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Visual Arts – Specific Rules/Guidelines
Visual Arts – Specific Rules/Guidelines VISUAL ARTS include many art forms that are visual in nature. The artist (student submitting entry) is a person who captures their own thoughts and ideas to create a visual piece of art. Accepted forms of visual art include: Collages, photographic collages (multiple photos cut/pasted), computer-generated image, design, drawing, painting, and printmaking. Non-accepted forms of visual art include: 3D artwork (artwork that is not flat on the surface). Reproductions or enlargements of another artwork. Reflect on the 2020-2021 Theme: I Matter Because… An explanation of the art form might be a useful addition to the artist statement. Whether an entry displays use of formal technique or a simple approach, it will be judged primarily on how well the student uses his or her artistic vision to portray the theme, originality and creativity. Copyright: Use of copyrighted material, including any copyrighted cartoon characters or likeness thereof, is not acceptable in any visual arts submission, with the following exceptions: • Visual artwork may include public places, well-known products, trademarks or certain other copyrighted material as long as that copyrighted material is incidental to the subject matter of the piece and/or is a smaller element of a whole. The resulting work cannot try to establish an association between the student and the trademark/business/material, or influence the purchase/non-purchase of the trademarked good. • Visual arts collages may include portions of existing copyrighted works, such as photographs, magazine clippings, internet images and type cut out of a newspaper, as long as those portions of copyrighted works are used to create a completely new and different work of art. -
Painting Merit Badge Workbook This Workbook Can Help You but You Still Need to Read the Merit Badge Pamphlet
Painting Merit Badge Workbook This workbook can help you but you still need to read the merit badge pamphlet. This Workbook can help you organize your thoughts as you prepare to meet with your merit badge counselor. You still must satisfy your counselor that you can demonstrate each skill and have learned the information. You should use the work space provided for each requirement to keep track of which requirements have been completed, and to make notes for discussing the item with your counselor, not for providing full and complete answers. If a requirement says that you must take an action using words such as "discuss", "show", "tell", "explain", "demonstrate", "identify", etc, that is what you must do. Merit Badge Counselors may not require the use of this or any similar workbooks. No one may add or subtract from the official requirements found in Scouts BSA Requirements (Pub. 33216 – SKU 653801). The requirements were last issued or revised in 2020 • This workbook was updated in June 2020. Scout’s Name: __________________________________________ Unit: __________________________________________ Counselor’s Name: ____________________ Phone No.: _______________________ Email: _________________________ http://www.USScouts.Org • http://www.MeritBadge.Org Please submit errors, omissions, comments or suggestions about this workbook to: [email protected] Comments or suggestions for changes to the requirements for the merit badge should be sent to: [email protected] ______________________________________________________________________________________________________________________________________________ 1. Explain the proper safety procedures to follow when preparing surfaces and applying coatings. 2. Do the following: a. Explain three ways that coatings can improve a surface. 1. 2. 3. Workbook © Copyright 2020 - U.S. -
4 Year Degree Schedule – Painting/Drawing/Printmaking
