Famous Artist Clay Busts

Learning Targets

I can...

• Create an original Famous Artist Clay Busts using ceramic techniques learned in class 
• Use shape variation (geometric, organic, free form), form (two-dimensional, three-dimensional), and texture (actual, implied, visual) based on Classical Era
• Use hand building techniques (pinching, coiling, slab, building) and design principles (proportion, movement, variation) based on Classical Antiquity
• Define Bust (a sculpture of the upper part of the human figure including head, neck, and shoulders)

Lesson One
Day One, Art Start

1. Bust Of Queen Nefertiti (1340 BC) Thutmose

2. Read Making Faces A Guide To Modeling The Head And Face With Clay by Alexander Irvine

3. Discussion Questions "Do you think sculpting marble would be easier of harder than sculpting clay? Who were the greatest old masters in the history of art? Where can you find a list of the best artists in the world? What artwork is the most famous from the modern era? Which art the most famous and popular art movements? Which mediums were used by the first artists of he world to produce their artwork? Who was the first living person to have their art displayed in The Louvre? Which artists are famous for Pop Art? How old is the first known human work of art? Why is it important for artists to show and display their artwork?"

Lesson Activities

1. Turn clay slab into basic shapes (head, shoulder, neck) for the positive space (portrait) of the Famous Artist Clay Busts

2. Use modeling tools to draw features (clothing, jewelry, make up) for the positive space (portrait) of the Famous Artist Clay Busts

3. Add lines for the facial features (nose, eyes, mouth) for the positive space (portrait) of the Famous Artist Clay Busts

Day Two, Art Start

1. Retrieve Famous Artist Clay Busts for Assigned Tables 

2. Bust Of Napoleon I (1805) Lorenzo Bartolini

3, Discussion Questions "What is a bust? What is a portrait? What do these ceramic busts say about the artist? Portraits are about more than your appearance because it can show who you are or who you want to be/ If you could turn these photographs and paintings into a sculpture, how would you accomplish that? How can a ceramic portrait help you think about the identity of the famous artist? How can you use close observational skills to feel good about yourself and other people around you? How do artists sculpt portraits? Does the way a person is sitting or standing tell you anything about them? What makes this ceramic bust unique? Do you like the way the artist arranged the sculpture? What does the background and objects in the background tell us about the picture? How does the artist repeat shapes and forms with the ceramic work? Is this sculpture considered abstract or realistic?" 

Lesson Activities 

1. Add lines for proportions (head, neck, shoulders) within silhouette of the Famous Artist Clay Busts

2. Mold clay into basic shapes (oval face, crescent ears, rectangular neck) for the Famous Artist Clay Busts

3. Use needle tools to draw facial features (eyes, nose, mouth) within the silhouette of the Famous Artist Clay Busts

Day Three, Art Start

1. Retrieve Famous Artist Clay Bust for Assigned Tables

2. Set Up Studio Area (water bucket, needle tools, rubber mat)

Lesson Activities

1. Add tempera paint to the positive space (head, neck face shoulder) of the Famous Artist Clay Busts

2. Add tempera paint to the negative space (background, clothing) of the Famous Artist Clay Busts

3. Apply Gloss Finish to the facial features, facial proportions, and accessories of the Famous Artist Clay Busts

Artist Examples

Student Examples 

 Margaret Preston Inspired Flowers

Learning Targets 

I can...

• Create an original Margaret Preston Inspired Flowers using drawing techniques learned in class
• Use line types (horizontal, vertical, diagonal), shape variation (geometric, organic, free form), and value (lightness, darkness, highlights, shadows) inspired by Australian Painter (1875-1963) Margaret Preston
• Use drawing styles (gesture, line, perspective, photorealism, scientific, silhouette) and design principles (proportion, movement, emphasis) based on National Art
• Define Aboriginal (the spiritual and symbolic carvings, paintings, or depictions of nature created by indigenous people)

Lesson One
Day One, Art Start

1. Sturt's Desert Pea (1930) Margaret Preston

2. Read Margaret Preston: The Art Of Constant Rearrangement by Elizabeth Butel

3. Discussion Questions "What role did Margaret Preston play in modern art? Do you think Margaret Preston's idea for a national identity- which led to the adoption of Aboriginal-styled designs and motifs- was progressive or misguided? Do you think countries have a national visual identity? Why should artists look at Preston's work now and have conversations about their own artwork? If you were sitting with Margaret Preston, what would you like to ask her? What qualities do you notice in her artwork? How has she used color, line, and shape within the artwork? What do you notice that is different about the composition? What can you see in the foreground, middle ground, and background? Which colors are predominant, and where are they used?" 

