Heart Lollipops

Learning Targets

I can...

• Create an original Heart Lollipops using drawing techniques learned in class
• Use color combinations (warm/cool colors, analogous colors, monochromatic), shape variation (geometric, organic, free form), and value (lightness, darkness, tints, shades) inspired by American Artist (1920-2021) Wayne Thiebaud
• Use observational drawings (proportions, perspective, sighting, quality) and design principles (composition, proportion, balanced) based on American Art
•  Define Subject Matter (the visual material, object, person, place, or event that the artwork depicts)

Lesson One
Day One, Art Start

1. Seven Suckers (1920) Wayne Thiebaud

2. Read Henry's Lollipop by Robert Quackenbush

3. Discussion Questions "What makes a candy look real or shiny in a painting? How did Wayne Thiebaud make a flat piece of candy look like it has weight, roundness, and a halo of bright light? How does the artist make these candies look real enough to eat? How can artists turn an everyday object into an interesting work of art? Can you think of an artist that uses everyday objects in artwork? How can you make your lollipop large enough to become the focal point? Which colors remind you of Valentines Day? How can artists use color, shape, and pattern to express love and kindness through art? How can we make our artwork unique while exploring a shared theme? What flavor or color makes you think of love and happiness? Do you want think to look like a tiny candy or a giant cartoon heart? How does liquid sugar turn into a hard candy stick?"

Lesson Activities

1. Choose 12" X 15" Drawing Paper 

2. Use graphite pencil to draw shape variation (geometric, organic, free form) for the positive space (foreground, middle ground, lollipop) of the Heart Lollipops 

3. Use graphite pencil to draw line types (horizontal, vertical, diagonal) for the positive space (foreground, middle ground, lollipop) of the Heart Lollipops 

Day Two, Art Start 

1. Retrieve Heart Lollipops for Assigned Tables 

2. Little Red Suckers (1971) Wayne Thiebaud

3. Discussion Questions "What types of lollipops are there? Where are these lollipops? How are the lollipops displayed? How is the painting drawn? How many layers does this lollipop consist of? Which of the choices below are the smallest lollipops? What types of lollipops do you like? What is the shape of your lollipops? How would you decorate your lollipop? What colors are used for this type of lollipop? What materials did Wayne Thiebaud use? Who was Wayne Thiebaud influenced by? What color schemes does he use analogous, complementary, or secondary? How do you think these lollipops would feel? How do the shadows help this artwork to look real? What is the painting about? What is the mood in this artwork?" 

Lesson Activities

1. Use oil pastels to fill in the positive space (foreground, middle ground, lollipops) with color combinations (analogous, complementary, secondary) for the Heart Lollipops

2. Use oil pastels to fill in the negative space (background) with color combinations (analogous, complementary, secondary) for the Heart Lollipops 

3. Add details (background, decorations, wallpaper) to the negative space (background) of the Heart Lollipops 

Day Three, Art Start 

1. Retrieve Heart Lollipops for Assigned Tables 

2. Set Up Studio Area (paintbrushes, tempera paint, water buckets, crayons) 

Lesson Activities

1. Add highlights (light source, reflective light, highlight) to the positive space (foreground, middle ground, lollipops) of the Heart Lollipop

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

3. Add embellishments (glitter, beads, ribbons) to details (background, decorations, wallpaper) of the Heart Lollipops 

Artist Examples

Student Examples 

Winter Value Paintings 

Learning Targets

I can...

• Create an original Winter Value Paintings using drawing techniques learned in class
• Use color combinations (neutral, monochromatic, grayscale), shape variation (geometric, organic, free form), and value (lightness, darkness, tonal, tints, shades) inspired by American Photographer (1902-1984) Ansel Adams 
• Use photography techniques (exposure, dynamic, speed, rule of thirds) and design principles (movement, composition, emphasis) based on American Conservation Movement
• Define Tonal (the lightness or darkness of a color or area called value)

Lesson One
Day One, Art Start

1. Young Oaks In Snow (1938) Ansel Adams 

2. Read First Edition Trees: Ansel Adams by Ansel Adams

3. Discussion Questions "How does an artist create a feeling of mood and drama without using any color? What words (cold, bright, majestic, silent) come to mind when you look at this snow? Why would capturing the beauty of nature might make people want to protect it? How did Ansel Adams use his art to show love and protection for nature? How does looking at a winter landscape make you feel? How can we arrange our trees so that some look very close to us (foreground) and others look far away (background)? How did limiting your palette to just values (black, white, grey) change how you focused on the textures (trees, snow, bark) in the value painting? In what ways did your painting capture the grand, powerful feeling of nature that Ansel Adams loved?"