SUU Department of Art & Design 2020 – 2021 Catalog Minimum University Requirements Total Credits 120 Art History Credits 9 General Education Core Credits 30 – 35 Art Foundation Credits 28 Art Area Credits 54 University Electives 3 - 14 4 Year Degree Schedule – Painting/Drawing/Printmaking First Year Fall Semester Credits Notes Spring Semester Credits Notes Foundation Foundation ART 1110: Drawing I 3 ART 1130: 3-D Design 3 Course Course Foundation Foundation ART 1120: 2-D Design 3 ART 2110: Drawing II 3 Course Course ART 1050: Intro to Foundation Foundation 3 ART 2210: Digital Tools 3 Photography Course Course Foundation ARTH 2710: Art History Foundation ART 3000: Art Insights .5 3 Course Survey I Course Foundation Gen Ed Core Requirement 3 Gen Ed Course ART 3000: Art Insights .5 Course Gen Ed Knowledge 3 Gen Ed Course Gen Ed Core Requirement 3 Gen Ed Course Requirement Total Credits: 15.5 Total Credits: 15.5 Second Year Fall Semester Credits Notes Spring Semester Credits Notes Art Area ART 3450: Portrait & ART 2410: Painting I 3 3 Art Area Course Course Figure Painting ART 3310: Art Area 3 ART 4410: Painting II 3 Art Area Course Intaglio/Lithography Course ART 3110: Life Drawing & Art Area ART 4310: Advanced 3 3 Art Area Course Anatomy Course Printmaking Foundation ARTH 2720: Art History Foundation ART 3000: Art Insights .5 3 Course Survey II Course Foundation Gen Ed Core Requirement 3 Gen Ed Course Art 3000: Art Insights .5 Course Gen Ed Knowledge 3 Gen Ed Course Gen Ed Core Requirement 3 Gen Ed Course Requirement Total Credits: 15.5 -
Mural Installation Guide City of Frankfort, Kentucky
Mural Installation Guide City of Frankfort, Kentucky This guide is intended to provide answers to basic questions anyone must answer about creating a mural, from how to prepare a wall surface, to what kind of approvals you will need, to appropriate materials to use. The information here has been culled from best practices that have been documented by artists and mural organizations throughout the country. While this guide provides a roadmap, every project will have its own unique circumstances. Anyone taking on a mural project should look for guidance from artists, curators, arts organizations or others who are experienced with the details of mural production. At the end of this publication there is a Resource Guide that provides additional information and tips about where to find help. In This Guide… Part One – Evaluating a Wall I Page 2 Part Two – Approvals and Permissions I Page 4 Part Three – Creating a Design I Page 5 Part Four – Prep Work I Page 6 Part Five – Paint and Supplies I Page 9 Part Six – Maintenance, Repair, Conservation I Page 11 Part Seven – Checklist of Commonly Used Items I Page 12 Part Eight – Resource Guide I Page 13 Part One – Evaluating a Wall The best type of surface to receive paint is one that is a raw, unpainted brick, concrete or stone material that is free of the defects described below. However, keep in mind that the unpainted masonry requires special approval from the Architectural Review Board. Painting unpainted masonry in the historic district is generally not permitted. Wood, metal and other materials that are in new or good condition can also be satisfactory if properly prepared and sealed. -
Writing and City Life
29 THEME2 writing and city life CITY life began in Mesopotamia*, the land between the Euphrates and the Tigris rivers that is now part of the Republic of Iraq. Mesopotamian civilisation is known for its prosperity, city life, its voluminous and rich literature and its mathematics and astronomy. Mesopotamia’s writing system and literature spread to the eastern Mediterranean, northern *The name Syria, and Turkey after 2000 BCE, so that the kingdoms of Mesopotamia is that entire region were writing to one another, and to the derived from the Pharaoh of Egypt, in the language and script of Mesopotamia. Greek words mesos, Here we shall explore the connection between city life and writing, and then look at some outcomes of a sustained meaning middle, tradition of writing. and potamos, In the beginning of recorded history, the land, mainly the meaning river. urbanised south (see discussion below), was called Sumer and Akkad. After 2000 BCE, when Babylon became an important city, the term Babylonia was used for the southern region. From about 1100 BCE, when the Assyrians established their kingdom in the north, the region became known as Assyria. The first known language of the land was Sumerian. It was gradually replaced by Akkadian around 2400 BCE when Akkadian speakers arrived. This language flourished till about Alexander’s time (336-323 BCE), with some regional changes occurring. From 1400 BCE, Aramaic also trickled in. This language, similar to Hebrew, became widely spoken after 1000 BCE. It is still spoken in parts of Iraq. Archaeology in Mesopotamia began in the 1840s. At one or two sites (including Uruk and Mari, which we discuss below), excavations continued for decades. -
Visual Arts Curriculum Guide
