Art 31004: Teaching Practicum Lesson Plan Format ...



Erin A. Bilbrey

Neighborhoods

1. Title

The title of this lesson is “Where I Live.” It is connected to our group’s sub-theme of “Community Connections” because students are asked to look at their personal neighborhood, which is a part of their larger community. The sub-theme is related to the theme of Saturday Art Program this semester, “Spaces and Places,” because it teaches students about places where people live while they look at their own communities and neighborhoods.

2. Overview

In this 1.5-hour lesson, 7 to 9 years old students will learn about neighborhoods by examining and discussing the artworks of Romare Bearden, Tyree Guyton, and Wassily Kandinsky. Students will make use of paper, oil pastels, and watercolor to create an oil pastel resist painting and learn about texture and space. They will also learn about watercolor techniques and the use of oil pastels.

3. Learners

A) Artistically, students from 7 to 9 years are ready to create resist paintings of their neighborhoods with oil pastel and watercolor because they are becoming more interested in experimenting with colors. The oil pastel resisting the watercolor will create more possibilities in creating combinations of colors. Students at this age are also more interested in creating space and depth with objects by changing the sizes and placement of those objects, making buildings and houses in their neighborhoods a perfect way to practice this skill (Wachowiak & Clements, 2006).

B) The topic of “Neighborhoods” will relate to children of 7 to 9 years old because according to Clements & Wachowiak (2006), children at this age are becoming more aware of differences in people. This will also make students aware of differences in neighborhoods, allowing them to compare and contrast the neighborhoods that they live in to those we discuss in class. Students at this age will also be able to compare their neighborhoods to their peers’ neighborhoods, allowing them to gain a greater understanding of different communities. The topic will be of interest to them because they are also becoming interested in exploring new places. Seeing neighborhoods different from their own will feed this desire and broaden their horizons of other neighborhoods. Thus, the three artworks will be meaningful to their understanding of “Neighborhoods” and “Community Connections” because they will be exploring differences and new places through the artworks and through discussion with their peers.

4. Visual Resources

1. Sunday after the Sermon (1969) Romare Bearden, The Dotty-Wotty House (1993-2001) Tyree Guyton, Street in Murnau (1908) Wassily Kandinsky

2. Class Rules Poster

3. Demo Poster

4. Vocabulary Poster

5. Objectives list

6. Model

5. Materials

Expendable:

(24) 9x12” Watercolor paper

(12) 8 color watercolor cake sets

(12) Oil Pastel sets

Paper Towels

Non-expendable:

(36) Watercolor paint brushes in various sizes

(12) Water Cups (for washing brushes)

(24) Paint shirts

(24) Sketchbooks

(24) Pencils

Nametags

*Optional* (24) Carpet Squares

6. Objectives

(II) CREATIVE, EXPRESSION, AND COMMUNICATION ( 40 min)

A) Students will create a 9x12”resist painting using oil pastels and watercolor depicting their neighborhood using colors and texture, while showing space by making the buildings that exist in their neighborhoods different sizes or overlapping them.

B) Grade 3 II. 1: Demonstrate skill and expression in the use of art techniques and processes.

C) My most able student will draw three buildings from his or her neighborhood in a way that depicts the space in which those buildings exist, by overlapping or differentiating size, while using different texture and colors on each of the building’s surfaces to create a picture of his or her neighborhood.

D) I will know when my student creates a painting depicting his or her neighborhood by drawing three buildings in oil pastel that portrays space using overlapping of buildings or differentiation of size, while decorating those buildings with different textures and colors using oil pastels and watercolors.

(III) ANALYZING AND RESPONDING ( 15 min)

(A) Students will describe the aspects of their own artwork and the work of their peers that they believe are successful in a teacher led critique after the project is completed.

(B) Grade 3. III. 4: Identify successful characteristics that contribute to the quality of their own artwork and the works of others.

(C) My most able student will be able to describe at least 2 ways he or she finds his or her own artwork to be successful, as well as at least 2 reasons the artwork of his or her peers is successful.

(D) I will know when my student has stated 2 ways his or her artwork succeeds and when they have described 2 ways his or her peers’ artworks are successful.

7. Advance Preparation Needed

Classroom setup:

Group tables, chairs, and stools for 5 students at one table

Write key topic and title of lesson on chalkboard

Have materials divided up and ready to hand out to students

Fill water cups and keep them by the sink until studio time

Cover tables with paper

Visual setup and preparations:

Pin up visuals a little higher than eye level with students on the wall nearest to the chalkboard

Reread lesson plan

Discussion Corner:

Leave pile of carpet squares by the chalkboard

Set stools by chalkboard if there are not enough carpet squares

Demonstration corner setup:

Pull one table by itself at the front of the room

Post demo poster and vocabulary poster behind the table

Hang objectives poster behind the table

Set out one sheet of paper, one set of watercolors, one set of oil pastels, water cup, paper towels, and 2 paint brushes for demo

Material supply corner setup:

Divide paint trays, oil pastels, and brushes into groups for each table.

