Art 10/20/30 Course Outline
Course Philosophy and Overview
The Art program at Crowsnest Consolidated High School is recommended for students who have a genuine interest in visual arts. Opportunities are provided for students to learn to use traditional techniques and media; to explore their skills of composition and self expression; and to extend their knowledge of our rich visual heritage.
The following is excerpted from Alberta Education Program of Studies for Senior High Art Programs. From these three major categories and the connected detailed objectives, the teacher sets up learning experiences:
Drawings:
Drawing is a visual search for meaning. Using a variety of materials and techniques, drawing is an individual, expressive response to some specific experience. Such experience may come from the individual or the group, or may result from a problem to be solved, or from direct inquiry.
Compositions:
Composition is a search for a unified visual statement. It articulates meaning through control of elements and their relationships. The student organizes visual material to generate thought and to make thought visible.
Encounters:
Art making articulates thought and imagination. Through images, we communicate with one another within our communities and across time and cultures. Encounters with the sources, transformations and impact of images are essential for understanding art.
Our Art program at CCHS consists of studio activities, selected art history lessons, and research assignments. Instruction methods include demonstrations, use of videos, textbooks, art prints, and powerpoint presentations. Resources include print and electronic media.
Drawing, fundamental to all visual arts, forms about one third of the course. Drawing skills are developed and refined using many approaches and media. Specific instruction follows the methodology of Drawing on the Right Side of the Brain, by Betty Edwards (Tarcher, 1979).
Composition objectives are addressed through visual problems with opportunities to explore a variety of media. Students complete skill building exercises, and move on to more creative tasks of original composition. Texts used are Drawing, the Creative Process, by Simmons and Winer (Prentice Hall, 1987) and Art: The Way It Is (Prentice Hall 1986).
Encounters with artworks and artists from many time periods and cultures are a crucial part of the program. Students learn to understand and appreciate selected works from the vast body of artworks of human history. They may be asked to analyse individual works, to research a period or style, or to investigate the lives and works of artists in their cultural contexts. Reading Pictures, by Lucy Davidson Rosenfeld provides a framework for the units; and the World Wide Web is accessed for all visual examples.
Teaching Methodology
The Art curriculum is offered in a revolving format. In this system, Art 10, 20 and 30 students who are scheduled together in a shared class all follow the same course and complete the same projects. Each semester meets the objectives with variations in encounters and activities, so a student never repeats the activities, and evolves uniquely through the program. Art 20 and 30 students demonstrate increasing confidence and skill as they progress.
Units of study may be built around design elements, subject themes, a specific artist, a style, or a medium. Units of study typically begin with art history encounters, and are followed by studio activities intended to build skills, and culminate with a project which invites creative expression.
Daily work includes instruction in drawing, painting, printmaking, and sculpture techniques; discussion of design elements and principles; encounters with historic examples, and exercises which are intended to enhance creativity. Studio projects based on the current medium and discussion are completed. Research or writing assignments are assigned, and research time in the library is available for these. Writing assignments may require students to respond to the artwork in the form of a story or personal reflection.
Research projects may be submitted in formal word processed format including printed images, or by email (plaiziet@prsd.ab.ca) or in a creative format suitable for display or presentation. Bulletin boards and display cases may be assigned to groups of students. One or more art shows may be planned during the semester, with all students encouraged to participate. A field trip to a gallery, show or museum may be scheduled.
Students are responsible for maintaining order in their individual work areas, and for classroom cleanup duties. Student involvement and attitude in this program are assessed and reported to parents. Students maintain a sketchbook, which is assessed as part of their final grade.
Tentative Schedule of Units
This schedule is flexible. Themes and projects may be changed, but all media will be explored.
Assessment and Reporting
Studio assignments have specific marking criteria. Generally, a demonstration of effort and skill development guarantees a passing mark on any given assignment, while superior aesthetic quality and evidence of meticulous attention to detail garners additional marks.
The final course mark will be calculated as follows:
Studio Art Projects and Portfolio 70
Encounters with Artists and Artworks: Research and Writing; Tests 20
Notebook/sketchbook/project journal 10
Assessment (all marks are available on (PowerSchool)
Sketchbook Assignments 10%
In Class Exercises 30%
Effort/Partic/Cleanup 20%
Assessed according to the Fine Arts Rubric (attached).
