MiSs Rs ArT RoOm

Catching Butterflies Collages

Learning Targets

I can...

• Create an original Catching Butterflies Collages using drawing techniques learned in class
• Use line types (horizontal vertical diagonal), shape variation (geometric organic free form), and texture (actual visual implied) inspired by German Illustrator (1647-1717) Maria Sibylla Merian
• Use collage techniques (juxtaposition, layering, composition, adhesive) and design principles (variation emphasis movement) based on Scientific Illustrations
• Define Illustration (a visual representation (drawing, painting, photograph, digital image) created to explain, interpret, decorate, or enhance text, concept, or process)

Lesson One
Day One, Art Start

1. Merian's Branch Of West Indian Cherry With Achilles Morpho Butterfly (1702-1703) Maria Sibylla Merian

2. Read Butterfly Park by Elly MacKay

3. Discussion Questions "Did you know Merian traveled to Suriman with her daughter at the age of 52 to study tropical flora and fauna? Did you know she was the first artist to embark on a field excursion when these did not exist in science yet? Did you know her step father was the renowned still life painter Jacob Marrel? Do you think art, science, natural observation, and artistic intention work well together? Are there any aspects of her life and work that you find particularly remarkable? Did you know Merian was alive during the Dutch Golden Age? How do you think she was a successful artist despite many restrictions on women at the time? Did you know Merian funded her own artwork by selling her drawings, engravings, and books? Did you know Merian invented the field of ecology we know today? What advice do you think Merian would give young women considering science as a career path today?"

Lesson Activities

1. Choose a butterfly reference photograph for the positive space (foreground, butterfly) of the Catching Butterflies Collages

2. Use line types (horizontal, vertical, diagonal) to fill in positive space (foreground, butterfly) of the Catching Butterflies Collages

3. Use line types (horizontal, vertical, diagonal) to fill in the negative space (background) of the Catching Butterflies Collages

Day Two, Art Start

1. Retrieve Catching Butterflies Collages for Assigned Table

2. Butterfly Peacock Mirror On Forage Plant (1705) Maria Sibylla Merian

3. Discussion Questions "What medium do you think the illustrator used? Why do you think that they choose these colors? Is there a reason yellow is shown only on a couple of pages? Why do the colors change on this page when the main character is sad? Are all the lines in this book pointing in only one direction? Why are the lines pointing in one direction? How many patterns are on this single page? How can we care for our caterpillars and butterflies? Can you show me the flight path the butterfly took before it reached the net? Do you see any patterns or designs on the wings that might help the butterfly hide? What kind of background should we add to show where this butterfly lives- a garden, a river, or a mountain? What can you tell me about the person with the net- are they running fast or sneaking quietly? If your butterfly escaped the net, where is the first place it would fly too? How can we make both sides match like a mirror? Where does your butterfly go when it rains? Should we catch this butterfly to study in a journal or is it going to a special butterfly garden?" 

Lesson Activities

1. Draw an outline of the selected butterfly reference for the positive space (foreground, butterflies) onto the watercolor paper

2. Use graphite techniques (engraving, carving, scratching) with a stylus to add highlights (light source, reflective light) to the Catching Butterflies Collages

3. Use graphite techniques (engraving, carving, scratching) with a stylus to add shadows (reflective light, cast shadow) to the Catching Butterflies Collages 

Day Three, Art Start

1. Retrieve Catching Butterflies Collages for Assigned Tables

2. Set Up Studio Area (glue sticks, scissors, watercolor, paint brushes)

Lesson Activities

1. Use graphite techniques (carving, scratching, engraving) with a stylus to finish adding details (clouds, leaves, net) to the Catching Butterflies Collages

2. Add value (lightness, darkness, highlights, shadows) to the positive space (foreground, butterflies) of the Catching Butterflies Collages

3. Add details (clouds, leaves, nets) using illustrative techniques (hatching, stippling, cross hatching) to the final Catching Butterflies Collages

Artist Examples

Student Examples 

Sea Otter Watercolor Paintings

Learning Targets

I can...

