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VISUAL ART
Grade 4
Table of Contents
• Key Concepts
• The Visual Art Classroom
• Lessons
1. Drawing: Shading in a Still Life Drawing
2. Drawing Faces and Understanding Symmetry
3. Drawing the Human Figure
4. Building a Clay Vessel
5. Creating an Ojo de Dios or God’s Eye
6. Making a Mono-Print
7. Understanding Positive and Negative Space Through Paper
Mosaic
8. Architecture: San Diego Architecture
9. Self Portrait Painting in Complementary Colors
• Grade 4 supply Order List
• Grade 4 Classroom Supplies
• Grade 4 Visual Art Core Learnings
• Glossary
Key Concepts
Based on the California State VAPA Standards
(found in the Core Learnings at the end of this section)
Grade 4
Vocabulary: contrast, emphasis, complimentary colors, conventions of human proportion,
positive space, negative space, geometric, free and natural shapes, additive sculpture,
subtractive sculpture, warp, weft
Name and Identify: 1.1; 1.3; 1.4; 1.5
• Elements of art: line, shape/form, color, texture, space, value
• Contrast and emphasis
• Pairs of complimentary colors
• Conventions of human proportion
Distinguish: 1.2;
• Positive and negative spaces in 2 and 3 dimensional works of art
• Geometric, natural and free forms
• Additive and subtractive sculptures
• Warp and weft
Demonstrate Skill: 2.1; 2.2; 2.3; 2.4; 2.5; 2.6; 2.7; 2.8; 4.3; 5.3
• Use complimentary colors with purpose in works of art
• Draw 3 dimensional geometric forms using shading
• Draw faces and figures using the conventions of human proportion in an expressive
manner
• Create an additive and a subtractive sculpture
• Create a weaving using multiple types of fiber
• Use contrast, positive and negative space purposely in a work of art
• Show how the choice of media relates to the subject or theme of their own art work
• Interpret a non-objective work of art, translate the meaning into a dance and write a
paragraph on the experience
• Create a bi-lateral or radial symmetric work of art in the style of a 20th Century artist
• Create a diagram, map, graph, timeline or illustrations about an event in California
history
Use Visual Art Vocabulary: 3.1; 3.2; 3.3; 4.1; 4.2; 5.1; 5.2; 5.4
• Discuss the affects of contrast, emphasis, complimentary colors in works of art
• Research works of art from cultures represented in California’s history
• Research the affects religions have on the development of architecture focusing on
buildings in California’s past and present
• Use the language of visual art clearly in discussions about understanding cultural
influences through understanding art
• Read a biography and research the life of an artist then explain how his/her
experiences may have affected their works of art
The Visual Art Classroom
Setting up the Visual Art Classroom
• Create an organized, visually rich environment
Reproductions of the masters, instructional posters depicting concepts and techniques
Word wall with visual art vocabulary
Variety of interesting everyday objects for still life drawing
Area to display student art work
• Store supplies in organized, convenient manner for easy access by students
• Create an area for storage of finished pieces of art. This may be a large portable plastic bin with a
lid filled with paper portfolios or a storage unit of shelves and or drawers.
• Create a “drying” area. Use a manufactured drying rack, create your own drying rack by stacking
discarded bread racks or other commercial units or hang a clothes line and use clothes pins.
• Assure plenty of “elbow” room for each student to successfully create.
Creating a Positive Art Learning Environment
• Create a safe environment physically and emotionally where ALL students and their work is
honored.
• Balance the importance of following directions and creative expression.
• Praise students for following directions AND for finding new ways to create art.
• Encourage students to solve art problems uniquely and individually.
• Honor student ideas by compiling them in an individual or classroom journal or sketchbook.
• Consistently provide time for all students to tell about their artwork, their creative process and new
ideas using visual art vocabulary.
• Honor student artwork by displaying work in an attractive, organized manner.
• Develop self-confidence in students’ artistic ability by refraining from drawing, painting or marking on
their work in any way. Demonstrate examples for individuals on separate pieces of paper or on a
white/chalk board.
• Have fun! The best way to create a safe environment for creative expression for students is to be
free to creatively express yourself.
• Make mistakes gracefully and turn them into new opportunities to create art.
• Develop ways for students to comment about other students’ works of art by orchestrating positive
comments only, NOT criticism.
