. Build a carrier or habi- last 30 years. Early appli-Wilson, Forrest L. tat for a pet. cations tried to copy nat- Architecture and Inte- Organize a modular sys-ural materials; now the rior Environment: A tem as a bank. unique qualitites of plas- Book of Projects for tics are appreciated. Young Adults. MCPS Film: F-3312 Animal Habitats MCPS Activity Bank: C28, C29, C54, C94

Performance Objective pan serves as a palette, and the color is brushed Compare the basic techniques employed in crayon thinly on the surface. An alternative procedure is to batik and traditional batik. place the fabric on a heated metal surface and draw with the crayon. The process then duplicates the Suggestions for Instruction traditional batik, and a dye bath produces the linear Batik, a me thod of applying colored designs to crackle effect. Caution: Wax burns. Therefore, it is fabric, is native to Java (Indonesia). Traditionally, imperative to remind students to maintain the water the design is made on the fabric with wax or paraffin, level in the pan or to provide a safe heated surface. which when dyed will resist the color. After the cloth Refer to the January 1978 issue of School Arts is dry, the process is then repeated as often as Magazine for the article by Nancy Belfer entitled desired. The crackled linear effect is characteristic of "Batik: Designing on Fabric." Discuss information this method. To remove the wax, boil in water or iron regarding a career as a textile designer. between sheets of newspaper. Show and compare examples of crayon batik and Instead of achieving color by dipping the fabric in traditional batik emphasizing techniques employed dye, the color pigments of crayons are used. A by the Indonesians, Indians, Africans, and contem- muffin tin floating in hot water in an electric frying porary Western batik artists. Use the filmstrip

21 3 0 "Creative Batik" to encourage a wider variety of Design and weave a tapestry using the tradi- designs. tional method. Discuss the possibilities of using batik fabrics for Design and weave a bag, table runner, or wall clothing,walldecoration, and threedimensional hanging using an inkle loom, a Hungarian loom, objects such as pillows and soft sculpture. or a card loom. All of these produce strips that Offer a choice of methods to students. Crayon m.st be sewn together to gain the width batik is simpler than the traditional method, in the nxessary for the product. sense that the student will be better able to see the design progress, as there is little variation in the Assessment Measures final design. Refer to Designing in Batik and Give a test. Below are sample questions: Tie Dye, by Nancy Belfer. What are the similarities and differences in the designs found on various continents? Assessment Measure How are woven fabrics used in each of the Have studentL compare methods of batik by cultures studied? listing the advantages and disadvantages of each. Describe the differences in the weaving meth- ods from earliest times to the present. Instructional Materials What technical skill is evident in very early Books: weaving? Belfer, Nancy. Designing in Batik and Tie Dye. Have the students compare weaving projects Horn, George F. Crafts for Today's SchooLs. during a class critique. Meilach, Dona Z. Contemporary Batik and Tie Dye. Instructional Materials Periodical: Belfer, Nancy. "Batik: Designing on Fabric with Book: Heated Wax and Dyes," School Arts Magazine, Naumann, Rose, The Off-Loom Weaving Book. Jan. 1978. MCPS Films: F-5895 Weaving. Filmstrip: "Creative Batik." F-6378 Weaving with Looms You Can Make. Other Resources: MCPS Film: Ethnic trunks from Evaluation and Selection: F-6379 Batik. "Being Black" "Being New American" "Being Chinese" Performance Objective "Being Spanish" Compare ancient styles of weaving by referring to "Being Indian" pattern, texture, color, material, and function, and "Being Middle Eastern" produce a woven length of fabric. "Being Russian" Suggestions for Instruction Historically, fibers have provided clothing, shoes, cooking utensils, and shelters. The type of fiber Performance Objective developed by a culture was dependent upon its Compare techniques of enameling on metal in availability. Fibers such as reed, bamboo, cotton, terms of the physical characteristics and the histori- wool, and furs were utilized in appropriate climates cal context of the process, and produce an enameled to meet life's needs. shape. Weaving is perhaps the oldest of recorded fiber crafts and has been used by all cultures in a variety Suggestions for Instruction of techniques from simple tabby to knotting to Metal has traditionally been prized for its intrinsic intricate pattern weaving. Fiber looms may vary in and aesthetic value. Worked into shapes for body intricacy from a single rod or branch, such as that of decoration, metal has served as an indicator of the Tlingit Indians, to a multiple-harnessed floor wealth in some societies. loom currently in use by weavers. Backstrap, card, Gold has always been in demand by metal stretcher, Hungarian, and inkle looms are other craftsmen, although bronze and silver are more often examples of inexpensively contructed looms in use worked to produce ornamental and functional ob- today. jects. Copper is the least expensive, easily shaped Compare weaving such as Coptic, Incan, and metal suitable for the craftsman. Enameled jewelry. Kente weaving, analyzing the motif. containers, and decorations are popular forms of Discuss the functions of woven fibers with refer- metal crafts. Enameling is a technique of fusing ence to climate. glass to a metal surface. Copper is now widely used Discuss patterns of early American loom work. in jewelry, plates, bowls, and sculptural forms as the Identify student interest or abilitieb and assign surface for enamel. one of the following exercises to each student: Display and discuss color and shapes of natural Weave a length of fabric using a classic four- forms. harness loom pattern. Describe and/or demonstrate the cloisonné meth- 22 31 od, sgraffito, champlevé, and plique-h-jour methods, Assessment Measure and identify the country of origin of each method. Have students describe the process of enameling Review the safety rules for the operation of a kiln and relate certain techniques to an historical period. and the precautions that must be taken when working with hot metal. Instructional Materials Use only flameproof surfaces (bricks) for enamel- ing work stations. Book: Have the student select one of the enameling Moseley, Spencer, and others. Crafts Design. techniques demonstrated, and produce a small enam- MCPS Film: eled object. F-57:37 Enameling. . .t.kbus'?""

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...I. LA.4.1 Commercial Art Concepts design of an historical period, and make evaluative The study of commercial art will explore some of statements. the vocational and professional opportunities in art Suggested Performance Objectives directed toward the consumer. The student will work Identify the psychological and sociological factors on art that communicates a specific message or idea. in advertising art. While acquiring the practical skills and information Demonstrate fundamental drawing board skills. needed to produce artwork, students will begin to Design and prepare a capy-ready layout using understand and use the design process. Design found illustrations and traced or grid-enlarged lettering. problems will be practical studies encountered in the Produce a simple graphic design following art commercial world. A basic goal is to expose the studio proceduresthumbnail sketches, rough layout, students to a direct method of solving a design artwork, type, and paste-up. problem. Both the aesthetic and the functional Identify and produce five basic layout compositions. aspects of a design problem will be considered in Apply studio methods, practices, and procedures visual communication and product design activities. to a finished paste-up mechanical. Through these experiences the students will icquire Design and produce a silk-screen poster. an increased awareness of the significance commer- Develop a black-and-white illustration for a news- cial art has in manipulating their lives and influenc- paper advertisement. ing their values. Produce illustrations from selected themes. Instructional Objectives Collect and organize type faces into type families. Identify the skills required for a career in commer- Analyze examples of product design, using criteria cial art by producing an example of graphic design or related to function, aesthetics, and human needs. industrial design. Select a popular product and redesign the package Identify sources of design in nature, and use one of or container. several design stwuctures or systems in a work of art Discuss and demonstrate the psychological impact or craft. of color to sell a product. Identify works of art and craft that are representa- tive of various cultures or ethnic groups, and name Note: Refer to MCPS, Commercial Art, Instruc- their characteristic features. tional Guide and Resource, 1980, for additional Demonstrate the ability to analyze the art or suggested performance objectives and sample units.

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Printmaking Concepi,s seventeenth century Japan, and during the twentieth Printmaking is the art form in which multiple century, it has grown in commercial art applications images are produced off a plate or through a screen. while continuing to be a fine art process. Today, Historically the printed image was a means of com- photographic silk-screen processes are used to print municating illustrated themes, political statements, on bottles and to make electronic circuits. For the and information about events. Prints were relatively hobbyist, nontoxic water-based systems are easiest inexpensive and were often collected as works of art. and safest to use. Although new processes have evolved and technolog- ical advances have produced drastic changes, the Instructional Objectives original purpose for making multiple images remains. Demonstrate an awareness of positive/negative Relief and stencil printmaking are direct ways of space in a work of art by designing a relief or stencil exploring positive and negative space. In relief print- print. ing, positive areas are the raised surfaces left on a Demonstrate the ability to analyze the art or block after the negative areas are cut away. In a design of an historic period and make evaluative stencil or serigraph, the positive or printed spaces statements. are cut away, allowing the ink to pass through the Identify health and safety precautions related to screen, while the negative spaces are left to block out the art and craft processes studied. the ink. In print, the positive-negative relationt-Lip Suggested Performance Objectives may vary depending on the values selected for each color. The illusion of a third color may be achieved by Demonstrate an understanding of positive/negative overprinting with transparent ink. shape by producing a multicolored block-print repeat Silk-screen printmaking or serigraphy is basically pattern using either the reduction method or the an elaboration of the stencil process. A variety of multi-block method.* block-out materials, from paper to photographic positives, may be used to obtain different kinds of screened images. Silk-screen printing originated in *Sample lessons are provided.

25 3 4 Produce a multicolored serigraph using two paper Oriental and Western relief prints. block-outs and overlapping shapes.* Demonstrate wood engraving technique utilizing Design a multicolor silk-screen pattern in which thin, parallel lines and end-grained wood. positive and negative shapes and spaces are empha- Produce a self-portrait in either woodblock or sized.* linoleum emphasizing textures by the different cuts Utilize one or two silk-screen techniques to pro- of the tool. duce an image which emphasizes texture. Produce a woodblock that utilizes the grain of the Describe the methods of registration appropriate wood including the flaws, and incorporate them into for silk-screening. the image desired. Compare works of contemporary North American Demonstrate the proper clean-up procedure for serigraphers who use the paper stencil and the film each printing process. stencil. Demonstrate the correct use of tools for each Utilizing cardboard, develop shapes to promote printing process. foreground, middle ground, and background. Demonstrate simple serigraphy. (PR-20) Design and construct a simple cardboard block Develop a positive-negative design relationship in print using positive and/or negative shapes. (PR-4 ) print. (PR-26) Compare the spatial designs of Oriental and West- Create a silk-screen print using a spray lacquer ern woodblock prints. block-out technique. Compare the registration techniques common to

Sample Units Performance Objective photographs of natural forms. Have students ex- change their work and identify the traced sections in Demonstrate an understanding of positive/negative each other's work. shape by producing a multicolored block-print repeat Have students make drawings of a still life ar- pattern using either the reduction method or the rangement concentrating on the negative shapes multi-block method. only. Display results and conduct a group critique. Suggestions for Instruction The object or objects should be apparent in each The natural environment is a rich source for the drawing as a result of seeing the negative shape. artist in developing designs and patterns. African Have students crop and enlarge a section of an artisans create textile designs in geometric patterns upper case letter (for example in Bodoni Bold) and which emphasize the use of positive and negative emphasize negative space with color or tone. Display shapes derived from nature. Refer to Art Design: student work and compare it with the original letter Communicating Visually, by Gilbert Clark and Enid form. Zimmerman, for examples of African motifs. Have students identify similarities among shapes Show the film Textiles and Ornamental Art of used in native African and South American textiles India, and contrast African printed textile designs and designs. with those of India, Japan, and China. Have students create a design for repeat block Compare the topa cloth designs of Polynesia with printing. Refer to Reinhold Visual Portfolio #3 and today's printed fabrics. Refer to the chapter on discuss the Warhol painting of soup cans. Refer also decorated textiles in Crafts Design by Spencer Mose- to Japanese family insignia for examples of pattern ley and others. variation. Have students collect examples of various textiles Exercise B Reduction Prints designs such as wallpaper, carpet, fabric, and wrap- Select a potato or other vegetable; cut it in half to ping paper. Compare the characteristics which relate get the largest surface possible. Cut away part of the to the processes and materials used in each example. surface to show how the remaining area in relief Exercise APositive/Negative Shapes provides a printing surface. While demonstrating the Conduct a study in which students analyze the printing process, be sure to emphasize repetition of structure of natural forms. Have students make a shapes, positive and negative shapes, and rhythm list of basic structures and compare it with the chart and variation in design. Have students use their in Appendix E. See pp. 6-9 in Art as Design: Design vegetables to print a reduction design using at least as Art by Sterling McIlhany. three colors. Encourage them to share vegetable Have students analyze positive/negative shapes blocks to create a multi-imaged print suggesting a by doing tracings or sketches of small sections of landscape, still life, or figure. Demonstrate the reduc- tion method of block cutting that uses more than one NOTE: Numbers in parentheses refer to the print- color. making section of the MCPS Art Concepts and Exercise CFound Obje t Prints Activities Bank. Encourage students tbring in objects from home Sample lessons are provided. that are relatively flat, hIve an interesting texture, 26 3 5 and may be used to print from. For this assignment, Identify maintenance and safety procedures for objects with texture should be encouraged, particu- the use of tools and equipment. Safety rules should larly textures that are difficult to copy or transfer to be posted in a F. -ge format. another surface. Provide a piece of cardboard, tagboard, or mat Assessment Measures board on which to glue the objects. Demonstrate the Compare student prints with their original designs wide range of compositional possibilities available by during individual critiques. rearranging the objects before gluing them. Once the objects are glued and have dried, print from the Instructional Materials raised surface. Discuss the interplay of positive and Books: negative space in design. Make available different Biegeleisen, J. I. Screen Printing. papers and materials, and encourage students to Chieffo, Clifford. Silk Screen as a Fine Art. experhnent with them. Some students may combine reduction and multi-block processes. Using linoleum, Performance Objective students will cut and print a design with one or both processes. Design a multicolor silk-screE.:1 pattern in which positive and negative shapes or spaces are emphasized. Assessment Measure Suggestions for Instruction Have students, referring to a display of student Silk-screen printmaking offers the artist a variety prints, compare the results of the two processes by of techniques for producing multicolor designs. Pa- identifying characteristics of each. per, film, glue, tusche, and photo emulsion can be Instructional Materials used as block-out materials for silk-screen printing. Books: Compare early examples of printmaking with current Clark, Gilbert, and Zimmerman, Enid. Art Design: achievements. Refer to Shorewood Reproductions Communicating Visually. Marilyn Monroe (silk screen) and Moulin Rouge Daniels, Harvey. Printmaking. (lithograph). McIlhany, Sterling. Art as Design: Design as Art. Demonstrate the process using a photo emulsion. Moseley, Spencer and others. Crafts Design. Have students prepare designs on tracing paper or acetate. Make sure all areas to be printed are solid MCPS Films: black. F-5602 Exploring Relief Printmaking. Demonstrate how to stretch a silk-screen frame F-1102 Textiles and Ornamental Art of India. using polyester fabric. Refer to The Complete Work Other Resources: of M. C. Escher, and discuss the illusion of metamor- Reinhold Visuals phosis depicted in his work. Organization (Portfolio 43). Have students, in designing their prints, empha- size the contrast of positive and negative shapes or spaces. Also suggest the juxtaposition of certain Performance Objective complementary colors to create illusions of space or Produce a multicolored serigraph using two paper vibration. block-outs and overlapping shapes. Refer to Innovative Printmaking by Thelma R. Newman for examples of the photo-emulsion tech- Suggestions for Instruction nique and to the Hunt Speedball pamphlet for a Show the class examples of paper block-out prints description of the process. and point out the positive and negative areas. For examples, refer to J. I. Biegeleisen's Screen Printing Assessment Measures and to Clifford Chieffo's Silkscreen as a Fine Art. In a class critique discuss how students empha- Demonstrate and discuss the variations of style sized the relationship of positive and negative shapes and technique that apply to paper block-out. in the final prints by comparing prints. Review each student's design and suggest addi- Instructional Materials tional color block-outs when needed. Discuss the overlapping of warm or cool colors, complementary Books: colors, and analogous colors. The transparency of Escher, M. C., and Locher, J. C. The Graphic Work water-based inks can create new visual dimensions of M. C. Escher. for the student. Discuss how these overlapping shapes Heller, Jules. Printmaking Today. can create positive or negative shapes. Newman, Thelma R. Innovative Printmaking. Have students cut two stencils for a planned Peterdi, Gabor. Printmaking. design, using newsprint, vellum, tagboard, or Ross, George F., ed. Speedball Textbook for Pen and newspaper. Brush Lettering. Demonstrate the properties of water-based inks Other Resources: and discusg the effects created when two inks over- Shorewood Reproductions: lap. Review problems of registration. Demonstrate Lautrec. Moulin Rouge. matting and display techniques. Warhol. Marilyn Monroe.