Lesson Activities

1. Choose 12" X 15" Drawing Paper 

2. Use line types (horizontal, vertical, diagonal) to fill in the positive space (foreground) of the flower drawings

3. Use color combinations (analogous, complementary, secondary) to fill in the positive space (foreground) of the Margaret Preston Inspired Flowers

Day Two, Art Start

1. Retrieve Margaret Preston Inspired Flowers for Assigned Tables

2. Sturt's Pea (1944) Margaret Preston

3. Discussion Questions "How does her use of color draw your eyes to the floral arrangements? Do you think Margaret Preston has used color in a realistic way, or do you think she has exaggerated or enhanced the colors of the flowers? Why do you think she chose to use such bold lines and borders? How does this affect the way we view the subject matter? Why do you think she chose to create this area of pattern? How does it enhance the artwork? What can we learn about Margaret Preston's feelings about Australian flora by looking at her artwork? What might these characteristics and properties symbolize? What species of flora did you choose? What did you find out about it during your research? What symbolic characteristics did you assign to your chosen plant and why? Which part of the process did you find the most challenging, and which was the most rewarding? Why?"

Lesson Activities

1. Add shape variation (geometric, organic, free form) to the negative space (background) of the flower drawings 

2. Use patterns (swirls, zigzags, stripes) to add designs to the negative space (background) of the flower drawings

3. Use chalk to blend patterns (swirls, zig zags, stripes) for the negative space (background) of the Margaret Preston Inspired Flowers

Day Three, Art Start

1. Retrieve Margaret Preston Inspired Flowers for Assigned Tables

2. Set Up Studio Area (oil pastels, chalk, erasers, pencils, charcoal)

Lesson Activities

1. Use color combinations (analogous, complementary, secondary) to fill in the positive space (flower) of the flower drawings 

2. Add highlights (light source, reflective light) to the positive space (flower) of the flower drawings 

3. Add illusion of depth by adding details (petals, vase, leaves, glitter) to the positive space (flower) of the Margaret Preston Inspired Flowers

Artist Examples

Student Examples 

 Mandala Magnets

Learning Targets

I can...

• Create an original Mandala Magnet using ceramic techniques learned in class
• Use shape variation (geometric, organic, free form), form (cylinder, cone, pyramid), and texture (actual, visual, implied) inspired by New Age Spirituality
• Use sculpture techniques (carving, assemblage, modeling, casting) and design principles (emphasis, contrast, proportion) based on First Century Art
• Define Mandala (geometric symbols representing a search for completeness and self-unity)

Lesson One
Day One, Art Start

1. Artista Sunstar (2023) Stephen Meakin

2. Read The Mandala Book: Patterns Of The Universe by Lori Cunningham

3. Discussion Questions "What details do you see in this sculpture that makes you curious? What art vocabulary words could you use to describe this mandala? What shapes do you find? What are the predominate colors? How does this new information affect what you see in these mandalas? What more can you find? What would the palace look like? What elements of protection will you use? Who will be in the center of the mandala? In what ways, did the artist demonstrate familiarity with the Himalayan region? What aspects of the mandala did students identity in the discussion? How did you use the symbolism of traditional Buddhist protection to create a personal Mandala? What is a Mandala? Can you think of other dances that take place in a circle? What makes circle dances so compelling?"

