VISUAL ARTS EDUCATION



Miami Arts Charter SchoolVisual Art DepartmentTeacher: Mr. PerdomoCourse Title: M/J Art/2-D1PROJECT LESSON PLANPROJECT TITLE: USING COLOR TO CREATE AN EXPRESSIVE STATEMENTDATE:04/05/2013 (tentative) – 05/05/2013 (tentative)DESCRIPTION:In this exciting project, students will focus on using color to create an expressive statement around a widely debated issue or a personal concern. Students will use their sketchbooks for idea and concept development as well as produce a series of thumbnail sketches exploring different compositions and color schemes. Students will be encouraged to “think out of the box” and explore alternative strategies such as non- rectangular formats; free form, circular or composite shapes. Elements protruding out of the painting are possible if it helps emphasize a part of their piece. Upon completing the project, students will be introduced to art critiques by writing one of their very own. In the art critique, they will be required to organize their ideas around description, analysis, interpretation and evaluation.STRATEGIES AND OBJECTIVES:After completing this unit, students will be able to:Understand how artists use color.Exploit the expressive properties of color to draw specific emotions from a viewer.Identify different color schemes.Mix their own paints using different pigments.Recognize the expressive qualities of color that artists use to create meaning. PROCEDURES AND PRODUCTION: DISCUSS:Select an issue. Discuss your concerns with the class or classmate. This be might be particularly helpful in making you think about expressing your ideas visually. Your subject may be as personal as your relations with family or friends. It may be about school issues or teacher-student relationships. Your subject could be about something far-reaching such as politics or the environment.Write about your issue in your sketchbook. List words or concepts. Make several small thumbnail sketches for your painting exploring different compositions and color schemes. This is called “Research”. The shape of your work does not have to be rectangular. You may choose a circle, a free-form shape, or the shape of an object that is part of your idea. For example, things may protrude from the edges of your piece for emphasis.Feel free to discuss your sketches with the immediate classmates sitting on your table. For example, a common issue open for discussion is making the people larger if you want to emphasize crowded environments. You may also choose to make the negative spaces larger than the positive space to emphasize aloneness. You may also decide to play with color schemes such as, using warm colors throughout most of your painting but painting the area you wish to emphasize using cool calm colors or vice-versa.CREATE:Draw your idea on a large sheet of white canvas paper (provided) with white or yellow chalk first. Paint your idea with acrylic paint remembering to mix colors so you get variations in value and intensity. Do not forget to use color contrast for emphasis. When you are satisfied with your painting, you may carefully cut out your piece. Consider different background colors before choosing a final one. Certain colors could change the message of your painting while others may enhance it. Mount your painting on the background you have created. Make-up a title for your work that incorporates a reference to the issue.Your work will be evaluated not only on the merits of your concept but also how well you use the techniques you have been taught so far. More specifically, if you are going to use space, you will have to incorporate placement, two-point perspective, atmospheric perspective, and overlapping. Remember to use complementary colors to control intensity. Shades and tints control values.See below how Claude Monet and Edward Hopper captured very specific but also very different moods by the colors they chose to use. When artists want to show a bright, sunny day, they use tints. Paintings having many tints are referred to as high-key paintings. Claude Monet’s Ice floes 1883 is an example of a high key painting. Low-key paintings have shades, or dark values, which are used when the artist wants to represent, dark, gloomy days, nighttime and dusk. Edward Hopper’s, Nighthawks of 1942, exemplifies the use of dark values adding a feeling of mystery to the work. They can also be used to create a feeling a sense of foreboding and danger.The tints of blue used in this painting gives the impression of a cold, icy day.The dark color values in this painting