Lesson Activities

1. Use ruler, compass, or straightedge to draw the scenery (background, foreground, middle ground) of the Winter Value Paintings

2. Add details (buildings, animals, plants) within the positive space (foreground, trees) and scenery (foreground, middle ground, background) of the Winter Value Paintings

3. Use permanent marker to outline the positive space (foreground, trees) and scenery (middle ground, background, foreground) of the Winter Value Paintings 

Day Two, Art Start

1. Retrieve Winter Value Paintings for Assigned Tables

2. Oak Tree, Snowstorm (1948) Ansel Adams

3. Discussion Questions "Why might an artist choose to work outside? What mood do you feeling when looking at Ansel Adams' black and white photographs? Why do you think Ansel Adams chose to focus so deeply on nature and national parks? Where do you see the brightest whites and the darkest blacks in the snowy landscapes? How does light change the way the tree trunk looks when it is covered in snow? How can you use brushstrokes to show the texture of rough bark versus soft, fluffy snow? What happens to your horizon line when you want to show a vast, heavy winter sky versus a massive blanket of snow? How does removing color help us notice details like texture, shape, and light that we might normally ignore? Do you think Ansel Adams work was purely about documenting nature, or was he trying to tell a story?"

Lesson Activities

1. Add patterns (swirls, clouds, stripes, stars) to the scenery (foreground, middle ground, background) of the Winter Value Paintings

2. Use color combinations (monochromatic, analogous, neutral) to fill in the scenery (foreground, middle ground, background) of the Winter Value Landscapes 

3. Use color combinations (monochromatic, analogous, neutral) to fill in the scenery (foreground, middle ground, background) of the Winter Value Landscapes 

Day Three, Art Start

1. Retrieve Winter Value Paintings for Assigned Tables 

2. Set Up Studio Area (paintbrushes, tempera paint, water buckets, pencils)

Lesson Activities

1. Add highlights (reflective light, light source, cast light) within the scenery (foreground, middle ground, background) of the Winter Value Landscapes

2. Add shadows (reflective shadow, cast shadow) within the scenery (foreground, middle ground, background) of the Winter Value Landscapes

3. Add details (animals, buildings, people) within the scenery (foreground, middle ground, background) of the Winter Value Landscapes 

Artist Examples

Student Examples 

Sasquatch Paintings

Learning Targets

I can...

• Create an original Sasquatch Painting using drawing techniques learned in class
• Use color combinations (analogous, complementary, monochromatic), shape variation (gometric, organic, free form) and value (lightness, darkness, tints, shades) inspired by Pacific Northwest Indigenous Tribes 
• Use perspective techniques (atmospheric, linear, curvilinear, alternative) and design principles (proportion composition, gradation) based on Folklore Art
• Define Cryptids (an animal or creature claimed to exist through folklore, legend, or eyewitness accounts, but whose existence has never been proved or verified by mainstream science)

Lesson One
Day One, Art Start

1. Untitled (2025) Ryan Henry Ward

2. Read Following Sasquatch by Molly Leach

3. Discussion Questions "Did you know many Pacific Northwest Tribes view the Sasquatch as a relative, neighbor, or protector? How does this change how we think about the forest if we view the creatures inside as our relatives? Did you know that Indigenous stories often show Sasquatches living in nature and taking only what is needed to survive? What lesson can we take from that about how we should treat the environment? In Anishinaabe traditions, the creature Sabe represents the sacred value of Honesty. why do you think a large, powerful forest being would be chosen to teach humans about being true to themselves? What are some stories your family uses to teach you how to stay safe? Why do you think television shows focus on hunting Bigfoot, while Indigenous stories focus on listening to or respecting them? How does learning that different tribes have different views of Sasquatch- some seeing a gentle giant, others a trister- show us that Native cultures are diverse?" 