Lesson Activities

1. Use circle template to trace shape variation (geometric, organic, free form) of mathematical shapes for mandala designs

2. Add patterns (dots, swirls, stripes) for the positive space (circle) within the mathematical shapes for the mandala designs 

3. Use modeling tools to draw features (motto, symbols, nature, geometric shapes) for the positive space (circle) of the Mandala Magnets

Day Two, Art Start

1. Retrieve Mandala Magnets for Assigned Tables 

2. Habundia Seven Wild Flowers (2018) Stephen Meakin

3. Discussion Questions "What do you see? Why do you think the artist did that? How do you think the artist did that? How can you see math used in art? What are mandalas? Where do mandalas come from? Why make a mandala? How did your mandala develop? How did you decide on the shapes, colors, and arrangement of the mandala? How did you use math to create your mandala? Did it help you to familiarize with the concepts?  What do mandalas have in common? Which colors are prominent? Are the designs complex? Where are the Himalayan Mountains? What is the highest peak of the mountains? What images and symbols has the artist used?" 

Lesson Activities

1. Add shape variation (geometric, organic, free form) within the positive space (circle) of the mandala designs

2. Add details (symbols, motto, nature) to the positive space (circle) and negative space (background) of the mandala designs 

3. Use modeling tools (tools, brush, grips) to smooth out the negative space (background) of the Mandala Magnets

Day Three, Art Start

1. Retrieve Mandala Magnets for Assigned Tables

2. Set Up Studio Area (modeling tools, rollers, ceramic mats)

Lesson Activities 

1. Add color combinations (analogous, complementary, secondary) to the positive space (circle) of the mandala designs 

2. Add color combinations (analogous, complementary, secondary) to the negative space (background) of the mandala designs

3. Apply Gloss Finish to the proportions, features, and accessories of positive space (circle) of the Mandala Magnets

Artist Examples

Student Examples

 Paolozzi Relief Sculptures

Learning Targets

I can...

• Create an original Paolozzi Relief Sculptures using sculptures techniques learned in class
• Use line types (horizontal, vertical, diagonal), shape variation (geometric, organic, free form), and space (positive, negative) inspired by Scottish Artist (1924-2005) Sir Eduardo Paolozzi
• Use paper methods (cutting, folding, binding, layering) and design principles (balance, contrast, proportion) based on Pop Art
• Define Identity (the qualities, beliefs, personality traits, appearance, and expressions that characterize a person or group)

Lesson One
Day One, Art Start

1. Head (1993) Eduardo Paolozzi

2. Read Eduardo Paolozzi by Judith Collins

3. Discussion Questions "Who was Eduardo Paolozzi? Can you find the following items in this Paolozzi collage? What is a relief sculpture? How can everyday materials and simple paper be used to create a relief sculpture? What does this sculpture communicate about the people who made it? What does this artwork communicate about the culture? What might sculpture, and art in general, tell us about the time, places, and culture they come from? What does your sculpture tell people about you, your time, your place, and your culture? What do these sculptures say, and how do they talk to each other? Is this sculpture a high or a low relief sculpture? Is one more than the other? What do you notice about this relief sculpture? Who or what is featured on this relief sculpture?"

Lesson Activities

1. Add lines (horizontal, vertical, diagonal) for the proportion (head, neck, shoulder) within the silhouette of the portrait sculptures 

2. Turn cardboard pieces into basic shapes (oval face, crescent ears, rectangle neck) for the positive space (face) of the portrait sculptures

3. Use needle tools to draw facial features (oval eyes, round nose, thin mouth) within the silhouette of the Paolozzi Relief Sculptures 

Day Two, Art Start

1. Retrieve Paolozzi Relief Sculptures for Assigned Tables

2. Mechanized Head (1993) Eduardo Paolozzi

3. Discussion Questions "How do artists communicate ideas? Why did the artist use symmetrical pieces? what was the artist inspired by? What is the difference between relief sculpture and a sculpture in the round? What elements and principles did the artist use in his sculpture? Who wears many faces? What does this mean? How do individuals who were different faces represent this in his or her life? How do you bond pieces of cardboard together? How do you know a piece of artwork is finished? Why do artists create self portraits? Does the way a person is sitting or standing tell you anything about them? What makes this portrait unique? Do you like the way the artist arranged the portrait? What does the background and the objects in the background of the picture tell us?"