Final Mark
Course Mark 70%
Portfolio Interview 30%
Grades are cumulative, and reported in percentages. The grade reflects the student’s work in relation to the amount and quality of work which is expected at a given time. Students will always be able to return to unfinished projects, and take the time they personally require to complete their creative work. Report marks are adjusted when projects are completed.
Students will have access to their up-to-date marks through PowerSchool.
Parents can also contact the instructor by telephoning the school at 403-563-5651 or by email hessionb@lrsd.ab.ca.
Success Plan
Students who abide by the following expectations will be successful in Art courses:
Materials
Portfolio
You can make a 12 x 18” brown paper portfolio in class.
Sketchbook and Idea Folder
A Sketchbook is the one essential item you will need as soon as possible, for doodles, tangles, inspirations, and working out composition ideas. Choose a coil bound book of drawing paper if you can afford one (cost is $5-10). Alternatively, a duotang of plain white paper will work, and some are available in class with no cost to you. Keep your ideas together for maximum effectiveness. An idea folder is meant to hold pictures and cutouts that inspire you.
Drawing Supplies
The following supplies are required for all art students. Make sure to label everything with your name. Please do not expect these items to be provided for you. Some items may be purchased in the classroom.
Painting supplies
Some paint is supplied in class in primary and other limited colours and quantities. You have been provided with some art materials in your tool box, you may wish to supplement with a personal set of acrylic paints. Your own brushes may also be preferable to the multi-use class brushes.
Most specialized materials are provided in the classroom. Students wanting to work beyond the scope of my classroom budget may be asked to bring their own mediums for some projects.
Recycled Items from Home
Please help supply some of the following items for classroom use:
Course Philosophy and Overview
The Art program at Crowsnest Consolidated High School is recommended for students who have a genuine interest in visual arts. Opportunities are provided for students to learn to use traditional techniques and media; to explore their skills of composition and self expression; and to extend their knowledge of our rich visual heritage.
The following is excerpted from Alberta Education Program of Studies for Senior High Art Programs. From these three major categories and the connected detailed objectives, the teacher sets up learning experiences:
Drawings:
Drawing is a visual search for meaning. Using a variety of materials and techniques, drawing is an individual, expressive response to some specific experience. Such experience may come from the individual or the group, or may result from a problem to be solved, or from direct inquiry.
Compositions:
Composition is a search for a unified visual statement. It articulates meaning through control of elements and their relationships. The student organizes visual material to generate thought and to make thought visible.
Encounters:
Art making articulates thought and imagination. Through images, we communicate with one another within our communities and across time and cultures. Encounters with the sources, transformations and impact of images are essential for understanding art.
Our Art program at CCHS consists of studio activities, selected art history lessons, and research assignments. Instruction methods include demonstrations, use of videos, textbooks, art prints, and powerpoint presentations. Resources include print and electronic media.
Drawing, fundamental to all visual arts, forms about one third of the course. Drawing skills are developed and refined using many approaches and media. Specific instruction follows the methodology of Drawing on the Right Side of the Brain, by Betty Edwards (Tarcher, 1979).
Composition objectives are addressed through visual problems with opportunities to explore a variety of media. Students complete skill building exercises, and move on to more creative tasks of original composition. Texts used are Drawing, the Creative Process, by Simmons and Winer (Prentice Hall, 1987) and Art: The Way It Is (Prentice Hall 1986).
Encounters with artworks and artists from many time periods and cultures are a crucial part of the program. Students learn to understand and appreciate selected works from the vast body of artworks of human history. They may be asked to analyse individual works, to research a period or style, or to investigate the lives and works of artists in their cultural contexts. Reading Pictures, by Lucy Davidson Rosenfeld provides a framework for the units; and the World Wide Web is accessed for all visual examples.
Teaching Methodology
The Art curriculum is offered in a revolving format. In this system, Art 10, 20 and 30 students who are scheduled together in a shared class all follow the same course and complete the same projects. Each semester meets the objectives with variations in encounters and activities, so a student never repeats the activities, and evolves uniquely through the program. Art 20 and 30 students demonstrate increasing confidence and skill as they progress.
