StudioArtMap.pdf

Farmington Public SchoolsCourse: Studio Art

Department: Fine and Applied Arts

Course Purpose:The Studio Art course is designed to promote offerings and opportunities to express artistic content through visual means with specific artistic intent in two and three dimensions. In the Studio course one will value quality work, be encouraged to think about the 'why' of art making, and be able to choose whatever medium best serves the concept trying to be expressed. The Studio Art class is the last of the general art courses which provides instruction in a variety of media, including: drawing, painting, graphic design, printmaking, and sculpture. At the completion of Studio Art, student will focus on drawing (drawing, printing, and painting), 2D Design (graphic and digital media), or 3D Design (ceramics or 3D) and will appreciate the technical, functional and aesthetic properties of art from various genres and cultures, drawing on them for inspiration in one’s own creations.

Major Learning Goals and Understandings:The class of Studio Art encourages students to explore a wide area of contemporary aesthetic and cultural experiences. Students will use production, perception, and reflection skills to design, craft, and defend personal visions and artistic concepts; develop artistic autonomy to identify and focus on their practice, act upon their ideas and continue to learn over the length of their career; be able to think critically, critique art, and contextualize their work with appropriate concepts from history, cultural theory, contemporary art, public and global life and ethics; be conversant with interdisciplinary concepts and approaches in contemporary art.

Essential Core Experiences:

1. Figure drawing 6. Perspective drawing2. Package Design 7. New Media sculptures3, Spatial Structures 8. Photorealistic painting4. Au plein air painting 9. Artist books - graphic novels5. Relief printing 10. Historical poster design 11. Contemporary Art Museum

FHS Studio Art Curriculum Map

Author: William Wright the Elder Date: 6/08 1

Unit 1: Figure Drawing Grade: 10-12 Subject: Drawing Course: Studio Art Length of Unit: 4 Weeks

Essential Questions· Why has the figure been revered as a symbol for perfection since

the time of the Ancient Greeks?· What effect does chiaroscuro and foreshortening have on

drawing the figure?· What is the process that is used to transfer the ideal form into a

representational form using chiaroscura?

Stage I - StandardsPrimary EU’s and Content Standards Key Content Knowledge and Concepts/Skills

(FFAAS)1.13 Express artistic content through artistic (visual) means with specific artistic intent.

FFAAS 2.21 Explain that art is the development and portrayal of ideas, feelings and perceptions in which technical skill, inventiveness and expressive meaning are important in both the fine and applied arts. (Connecticut Visual Arts Standards (CTS) 2a, 2b, 4a, 5a, 6a)

FFAAS 4.15 Value quality work, pay attention to details and meet deadlines. (CTS 1b and 1c)

The students will know:

• how to perceive the proportions of the body through the rendering of life-like drawings using graphite and charcoal media.

• that chiaroscura is a process of the artist translating visual information into layers.

• the standard proportions of the human form.

• and perceive how light manipulates mood and promotes expression in a portrait.

• why the human form has been considered an expression of the ideal from the classical Greeks to the Christians.

• how fabric folds over standard spherical and box forms.

The students will be able to:

• Demonstrate the ability to see and graphically imitate the body features and attitudes of the subject through the use of light and shadowing techniques.

• Apply the elements and principles of design to produce portrait compositions that make expressive use of positive and negative space that reinforces the character of the subject as influenced by his/her age and culture.

• To articulate the human proportional form in gesture and representational methods from a life model .

• Demonstrate how to draw specific proportions using the classical 8 head method and describe it in the work of others.

• To reflect upon and understand the Renaissance standard of human proportions and its application to life drawing in class.

• Use the chiaroscura technique to render values on the human form.

Pre-AP Competencies

Inventive and evocative execution of work.

Accomplished technical skills evident in the final drawing.

The work engages the viewer.