Lesson Activities

1. Choose 12" X 15" Painting Paper

2. Use line types (contour, outline, continuous) to draw positive space (Sasquatch, foreground, middle ground) of the Sasquatch Paintings

3.  Outline line types (contour, outline, continuous) with neutral colors (black, grey, white, brown) for the positive space (foreground) of the Sasquatch Paintings 

Day Two, Art Start

1. Retrieve Sasquatch Paintings for Assigned Tables 

2. Inspiring Rascals (2026) Ryan Henry Ward

3. Discussion Questions "What does leave no trace mean? How does Sasquatch practice these principles in the story? How would you spend your day in the forest and how would you leave no trace behind? How can artists use line, shape, color, and texture to create an imaginary creature? How can an artist make a creature look like it belongs in its environment? How can artists use scale and composition to tell a story? How can we make something imaginary look believable? Do artists need to agree about what Bigfoot looks like because he is an imaginary or legendary creature? How can we let the viewer know something enormous has been walking through our forest? What clues would convince you that a creature was nearby? How can artists use scale and overlapping to create depth?"

Lesson Activities

1. Use color combinations (analogous, complementary, secondary) to fill in the positive space (foreground, middle ground, Sasquatch) of the Sasquatch Paintings

2. Use color combinations (analogous, complementary, secondary) to fill in the negative space (background) of the Sasquatch Paintings

3. Use neutral colors (black, white, grey, brown) to fill in the positive space (foreground, middle ground, Sasquatch) of the Sasquatch Paintings 

Day Three, Art Start

1. Retrieve Sasquatch Paintings from Assigned Tables

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

Lesson Activities

1. Add highlights (reflective light, light source) to fill in the positive space (foreground, middle ground, Sasquatch) of the Sasquatch Paintings

2. Add shadows (reflective shadow, cast shadow, shadow) to fill in the negative space (background) of the Sasquatch Paintings

3. Add details (hiking backpack, accessories, walking stick) to the positive space (foreground, middle ground, Sasquatch) of the Sasquatch Paintings 

Artist Examples

Student Examples

Van Gogh Chair Paintings

Learning Targets

I can...

• Create an original Van Gogh Chair Painting using painting techniques learned in class
• Use color combinations (complementary, analogous, monochromatic), line variation (horizontal, vertical, diagonal), and value (lightness, darkness, tints, shadows) inspired by Post Impressionist Painter (1853-1890) Vincent Van Gogh
• Use drawing techniques (observational, perspective, blocking shapes) and design principles (proportion, composition, variation) based on Post Impressionism
• Define Impasto (a technique where paid is laid on a canvas so thickly that it stands out in three dimensions, leaving brush or palette knife strokes clearly visible)

Lesson One
Day One, Art Start

1. Van Gogh's Chair (1888) Vincent Van Gogh

2. Drawing On The Right Side Of The Brain by Betty Edwards

3. Discussion Questions "What was Van Gogh's relationship with fellow artist Gauguin like? How did Van Gogh represent his thoughts about himself and his friends in his chair paintings? How does Van Gogh use everyday objects as a form of a self-portraiture? How do artists tell stories about life and personality? When looking at the arms, legs, seats, and backs of the chair, what do you think this chair is made of? Can you identify the materials used to make this chair? Did you know Vincent Van Gogh lived in various places such as the Netherlands, Belgium, Britain, and France? How does this unusual scene show Vincent Van Gogh's personality, love of nature, and home comfort? How is this painting a statement of friendship between two artists? How do the vertical lines and diagonal lines show movement in this artwork?"

Lesson Activities

1. Use line types (horizontal, vertical, diagonal) to draw the basic shapes (oval, circle, triangle) for the positive space (chair, foreground) of the Van Gogh Chair Paintings

2. Use oil pastels to add line types (horizontal, vertical, diagonal) to the positive space (foreground, middle ground) of the Van Gogh Chair Paintings

3. Use oil pastels to add line types (horizontal, vertical, diagonal) to the negative space (background) of the Van Gogh Chair Paintings 

Day Two, Art Start

1. Retrieve Van Gogh Chair for Assigned Tables

2. Gauguin's Chair (1888) Vincent Van Gogh

3. Discussion Questions "What is negative space? How might focusing on it be used as a strategy for observational drawing? Is the space in this painting positive or negative? What is a negative space drawing? How is drawing negative space related to drawing contour lines? Is the background of the picture positive or negative? What is the main object of this positive and negative space artwork? Does anyone want to share where the positive and negative space is in this image? Where is the positive space in both paintings? Where is the negative space in both paintings? What does it captivate, in terms of emotions, to the audience of negative space? What are three basic elements of composition needed in drawing? What is the different between negative and positive space? Which do you think is more important negative space or positive space?"