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Sculpture Concepts rhythm, balance, proportion, and a sense of unity. The role of sculpture in society has varied through- The expressive use of art elements can lead students out history. Since prehistoric times, sculpture has to create a recognizable figure, an abstract form, or been used to record events, provide ornamental an environment. decoration, and relate social, political, and economic themes. The ancient Greek sculptor immortalized gods and recorded myths. The Renaissance sculptor Notes to Teachers produced work with religious themes for the cathe- Sculpture may be a challenge to students who drals while African sculptors provided masks, fetishes, cannot conceptualize a form. While creating sculp- and funerary objects for social and religious ceremo- ture, the student will have to anticipate the object's nies. The contemporary sculptor is often concerned potential appearance from all sides and angles. The with form in an abstract sense. Some twentieth making of sculpture requires a perception of mass century architects create building forms that sug- and space and a physical effort by the student to gest sculpture. organize them. Sculpture consists of positive and negative shapes The student should be prepared to acknowledge and forms. Sculpture can be kinetic or stationary, that working in three dimensions poses problems dynamic or static. Sculpture can be light and delicate that are not present in making two-dimensional art or heavy and solid. Sculpture cto be made by forms. Sculpture occupies space and must appear modeling, carving, or constructing. The materials unified from all directions; this requires the student that the sculptor chooses to work with will influence to move around it or turn the object while analyzing the expressive character of a piece. Form often and working from all sides. Instruction in the safe evolves from the nature of the material. The appear- handling of tools and materials must be given, and ance of a sculptural form will vary with changes in safety precautions must be enforced at all times. setting and lighting. The following performance objectives and activi- Whether a sculpture is representational or ab- ties are designed to direct the teacher and student in stract, the artist is concerned with the maripulation exploring representational and abstract sculpture. of line, shape, color, form, and texture to create The degree of difficulty varies. 28 37 Instructional Objectives removo nogative areas rovealing positivo forms and Identify tho compositional and oxprossive ele- contrast of texturo. ments in representational and abstract sculpture, Collect found objects and arrange them inside a and create an example of either one. box to create a model of a personal onvironment. Identify works of art and craft that are representa- Use fabrics sewn together to produce a soft sculp- tive of various cultures or ethnic groups, and name ture demonstrating symmetrical balance. their characteristic features. Demonstrate the simplified technique for the lost Demonstrate the ability to analyze the art or wax process by using wax, plaster, and metal with a design of an historical period, and make evaluative low melting point. statements. Describe the compositional structure of a sculp- Identify health and safety precautions related to ture in terms of the principles of design. the art and craft processes studied. Identify various cultural and ethnic styles of sculp- ture by their specific characteristics. Suggested Performance Objectives Identify the historical period in which selected ex- Use wire to produce a kinetic sculpture of a amples of sculpture were made. moving figure, and enlphasize the use of line, rhythm, Identify health and safety precautions related to and space. mixing plaster and using chisels. Use a bar of soap and paring knife to carve a Design a figure sculpture using parts from a subtractive sculpture demonstrating the use of posi- disassembled mechanical object.* tive and negative shapes and spaces. Make a plaster cast of a bas-relief using a sand or Use various sizes of cut cardboard to construct a clay mold. bas-relief which depicts a variety of light and dark Compare the use of positive and negative elements areas. in sculptures of Henry Moore and Alberto Giacometti. Use heavy wire to build an armature on which clay Compare sculpture in the round with relief sculp- or plaster can be applied to build up areas of form ture.* and space. Produce a sculpture using the subtractive method Use wood or plaster and a rasp to create a subtrac- of modeling. tive sculpture of a simplified form that can roll and Demonstrate a process for making sculpture by feel comfortable in one's hands. casting.* Choose a group of similar objects and arrange Demonstrate an awareness of the principles of them into a sculpture that demonstrates rhythm in design using a variety of inexpensive and available positive and negative spaces. materials in fast three-dimensional sculptural sketches.* Use clay to model an object that demonstrates the Produce either a representational or an abstract plastic qualities of the medium. sculpture of the human form that meets the criteria Prepare a block of plaster and use carving tools to set by the teacher.*

Sample Units Performance Objective Calder's Universe features a complete collection of Demonstrate an awareness of the principles of the artist's work. All the pieces that make up Cal- design using a variety of inexpensive and available der's circus are fine examples of quick sculpture materials in fast three-dimensional sculptural sketches. sketches. Vol. 10, No. 3 of Art and Man has a section entitled "Creating Two Sculptures," which describes Suggestions for Instruction how to produce cardboard sculpture and a plaster This assignment is very open-ended and relies on sculpture in a style like Moore's. the availability of inexpensive and collected materi- Albers' preliminary course on design, which was als as well as the ability of the teacher and student to taught at the Bauhaus, is presented in Bauhaus find the materials. The sculptural sketches or ma- 1919-1928 with numerous examples of the type of quettes are to be completed in a short period of time exercises suggested for this introduction to sculp- of at least one class period. The emphasis of instruc- ture. Moholy-Nagy's preliminary course on the con- tion is on the integration of all sides and angles. No cept of space is also presented there. one side should be thought of as front or back. In reviewing the principles of design for these Assessment Measures quick sculptural sketches, refer to the sculpture of Students will complete at least five of the follow- Giacometti, Picasso, David Smith, Calder, and ing exercises and compare results with other students: Dubuffet. Examples of their work are available in the Cut into a 3" x 5" card in such a way that it can Hirshhorn Museum catalog, and some are available be expanded. Use all of the card; nothing can be in slide form at the museum shop. Also the book thrown away. See which student can create the tallest maquette. Assemble 5" squares of cardboard by slotting *Sample lessons are provided. the edges. Create an egg sculpture that will roll.

29 38 By cutting, expand a 3" nquare of paper enough Assessment Measures to allow a student to step through it. Give a written test that includes such questions Fold and cut a 3" x 5" card to explore the as: springing quality of the material. Try to create a Describe Ow Ir-ulpture located on whimsical circus character. pub;,o.01 140 Use paper or styrofoam cups to create a sculp- Select .kt loaq olu of the pieces studied and tural statement about concave and convex sur- describe the medium used and the theme or faces. Cut, score, and expand the surfaces. purpose for which it was intended. Use one 3" x 5" card and two dozen paper clips Define sculpturr in .410 round and relief sculp- or thumbtacks to construct a modular sculpture. ture. Describe the jii.:racteristics of each. Cut and fold the card but do not bend paper clips. Instructional Materials Cut a picture postcard and expand it into a Books: three-dimensional sculpture. Arnason, H. Harvard. History of Modern Art. Use 18 inches of wire to make a line character of Feldman, Edmund. Varieties of Visual Experience. an animal or figure. Read, Herbert. A Concise History of Modern Sculpture. Combine found objectse.g., corks, tops, lids Schinneller, James A. Art/Search and Self-Discovery. with wire for a kinetic sculpture. Cut and bend wire to produce segments with movable joints that link together as a modular sculpture. Performance Objective Assemble straws to produce angular spaces that Produce either a representational or an abstract interlock with each other. sculpture of the human form that meets the criteria Cut an egg carton and reassemble it using all the set by the teacher. parts to produce a modular sculpture. Suggestions for Instruction Use spaghetti or florist wire to construct a space The figure has been the subject of a major percent- frame sculpture. age of the sculpture of the world. The first sculptures Tie up several elongated balloons and assemble ever formed were of the human figure. Early figured them as an inflated sculpture. sculptures represented religious and cultural beliefs, Instructional Materials specific likenesses of individuals, or idealized statues of monumental heroes. Books: Before the students choose a medium in which to Ashton, Dore, and others. The Hirshhorn Museum work, help them decide what kind of figures they and Sculpture Garden. would like to produce. Will it be a moving figure; a Bayer, Herbert, and others, eds. Bauhaus: 1919-1928. massive figure; a reclining figure; a monumental Feldman, Edmund B. Varieties of Visual Experience. figure; or a small, slender figure? If a film of a sports Lipman, Jean. Calder's Universe. activity is available, borrow it from your physical Periodical: education department and refer to Muybridge's Com- "The Art of Sculpture," Art and Man, Vol. 10, No. 3. plete Human and Animal Locomotion. Have stu- MCPS Films: dents look at slides and pictures of figure sculptures F-5165 Introduction to Sculpture Methods. done by sculptors of various historical periods. Dis- F-'7641 Sculpture: The Forms of Life. cuss the materials and processes used. Refer to the appropriateness of certain materials for particular forms of visual expression. Compare one period or Performance Objective style with another. Consider the purpose for each Compare sculpture in the round with relief sculpture. sculpture. Did it commemorate a famous battle or an important historical event. Did it capture a likeness Suggestions for Instruction of a specific person, or was it more a suggestion of Show examples of the sculpture of Michelangelo, what that person stood for? Bernini, and Donate llo and contrast them with those When students have determined the style of their of Rodin, Barlach, and Moore. Show slides of Ghiberti's sculptures, they select one of the previously men- doors and della Robbia's architectural reliefs and tioned performance objectives. Teachers should help contrast them with works of such artists as Nevelson students assess their abilities to complete a project. and Noguchi. Review the principles of design that Less experienced students should start with the pertain to the composition of sculptural forms in additive or modeling technique in clay. The experi- open space and in shallow space. Discuss light and enced student should attempt the subtractive or shadow in sculptural design, paying attention to low, carving technique using plaster, soap, feathers, stone, medium, and high relief. or wood. Have the students study public buildings and Discuss the criteria for successful completion of a sketch examples of relief sculpture that they find. sculpture which are listed under Assessment Measures. Have them also observe and sketch free-standing sculpture, noting the locations and/or functions of Assessment Measures each example. Critique student sculptures. 30 39 Suggested Criteria: Assessment Measures Aro the basic compositional elements of lino, form, Assess students' sculpture during individual space, texture, and rhythm well executed? critiques. Is the figure balanced? Does the figure effectively utilize positive and Suggested Criteria: negative shapes? To what extent: Is there a contrast of surface texture? Does the finished form suggest an animal or Does the figure represent a personal statement? human figure? Is there evidence of an awareness of a cultural, eth- Is the pose or suggested movement representa- nic, or historical style? tive of the species? Are all joints firmly secured? Instructional Materials Does the finish enhance the composite form? Books: Instructional Materials Arnason, H. Harvard. History of Modern Art. Ashton, Dore, and others. The Hirshhorn Museum Books: and Sculpture Garden. Ashton, Dore, and others. The Hirshhorn Museum Bascom, William. African Art in Cultural Perspective. and Sculpture Garden. Geist, Sidney. Brancusi: The Sculpture and Drawing. Baldwin, John. Contemporary Sculpture Techniques: Lipman, Jean. Calder's Universe. Welded Metal and Fiberglass. Muybridge, Eadweard. Muybridge's Complete Hu- Reed, Carl, and Towne, Burt. Sculpture from Found man and Animal Locomotion. Objects. Read, Herbert. A Concise History of Modern Sculpture. Verhelst, Wilbert. Sculpture: Tools, Materials, and Performance Objective Techniques. Compare the use of positive and negative elements MCPS Films: in the sculptures of Henry Moore and Alberto F-1037 Art and Motion. Giacometti. F-5267 Art from Found Materials. F-7800 Art in America: Sculptures. Suggestions for Instruction F-7144 Henry Moore: Master Sculptor. The work of Moore and Giacometti presents a F-6381 The Kinetic Sculpture of Gordon Barlow. dramatic illustration of contrasting methods of or- F-1107 Make a Mobile. ganizing form and space. In Moore's work, the F-7946 Mobile. rounded organic forms seem particularly suited to F-7641 Sculpture: The Forms of Life. the carving technique. Giacometti's angular, attentu- ated forms can be easily understood from the stand- point of emotional content and additive technique. Their works make ideal models for an initial attempt at sculpture. Show examples of modern sculpture Performance Objective such as the works of Giacometti and Moore in Design a figure sculpture using parts from a filmstrips from the Modern Sculpture series pro- disassembled mechanical object. duced by Visual Publications. The 20th Century Sculpture slide series produced by E.A.V. also in- Suggestions for Instruction cludes work by Giacometti and Moore. Refer to Using illustrations, discuss the procedures and Herbert Read's Concise History of Modern Sculpture problems involved in producing a metal found-object and The Art of Sculpture. Discuss the concept of sculpture. Refer to pp. 64-69 in Baldwin's Contempo- positive and negative space as it is used in these rary Sculpture Techniques: Welded Mctal and works of art. Compare differences in form and mate- Fiberglass. rial that make a sculptural idea more suited to Compare the representational junk sculptures of carving or to an additive process. Picasso with the abstract pieces of David Smith and Discuss the differences between the additive and Anthony Caro. Discuss the subjects or themes repre- subtractive processes in sculpture fabrication. Show sented in each style. examples of additive and subtractive sculptures in Demonstrate soldering and riveting techniques for process or use the film Introduction to Sculpture joining thin scrap pieces of tin, copper, or brass. Methods to stimulate discussion. Also refer to Paul Show how liquid solder, liquid metal, or the new Wingert's American Indian Sculpture. super glues may be used for joining heavier metal pieces and aluminum. Emphasize the precautions Assessment Measures that must be taken in using these materials. Refer to Have students model a series of figures using the MCPS Safety Handbook for recommended proce- standing, seated, and reclining poses emulating the dures and cautions. style of Moore or Giacometti. They should use water- Have the student choose found metal materials or oil-based clay for these quick sketches. Evaluate and assemble a pleasing design that suggests a all sketches in terms of suitability for use as the realistic form. Cut nails, washers, and screws are basis for a larger sculpture in plaster and gauze. easily available. Paint or other finish may be applied. Have students select from their sketches a clay

31 4 0 model that is most suitable for carving building Instr-ctional Materials directly in plaster. Books: Students choosing to work in the style of Henry Arnason, H. Harvard. History of Modern Art. Moore should mix plaster and an aggregate in a Beecroft, Glynis. Carving Techniques. plastic bag, squeeze up a rough form, and then carve Meilach, Dona Z. Creating with Plaster. a final version of their clay model. Demonstrate Selz, Peter. Art in Our Times. these steps. Students choosing to work in the style of Giacometti MCPS Film: should build a small armature of rolled paper and F-5165 Introduction to Sculpture Methods. wire, and then build up a form by adding small quantities of plaster. Performance Objective Instructional Materials Demonstrate a process for making sculpture by Books: casting. Read, Herbert. The Art of Sculpture. Suggestions for Instruction -. A Concise History of Modern Sculpture. Wingert, Paul. American Indian Sculpture. View and analyze several contrasting examples of bas-relief sculpture such as the works of della Robbia, MCPS Film: Rodin, and Ben Nicholson. Using visual aids, discuss F-5165 Introduction to Sculpture Methods. the process of casting from a clay mold. Point out the Filmstrips and Slides: need for simple forms and the avoidance of undercut "Modern Sculpture." surfaces. Have students design simple forms in "20th Century Sculpture Series." natural clay. Demonstrate the mold-making procedures by press- ing oil-based clay over the leather-hard water-based Perkrmance Objective clay form, and review the steps in preparing plaster Produce a sculpture using the subtractive method for casting. Have the students remove forms from of modelmg. the mold and pour plaster casts. Using examples, discuss several methods for finishing a plaster cast Suggestions for Instruction with bronzing powder or acrylics. Discuss the work of Brancusi and refer to exam- Discuss the meaning and relevance of titling a ples shown by Arnason and Selz. Contrast these with work of art. Review the titles given bas-relief sculp- Henry Moore's work, which is also discussed and tures by famous artists. Ask students to title their pictured in both books. Demonstrate the mixing of finished pieces. plaster and vermiculite, and pour a simple form in Assessment Measure either a box or a bag. Demonstrate the techniques of plaster carving while discussing the subtractive sculp- Have the student compare the finished cast form ture process. with the clay original in terms of completeness of Using clay, students should prepare models of a detail and quality of casting. figure or other form proportioned to fit the prepared Instructional Materials plaster block. Students then translate the model in Books: plaster. When carving is near completion, demon- Ashton, Dore, and others. The Hirshhorn Museum strate methods for finishing plaster with paint, shoe and Sculpture Garden. polish, wax, or bronzing powder. Kowal, D., and Meilach, Dona. Sculpture Casting. Assessment Measure Meilach, Dona Z. Creating with Plaster. Have the student compare the carved piece with MCPS Film: the clay model. F-5165 Introduction to Sculpture Methods.

