Igloos With Northern Lights

Learning Targets

I can..

• Create an original Igloos With Northern Lights using drawing techniques learned in class
• Use color combinations (monochromatic, neutral, cool colors), shape variation (geometric, orgnaic, free form), and space (positive, negative) inspired by Inuvialuktun Artist (1925-2001) Agnes Nanogak Goose
• Use architectural concepts (domes, framed structures, arches, vaults) and design principles (composition, proportion, repetition) based on Inuit Graphic Art
• Define Igloo (a dome-shaped temporary winter dwelling made of hard, compressed snow blocks (pukaangajug))

Lesson One
Day One, Art Start

1. Building An Igloo (1973) Agnes Nanogak Goose

2. Read Aurora: A Tale Of The Northern Lights by Mindy Dwyer

3. Discussion Questions "Did you know her drawings from Tales From The Igloo brought historic legends to a global audience, preserving oral history through visual art? Do you notice her stylized representation of hunters, birds, and bears? Did you know Agnes Nanogak Goose was a graphic artist and printmaker from Ulukhaktok? Did you know her dynamic artwork captured the activity and movement of her community? Did you know she completed over 200 prints in her lifetime? What visual techniques (line work, color, composition) did she use to make her figures look active rather than static? How did her style transition from her early drawings introduced in the 1967 Holman Print Collection to her late, large-scale masterpieces like the Mural (1971-1972)? What role did the Ulukhaktok Arts Centre play in translating her original drawings into finished prints? How does her artwork function as a tool for preserving and teaching cultural knowledge to younger generations?"

Lesson Activities

1. Use a ruler, compass, or straightedge to draw the scenery (middle ground, background) of the Igloos With Northern Lights

2. Add objects (animals, grasses, wildlife, rocks, mountains) within the positive space (foreground, igloo) of the Igloos With Northern Lights

3. Use permanent marker to outline the foreground (igloo), middle ground (snow, mountains, valleys), and background (sky, northern lights, background) of the Igloos With Northern Lights 

Day Two, Art Start

1. Retrieve Igloos With Northern Lights for Assigned Tables 

2. Thunder (1970) Agnes Nanogak Goose

3. Discussion Questions "What did you see in the pictures? What colors did the Northern Lights have? Where do you think you can see the Northern Lights? How was this snow structure constructed? How do these designs demonstrate generations of Inuit knowledge about the land, climate, and Arctic environment? Did you know that First Nations, Inuit, and Metis are distinct people with unique cultures? How do the Inuit use the environment to solve the challenge of winter survival? What history, values, and languages are associated with the craft, techniques, and materials needed to construct an igloo? In multiple scene works like her famous Mural, how do individual smaller scenes- depicting hunting, fishing, or games- weave together to tell a cohesive story about community life? How does her narrative style change when creating standalone art versus illustrating a specific text?"

Lesson Activities

1. Add texture (actual, visual, implied) to the positive space (igloo, foreground), and middle ground (snow, wildlife, mountains, valleys) of the Igloos With Northern Lights

2. Use color combinations (analogous, complementary, neutral) to fill in the positive space (igloo, foreground) of the Igloos With Northern Lights

3. Use color combinations (analogous, complementary, neutral) to fill in the negative space (background) of the Igloos With Northern Lights 

Day Three, Art Start

1. Retrieve Igloos With Northern Lights for Assigned Tables 

2. Set Up Studio Area (paintbrushes, glue sticks, scissors, stamps, chalk) 

Lesson Activities

1. Add highlights (reflective light, light source, cast light) to the positive space (foreground, igloo) of the Igloos With Northern Lights

2. Add shadows (reflective shadow, cast shadow, shadow) to the negative space (background) of the Igloos With Northern Lights

3. Add details (animals, mountains, rivers, northern lights) within the scenery of the Igloos With Northern Lights 

Artist Examples

Student Examples

Nighttime Owl Paintings

Learning Targets

I can...