Classroom Management and Clean Up
• Before you attempt any art project in class, create it yourself. As you are making the prototype,
think like your students. Develop strategies that will eliminate or minimize failure.
• Be aware of student clothing. Parents should know what days students will be creating art and
dress their children accordingly. Have paint shirts or aprons available for painting or clay work.
• Sometimes, you just have to make a mess. ☺ Be proactive. Be prepared.
• Develop a clear, easy clean up plan including storage of artwork, and supplies.
• If students need to wash hands or equipment, be prepared with buckets or basins of water or
procedures to use the sink. Baby wipes can be helpful too.
VISUAL ART-GRADE FOUR
DRAWING: SHADING
Drawing: Shading in a Still Life Drawing
Lesson 1
CONTENT STANDARDS
2.1 Use shading (value) to transform a two-dimensional shape into what appears to be a three-dimensional
form (e.g., circle to sphere).
4.3 Discuss how the subject and selection of media relate to the meaning or purpose of a work of art.
ESSENTIAL QUESTIONS
• What does the artistic process from inception to completion look like?
• How do I combine personal knowledge and intent to create art?
• How do I increase my technical abilities and knowledge in order to create art?
• What do I need to know in order to artistically respond to the environment?
• How I apply spatial concepts to art?
• How does a work of art impact the viewer impact, influence and communicate meaning, concept and
mood to me?
• What inferences can be drawn from artistic detail?
OBJECTIVES & STUDENT OUTCOMES
• Compare and contrast the qualities of 2-dimensional shape and 3-dimensional form.
• Sketch basic 2-dimensional geometric shapes (circle, square, rectangle and triangle).
• Transform geometric 2-dimensional shapes into the illusion of 3-dimensional forms using shading (circle to
sphere; square to cube; rectangle to cylinder and slab; triangle to pyramid and cone).
• Sketch then render a still life drawing creating the illusion of 3-dimension using shading techniques.
MATERIALS & PREPARATION
• One large ball (basketball size)
• One large box (approximately 18” x 12” x 12”)
• Other geometric forms (cone made of paper, paper towel tube, etc.)
• Flashlight or directional desk lamp
• Black markers
• Pencils
• Art Erasers
• Stumps and/or tortillons
• Sketchbook/journal (see Grade 3 lesson #1 to create student sketchbook/journals) or 12” x 18” newsprint
sketch paper, two per student
• 12” x 18” white construction paper, one per student
Words to know:
• shape: the outline of an area or figure
• form: the visible shape or configuration of something
• shading: the darkening of an illustration
• light source: the origin of light or its effect
• still life: arrangement or work of art showing a collection of inanimate objects
• sphere: a round solid figure, or its surface, with every point on its surface equidistant from its center
• cube: a symmetrical three-dimensional shape, either solid or hollow, contained by six equal squares.
• pyramid: structure with a square or triangular base and sloping sides that meet in a point at the top
• cone: a solid or hollow object that tapers from a circular or roughly circular base to a point
• cylinder: a solid geometric figure with straight parallel sides and a circular or oval section
• slab: a large, thick, flat, rectangular form
• sketch: a rough or unfinished drawing
• render: represent or depict artistically
• stump: a cylinder with conical ends made of rolled paper or other soft material, used for softening or
blending marks made with pencil or charcoal
• tortillon: spiral wound paper with a sharp point at one end used for blending marks made by pencil or
charcoal
REFERENCES
• Portfolios, Grade: Four, by Robyn Montana Turner, Barrett Kendall Publishing
o Sketchbooks: pages 4 & 5
o Shapes into forms: page 54
o Shading: page 27, 54, 55, 73
• Making Shapes 3 Dimensional Forms
o www.sanford-artedventures.com/create/try_this_3d.html
• Math and Art
o www.mathforum.org/~sanders/mathart/MACch4drwg.html
WARM UP (Engage students, access prior learning, review, hook or focus the student for learning)
• Display large basic geometric forms (sphere=basketball, cube=Rubik’s cube, rectangle=cardboard box
and /or paper towel cylinder; cone=paper cone or ice cream cone, etc.) in an area of the classroom easily
seen by all students.
• Turn off the overhead lights and close the blinds, if possible.
• Use a flashlight or desk lamp to direct light onto the surfaces of the geometric shapes.
• Provide students the opportunity to observe how light hits the shapes.