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Environmental Design Concepts a natural, technokgical, historical, and/or social The study of environmental design supports the context by making a project. growing awareness of and concern for our environ- Demonstrate the a6ility to analyze the art or ment. No species of living thing caa be replaced once design of an histolical period and make evaluative it 1):: s become extinct, and polluted air can endanger statements. our survival. Onz social and economic systems are Identify sources of design in nature, and use one of also changing and affecting tbe way people live. several design structures or systems in a work of art Tbis, in turn, affects the way people behave. The or craft. thesis that we shape our buildings and that they, in Identify works of art and craft that are representa- turn, shape us can easily be extended to include any tive of various cultures or ethnic groups, and name space we design regardless of whether it is a room, a their characteristic features. park, or a city. The extent to which these designs are successful depends upon the designer's ability to Suggested Performance Objectives integrate sodsl, technological, and aesthetic factors Compare human-made forms with forms occurring in the design solution. in nature. Create an architectural design based on Note to teachers: The goals of this unit are to help forms found in nature. students develop an awareness of our designed envi- Summarize the recreational, management, and ser- ronment, recognize opportunities for influencing our vice facilities appropriate for a given park site. environment, and acquire an understanding of the Design a safe playground area for a small urban design process. Please refer to the MCPS Environ- park. mental Design: Instructional Resource Guide, Grades Identify two general categories for monuments 6-12 for further statements and sample units to and give examples of each. Design a monument for a support these goals. community site. Demonstrate the correlation of several architectur- Instructional Objectives al styles with their periods in history. Analyze architecture and environmental design in Distinguish between the construction materials or

33 4 2 technology employed in a past and a present archi- Analyze how sharing space makes us feel by tectural style. constructing a diorama of a cheerful dentist office, or Make a guidebook of your neighborhood, showing a place where people gather in the school or community. things of interest to young people, places of histori- List and compare the structural elements com- cal interest, and available means of transportation. rnonly used in human and animal habitats. Tape sounds common to a given location. Deter- mine whether other students can identify the location. Note: Additional suggestions and sample lessons Research famous buildings and monuments around are presented in: the world. Display a collection of pictures with a MCPS, Twentieth Century Art and Architecture: world map, and pinpoint the location of each structure. Instructional Guide and Resource (1977) Identify several twentieth century art forms and MCPS, Environmental Design: Instructional Re- their influence on our environment or life style. source Guide, Grades 6-12 (1982) Using glass as a dominant building material, develop a design for or construct a model of a beach Many other resources are available to support this or mountain cabin and incorporate sun control devices. area of study and are listed in the above guides. Design a piece of multipurpose furniture for per- Environmental education can also result from sonal use. learning experiences using the resources around you.

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Photography Concepts porting materials. Check the yearbook office for As early as the fifteenth century, da Vinci de- surplus books, photo materials, and negatives. Bleach scribed the optical principle of the camera obscura, old film for re-use. Take advantage of free services and for centuries, artists used it as a drawing aid. from companies like Kodak. Use everyday items for Today, painters, sculptors, and printmakers rely on handmade slides. photography to develop or enhance their art state- ments. Photo-realist painters such as Richard Estes Instructional Objectives and Robert Cottingham use their photographs as Describe and/or demonstrate the influence of pho- references while painting. Other artists such as Andy tography, film-making, and television processes on Warhol and Robert Rauschenburg incorporate photo- the visual arts. silk-screen images into their work. Some artists Demonstrate the ability to analyze the art or assemble Polaroid pictures to express an idea while design of an historical period and make 'evaluative others use slides in various ways. statements. Identify health and safety precautions related to Note to Teachers the art and craft processes studied. The activities suggested for this unit are aimed at heightening student awareness of the ways in which Suggested Performance Objectives photography is recognizedas an art form, as a form Identify several classifications of photographs, of visual communication, and as a tool for the other such as news, commercial, portrait, and scientific, visual arts. Throughout this unit, the principles of and then group a collection of photographs accordingly. design should be included in discussions of composi- Develop criteria for the selection and composition tion and aesthetics. Student recognition of the form of subject matter for photographs. (See MCPS, of the visual idea and its expression should be a Commercial Art: An Instructional Guide and Re- major concern for this short unit. source, p. 18.) While some photographic supplies must be pur- Identify aesthetically pleasing forms and composi- chased, locate sources for free or inexpensive sup- tions in photographs. (See MCPS, Commercial Art:

35 4 4 An Instructional Guide and Resource, p. 19.) Discuss and demonstrate the illusion of mov ement Crop magazine pictures to illustrate changes in (as in paintings by futurists) by restructuring photo- compositional impact. graphs or pictures.* Print and compare compositions of natural and List and identify careers in media production. human-made objects on a light-sensitive surface. (Refer to MCPS Commercial Art: Instructional Guide Develop an essay of photographs or slides to and Resource.) record an event or tell a story.* Create a photo/slide essay or media production List and identify safety hazards related to the use using two- or three-dimensional materials that repre- of photo chemicals. (Refer to MCPS Safety Hand- sent individual cultural or ethnic origins.* book or Appendix D of this guide.) Select one of the traditional forms of visual art and Develop a projected design by working directly on identify how photography has effected a change.* a film slide with wet or dry materials and discuss applications for its use.

Sample Units Performance Objective Suggestions for Instruction Select one of the traditional forms of visual art and A student's ethnic origin is an ideal subject for identify how photography has effected a change. film, television, or photographs. The personal and unique background characteristics of each student Suggestions for Instruction lend themselves to a visual presentation. Students The influence of photography, film, and television should collect objects that best represent their ethnic on the visual arts is evident. Review one of the visual background, such as clothing from grandparents, arts such as portraiture and infer ways that photog- crafts, special household utensils, ethnic foods, or raphy caused a change. Show the students examples childhood books and toys. Students should arrange of various styles for painting portraits on pages these to be photographed or filmed. For the photo- 393-404 of Feldman's Varieties of Visual Experience. graph or slide essay, have students select a few How was the artist affected? How did society react meaningful items and experiment with different com- to the new media. Study examples of work by positions, using focus and lighting to accent the photo-realist painters such as Chuck Close and Au- mood desired. Objects can be animated or analyzed drey Flack. Some seemingly insignificant technologi- by a narrator in a film or TV production. Music and cal breakthroughs are very meaningful when at- language from a particular country can be a very tached to a specific media. Look at the photo simple and relevant source for a sound track. All the silk-screens of Andy Warhol and the collages of Tom possibilities mentioned can easily involve a student Wessehnann or Robert Rauschenburg. The benday or group of students in a media production that does dots in a Roy Lichtenstein painting were suggested not depend on student acting ability or the writing of by a photographic process used in color printing. a script and therefore allows the techniques of media production to be emphasized. Assessment Measures A number of collections representing the cultures Snidents will complete one of the following exercises: of various countries are available from Evaluation Draw only the shadow areas of a portrait photo- and Selection and the interrelated ARTS office. graph and ink in a high contrast drawing. Use a high contrast ink drawing as the image for Assessmeut Measures a photo silk-screen print. Suggested Criteria: Create a montage by transferring photographic Student work is critiqued in terms of: images published on a clay-coated paper using selection and choice of objects to represent varsol or contact paper as a medium. ethnic origin arrangement of objects for compositional interest Instructional Materials emotional impact and feeling for the cultural or Book: ethnic background in the final product Feldman, Edmund. Varieties of Visual Experience. Instructional Materials Resource trunks from Evaluation and Selection Performance Objective and Interrelated ARTS. Create a photo/slide essay or media production using two- or three-dimensional materials that repre- sent individual cultural or ethnic origins. Performance Objective Print and compare compositions of natural and Sample lessons are provided. human-made objects on a light-sensitive surface. 36 4 5 Suggestions for Instruction as Life are famous for it. While many pictures need Man Ray set the stage for this system when he to be acquired in order to ensure choices to complete accidentally found that photographic paper recorded an idea, planning of the actual sequence or theme is the shape of equipment kdt on it. Different materials essential to demonstrate quality control of composi- produce "shadowgrams" with similar effects. A pho- tional elements based on camera angle, size, spatial togram is produced on photographic paper with relationships, and lighting. The use of planning chemicals. A sun print is produced with Diazo paper cards or a storyboard will help the student visualize and ammonia or special nature print paper and and clarify these aspects. water. Cyanotype printing is "sun printing" on cloth The students might combine this activity effec- which has been treated with ferrlc ammonium citrate tively with another school subject or community and potassium ferrocyanide. effort. Displays may show photographs in a three- A variety of items are placed on the surface to dimensional format. Background sounds and/or protect those surface areas from exposure to light. narrative may be incorporated on tapes to accompa- After exposure, the shapes created by the items are ny slides. Captions may be added to a photo essay. set with chemicals or water. Basic design principles should be emphasized. Assessment Measure Students can compare compositions in terms of The students will analyze the product in terms of: positive and negative space, patterns, textures, size the logical flow of parts of the series to comple- relationships of objects used, and repetition of sim- ment the theme ilar shapes. unity illustrated in each picture Students can experiment with and compare effects created by the use of transparent objects, translu- cent objects, curved objects, stencils, bar magnet Performance Objective patterns, or negatives. Develop a projected design by working directly on Assessment Measure a film slide with wet or dry materials and discuss The student will critique the product in terms of applications for its use. choice and arrangement of objects. Suggestions for Instruction Instructional Materials Handmade slides provide a practical means of Books: demonstrating the effects of the projected image Haffer, Virna. Making Photograms. using available materials as a substitute for actual Langford, Michael. The Step-by-Step Guide to Pho- camera work. When slides of film collage or hand- tography (p. 132). made slides are placed in slide mounts and projected, discussion can center around the dramatic effect of Periodicals: changing size and scale of an image because of Morrison, Karl R. "Darkroom Images," School Arts, lenses, projection distance, and color changes based Nov. 1980, p. 41. on light and density. Review principles involved in Shade, Richard T. "Introducing Photography to composing any picture. Gifted and Talented Students," G/C/T Nov./Dec. Design Activities for the Classroom by John 1980, pp. 55-59. Lidstone has a good explanation of the materials Speight, Jerry, "A Basic Photography Program," needed and the process for assembling slides. School Arts, May 1981, pp. 28-41. In addition to using a variety of prepared slides, Supplies: you might borrow slides of microscopic organisms Sun print paper (nature print paper) is available from the science department to use as a stimulus for from Chase lle Arts and Crafts, 9645 Gerwig Lane, this activity. If possible, include slide examples of Columbia, Md. 21046. contemporary nonobjective painting for comparison. Students can do the following: Make dry slides by drawing or painting with a selection of transparent and opaque aterials. Performance Objective Make lifted slides using contact paper and glossy Develop an essay of photographs or slides to magazine illustrations. record an event or tell a story. Make wet slides using an oit or glue base to hold transparent materials. Suggestions for Instruction Scratch designs in old slides. Add felt-pen color The essay is a series of pictures organized to give areas to overexposed slides. a more complete understanding of a topic than a As a culminating activity, a series of slides can be single picture could provide. Magazine pictures and/ projected with appropriate taped sound. More than or handmade slides may substitute for student-made one projector can be used. Project the image from photos. The organization of the product may be behind the screen. sequential or expand a theme. A picture series may also illustrate the movement of a form. Assessment Measures Photographers such as Duane Michals helped to Have students list the differences in slides pro- pioneer this as an art expression, and magazines such duced by the various methods.

37 4 6 Have students discuss the increasing uses of slides move along a smooth edge, but the elongated, slight- for entertainment, instruction, and commercial ly irregular edge jars the eye, emphasizes details, purposes. and, by extension, indicates motion. An excellent example of this is the work of photographer Gerry Instructional Materials Cranham, as shown in Campbell's Exploring Photo- Books: graphy. Bourgeois, Jacques. Simple Film Animation with If two identical pictures cannot be found, the same and Without a Camera. effect can be achieved by leaving a small amount of Eastman Kodak Co. Planning and Producing Slide space between the strips of one picture. Programs. Lidstone, John. Design Activities for the Classroom. Additional Activities MCPS. Visual Art: Instructional Guide, Grades 7 Discuss panning and blur as other ways that the and 8. photographer indicates motion. Collect examples of panning, blur, or other opera- Performance Objective tions from magazine ads. Discuss and demonstrate the illusion of movement Assessment Measures (as in paintings by futurists) by restructuring photo- Have students make statements telling: graphs or pictures. how elongating an image creates a feeling of Suggestions for Instruction motion Throughout history, artists have tried to capture how the choice of picture(s) is important to the the idea of motion in still picture. Ancient Egyptians final result painted realistic figures of men in successive stages Have students construct a collage depicting move- of the same operation and relied on the viewer to ment by juxtaposing strips of a photograph Or "read" the picture as a continuous action. Futurists picture. carried this concept to unification of painted object Instructional Materials and background as illustrated in paintings such as Nude Descending a Staircase, Fighting Forms, and Books: The Solidity of Fog. Comic strip figures suggest Arnason, H. Harvard. History of Modern Art. In- rapid motion by making running legs, for example, cludes the following reproductions: look wheel-like, as do the little dog's legs in Ba Ha's Balla, Dynamism of a Dog on a Leash. painting. ,Flight of the Swifts. An effect of movement can be achieved by making Bo(mioni. Dynamism of a Cyclist. a collage of thin strips cut from pictures. Select two Luig, The Solidity of Fog. identical photographs or pictures that show a defi- .2ighting Forms. nite line direction and cut each into thin strips. CampJ, Bryn. Exploring Photography. Reassemble the strips in order, alternating photo- Other Resources: graphs, but placing each strip slightly higher or Shorewood Reproductions: lower than the one before. The eye would like to Duchamp. Nude Descending, No. 2.

4'1

38 Film and Television Concepts The importance of helping students recognize the The impact of film and television on the viewer is impact of film and television on society cannot be very similar; however, the technology used in their overemphasized. As a culture we are just coming to production is different. The film process was devel- realize the meaning of Marshall McLuhan's state- oped in the early part of the twentieth century using ment that "the medium is the message." Students a light-sensitive glass plate as a medium. Television are completely under the influence of television. A relies on electronic and magnetic tape. Commercial student's self-image, values, and hopes for the future television broadcasting began in the late forties. are influenced by the daytime soaps, commercials, There are many differences in the production meth- evening news, sitcoms, documentaries, sports, hyped ods of the two media, in their flexibility for class- specials, and films. Through a short study of these room or personal use, and in the costs of equipment media, a student can become aware o: the production and supplies. effort required and the potential for socialpersuasion that both media possess. Notes to Teachers In the art class, film is best used for animation Suggested Performance Objectives since a greater amount of control and flexibility is Construct a thaumatrope, zoetrope, or stroboscope possible. Television, on the other hand, lends itself to to illustrate principles of motion picture production. a more spontaneous form of production where an Develop a flip book to demonstrate an action instant replay can be viewed and critical changes graphically." made on the spot. Both media can be used in group Integrate visual movement and sound in film by activities or by the individual student. However, drawing on 16 mm leader or U-film and combining because of the complex and varied needs of the media the results with sound." and the relatively short period of time allocated for Make a videotape narrative using puppets. this unit, group work is encouraged. In the profes- sional world, many careers involve specific jobs in the production of a film or television program. "Sample lessons are provided. 39 48 Visit and compare in-school and commercial or Produce a videotape in which a work of art is corporate television studios. viewed and analyzed; prepare a script and story- Produce a short animated film using the pixilation board in advance. process.* Produce a short animated videotape using the Produce a short animated film sequence by mov- rewind system and a real object. ing cut-out shapes on a background surface. Discuss the subject presented in a television show Name and identify camera angles and techniques. which relates to art. (See sample lessons in MCPS, Visual Art: Instruc- Develop a storyboard that demonstrates the se- tional Guide, Grades 7 and 8.) quence of an idea or dramatizes an event. Demonstrate an understanding of set design by Select and organize photographic material into a constructing a diorama for a film or television stage montage that communicates an idea, attitude, or set.* emotion.*

Sample Units Performance Objective Suggestions for Instruction Select and organize photographic material into a A storyboard is a series of sketches in sequence montage that communicates an idea, attitude, or that enables a student to organize or visualize a emotion. photo story, videotape, or film. The storyboard will help students plan their photographs or shots before Suggestions for Instruction the:r take them. In a series of rectangles, students The photo-montage is a quick and simple method will sketch out how they visualize the composition of for introducing students to the importance of subject a specific shot. Stick figures may be used. As the matter in photography. A photo-montage is a group storyboard progresses, encourage the students to of photographs or pairs of photographs assembled to use contrast from one frame to the next. What angle relate a theme or concept. should the shot be taken from? How close or far From magazines, newspapers, and pamphlets, stu- away should they be from the subject? Have they dents collect photographs on one specific theme or selected the most interesting and direct image to idea and arrange them on a flat surface to create an dramatize this particular part of the story? Is this unusual juxtaposition of images. While the photo- the best location for this scene? How long is this graphs are being moved around, a movie camera or shot? Notes should be made beside each frame on TV camera can record the event. The movie film such things as camera angles, lighting, and duration using double or triple frame shots will produce a very of shot. All of these considerations should be worked unusual pixilation of the objects when the film is out before the student has camera in hand to help processed and viewed. Use the TV camera to produce ensure a concise and controlled film or photo essay as a documentation of the total event. When the final well as an organized plan for the production. decision is made on the relationships of the photo- graphs, carefully glue them in place. Assessment Measures This project can be a group assignment with three Critique student work in terms of: students rotating responsibilities. effective organization, which includes a begin- ning, an ending, and a climax Assessment Measures variety and contrast of camera angle and shots Critique student work in terms of: clear idea of the event to be dramatized how photographa relate to the photo montage time allotted to each shot theme or idea technical use of photo, film, and television Instructional Materials equipment Periodical: sensitivity to potential and limitations of montage "The Art of Photography," Art and Man, Vol. 9, No. 6, April/May 1979. Instructional Materials Book: Kuhns, William, and Stanley, Robert. Exploring the Performance Objective Film. Develop a flip book to demonstrate an action graphically. Performance Objective Suggestions for Instruction Develop a storyboard that demonstrates the se- A flip book is a small book of 35 to 50 3" x 5" quence of an idea or dramatizes an event. cards with a sequential drawing on each card. When the cards are flipped, there is an illusion of move- ment. To plan this project, students should draw an *Sample lessons are provided. image on the first card and then decide what the