Units of study may be built around design elements, subject themes, a specific artist, a style, or a medium. Units of study typically begin with art history encounters, and are followed by studio activities intended to build skills, and culminate with a project which invites creative expression.
Daily work includes instruction in drawing, painting, printmaking, and sculpture techniques; discussion of design elements and principles; encounters with historic examples, and exercises which are intended to enhance creativity. Studio projects based on the current medium and discussion are completed. Research or writing assignments are assigned, and research time in the library is available for these. Writing assignments may require students to respond to the artwork in the form of a story or personal reflection.
Research projects may be submitted in formal word processed format including printed images, or by email (plaiziet@prsd.ab.ca) or in a creative format suitable for display or presentation. Bulletin boards and display cases may be assigned to groups of students. One or more art shows may be planned during the semester, with all students encouraged to participate. A field trip to a gallery, show or museum may be scheduled.
Students are responsible for maintaining order in their individual work areas, and for classroom cleanup duties. Student involvement and attitude in this program are assessed and reported to parents. Students maintain a sketchbook, which is assessed as part of their final grade.
Tentative Schedule of Units
This schedule is flexible. Themes and projects may be changed, but all media will be explored.
Assessment and Reporting
Studio assignments have specific marking criteria. Generally, a demonstration of effort and skill development guarantees a passing mark on any given assignment, while superior aesthetic quality and evidence of meticulous attention to detail garners additional marks.
The final course mark will be calculated as follows:
Studio Art Projects and Portfolio 70
Encounters with Artists and Artworks: Research and Writing; Tests 20
Notebook/sketchbook/project journal 10
Assessment (all marks are available on (PowerSchool)
- Course Mark
Sketchbook Assignments 10%
In Class Exercises 30%
Effort/Partic/Cleanup 20%
Assessed according to the Fine Arts Rubric (attached).
Final Mark
Course Mark 70%
Portfolio Interview 30%
Grades are cumulative, and reported in percentages. The grade reflects the student’s work in relation to the amount and quality of work which is expected at a given time. Students will always be able to return to unfinished projects, and take the time they personally require to complete their creative work. Report marks are adjusted when projects are completed.
Students will have access to their up-to-date marks through PowerSchool.
Parents can also contact the instructor by telephoning the school at 403-563-5651 or by email hessionb@lrsd.ab.ca.
Success Plan
Students who abide by the following expectations will be successful in Art courses:
- Regular attendance – Students attend all classes and complete all of the assigned work. Students assume responsibility for work that is assigned in their absence. Students can acquire work in advance of or when returning from an absence. Normally, due dates are flexible, and plenty of time is available to complete projects satisfactorily.
- Arrive on time – Students are seated and ready to start class at the bell. Bell work or personal projects are started immediately.
- Be prepared – Sketchbooks and appropriate media are brought to class everyday. Some storage space is available in the classroom.
- Work Habits – Students use their class time to the best of their abilities for the whole period every class. Respectful treatment of people, equipment, and the work environment is necessary. Materials are openly accessible, and students do not misuse or waste supplies. Cleanup - Students tidy up their work areas at the end of each class. Art projects are put away in student folders each day. Brushes and tools are cleaned appropriately and put away by the people who used them. Common work areas such as sinks and countertops are a group responsibility. Each person cleans up after him/herself plus tidies any extra mess that is apparent.
- Portfolios – Students keep track of all completed work in a portfolio (folder). Portfolios are presented formally at the end of the term.
Materials
Portfolio
You can make a 12 x 18” brown paper portfolio in class.
Sketchbook and Idea Folder
A Sketchbook is the one essential item you will need as soon as possible, for doodles, tangles, inspirations, and working out composition ideas. Choose a coil bound book of drawing paper if you can afford one (cost is $5-10). Alternatively, a duotang of plain white paper will work, and some are available in class with no cost to you. Keep your ideas together for maximum effectiveness. An idea folder is meant to hold pictures and cutouts that inspire you.
Drawing Supplies
The following supplies are required for all art students. Make sure to label everything with your name. Please do not expect these items to be provided for you. Some items may be purchased in the classroom.