Lesson Activities

1. Add line types (horizontal, vertical, diagonal) within the positive space (silhouette) of the portrait sculptures

2. Turn cardboard pieces into basic shapes (oval face, crescent ears, rectangle neck) of the portrait sculptures

3. Use needle tools to draw facial features (oval eyes, round nose, thin mouth) with the positive space (silhouette) of the Paolozzi Relief Sculptures

Day Three, Art Start

1. Retrieve Paolozzi Relief Sculptures for Assigned Tables

2. Set Up Studio Area (glue sticks, scissors, cardboard, tempera paint) 

Lesson Activities

1. Add color combinations (analogous, complementary, secondary) to the positive space (neck, head, shoulder) of the portrait sculptures 

2. Add color combinations (analogous, complementary, secondary) to the negative space (background) of the portrait sculptures 

3. Apply Gloss Finish to the face proportions, facial features, and accessories of the Paolozzi Relief Sculptures 

Artist Examples

Student Examples

 Rosa Bonheur Longhorns

Learning Targets

I can...

• Create an original Rosa Bonheur Longhorns using drawing techniques learned in class
• Use shape variation (geometric, organic, free form), line types (horizontal, vertical, diagonal), and texture (actual, visual, implied) inspired by French Artist (1822-1899) Rosa Bonheur
• Use shading techniques (cross hatching, stippling, scumbling, hatching) and design principles (contact, balance, proportion) based on Realism
• Define Detail (a distinctive feature of an object or scene which can be seen mostly clearly up close)

Lesson One
Day One, Art Start

1. Longhorn Bull In A Landscape (1896) Rosa Bonheur

2. Read Women Artists: An Illustrated History" by Nancy Heller

3. Discussion Questions "Can you imagine having to get written permission from the police to dress in the kind of clothes you want to wear? Would people find that strange in society today? Can you find some of these animals in this drawing of her studio? Which animal will be featured? Where do you see dark colors? If we divided this painting down the middle, would the two sides balance each other? How does she paint the animals to appear realistic? What would you say is the main subject of this painting besides the land? Are the farmers as important? Why not? In what direction, do your eyes move in this composition? Where does texture catch your eyes? How does that textured area contrast with other parts of the painting? Have you ever been horseback riding? Would the size make the horses seem even more lifelike? Do you see more straight lines or curved lines? What other details in the painting show movement?"

Lesson Activities

1. Choose 12" X 15" Painting Paper

2. Use basic shapes (circle, oval, triangle) to fill in the positive space (foreground) of the longhorn drawings

3. Add bull parts (horns, spots, hair) to the negative space (background) of the Rosa Bonheur Longhorns

Day Two, Art Start

1. Retrieve Rosa Bonheur Longhorns for Assigned Tables

2. Plowing In The Nivernals (1849) Rosa Bonheur

3. Discussion Questions "What cow caught your eye first? Did you notice the black and white animal in the middle that are rearing up? What is a study? Do you think this would be a good pet for you to have at home? Do you think it took her a long time to paint all those lines of color? Which prop do you think would be more interesting, a table or a bull? What did Rosa Bonheur paint throughout her career? What was the very first painting Rosa exhibited in Paris? How did Rosa Bonheur paint animals? Who is Buffalo Bill? What is the name of her most famous artwork? How does Rosa Bonheur create a feeling of movement with her cows? "

Lesson Activities

1. Add patterns (stripes, dots, swirls, waves) to the positive space (foreground) of the longhorn drawings

2. Use neutral colors (black, white, grey, brown) to fill in the negative space (background) of the longhorn drawings

3. Use neutral colors (black, white, grey, brown) to fill in the positive space (foreground) of the Rosa Bonheur Longhorns

Day Three, Art Start

1. Retrieve Rosa Bonheur Longhorns for Assigned Tables

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

Lesson Activities

1. Add highlights (reflective light, light source, highlights) to the positive space (foreground) of the longhorn drawings

2. Add shadows (reflective shadow, cast shadow, shadow) to the negative space (background) of the longhorn drawings 

3. Add repeating patterns (dots, stripes, swirls, spots) to the negative space (background) of the Rosa Bonheur Longhorns

Artist Examples

Student Examples