Class Discussion Questions:
• “Where is the light the brightest on the various geometric shapes?”
• “Where are the darkest shadows on the geometric shapes?”
• “What shape does the shadow take on the surface that the geometric shapes are resting?”
• “How does that shape change when the position of the light source is changed or moved?”
• “What happens to the light and dark areas on the geometric shapes when the light source is changed or
moved?”
• Turn lights back on and open blinds.
• Turn off the flashlight or directional desk lamp.
• Discuss how the light and dark areas change on the surface of the geometric forms and the shadows cast
by those forms when light is diffused.
MODELING (Presentation of new material, demonstration of the process, direct instruction)
• Place five or six objects (baskets, vases, books, plates, bowls, etc.) that are similar to geometric forms on
a table or desk top in an area of the classroom that is easily seen by all students. Place the objects in an
arrangement (still life) that is interesting from various angles or points of view.
• Distribute one 12” x 18” piece of newsprint to each student or use individual student’s sketchbook/journals.
(Note: If you are interested in creating sketchbooks/journals to use throughout the visual art lessons, refer
to Visual Art Grade 3 Lesson #1)
• Demonstrate how, and instruct students to, sketch the still life arrangement using geometric shapes only,
no object details or shading, using pencil or black markers.
o Sketch the object that is closest to the viewer first.
o Sketch the other shapes, reminding students to make shapes larger or smaller as they appear in the
still life arrangement.
o Shapes will overlap, so remind students to sketch the part of the geometric shape that they can see
from their unique point of view. This will result in many different sketches about the same still life, but
revealing slightly different points of view.
• Distribute another 12” x 18” piece of newsprint to each student or use another page in the student
sketchbook/journal.
• Demonstrate how, and instruct students to, sketch the still life again using geometric forms using pencil or
black markers.
o Sketch the object closest to the viewer first.
o Sketch the other shapes, reminding students to make forms larger or smaller as in the still life
arrangement.
o Forms will overlap, so remind students to sketch the part of the geometric shape that they can see
from their unique point of view.
o Add lines and shading to create the illusion of depth to each of the objects. This will result in many
different sketches about the same still life, but revealing slightly different points of view.
• Darken the room once more.
• Use a flashlight or desk lamp to direct light onto the surfaces of the geometric shapes in the still life
arrangement.
• Provide students the opportunity to observe how light hits the forms.
• Place the light to the right, then above and finally left of the objects.
• Instruct students to observe the changes in shadow and shading as the light moves.
Class discussion questions:
• If the flashlight or desk lamp represents the sun, what time of day is it in each of the positions?
• When the light is directed at the still life, does it affect all the objects equally? If so, how? If not, why?
• What happens to the shadows cast on the table or desktop when the light positions move?
• Lighten the room again.
• What happens to the shadows and shaded areas of the still life arrangement with diffused light (light
dispersed from various directions)?
• Distribute a third piece of newsprint paper or use a third page in the student sketchbook/journals.
• Demonstrate how, and instruct students to, blend pencil markings using a stump and/or tortillons.
o Place pencil lead parallel to the newsprint paper, not using the point but rather the side of the lead.
o Make a wide mark on the newsprint paper.
o Use a stump or tortillon to smudge or blend the pencil mark creating a soft, smooth grey area.
o Use an eraser around the edges of the smudged area to create sharp edges without using a drawn
line.
o Allow students the opportunity to experiment with this shading technique by adding more lead from
the pencils and by using the smudged edge of the stump or tortillon.
• Demonstrate how, and instruct students to, use pencil and a stump or tortillon to create shaded areas on
the previous (second) sketch corresponding to the shaded areas on the still life with overhead and
diffused light.
GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)
• Distribute 12” x 18” white construction paper to each student.
• Instruct the students to draw the still life arrangement a final time, using pencil, stumps and/or tortillons
and erasers.
o Remind students to begin the drawing by sketching the object closest to the student using simple
geometric shapes.
o The number and placement of objects that appear in the drawing should correspond to the actual
still life arrangement.
o The drawing should show at least three shades of pencil: dark, medium and light.
o Continue the drawing by adding shading techniques and details from each object in a consistent way
from form to form (e.g., light areas appear on the right side of all the objects, dark on the left side of
all the objects).
o Lines and shapes in the drawing provide visual detail to identify the objects (e.g., handle on a cup,
woven pattern on a basket, words on a book cover, etc.)