- 2b, 4b or 6b drawing pencil (soft lead, good for shading)
- white vinyl or plastic eraser (for pencil drawing)
- kneadable eraser (for charcoal drawing) stomp or tortillon (shading/blending tool for pencil drawing)
- fine tipped black ink pen (sharpie)
- pencil crayons or fine tipped felt markers
- glue stick
- scissors
- shirt or smock to protect clothing
Painting supplies
Some paint is supplied in class in primary and other limited colours and quantities. You have been provided with some art materials in your tool box, you may wish to supplement with a personal set of acrylic paints. Your own brushes may also be preferable to the multi-use class brushes.
- acrylic paints, preferably tubes of thick artist paints, red, blue, yellow, green, white, black, ochre or sienna ($5-8 per tube)
- synthetic brushes: ½” or ¾” flat, # 8 filbert, and a very fine round pointed or flat brush are recommended (cost $2-$5 per brush)
Most specialized materials are provided in the classroom. Students wanting to work beyond the scope of my classroom budget may be asked to bring their own mediums for some projects.
Recycled Items from Home
Please help supply some of the following items for classroom use:
- plastic dairy containers with or without lids for water when painting
- styrofoam food trays and egg cartons to mix paint colours
- plastic ice cream buckets with or without lids
- magazines, wire clothes hangers or other soft wire
- any odd small items you are drawn to
Art 10 Curriculum Simplified (in terms of Literacy and Development)
While the following makes complete sense to me, i know it mystifies some... But if you teach High School Art in Alberta, the following assessment tool is invaluable... Making it worth figuring out.
It can be modified for elementary and middle school use, I am working on a publish version of that now, without a tremendous amount of work...
If you don't have the time to modify, as many of you don't, just read it over and take what works for you and your situation.
Essentially what the follow is:
-A way to assess with meaning and follow curriculum guidelines (which some art teachers have a hard time tying to their grading practices).
-An essential link between Art and Literacy (which many of us understand intuitively, but may require some methodology to articulate).
-A way to track (or have the students track) development in Art 10.
Drawings
i. Record
ii. Investigate
iii. Communicate
iv. Articulate and evaluate
Compositions
v. Components 1
vi. Components 2
vii. Relationships 1
viii. Relationships 2
ix. Organizations 1
x. Organizations 2
Encounters
xi. Sources of images
xii. Transformations through time
xiii. Impact of images
Drawings
A. Record – I will combine description, expression, and thinking in my drawings
i. I can draw subjects and create feeling with the types of marks I choose to make.
ii. The expressiveness of my drawing is affected by the media I choose to make my marks with.
B. Investigate – I will develop and refine a variety of drawing skills and styles.
i. Changing the drawing style can give a very different point of view of the same subject.
ii. The illusion of surface texture of objects can be made with lines.
iii. The illusion of three dimensional space can be made using linear perspective.
iv. Natural forms can be used to make abstract images and designs
C. Communicate – I will try varieties of expression in making images.
i. Myself and other artists can express my concern for social conditions through art.
ii. A drawing can be a formal, analytical description of an object.
D. Articulate and evaluate- I will use the vocabulary and techniques of art criticism to analyze my own artwork.
i. Learning and talking about composition is part of learning to talk about art.
Compositions
E. Components 1- I will learn more about the elements and principles of design through 2 and 3 dimensional images.
i. Colour and value are key components of an artists compositional skill.
Ii. Positive and negative space are essential to the description of 2 and 3 dimensional forms.
F. Components 2– I will solve problems involving unity and emphasis created by my fantastic teacher.
i. Positioning and grouping of subjects is done for different meanings and for emphasis.
Ii. Unity is achieved by controlling the elements of a composition.
G. Relationships 1 – I will also solve spatial problems of movement and direction made by my teacher.
i. Movement, rhythm, and direction are used to record people and their activities.
H. Relationships 2 – I will use art vocabulary to develop and accept analysis of my work.
i. Describing and discussing media and techniques used in my artwork will develop vocabulary.
ii. Describing and discussing design components is part of learning about my own art.
I. Organizations 1 – I will experiment with various representational (what I see) formats.
i. Different materials alter the process and the end product of what I am drawing.
J. Organizations 2 – my art can make an emotional impact on others.
i. Image making is a personal experience created from ideas and fantasies.
ii. Mood is created using a variety of tools (such as atmospheric perspective).