• Create an original Sea Otter Watercolor Painting using drawing techniques learned in class
• Use line types (diagonal lines, action lines, curved lines, flow lines, zigzag lines), value (lightness, darkness, tone, tint, shade), and texture (actual, visual, implied) inspired by American Photographer (1946-Present) Thomas D. Mangelsen
• Use painting techniques (sponge, stamps, salt, splatter) and design principles (contrast, movement, repetition) based on American Art
• Define Movement (create the look or feeling of action by guiding the viewer's eyes through a composition)

Lesson One
Day One, Art Start

1. Ocean Lullaby (2017) Thomas D. Mangelsen

2. Read Pup The Sea Otter by Jonathan London

3. Discussion Questions "How is water pollution harmful to sea otters? What are some objects that do not float in the water? Do you know that sea otters are called clowns of the sea? Do you like to swim in the water like a sea otter? Could you swim in the water wearing a thick coat? Where do these cute little sea otters spend most of their time? Did you know sea otters have webbed feet that allow them to swim quickly? Why do you think sea otters spend so much time in the water? Did you know sea otters are the smallest marine mammals on earth? How many hairs are a sea turtle compared to a human? Did you know that sea otters have the thickest fur of any animal? Why do sea otters hold hands while sleeping? How can you create a watery texture for the background using salt, sponges, painting, or horizontal brushstrokes?"

Lesson Activities

1. Use observational drawing techniques (composition, light source, reflective light) to draw the basic shapes (waves, seaweed, rocks) of the Sea Otter Watercolor Paintings

2. Add basic shapes (triangles, circles, rectangles) to add details (stars, plants, fish, objects) to the positive space (foreground, sea otter) of the Sea Otter Watercolor Paintings

3. Add decorative details (border, glitter, embellishments) to the positive space (foreground, sea otter) of the Sea Otter Watercolor Paintings 

Day Two, Art Start

1. Retrieve Sea Otter Watercolor Paintings for Assigned Tables 

2. Tide Rider Sea Otter (2021) Thomas D. Mangelsen

3. Discussion Questions "What geometric shapes (circles for the head, oval for the chest, long oval for the torso) do you see in the otter's body? Why do you think the artist gave the otter small, dark eyes and tiny ears? How can we use lines to make the fur look thick and soft? How can we use types of lines to make the water look like it has movement? Is your otter floating on its back, diving, or holding something like a shell? Why do you think sea otters are often shown holding hands or wrapping themselves in kelp? How does your artwork show that the otter is a keystone speices that helps the ocean? Why do you think we are painting the otter on its back? How does its long, flat tail help it stay afloat like a boat? How many different shades of brown can you see in the otter's fur? How can we layer light and dark colors to make them look fluffy?"

Lesson Activities 

1. Use color combinations (analogous, secondary, primary) to fill in the positive space (foreground, sea otter) of the Sea Otter Watercolor Paintings 

2. Use color combinations (analogous, secondary, primary) to fill in the negative space (background) of the Sea Otter Watercolor Paintings 

3. Add intricate embellishments to the decorative details (border, glitter, stars) of the positive space (foreground, sea otter) of the Sea Otter Watercolor Paintings 

Day Three, Art Start

1. Retrieve Sea Otter Watercolor Paintings for Assigned Tables 

2. Set Up Studio Area (tempera paint, paint brushes, water bucket) 

Lesson Activities

1. Add highlights (reflective light, light source) to the positive space (foreground, sea otter) of the Sea Otter Watercolor Paintings

2. Add shadows (cast shadow, reflective shadow) to the negative space (background) of the Sea Otter Watercolor Paintings

3. Add high contrast (shaded areas, reflective areas) to the positive space (foreground, sea otters) of the Sea Otter Watercolor Paintings

Artist Examples

Student Examples

Printmaking Sheep

Learning Targets

I can...

• Create an original Printmaking Sheep using drawing techniques learned in class
• Use color combinations (analogous, complementary, intermediate), shape variation (geometric, organic, free form), and texture (actual, visual, implied) inspired by American Artist (1976-Present) Eli Halpin
• Use intermediate colors (yellow/green, blue/green, blue/violet, red/orange) and design principles (composition, balance, movement) based on American Art
• Define Intermediate Colors (hues created by mixing a primary color with an adjacent secondary color on the color wheel)

Lesson One
Day One, Art Start

1. Sheep (2017) Eli Halpin

2. Read Sheep In A Shop by Nancy E. Shaw 

3. Discussion Questions "What is the name of your sheep? What kind of personality does this sheep have? Where would your sheep like to live? If you could touch your sheep's wool in the ring, what would it feel like- is it soft, bumpy, or fuzzy? Did you include any fun details like the rectangle pupils sheep have for a wide field of vision? Why did you choose certain shapes, like ovals for the body or rectangles for the legs? How many prints did you make from your plate, and does each one look the same? Did you need to reapply more ink to keep the wool looking bright and white? What is your favorite part of your artwork- the foreground, middle ground, or background? What was the most challenging part of making your sheep? If your sheep were going to party, would it wear its wool natural or would it dye it bright rainbow color?"

