Paper Quilling Relief Sculptures

Learning Targets

I can...

• Create an original Paper Quilling Relief Sculpture using sculpture techniques learned in class
• Use line types (horizontal, vertical, diagonal), form (two dimensional, three dimensional), and texture (actual, visual, implied) inspired by Paper Illustrator (1983-Present) Yulia Brodskaya
• Use paper techniques (coils, scrolls, waves, diamonds) and design principles (composition, movement, contrast) based on Modern Art
• Define Quilling (the art of manipulating and arranging small strips of paper into detailed designs)

Lesson One
Day One, Art Start

1. The Heart Alchemist (2023) Yulia Brodskaya

2. Read Paper Quilling Chinese Style by Paper Arts Museum Zhu Ligun

3. Discussion Questions "What shapes can you identify in this composition? How might you be able to get sharp corners in quilled paper? What kinds of designs can you imagine with quilled paper? What are some common things that we find in the springtime? What things in nature are a sign of spring? Are there animals or insects that you see in springtime? How long do you think it took the artist to learn how to paper quill? What type of quilling tools do artists use to create artwork? How do you know what size to make loose coils? What do artists use to coat the finished quilling? How do artists store quilling paper? How can you make something look three dimensional? How many different ways can you fold paper? Can you work as a team to complete the sculpture?"

Lesson Activities

1. Choose 12" by 15" Colored Construction Paper

2. Use three compositional elements (shape, color, texture) to represent a memory, place, or even for the paper sculptures

3. Use line variation (coils, scrolls, waves, diamonds) as a design principle (balance, movement, repetition) within the Paper Quilling Relief Sculptures

Day Two, Art Start

1. Retrieve Paper Quilling Relief Sculptures for Assigned Tables

2. Vrubel Tribute (2023) Yula Brodskaya

3. Discussion Questions "What do you think is happening in this composition? How does this work make you feel? What do you see in this sculpture? How would you describe the composition? Does this work look natural, representational, or is it stylized? What materials were on hand for the creation of this artwork? What does this tell us about the environment in which it was made? Who is the artist of each sculpture? What do you know about this artist? What medium was it done with? Why was it made, is it known? For what purpose or use does the sculpture have? What feeling was each artist trying to convey? How did the artist accomplish this composition? What do these sculptures reveal about the artist or style? What does the sculpture represent? What do you think is happening in this sculpture?"

Lesson Activities

1. Use compasses, protractors, and texture plates to add symmetrical shapes and expressive lines to the paper sculptures

2. Use color combinations (neutral colors, analogous colors, metallic colors) to fill in the negative space (background) of the paper sculptures 

3. Use color combinations (neutral colors, analogous colors, metallic colors) to fill in the positive space foreground) of the Paper Quilling Relief Sculptures 

Day Three, Art Start

1. Retrieve Paper Quilling Relief Sculptures for Assigned Tables

2. Set Up Studio Area (glue sticks, construction paper, scissors)

Lesson Activities

1. Use scissors to cut out two dimensional shapes (circle, diamond, oval, triangle) to create the positive space (foreground) of the paper sculptures

2. Glue down three dimensional shapes (cylinder, cone, sphere) to create the positive space (foreground) of the paper sculptures 

3. Use sharpie markers to add beautiful patterns (hearts, swirls, dots, stripes) within the positive space (foreground) of the Paper Quilling Relief Sculptures

Artist Examples

Student Examples

 Frida Kahlo Still Life

Learning Targets

I can...

• Create an original Frida Kahlo Still Life using drawing techniques learned in class
• Use color combinations (analogous, complementary, secondary), shape variation (geometric, organic, free form), and space (positive, negative) inspired by Mexican Painter (1907-1954) Frida Kahlo
• Use observational drawing techniques (perspective, proportion, grid measurement) and design principles (composition, alignment, movement) based on Symbolism
• Define Still Life (a work of art that shows inanimate objects from the natural or man-made world)

Lesson One
Day One, Art Start

1. Still Life With Parrot (1951) Frida Kahlo

2. Read Understanding Frida in Context Through Her Still Life: Pitahayas by MMOCA

3. Discussion Questions "How does still life represent the artist's unique identity? What elements in each piece show realism, surrealism, and symbolism? What is unique about Frida Kahlo? What does she tell us about herself in this artwork? What gives hints about her experiences and Mexican Identity in these paintings? What stories do the background of her image tell? What is unique about you that you would like to capture in a still life? Would you consider Still Life: Pitahayas a self portrait? Why or why not? What do objects depicted in this painting tell you about Kahlo's life? What fruits are native to Michigan or the Midwestern United States? What do the volcanic rock and cactus depicted in the painting tell you about the geology and climate of central Mexico? How do they compare to the landforms and vegetation of Michigan? Why do you think Kahlo included a skeleton in this painting? What would you include in your still life that reflects who you are, where you are, and something about your life?"