Set out paper and paint shirts for students

Have water cups and paper towels ready for dispersal

8. Lesson Sequence: Motivation & Procedures (Script and Sequence)

A) Introduction and Class rules – 5 minutes (10:00 am – 10:05 am)

Good morning, everyone! Grab a carpet square and sit around the visuals in our discussion corner! I am Miss Bilbrey. My helpers today are Miss Brewster and Mr. Schoff. Now, let’s review the class rules. Remember, last Saturday everyone did a great job following the rules. Unfortunately, during clean up many students got out of their seats and didn’t listen to any instructions on how to clean up. So lets remember to pay attention, stay seated, and follow directions as we ask you to, okay? Rule #1 is follow directions. Listen to Miss Brewster, Mr. Schoff, and myself. Rule #2 is be cooperative and polite. Do not be rude to your classmates or teachers, and help out where you are needed. Rule #3 is listen; every person’s voice and ideas are important, and you can learn from everyone. Rule #4 is raise your hand before speaking. This way only one person speaks at a time, and we can hear what everyone has to say. Rule #5 is respect yourself and others. Rule #6 is keep your hands, feet, and objects to yourself. No one else needs to have your stuff in their space. Rule #7 is respect the room and materials. Other people use this room and the paints, brushes, and trays that we use, so we need to keep everything clean and not waste anything so everyone can continue to use everything.

B) Motivation – 5 minutes (10:05 am – 10:10 am)

Alright everyone, now that we have reviewed our rules, let’s move on to the lesson. Today, we will be talking about your neighborhoods. Now who can tell me something about the neighborhood he or she lives in? *There are a lot of houses, there is a park nearby, we have a playground, it is by the school, etc.* (I will write student responses on the blackboard) Very good! It sounds like our neighborhoods are all very different, huh? Well now I’m going to show you some work artists created about their neighborhoods.

C) Discussion of artworks – 20 minutes (10:10 am – 10:30 am)

Alright, now we’re going to look at some artworks that portray neighborhoods. The first work I want you to look at is called Sunday after the Sermon by Romare Bearden. (Point to the visual) Can you repeat his name? *Romare Bearden* Thanks! Now tell me, what is the first thing you look at in this collage? *The brick building, the people, the barrel, the sky* Very good! Now I want you to look at the people, what do you think they are doing? Why do you think they are standing around? *They are talking, hanging out after church, enjoying the outdoors, etc* Awesome! They could be doing any of those things. Someone said they are talking, so what do you think they are talking about? *What they did that day, how their lives are going, what’s happening on the block* Terrific! What would you say to them if you could talk to them? *Hello, how are you? What’s up? What is your cat’s name?* Good ideas! I think you would all have very interesting conversations with these people. What else would you do if you were in this neighborhood? *play with the kids, play with the cat, run around, talk to more people* Well, Romare Bearden created this neighborhood from his memories of everywhere he had lived throughout his life. He made a lot of collages and all depicted urban settings. Through these collages, he wanted to promote equality between African-Americans and Caucasians in America by comparing their lives. He wanted Caucasians to see something in African-American lifestyle that they could relate to, so a lot of his collages portray religion, crowded streets, and a feeling of a “fast paced world.” Now, look at the neighborhood again. Is this neighborhood like yours at all? *Yes or No* How is it the same or different? *My neighborhood has brick buildings, we sit outside a lot, there are cats around, or there are houses on my street, there are more trees, there is more grass* If you had to live in this neighborhood, do you think you would like it? Why would you or why wouldn’t you like it? *There are lots of people there, it looks like fun, or there is nowhere to play, there is no park* Very interesting reasons!

Next, I want you to look at this painting called Streets in Murnau by Wassily Kandinsky. (Point to the visual). Can you say the artist’s name with me? *Wassily Kandinsky* Wassily Kandinsky painted this neighborhood just after he moved to Murnau. This neighborhood was so inspiring to him that he decided to paint it, along with a lot of other landscapes. So tell me, how is this work different from the Romare Bearden piece we just looked at? *This painting has more houses on it, there are no people in the painting, it’s more colorful* Very good! It has a lot of differences, doesn’t it? Why do you think Wassily Kandinsky decided to change the colors on some of the houses in this work? *Maybe that is what color they already were, he didn’t like the colors on the houses before, he wanted to make his neighborhood prettier in the painting* Outstanding ideas! I think he did it based on his feelings towards the houses. Some colors make you feel different things, right? So I think that’s how he picked the colors for the houses. If you could change the color of your house, what color would you change it to? *Blue, yellow, red, orange, green, I wouldn’t change it* Why did you pick that color? *It’s my favorite, it would stand out a lot, it is a fun color* Interesting choices. I’d paint my house bright yellow; yellow is my favorite color. Would you change the colors of your neighbor’s houses? Why or why not? *Yes or No, because my street would look nicer, it would be more fun, or I would just want my house to look pretty* Excellent! There is one other artist I want you to look at that changed his neighborhood houses in real life.