Stage II – Common Assessments

· Authentic Performance Task- create a representational figure drawing of a model based on observation· Assessment (self) – comparison of work against Dürer’s standard model· Assessment (teacher) – technique, proportion, chiarosucra rendering, and artistic content in the work· Class critique of compositional studies during process – defend portrayal of model’s attitude, use of shading and proportions· Final group critique – defend how they translated the light cast upon the live model in a standard chiaroscura method

Stage III– Core/Assured Learning Experiences

· Standard human proportions with reference to head units· Standard attitude lines and proportional layout· Direct visual layout techniques

o Using pencil gageso Decoding shades on the human formo Creating volumes in fabric

· Figure-ground relationships and its impact on the content of the final image.



Unit 2: Perspective

Grade: 10-12 Subject: Drawing Course: Studio Art Length of Unit: 4 Weeks

Essential Questions· Why can there be more than one vanishing point in a painting or drawing?

Is there any limit to how many there can be? · How does sfumato help to make a painting or drawing seem more realistic or

naturalistic?· With the discovery of linear perspective to what end have we progressed

artistically? · As an artist can we draw a distinction between perspective and point of

view?


1.12 Develop and express perceptions, ideas, and feelings in powerful, evocative and aesthetic ways in the fine and applied arts using representational, abstract, and non-objective modes of thinking as reflected in a portfolio of work

2.31 Analyze social and cultural influences as it affects their own perception and understanding of designed objects and artworks from various times and cultures.

3.19 Select and describe examples of artistic thinking in which an artist reflects and comments on his/her environment i.e. Edward Hopper’s “realism” (CTS 2a,4a,6a)

Library Students will use video, audio, and multimedia tools to create clear and meaningful presentations of ideas.


• Atmospheric Perspective As space recedes into the far distance in a landscape painting or drawing, the intensity of the color fades and there is less contrast of lights and darks. The further back in spatial depth, the lighter the color. Often, colors in the far distance appear as lighter, cooler tones of blue to gray. (Leonardo's "perspective of disappearance" or sfumato)

• Overlapping is the placement in a composition of one object in front of another, which creates the illusion of depth.

• Relative size (scale) is the size of one object or part of a landscape in relation to another. For example: a tree in the foreground would appear much larger than a tree in the background.

• Identify the human-nature relationship in the representation of the landscape.

• Foreshortening techniques as applied in images such as Mantegna's Dead Christ

• Reverse perspective as demonstrated by David Hockney’s contemporary work


• Create a multiple perspective image using conventions of sfumata and linear perspective from observed forms.

• Create an image which requires higher order thinking skills, recall of the student’s past museum and/or gallery experiences, and creativity to fomulate a new vision for piece of architecture for the future.

• To compare and contrast Gustave Caillebotte’s Paris Street, A Rainy Day,1877 painting with David Hockney’s The Chair , 1985.

Pre-AP Competencies

Work shows flexibility of thinking.

Work demonstrating strong links between form and content.

Strong technical command of perspective issues.




· Authentic Performance Task- create two perspective drawings, one from life and one creative interpretation· Assessment (self) – compositional considerations, linear perspective technique, limitations of the assigned situation· Assessment (teacher) – perspective technique, foreshortening and sfumato techniques, and creativity applied in the final work· Assessment (teacher) - accuracy of multimedia presentation on works comparison· Class critique of conceptual studies for the final work during process – defend how the creative work addresses the need for the

future, how the work is technically proficient· Podcast- process and technique· Final group critique – reflect on inspirational considerations for the perspective offered, technical prowess, and artistic vision


· Use of the library for analysis and presentation formulation· Studio experience creating a observed drawing with mulitple perspectives· Experience employing creativity and articulation of a solution to fill a need for the future generations of man· Librarian generated pathfinder for reference media of podcast· Create a podcast

Gustave CaillebotteParis Street, A Rainy Day1877Oil on Canvas Hockney, David

The Chair1985Oil on canvas



Unit 3: Photorealistic Painting


Essential Questions· Is still life only about the objects seen in the image or also about those not

in the image? If so, what questions does this beg? · Do still life artists most often commodify the image of the product

represented or the still life itself?· Why is combining real and implied imagery together helpful to an artist

who is trying to create a sense of photorealism within a design?· How can the artist perceive the beauty of movement, the subtleties of color,

and the richness of texture better than cameras in poorly lit conditions?