• Create an original Nighttime Owl Paintings use drawing techniques learned in class
• Use color combinations (analogous, complementary, monochromatic), shape variation (geometric, organic, free form), and texture (actual, visual implied) inspired by Inuit Artist (1991-Present) Ooloosie Saila
• Use painting techniques (impasto, glazing, dry brush, alla prima) and design principles (composition, balance, variation) based on Indigenous Art
•  Define Inuit Art (the creative work made by the Inuit, the indigenous people of the Arctic regions in Canada, Alaska, and Greenland)

Lesson One
Day One, Art Start

1. Festival Owl (2026) Oolosie Saila

2. Read Owl Babies by Marin Waddell 

3. Discussion Questions "Is the owl sleeping, peeking out, or waking up? What does the weather feel like outside of the tree? What will happen when an animal's habitat changes with the seasons? What visual textures can make the feathers look soft and the bark look rough? How do the choices of an artist give an animal a specific personality? What can the tilt of the head or the size of the eyes tell us about an owl's mood? How does light create shadows that make a flat owl look three dimensional? What roles do daytime and nighttime play in the colors an artist chooses? How do artists and authors show big feelings like worry or relief in a character? How are owls a symbol of thoughtful perspective, wisdom, and quick wit? Have you ever seen any owl? What do you like about owls? What would you do if you had your own owl?" 

Lesson Activities

1. Choose 12" X 15" Drawing Paper

2. Use line types (horizontal, vertical, diagonal) to draw the foreground (bird), middle ground (feathers), and background (tree branches) of the Nighttime Owl Paintings

3. Use drawing techniques (blending, smudging, smearing) to add layers to subject matter (foreground, middle ground, bird) of the Nighttime Owl Paintings

Day Two, Art Start

1. Retrieve Nighttime Owl Paintings for Assigned Tables 

2. Ornamental Owl (2017) Ooloosie Saila 

3. Discussion Questions "What factors influenced the artist as a child that impacted her career? What are some characteristics from this artwork that sets it apart from other artists work? What is the symbolism found within this artwork? What are some indicators that prove this artist is important? What are some different types of art produced at different stages in her life? What makes you think this artist is a great artist? How did the artist become interested in birds? Does her artwork change your view of the world? How did the artist fill the composition? Did the artist take time and effort to make the color vibrant? What is the reason that some birds are colorful?"      

Lesson Activities

1. Add thin layers of pastels to the foreground (bird), middle ground (feathers), and background (tree) of the Nighttime Owl Paintings 

2. Use drawing techniques (blending, smudging, smearing) to add details (beak, eyes, eyelashes) to the Nighttime Owl Paintings

3. Use drawing techniques (blending, smudging, smearing) to add texture (actual, visual, implied) to the Nighttime Owl Paintings 

Day Three, Art Start

1. Retrieve Nighttime Owl Paintings for Assigned Tables

2. Set Up Studio Area (glue sticks, oil pastels, brown construction paper, sharpie markers)

Lesson Activities

1. Use color combinations (analogous, complementary, monochromatic) to fill in the positive space (bird) of the Nighttime Owl Paintings

2. Use color combinations (analogous, complementary, monochromatic) to fill in the negative space (background) of the Nighttime Owl Paintings

3. Use tint (white) and shade (black) to add the illusion of depth within the positive space (bird) of the Nighttime Owl Paintings 

Artist Examples

Student Examples 

 Tamara Phillips Inspired Jellyfish

Learning Targets

I can...

• Create an original Tamara Phillips inspired Jellyfish using collage techniques learned in class
• Use color combinations (analogous, complementary, secondary), shape variation (geometric, organic, free form), and texture (actual, visual, implied) inspired by Canadian Artist (2022-Present) Tamara Phillips
• Use painting methods (wet on wet, dry brush, wax resist) and design principles (movement, repetition, balance) based on Contemporary Art
• Define Rhythm (repeating color, value, line, and shape within a work of art)

Lesson One
Day One, Art Start

1. Yellow Jellyfish (2022) Tamara Phillips 

2. Read Jellyfish: A Fascinating Book Containing Jellyfish Facts, Trivia, Images, & Memory by Matthew Harper

3. Discussion Questions "How do you think values are created? What color could you add to another color to make it lighter? What color could you add to another color to make it darker? How does your eye move through the artwork? What choices did the artist make to make that happen? What is strange about this painting? What is mysterious about this painting? Who'd you think this artwork was created for? Why do you say that? How do you think this artwork was made? What title would you give this artwork/? What does this artwork remind you of?"