Lesson Activities

1. Choose 12" X 15" Drawing Paper

2. Draw three thumbnail sketches of sheep using observational drawing skills (contour, outline, continuous) for the Printmaking Sheep

3. Add details (reflective light, light source, cast shadow) to the negative space (background) of the Printmaking Sheep

Day Two, Art Start

1. Retrieve Printmaking Sheep for Assigned Tables 

2.  Sheep Duo (2025) Eli Halpin

3. Discussion Questions "What did you use to make the sheep's wool have texture? Why did you choose these colors for your sheep? What was the hardest part about pressing your sheep onto the paper? What is the name of your sheep? What is the sheep's favorite snack- grass or chocolate chip cookies? What was the trickiest part getting the right amount of ink or making sure the sheep had all four legs? If you were to make a whole flock of these, would you change anything about the second one? If you were teaching a friend how to make a sheep print, what would be the top secret top you would give them? Does the shape of your sheep remind you of a cloud you have seen in the sky? What kind of sweater do you think your sheep would want to wear?" 

Lesson Activities

1. Use drawing techniques (contour, outline, continuous) to add basic shapes (circle, rectangle, oval) to the Printmaking Sheep

2. Use design principles (composition, gradation, repetition) to fill in the positive space (foreground, sheep) of the Printmaking Sheep

3. Use drawing techniques (contour, outline, continuous) to add patterns (swirls, loops, waves) to the positive space (foreground, sheep) of the Printmaking Sheep

Day Three, Art Start

1. Retrieve Printmaking Sheep for Assigned Tables

2. Set Up Studio Area (bubble wrap, rollers, speed ball ink)

Lesson Activities

1. Use intermediate colors (yellow/green, blue/green, blue/violet, red/orange) to fill in the positive space (foreground, sheep) of the Printmaking Sheep

2. Use intermediate colors (yellow/green, blue/green, blue/violet, red/orange) to fill in the negative space (background) of the Printmaking Sheep

3. Add design details (shadows, reflective light, cast shadow) to the negative space (background) of the Printmaking Sheep

Artist Examples

Student Examples 

 Charcoal Flower Studies

Learning Targets

I can...

• Create an original Charcoal Flower Studies using drawing techniques learned in class
• Use neutral colors (black, grey, brown, white), value (highlights, shadows, tints, tones), and texture (actual, visual, implied) inspired by German Photographer (1865-1932) Karl Blossfeldt
• Use drawing techniques (shading, hatching, contouring, cross hatching) and design principles (contrast, proportion, variation) based on New Objectivity
• Define Chiaroscuro (the treatment of light and shade in a drawing or painting)

Lesson One

Day One, Art Start

1. Astrantia Major, Large Hollyhock (1915-1925) Karl Blossfeldt

2. Read The Burgess Flower Book For Children by Thornton W. Burgess

3. Discussion Questions "How can we create a bright, white flower on this pitch-black paper without using white paint or crayons? If you had to draw the texture of these petals using only your fingertips and black dust, how would you start? Are the petals in this photograph triangular or almond shaped? If you touch the petals, are the petals feathery, glossy, or velvety? How can we make the paper look like texture we are describing? Which part of the flower the bright white and where are the darkest shadows hiding? How can you make a ghost line? What will happen if you draw a line and then smudge the line with a tissue? Can. you draw with your eraser? Can you make five different shades of grey between the blackest black and the white of the paper? What story does the flower tell? If this flower could talk, what kind of personality would it have? Why might an artist choose a black-and-white (monochromatic) medium to reprint a brightly colored object like a flower?"

Lesson Activities

1.  Choose 12" X 15" Drawing Paper 

2. Use line types (horizontal, vertical, diagonal) to draw positive space (foreground, flower) of the Charcoal Flower Studies 

3.  Use color combinations (monochromatic, neutral) to fill in the positive space (flower, foreground) of the Charcoal Flower Studies 

Day Two, Art Start

1. Retrieve Charcoal Flower Studies for Assigned Tables 

2. Campanula, Canterbury Bell (1942) Karl Blossfeldt

3. Discussion Questions "How did you use large shapes and small shapes to make your artwork interesting? What happens when you put a large flower next to small details? Can you find straight and curved lines in your work? How do these straight lines and curved lines differ from other artwork? How did you use think and thin lines to make parts of your flower stand out? If you could change one thing to make the contrast stronger, what would it be? What was the hardest part about creating contrast in this artwork? What is the first thing your eye is drawn to in this picture? How would you describe the difference between your flower and your background? What title would you give your artwork? How does the smooth peels feel different from the rough stem or soft center?  Where is the light coming from in this artwork? Do you see any dark shadows that make the bright parts look even brighter?" 