1.10 Control the elements, principles, materials and processes of the visual arts, including two/ three dimensional and electronic, to make clear artistic intent in the fine and applied arts at a proficiency level appropriate for high school

2.23 Be in touch with internal feelings and draw on them as the basis for works of art. (CTS 5f)

3.19 Select and describe examples of artistic thinking in which an artist reflects and comments on his/her environment i.e. Edward Hopper’s “realism” (CTS 2a,4a,6a)

4.17 Work independently for long periods of time without being distracted.


• the four steps of constructing a painting including cartooning, underpainting, painting, and overpainting.

• a successful painting must capture the essence of a place, object, or individual people in a way that's totally different to photos.

• hyperrealistic techniques employed to create the illusion of a photograph

• Realization of the subject is more important then a photorealistic rendering of the subject

• new vocabulary specific to photorealism and still-life painting.


• create a painting of objects from direct observation.

• use drawing techniques to successfully depict the illusion of three-dimensional form and space.

• use artistic tools of observation, gridding, and photographic flash images to create a hyperrealistic image.

• critique the American movement of photorealism and its value and place in art history.

Pre-AP Competencies

Confident execution of work.

Effective use of form and content.

Ambitious experimentation with evidence of risk-taking.

Strong quality of artwork.




· Authentic Performance Task- create a still life drawing using direct observation, gridding, and photographic references· Assessment (self) – How is the image your designed and presented is better than a photographic representation?· Assessment (teacher) – technique, proportion, and artistic content in the work· Quiz – technical procedure for creating a hyperrealistic painting· Class critique of compositional studies during process – defend how the image is about more than the represented objects· Final group critique – constructive criticism of other student’s work looking at technique used by the student


· Compositional contour drawing· Acrylic painting techniques· Concept-based still life creation process· Compare and contrast contemporary verses 1960’s photorealistic artists



Unit 4: En plein air painting


Essential Questions· What are different ways that artists have used the landscape

throughout history to contemporary times? · What are examples of different relationships between art and

the landscape- for example: art that investigates and records the environment as it exists, art that responds to and is influenced by its setting or environment, or art that imposes itself onto the landscape? What are the similarities and differences between them?

· How can the artist’s hand change the relationship between landscape and time?


1.12 Develop and express perceptions, ideas, and feelings in powerful, evocative and aesthetic ways in the fine and applied arts using representational, abstract, and non-objective modes of thinking as reflected in a portfolio of work

2.22 Draw on the sensuous aspects of nature as a basis for artistic ideas. (CTS 1c)

2.26 Identify characteristics of classic and romantic modes of artistic expression in representational, abstract and non-objective works of art from diverse cultures and time periods. (CTS 4a,4b,5a,6a,6b)

3.13 Use suggestions to improve areas of weakness. (no correlation)


• a range of artists who incorporate elements from the landscape or integrate the landscape into their work.

• how to deal with the image as the scene being rendered changes over time as the sun moves across the sky.

• plein air paintings need to be started and finished outdoors


• cope with changing lighting on the subject.

• manage paints and supplies in a safe and environmentally friendly way.

• create gestural images of large scale views

• produce articulate detailed images of botanical plant studies

• work quickly to create studies within the allotted time

Pre-AP Competencies

Work demonstrates command of both artistic and technical concerns

The work effectively synthesizes form and content



Stage II – Common Assessments· Authentic Performance Task- create a plein air painting using both gesture and detail components· Assessment (self) – observational considerations, figure/ground relationship, watercolor techniques · Assessment (teacher) –plein air gestural image is influenced by an artist presented in class· Class critique of conceptual studies during process – How does this work establish a relationship between the environment and art?

Stage III– Core/Assured Learning Experiences· Gestural drawing· Watercolor technique· Plein air supplies and technique· Figure-ground relationship



Unit 5: Relief Printmaking


Essential Questions

· Why would an artist want to create art using antiquated materials?· What is similar and different about old and new relief printed art?· What happens to a graphic image when distressed materials are used as a

print base?


