PLEASANT VALLEY SCHOOL DISTRICT



PLEASANT VALLEY SCHOOL DISTRICT

PLANNED COURSE CURRICULUM GUIDE

ADVANCED DRAWING & PAINTING

GRADE 10-12

I. COURSE DESCRIPTION AND INTENT:

Students will build upon the Art Perspectives and Art Explorations course. We will focus on art production in the following areas: innovative trends in mixing and layering dry drawing mediums that include charcoal, colored pencils, and conte´ crayons; and the exploration of several types of painting that include watercolor and acrylic mediums. We will investigate layering of several mediums to further develop the illusion of depth. Emphasis on drawing from observation will be used in developing all artwork whether it involves design, realistic pictures or imaginary work. Strong composition and quality craftsmanship in personal solutions to project lessons will determine the major portion of the student’s grade.

II. INSTRUCTIONAL TIME:

Class Periods: Six (6) per six (6) day cycle

Length of Class Periods (minutes): 54

Length of Course: One (1) School Year

Unit of Credit: 1

(New format - 1-2012 Updated June 2014

|COURSE: Advanced Drawing & Painting |GRADE(S): 10-12 |

|STRAND: 9.1.12, 9.2.12, 9.3.12, 9.4.12 |TIME FRAME: One School Year |

|PA ACADEMIC STANDARDS |

| |

|9.1.12.A.B.C.D. E. F. G. H. - Production, Performance and Exhibition of Visual Arts |

|9.2.12.A.B.C.D.E.F.G.H. - Historical and Cultural Contexts |

|9.3.12.A.B.D. - Critical Response |

|9.4.12.A.B.C.D. - Aesthetic Response |

|ASSESSMENT ANCHORS |

|Teacher-designed packet |

|Written quizzes and tests from textbook readings. (Use questions from CD-ROM and Online learning Center) |

|Rubric for domain project #1: |

|Completed sketches of figures |

|Completed sketches of architectural elements |

|Draft an overlay to combine and compose using one of the arrangements from Design Basics reading. (e.g. radial) |

|Show students how to access teacher museum site @ to associate selected works related to each unit |

|RESOURCES |

| |

|A History of Western Art fourth edition, by Laurie Adams Schneider |

|Design Basics by Lauer and Pentak |

|Art in Focus by Gene A. Mittler |

|The Art of Seeing, fifth edition by Zelanski and Fisher |

|Launching the Imagination, A Comprehensive Guide to Basic Design by Mary Stewart |

|American Artist magazines |

|References for drawing techniques |

|Discovering Drawing Video by Ted Rose |

|Register online museum visits, specifically the Metropolitan Museum of Art & the Philadelphia Museum of Art |

|Pertinent Scholastic Art magazines |

|Use CD-ROM for A History of Western Art by Laurie Schneider Adams for quiz questions |

|OBJECTIVES |

| |

|The learner will be able to identify new styles popular in nineteenth-century art, and compose and create an original painting. |

|ESSENTIAL CONTENT |

|Cite the basic course goals and objectives. |

|Review the grading system and course requirements. |

|Read Chapter 21: A History of Western Art-Neoclassicism-The Late Eighteenth and Early Nineteenth Centuries |

|Reference chapter 21-Neoclassism in Art in Focus |

|Read and apply techniques from Design Basics textbook |

|Sketchbook Assign. #1: figurative drawings |

|Assign Domain Project #1: Practice formulating a composition in pencil that includes figures and architecture, then render it |

|realistically in oil paints |

|Introduce the Metmuseum online, visit the PVHS Library to visit museum sites |

|INSTRUCTIONAL STRATEGIES |

| |

|Provide handouts (packet): |

|Course requirements; explain "domain project" |

|List at least eight verbs to alter any design dynamically: transformation, multiplication, substitution, reversal, minimize, |

|distortion, fragmentation, magnification. |

|Discuss how Paris became the undisputed center of the Western art world, but Rome was still a significant force. |

|Study the art of Jacques-Louis David and other artists commissioned by Napoleon. Show slides of the Borghese Palace in Rome. |