This polka dot house is called The Dotty-Wotty House and a man named Tyree Guyton painted the house. Can you repeat his name? *Tyree Guyton* Nice, thank you. Tyree Guyton lived in a not very nice neighborhood and a lot of the houses in his neighborhood were abandoned. That means that no one lived there for a really long time and they were just sitting there. Do you think that would look very nice? Having a bunch of empty, rundown houses on your street? No, not really. So he decided to change them. He painted a lot of houses with polka dots, numbers, and designs that would make them look more fun. He got people in his community to help him out on some of the houses, too. People donated their time and abilities to help make their neighborhood a little brighter and more pleasant. If you could change your neighborhood like Tyree Guyton did, what would you do? *Paint polka dots, paint stripes, change the colors of the shutters and doors* Great ideas! Painting houses with different designs would be a lot of fun, wouldn’t it? So tell me, if you could pick any neighborhood to live in, which one would you live in? *Romare Bearden’s, Wassily Kandinsky’s, Tyree Guyton’s* Why would you live in that one? *Because of the people, because of the colors and the scenery, because of the polka dots and stuffed animals* Awesome reasons. There are a lot of different neighborhoods, aren’t there? We talked about how different our own neighborhoods are earlier today. But all of these neighborhoods are related because they make up larger communities that people live in. So for your projects today, you are going to change your own neighborhood in a painting and at the end, we will see a big community of different, fun neighborhoods. So let’s move to the demo table and I’ll explain exactly what we’re going to do!

D) Demonstrations – 5 minutes (10:30 am – 10:35 am)

Ok, class! As I said before, we are going to make a picture of your neighborhood and then we’re going to change it. So first, I want you to draw your neighborhood in oil pastel, and then we will paint over it with watercolor paint. Does anyone know what this technique is called? *Resist* Correct! Awesome job. This technique is really cool; I love it. It is a great way to create texture on a solid color. Ok, so here is how you do it. First, you need to draw your picture completely in oil pastel. If you want to, you can draw it in pencil first, but the pencil must be very light! Lighter colors of oil pastel won’t cover up the pencil lines, and neither will the watercolor paint. The colors of the oil pastels will stay the same when you paint over them, so if you use white, it may look invisible on your paper, but you will see it when you paint. Remember you are drawing your neighborhood, so show me your house and your neighbor’s houses, too. I want at least three buildings in your picture. You can draw other things in your neighborhood, too, like a playground or a park. But when you draw more than one thing in a picture, some objects are going to be closer to us than others, right? So, how are some ways we can show that? *Perspective, size, overlap* Very good! We can show the space through size; objects that are closer to us are bigger and objects farther away are smaller. Overlapping is also a way to show space. If an object is in front of another object, it is closer to us, right? So I want you to focus on one of those ways to show space in your picture today.

So when you finish laying out your houses in oil pastel, I want you to change your neighborhood by drawing textures on the buildings. Can anyone give me an example of textures? *Smooth, rough, fuzzy, soft, hard, cracked, etc.* Excellent! Drawing designs on the buildings changes the surfaces, or textures, of them, so you can paint polka dots, zigzags, squiggly lines, or whatever else you want. This is however you want to change your neighborhood. Keep using the oil pastel when you do this. It will show through when you use the watercolors. Ok, you are going to work on this for twenty minutes and then I’m going to show you the rest of the technique. On your way to your seats, anyone with a stop sign nametag needs to grab 2 packs of oil pastels for your table.

(Here I will break for 20 minutes of studio time, then call the students back for the rest of the demonstration)