Encounters
K. Sources of images- I will try abstracting from a source to create new objects and images.
i. Artists simplify, exaggerate, and rearrange parts of objects in their depictions of images.
ii. Artists use natural sources to create new designs and patterns.
L. Transformations through time- I will compare the image content of certain artistic periods.
i. Works of art contain themes and images that reflect various personal and social conditions.
ii. Technology has an effect on the materials used in making images.
M. Impact of images – I will become aware of the relationship between form and function in all artworks.
i. Simple forms can communicate the purpose and function of designed objects.
ii. The function of an artwork can be emphasized by its decoration.
While the following makes complete sense to me, i know it mystifies some... But if you teach High School Art in Alberta, the following assessment tool is invaluable... Making it worth figuring out.
It can be modified for elementary and middle school use, I am working on a publish version of that now, without a tremendous amount of work...
If you don't have the time to modify, as many of you don't, just read it over and take what works for you and your situation.
Essentially what the follow is:
-A way to assess with meaning and follow curriculum guidelines (which some art teachers have a hard time tying to their grading practices).
-An essential link between Art and Literacy (which many of us understand intuitively, but may require some methodology to articulate).
-A way to track (or have the students track) development in Art 10.
Drawings
i. Record
ii. Investigate
iii. Communicate
iv. Articulate and evaluate
Compositions
v. Components 1
vi. Components 2
vii. Relationships 1
viii. Relationships 2
ix. Organizations 1
x. Organizations 2
Encounters
xi. Sources of images
xii. Transformations through time
xiii. Impact of images
Drawings
A. Record – I will combine description, expression, and thinking in my drawings
i. I can draw subjects and create feeling with the types of marks I choose to make.
ii. The expressiveness of my drawing is affected by the media I choose to make my marks with.
B. Investigate – I will develop and refine a variety of drawing skills and styles.
i. Changing the drawing style can give a very different point of view of the same subject.
ii. The illusion of surface texture of objects can be made with lines.
iii. The illusion of three dimensional space can be made using linear perspective.
iv. Natural forms can be used to make abstract images and designs
C. Communicate – I will try varieties of expression in making images.
i. Myself and other artists can express my concern for social conditions through art.
ii. A drawing can be a formal, analytical description of an object.
D. Articulate and evaluate- I will use the vocabulary and techniques of art criticism to analyze my own artwork.
i. Learning and talking about composition is part of learning to talk about art.
Compositions
E. Components 1- I will learn more about the elements and principles of design through 2 and 3 dimensional images.
i. Colour and value are key components of an artists compositional skill.
Ii. Positive and negative space are essential to the description of 2 and 3 dimensional forms.
F. Components 2– I will solve problems involving unity and emphasis created by my fantastic teacher.
i. Positioning and grouping of subjects is done for different meanings and for emphasis.
Ii. Unity is achieved by controlling the elements of a composition.
G. Relationships 1 – I will also solve spatial problems of movement and direction made by my teacher.
i. Movement, rhythm, and direction are used to record people and their activities.
H. Relationships 2 – I will use art vocabulary to develop and accept analysis of my work.
i. Describing and discussing media and techniques used in my artwork will develop vocabulary.
ii. Describing and discussing design components is part of learning about my own art.
I. Organizations 1 – I will experiment with various representational (what I see) formats.
i. Different materials alter the process and the end product of what I am drawing.
J. Organizations 2 – my art can make an emotional impact on others.
i. Image making is a personal experience created from ideas and fantasies.
ii. Mood is created using a variety of tools (such as atmospheric perspective).
Encounters
K. Sources of images- I will try abstracting from a source to create new objects and images.
i. Artists simplify, exaggerate, and rearrange parts of objects in their depictions of images.
ii. Artists use natural sources to create new designs and patterns.
L. Transformations through time- I will compare the image content of certain artistic periods.
i. Works of art contain themes and images that reflect various personal and social conditions.
ii. Technology has an effect on the materials used in making images.
M. Impact of images – I will become aware of the relationship between form and function in all artworks.
i. Simple forms can communicate the purpose and function of designed objects.
ii. The function of an artwork can be emphasized by its decoration.
How to Critique...
FORMAL ART CRITIQUE
This critique should be typed, double spaced and include a picture of the artwork.
If you cannot print a color image of the artwork, you can create a photocopy or write down the web site address.
