MiSs Rs ArT RoOm

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 

Monochromatic Statues

Learning Targets

I can...

• Create an original Monochromatic Statue using drawing techniques learned in class
• Use monochromatic colors (black grey white), line types (horizontal vertical diagonal), and shape variation (geometric organic free form) inspired by Australian Artist (1967-Present) Matthew Quick
• Use core observational skills (proportion, mapping, angle accuracy, edge control) and design principles (composition balance proportion) based on 19th Century French academic tradition
• Define Annotate (adding written notes, explanations, or critical comments directly next to or onto visual pieces)

Lesson One
Day One, Art Start

1. The Messenger (2015) Matthew Quick 

2. Read Charles Bargue Drawing Course by Charles Bargue

3. Discussion Questions "Can you explain your creative process? What media have you used? What is successful in your artwork? What art elements and principles did you use in your artwork? What could be improved in your artwork? What art elements and principles could you add to your artwork? How does value create the illusion of three-dimensional form on a flat surface? What do you think the culture valued, by looking at those examples? How do artists show the focus of the human body, athletics, and emphasis of individuality? Did you know most of the Greek works are Roman copies after the original were lost? Did you know Greek art was the first time in Western art that artists choose to sign his or her work? Who owns the past? What would happen to an overall drawing if the initial placement of the major angles if off by a small fraction? How does stepping back from an easel change the perspective on the proportions? How many distinct values (lights, mid tones, core shadows) do you see in this specific artwork? Is your drawing taller, shorter, or the same size as the picture you are copying?"

Lesson Activities

1. Use geometric shapes (squares, rectangles, triangles) to draw the positive space (foreground, middle ground, face structure) of the Monochromatic Statues 

2. Use geometric shapes (squares, rectangles, triangles) to draw the negative space (background) of the Monochromatic Statues 

3. Use line types (horizontal, vertical, diagonal) to draw the positive space (foreground, middle ground, face structure) of the Monochromatic Statues 

Day Two, Art Start

1. Retrieve Monochromatic Statues for Assigned Tables

2. Remedial Measures (2013) Matthew Quick

3. Discussion Questions "Where is the main light source hitting the marble or bronze? Where is the primary light source coming from, and how does the edge of the core shadow define the muscular structure? Are the lines in this statue appearing parallel or are these lines tilting in opposite directions to create contrapposto? What is the negative space created between the shoulders, torso, and the arms? How does drawing the negative shape help an artist get correct proportions? How does the texture of marble or bronze alter the way light slides across the skin compared to how it falls on drapery or hair? If this statue is a Roman marble copy of a lost Greek bronze original, what structural supports (tree trunks fig leaves) did the marble sculptor have to add to keep the heavy stone from snapping? Does this figure appear to be an idealized god, a celebrated athlete, or an ordinary human being? What visual cues tell you its status? How does the scale of the statue alter your emotional response when standing in front of it compared to looking at it on a flat screen?"

Lesson Activities

1. Use line types (horizontal, vertical, diagonal) to add details (shadows, highlights, texture) to the positive space (foreground, middle ground, facial structures) of the Monochromatic Statues 

2. Use oil pastels to fill in the positive space (foreground, middle ground, facial structures) with neutral colors (black, grey, white) for the Monochromatic Statues 

3. Use oil pastels to fill in the negative space (background) with neutral colors (black, grey, white) for the Monochromatic Statues 

Day Three, Art Start 

1. Retrieve Monochromatic Statues for Assigned Tables 

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

Lesson Activities

1. Add tints (add white, reflective light, light source) to subject matter (foreground, middle ground, facial structures) of the Monochromatic Statues 

2. Add shadows (add black, cast shadows, shadow) to the background (negative space) of the Monochromatic Statues 

3. Use drawing tools (pencils, oil pastels, charcoal, chalk) to add details (shadows, highlights, texture) to the Monochromatic Statues 

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

 Hand Contour Drawings

Learning Targets

I can..

• Create an original Hand Contour Drawing using drawing techniques learned in class
• Use line types (outline, contour, continuous), shape (geometric, organic, free form), and space (positive, negative) inspired by Drawing On The Right Side Of The Brain by Betty Edwards 
• Use drawing techniques (contour, outline, continuous) and design principles (emphasis, proportion, movement) based on Instructional Art Books
• Define Contour (the outline of a subset using lines to emphasize mass and volume)

Lesson One
Day One, Art Start

1. Portrait Of Erik Satie (1920) Pablo Picasso

3. Discussion Questions "What do you see in this artwork? What else do you notice in this artwork ?what content and subject matter are in this artwork? How does the artist create a sense of interest? How does the use of color impact the painting? What do you think is the meaning behind this artwork? What was the artist trying to communicate in this artwork? What clues do you see that support your ideas? What materials were used in the making of this piece? What would you change about your own artwork? How would you go about making this artwork yourself? What did you like best about this artwork? Why did the artist choose these shapes, lines, or colors? What is the different between blind contour and modified contour?"

Lesson Activities

1. Choose 12" X 12" Drawing Paper 

2. Use shape variation (geometric, organic, free form) to draw positive space (foreground, hands) of the hand drawings

3. Use value (lightness, darkness, highlights, shadows) to fill in the shape variation (geometric, organic, free form) of the Hand Contour Drawings

Day Two, Art Start

1. Retrieve Hand Contour Drawings for Assigned Tables

2. The Flowers Of Peace (1958) Pablo Picasso

3. Discussion Questions "Do you think line is the most important element? Why or why not? What is the difference between contour line, continuous contour line, modified contour, and blind contour? What happens when you turn an artwork around to view it from different angles? What do you notice about these self portrait? What do you think of this artwork? Does it remind you of anything you have seen before? What kind of characteristics would you attribute to this artwork? Why do you think artists like to create paintings with hands? Why is light important to artists?"

Lesson Activities

1. Add line types (horizontal, vertical, diagonal) and decorative patterns (stripes, swirls, dots) to the positive space (foreground, hands) of the hand drawings

2. Use patterns (swirls, dots, stripes) to add decorative patterns to the negative space (background) of the hand drawings 

3. Use color combinations (analogous, neutral, secondary) to fill in the negative space (background) of the Hand Contour Drawings

Day Three, Art Start

1. Retrieve Hand Contour Drawings for Assigned Tables

2. Set Up Studio Area (sharpie markers, watercolor, red string, yarn, glue sticks) 

Lesson Activities

1. Blend color combinations (analogous, neutral, secondary) for the positive space (foreground, hands) of the hand drawings

2. Add value (lightness, darkness, highlights, shadows) to the negative space (background) of the hand drawings 

3. Add illusion of depth by adding value (highlights, shadows, cast shadow, reflective light) to the Hand Contour Drawings

Artist Examples

Student Examples