DEBRIEF & EVALUATE (Identify problems encountered, ask and answer questions, come up with
solutions, discuss learning that took place and review)
• Place the students’ final pencil drawings in an area viewed by the entire class or allow individual students
to have their drawings at hand to share with classmates.
• Class Discussion Questions:
o “What areas of your drawing were successful and reveal the illusion of space using the learned
shading techniques?”
o “What parts of the still life were difficult to draw? Why?”
o “If you were to create this same still life drawing again, what would you do differently? Why?”
EXTENSION (Climate of expectation is created by the teacher that encourages students to do further
research, look for connections and apply understanding and skills previously learned to personal
experiences)
• Draw the still life using charcoal, a new stump or tortillon and kneaded eraser.
• Draw the still life adding color by using pastels or oil pastels. Use shades of color to create shading and
shadows.
• Rearrange the still life and redraw using shading techniques and various media.
VISUAL ART-GRADE FOUR
DRAWING: SYMMETRICAL FACES
Drawing Faces and Understanding Symmetry
Lesson 2
CONTENT STANDARDS
1.4 Perceive and describe contrast and emphasis in works of art and in the environment.
2.2 Use conventions of facial and figure proportions in a figure study.
5.2 Research twentieth-century artists who have incorporated symmetry as part of their work and then create
a work of art, using bilateral or radial symmetry.
ESSENTIAL QUESTIONS
• What does the artistic process from inception to completion look like?
• How do I combine personal knowledge and intent to create art?
• How do I increase my technical abilities and knowledge in order to create art?
• How I apply spatial concepts to art?
• How does a work of art impact the viewer impact, influence and communicate meaning, concept and
mood to me?
• What inferences can be drawn from artistic detail?
OBJECTIVES & STUDENT OUTCOMES
• Define, locate and use contrast meaningfully in at least one work of art.
• Define, locate and use bilateral symmetry in at least one work of art.
• Demonstrate knowledge of the conventions of facial proportion in at least one original work of art.
• Demonstrate knowledge of at least one twentieth-century artist that incorporated bilateral symmetry in
their works of art.
MATERIALS & PREPARATION
• Sketchbooks/journals
• Pencils, erasers
• 12” x 18” drawing paper
• Ruler or straight edge
• Standard Human Facial Proportions Fact Sheet (included at end of lesson)
• Fixative or aerosol hair spray
Words to know:
• contrast: difference between two or more elements (e.g., value color, texture) in a composition;
juxtaposition of dissimilar elements in a work of art; also the degree of difference between the lightest and
darkest parts of a picture.
• bi-lateral: having two equal sides
• bi-lateral symmetry: balance created by making both sides of an artwork the same or almost the same.
• radial: branching out from the center, circular
• radial symmetry: symmetry around a central axis, as in a starfish or a tulip flower.
• conventions: ways in which to standardize drawing of the human face or figure, usually involving
proportion
• proportion: the size relationships of one part to the whole and of one part to another.
• vertical: at right angles to a horizontal plane; in a direction, or having an alignment, such that the top is
directly above the bottom
• horizontal: parallel to the plane of the horizon; at right angles to the vertical
REFERENCES
• Portfolios, Grade: Four, by Robyn Montana Turner, Barrett Kendall Publishing
o How to Draw a Face: page 101
o Portraits: pages 98, 99, 100
• Standard Human Facial Proportions:
o http://drawinglab.evansville.edu/face.html
WARM UP (Engage students, access prior learning, review, hook or focus the student for learning)
• Divide the students into pairs or partners.
• Guide the students to observe their partner silently for at least one minute.
• Instruct the students to create a 3-minute sketch of the partner’s face in their sketchbook/journal.
OR
• Instruct students to create a 3-minute sketch a human face in their sketchbook/journal from observation of
a magazine picture or photograph.
• Class Discussion Questions:
o “What parts of your sketch actually look like the person you were observing?”
o “What parts of the human face were difficult to capture in the sketch?”
o “Would a self-portrait be easier to create? Why?”
MODELING (Presentation of new material, demonstration of the process, direct instruction)
• Distribute one 12” x 18” piece of drawing paper, a pencil and an eraser to each student.
• Turn these papers so they are in a vertical position.