40 4 9 image will change into. The final image should be complete guide for animation, but a few concepts are quite different from the firstfor example, an apple basic to all uses of film: as opposed to a person. The change or final image The standard speed for movie projectors is 24 should be drawn on the last card of the flip book. frames per second. Then, the middle card in the flip book should be All drawings must be spaced equally within the drawn. This is best accomplished by combining the 2 frame line. images of the first and last cards using tracing paper Only the actual moving parts of the drawing to overlap them. Once the middle card is drawn, so should change position in relation to the frame. that the change has halfway occurred, the cards one Sharp colors are the most striking. quarter and three quarters of the way through the An effective way to introduce this process to a book should be drawn. Once completed, these cards class Might be to make a seven-foot leader. Splice the make it relatively easy for the students to fill in the two ends together to form a loop in the projector so remaining cards. The choice of subject matter for the that images will be repeated without rethreading. flip book can be as simple or as complex as the U-film is standard 35 mm size for use in a filmstrip student may wish to undertake; however, the degree projector. Drawing is done on the dull side of clear of difficulty should be closely monitored by the film, and as in the slide essay, sequencing skills are teacher. Many exciting and unusual compositions especially important. Exposed films can be made will develop in the middle sections of the book owing clear by removing the emulsion with laundry bleach. to the gradual change of images. Warning: Do not let Students may work individually or in groups to the student start on card one and work straight design and produce a progressive image. They also through the book. He/she may easily become frus- select a tape or record and record a suitable sound trated because it is difficult to visualize the middle track to accompany the film. Students should be changes of the images. responsible for the operation of the equipment. Alternative Activity Additional Activities Make an animation film using flip books as cels. A Work as a class to develop a design and narrative longer film may be composed by planning a series of idea with ;ndividuals or small groups producing flip books. Except for the first, each student begins segments oilm which are then spliced together and drawing an image where the other stopped. The projected with sound as one unit. books are then filmed in sequence. Other students may develop the title and credit shots. Assessment Measures In a class critique of student work, have the Assessment Measures students: Have students exchange flip books for study. Compare coloring materials and techniques in Discuss how the images shown in student work terms of content and effect change to produce a sense of action. Analyze the progression and sequencing of an idea Instructional Materials Compare narrative and nonobjective films in Book: terms of rhythm Bourgeois, J. Simple Film Animation with and With- Evaluate individual ability to operate the out a Camera. equipment MCPS Film: Instructional Materials F-6706 Handy Dandy Do-It-Yourself Animation Film. Books: Bourgeois, Jacques. Simple Film Animation with and Without a Camera. MCPS. Commercial Art: Instructional Guide and Performance Objective Resource. (good for additional resources and acti- Integrate visual movement and sound in film by vities) drawing on 16 nun leader or U-film and combining . Visual Art: Instructional Guide, Grades 7 the results with sound. and 8. (good for additional resources and activities) Suggestions for Instruction MCPS Films: There are basically two techniques for working F-7672 The Light Fantastick. directly on blank 16 nun films. Transparent leader F-5363 Pas de Deux. can be purchased inexpensively. Then with readily available materials such as felt-tipped markers or colored ink, drawings may be made on the leader to Performance Objective create a rhythm of lines and shapes or to animate Produce a short animated film using the pixilation simple subjects. The second technique is to scratch process. into the emulsion of blank film which has been exposed and developed. Suggestions for Instruction Simple Film Animation with and Without a Cam- Pixilation is a form of simple animation using era by Jacques Bourgeois and others presents a three frames of film for each shot before the objects

41 50 are moved into their next position. Pixilation can use dimensional image that may project neutrality, real- both two-dimensional and three-dimensional objects. ism, or fantasy in support of a performance. The student can draw subjects or cut them out from There are several basic categories of units for set magazines. The super 8 camera with a cable release is design and construction: drapery, flats, architectural stationed on a tripod and the necessary flood lights units, rostra, cyclorama, and profile pieces. While are properly placed. On the flat surface below the some shows are done on location and require no camera, plan the objects to be used for animation on special set design, a stage or studio set may reflect the desired background. Using the cable release one of several basic formats involving area staging, attached to the camera, push the button three times table setups, audieice shows, two levels, or open- to take three exposures. Next move the animation ended units. The success of the set is determined by objects a short distance. Repeat the three exposures its artistic interpretation related to its appropriate- of film. Continue this process until the animation is ness to the production and to the facility in which it completed. Pixilation filming often uses objects like is performed. a chair or a bicycle which appear to move on their The student can experience the basic process of own. Students may act as the animated object, designing for a film or television set by selecting an moving for each shot to portray driving a car or established show or by writing one. Before a model is eating unusual objects. constructed, all movements on stage must be ana- lyzed and incorporated into a plan for staging. The Assessment Measures student would then develop thumbnail sketches, Evaluate the student's work against the following establish a scale, and draw elevations in color. A list criteria: of standard sizes for props and set pieces should be technical use of the camera and light setup used as a reference. Balance, proportion, and use of smoothness and flow of object motion color are areas of major consideration in designing a creative use of the pixilation process set. Consideration must also be given to lighting the Instructional Materials stage. Books: Additional Activities Kuhns, William, and Stanley, Robert, Exploring the Construct a chart showing uy colors appear on a Film. black-and-white television scr.,,n Lowndes, Douglas, Film Making in Schools. Expand the design to incluo fnrlighting. MCPS Films: Analyze selected TV shows.... )f creative F-4280 Chairy Tale. use of sets and camera angles. F-4613 Clay: Or, the Origin of Species. F-6706 Handy Dandy Do-It-Yourself Animation Film. Assessment Measures F-7798 Mindscape. The teacher and students will critique the diora- mas according to appropriateness of design to sub- ject, balance, proportion, and use of color. Performance Objective Have students name the basic categories of units Demonstrate an understanding of set design by for set construction. constructing a diorama for a film or television stage set. Instructional Materials Books: Suggestions for Instruction Lowndes, Douglas. Film Making in Schools. Television and film sets provide a background or Millerson, Gerald. Basic TV Staging. environment for a presentation. Set design is a three- . The Technique of Television Production.

51 42 A Curriculum Design for ArtInstitutional Level Behavior of the Summary Chart Potentially Creative and Appreciative Person Conceptual Content Elements Art Media Behavioral Goals

Perceiving Elements Principles of Historical Drawing Manipulate tools and media with Seeing of Art Design Reference Design cariosity, freedom, and purpose. Thinking Space Unity Understanding Painting Control the basic elements and Evaluating Point Balance Chronology Sculpture the theoretical principles of Reacting I I Line Movement Styles Graphics art; and through selected media, Contemplating Shape Variety Interrela- Printmaking give visual form to emotions, Feeling Form Emphasis tionships Ceramics ideas, and feelings. Emotional Color Crafts Appreciation Analyze relations to the universe Tactile Texture Art History Criticism and develop powers of critical Manipulating observation, objective evalua- tion, and personal discrimination.

Appreciate and develop sensitivity to creative and aesthetic values within oil's environment while striving for self-realization,

I

I

I

I L. J

Intuition Experience Creativity

Source: Montgomery County Public Schools. Curriculum Design;Institutional Level. Rockville, Md.: MCPS, 1968,

52 53 Appenciix B Suggested Guidelines for Art Class Critiques 1) Review the objectives given for the assign- have to elicit most of the questions and probe the ment. The evaluation of the completed art object class for responses. An ideal objective for the teacher must be based on the specific objectives stated, in a critique session is to be a listener while class materials, subject matter, time allowed, and purpose discussion moves along on the students' enthusiasm for the lesson. and motivation. Most of the time, students hear each 2) Set up guidelines for making critical state- other and understand each other better than if the ments and review the learning that should take teacher translates something said by the student. place. Lead the conversation in the direction of why 5) When it is appropriate and where it supports a something is good. State specifically how the stu- specific objective, refer to the following: dent has mastered the stated objectives in doing the aesthetic considerations art object. Avoid totally negative wipeouts or put- elements of art downs. Do not accept blanket statements such as "I principles of design like it" or "I don't like it" or "It sucks." Anyone can sources of ideas and subject matter make such statements. In a critique, the thinking historical resources (similar examples in master- and reasoning will also encourage others to agree or pieces) disagree, thereby leading to a good classroom cri- materials and techniques tique. Before leaving one student example, repeat the artist (needs and ego) the positive or encouraging comment about the appropriate applications work. There is no way all these topics can be covered in 3) Refrain from putting up the work of all the one critique. However, if the critique should call for students at one time and comparing one student to one of the above-mentioned topics, expand the sub- the next. This discourages a student and only de- ject to broaden the scope of the critique. A gocd stroys confidence. Critique one work at a time on the practice is to conduct critiques at the midpoint of the basis of its own merits and its fufillment of objectives. lesson and continue with individual critiques through- 4) At the beginning of critiques, the teacher will out the lesson.

54

44 Appendix C Outstanding Women Artists (partial listing) Anne Arnold Edmonia Lewis Alice Baber Loren MacIver Joe Baer Escobar Marisol Lee Bontecou Agnes Martin Romaine Brooks Maria Martinez Margaret Taylor Burroughs Alice Trumbull Mason Rosalba Carriera Joan Mitchell Mary Cassatt Berthe Morisot (Sister) Mary Corita Mary Moser Anne Valir vr-Coster Anna (Grandma) Moses Elaine De iiooning Gabriele Munter Sonia Delaunay Alice Neel Deborah DeMoulpied Louise Nevelson Sally Drtumnond Georgia O'Keefe Alexandra Exter Maria Van Oosterwyck Audrey Flack I. Rice Pereira Helen Frankenthaler Niki de Saint Phalle Jane Frielicher Anne Redpath Artemisia Gentileschi Bridget Riley Nancy Stevenson Graves Augusta Savage Nancy Grossman Sophie Taeuber-Arp Grace Hartigan Alma W. Thomas Barbara Hepworth Anne Truitt Malvina Hoffman Suzanne Valadon Anna Hyatt Huntington Ruth Vollmer Barbara J. Jones Sylvia Wald Lois Mailou Jones A more extensive listing is available in the following: Frida Kahlo (Rivera) A. Harris and L. Mochlin, Women Artists 1550-1950 Angelica Kauffman (N.Y .: Alfred Knopf, 1979). Kathe Kollwitz E. Fine, Women and Art (Montclair, N.J.: Abner Lee Krasner Schram, 1978). Judith Leyster H. Munsterberg, A History of Women Artists (N.Y.: Dorthea Lange Clarkson N. Potter, 1975). Marie Laurencin K. Peterson and J. Wilson, Women Artists (N.Y.: Elizabeth Vigee-Lebrun Harper & Row, 1976).

Outstanding Native American Artints (partial listing) Popovi Dapotter, San Ildefonso Joseph Lonewolf potter, Santa Clara R. C. Gormanpainter/sculptor/printmaker, Navajo Julian Martinezpotter, San Ildefon so Helen Hardin painter, Santa Clara Maria Martinezpotter, San Ildefonso Joan Hillpainter, Cherokee Grace Medicine Flowerpotter, Santa Clara Allan Houser sculptor, Apache Lloyd Newart director, Cherokee Oscar Howepainter, Sioux Kevin Redpainter, Star, Crow Glenn LaFontaineceramics Fritz Scholder,painter/printmaker, Mission Charles Llomajewelry, Hopi Willard Stonesculptor, Cherokee

45 55 Outstanding Afro-American Artists (partial listing)

Alston, Charles Lee-Smith, Hughie Andrews, Benny Lewis, Norman Bannister, Edward M. Lloyd, Tom Barthe, Richmond McNeill, Lloyd t Bearden, Romare at Mayhew, Richard Benson, Patricia t Moore, Martha Bereal, Ed t Morehead, E!: Brown, Elmer Motley, Archth.....d Carter, Robert Noss, Daniel t Catlett, Elizabeth Overstreet, Phillip Clark, Claude t Pippin, Horace Cortor, Eldzier Reason, Patrick Crite, Allan * Sebree, CLirles t Dean, Hilliard t Stovall, Lou Delaney, Beauford Tanner, Henry O. *1' Delaney, Joseph Thomas, Alma t Douglas, Aaron Thompson, Bob "t Douglass, Robert Thrash, Dox Duncanson, Robert S. Waring, Laura Wheeler t Edmondson, William t Wells, James L. t Evergood, Phillip * White, Charles Gilliam, Sam t White, George W., Jr. t Hampton, James t Whitlock, Mary Ursula Hayden, Palmer t Whitney, Anne Holder, Geoffrey Wickey, Maria Hollingsworth, A. C. Wiley, Lucia Hunt, Richard t Williams, Walter " Johnson, Malvin Gray t Wilson, Ellis t Johnson, Marie Winslow, Mary Johnson, Sargent t Woodruff, Hale " Johnson, William Henry Woods, Marcy Johnston, Joshua Wright, Alice Morgan Jones, Marilou Wright, Margaret H. Lawrence, Jacob *t

* Shorewood Publications t National Museum of American Art 5 6

46 Appendix D General Health and Safety Procedures for Art Classes The art classroom often includes materials and Post safety and health precautions in appropriate processes that are used in industry or professional work areas. studios which may be potentially hazardous to health Remove asbestos-containing materials, lead-based and safe .7. Art teachers and students should inquire glazes, metal enamels and paints, and benzene from about the hazards of art materials and follow safe the classroom. procedures for their use. Exposure to toxic substanc- Do all spraying in a working spray booth or es May be through inhalation, ingestion, or absorp- outside when air is moving. tion through the skin. Exposure to safety hazards Dry clays may not be mixed in schools. Mix may result from improper procedures or poorly main- glazes, dyes, and photo chemicals in a spray booth. tained equipment and facilities. Constant awareness Wear goggles or safety glasses. An approved respira- of potential or immediate hazards and the inclusion tor may be used temporarily until adequate ventila- of related health and/or safety information with each tion is provided. (See NIOSH/OSHA Standard lesson will remove dangers from the classroom and 1910.133.) provide students with sound work habits for the Store respirators, goggles, and safety glasses in a future. clean, airtight container, plastic bag, or cabinet. Art and photography teachers have the responsi- Clean the skin contact surfaces of these devices with bility for instructing students in the proper safety a detergent soap and water after each use. (See procedures related to each process and for providing OSHA Standard 1910.134.) health hazard information on the materials being Use permanent felt-tip markers only in well- used. This information should be given orally and in ventilated rooms and limit the number in use. written form, and then reinforced through discus- Store flammable liquids in a fire-rated cabinet. Do sion, visual aids, and safety quizzes. Teachers also not pour flammables down a sink drain. Dispense have the responsibility for supervising students as flammables from a fire-rated container. Dispose of they work to ensure that safe procedures are being flammable waste rags in a self-closing metal waste followed and that the areas in which students work container. are safe. Restrict the use of all acids and solvents. Use them Only teachers are permitted to mix glazes, photog- in a spray booth or other well-ventilated area. Store raphy chemicals, dyes, and other toxic powders. This containers of acids and hazardous solvents on a must be done in a spray booth while wearing clean lower shelf in an approved cabinet. Keep containers rubber gloves and, if necessary, a respirator. Teach- of acid and solvent covered when not in use. Label all ers with respiratory problems should avoid mixing containers with permanent markings. powders and using solvents. Containers of mixed Restrict open-flame operations to an open-flame solutions must be lidded, permanently marked, and room or booth. Keep all flammable materials and stored safely. liquids away from kilns or open flame. The following safety procedures apply to all art Wear appropriate gloves or use other protective classrooms: means to avoid contact with such materials as acids Develop un awaremcs of the classroom environ- (photographic, etching), solvents, asphaltum, ammo- ment and make adjustments to correct improper nium dichromate, heated metals and ceramics, brush lighting, temperature, and ventilation in the room. cleaners, epoxy, and solvent-based glues. Develop an awareness of other potential health and Wear goggles and other protective clothing during safety hazards. Maintain easy access to a fire extin- such operations as grinding, buffing, using an elec- guisher and, if necessary, a fire blanket. tric saw, carving stone, or pouring acids. Keep edged Submit a memorandum to the school principal tools sharpened. Do not pour liquid metals. about any malfunctioning equipment or hazardous Wear work clothing in the studio and launder it working condition. frequently. Maintain a clean and orderly classroom and stor- Restrict the use of potentially hazardous solvents age area. Wet floors are potentially hazardous. Clean and solvent-based inks, paints, and dyes. Follow up spills immediately. Dust accumulation in ceramic manufacturer's directions for use. areas must be avoided. Use a wet mop or vacuum Caution students who wear contact lenses to avoid regularly. Wash tabletops frequently. Do not sweep fumes and dust concentrations. Provide approved or brush clay, glaze, or plaster dust. eye protection or have students remove contacts. Include health and/or safety information in all Wear safety spectacles with full side shields or instruction that relates to potentially hazardous goggles during potentially hazardous operations. tools, materials, or procedures, such as scissors, Do not eat or drink in an art room, ceramic studio, pens, knives, carving chisels, glazes, and paints. or darkroom.