add the threatening mood of the work.If the change in values is gradual, the design produces a calm feeling. If the values take large leaps up and down the scale, for example from almost white to almost black, the artwork will describe an active and nervous feeling.CRITIQUE:You will be given another artist’s work and you will write a critique about it. In this critique, you will discuss the following points:1. Describe Name the issue that is the subject of the painting. Tell which visual symbols the artist selected to illustrate his/her idea and explain why you think these were chosen.2.Analyze How did the artist use color contrast to make a point? What other elements has the artist emphasized to express his/her. Explain.3.Interpret Did the artist succeed to convey a message without using words? What understanding have you gained through the artist’s use of visual symbols?4.Judge Was this work successful? Why or why not? If you could convince the artist to do it all over, what changes would you suggest?ASSESSMENT:Total Value: 1 gradeStudio Project: 40% Homework: 25%Class Work Assignment and Quiz: 25%Critique participation: 10%REMEDIATION: (below grade level)ENRICHMENT: (above grade level)Sunshine State Standards Critical Thinking and Reflection:EU-1VA.68.C.1.2Use visual evidence and prior knowledge to reflect on multiple interpretations of works of art.VA.68.C.1.3Identify qualities of exemplary artworks that are evident and transferable to the judgment of personal work.EU-2VA.68.C.2.1Assess personal artwork during production to determine areas of success and needed change for achieving self-directed or specified goals.VA.68.C.2.2Evaluate artwork objectively during group assessment to determine areas for refinement.VA.68.C.2.4Use constructive criticism as a purposeful tool for artistic growth.EU-3VA.68.C.3.1Incorporate accurate art vocabulary during the analysis process to describe the structural elements of art and organizational principles of design.VA.68.C.3.2Examine and compare the qualities of artworks and utilitarian objects to determine their aesthetic significance.VA.68.C.3.3Use analytical skills to understand meaning and explain connections with other contexts.VA.68.C.3.4Compare the uses for artwork and utilitarian objects to determine their significance in society.Skills, Techniques and Processes:EU-1VA.68.S.1.1Manipulate content, media, techniques, and processes to achieve communication with artistic intent.VA.68.S.1.4Use accurate art vocabulary to explain the creative and art-making processes.EU-2VA.68.S.2.1Organize the structural elements of art to achieve artistic goals when producing personal works of art.VA.68.S.2.2Create artwork requiring sequentially ordered procedures and specified media to achieve intended results.VA.68.S.2.3Use visual-thinking and problem-solving skills in a sketchbook or journal to identify, practice, develop ideas, and resolve challenges in the creative process.EU-3VA.68.C.3.1Incorporate accurate art vocabulary during the analysis process to describe the structural elements of art and organizational principles of anization and Structure: EU-1VA.68.O.1.1Make connections between the structural elements of art and the organizational principles of design to understand how artwork is unified.VA.68.O.1.2Identify the function of structural elements of art and organizational principles of design to create and reflect on artwork.EU-2VA.68.O.2.4Select various media and techniques to communicate personal symbols and ideas through the organization of the structural elements of art.EU-3VA.68.O.3.2Discuss the communicative differences between specific two- and three-dimensional works of art.Historical and Global connections: N/AInnovation, technology and the future: N/A ESOL STRATEGIES ___PICTURES/VISUAL CUES___PEER GROUPING___TEACHER READ ALOUD/CLOZE___STORY STRUCTURE___CUEING___QUESTION & ANSWER___COMPLETION DRILL___BACKWARD BUILD-UP___CHAIN DRILL___VOCAB. IN CONTEXT___SIMPLE REPETITION___CLOSE TECHNIQUES___SUBSTITUTION___WHOLE GROUP IND. RESPONSE___ROLE PLAYING___CHUNKING___DRAMATIZING___SUMMARIZING___SOLVING PROBLEMS___REPHRASING AND SIMPLIFY___VAKTESE STRATEGIES ___POINT TO/HIGHLIGHT__MANIPULATIVES___RESPONSE BOARDS___GRAPHIC ORGANIZERS___READING STRATEGIES___SYLLABLE STRATEGIES___CONCEPT CARDS___COMPENSATORY MATERIALS (PENCIL GRIPS)___LEARNING GAMES___MATH STRATEGIES___TACTILE/KINESTHETIC___STUDY SKILLS___Extended time___ Small group instruction___ACCOMODATIONS AS NOTED ON IEP ................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download