1.11 Develop and express perceptions, ideas and feelings in creative ways in the fine and applied arts using representational, abstract and non-objective modes of thinking as reflected in a portfolio of work

2.24 Notice and appreciate the technical, functional and aesthetic properties of art from various genres and cultures, drawing on them for inspiration in one’s own creations. (CTS 4c)

2.28 Identify and describe works which reflect elements of classical thought and feeling across time, culture and style from ancient to contemporary periods. (no correlation)

3.16 Articulate artistic intent and content in is/her works of art. (CTS 5d)


• the collographic, reduction block, and wood block technique and processes

• how relief printing compares to intaglio processes

• multiple impression image technique

• how old and new technique compare and contrast


• create a multiple impression image on non-traditional printing material

• create an engaging image that uses composition and color to articulate the artistic content

• create image portfolio with several different states of the print

• print an image with tight registration

Pre-AP Competencies

Command of both stylistic and technical concerns

Engaging drawing issues and techniques

Informed and developed thought and risk-taking




· Authentic Performance Task- create a multiple impression print using etching press· Student Assessment (self) – critique artistic intent in comparison with historical relief print making· Assessment (teacher) – technique, ergonomics, and function of the work· Class critique of contemporary printmaking concepts – how did the image change with the introduction of found and distressed

materials?· Final group critique – What is the line between an image that is engaging or confusing?


· Relief print with multiple impressions· Use of the etching press· Registration of prints· Color and emotional responses of the viewer



Unit 6: New Media: Sculptural Hybrids

Grade: 10-12 Subject: 3D Design Course: Studio Art Length of Unit: 4 Weeks

Essential Questions· What might the benefits of converging media be for art?· How does the term 'hybrid' apply to Genetics? Linguistics? Visual and

Performing Art? What is the common trait of these terms?· How has the use of art media evolved over time and how do

contemporary multi-media artists reflect this particular time and place?· Using the Socratic process for theme discovery, what is the appropriate

balance for an artist between the needs of an individual and the needs of a society?


2.27 Identify major human concerns or recurring themes that have been addressed in art across cultures and though time. (CTS 4c)

3.13 Use suggestions to improve areas of weakness. (no correlation)

3.19 Select and describe examples of artistic thinking in which an artist reflects and comments on his/her environment (CTS 2a,4a,6a)

4.17 Work independently for long periods of time without being distracted.


• the Socratic method for exploring possible themes for the work.

• the work and process of contemporary sculptor Cai Guo-Qiang.

• artists have the ability to transform materials and forms to create a personal vision.

• what “hybrid” or “new media” sculpture entails.


• work with metal and found materials to assemble a constructivist 3D work.

• use investigation and reflection to gain an appreciation of the theme.

• craft a scuplture using assemblage process.

Pre-AP Competencies

The work addresses sophisticated/complex ideas with confidence and verve.

The work demonstrate an original vision.

The work demonstrates an understanig of symmetry, asymmetry, balance, anomaly, and implied motion.



Stage II – Common Assessments· Authentic Performance Task- create a conceptual hybrid sculpture based on the theme selected by the class· Student Assessment (self) – Does the work have its intended effect on the viewer?· Assessment (teacher) – Does the work in its final state reflect the artistic intent?· Class critique of conceptual concepts – State and defend the artistic intent of the work comparing maquette to final work


· Create a concept-based work of art that is evocative.· Use the Socratic method to explore concepts and themes on the big 6 questions.

o What is virtue?o What is moderation?o What is justice?o What is courage?o What is good?o What is piety?

· Metal fabrication techniques· New media fabrication techniques· Marquette building



Unit 7: Spacial Structures


Essential Questions· What are the similarities and differences between sculpture and architecture? · What are the ways that sculptors and architects influence each other?· How do we as individuals embody an interior and an exterior, public and

private selves and how does this manifest itself in our architecture?· What is a façade and how does it relate to architecture, to sculpture, to

individuals?



2.23 Be in touch with internal feelings and draw on them as the basis for works of art. (CTS 5f)

2.27 Identify major human concerns or recurring themes that have been addressed in art across cultures and though time. (CTS 4c)


• how to create a proposal and model for a work of public art that reflects their community.

• how to construct three dimensional forms using foamcore board.