47 5 7 Operate power tools in compliance with the rules Only teaching staff may pour or move hot paraf- in sections 8-4 to 8-44 of the MCPS Safety Hand- fin, and the heating process must be under constant book. Also see the Safety Handbook for other rele- supervision of the teacher. vant information. Adequate classroom ventilation must be main- tained during the entire process. Wax melting should Toxic Materials be done when windows can be opened to improve Any materials or solvents labeled toxic or hazard- ventil a Hon. ous to your health must be used with extreme caution. Some art materials are considered too haz- Proper Use of Kilns ardous to be used in the instructional program. Kilns are to be fired only when a teacher is on duty These include such materials as: or when a responsible adult can monitor the firing. Metalic putty and thinners Preheating the kiln the preceding day may be Epoxy resins and liquid plastics necessary to reach a desired temperature. Do not fire Lacquer and lacquer thinner kilns overnight without direct supervision. Plastic cements containing ethylene dichloride Protect the eyes with a tinted welders lens when or methylene chloride observing kiln heat. Some photography chemicals Operate kiln sitters according to the manufactur- Spray adhesives er's directions. Paint and varnish removers Have the cord, plug, and timer regularly checked In addition, the following materials are banned by a maintenance worker. from classrooms and must not be used: Enameling kilns must be placed under an exhaust Arsenic hood during firing. Asbestos-containing products Benzene Ceramic Restrictions Carbon tetrachloride No lead or lead-based glazes are permitted in Lead-based glazes, paints, copper enamels, inks schools. The ceramic glazes provided by the ware- Powdered clays house are considered safe for classroom use with Solvent-based silk-screen inks and dyes proper handling and firing procedures. Secondary Soapstones teachers who are formnlatinc glazes must rec- Vermiculite ognize the toxic quality or, Aements and com- pounds and restrictz,-r iItheir use in the Paper Cutters classroom. Only teachers may E.,17: glazes. This must Install the paper cutter near a corner of the room be done in a spray booth while wearing clean rubber or against a cabinet away from work and circulation gloves. An approved respirator may be needed if areas, and request maintenance from your principal ventilation is inadequate. Students may use pre- when needed. mixed liquid glazes and engobes only. Restrict the use of the paper cutter to responsible Ceramic materials such as the following are poten- adults or secondary students. Never permit elem., a- tially hazardous to your health and should be re- tary students to use the paper cutter. stricted or prohibited: Remind responsible adults to exercise caution Antimony when using the paper cutter. They must concentrate Barium compounds upon the cutting task and check that fingers and Beryllium oxide clothing are out of the way of the cutting edge. Bismuth subnitrate If the elementary school art room is used for Boron compounds afterschool activities, secure the arm of the paper Cadmium compounds cutter with wire, rope, or a lock. Chromium compounds Cobalt compounds Crayon and Wax MeltMg Procedures Copper compounds The following precautions must be taken: Flourspar A double boiler type of container, a thermometer, Lead compounds and a U.L.-approved temperature-controlled hotplate Litharge or electric skillet must be used. Lithium carbonate Makeshift containers must not be used in the Manganese compounds melting process. Never use an open flame to melt Mercury waxes or paraffin. (Overheating releases toxic fumes.) Nickel compounds Any off-bid heating device must be approved by Potassium carbonate MCPS maintenance staff. Silicas (flinty feldspars) Heating devices must be located on a noncombus- Silver nitrate tible surface. Combustibles must be kept at least two Talcs feet away from heating devices. Uranium oxide Paraffin must be clean and care must be taken to Vanadium compounds prevent any impurities or waier in the melt. Do not Zinc chromate use chlorinated synthetic waxes. Do not use carbon Store all glaze powders, elements, and compounds tetrachloride as a wax solvent. in lidded containers. Mark all containers with perma-

48 58 nent labels. Include a restriction on the use of the turpentine. Restrict the use of rubber cement. Avoid materials listed above. Wash hands after handling carbolic acid, chromic acid, hydrofluoric acid, tolu- glazes. Avoid spraying glazes. Check spray booth for ene, xylene, styrene, PCB, n-hexane, and methyl proper functioning. Never sandpaper dry clay projects. butyl ketone. Soldering, Welding, and Plastic Forming Photography Only teachers may mix photographic chemicals. Avoid inhalation of lead fumes from solder. Use a This must be done in a spray booth while wearing soldering iron, not a torch. Avoid the use of zinc eye protection and clean rubber gloves. chloride flux. Wash hands after handling lead. Clean Read labels on chemical containers and follow contaminated surfaces with a wet sponge. Welding precautions stated. and brazing are prohibited in art rooms. No plastics' Avoid direct contact with chemicals, avoid splash- may be cut, formed, or cemented in the classroom. ing, and clean up spills. In case of skin contact, wash thoroughly and apply an antibacterial detergent skin Painting, Printmaking, and Dyeing cleanser. If fluid gets into the eyes, flush eyes with Pigments, vehicles, and solvents should be pre- clear water for 15 minutes and seek medical attention. sumed to be capable of producing toxicity unless Dispose of used photo chemicals by pouring them labeled AP or CP. Pigments, including those in one at a time into a sink with plenty of running pastels and chalks, are most hazardous in the pow- water. dered state. Solvent paints and inks may not be used Avoid using toners, intensifiers, and all photo- below the tenth grade. Oil pastels are preferred for resist chemistry. use at all levels. Pigments containing arsenic oxide, Cover all trays and bottles of solutions when not in chromate, mercury, and lead must not be used. They use. may occur in colors like chrome green, emerald Farmer's reducer is safest; however, it will release green, some cobalt violets, zinc yellow, chrome yel- hydrogen cyanide gas under certain conditions. low, flake white, molybdate orange, true Naples Always add acids to water, never the reverse. yellow, and vermilion. Other pigments like cadmi- Store acids in a safe place. urns are also potentially hazardous and should be Color photography chemicals are toxic. Restrict used with caution. Avoid contact with fingers and their use to a slotted exhaust-hood area. Wear gloves, mouth. Wash hands after use. (Refer to an art goggles, and an approved respirator when mixing hazards manual for listings.) and handling color-processing chemical.... Aerosol sprays, air brushes, and spray guns are Many photographic compounds are ' :ghly corro- hazardous since they produce fine mists and can be sive to the skin. A complete listing and suggested flammable. Use a spray booth or provide good precautions are available in Overexposure: Health ventilation. Use a safe hair spray instead of fixatives. Hazards in Photography by Susan Shaw. All solvents, and solvent-based inks and dyes are An analysis of potentially hazardous artists' mate- hazardous and should be treated cautiously. Keep rials is available in the Health Hazards Manual for containers covered and store solvent rags in an Artists and Artist Beware: The Hazards and Precau- approved safety can. In printmaking restrict the use tions of Working with Art and Craft Materials by of acid and wear rubber gloves when wiping plates. Michael McCann. These and other safety books may Be sure that proper ventilation is provided. Substi- be ordered from Center for Occupational Hazards, tute mineral spirits or other less toxic solvents for Inc., 5 Beekman Street, New York, N. Y. 10038.

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490 Appendix F Art Activities That Support the Teaching of Reading Post vocabulary words along with visual examples Have students make various lists of elements that of their meaning. Definitions can be developed in relate tp environmental or applied design, e.g., iden- group discussions and different kinds of tests may be tify the activities that occur in a given space (home given. or other) prior to developing a design. Display masterworks of art and label them with Have students write advertising copy that will be pertinent information. Biographical paragraphs may included in a graphic or product design. be provided for student study and for reference in Have students write a script for a short video/ compiling written reports. slide tape or movie film using animation, pixilation, Label work areas, storage spaces, and/or tools and or live action. materials. Identification tests may be given. Have students develop a new dialogue for a car- Provide time for students to select and make toon strip or television commercial. projects from the Art Concepts and Activities Bank. Provide crossword puzzles using art terms. Ad- Review newspaper clippings of current events and vanced students may design a puzzle. gallery shows. Post articles or reproduce them. Have Use worksheets to develop or reinforce specific the class or a group of interested students discuss concepts. them. Reproductions of the works referred to in the Have students write self-evalution statements or clippings should be made available to students dur- complete checklists on individual projects or on a ing discussions. unit of instruction. Where textbooks are available, make short read- Provide study sheets in which questions are asked ing assignments related to specific project activities. about the content of a film or about the pieces viewed Have students develop titles for completed art- on a field trip. works and for improvised still life compositions. Student Bibliography

Art History lyzes the sources and development of African Arnason, H. Harvard. History of Modern Art: Paint- art. A comparative survey chart of related his- ing, Sculpture, and Architecture. rev. ed. New torical events is also included. York: Abrams, 1977. BATAB #005122023 LLoyd, Christopher. A Picture History of Art. New Painting, sculpture, and architecture in the twen- York: E. P. Dutton, 1979. O.P. tieth century. Good black-and-white and color Over 1,760 illustrations of Western art with 900 reproduction. Styles and trends are presented in in color. A chart of art periods and bibliographi- chronological order. cal notes on artists are included. Bascom, William. African Art in Cultural Perspective: Read, Herbert. The Art of Sculpture. New York: An Introduction. New York: W. W. Norton, Ballinger, 1964. BATAB #002979454 1973. BATAB #025595245 An illustrated critical overview of the history of A well-illustrated text which discusses the histo- sculpture. ry of African art. . A Concise History of Modern Sculpture. Bayer, Herbert, and others (eds.). Bauhaus: 1919-1928. New York: Oxford University Press, 1964. New York: The Museum of Modem Art, 1972 BATAB #00271874x (reprint of 1938 edition). BATAB #004230612 This is a classic work on sculpture appreciation An historical document of the years that the and has excellent illustrations of definitive piec- Bauhaus was in operation. Many interesting es of sculpture. ideas for teaching the school's major contribu- Selz, Peter. Art in Our Times: A Pictorial History, tions to art. 1890-1980. New York: Harcourt, Brace, Jovano- Brommer, Gerald F. Discovering Art History. Worces- vich, 1981. ter, Mass.: Davis, 1981. A study of art categorized by subject matter or Explores mainly Western art in chronological theme. order. A chapter on non-Western art discusses Schinneller, James A. Art/Search and Self-Discovery. cultural influences; a glossary and pronounciation Scranton, Pa.: International Textbook Compa- guide is included. ny, 1975. Faulkner, Ray. Art Today. 5th ed. New York: Holt, An approved textbook, this large volume deals Rinehart, and Winston, 1974. with the characteristics and scope of the visual An approved county text approaches the sub- arts in both the past and the present. Chapters ject of art appreciation not only through the focus on an art form rather than a chronological acquisition of knowledge but also through the survey. Numerous photos and diagrams contrib- development of sensitivity to attitudes, emo- ute to the easy-reading text. tion, and personal preferences. Spencer, Comelia. Made in Japan. New York: Alfred Feldman, Edmund. Varieties of Visual Experience. A. Knopf, 1963. O.P. BATAB #003154327 2nd ed. Englewood Cliffs, N.J.: Prentice-Hall. History and handicrafts of Japan with descrip- BATAB #543819485 tions of culture and philosophical motivations An interesting collection of art organized into behind art and handicraft. art themes rather than chronologically. Good black-and-white and color reproductions. Gettings, Fred. The Meaning and Wonder of Art. Commercial Art New York: Golden Press, 1969. O.P. BATAB Refer to the bibliography published in the Mont- #003366855 gomery County Public Schools instructional guide An art history book for beginners. on Commercial Art. Klein, Mina C., and Klein, Arthur H., Kathe Kollwitz: Life in Art. New York: Schocken, 1975. Crafts A study of a woman artist and her emotion- Albers, Anni. On Weaving. Middletown, Conn.: ridden work, which obsessed her and others. Wesleyan University Press, 1965. BATAB Laude, Jean. The Arts of Black Africa. Berkeley, #004640241 Calif.: University of California Press, 1971. Discussion of textile fundamentals handsomely More than a survey of the cultural and artistic illustrated. Essentially for serious professional heritage of black Africa, this paperback ar.a- students.