|Compare the work of Jean-Auguste-Dominique Ingres particularly his Grande Odalisque to that of Velasquez, and other artists’ |

|versions. |

|Develop a timeframe parallel to Thomas Jefferson’s architectural achievements in America. |

|Reading Assignment Design Basics pages: 20-21, 24-27, proximity, 50-53, emphasis by isolation, 128-129 line in painting, and |

|176-177, depth, 230-239, color. |

|Use CD-ROM from A History of Western Art to study, create printable flash cards for A Fine Art Game. |

|Sketchbook assign. #1: Create a composition from self-portrait and figure study in-and- out of the classroom. Show on overhead the |

|body and facial proportions. Draw from live models. Studies may include a collection of objects. Show video Discovering Drawing by |

|Ted Rose. Classroom assignment will focus on “painting out” a drawing in charcoal/pencil on tempera/acrylic prepared illustration |

|board or cardboard. |

|Create architectural images in order to place the figures. |

|Assign Domain Project #1: Create an oil painting on medium-sized canvas board, or masonite panels. Demonstrate the use of linseed |

|oil, stand oil, Gamsol™. Demonstrate brush techniques. |

|ASSESSMENTS |

| |

|Teacher-designed packet |

|Written quizzes and tests from textbook readings. (Use questions from CD-ROM and Online learning Center) |

|Rubric for domain project #1: |

|Completed sketches of figures |

|Completed sketches of architectural elements |

|Draft an overlay to combine and compose using one of the arrangements from Design Basics reading. (e.g. radial) |

|Show students how to access teacher museum site @ to associate selected works related to each unit |

|CORRECTIVES/EXTENSIONS |

| |

|Correctives: |

|Study with a computer buddy for sample questions to prepare for quiz. Simulate a famous painting from the textbooks. Copy to canvas|

|board. |

| |

|Extensions: |

|Further investigate large-scale paintings of the French Revolution and complete a larger scale painting. |

|COURSE: Advanced Drawing & Painting |GRADE(S): 10-12 |

|STRAND: 9.1.12, 9.2.12, 9.3.12, 9.4.12 |TIME FRAME: One School Year |

|PA ACADEMIC STANDARDS |

|9.1.12.A.B.C.D. E. F. G. H. - Production, Performance and Exhibition of Visual Arts |

|9.2.12.A.B.C.D.E.F.G.H. - Historical and Cultural Contexts |

|9.3.12.A.B.D. - Critical Response |

|9.4.12.A.B.C.D. - Aesthetic Response |

|ASSESSMENT ANCHORS |

|Teacher designed written quizzes and tests |

|Rubric for assessing the preliminary drawings for the watercolor painting |

|Rubric for completed watercolor painting and successful use of the following: |

|Pre-planned color palette |

|Proper use of color wash and dry brush |

|Effective composition and use of white paper |

|Any use of other techniques, such as alcohol spray and salt |

|Reference to Americana and values of land ownership |

|RESOURCES |

| |

|A History of Western Art fourth edition, by Laurie Adams Schneider |

|Design Basics by Lauer and Pentak |

|Art in Focus by Gene A. Mittler |

|The Art of Seeing, fifth edition by Zelanski and Fisher |

|Launching the Imagination, A Comprehensive Guide to Basic Design by Mary Stewart |

|American Artist magazines |

|References for drawing techniques |

|“Creative Painting Series: FORM” by Barron’s |

|Land & Landscape-Views of America’s History and Culture from the series America Past and Present (Boxed Edition) |

|Pertinent Scholastic Art magazines |

|Use CD-ROM for A History of Western Art by Laurie Schneider Adams for quiz questions |

|OBJECTIVES |

| |

|The learner will be able to understand the Age of Revolution, how social and political rights affected art of the 1800’s, and |

|create a landscape composition. |

|ESSENTIAL CONTENT |

| |

|Read chapter 22 in A history of Western Art –Romanticism |

|Explore cross-curricular events recorded in paintings, music, and poems |

|Identify the two major English landscape painters of the period and compare their works. |

|Read chapter 21-Romanticism and Realism in Art in Focus |

|Find the connection between the work of William Blake and thirteenth century illuminations and Romantic poets. |