Visual Arts Madison Public Schools Madison, Connecticut Dear Interested Reader: The following document is the Madison Public Schools’ Visual Arts Curriculum Guide If you plan to use the whole or any parts of this document, it would be appreciated if you credit the Madison Public Schools, Madison, Connecticut for the work. Thank you in advance. Table of Contents Foreword Program Overview Program Components and Framework · Program Components and Framework · Program Philosophy · Grouping Statement · Classroom Environment Statement · Arts Goals Learner Outcomes (K - 12) Scope and Sequence · Student Outcomes and Assessments - Grades K - 4 · Student Outcomes and Assessments - Grades 5 - 8 · Student Outcomes and Assessments / Course Descriptions - Grades 9 - 12 · Program Support / Celebration Statement Program Implementation: Guidelines and Strategies · Time Allotments · Implementation Assessment Guidelines and Procedures · Evaluation Resources Materials · Resources / Materials · National Standards · State Standards Foreword The art curriculum has been developed for the Madison school system and is based on the newly published national Standards for Arts Education, which are defined as Dance, Music, Theater, and Visual Arts. The national standards for the Visual Arts were developed by the National Art Education Association Art Standard Committee to reflect a national consensus of the views of organizations and individuals representing educators, parents, artists, professional associations in education and in the arts, public and private educational institutions, philanthropic organizations, and leaders from government, labor, and business. The Visual Arts Curriculum for the Madison School System will provide assistance and support to Madison visual arts teachers and administrators in the implementation of a comprehensive K - 12 visual arts program. The material described in this guide will assist visual arts teachers in designing visual arts lesson plans that will give each student the chance to meet the content and performance, or achievement, standards in visual arts. -
Drawing and Painting Course Syllabus CHS Art Department Contact Information
Drawing and Painting Course Syllabus CHS Art Department Contact Information: Parents may contact me by phone, email or visiting the school. Teacher: Lori Dana Email Address: [email protected] or [email protected] Phone Number: (740) 702-2287 ext. 16241 Online: http://www.ccsd.us/1/Home CHS Vision Statement: Our vision is to be a caring learning center respected for its comprehensive excellence. CHS Mission Statement: Our mission is to prepare our students to serve their communities and to commit to life-long learning Course Description and Prerequisite(s) from Course Handbook: This is a second level art course focusing on 2 dimensional media. Students will continue to explore the elements and principles of art, current and past practicing artists, technique, and concept as it pertains to art making. A variety of 2 dimensional media will be explored including but not limited to, pencil, charcoal, pastels, acrylics, watercolors, etc. There is a $20 fee for this course. Learning Targets per Unit: Defined below for clarity are the Unit Titles, Big Ideas of every Unit taught during this course, and the Essential Questions to be answered to better understand the Big Ideas. A student’s ability to grasp and answer the Essential Questions will define whether or not he or she adequately learns and can apply the skills found in Big Ideas. This will ultimately define whether or not a student scores well on assessments given for this course. The Common Core Standards can be found at http://www.corestandards.org/the-standards. (Teacher Note: The Ainsworth Model suggests 1-3 Big Ideas for each Unit and 1-3 essential questions per Big Idea. -
MF-Romanticism .Pdf
Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. -
Benefits of Implementing Visual Arts for Elementary School Students
