SchoolArts Magazine

NOV 2014

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

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Page 14 of 54

The Essential Question How can students cr - trate metaphors and colloquialisms? Objective Students will r , humor- , and appr eate unique art depicting the various (excluding private parts, of course). Materials pencils, white sketch paper, water- colors, watercolor paper Procedures 1. Ask students to think about how we refer to the different parts of our bodies: Our heart is a ticker and we think with our noodle. Our e windows out to the world or into our soul, and our nose is a beak or a honker. Our toes are pig- and we can shake like a leaf. There - per on our lips. Brainstorm and list these various colloquialisms, plus 2. Students should choose one col- loquialism from the list to illustrate - dent's desk to approve. 3. Once appr watercolor as desired. Remind stu- dents to title their finished works. Assessment Student worked within the accepted parameters of the lesson, essed his or her idea in the artwork, and came up with an original title. By Laurie Bellet, art specialist at Oakland Hebrew Day School in Oakland, California, and creative consultant for Tora Aura Produc- tions. The Essential Question e emotion and expression fr portrait drawing lesson? Objective Students will draw expressive self- portraits that featur unusual facial expressions. Materials pencils, erasers, white drawing paper, mirrors, blending stumps, paper towels or other blending tools Procedures , I do a self-portrait proj- These self-portraits fulfill several visual arts standards, including drawing from observation, practic- ing pencil (shading) techniques, understanding facial propor- tion, understanding realism, etc. Although these projects have esults, I began to notice that the final por- traits wer . As such, I decided to add some life (and oject. After an introduction to the proportions of the human face, students were encouraged to prac- were asked to observe the changes in their facial features (shape, posi- ferent expressions. It was quite entertain- ing to watch students squint, sneer, frown, and gape at themselves. As expected, the resulting expressive portraits were livelier, more animated, and embodied more of each student' . Creating the expressive portraits forced students to observe and features mor , rather than recreate the exemplar image. In the end, this version of the project allowed students to more e the project's objectives, while also allowing them to have fun in the process. Besides, who doesn't love making faces? By Janice Corsino visual art teacher at Le Jardin Academy in Kailua, Hawaii. Image credit: Brianna, grade five. Cardboard Sculptures High School Making Faces Elementary Early Childhood The Essential Question n to understand the concept of positive and negative space? Objective Students will demonstrate the dif- ference between positive and nega- Materials light-sensitive paper, natural objects, Plexiglas, water Procedures 1. Decalcomania subject (the man), and the space. 2. Show students how to create a plus sign with two fingers for posi- tive space and a negative sign with one finger for negative space. 3. Show Magritte's Le Seducteur negative and positive spaces in the painting using their finger signs. 4. Take students outside and find three objects that have interesting edges or shapes and can be pressed 5. Help students arrange their paper, then car - position with Plexiglas for one to three minutes in bright sunshine. 6. After the paper has been car bin to r 7. Hang the finished works in the and positive space—as well as the objects—in each composition. By Trish Klenow, an artist and art educator from Apex, North Carolina. Middle School The Essential Question How can students learn to create realistic sculptures using unconven- tional materials? Objective After examining design elements create realistic sculptures using cardboard. Materials paper, pencil, craft knives, rulers, glue, cardboard Process 1. will be creating a realistic sculpture using cardboard as the medium. 2. objects such as cars, furniture, or musical instruments. 3. Lead students in a discussion about the design elements seen pleasing is the design? What makes the design pleasing? 4. After students select an object to create as a cardboard sculpture, provide paper and pencil for sketch - ing and planning. Be sure that plans show all sides of the object. 5. Following their own plans, have students measure and draw their designs onto cardboard, cut out the parts, and assemble. 6. Encourage the addition of details. Assessment Are three-dimensional design elements ef realistic cardboard sculpture? Extension Make a connection to Pop Art. Show examples such as Claes Old - enburg's Saw Sawing. By Pam Stephens, professor of art education at Northern Ari- zona University, Flagstaff.

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