|Define the Salon in France. |

|Identify the works of the following artists: |

|Delacroix |

|Gericault |

|Goya |

|John Constable |

|William Turner |

|Thomas Cole |

|Gustave Courbet |

|Edouard Manet |

|Rosa Bonheur |

|Read Design Basics textbook to apply Design Elements & Principles |

| |

|Assign Sketchbook #2: Practice contour style drawing |

| |

|Assign Domain Project #2: Create a drawing to complete in watercolor/watercolor soluble colored pencils |

|INSTRUCTIONAL STRATEGIES |

| |

|Define Romanticism and discuss some of the works created by artists associated with this style, refer to Chapter 22 in A History of|

|Western Art. |

|Show slides of work from the 1800’s, compare and discuss |

|Explain how early watercolors were used to determine colors for a later oil painting, and not considered art in itself. |

|Read pages 471 to 479 in Art in Focus and list the inventions and conventions of the time period. Trace the effects of the |

|Industrial Revolution and examples of animal paintings. |

|Reading assignment in Design Basics text pages: 30-35; 64-65; 78-79; 182-183; 220-221; 248-249 |

|Assign Sketchbook #2: Sketch objects and redraw edges with contour strokes of black ink or markers |

|Classroom project: watch video on “Landscape Painting of America” and refer to exercises in ki |

|Assign Domain Project #2: research personal homeland geography, colored photographs from vacation spots, etc. to develop a |

|landscape scene. Discuss the intrinsic value of the environment and things included in the picture. Write a paragraph on how the |

|picture tells a story. Draw and color a landscape picture. |

|ASSESSMENTS |

| |

|Teacher designed written quizzes and tests |

|Rubric for assessing the preliminary drawings for the watercolor painting |

|Rubric for completed watercolor painting and successful use of the following: |

|Pre-planned color palette |

|Proper use of color wash and dry brush |

|Effective composition and use of white paper |

|Any use of other techniques, such as alcohol spray and salt |

|Reference to Americana and values of land ownership |

|CORRECTIVES/EXTENSIONS |

| |

|Correctives: Make several sketches of what you see from your back porch, enlarge it and add colored pencil. |

| |

|Extensions: Investigate early American land development or specifically Monroe County and farms of Brodheadsville. Include written |

|documentation of land sales into the colored pencil painting. Paint over land maps of the area. |

|COURSE: Advanced Drawing & Painting |GRADE(S): 10-12 |

|STRAND: 9.1.12, 9.2.12,9.3.12,9.4.12 |TIME FRAME: One School Year |

|PA ACADEMIC STANDARDS |

|9.1.12.A.B.C.D. E. F. G. H. - Production, Performance and Exhibition of Visual Arts |

|9.2.12.A.B.C.D.E.F.G.H. - Historical and Cultural Contexts |

|9.3.12.A.B.D. - Critical Response |

|9.4.12.A.B.C.D. - Aesthetic Response |

|ASSESSMENT ANCHORS |

|Written quizzes |

|Continuous drawing in the sketchbook to reviewed periodically |

|Completion of Sketchbook assignment in soft pastel to fill the page, overlap colors to produce layers and texture, and show |

|evidence of stippling, smudging and diverse effects. |

|Completion of Domain Project #3: to complete a composition through the printmaking process using a coordinated color scheme and a |

|multiple color drop. |

|Rubric for assessing a print with authentication. |

|Written Mid-term examination |

|RESOURCES |

| |

|A History of Western Art by Laurie Schneider Adams |

|Design Basics by David A. Lauer & Stephen Pentak |

|Art in Focus by Gene A. Mittler |

|Drawing Space, Form, and Expression by Wayne Entice & Melody Peters |

|Videos-Composition by Sax Arts & Crafts |

|Other slides and videos appropriate to the lesson, including packet on Thomas Eakins, Philadelphia Realist artist. |

|Pertinent Scholastic Art magazines |

|Use CD-ROM for A History of Western Art by Laurie Schneider Adams for quiz questions |

|OBJECTIVES |

| |

|The learner will be able to study Nineteenth-Century Realism and study color composition. |