Lesson Activities

1. Choose 12" X 15" Drawing Paper 

2. Add three dimensional shapes (cylinder, pyramid, cone) to the composition of arranged fruit (watermelon, strawberries, oranges) for the personal identity still life

3. Add horizon line in the background (table, fabric, wallpaper) to separate the subject matter from the wallpaper of the Frida Kahlo Still Life 

Day Two, Art Start

1. Retrieve Frida Kahlo Still Life for Assigned Tables

2. Viva La Vida, Watermelons (1954) Frida Kahlo

3. Discussion Questions "What was Frida Kahlo's full birth name? Why did Frida Kahlo change hr date or birth on her birth certificate? Why was Kahlo pretending to be three years younger? Why was Frida Kahlo's nationality? Who or what is depicted in most of Frida's paintings? In what year did she joint Mexican Communist Party and fall in love with Diego Rivera? What was the first solo exhibition of Frida Kahlo's work held? When did Frida Kahlo begin her career as an artist? What was Frida and Diego's marriage often called? Who was Frida Kahlo? What are some of Frida Kahlo's most famous paintings? Do you have a favorite artist? What will you include in your artwork that represents what matters to you?"

Lesson Activities

1. Use color combinations (analogous, secondary, complementary) to fill in the positive space (fruit, inanimate objects, flag) of the personal identity still life

2. Use color combinations (analogous, secondary, complementary) to fill in the negative space (background) of the personal identity still life

3. Use painting tools (brayer, palette, paint brush) to add patterns (floral, swirls, dots) to the negative space (background) of the Frida Kahlo Still Life 

Day Three, Art Start

1. Retrieve Frida Kahlo Still Life for Assigned Tables

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

Lesson Activities

1. Add highlights (reflective light, light source) to subject matter (watermelon, oranges, strawberries) of the personal identity still life

2. Add shadows (cast shadow, reflective shadow) to the negative space (background) of the personal identity still life 

3. Outline details (pattern, floral, inanimate objects, fruits, vegetables) in the positive space (foreground, middle ground) of the Frida Kahlo Still Life 

Artist Examples

Student Examples

Learning Targets

I can...

• Create an original Snow-Covered Cityscapes using drawing techniques learned in class
• Use neutral colors (black, brown, grey), line types (horizontal, vertical, diagonal), and value (lightness darkness) inspired by Australian Artist (1881-1962) Martin Lewis
• Use printmaking techniques (engraving, etching, carving) and design principles (contrast, gradation, composition) based on Realism
• Define Cityscapes (the visual appearance of a city or urban area)

Lesson One
Day One, Art Start

1. Stoops In Snow (1930) Martin Lewis

2. Read The Prints of Martin Lewis: A Catalogue Raisonne by Paul McCarron

3. Discussion Questions "What do you think of artwork that is made in black and white? Why would a drawing be considered more "original" than a print of the same work? Do you consider graphite and conte rayon"museum-quality" materials? What is the difference between teaching and dry point? How does the artist use value in his artwork? What should be included in a cityscape What do you think inspired he artist to create these pieces? What is interesting about these prints? How has the work of the artist evolved overtime?"