52 6 3 Ball, F. Carleton, and Lovoos, Janice. Making Pot- Horn, George F. Crafts for Today's Schools. Worces- tery Without a Wheel. New York: Van Nostrand ter, Mass.: Davis, 1972. Reinhold, 1965. Each chapter explains the fundamental tools, This book is a classic on hand-building tech- techniques, and materials associated with a par- niques, profusely illustrated, and a valuable ticular craft. resource in the classroom. Jablonski, Ramona. The Paper Cut-Out Design Book. Beller, Nancy. "Batik: Designing on Fabric with Owings Mill, Md.: Stemmer House, 1976. BATAB Heated Wax and Dyes," School Arts, Jan. 1978, #543858642 pp. 20-25. This is an excellent source book for creating and An overview of batik processes including histor- adapting the paper cutting heritage of this folk ical origins, materials and techniques. Excerpts art of many different countries. from Mrs. Belfer's book Designing in Batik and Johnston, Meda P., and Kaufman, Glen. Design on Tie Dye. Fabrics. 2nd ed. New York: Van Nostrand Rein- . Designing in Batik and Tie Dye. Worcester, hold, 1981. Mass.: Davis, 1972. BATAB #544545753 Good basic text covering all methods of fabric This is a "how-to" book with color illustrations. design where the decoration results from color It is easy to read, and the directions are easy to applied directly onto the fabric through print- follow. ing, painting, or dyeing. Clearly illustrated (not Berensohn, Paulus. Finding One's Way with Clay. in color) with materials and equipment defined New York: Simon and Schuster, 1972. O.P. for each technique and a brief historical account Gives detailed pinch-pot instruction with many of each technique. project ideas. Also covers how to color clays Keller, Ila. Batik: The Art and Craft. Rutland, Vt.: with oxides. C.E. Tuttle, 1966. Brock, Virginia. Pinatas. New York: Abingdon Press, Historical chapter illustrated with ancient de- 1966. O.P. BATAB #003950875 signs from Indonesian provinces. Explains mod- Many different designs for constructing pinatas ern Western methods with good illustrations of starting with balloons. contemporary work. Brummitt, Wyatt. Kites. New York: Western Pub- Kinney, Jean, and Kinney, Cle. Twenty-three Varie- lishing, 1971. O.P. BATAB #543866645 ties of Ethnic Art and How You Can Make Each One. New York: Antheneum, 1976. O.P. This small paperback book is profusely illustrat- ed with diagrams of kites accompanied with An introduction to the art and craft of 23 cultures directions for their construction. around the world. Christopher, Frederick J. Basketry. New York: Do- Lindemeyer, Nancy, and Vaughn, Ciba. "Make It a ver, 1952. BATAB #543507416 Christmas to Remember with an Album of Heirloom Patterns," Better Homes and Gar- One hundred and fifty-five illustrations clearly dens, Dec. 1977, pp. 90-95. explain a variety of methods. A description of craft projects such as marblized D'Amato, Alex, and D'Amato, Janet. Quillwork: The paper, crewel embroidery, needlepoint, and oth- Craft of Paper Filigree. New York: M. Evans & er holiday-related designs. Company, 1975. BATAB #030860229 Maile, Anne. Tie-And-Dye as a Present-Day Craft. Projects and techniques. New York: Taplinger, 1970. D'Amato, Janet, and D'Amato, Alex. African Crafts A technical "bible" of tie dye techniques and for You to Make. New York: Julian Messner, materials. Clear illustrations and suggestions 1977. O.P. BATAB #005915457 for projects. Advanced. Good. Most examples are for woodcraft but can be Manley, Seon. Adventures in Making: Romance of adapted. (Covers musical instruments, games, Crafts Around the World. New York: The Van- dwellings, clothing, masks.) guard Press, 1959. Hennessey, James, and Papanek, Victor. Nomadic The story of some of the people who create and Furniture One. New York: Pantheon Books, perpetuate the world's rich heritage of handi- 1973. BATAB #017647606 craftsU.S. Indians, Hawaiian featherwork, tap- Based on the premise that the average Ameri- estries of Europe, Irish illuminated manuscripts. can moves every two or three years, this book talks about and shows how to make furniture Meilach, Dona Z. Contemporary Batik and Tie Dye. that folds, stacks, or knocks down for packing. New York: Crown, 1973. BATAB #018649580 It also includes a section on human measure- This author always makes her process books ment and resultant needs. creative, colorful, and inspirational. Hills,Pat, with Wiener, Joan. The Leathercraft . Creative Carving: Materials,Techniques, Book. New York: Random House, 1973. O.P. Appreciation. Chicago: Contemporary Books, Paperbound. Techniques well illustrated. Tools n.d. and supplies listed. Overview of materials generally carved. Fair 53 6 4 chapters on wood and plastics. Descriptive pho- Samuel, Evelyn. Introducing Batik. New York: tographs good; accompanying text clear. Watson-Guptill, 1968. O.P. Macrame Accessories. New York :Crown, Good "how-to" book. Recipes given. Illustra- 1972. O.P. tions of projects with directions for them. Class- Advanced, creative ways with macrame for cloth- room aid. ing and jewelry. Sargent, Lucy. Tincraft for Christmas. New York: Monk, Kathleen. Fun with Fabric Printing. New William Morrow, 1969. York: Taplinger, 1969. BATAB #515963666 Tin cans are turned into jewelry, mobiles, trin- Good for schools since it presents methods of kets, and decorations. Complete instructions. fabric dyeing that use cheap, easily obtainable Slivka, Rose, ed. Crafts of the Modern World. New materials. York: Horizon Press, 1968. Moseley, Spencer, and others. Crafts Design: An A book of illustrations of international contem- Illustrated Guide. Belmont, Calif.: Wadsworth, porary crafts. Good classroom source book. 1962. O.P. Vlach, John Michael. The Afro-American Tradition Very clear illustrations and phtographs with in Decorative Arts. Bloomington, Ind.: Indiana supporting text make this an invaluable class- University Press, 1978. room aid. Good introductory chapter on design. Excellent past and present history. Many black- Crafts explained are paper, bookbinding, weav- and-white photographs to show basketry, musi- ing, decorated textiles, leather, clay, mosaics, cal instruments, woodcarving, quilting, pottery, and enameling. A professional approach to de- boatbuilding, architecture, and graveyard decor- sign in terms easily understood by secondary ation. students. Waller, Irene. Design Sources for the Fiber Artist: Muehling, Ernst. The Book of Batik. rev. ed. New From Fiber to Fabric. Worcester, Mass.: Davis, York: Taplinger, 1981. 1979. Very clear outline of each step in making the Excellent for the advanced student. batik. Materials listed. A few color illustrations Yanagi, Soetsu, and Leach, Bernard. The Unknown and many black and white. Good for student Craftsman. A Japanese Insight into Beauty. and teacher. New York: Kodansha, 1980. Nelson, Glenn C. Ceramics. 5th ed. New York: Holt, An interesting collection of the writings of Soetsu Rinehart, and Winston, 1984. O.P. Yanagi. Deals with the Oriental idea of beauty This is a studio handbook that covers all aspects and ceramics. of the ceramic process in an easily understood style. The first part of the book deals with a critical interpretation of significant historical and modern works. Design Newman, Sandra Carrie. Indian Basket Weaving. Appleton, Leroy H. American Indian Design and Flagstaff, Ariz.: Northland Press, 1974. O.P. Decoration. New York: Dover, 1971. BATAB "How-to" information for Pomo, Yurok, Pima, #543586987 and Navajo baskets along with cultural, social, An excellent source book of North and South and geographical information. American Indian designs in cla:), textiles, and Oka, Hideyuki. How to Wrap Five More Eggs: wood. Has 700 black-and-white illustrations. Traditional Japanese Packaging. New York: Contains folktales of each tribe in prose and Weatherhill, 1975. poetry. Interesting book about Japanese packaging. Bevlin, Marjorie. Design Through Discovery. 4th ed. Second "egg" book on this idea. New York: Holt, Rinehart and Winston, 1984. Plath, Iona. The Decorative Arts of Sweden. Magno- A theory of design as a natural development lia, Mass.: Peter Smith, 1966. related to the universe. Comparison of past and present. Many good Bourgoin, J. Arabic Geometrical Pattern and De- black-and-white illustations about textiles, glass, sign. New York: Dover, 1973 (reprint of 1879 ed.). metal, wood, paintings. BATAB #549660631 Rainey, Sarita R. Wall-Hangings: Designing with An extensive collection of Arabian tile designs Fabric and Thread. Worcester, Mass.: Davis, that would be very useful in the development of 1971. BATAB #008604452 geometrically based designs. Design ideas and instructions using several Bringham, J. The Graphic Works of M. C. Escher. different methods. New York: Ballantine Books, 1971. O.P. Regensteiner, Else. The Art of Weaving. 2nd ed. Work introduced and explained in full by the New York: Van Nostrand Reinhold, 1981. O.P. artist. Reproductions of Escher's work in all Traditional weaving patterns with one chapter media are excellent. on off-the-loom wall hangings. Christensen, Erwin 0. The Index of American De-

54 6 5 sign. Now York: Macmillan, 1950. O.P. BATAB A collection of designed alphabets based upon #005597994 motifs from art deco, surrealism, and pop art Shows 378 pictures from the 15,000 paintings sources. housed in the National Gallery of Art of the Lehner, Ernst. Symbols, Signs, and Signets. New crafts and folk art of the United States which York: Dover, 1950. BATAB #544446917 had been painted in the 1930's as a WPA An excellent source book for design. project. Moholy-Nagy, Laszlo. Vision in Motion. Chicago, Ill.: d'Arbeloff, Natalie. Designing with Natural Forms. Paul Theobald, 1947. BATAB #543819760 New York: Watson-Guptill, 1973. O.P. A general view of the interrelatedness of art and Contains wonderful photographs of segments of life. Examples of art by the students of Chicago nature that illustrate means of design, e.g., Institute of Design. parts of cabbages, onions, eggshells, pineapples. An excellent resource. Naylor, Maria (ed.). Authentic Indian Designs. New York: Dover, 1975. BATAB #486231704 Dreyfuss, Henry (ed.). Symbol Sourcebook: An Authoritative Guide to International Graphic A source book of 2,500 illustrations of North Symbols. New York: Van Nostrand, 1984. American Indian designs. This dictionary contains over 200 pages of inter- Plowden, David. The Hand of Man on America. nationally recognized symbols including sec- Riverside,Conn.:ChathamPress, 1973. tions on basic shapes, color, and graphic forms. BATAB #008791309 This book of photographs makes a visual com- Escher, M. C., and Locher, J. C. The Graphic Work ment on the face of America. It portrays, in fine of M. C. Escher. New York: Ballantine Books, photography, the ways our landscape has been 1976. O.P. used and abused. An overview of Escher's painted optical illustions. Rennert, Jack. One Hundred Years of Bicycle Post- Fabri, Ralph. Artist's Guide to Composition. New ers. New York: Darien House, 1973. York: Watson-Guptill, 1971. O.P. This large, colorful book illustrates 100 years of Discusses composition problems faced by art- growth of color lithography, along with the ists and students alike. Composition is traced stylistic development of pictorial posters that through different periods of art. deal with the theme of bicycles. Frohman, Louis H., and Elliot, Jean. A Pictou: Rowland, Kent. Pattern and Shape. New York: Van Guide tn American Gardens. New York: Crow,: Nostrand Reinhold, 1964. O.P. 1960. C.P. This first volume of a series on looking and A guide to famous gardens in the United States, seeing compares natural and human-made forms. grouped by region. Not in print but available Stevens. Peter S. Patterns in Nature. Boston: Little, through the public library. Brown, 1974. BATAB #027652874 Helfman, Elizabeth S. Signs and Symbols Around Contains hundreds of photographs, drawings, the World. New York: Lothrop, Lee, and Shep- and comments about the structure in nature. ard, 1967. O.P. Von Frisch, Karl. Animal Architecture. New York : Covers picture writing, numbers, symbols in Van Nostrand Reinhold, 1983. religion, signs for science and industry, and Profusely illustrated, well-written book on the signs and symbols for today and tomorrow. types and uses of structures built by animals. Well illustrated with black-and-white drawings. This would be especially valuable when teaching Horn, George F. Visual Communication: Bulletin sources of design in nature. Boards ExhibitsVisual Aids. Worce ster, Wilson, Forrest. Architecture: A Book of Projects Mass.: Davis, 1973. BATAB #022609903 for Young Adults. New York: Van Nostrand A simple guide for producing visuals. Reinhold, 1968. O.P. Horning, Clarence P. Horning's Handbook of De- This small book describes the more commonly signs and Devices. New York: Dover, 1959. O.P. used architectural and engineering systems with Contains 1,836 basic designs and the- varia- simple, practical suggestions for demonstrating tions featuring the geometry of space division as each system. a foundation for decorative design. This is a useful resource for logos and trademark designs. Laliberte, Norman, and Mogelon, Alex. The Book of Drawing Posters. New York: Blauvelt, 1970. O.P. Bromrner, Gerald F. Drawing: Ideas, Materials, Tech- A colorful, profusely illustrated book. Presents niques. rev. ed. Worcester, Mass.: Davis, 1978. modern poster design in a format that is very A good resource for many different drawing attractive to students. techniques. Very stimulating for students. Larcher, Jean. Fantastic Alphabets. New York: Do- Holme, Bryan. Drawings to Live With. New York : ver, 1976. BATAB #486234126 Viking Press, 1966. O.P.

55 66 Each page is filled with drawings done at vari- Davidson, Abraham A. The Story of American Paint- ous times in history. Many styles are represent- ing. New York: Harry N. Abrams, 1974. O.P. ed. A stimulating resource. This profusely illustrated book traces the histo- Johnson, Una E. Twentieth Century Drawings, Part ry of American painting from Colonial times to I, 1900-1940. Boston: Little, Brown, 1964. O.P. the 1960's. An excellent historical reference. Guptill, Arthur. Watercolor Painting Step-By-Step. Pitz, Henry C. Charcoal Drawing. New York: Watson- rev. ed. New York: Watson-Guptill, 1967. Guptill, 1971. BATAB #543492451 This is a rich store of important material which Demonstrates the use of charcoal as a drawing illuminates the most intricate techniques of the medium for both interior and exterior scenes. watercolorist's art. Especially good for classroom use. "Henri MatisseCreating with Shapes," Art and .Ink Drawing Techniques. New York: Watson- Man. Vol. 10, No., 2 Nov. '79. Gupta 1957. The subject of shapes in painting is discussed Describes characteristics of pen-and-ink drawing with references to Matisse, Vermeer, Mondrian, and demonstrates many techniques. and Cassatt. Rosenberg, Jakob. Great Draughtsmen From Pisanello Hoopes, Donelson F. Sargent Watercolors. New York: to Picasso. Cambridge, Mass.: Harvard Univer- Watson-Guptill, 1976. sity Press, 1959. With this spontaneous, fluid medium, Sargent A su vey of European draughtsmen from the indulged in unrestricted brushwork in a rich, fifteenth through the twentieth centuries. Con- expressionistic way. The reproductions are in tains 307 black-and-white illustrations. excellent color. The text is historical and docu- Rottger, Ernst, and Klante, Driter. Creative Drawing: ments major influences on Sargent's work. Point and Line. New York: Van Nostrand Rein- . Winslow Homer Watercolors. New York: hold, 1963. O.P. Watson-Guptill, 1976. This presents drawing as a form of creative play This book is fully illustrated with color plates of dot and line. A very attractive source book of dealing with Homer's watercolors exclusively. drawing techniques and ideas. The background, methods, and development of Homer's watercolors are explored in the text. Pike, John. Watercolor, enlarged ed. New York: Environmental Design Watson-Guptill, 1983. Refer to the bibliograpi published in the Mont- This book is based on the course of study at gomery County Public . els instructional guide Pike's renowned watercolor school in Wood- on Environmental Desigq. stock, New York. Clearly and systematically instructs the reader on the techniques, tools, Painting and materials of the craft. "The Art of Design" Art and Man. Vol. 8, No. 3, Dec. Taubes, Frederic. Acrylic Painting for the Beginner. '77/Jan. '78. New York: Watson-Gup till,1971. BATAB A review of student-developed designs with a #823000605 preface on Philip Perlstein, Robert Indiana, and One of a series of books on painting by this Harry Bertoia. well-known artist. Ba. z,r, Harry R. Painting Landscapes. New York: 'Jason-Gupta 1973. O.P. Photography interesting commentary on picture planning, Andersen, Yvonne. Make Your Own Animated Mov- balance in composition, and location painting. ies. Boston: Little Brown, 1970. Brommer, Gerald F. Transparent Watercolor: Ideas Half a dozen different methods of animation and and Techniques. Worcester, Mass.: Davis, 1973. various camera techniques are described and BATAB #022644555 illustrated in very simple, easy-to-understand This is an excellent resource and could serve as a terms. good text. Although reproductions are black "The Art of Photography," Art and Man. Vol. 9, No. and white, the examples are varied and interesting. 6, April/May 1979. Cumming, Robert. Just Look: A Book About Paint- The main topic of this issue is photographing ings. New York: Charles Scribner's Sons, 1980. people, with a special feature on documentary BATAB #68416339x photographer Dorthea Lange. An inside look at paintings that will lead the Bourgeois, Jacques. Simple Film Animation with and reader to the appreciation of great artworks. Without a Camera. New York: Sterling, 1974. Takes a look at the elements of paintings and O.P. how famous artists achieved their effects. Di- A short book with lots of visual examples. rect, on an elementary level. Full-color reproduc- Explains techniques of simple animation and tions. necessary tools and materials.

56 6 7 Campbell, Bryn. Exploring Photography. Now York: camera as an art tool and a means of communi Hudson Hills, 1979. cation. This book resulted from research for the BBC Schillaci, Anthony, and Culkin, John. Films Deliver: television series of the same name. Emphasizes Teaching Creatively with Film. New York: Scho. visual ideas ratber than practical instruction. lastic, 1970. BATAB #010657053 Eastman Kodak Company. The Joy of Photography: One of the best and most original books on the A Guide to the Tools and Techniques of Better use of film and methods for teaching film in the Photography. Reading, Mass.: Addison-Wesley, classroom. 1981. Steichen, Edward. The Family of Man. New York: A guide to photographic tools and techniques. MuseumofModernArt,1955.BATAB All about the camera and darkroom and geared #671243802 to increase awareness of visual perception. Photographs from the photographic exhibition .Mastering Composition and Light. New produced and shown first at the Museum of York: Time-Life Books, 1983. Modern Art in New York and then or( und the Discusses and illustrates how to plan a photo world. Has 503 pictures from 68 count] ies. composition in terms of pattern, texture, con- Upton, Barbara, and Upton, John. Photography. 2nd trolled light, and perspective. ed. Boston: Little Brown, 1981. .Planning and Producing Slide Programs. A single-volume version of the Time-Life library New York: 1983. of photography. This 68-page booklet gives complete instruction on planning and producing slide programs. Haffer, Virna. Making Photograms. London/New York: Focal Press, 1969. O.P. An illustrated short course on how to make photograms as well as a collection of delightful- Printmaking ly conceived images of many moods and levels. Baskin, Leonard. Baskin: Sculpture, Drawing, Prints. Kuhns, William, and Stanley, Robert. Exploring the New York: George Braziller, 1970. Film. Fairfield, N.J.: Pflaum-Standard, 1969. Informative text about Baskin's views of his BATAB #544581207 work and times. Excellent reproductions of all A good book for classroom use for film study. his work with a special interest in woodcuts. Langford, Michael. The Step-by-Step Guide to Pho- Biegeleisen, J. I. Screen Printing. New York: Watson- tography. New York: Alfred A. Knopf, 1979. Guptill, 1971. BATAS #544477367 A complete "how-to" photography book, this This gives clear, concise steps through every also includes the basic background of the art phase of the screen process from producing a and a section of photographs by contemporary stencil to printing and registering multicolored photographers. work. Lowndes, Douglas. Film Making in Schools. New Biggs, John R. The Craft of Woodcuts. New York: York: Watson-Guptill, 1969. O.P. Sterling Publishing, 1963. 0.1?. A good "how-to" book on the basic techniques of Very simple book on woodcuts. Many pictures filmmaking in the classroom. and drawings. Madsen, Roy P. Animated Film: Concepts, Meth- . Woodcuts. New York: Sterling Publishing, ods,Uses. New York: Interland Publishing, 1958. O.P. 1969. Detailed study of history and processes of wood A useful book describing historical viewpoints engraving, linocuts, and prints by related meth- and covering all aspects of animation, including ods of printmaking. Excellent black-and-white terminology. Very comprehensive and detailed. examples of relief prints. Examples demonstrate the magnitude of subject matter and techniques Millerson, Gerald. Basic TV Staging. 2nd ed. Stone- possible in the media. ham, Mass.: Focal Press, 1982. Complete guide to all aspects of setting the Brommer, Gerald F. Relief Printmaking. Worcester, stage for a filmed or taped productionfrom Mass.: Davis, 1977. BATAB 4010259074 kinds of sets to lighting. A survey book of relief printmaking. .The Technique of Television Production. Daniels, Harvey. Printmaking. New York: Viking, 11th ed. Hastings House, 1974. 1972. BATAB #011702087 A practical guidebook with numerous illustrations. A colorful, practical introduction to printmak- ing written for students. Printmaking techniques Pinney, Ray. Careers with a Camera. Philadelphia and illustrations of prints by great artists are and New York: J. B. Lippincott, 1964. O.P. shown in the 201 illustrations. A glossary and a Explores careers in photography. Describes the list of supplies are included.