Alright, everyone! Let’s gather around the demonstration table again. When you are done decorating your buildings with texture, you are ready to paint. If you’re not quite finished yet, that’s okay. You can work on it again after we’re finished here. When you use watercolor, you need to get your brush wet before you put it in the paint cakes. If you use a lot of water, the color will be lighter, and if you use a little water, the color will be darker. You can also layer the paint to make it darker if you need to. Now as you paint, you can just go right over the oil pastel, and the oil pastel resists the watercolor paint. Does anyone know why? *Because oil repels water* Very good! You are so smart! The oil resists the water so the paint doesn’t get absorbed into the pastel or the paper where you drew. There are two techniques with watercolor I am going to show you today: painting on dry paper and painting on wet paper. Painting on the dry paper is just like painting with acrylic like we have in this class. You get your brush wet, put it in the paint, and then paint like you normally would. You can also get the watercolor paper wet first, and then paint. To do that, your brush needs to be clean first, so rinse out your brush and get it wet again. The water should be as clean as possible, so if you want new water, raise your hand and we will get it for you. After you have your wet brush, just paint the water on the paper. Then, put paint on your brush and paint over it. This makes the paint look a little different; it bleeds from where you place the paint. You have less control over where the paint goes using this technique. Also, remember that when you change colors you need to wash your brushes. To do that, just swish the brush around in the water and wipe your brush on the paper towel to make sure all the paint is out of the bristles. Alright, back to your seats! Anyone with a one-way sign nametag needs to grab 3 sets of watercolors for your table. (I will let the one-way signs go first, get watercolors and go back to their tables) If you have a green sign nametag, you will get a cup of brushes for your table. (I will allow time for the green signs to get brush cups for their table) Yield sign nametags; you need to carry water cups to your table. (Yield signs will get cups for their table and return to their seats.)

E) Collection of material supplies and Studio involvement – 40 minutes (10:35 am – 11:15 am)

Any questions about the project before we begin? (I will answer questions as they arise) Alright, we will give you paper and as soon as you get it, put your name on it! (As studio time elapses, my helpers and I will walk around the room answering questions as they arise, giving praise and help to students that need it, and asking questions about student work, such as: Why did you choose to change this color? Which house is yours? Why did you make this texture on this house? Etc. I will break at 20 minutes and give the second part of the demo, as scripted in the previous section. We will also give verbal warnings when 15, 10, and 5 minutes remain in studio time.)

F) Clean-up procedures – 5 minutes (11:15 am – 11:20 am)

Ok class! Time to clean up! Make sure all the oil pastels go back into their boxes! Rinse out your brushes in the water, and pat them dry on a paper towel. (I will then dismiss by tables to bring up their materials, take off their paint shirts, and place their paintings to dry. My helpers will put the student work on the wall for a critique.) Okay, watercolor paint cases and brushes go next to the sink, and the oil pastels can go in a pile next to them. Place your paint shirts on the table behind the sink when you are finished, and then go over to the discussion corner for a critique.

G) Closure activities – 10 minutes (11:20 am – 11:30 am)

Wow! Look at all the different neighborhoods we have here! Tell me what you learned today? *We learned about neighborhoods and how we can change them, space, texture, watercolor resist painting* Very good! I’m glad you remembered so much from our lesson! So tell me, which of these paintings shows space well? (Allow students to point to student work that shows space) What did the artist do to show space in his or her painting? *He/She overlapped the buildings, made some smaller and some bigger* Very good! Excellent work! Now, who made a good use of texture throughout their painting? (Allow students to point to work that shows texture) Which texture in his or her painting is your favorite? *The polka dots, the stripes, etc* Yes, that is very interesting! Terrific work. Does anyone want to tell the story of their neighborhood? (Let student’s that want to talk about their painting do so) Great job! You all did so well today! I can’t wait to see you again next week!

If we have extra time at the end, I will have little speech bubbles cut out along with a piece of tape and pencil for each student. I will put the three artworks back up on the board and then ask the students to just look at one thing in one artwork, and write what the students believe the subjects in the painting are saying. They could make it funny, serious, or silly, basically whatever they wanted. I would give the students 2 or 3 minutes to come up with something, and then dismiss them by table to stick their bubble on the artwork. We would then read out what the students wrote, then take the bubbles down and look at the next table’s statements. This activity offers a more fun, less serious way to analyze subjects within an artwork, while the students still remain relatively anonymous.

9. Bibliography

Belton, R. B. (2006). The world’s greatest art. London, England: Star Fire.

Brennen, M. J. Meet me halfway. Retrieved February 21, 2008 from .

Brewster, A. Personal communication, February 20, 2008.

Buffington, M.L. (2007). Art to bring about change: The work of Tyree Guyton. Art Education, 60(4), 25-32.

Clements, R. D., & Wachowiak, F. (2006). Emphasis art: A qualitative art program for elementary and middle school. (8th Edition). Boston, MA: Pearson Education.

Fineberg, J. (2000). Art since 1940. Upper Saddle River, NJ: Prentice Hall.

Grohmann, W. (1958). Wassily Kandinsky: Life and work. NewYork, NY: Harry N. Abrams, Inc.

Schwartzman, M. (1990). Romare Bearden: His life and his art. New York, NY: Harry N. Abrams, Inc.

Tyler Museum of Art. The Walter O. Evans Collection of African American Art. Retrieved February 21, 2008 from .

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