DESCRIBE (What do you see?)
This stage is like taking inventory.
- BASIC INFORMATION: Name of artist, title of work, year, and gallery or location of artwork.
- LIST EVERYTHING YOU SEE Stick to the facts. Imagine that you are describing the artwork to someone over the telephone. For Example: It is a still life of apples on a white cloth in front of a window.
- NOTE FIRST IMPRESSION Make a note of your first spontaneous reaction to the artwork. What grabs your attention in the work? Refer to your first impression.By the end of the critique you may understand your first impression better or you may even change you mind. There are no wrong answers.
ANALYZE (What do you know?)
Try to figure out what the artist has done to achieve certain effects.
VOCABULARY: Use the vocabulary you learned in class. For example, if looking at a black and white image and you learned about the value scale, you can talk about the shades of light and dark or areas of chiaroscuro.
- ELEMENTS/PRINCIPLES: How are the elements of art (color, shape, line, texture, space, form, value) and the principles of design (balance, contrast, emphasis, movement/rhythm, unity, variety) used in this artwork? For example: The colors are monochromatic and create a sense of balance between the objects in the background and foreground.
- MATERIALS:For example: The artist used thick paint strokes.
Try to figure out what the artwork is about. Your own perspectives, associations and experiences meet with THE ANALYSIS of the work of art. All art works are about something. Some art works are about color, their subject matter, and social or cultural issues. Some art works are very accessible — that is, relatively easy for the viewer to understand what the artist was doing. Other works are highly intellectual, and might not be as easy for us to readily know what the artist was thinking about.
- THEME: What is the theme or subject of the work? What mood or emotions does the artwork communicate?
- MEANING: What is the work about; what do you think it means?
- WHY: Why do you think that artist created this work?
- ARTIST'S VIEW: What do you think the artist's view of the world is?
EVALUATE (What does this mean to you?)
This is a culminating and reflecting activity. You need to come to some conclusions about the artwork based on all the information you have gathered and on your interpretations.
- BACK TO YOUR FIRST IMPRESSION: Have your thoughts or feelings about the artwork changed since your first impression? If so, how? What made you change your mind? If not, can you now explain your first reaction to the work?
- LEARN: What have you seen or learned from this work that you might apply to your own art work or your own thinking? For example: I realized by using warm colors I can create a sense of energy in my own work. The warm colors are active.
BASIC RUBRIC FOR YOUR ARTWORK ASSIGNMENTS
1 = Weak 2 = Moderately Weak 3 = Average 4 = Moderately Strong 5 = Strong
1. The artwork contains all the required items or information.
1 2 3 4 5
2. The artwork is clean and neat.
1 2 3 4 5
3. The artwork is colorful/monochromatic and has creative use of line.
1 2 3 4 5
4. The information in the artwork is well organized.
1 2 3 4 5
5. The spelling, punctuation, and grammar of text that accompanies the artwork are accurate.
1 2 3 4 5
6. The artwork shows an understanding of the concepts or topics being depicted.
1 2 3 4 5
7. The information in/around the artwork is appropriate to the topic.
1 2 3 4 5
8. If a group project, every member of the group appears to have participated in developing the artwork.
1 2 3 4 5
9. The student or group did a good job presenting the artwork to the class/teacher.
1 2 3 4 5
10. Overall, the final result represents the student’s or group’s full potential.
1 2 3 4 5
Total Points/Grade: ____________
Additional Comments:
sometimes a passing image or thought leads us to stumble onto an incredible artist... like Andy Goldsworthy. Click on this image to see more of his work.
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How to begin your ARW...
We will begin our ARWorkbooks by following the steps to the left... You may use something from your backpack, an image from a magazine (from our classroom supply... please use Hession magazine page tearing out etiquette) for step one. Steps 2-4 are intended to be executed on the same page, or adjoining page(s). |
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18” x 24” or 19.5’ x 25”
4 pieces 9” x 12” 8 pieces 6” x 9” 16 pieces 4.5” x 6” 32 pieces 3”x 4.5” 64 pieces 2.25” x 3” |
22” x 30”
4 pieces 11” x 15” 8 pieces 7.5” x 11” 16 pieces 5.5” x 7” 32 pieces 3.5” x 5.5” |