|ESSENTIAL CONTENT |

| |

|Read chapter 23 in A History of Western Art |

|Define Realism and identify some artists associated with this style of painting. |

|Recognize the trademark style of Honore Daumier, and the use of lithography |

|Examine the paintings by Edouard Manet in relation to the Avant-Garde. |

|Recognize popular structures such as the Eiffel Tower common to the period |

|Outline what effects the invention of photography had on painting & composition |

|Assign Sketchbook Assign. #3: draft several compositions that capture the models in spontaneous act & divide the picture plane like|

|letters of the alphabet |

|Assign Domain Project #3: Create compositions with color harmony and balance. |

|Mid-term exam |

|INSTRUCTIONAL STRATEGIES |

| |

|Describe Impressionist artists who started out as a Realist. |

|Read chapter 23 in A History of Western Art-Nineteenth century Realism. |

|Understand that the invention of photography forever altered how artists saw and painted |

|Investigate how the European market’s exposure to Japanese woodblock prints affected Impressionism. |

|Read Design Basics pages: 28-29; 62-63; 92-93; 102-103; 130-133; 150-151; 160-161; 184-185; 214-215. |

|Sketchbook Assign. #3: Practice drawing exercises eliminating the foreground like Degas, or capturing the odd views from the |

|camera, using the viewfinders. Explain that the camera captured the moment. Use pencils and fine tip markers. |

|Include the individual study of such artists as: Claude Monet, Pierre Auguste Renoir, Gustave Caillebotte, Edgar Degas, Mary |

|Cassatt, Berthe Morisot, Auguste Rodin, Honore Daumier, Joseph Paxton, Louis Sullivan. |

|Demonstrate how the letters of the alphabet were used to divide the picture plane for good composition, such as H, I, E, O, T, Y, |

|etc. refer to notes by Alice Laputka. Show video on Composition. |

|View slides of work by Thomas Eakins and discuss his use of the camera to perfect his paintings. |

|Domain Project #3: Design a composition to be rendered in Lithocoal, first in black and then add colors. Redesign the same image |

|and then produce in soft pastel on prepared paper. |

|Provide a review packet for the Mid-Term examination |

| |

|ASSESSMENTS |

| |

|Written quizzes |

|Continuous drawing in the sketchbook to reviewed periodically |

|Completion of Sketchbook assignment in soft pastel to fill the page, overlap colors to produce layers and texture, and show |

|evidence of stippling, smudging and diverse effects. |

|Completion of Domain Project #3: to complete a composition through the printmaking process using a coordinated color scheme and a |

|multiple color drop. |

|Rubric for assessing a print with authentication. |

|Written Mid-term examination |

|CORRECTIVES/EXTENSIONS |

| |

|Correctives: Require only one drawing of people. Select a photograph to copy. |

| |

|Extensions: Create several images in a series that follows through the action captured on camera. Render a high degree of realism. |

|Show evidence of experimentation with materials. |

|COURSE: Advanced Drawing & Painting |GRADE(S): 10-12 |

|STRAND: 9.1.12,9.2.12,9.3.12,9.4.12 |TIME FRAME: One School Year |

|PA ACADEMIC STANDARDS |

| |

|9.1.12.A.B.C.D. E. F. G. H. - Production, Performance and Exhibition of Visual Arts |

|9.2.12.A.B.C.D.E.F.G.H. - Historical and Cultural Contexts |

|9.3.12.A.B.D. - Critical Response |

|9.4.12.A.B.C.D. - Aesthetic Response |

|ASSESSMENT ANCHORS |

|Written quizzes for art history and techniques |

|Evaluate the sketchbook assignment by group critique |

|Rubric for printmaking process: |

|check for clean edges that are well matched; |

|mixed water-based inks not used straight from the tube; |

|balanced composition that fills the background |

|Create at least three prints for assessment. Select the best print to mat. |

|RESOURCES |

| |

|Impressionist Still Life by Rathbone & Shackelford |

|A History of Western Art by Laurie Schneider Adams |

|Art in Focus by Gene Mittler |

|Videos on Printmaking |

|Design Basics by David Lauer & Stephen Pentak |

|Form Creative Painting Series by Barron’s-pages 49 to 57 |

|The Designers Guide to COLOR Combinations by Leslie Cabarga |

|Color A workshop approach by David Hornung |

|Other visual examples of prints by various artists, such as Henri de Toulouse-Lautrec |