Lesson Activities

1. Choose 12" X 15" Drawing Paper 

2. Use geometric shapes (oval, circle, cylinder) to draw basic shapes of the positive shape (jellyfish) for the jellyfish paintings 

3. Use value (lightness, darkness) to add shadows (reflective shadow, cast shadow) and highlights (reflective light, light source) for Tamara Phillips Inspired Jellyfish

Day Two, Art Start

1. Retrieve Tamara Phillips Inspired Jellyfish for Assigned Table

2. Coral Nettle (2022 )Tamara Phillips 

3. Discussion Questions "What is a Jellyfish? Where do Jellyfish live? Where do jellyfish come from? How does a jellyfish eat? Where are jellyfish found? What types of colors are these jellyfish? Can jellyfish live on shore? How fast or slow do jellyfish move? Do jellyfish make sounds? Have you ever seen any of the types of jellyfish before? What are some similarities and differences you notice between these jellyfish? How many different types of jellyfish do you think there are in the ocean?"

Lesson Activities

1. Add line types (horizontal, vertical, diagonal) to decorative patterns (stripes, swirls, waves) of Tamara Phillips Inspired Jellyfish

2. Use decorative patterns (stripes, swirls, waves) to add designs to positive space (jellyfish) of the jellyfish paintings 

3. Use chalk pastel to fill in the negative space (background) with secondary colors (green, purple, orange) of the Tamara Phillips Inspired Jellyfish 

Day Three, Art Start 

1. Retrieve Tamara Phillips Inspired Jellyfish for Assigned Tables

2. Set Up Studio Area (pencils, chalk, embellishments)

Lesson Activities

1. Blend secondary colors (green, purple, orange) for the positive space (jellyfish) of the jellyfish paintings

2. Add highlights (reflective light, light source) to the negative space (background) of the jellyfish paintings 

3. Add illusion of depth by add shadows (cast shadow, reflective shadow) to the negative shape (background) of the Tamara Phillips Inspired Jellyfish 

Artist Examples

Student Examples

 Value Scale Pinecones

Learning Targets

I can...

• Create an original Value Scale Pinecone using drawing techniques learned in class
• Use color combinations (monochromatic, analogous, complementary), shape variation (geometric, organic, free form), and space (positive, negative) inspired by Canadian Artist (2014-Present) Floyd Elzinga
• Use mark making techniques (cross hatching, stippling, scribbling) and design principles (composition, gradation, repetition) based on Canadian Art
• Define Value (how light or dark a given color can be)

Lesson One
Day One, Art Start

1. Pine Cone 21-478 (2021) Floyd Elzinga

2. Read A Walk In The Forest by Maria Dek

3. Discussion Questions "Does an artist have to mirror nature to convey nature? Can artist interact with nature as a subject in a different way? How do artists move their arms to create a work of art? Where was the artist standing in conjunction with the work of art? Do depictions of nature have to be beautiful? Does an artist need experience firsthand to represent it successfully? Are paintings of nature a reflection of an artist's lifetime? How do works of art concerned with nature relate to socioeconomic, cultural, or political context in which thy were made? How does the meaning of an artist change over time? How might an artwork be interpreted different at different moments in history?"

Lesson Activities

1. Use geometric shapes (oval, circle, rectangle) to draw the positive space (pinecone) of the pinecone drawings

2. Use geometric shapes (oval, circle, rectangle) to draw the negative space (background) of the pinecone drawings

3. Use line types (horizontal, vertical, diagonal) to draw the positive space (pinecone) and negative space (background) of the Value Scale Pinecones

Day Two, Art Start

1. Retrieve Value Scale Pinecones for Assigned Table

2. Scrub Cone 20-074 (2020) Floyd Elzinga

3. Discussion Questions "Has industrialism changed the representation of nature? Why might an artwork be interpreted differently at different moments in history? Do you think artists see the world differently than non-artists? Is being an artist a stewardship? Are you the caretaker of what you know or do you own it? Do artists have a responsibility to share their artwork with the world? Why is nature important in art? How is art and nature related? How do artists approach the subject of nature in art?"