• Demonstrate how and instruct students to sketch a large oval (approximately 8” x 6 “) on the 12” x 18”
drawing paper.
• Demonstrate how and instruct students to sketch a faint straight guideline from top to bottom dividing the
oval into two equal parts (left and right) using a ruler. (Note: This guideline, along with several others, will
be erased at a later time during this lesson.)
• Demonstrate how and instruct students to sketch another faint straight guideline across the oval dividing
the oval into two equal parts (upper and lower) using a ruler.
• Discuss the placement, shape, and size of eyes, eyebrows, nose, mouth and ears on the graphed oval
and on faces of students.
• Introduce the word bi-lateral symmetry and instruct students to write the definition in their
sketchbook/journal.
• Class Discussion Questions:
• “How does bilateral symmetry relate to the human face?”
• “How does understanding bilateral symmetry help artists draw the human face?”
• “When is a human face NOT bi-laterally symmetrical?”
• Introduce the term asymmetrical and instruct students to write the definition in their sketchbook/journal.
• Distribute the Standard Human Facial Proportions fact sheet and compare the perceptions discussed
previously and the conventions of facial drawing listed.
• Explain the word conventions and guide students to write the word and its definition in their
sketchbook/journals.
• Demonstrate how and instruct the students to map the drawing of the human face according to these six
conventions:
o Sketch a one-inch line halfway between the eyes and the chin, marking the bottom of the nose and
the lower quarter of the head.
o Sketch a two-inch line halfway between the bottom of the nose and the chin, marking the opening of
the mouth and the lowest 1/8th of the head.
o Draw two small dots on the two-inch line, one to the left of center and one to the right of center
aligned directly below the left and right pupils.
o Draw two small dots on the left and right outside contours of the head aligned with the eyebrows.
o Draw two small dots on the left and right of the outside contours of the head aligned with the bottom
of the nose.
o The last four dots correspond with the size of the ears on either side of the head.
• Put the 12” x 18” drawings aside and practice sketching face parts in the sketchbook/journals. Note: The
teacher may use lineless chart paper or other large paper to demonstrate how to draw face features
separately.
How to Illustrate Eyes and Eyebrows
• Demonstrate how and instruct students to sketch human eyes and eyebrows in their sketchbook/journal.
• Use the following steps: (refer to the illustrations below)
o Draw a straight, horizontal line (about 4 inches long for students). Note: The teacher’s
demonstration sketch should be enlarged for easy observation.
o Place four equally spaced dots on the horizontal line. (Illustration #1)
o Sketch an arch between the first and second dots on the left. (Illustration #2)
o Sketch a second arch about the same curve using the third and fourth dots. This should leave a
blank space between the arches. (Illustration #3)
o Sketch mirror or opposite concave arches below the horizon line for each arch. The arches should
now look like two football shapes. (Illustration #4)
o Erase the horizon line carefully. (Illustration #5)
o Sketch an almost complete circle within the confines of the football shape representing the iris. Do
not show the top and/or bottom of the circle. (Illustration #6)
o Draw in a smaller, complete circle representing the pupil. Color this circle black with pencil.
(Illustration #7)
o Draw short, curved lines along the edge of the top arch of the football shape curving away from the
midline of the face. These lines represent upper eyelashes and should be closer together and
longer than the eyelashes on the bottom. (Illustration #8)
o Draw short, less curved lines along the bottom edge of the football shape curving away from the
midline of the face. These lines should be spaced father apart and appear shorter than the
eyelashes on the top. (Illustration #9)
o Draw a series of short curved lines in an arch spaced appropriately above the eye. These lines
represent eyebrow hairs and may be closer together and thicker toward the middle of the face or
spaced same from edge to edge of the arch, depending on the facial features the artist is
representing. (Illustration #10)
• Encourage students to practice drawing at least 2 more sets of eyes and eyebrows in their
sketchbook/journal.
How to Illustrate Noses:
• Demonstrate how and instruct students to sketch a human nose in their sketchbook/journal.
• Use the following steps:
o Draw 2 concave vertical mirror image lines about 1 ½ “ long and ½ apart. These lines may look like
a simple tree trunk.
o At the bottom of the left line, draw a left ¼” parenthesis.
o At the bottom of the right line, draw a right ¼” parenthesis.
o At the midline between the two parentheses, draw a tiny (1/8”) upturned curved line, or smile.
o From the edge of the parenthesis to the upturned edge of the smile, draw an arch or rainbow.