• how to consider the relationship between the members of a community and the public art located in that community.

• the function of a façade on a structure and its interaction with the interior.

• several contemporary artists that use spatial sculptures as a form of expression.


• use sheet stock to create a scaled volumetric space.

• explore how a home can suggest or inspire the identity of its inhabitants, whether through metaphor or spatial considerations, decoration or simplicity.

• compare and contrast Do-Ho Suh’s work with architectural models.

• report on a contemporary artist who uses spatial sculptures as a form of expression to the class.

Pre-AP Competencies

Grows out of a coherent plan or action or investigation.

Shows development of a visual language appropriate to the subject.

Work emplys line, planes, mass, or volume to activate form in space



Stage II – Common Assessments· Authentic Performance Task- create a 3D study of form and function as it applies to metaphorical architectural space· Assessment (self) – compositional considerations, use of line, mass, volume and activated space· Assessment (teacher) – technique, artistic content in the work, visual stimulation· Spatial Artist presentation - Historical, cultural, and significance of the artist selected for presentation.· Class critique of mass models during process – How it the form presented sculpture? How is the form presented architecture?· Final group critique – constructive criticism of other student’s work looking at technique used by the student

Stage III– Core/Assured Learning Experiences·· Do-Ho Suh overview of contemporary work - LA Home http://www.pbs.org/art21/artists/suh/clip1.html#· Architectural scale and proportion



http://www.pbs.org/art21/artists/suh/clip1.html#

http://www.pbs.org/art21/artists/suh/clip1.html#

Unit 8: Package Design


Essential Questions

· How do transgenerational package designs bridge life’s stages?· When designing a package, who is the target audience?· How does sustainable package design effect societal trends?· What is the current trend in package design aesthetic?· How is design effected by color?



1.13 Express artistic content through artistic (visual) means with specific artistic intent.

2.21 Explain that art is the development and portrayal of ideas, feelings and perceptions in which technical skill, inventiveness and expressive meaning are important in both the fine and applied arts. (CTS 2a, 2b, 4a,5a,6a)


• the geometry of a box package design.

• the big ideas of small package design and how to employ them in an original design.

• how to design package information without deception.

• commercial graphic design is not self expression.

• grids are the invisible foundation of package design


• dissect an existing package to discover the tab and fold patterns used for the package.

• use Illustrator software to graphically layout the precise package design.

• print out a package design on 11x17 stock, cut, fold, and assemble into finished package.

• critique qualities of the final designs that are successful and less successful in their own and a peer’s package design.

Pre-AP Competencies

Sophisticated and complex idea for the design.

Inventive and evocative package design for the client’s product.

Confident articulation of design principles.



Stage II – Common Assessments· Authentic Performance Task- create a package design based upon contemporary design aesthetics· Assessment (self) – does the package design function as intended?· Assessment (peer) - How does the color work with the overall design concept?· Assessment (teacher) – How is the design transgenerational in concept? How is it sustainable?· Presentation – Students will create a Podcast on innovative package design.· Final group critique – student will defend the work of art and rationalize how it is based on the element of design.


· Evaluate innovated package design by disecting and analyzing the flat printed shape. · Work within 1/64” tolerances.· Teacher presentation of form and function of architecture.· Site specific architectural consideration and practices.



Unit 9: Artist Book


Essential Questions

• What is the fundamental purpose of the artist book?• What are some assumptions you make when thinking about artist books?• What is the key question you want to explore in this artist book?• In artist books, does form necessarily follow function?


3.16 Articulate artistic intent and content in is/her works of art. (CTS 5d)

4.16 Use resources for making art i.e. books, museums, libraries, computers, the internet, specialized tools and experts. (no correlation)

4.17 Work independently for long periods of time without being distracted. (no correlation)


• artist books are a part of several avant-garde practices that attempt to democratize access to art.

• conceptual artists in particular went on to make a small industry out of artists' books.

• works of art can initiate an important public discourse once they become part of a public collection.


• use Illustrator and PhotoShop to create the layout and graphic images.

• respond to artist books on a personal level.

• print out single sheet using large format printer, cut, fold and assemble the book.