Lesson Activities

1. Use color combinations (analogous, complementary, monochromatic) to fill in the positive space (foreground, middle ground, chair) of the Van Gogh Chair Paintings

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

3. Use drawing techniques (blending, layering, overlapping) to add contrast to the composition of the Van Gogh Chair Paintings 

Day Three, Art Start

1. Retrieve Van Gogh Chair Paintings for Assigned Tables 

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

Lesson Activities 

1. Add highlights (reflective light, light source) to the positive space (foreground, middle ground, chair) of the Van Gogh Chair Paintings

2. Add shadow (cast shadow, shadow) to the negative space (background) of the Van Gogh Chair Paintings

3. Add overlapping shapes (circles, ovals, triangles, rectangles) to the positive space (foreground, middle ground, chair) of the Van Gogh Chair Paintings

 Artist Examples

Student Examples

Treehouse Drawings

Learning Targets

I can...

• Create an original Treehouse Drawings using drawing techniques learned in class
• Use line types (horizontal, vertical, diagonal), shape variation (geometric, organic, free form), and form (two dimensional, three dimensional) inspired by American Artist (1979-Present) Jedediah Corwyn Voltz
• Use perspective techniques (linear, one-point, two-point, three-point, atmospheric) and design principles (proportion, gradation, composition) based on American Art
• Define Architecture (the art or practice of designing and constructing buildings)

Lesson One
Day One, Art Start

1. Corner Store (2024) Jedediah Corwyn Voltz

2. Read Stuck by Oliver Jeffers

3. Discussion Questions "Are the houses below, in, or on top of the tree? How do you know? What shapes do you see in the structure of the houses? How do you access the houses? Is the tree sitting on a horizon line or inside of an area? What details do you notice in each of the houses? What windows do you notice in each of the houses? What is the secret purpose of the treehouse such as launching water balloons or high-tech makers space? What items would you throw up into the treehouse to keep them safe? Is your treehouse made of wood, giant sticks, crystal, or metal? Is the treehouse hidden by thick leaves, vibrant, or standing out as a statement piece? Is the treehouse drawing sitting on top of branches, wrapped around the truck like a spiral, or floating between multiple trees?"

Lesson Activities

1. Use observational drawing techniques (composition, direct light, value) to draw the basic parts (roof, windows, door, base) of the Treehouse Drawings 

2. Add shape variation (geometric, organic, free form) to add details (windows, doorways, balcony) to the positive space (foreground, middle ground, treehouse) of the Treehouse Drawings 

3. Add shape variation (geometric, organic, free form) to add details (trees, dirt path, puddles) to the negative space (background) of the Treehouse Drawings 

Day Two, Art Start

1. Retrieve Treehouse Drawings for Assigned Tables 

2. Lorax Camp (2020) Jedediah Corwyn Voltz

3. Discussion Questions "What are some things happening in this artwork? What kind of person would live in this treehouse? What is the treehouse made of (leaves, sticks, mushrooms, magical)? Are there any special doors, windows, or stairs to this house? Does this house have a special feature, like a baloney, a look out, or a secret room? What could be added to this picture with more time? What are some famous examples of biomorphic architecture? How does the shape of the home reflect the inhabitants? How does the treehouse blend in with its environment? What types of lines and shapes are present in your house? How are details like windows, doors, and roofs designed to be functional or imaginative? What was the most challenging part of designing and building your treehouse?"

Lesson Activities

1. Use types of patterns (stripes, swirls, meanders) to fill in the positive space (foreground, middle ground, treehouse) of the Treehouse Drawings 

2. Add high contrast (shaded areas, shadows, value) and light/medium contrast (background, light areas, middle ground) to the white space of the Treehouse Drawings 

3. Add embellishments (scrap paper, aluminum foil, paper bags)) to the positive space (foreground, treehouse) of the Treehouse Drawings 

Day Three, Art Start

1. Retrieve Treehouse Drawings for Assigned Tables

2. Set Up Studio Area (pencils, erasers, markers, rulers) 

Lesson Activities

1. Use color combinations (analogous, secondary, neutral) to fill in the positive space (foreground, middle ground, treehouse) of the Treehouse Drawings

2. Use color combinations (analogous, secondary, neutral) to fill in the negative space (background, landscape) of the Treehouse Drawings

3. Add additional types of patterns (stripes, swirls, meanders) to the negative space (background) of the Treehouse Drawings

Artist Examples

Student Examples