Lesson Activities

1. Use a pencil to draw the basic shapes (geometric, rectangle, oval) of the buildings of the cityscapes

2. Use line types (horizontal, vertical, diagonal) to add details (windows, doors) to the cityscapes

3. Use line types (horizontal, vertical diagonal) to add details (cloud formations, snow, raised highway) to the negative space (background) of the Snow-Covered Cityscapes

Day Two, Art Start

1. Retrieve Snow-Covered Cityscapes for Assigned Table

2. Winter On White Street (1934) Martin Lewis

3. Discussion Questions "Who is the artist that created this work? Which decade did the Realism movement been? What was special about Martin Lewis's prints? What are we learning by doing this project? What was one artist that inspired Martin Lewis? What types of colors can be found in these prints? Which piece of artwork is the most famous? Would you like living in a city? What are some of the advantages to living in a city? What are some of the disadvantages to living in a city? What is your favorite city to visit? What part of the city do you like best? What do you think could be done to improve the living conditions in the cities?"

Lesson Activities

1. Use color combinations (analogous, neutral, secondary) to fill in the positive space (buildings) of the cityscapes

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

3. Use line types (horizontal, vertical, diagonal) to fill in the positive space (buildings) with designs (windows, doors, stairs) for the Snow-Covered Cityscapes

Day Three, Art Start

1. Retrieve Snow-Covered Cityscapes for Assigned Tables

2. Set Up Studio Area (charcoal, conte crayon, blending tools)

Lesson Activities

1. Add highlights (light source, reflective light) to positive space (buildings) of the cityscapes

2. Add shadows (cast shadow, shadow) to the negative space (background) of the cityscapes

3. Use stop motion program (iMotion, FlipaClip, Stop Motion) to add an animation to the Snow-Covered Cityscapes

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

 Arctic Animals

Learning Targets 

I can...

• Create an original Arctic Animal using drawing techniques learned in class 
• Use warm/cool colors (red orange yellow, green blue purple), sharp variation (geometric organic), and line types (horizontal vertical diagonal) inspired by Canadian Artist (1926-2015) Ted Harrison
• Use art element: texture (rough smooth) and design principles (composition repetition balance) based on Canadian Art
• Define Texture (the feel or appearance of a surface)

Lesson One
Day One, Art Start

1. Floating Gulls (1994) Ted Harrison

2. Read Arctic Animals by Tad Carpenter

3. Discussion Questions "What could be cuter than a cozy textured polar bear, arctic fox, narwhal, or arctic hare? What can you identify in the artwork using directional words? Which line is above this line? How many lines did you draw below this line? How did the artist create a landscape using curved liens and organic shapes? Did the artist use short, straight lines to add fur texture to their polar bear? What do all arctic animals have in common? What is the most interesting animal in the Arctic? How do animals adapt to arctic conditions? What animals are found in the arctic? Why are arctic animals white? How many animals live in the Arctic?"

Lesson Activities

1. Use three geometric shapes (rectangle, oval, circle) to create a three dimensional silhouette of an arctic animal (fox, bear, wolf) for the animal composition

2. Add details (eyes, nose, claws) to the three dimensional silhouette of an arctic animal (fox, bear, wolf) for the animal composition

3. Outline positive space (arctic animal) with neutral colors (black, brown, grey) for the Arctic Animals

Day Two, Art Start

1. Retrieve Arctic Animal for Assigned Table

2. Flying South (1993) Ted Harrison

3. Discussion Questions "What do you see in this picture? Does your picture have space or distance? Does your picture have an horizon line, one point perspective, or background? How can we create the illusion of depth within our own Arctic Animals? What do you think was the most important tool the artist used when creating this work? Why are you drawn to this subject? What connections did the artist have to her work? Does this artwork represent something about the artist? Is there an element of the artwork you enjoy working with most? What do you think the artist meant when creating this artwork?"

Lesson Activities

1. Add finished details (eyes, nose, claws) to the positive space (fox, wolf, bear) of the arctic animal composition 

2. Finish outlining positive space (fox, wolf, bear) with neutral colors (brown, black, grey) for the arctic animal composition

3. Add embellishments (salt, glitter, metallic) for the negative space (background) of the Arctic Animals

Day Three, Art Start

1. Retrieve Arctic Animal for Assigned Table

2. Set Up Studio Area (water bucket, paint brush, watercolor)

Lesson Activities

1. Finish adding embellishments (salt, glitter, metallic) for the negative space (background) of the Arctic Animals

2. Add neutral colors (black, grey, brown) to the three dimensional silhouette (fox, bear, wolf) of the arctic animal composition

3. Add value (highlight, shadows) to the positive space (fox, bear, wolf) of the Arctic Animals

Artist Examples

Student Examples