Lesson Activities

1. Use line types (horizontal, vertical, diagonal) to add details (shadows, highlights, texture) tot he positive space (pinecone) of the pinecone drawings

2. Use oil pastels to fill in the positive space (pinecones) with neutral colors (black white grey) for the pinecone drawings

3. Use oil pastels to fill in the negative space (background) with neutral colors (black white grey) for the Value Scale Pinecones

Day Three, Art Start

1. Retrieve Value Scale Pinecones for Assigned Tables

2. Set Up Studio Area (construction paper, oil pastels, charcoal)

Lesson Activities

1. Add pinecone parts (scales, stems, branches) with neutral colors (black white grey) for pinecone drawings

2. Use texture techniques (eraser cloth sponge) to add details (scales, stems, branches) to the pinecone drawings

3. Add highlights (reflective light, light source) and shadows (cast shadow, shadow) to the negative space (background) of the Value Scale Pinecones

Artist Examples

Student Examples

 Perspective Winter Trees

Learning Targets

I can...

• Create an original Perspective Winter Tree using drawing technique learned in class
• Use secondary colors (green purple orange), line types (horizontal vertical diagonal), and space (positive negative) inspired by Canadian Artist (1871-1945) Emily Carr
•  Use painting techniques (wet on wet, dry brush, smooth) and design principles (composition, movement, gradation) based on Canadian Art
• Define Perspective (illusion of space and depth on a flat surface)

Lesson One
Day One, Art Start

1. Forest Landscape (1930) Emily Carr 

2. Read Emily Carr: At The Edge Of The World by Jo Ellen Bogart

3. Discussion Questions "Where was Emily Carr born? What two cities did she study art in? What did Emily Carr give up painting? What did Emily Carr do during her break in art? How old was Emily Carr when she started painting the second time? What year was her first book published? What principles of design was the main component of Emily Carr work? How old was Emily Carr when she died? Do you think it would be easier for women today to do what Emily Carr did? Can you think of examples in today's world where men and women are expected to do certain things? Do you think a woman artist could have lived as Carr did, in your home country seventy years ago? Was it easier for men or the women to come to Canada to study or work?"

Lesson Activities

1. Use drawing techniques (layering overlapping cropping) to make a composition for the Perspective Winter Trees

2. Use drawing techniques (layering overlapping cropping) to add the parts (trunk, leaves, branches) for the trees of the tree paintings

3. Add line types (horizontal vertical diagonal) to the positive space (trees) of the Perspective Winter Trees

Day Two, Art Start

1. Retrieve Perspective Winter Trees for Assigned Tables

2. Western Forest (1936) Emily Carr

3. Discussion Questions "What are trees so colorful? What are some differences between trees? What types of trees can you use to break up your drawing? What colors are the trees? What is the meaning behind a tree? What types of trees are there? How many kinds of trees are there? What is your favorite type of tree? Do you know any interesting facts about trees? What is the strangest tree you have seen'? what kinds of trees are beautiful? Why are trees so large or small? What is the contemporary color of green? What are subtractive and addictive colors?" 

Lesson Activities

1. Use value (reflective highlights shadows) to add contrast to positive space (tree) of the Perspective Winter Trees

2. Use value (cast shadow, reflective light, highlights) to add contrast to the negative space (background) of the Winter Perspective Trees

3. Use line types (horizontal, vertical, diagonal) on the positive space (trees) of the Winter Perspective Trees

Day Three, Art Start 

1. Retrieve Perspective Winter Trees for Assigned Tables

2. Set up Studio Area (paintbrushes, tempera paint, water bucket)

Lesson Activities

1. Use secondary colors (orange green purple) to fill in the positive space (trees) of the Perspective Winter Trees

2. Use secondary colors (orange green purple) to fill in the negative space (background) of the Perspective Winter Trees

3. Use metallic colors (gold silver bronze) to outline the line types (horizontal vertical diagonal) of the positive space (trees) of the Perspective Winter Trees

Artist Examples

Student Examples