• select and manipulate appropriate material for cover stock.

• manipulate text and graphic images together to make a cohesive statement in which neither is dominant or subordinate.

• layer artistic mark making over printed material to create depth and complexity of imagery.

Pre-AP Competencies

Unmistakable connection between the theme and the work presented.

Informed and developed risk-taking and thought in the final artist’s book.

Strong pursuit of an idea.



Stage II – Common Assessments· Authentic Task- create an artist book that explores a single theme· Student (self) - What assumptions were made about the final format of the artist book based on the theme?· Student (peer) - Does the form the the artist book support of confuse the overall theme of the artist book?· Teacher - the book presented has unmistakable connection between form and theme.· Final Evaluation - Defend work presented to peers as a valid exploration of theme through specified discoveries.


· View collections of artist books· Large format printing technique· Artist’s hand and mark making on the final artist’s book·



Unit 10: Historical Poster Design


Essential Questions

· What are the intersections between art and advertising?· Where do art and advertising diverge?· What are the responsibilities of advertisers to their clients?· What are the responsibilities of advertisers to the public?· How have public tastes, standards and expectations of mass media changed

over the last 100 years?· How do artists participate in and critique mass media systems?



2.24 Notice and appreciate the technical, functional and aesthetic properties of art from various genres and cultures, drawing on them for inspiration in one’s own creations. (CTS 4c)

3.12 Articulate and defend judgments about their work and that of others based on a stated criteria. (CTS 5d)


• the differences between participation in and critique of mass media.

• and undertake a critical understanding of the rights and responsibilities of advertising in the public realm.

• and understand the relationships between art and advertising.

• what the current aesthetic for poster design is in America and the world.


• use Adobe Illustrator and PhotoShop to create a 24”x36” poster

• reference historical poster design to scaffold their original design upon and to sell a contemporary product.

• graphically lay out a visually stimulating poster to sell a product.

Pre-AP Competencies

Strong technique

Form and content synthesized to create visual ideas

Innovated and evocative execution of work.



Stage II – Common Assessments· Authentic Task- Design, print, and publically display poster for upcoming event.· Written Response- Articulate the experience the artist wishes the viewer to have as part of the anticipation for the upcoming event.· Critique - Defend the work in front of your peers acknowledging historical influences and design trends in your design.


· PhotoShop and Illustrator image creation using multiple layers and filters· Poster slides and research to assess contemporary aesthetics for design.· Public display of posters.



Unit 11: Contemporary Art Museum

Grade: 10-12 Subject: Contemporary Art Course: Studio Art Length of Unit: 1 day

Essential Questions· Why was primary source images better than reproduction and projected

images?· How does contemporary art, both in and out of the museum, compare to this

museum’s wide-ranging historical collection?· How is the contemporary artwork one sees in the museum part of cultural

stewardship?


2.25 Develop an awareness of a museum experience and be able to illustrate cultural, social, and historical implications of works of art. (CTS 4b)

2.31 Analyze social and cultural influences as it affects their own perception and understanding of designed objects and artworks from various times and cultures. (CTS 4b)

2.32 Explain how designed objects and artworks have had an impact on the cultures in which they were made. (CTS 4b)

Students will acknowledge the ownership of ideas and information by complying with copyright laws.


• The art museum is an ideal object-based learning environment for all learners.

• Contemporary art caters to students' interests, observations, and questions.

• Works of art can initiate and build vocabulary as well as skills in reasoning and debate.


• use the museum facilities to make careful observations about contemporary art and its place in historical context.

• respond to actual works of art on a personal level.

• engage in an open exchange of ideas.

• utilize a variety of learning strategies, which may include sketching, creative writing, and group activities to glean meaning from contemporary works of art.

Pre-AP Competencies

Artwork is informed with current trends in art making.

Artwork is engaging to the viewer.



Stage II – Common Assessments· Authentic Task- Respond to the vision of the artist. How does the artist’s intent translate to you?· Written Response- Articulate the experience of seeing a specific artist’s work with questions provoked by seeing the show.


· Visit a museum with a contemporary art exhibit or gallery of contemporary art as part of the class.· Expository writing assignment.



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