57 68 Frankenfield, Henry. Printmaking. Phila., Pa.: Hunt examples of printmaking. Manufacturing, 1964. Searle, Valerie, and Clayson, Roberta. Screen Print- Covers wood, linoleum, and other readily avail- ing on Fabric. New York: Watson-Guptill, 1968. able materials. Basic information for the novice. 0.P. Heller, Jules. Printmaking Today. New York: Holt, A very basic book concerning the rudiments of Rinehart and Winston, 1972. O.P. printing on fabric with inks, blocks, and screens. Excellent studio handbook designed for the Sternberg, Harry. Woodcut. Marshfield, Maine: Pit- beginner as well as the experienced. Discusses man, 1962. O.P. the multiple print in the forms of relief, planog- An excellent book for the beginner. Illustrations raphy, intaglio, and stencil. Good illustrations are exciting and text is informative. of step-by-step procedure and interesting repro- Takahashi, Seiichiro. Traditional Woodblock Prints ductions of original prints. of Japan. New York: Weatherhill, 1972. BATAB Ives, Colta Feller. The Great Wave: The Influence of #019694199 Japanese Woodcuts on French Prints. Boston, Lavishly illustrated book about Japanese wood- Mass.: New York Graphic Society, 1980. BATAB cuts from the mid-seventeenth to the mid- #03143682x nineteenth century. Illustrates the influence of the Japanese on the French and places both cultures side by side to illustrate the Ukiyo-e woodcuts that inspired the individual prints as well as a brief history. Sculpture "The Art of Sculpture." Art and Man. Vol. 10, No. 3, Kent, Cyril. Starting with Relief Printmaking. New Dec. '79/Jan. '80. York: Watson-Guptill, 1970. O.P. Baldwin, John. Contemporary Sculpture Techniques: Discusses tools, materials, and treatment of Welded Metal and Fiberglass. New York: Van materials for special effects. Inks, presses, and Nostrand Reinhold, 1967. O.P. prints are shown visually to convey interest in this technique. Features primarily the technique of working in fiberglass. Meilach, Dona Z. Printmaking. Pitman, 1965. O.P. Geist, Sidney. Brancusi: The Sculpture and Draw- This very basic, yet informative book covers printmaking from monoprint to sophisticated ings. New York: Harry N. Abrams, 1975. O.P. print registratiazi. Interesting reproductions give The complete works of Brancusi in excellent reader the feeling of the many possibilities of the black-and-white and color photographs. printing process. Irving, Donald J.Sculpture: Material and Process. Mueller, Hans Alexander. How I Make Woodcuts New York: Van Nostrand Reinhold, 1981. BATAB and Wood Engravings. New York: American #005713641 Artists Group, 1945. O.P. A process book that deals with contemporary An in-depth study of woodcuts and wood en- sculptural expression based upon the knowledge gravings with an interesting emphasis on color and tools offered by the scientific-industrial printing. establishment. (paperback) Petercli, Gabor. Printmaking: Methods Old and New. Kowal, D. and Meilach, Dona. Sculpture Casting. rev, and exp. ed. New York: Macmillan, 1980. New York: Crown, 1972. O.P. A comprehensive study of the major printmak- A good bnok for contemporary sculptural prac- ing methods: woodcut, line engraving, line etch- tices ase of materials. ing, aquatint etching, sugar lift, wood engrav- Lipman, Calder's Universe. New York: Viking, ing, soft ground etching, dry point, mezzotint, 1976. stipple, engraving, lithography, linoleum cut, A complete book on Calder's sculptures, draw- cello-cut} calligraphy, metal graphic, and silk- ings, and paintings. screen print. Included in text is a glossary of Little, Jon Madrian. Beautiful Junk: A Story of the printmaking terms as well as a special children's Watts Towers. Boston: Little Brown, 1968. O.P. section at the end of the book. his is a simple narrative about a boy's discov- Rothenstein, Michael. Relief Printing. New York: ery of the Watts Towers and their creator. It is a Watson-Guptill, 1977. O.P. very effective presentation of one man's attitude This is a comprehensive treatment of all forms toward creativity and its effect on a young of relief printmaking in an eye-catching format person. geared to student needs and interests. Meilach, Dona Z. Contemporary Art with Wood: Schachner, Erwin. Step-By-Step Printmaking. New Creative Techniques and Appreciation. New York: York: Golden Press, 1970. O.P. Crown, 1968. BATAB #005311942 An excellent beginner's book on printmaking. An excellent source book of ideas and tech- Glossary of terms, list of suppliers, and bibliog- niques for carving and assembling sculptures in raphy are included as well as very interesting wood.

58 6 9 Rottger, Ernst. Creative Wood Design. New York: Verhelst, Wilbert. Sculpture: Tools,Materials, and Reinhold, 1965. O.P. Techniques. Englewood Cliffs,N.J.: Prentice- Especially good for positive/negative design Hall, 1973. relationships. Excellent approach to three- A comprehensive book on allthe sculptural dimensional, relief, and inlay work. Good photo- techniques from the traditionalto the contem- graphs. porary. Teacher Bibliography Abbate, Francesco. Pre-Columbian Art. New York: There is some critical analysis, but mostly basic Octopus Books, 1972. O.P. factual information. The reproductions are Text gives history to accompany each page of excellent. photographs. Callen, Anthea. Techniques of the Impressionists. Adhemar, Jean. Graphic Arts of the 18th Century. Secaucus, N.J.: Chartwell Books, 1982. O.P. New York: McGraw-Hill, 1964. O.P. Detailed analysis of a number of impressionist Mostly illustrations, but good reproductions. paintings. Includes a chronological chart Text mostly historical anecdotes. Campbell, Bryn. Exploring Photography. New York: Anton, Ferdinand, and others. Primitive Art: Pre- Hudson Hills Press, 1979. Columbian, North American, African, Oceanic. This book resulted from research for the BBC. New York: Harry N. Abrams, 1979. television series of the same name. Emphasizt s Scholarly presentation of pre-Columbian, North visual ideas rather than practical instruction. American Indian, African, and Oceanic cultures. Chaet, Bernard. The Art of Drawing. 3rd ed. New Profusely illustrated, mostly in color. Outstand- York: Holt, Rinehart & Winston, 1983. ing reference and classroom aid. Discusses a wide variety of drawing techniques The Architecture of the Capitol under the direction by referring to examples by well-known artists. of the Joint Conunittee on the Library. Art in Chase, Judith. Afro-American Art and Craft. New the United States Capitol. Washington: Gov- York: Van Nostrand Reinhold, 1971. O.P. ernment Printing Office, 1976. O.P. Covers from traditional African art through A collection of artwork found in the Capitol slavery in colonial America to pioneef black building. Useful in studying American sculpture artists to the present day. Has 250 black-and- and painting. white photographs. Ashton, Dore, and others. The Hirshhorn Museum Chieffo, Clifford. Silk-Screen as a Fine Art: A Hand- and Sculpture Garden. New York: Harry N. book of Contemporary Silk-Screen Printing. New Abrams, 1974. York: Van Nostrand Reinhold, 1967. The complete collection of the Hirshhorn Muse- This is a complete handbook of contemporary um and Sculpture Garden in black and white methods of silk-screen printing. and color. Great source of contemporary sculpture. Clark, Gilbert, and Zimmerman, Enid. Art Design: Bayer, Jonathan. Reading Photographs. New York: Communicating Visually. Blauvelt, N.Y.: Art Pantheon Books, 1977. O.P. Education, 1978. This book originated as a catalog for an exhibi- Excellent guide to a basic fundamentals of art tion (London, 1977) for the purpose of analyzing course. Includes lesson suggestions at varying photography over the past 70 years, basically levels with a separate teacher's guide. through the urban landscape. CliftonJack. The Eye of the Artist. Westport, Beecroft, Glynis. Carving Techniques. New York: Cmia.: North Light, 1973. Arco, 1983. A comprehensive book touching briefly on all Excellent for working with plaster especially; the basic skills necessary for the beginning shows techniques clearly. student. Good examples specific questions a student might ask. Birren, Faber. Creative Color. New Yor4,.,an Nos- trand Reinhold, 1961. O.P. Coughlan, Robert. The World of Michelangelo. Presents advanced color theory. This is especial- New York: Time-Life Books. 1966. ly good as .a reference on transparency, luminos- Deals with the life and times of Michelanul-). ity, and irridescent effect. There is some critical analysis, but mostly 13,,?Ic factual information. The reproductions are -. Principles of Color: A Review of Past Tradi- excellent. tion and Modern Theories. New York: Van Nostrand Reinhold, 1969. De la Croix, Horst, and Tansey, Richard G. Art Through the Ages. 7th ed. New York: Harcourt, A review of the major theories on color perception. Brace, Jovanovich, 1980. O.P. Brown, Dale. The World of Velazquez. New York: This edition of the well-known art history text- Time-Life Books, 1969. book includes time lines and chart3 in addition Deals with the life and times of Velazquez. to more illustrations. 60 71 Dendel, Esther Warner. Needleweaving.. . Easy As Now York: Dodd, Mead, 1977. O.P. Embroidery. Philadelphia : Coup ry side Press, iliagraphical sketches of 20 contemporary blacks 1971. O.P. and their work. Excellent reading. Gives new Innovative and exciting off-loom weaving com- dimensions to black art. bined with natural objects. Center section of Feder, Norman. American Indian Art. New York: color photographs; many black-and-white pho- Harry N. Abrams, 1977. O.P. tographs and drawings. Clear, easily read text; Comprehensive book on American Indian art excellent for the classroom. and crafts. Profusely illustratc,i in color. De Reyna, Rudy. How to Draw What You See. New York: Watson-Guptill, 1972. Feldman, Edmund B. Becoming ii.i -,zan Through Art. Englewood Cliffs, N.J.: Prentice-Hall, 1970. This deals with basic shapes in nature: the cube, O.P. cone, cylinder and sphere. Every natural object is reduced to its basic geometric form. Once this An in-depth study of historical, psychological, form is understood, the natural form can be and theoretical art education viewpoints. An drawn no matter how detailed it is. This book is excellent resource for the changing attitudes of out of print but available at the public library. art, ethics, and aesthetics. Di Valentin, Maria M. Getting Started in Leather. Foote, Timothy. The World of Bruegel. New York: New York: Collier Books, 1972. O.P. Time-Life Books, 1968. Good chapters on tools, materials, sources, lid Deals with the life and times of Bruegel. There is types of leather. One chapter is devotec. some critical analysis, but mostly basic factual projects and covers the basic methods of work- information. The reproductions are excellent. ing with leather. Frankenstein, Alfred. The World of Copley. New - . Practical Encyclopedia of Crafts. New York: York: Time-Life Books, 1970. Sterling Publishing, 1975. O.P. Deals with the life and times of Copley. There is Comprehensive collection of instructions on all some critical analysis, but mostly basic factual major crafts. Good illustrations and some back- information. The reproductions are excellent. ground material. Gatto, Joseph, and others. Exploring Visual Design. Dockstader, Frederick. Indian Art in North Ameri- Worcester, Mass.: Davis, 1978. ca. Greenwich, Conn.: New York Graphic Soci- An illustrated survey of the elements and princi- ety, 1972. O.P. ples of design. Design exercises are suggested. Comprehensive reference, which includes Mexi- Grigsby, J. Eugene. Art and Ethnics. Background can Indians. Extensive color plates. for Teaching Youth in a Pluralistic Society. Driskell, David C. Two Centuries of Black American Dubuque, Iowa: William C. Brown, 1977. O.P. Art. New York: Alfred A. Knopf, 1976. O.P. Covers the basic ethnic groups in the United Contains excellent color illustrations of black States: Black, Spanish speaking, and Native painting, sculpture, and crafts both in black and Americans. Good chapter on resources available white and in color. to art educators. Discusses the impact of social Edwards, Betty E. Drawing on the Right Side of the issues and religion on ethnic art. WeIl-orgr.nized Brain. Los Angeles: J.P. Tarcher, 1979. reference book. Illustrated. An excellent book for the teaching of drawing Goldsmith, Lawrence C. Watercolor Bold and Free. through a step-by-step system that encourages New York: Watson-Guptill, 1980. both creativity and artistic confidence. Sixty-four experimental ideas and techniques in Eimerl, Sarel. The World of Giotto. New York: watercolor. Time-Life Books, 1967. Goldstein, Nathan. The Art of Responsive Drawing. Deals with the life and times of Giotto. There is 3rd ed. Englewood Cliffs, N.J.: Prentice-Hall, some critical analysis, but mostly basic factual 1984. information. The reproductions are excellent. Good beginning chapters. Excellent reproduc- Evans, Helen Marie. Man the Designer. New York: tions of drawings by significant artists. Exten- Macmillan, 1973. O.P. sive exercises for learning to draw. Somewhat Describes the basic elements and principles of academic in conclusions. design, discusses selected designers from all Hale, William H. The World of Rodin. New York: over the world, explains how various designers Time-Life Books, 1969. treat materials, and gives examples of the use of Deals with the life and times of Rodin. There is functional and decorative design principles in some critical analysis, but mostly basic factual objects encountered daily. Includes the elements information. The reproductions are excellent. of light and motion. Designers also describe Hamer, Frank. The Potter's Dictionary of Materials their personal philosophies in their approach to and Techniques. New York: Watson-Guptill, design. Well illustrated with photographs. 1975. Fax, Elton C. Black Artists of the New Generation. A good reference.

