UNI T P LA NN IN G TO O L:

Theme: Constructing Meaning: (Re)Learning to See, Do, and Make Grade Level: High School

• Objective(s): This unit is an introduction to the basics of two- and three-dimensional art. Ultimately, I hope that students will learn the language of viewing, understanding, and making
art. They will relearn the basics and build a strong foundation for success. With a sophisticated understanding of the technical aspects of making, students will be able to engage in
discussions with confidence and begin to see more clearly why we respond to artworks the way that we do and how to elicit a specific viewer response in their own work.

Title of Timeline Related Terms Materials Questions to Consider Assessment

Lesson Artists

Day one – introduction Eric Fischl gesture drawing 18x24 drawing What is most significant about Uses a variety of drawing
Line, Day two – shading activity Miriam contour drawing paper your object? techniques
Day three – introduction Martincic line Medium, hard, soft How do you interact with it?
Gesture, Uses a variety of materials
to gesture drawing line weight vine charcoal
and Form Day four – drawing in Timothy Van value Why do you carry it with you? Demonstrates understanding
Laar Pastels, assorted
class form What does that say about you? of line v. form
colors
Day five – drawing in Edgar Degas emphasis How can you emphasize its Demonstrates understanding
class core shadow Technical pens,
assorted importance in a drawing without of gesture and contour
Day six – introduction charcoal providing context?
contour drawing chalk Drawing pencil, Effectively uses techniques
Day seven – drawing in ink wash assorted How do the different materials discussed in class to
class technical pen relate? emphasize certain elements
Black india ink
Day eight – introduction kneaded eraser Watercolor brushes What does it mean to render the Effectively creates significance
to final project pencils (9B - 9H) form of one element but leave or meaning in the drawing
Water containers
Day 9 - 12 - work on the rest relatively empty? through the techniques used
drawings in class and on Kneaded erasers
your own time 11x14 heavy weight
Day thirteen – critique paper for final
drawings
Master of Day one – introduction to Peter Paul primary color 9x12 canvas paper How do you react to the original
Color oil paints and color theory Rubens secondary color 9x12 sketch paper painting? Try to identify what Demonstrates understanding
Day two – color mixing Caravaggio complementary Oil brushes, makes you feel that way. of color theory
Jasper Johns color
activity assorted How are the elements of the Demonstrates understanding
Rembrandt tint
Day three – plan for your Oil paints, assorted painting arranged? of composition and balance
van Rijn shade
final painting Leonardo de tone Liquin How do the figures interact? Demonstrates skill in color
Day four – finish plans Vinci intensity Turpentine mixing
How can you preserve a sense of
and start working Roger Brown simultaneous Palette paper space in your abstraction? Effectively captures the mood
Willem de contrast Canvas panels, or feeling of the original
Day five - nine – work in Kooning hue We do not need to be able to
various sizes (9x9 to painting
class Joan Miro saturation guess your original painting
18x24) based on your abstraction; Effectively reproduces the
Day ten – critique Piet analogous colors
Mondrian oil paints however, both paintings should composition and balance of
Mark Rothko canvas elicit similar responses. the original painting
gesso Exhibits exemplary
pigment craftsmanship
medium
binder
turpentine
Liquin
filbert flat
round
Space Day one – introduction Henry Moore sculpture Plaster What about the form of objects Demonstrates understanding
Matters Day two three four– make Pablo form Empty milk cartons instructs how you interact with of positive and negative space
clay models and finalize Picasso positive space Buckets for mixing them? Uses surface texture
Latex gloves effectively
design Richard negative space How did you respond to the
Carving knives
Day five – carving demo Serra subtractive sculptures we viewed in class? Demonstrates understanding
Dental tools Why did you respond that way? of physical balance v.
Day six seven eight nine Julio sculpture Newspaper
Gonzalez Surform Start by finding a natural object compositional balance
ten – carving plaster
Frank Gehry orthographic Rasps, assorted or formation that attracts you. Exhibits exemplary
Day eleven – critique
Ancient drawing Why are you drawn to it? How do craftsmanship
Greek and you interact with it? Effectively engages the viewer
Roman How does the form of your through use of space, visual
statues and sculpture relate to the shapes weight, and form
created in the negative space?
architecture
Altered Day one - introduction Jennifer mixed media Old books Consider the form and function of Effectively relates the pages
Books Day two and three - Hibbard collage Assorted papers books? to the text and to each other
preliminary sketches Brian inlay Watercolors What is the content of your book? Effectively blends materials
Acrylic/tempera
Day four - nine - work Dettmer altered book Are you interested in the content? and utilizes the properties of
Paint brushes
in class and on your Karen paper mache each to their full advantage
Glue What can you say about the book
own time Hatzigeorg oragami Scissors itself? Creatively tells a story or
Day ten - writing iou found object Found objects conveys an idea through the
How do your alterations relate to
Fabric use of the materials
activity Jenny the text?
X-acto knives Gives attention to all elements
Day eleven - critique Taliadoros How can you make the text more
equally, no page feels
Beth Cote or less important?
overlooked
What narrative are you telling
Exhibits exemplary
through your pages?
craftsmanship
How do your pages interact with
Exhibits thoughtful
one another?
consideration of the work of
How well do they stand alone? their peers through the writing
assignment