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2019 Benefits of Implementing Visual Arts for Elementary School Students Desiree Conway California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Art Education Commons Recommended Citation Conway, Desiree, "Benefits of Implementing Visual Arts for Elementary School Students" (2019). Capstone Projects and Master's Theses. 666. https://digitalcommons.csumb.edu/caps_thes_all/666 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Running head: The Benefits of Implementing Visual Arts 1 Benefits of Implementing Visual Arts for Elementary School Students Desiree C. Conway California State University, Monterey Bay The Benefits of Implementing Visual Arts for Elementary School Students 2 Abstract Walking into an elementary classroom you might have observed that visual arts have been consistently disappearing from elementary school classrooms. Visual arts curriculum is especially important in elementary schools because it helps students to fully understand concepts in other areas of their academics. This senior capstone will focus and discuss the many benefits of implementing visual arts into an elementary school classroom. Through the use of literature review and interviews with teachers. The findings reveal that when visual arts are implemented into elementary schools, they do indeed serve students well and have positive effects in all academic areas of elementary school students. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Printmaking Through the Ages Utah Museum of Fine Arts • Lesson Plans for Educators • March 7, 2012
Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Table of Contents Page Contents 2 Image List 3 Printmaking as Art 6 Glossary of Printing Terms 7 A Brief History of Printmaking Written by Jennifer Jensen 10 Self Portrait in a Velvet Cap , Rembrandt Written by Hailey Leek 11 Lesson Plan for Self Portrait in a Velvet Cap Written by Virginia Catherall 14 Kintai Bridge, Province of Suwo, Hokusai Written by Jennifer Jensen 16 Lesson Plan for Kintai Bridge, Province of Suwo Written by Jennifer Jensen 20 Lambing , Leighton Written by Kathryn Dennett 21 Lesson Plan for Lambing Written by Kathryn Dennett 32 Madame Louison, Rouault Written by Tiya Karaus 35 Lesson Plan for Madame Louison Written by Tiya Karaus 41 Prodigal Son , Benton Written by Joanna Walden 42 Lesson Plan for Prodigal Son Written by Joanna Walden 47 Flotsam, Gottlieb Written by Joanna Walden 48 Lesson Plan for Flotsam Written by Joanna Walden 55 Fourth of July Still Life, Flack Written by Susan Price 57 Lesson Plan for Fourth of July Still Life Written by Susan Price 59 Reverberations, Katz Written by Jennie LaFortune 60 Lesson Plan for Reverberations Written by Jennie LaFortune Evening for Educators is funded in part by the StateWide Art Partnership and the Professional Outreach Programs in the Schools (POPS) through the Utah State Office of Education 1 Printmaking through the Ages Utah Museum of Fine Arts • www.umfa.utah.edu Lesson Plans for Educators • March 7, 2012 Image List 1. Rembrandt Harmensz van Rijn (1606-1669), Dutch Self Portrait in a Velvet Cap with Plume , 1638 Etching Gift of Merrilee and Howard Douglas Clark 1996.47.1 2. -
AI Painting: an Aesthetic Painting Generation System
AI Painting: An Aesthetic Painting Generation System Cunjun Zhang† Kehua Lei† Jia Jia∗ Tsinghua University Tsinghua University Tsinghua University [email protected] [email protected] [email protected] Yihui Ma Zhiyuan Hu Tsinghua University Tsinghua University [email protected] [email protected] ABSTRACT Recently, Deep Recurrent Attentive Writer(DRAW) has been used There are many great works done in image generation. However, in realistic image generation[4]. When it comes to aesthetic impres- it is still an open problem how to generate a painting, which is sion, researchers have tried to build a image space bridging color meeting the aesthetic rules in specific style. Therefore, in this paper, features and fashion words[9]. For style transfer, most traditional we propose a demonstration to generate a specific painting based textual transfer researches are non-parametric algorithms[1]. It is on users’ input. In the system called AI Painting, we generate an a remarkable breakthrough that convolutional neural networks are original image from content text, transfer the image into a specific used to transfer a image in style of another image[3]. aesthetic effect, simulate the image into specific artistic genre, and In this paper,we are focused on 3 key challenges: illustrate the painting process. • propose a novel framework to generate images as real paint- ings with illustration of drawing process CCS CONCEPTS • make the painting more natural to aesthetic impression • Human-centered computing → Graphical user interfaces; • illustrate drawing process approaching real process KEYWORDS 2 DEMONSTRATION Painting Content Generation, Aesthetic Effect Modification, Artistic Effect Simulation, Painting Process Illustration ACM Reference Format: Cunjun Zhang[2], Kehua Lei[2], Jia Jia, Yihui Ma, and Zhiyuan Hu.