61 72 Harlan, Calvin. Vision and Invention: A Course in In short articles, 100 different watercolorists tell Art Fundamentals. Englewood Cliffs, N.J.: what they feel is important concerning the paint- Prentice-Hall, 1969. ing of a watercolor. Amply illustrated. This is a coursP art fundamentals based upon Kepes, Gyorgy. Language of Vision. Chicago: Paul a study clw :,-".tents of form. It is a good Theobold, 1944. resource 1. to,' ideas in presenting these A theory on the dynamic organization and rep- concepts to z.r.utiunts. resentation of images. Harvey, Marian. Crafts of Mexico. New York: Mac- -, ed. The Man-Made Object. New York : George millan, 1973. O.P. Braziller, 1966. O.P. Self-explanatory title. Good integration of Span- Presents a general evaluation of the human- ish words. Excellent pictures, history, and direc- made object as an important environmental tions for making your own variations. factor in the shaping of our twentieth century Held, Shirley E. Weaving: A Handbook of the Fiber mores, feelings, and values. Arts. 2nd ed. New York: Holt, Rinehart & Koning, Hans. The World of Vermeer. New York: Winston, 1978. Time-Life Books, 1967. Comprehensive. Excellent source book for teach- Deals with the life and times of Vermeer. There ers. is some critical analysis, but mostly basic factu- Hennesstly, James, and Papanek, Victor. Nomadic al information. The reproductions are excellent. Furniture One. New York: Pantheon, 1973. Kranz, Stewart, and Fisher, Robert. The Design Every page illustrates a household item of furni- Continuum. New York: Van Nostrand Reinhold, ture that was designed to be portable because it 1966. O.P. can be easily assembled end taken apart. Some Beautiful examples of designs from nature. pieces also consist of recycled materials while others are intended to be disposable. Kuwayama, Yasaburo. Trade Marks and Symbols. New York: Van Nostrand Reinhold, 1973. Hill, Edward. The Language of Drawing. Englewood Cliffs, N.J.: Prentice-Hall, 1966. A comprehensive, profusely illustrated guide to more than 1.500 trademarks from all over the Paperback. Excellent study of the meaning of world. drawing as an individual art expression. Good analysis of important artists to define and de- Lanier, Vincent. The Arts We See: A Simplified fend point of view. Good illustrations. Introt!::c lion to the Visual Arts. New York: Hills, Pat, with Wiener, Joan. The Leathercraft Teachers College Press, 1982. Book. New York: Random House, 1973. O.P. Interesting ideas on the teaching of the visual arts, particularly television and film. Paperbound. Techniques well illustrated. Tools and supplies listed. Leonard, Jonathan N. The World of Gainsborough. New York: Time-Life Books, 1969. Hobson, R. L. Chinese Pottery and Porcelain: An Deals with the life and times of Gainsborough. Account of the Potter's Art in China from There is some critical analysis, but mostly basic Primitive Times to the Present Day. New York: factual information. The reproductions are Dover, 1976. excellent. An historical overview. Leuzinger, Elsy. The Art of Black Africa. New York: Holland, Nina. The Weaving Primer. Radnor, Pa.: Rizzoli International, 1979. Chilton, 1978. Complete anthology on African art. Chapters Guide to inkle, backstrap, and frame looms. divided by area and tribe. Very good photographs. Clear directions for these simple looms. Espe- cially good explanations of making and warping Lewis, Samella. Art: African-American. New York: simple frame looms. Suggestions for projects Harcourt Brace Jovanovich, 1978. suitable for beginning students. Good diagrams Comprehensive historical review of black Ameri- and illustrations. can artists from 1619 to the present. Numerous plates are in color. Jung, Carl G. Man and His Symbols. New York: Doubleday, 1969. Lewis, Samella, and Waddy, Ruth G. Black Artists on Art. Volumes 1 & 2. Claremont, Calif.: Han- Philosophical and psychological treatment of craft, 1971. O.P. symbolism throughout history. The two volumes include examples of art and Kay, Reed. The Painter's Guide to Studio Methods statements by over 150 practicing black artists and Materials. Englewood Cliffs, N.J.: Prentice- in America. A section at the end of each volume Hall, 1983 gives brief biographical sketches of these artists. An analysis of major painting media with a Lidstone, John. Design Activities for the Classroom. review of pigmer's, grounds, and finishes. Worcester, Mass: Davis, 1977. Kent, Norman. One hundred Watercolor Techniques. Describes the materials and processes for a New York: Watson-Guptill, 1968. O.P. variety of design projects, including slide making. 62 73 Lipton, Barbara, and Lipton, John. Photography. Art textbook with teacher's manual. Ideas for Boston: Little, Brown, 1970. O.P. student experimentation in various media. Em- An excellent overview of the photographic pro- phasis on developing student awareness and cess with an excelk:nt gallery of photographs sensitivity to natural and human-made forms. suitable for class critiques and discussions. - . Art: Tempo of Today. Blauvelt, N.Y : Art Lowry, Bates. The Visual Experience. Englewood Education, 1978. Cliffs, N.J.: Prentice-Hall, 1967. O.P. Motivational and activity ideas are supported This is a critical history of art from the perspec- with pictures. Special section of ideas for film, tives of the observer, the artist, and the critic. television, photography, art, and science in ad- McCann, Michael. Artist Beware: The Hazards and dition to other art forms. Precautions of Working with Art and Crafts Morrison, Karl R. "Darkroom Images" School Arts. Materials. New York: Watson-Guptill. 1979. Nov. 1980, p. 41. Safety precautions and hazards are presented Describes the processes for making photograms for all art processes. Includes charts that show using a paper stencil and a magnet with iron an analysis of most art-related chemicals and filings. compounds. Mueller, Mary K., and Pollock, Ted G. Murals: - . Health Hazards Manual for Artists. New Creating an Environment. Worcester, Mass.: York: Foundation for the Community of Art- Davis, 1979. ists, 1975. An overview of basic mural techniques, surface This booklet summarizes much of the informa- treatments, and design qualities. Color photo- tion in the larger volume listed immediately graphs illustrate various mural motifs. above. Murphy, Richard W. The World of Cozanne. New McFee, June King, and Degge, Rogena M. Art, Cul- York: Time-Life Books, 1968. ture and Environment: A Catalyst for Teaching. Deals with the life and times of Cezanne. There Dubuque, Iowa: Kendall-Hunt, 1980. is some critical analysis, but mostly basic factu- Goes beyond the normal study of art to discuss al information. The reproductions are excellent. art as cultural communication; advocates that Muybridge, Eadweard. Muybridge's Complete Hu- learning be suited to readiness and experience man and Animal Locomotion. New York: Do- rather than set by grade and age level. Founda- ver, 1979. tions of art are emphasized, and the searching A reprint of the three-volume set of action and expressing functions of art are analyzed. photos published in 1887. McIlhany, Sterling. Art as Design: Design as Art. National Geographic Society. The Craftsman in Amer- New York: Van Nostrand Reinhold, 1970. ica. Washington, D.C.: The National Geograph- An illustrated review of the relationships be- ic Society, 1975. O.P. tween art and design. Industrial and fashion Beautifully illustrated with photographs, this design are mainly considered. book discusses a variety of early American Meilach, Dona Z. Creating with Plaster. C;nicago: crafts and modern day craftspeople. Reilly and Lee, 1966. National Museum of American Art and Berming- Presents methods for forming and casting plas- ham, Peter. American Art in the Barbizon Mood. ter as a fine art medium. Chicago: University of Chicago Press, 1976. Montgomery County Public Schools. Commercial The black-and-white reproductions of landscape Art: InstructionalGuideandResource. Rockville, painting are excellent compositions to use as Md.: MCPS, 1980. references. The text is interesting. Montgomery County Public Schools. Commercial Naumann, Rose, and Hull, Raymond. The Off-Loom Art: InstructionalGuide and Resource. Rockville, Weaving Book. New York: Charles Scribner's Md.: MCPS, 1980. Sons, 1973. O.P. Excellent, easy-to-understand instruction book - . Environmental Design: Instructional Resource on all kinds of weaving. Creative design ideas. Guide, Grades 6-12. Rockville, Md.: MCPS, Good photographs and diagrams. 1982. Naylor, Penelope. Black Images. The Art of West - . Survey of World Art: Instructional Guide and Africa. Garden City, N.Y.: Doubleday, 1973. O.P. Resource. Rockville, Md.: MCPS, 1977. Combines full-page black-and-white photographs - .Twentieth Century Art and Architecture: of traditional carvings with poetry from the Instructional Guide and Resource. Rockville, same area as the sculpture. Includes brief de- Md.: MCPS, 1977. scriptions of the anthropological significance of -. Visual Art: Instructional Guide, Grades 7 and the art. 8. Rockville, Md.: 1985. Nelson, George. How to See: A Guide to Reading Morman, Jean Mary. Art: Of Wonder and a World. Our Man Made Environment. Boston: Little, Blauvelt, N.Y.: Art Education, 1978. Brown, 1977.

63 Literally a book on seeing, on awareness, treat- arts: netablos, santos, etc. Major portion of ing it as nonverbal reading. Excellent ideas for book deals with twentieth century Mc :can-Amer- presenting concepts and design elements to stu- ican art and artists. Contaim; color and black- dents. and-white illustrations. There is a chrpt,31- on the Newman, Thelma R. Innovative Printmaking. New mural paintings of Siquienos, Tamayo, Orozco, York: Crown, 1977. and Rivera, but most of tho book is dedicated to A comprehensive introduction to all forms of twentieth century easel painters and sculptors. fine art printmaking including photosensitive Rainey, Sarita R. Fiber Techniques: Knotting and processes. Looping. Worcester, Mass.: Davis, 1979. Newman, Thelma R., and Newman, Jay Hartley. The Combines macrame, crochet, and knotting to Container Book. New York: Crown, 1977. O.P. produce many different techniques. Clearly writ- Excellent idea and "how-to" book about contain- ten. Profusely illustrated. ers in just about every medium possible. Reinhold Visuals. Portfolios 1-10. Fort Atkinson, Nicolaides, Kimon. The Natural Way to Draw: A Wisc.: NASCO. Working Plan for Art Study. Boston: Houghton- Each portfolio contains 24 poster-size photos Mifflin, 1941. and art reproductions which illustrate a particu- Excellent in point of view and for an under- lar art concept. Order from NASCO, 901 James- standing of the motivation behind the act of vile Ave., Fort Atkinson, Wisc. 53538. drawing. Most exercises are excellent with good Reed, Carl, and Towne, Burt. Sculpture from Found student samples. Obje: es. Worcester, Mass: Davis, 1974. Ortega y Gasset, Jose. The Dehumanization of Art. Stimu ring ideas for making sculpture from a New York: Doublcday, 1969. O.P. variety of pre-formed material. Basic understanding and factuta information Robinson, Sharon. Contemporary Basketry. Worces- about art history is a necessary pr. requisite to ter, Mass.: Davis, 1978. understanding this book. The author has very Excellent color illustrations. interesting theories on the development of art Ross, George F., ed. Speedball Textbook for Pen and forms and ways of seeing. The book is composed Brush Lettering. 20th ed. Long Beach, N.Y.: of five different essays. Landau Book Co., 1973. Ovcirk, Otto, and others. Art Fundamentals: Theory A variety of letter styles for pen and brush. An and Practice. 5th ed. Dubuque, Iowa: Wm. C. approved textbook. 7'rown, 1985. Russell, Francis. The World of Durer. New York: Each chapter discusses one art element in detail. Time-Life Books, 1967. The nature of art and forms of expression are Deals with the life and times of Durer. There is also discussed. some critical analysis, but mostly basic factual Papanek, Victor. Design for the Real World. New information. The reproductions are excellent. York: Random House, 1971. O.P. Russell, John. The World of Matisse. New York: An industrial designer, Papenek takes his own Time-Life Books, 1969. profession to task for having misdirected its efforts in order to provide more attractive mer- Deals with the life and times of Matisse. There chandise for the affluent customer rather than is some critical analysis, but mostly basic factu- seeking design solutions that will benefit the al information. The reproductions are excellent. greater and more deserving populations of un- Seiber, Roy. African Textiles and Decorative Arts. derdeveloped countries. New York: Museum of Modern Art, 1972. O.P. Preble, Duane. Man Creates Art Creates Man. Catalogue of exhibition. Text and illustrations Berkeley: McCutchan, 1973. O.P. constitute an introduction to African textiles Good motivational material on all phases of art and decorative arts, particularly costume and for both student and teacher. Profusely illus- jewelry. trated. Good for elements and principles of Schickei, Richard. The World of Goya. New York: design. Time-Life Books, 1968. Quinn, Thomas, ed. Coming to Our Senses. New Deals with the life and times of Goya. There is York: McGraw-Hill, 1977. O.P. some critical analysis, but mostly basic factual A book on the significance of the arts in educa- information. The reproductions are excellent. tion with a particular slant towards film and Schneider, Pierre. The World of Manet. New York: television as teaching tools. Time-Life Books, 1968. Quirarte, Jacinto. Mexican American Artists. Aus- Deals with the life and times of Manet. There is tin, Texas: University of Texas Press, 1973. some critical analysis, but mostly basic factual O. P. information. The reproductions are excellent. History of the Mexican-Americans in the United . The World of Watteau. New York: Time-Life States. Contains a chapter on traditional folk Books, 1967. 64 75 Deals with the life and times of Watteau. There Deals with the life and times of Duchamp. There is some critical analysis, but mostly basic factu- is some critical analysis, but mostly basic fac- al information. The reproductions are excellent. tual information. The reproductions are excellent. Shade, Richard T. "Introducing Photography to Wallace, Robert. The World of Bernini. New York: Gifted and Talented Students," G/C/T. Nov. Time-Life Books, 1970. /Dec. 1980, pp. 55-59. Deals with the life and times of Bernini. There is P.'scribes procedures for making a pinhole cam- some critical analysis, but mostly basic factual e.a from an oatmeal box. Also briefly discusses information. The reproductions are excellent. developing procedures and the use of film and . The Worldof Leonardo. New York: Time- video. Life Books, 1966. Shaw, Susan. Overexposure: Health Hazards in Pho- Deals with the life and times of Leonardo. There tography. Cannel, Calif. The Friends of Photog- is some critical analysis, but mostly basic factu- raphy, 1983. al information. The reproductions are excellent. An analysis of black-and-white, color, and photo .The World of Rembrandt. New Time- printmaking materials and processes. Life Books, 1966. Shorewood Reproductions, The Shorewood Collec- Deals with the life and times of Rembrandt. tion. New York: Shorewood Reproductions. There is some critical analysis, but mostly basic Over 800 reproductions of paintings and draw- factual information. The reproductions are ings. Order from Shorewood Reproductions, 475 excellent. Tenth Ave., New York, N.Y. 10018. Wasserman, Paul, ed. Catalog of Museum Publica- Snyder, John. Commercial Artists' Handbook. New tions and Media. 2nd ed. Detroit, Mich.: Gale York: Watson-Guptill, 1973. Research, 1980. An encyclopedic compendium of graphic arts A directory and index of publications and audio- materials with a brief description of each, how to visuals available from U.S. and Canadian insti- use them, and where to buy them. tutions. Prices are included. Speight, Jerry. "A Basic Photography Program," Wedgwood, Cicely V. The World of Rubens. New School Arts, May 1981, pp. 28-41. York: Time-Life Books, 1967. A description of a short course in photography. Deals with the life and times of Rubens. There is Shadowgrams, contact printing, and enlarge- some critical analysis, but mostly basic factual ments are discussed. information. The reproductions are excellent. Spencer, Harold. The Image Maker, Man and His Wertenbaker, Lael. The World of Picasso. New York: Art. New York: Charles Scribner's Sons, 1975. Time-Life Books, 1967. O.P. Deals with the life and times of Picasso. There is In the back of this book are synoptic tables that some critical analysis, but mostly basic factual list parallel events in history. The list includes information. The reproductions are excellent. political, social, and religious history, science White, Jan V. Graphic Idea Notebook. New York: and technology, literature and drama, architec- Watson-Guptill, 1981. ture, painting, and sculpture. A useful source of Inventive techniques for designing printed pages. background information for teaching art history. Williams, Jay. The World of Titian. New York: Thalacker, Donald, ed. The Place of Art in the World Time-Life Books, 1968. of Architecture. Ann Arbor, Mich.: R. R. Bowker, 1979. Deals with the life and times of Titian. There is An architect reviews the federal government's some critical analysis, but mostly basic factual massive public art program which began under information. The reproductions are excellent. President Kennedy. Willett, Frank. African Art: An Introduction. New Timmons, Virginia Gayheart. Painting: Ideas, Mate- York: Oxford University Press, 1971. rials, Processes. Worcester, Mass.: Davis, 1978. Classic reference. Profusely illustrated text. Approaches painting from the student's stand- Wilson, Forrest. Architecture and Interior Environ- point. Clear and concise directions for each of ment: A Book of Projects for Young Adults. the painting media. Well illustrated. Cincinnati, Ohio: Van Nostrand Reinhold, 1972. . Painting inthe School Program. Worcester, O.P. Mass.: Davis, 1968. O.P. Describes simple classroom projects that can A good source of fresh approaches to the teach- lead to a better understanding of structural ing of painting, including collage techniques, oil principles, scale, space, an environment. painting, and painting with crayons and chalk. Wingert, Paul. American Indian Sculpture: A Study Contains sections on classroom organization of the Northwest Coast. (reproduction of 1949 and evaluation. edition.) New York: Hacker Art Books, 1976. Tomkins, Calvin. The World of Marc 21 Duchamp. A comprehensive study of wood sculpture from a New York: Time-Life Books, 1966. little-known areasouthern British Columbia

65 '7 6 and northern Washington coasts. F-5533Basketmaking in Colonial Virginia. Winterburn, Mollie. The Technique of Handbuilt F-6379Batik. Pottery. New York: Watson-Guptill, 1977. O.P. F-4280Chairy Tale. All aspects of handbuilt pottery construction F-4613Clay: Or, the Origin of Species. are discussed and illustrated in this book along F-4380Color and Pigment in Art. with pertinent historical examples of Neolithic, F-2124Discovering Color. Egyptian, and Pueblo techniques. F-5650Discovering Harmony in Art. F-2728Discovering Line. F-2126Discovering Texture. F-0800 Dong'Kingman. Filmstrips and Slides F-5211The Dot and the Line. "Appreciating Abstract Art," Educational Dimensions. F-5737Enameling. "Appreciating Representational Art," Educational F-5602Exploring Relief Printmaking. Dimensions. F-7217Hand:3 of Maria. "Art and the Masters," Doubleday Multi Media. F-6706 Handy Dandy Do-It-Yourself Animation "Basic Drawing: Drawing with Line," Educational Film. Dimensions. F-7144 Henry Moore: Master Sculptor. "Creative Batik," Warner Educational Productions. F-4455Introduction to Contour Drawing. "Drawing Basics," Educational Dimensions. F-5165Introduction to Sculpture Methods. "Drawing People," Educational Dimensions. F-6381The Kinetic Sculpture of Gordon Barlow. "Kinetic Art," Educational Dimensions. F-7672The Light Fantastick. "Modern Sculpture," Visual Publications. F-6076Macrame. "20th Century American ArtRepresentational Tra- F-1107 Make a Mobile. dition," Educational Dimensions. F-7798Mindscape. "20th Century Sculpture Series," E.A.V. F-7946Mobile. "Understanding Pop Art," Educational Dimensions. F-5363Pas de Deux. F-7178Pysanka, the Ukranian Easter Egg. F-7641Sculpture: The Forms of Life. MCPS Films F-1102Textiles and Ornamental Art of India. F-3312 Animal Habitats. F-6260Watercolor Painting: The Marine Scene with F-1037Art and Motion. Herb Olsen. F-5267Art from Found Materials. F-5895Weaving. F-7800Art in America: Sculptures. F-6378Weaving with Looms You Can Make. F-0051Arts and Crafts of Mexico: Pottery and F-6380With Fabric and Thread. Weaving. F-1645Working with Watercolor.

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