|Groves Dictionary online through |

|Pertinent Scholastic Art magazines |

|Use CD-ROM for A History of Western Art by Laurie Schneider Adams for quiz questions |

|OBJECTIVES |

| |

|The learner will be able to understand the goals of Impressionism and investigate the printmaking process. |

|ESSENTIAL CONTENT |

| |

|Read chapter 24 in A History of Western Art |

|Read Art in Focus pages 480 to 490 |

|List all of the characteristics of Impressionism |

|Read Design Basics textbook pages: 64-67; 82-85; review 88-89; review 136-137; 150-151; |

|Sketchbook Assign. #4: create several pictures that implement two or three of the above techniques. |

|Assign Domain Project #4: Design either a scene or a still life image to print using either linoleum block or silk-screen process. |

|INSTRUCTIONAL STRATEGIES |

| |

|Explain how many artists started out as a Realist before becoming an Impressionist painter, such as Edouard Manet |

|State that the Impressionist goal was to depict “a slice of life”, or cropped view. |

|Discuss the vocabulary including En-pleine-aire, painting out of the studio. |

|After reading chapter 24, work in groups to itemize tricks and techniques made famous during the Impressionist period. |

|Assign Sketchbook Assign. #4: Select an object, such as buttons, seashells, or multi-colored rocks to render showing depth, fill |

|the page. (e.g., A jar of hot peppers close up) |

|Assign Domain Project #4: Develop an image to be printed in water-based colored inks. Use carved linoleum blocks using gougers, or |

|transfer image to silk-screen and print on printing papers after couching. Review all printmaking terms. |

|Discuss “Art for Art’s Sake” and conclude that the effects it had upon the sale of art dictated the definition of “aesthetics”. |

|ASSESSMENTS |

| |

|Written quizzes for art history and techniques |

|Evaluate the sketchbook assignment by group critique |

|Rubric for printmaking process: |

|check for clean edges that are well matched; |

|mixed water-based inks not used straight from the tube; |

|balanced composition that fills the background |

|Create at least three prints for assessment. Select the best print to mat. |

|CORRECTIVES/EXTENSIONS |

| |

|Correctives: Carve small linoleum block and press repeatedly for an allover pattern. |

| |

|Extensions: Research less known artists of the time period and emulate their style. Show documentation and write an essay to |

|describe the artist’s influence upon student. |

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|COURSE: Advanced Drawing & Painting |GRADE(S): 10-12 |

|STRAND: 9.1.12,9.2.12,9.3.12,9.4.12 |TIME FRAME: One School Year |

|PA ACADEMIC STANDARDS |

| |

|9.1.12.A.B.C.D. E. F. G. H. - Production, Performance and Exhibition of Visual Arts |

|9.2.12.A.B.C.D.E.F.G.H. - Historical and Cultural Contexts |

|9.3.12.A.B.D. - Critical Response |

|9.4.12.A.B.C.D. - Aesthetic Response |

|ASSESSMENT ANCHORS |

|Written test and quizzes to check comprehension of art history and media techniques |

|Rubric evaluation of studio work |

|Student generated art history game patterned after “The Fine Art Game” board game (like Clue) |

|RESOURCES |

| |

|Launching the Imagination by Mary Stewart |

|Scholastic Art magazines on individual artists |

|Drawing from Observation by Brian Curtis-Chapter 11 & 12 |

|Use CD-ROM for A History of Western Art by Laurie Schneider Adams for quiz questions |

|OBJECTIVES |

| |

|The learner will be able to summarize Art of the Late Nineteenth Century and complete an imaginative painting. |

|ESSENTIAL CONTENT |

| |

|Read chapter 25 in A History of Western Art –Post-Impressionism and the Late nineteenth century |