• Encourage students to practice drawing at least 2 more noses in their sketchbook/journal.
How to Illustrate Mouths:
• Demonstrate how and instruct students to sketch a human mouth in their sketchbook/journal.
• Use the following steps:
o Draw a straight, horizontal line (about 2 inches long for students). Note: The teacher’s
demonstration sketch should be enlarged for easy observation. (Illustration #1)
o Draw a 1/8-inch upside down arch floating about 1/8 of an inch above the center of the horizontal
line.
o Draw a line that begins at the left end of the horizontal line, curves slowly upward toward the left
edge of the upturned arch. This line should rise slightly higher than the left upper edge of the
upturned arch about ¾ of an inch toward the center and drop slightly to connect to the upturned
arch.
o Draw a line that begins at the right end of the horizontal line, curves slowly upward toward the right
upper edge of the upturned arch. This line should be a reverse mirror image of the previously drawn
line. It should rise slightly higher than the right upper edge of the upturned arch about ¾ of an inch
toward the center and drop slightly to connect to the upturned arch.
o The drawing should now look like the upper lip of an un-smiling person.
o Draw a slightly curving up turned arch below the horizontal line that starts on the left end and stops
on the right end of the horizontal line, forming the bottom lip.
o Repeat this process using a slightly up turned horizontal line in the first step for a smile. Use a
slightly down turned horizontal line for a frown.
o Use two mirror image lines connected on the right and left in the first step to depict an open mouth.
• Encourage students to practice drawing mouths depicting different expressions or emotions in their
sketchbook/journal.
How to Illustrate Ears:
• Divide students into partners to observe human ears from a frontal view.
• Class Discussion Questions:
• “What shape does the line form?”
• “Are all ears the same?”
• “What happens to the sight of the ears when a face is turned slightly to one side?”
• Demonstrate how and instruct students to sketch human ears from a frontal view in their
sketchbook/journal.
• Use the following steps:
o Sketch 2 slightly convex curved 3-inch vertical lines representing the left and right side of a human
face.
o Draw a line that begins near the top of the right convex line, curves up and out slightly like the top of
a number “2”. This line should come away from the vertical line no more than ½ inch.
o As the contour line of the ear approaches the bottom of the vertical line, flare the line out like a small
letter “J” creating the ear lobe.
o Create a symmetrical “flipped” shape on the left vertical line creating a representation of the left ear.
o Note: This process may need to be reversed for left handed illustrators. Creating a flipped image or
line tends to be easier on the left for left handed illustrators and on the right for right handed
illustrators.
• Practice drawing pairs of ears from the frontal view in the sketchbook
How to Illustrate Hair
• Discuss how hair takes up visual space on the head, whether hair is long or short.
• Allow students time to practice drawing lines that represent different types and styles of hair in their
sketchbook/journal. (Suggest drawing curly, straight, wavy, braided, long, short, spiked hairstyles.)
• Discuss other distinguishing marks or items that help define a person. (e.g., eyeglasses, earrings, braces,
etc.)
• Guide students to practice drawing these features in their sketchbook/journal.
GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)
• When students have practiced drawing facial features in their sketchbook/journals enough to feel
confident, instruct them to draw facial features on to the 12” x 18” drawing paper in the appropriate place.
• Remind students to use the markings previously made on the drawing for placement and size of the facial
features studied.
• Encourage students to observe each other throughout the drawing process using a partner’s face for
reference.
• Note: Mirrors or digital photographs are a wonderful observation tools for self-portraits, if available.
• Instruct students to erase guidelines when the facial features are completed.
• Remind students to draw distinguishing marks or features to create a unique portrait or self-portrait.
• Place finished portraits in individual portfolios or in a central storage area.
• Spray fixative or aerosol hair spray over the pencil drawings to keep the drawings from smearing. Note:
This should be done when students are NOT present as the fumes may be strong.
DEBRIEF & EVALUATE (Identify problems encountered, ask and answer questions, come up with
solutions, discuss learning that took place and review)
• Guide students to write reflections in their sketchbook/journal answering the following questions:
o What facial feature was the most difficult to draw? Why?
o How can you improve drawing that feature?
o What would you do differently when drawing another portrait? Why?