Lesson Activities

1. Add shape variation (geometric, organic, free form) to the negative space (background) of the Charcoal Flower Studies

2. Use pattern (stripes, swirls, curls) to add a design to the negative space (background) of the Charcoal Flower Studies

3. Use chalk to blend patterns (swirls, stripes, curls) for the negative space (background) of the Charcoal Flower Studies 

Day Three, Art Start

1. Retrieve Charcoal Flower Studies for Assigned Tables 

2. Set Up Studio Area (charcoal sticks, white charcoal, erasers, charcoal pencils)

Lesson Activities

1. Blend color combinations (monochromatic, neutral) for the positive space (flower, foreground) of the Charcoal Flower Studies

2. Add highlights (light source, reflective light) to the positive space (foreground, flower) of the Charcoal Flower Studies

3. Add illusion of depth by add details (glitter, details, petals) to the positive space (foreground, flower) of the Charcoal Flower Studies 

Artist Examples

Student Examples

 Expressive Food Characters

Learning Targets

I can...

• Create an original Expressive Food Characters using ceramic techniques learned in class 
• Use shape variation (geometric, organic, free form), form (two dimensional, three dimensional), and texture (actual, visual, implied) inspired by American Artist (1958-Present) Saxton Freymann
• Use sculptural techniques (carving, casting, modeling, assembling) and design principles (balance, proportion, emphasis) based on Edible Art
• Define Ephemera (short-lived everyday prints or produced items not meant to be permanent art but capturing lived experiences)  

Lesson One
Day One, Art Start

1. Melon School Bus (2000) Saxton Freymann 

2. How Are You Peeling? Foods With Moods by A. Joost Elffers and Saxton Freymann 

3.  Discussion Questions "How do you think the author and illustrator created the images for these books? What materials were used when making these children's books? How did the artist get this idea? Why is the therm edible food an accurate description of Saxton Freymann's technique? What other adjectives could be used to describe his art? Do you see faces, animals, plants, cars, or buildings in any of these foods? How do you think these fruits and vegetables are feeling? How can you tell these fruits and vegetables are feeling this way? Why do you think the author did that? Why does the pepper look happy, the apple surprised, and the orange mad? Is there a similar message between these two stories? Is there more than one way of looking at things or more than one point of view? Can there be more than one correct answer to a problem or question? Do things look differently depending on how you look at them? How can you tell the fruits and vegetables apart? How can a pun be visual?" 

Lesson Activities

1. Turn clay slab into basic shapes (head, facial features, arms) for the positive space (fruit, vegetable, foreground) of the Expressive Food Characters

2. Use modeling tools to draw features (accessories, jewelry) for the positive space (fruit, vegetable, foreground) of the Expressive Food Characters 

3. Add lines for the facial features (nose, eyes, mouth) for the positive space (fruit, vegetables, foreground) of the Expressive Food Characters 

Day Two, Art Start

1. Retrieve Expressive Food Characters for Assigned Table 

2. Onion Cat and Green Pepper Dog (1997) Saxton Freymann

3. Discussion Questions "How does this tomato feel? Why does the tomato feel that way? What happened to the tomato? What will the tomato do next? Does the tomato need help? Can you identify an emotion on the page displayed? Do you have parents or guardians who remind you to not play with your food to make sculptures? Have you seen food the have been covered with a decorative message? Is the onion feeling happy, grumpy, or surprised? Have you ever felt the way this orange looks? What happened that made you feel that way? What kind of fruit or vegetable did the artist use to make this animal? How do you think he made the eyes or the mouth? Did he cut into the food or add something to it? Why do you think he choose a bumpy cauliflower for a poodle instead of a smooth apple? If you had a banana right now, what animal or character could you turn it into?" 

Lesson Activities

1. Add lines for proportions (head, facial features, ears) within the silhouette (fruit, vegetable, foreground) of the Expressive Food Characters 

2. Mold clay into basic shapes (oval face, crescent ears, big eyes) for the positive space (fruit, vegetable, foreground) of the Expressive Food Characters 

3. Use needle tools to draw features (eyes, nose, mouth, wrinkles) for the positive space (fruit, vegetable, foreground) of the Expressive Food Characters 

Day Three, Art Start

1. Retrieve Expressive Food Characters for Assigned Tables 

2. Set Up Studio Area (water buckets, needle tools, rubber mats) 

Lesson Activities

1. Add tempera paint with color combinations (complementary colors, analogous colors, earth tones) to the positive space (fruit, vegetables, foreground) of the Expressive Food Characters 

2. Add tempera paint with color combinations (complementary colors, analogous colors, earth tones) to the negative space (background) of the Expressive Food Characters 

3. Apply Gloss Finish to the facial features, facial proportions, and accessories of the Expressive Food Characters 

Artist Examples

Student Examples