|Read Art in Focus pages 492-510 |

|Read Design Basics pages: 140-143; 188-189 |

|Assign Sketchbook Assign. #5: invent images that are abstracted from real people and objects |

|Assign Domain Project #5: Create a mixed media/computer generated picture incorporating invented or stylized images, or substitute |

|personal photographs in collage format. |

|INSTRUCTIONAL STRATEGIES |

| |

|Read and discuss chapter 25 –Gauguin and Oceania; Symbolism & the Mechanisms of Dreaming |

|Read and compare to Art in Focus text |

|Show overhead transparencies of chapter 11 & 12 from Drawing From Observation-Biomorphic forms constructed from foreshortening |

|ellipses |

|Assign Sketchbook Assign. #5: Amplified Perspective. After reviewing the instructional transparencies, practice in and out of class|

|how to foreshorten forms and build them into new forms. Add an environment of place, weather, and time. |

|Assign Domain Project #5: Use drawings from above to compose a picture in any media or computer generate. |

|ASSESSMENTS |

| |

|Written test and quizzes to check comprehension of art history and media techniques |

|Rubric evaluation of studio work |

|Student generated art history game patterned after “The Fine Art Game” board game (like Clue) |

|CORRECTIVES/EXTENSIONS |

| |

|Correctives: |

|Follow handout instructions to construct simple forms. Limit the background. |

| |

|Extensions: |

|Develop highly complicated forms interconnected, colored, and shaded in a unique atmosphere. |

| |

|COURSE: Advanced Draw & Paint |GRADE(S): 10-12 |

|STRAND: 9.1.12,9.2.12,9.3.12,9.4.12 |TIME FRAME: One School Year |

|PA ACADEMIC STANDARDS |

| |

|9.1.12.A.B.C.D. E. F. G. H. - Production, Performance and Exhibition of Visual Arts |

|9.2.12.A.B.C.D.E.F.G.H. - Historical and Cultural Contexts |

|9.3.12.A.B.D. - Critical Response |

|9.4.12.A.B.C.D. - Aesthetic Response |

|ASSESSMENT ANCHORS |

|Established rubric for evaluating silversmith object |

|Established rubric for evaluating found object sculpture |

|Course review packet |

|Written Final Examination |

|RESOURCES |

| |

|Launching the Imagination by Mary Stewart |

|Scholastic Art magazines |

|American Craft magazines |

|Gilbert’s Living With Art, seventh edition by Mark Getlein |

|Plaster, wood, sculpting wire, fabrics, sterling silver shot, etc. |

|International Sculpture Center |

|OBJECTIVES |

| |

|The learner will be able to design and execute a three-dimensional object. |

|ESSENTIAL CONTENT |

| |

|Understand the process of creating a sculpture, either additive or subtractive |

|Assign Sketchbook Assign. #6: Research a sculpture artist, prepare drawings in similar style |

|Assign Domain Project #6: Design and execute an object in sterling silver, using the Lost Wax Method of casting for jewelry items |

|Alternate Domain Project #6: Design and construct a 3-D object out of found objects as a relief sculpture or freestanding sculpture|

|Alternate Domain Project #6: Carve a Soapstone, about 10 lbs. Each using files,, rasps, and chisels. Follow example of Ben Sherman.|

|Written Final Examination |

|INSTRUCTIONAL STRATEGIES |

| |

|Review sculpture artists from the past, such as, Auguste Rodin |

|Explore other sculptors and discuss |

|Demonstrate the process of Lost Wax Method of casting sterling silver, using silver shot and the burn out kiln for investment |

|Research designs made by current jewelry makers |

|Provide a review packet for students to complete on their own for bonus points on exam, allow a minimum of four days to turn in |

|prior to exam date. |

|ASSESSMENTS |

| |

|Established rubric for evaluating silversmith object |

|Established rubric for evaluating found object sculpture |

|Course review packet |

|Written Final Examination |

|CORRECTIVES/EXTENSIONS |

| |

|Correctives: |

|Utilize re-teaching activities, assign the artist |

|Keep the form simple |

| |

|Extensions: |

|Research several sculptors, find a unique way to combine elements from each and document in writing. |

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