EXTENSION (Climate of expectation is created by the teacher that encourages students to do further
research, look for connections and apply understanding and skills previously learned to personal
experiences)
• Practice sketching facial characteristics.
• Use colored pencils to add color to the portrait drawing.
• Create drawings of faces from different points of view (e.g., head tilted or turned to one side, face looking
upward or downward, etc.).
• Create drawing of faces illustrating different emotions (e.g., laughing, crying, frightened, confused, etc.)
• Locate drawings of human faces created by master artists from different times in history and compare and
contrast with original student drawings.
Standard Human Facial Proportions
• Eyes are halfway between the top of the
head and the bottom of the chin.
(1/2 of the head)
• The bottom of the nose is halfway
between the eyes and the chin.
(1/4 of the head)
• The mouth is halfway between the nose
and the chin.
(1/8 of the head)
• The left and right corners of the mouth
line up with the center of the pupils of the
eyes.
• The top of each ear begins at the level of
the eyebrows.
• The bottom of the ears end at the bottom
of the nose.
Placing facial features according to these
“conventions” are standard or typical of the
human face.
Remember, each face is
different and the
variations are what make
us unique and special! ☺
VISUAL ART-GRADE FOUR
DRAWING: THE HUMAN FIGURE
Drawing the Human Figure
Lesson 3
CONTENT STANDARDS
1.4 Describe the concept of proportion (in face, figure) as used in works of art.
2.5 Use accurate proportions to create an expressive portrait or a figure drawing or painting.
ESSENTIAL QUESTIONS
• What does the artistic process from inception to completion look like?
• How do I combine personal knowledge and intent to create art?
• How do I increase my technical abilities and knowledge in order to create art?
• How I apply spatial concepts to art?
• What inferences can be drawn from artistic detail?
OBJECTIVES & STUDENT OUTCOMES
• Define, locate and use proportion in at least one original work of art.
• Describe the conventions of figure proportion and use them in at least one original work of art.
• Depict a particular idea or mood in a figurative drawing.
MATERIALS & PREPARATION
• Lineless chart paper, one black chart marker
• Sketchbook/journal, one per student
• 12” x 18” white construction or drawing paper
• Pencil and eraser, one per student
• Black medium point felt tip marker, one per student
Words to know:
• gesture drawing: the drawing of lines quickly or loosely to show movement in a subject.
• figure drawing: pertaining to representation of the human figure in drawing
• conventions: ways in which to standardize drawing of the human face or figure, usually involving
proportion
• proportion: the size relationships of one part to the whole and one part to another.
REFERENCES
• Portfolios, Grade: Four, by Robyn Montana Turner, Barrett Kendall Publishing
• Instructional Media Center (IMC)
2441 Cardinal Lane, San Diego CA 92123
• Websites for figure drawing:
o Overall Body Proportions:
http://drawinglab.evansville.edu/body.html
http://realcolorwheel.com/human.htm
o Paintings of entire human bodies:
Blue Boy by Gainesborough: http://www.huntington.org/ArtDiv/BlueBoyPict.html
Dance Class by Degas: http://www.montableau.com/GB/d/degas/104024.htm
o Fourth Grade examples: http://www.artsonia.com/museum/gallery.asp?exhibit=51379
WARM UP (Engage students, access prior learning, review, hook or focus the student for learning)
• Display reproductions or web images of paintings and figure drawings of human beings in standing
positions in an area easily seen by all students. (see References)
• Distribute sketchbook/journals and a pencil to each student.
• Demonstrate how to draw quick, fluid, continuous lines that capture the gesture, pose or movement of
the bodies (gesture drawings) depicted in the displayed paintings or figure drawings on the chart paper
with a black marker. (No facial features or details should appear in gesture drawings.)
• Instruct students to create gesture drawings of the bodies depicted in the paintings in their sketchbook
journals using pencil and no erasers. (Note: Stick figures are not acceptable.)
• No facial features or details should appear in gesture drawings.
• Distribute one medium black felt tip marker to each student.
• Chose a student to form an interesting action pose in a place where all students can see the entire
body, head to toe.
• Direct students to draw the pose or gesture of the body in 2 minutes or less in the sketchbook/journal
using quick, fluid and continuous lines using the black marker.
• Change the model’s position (and/or student) into a new action pose.
• Instruct students to draw the pose or gesture of the body in 1 minute on a new page in the
sketchbook/journal using quick, fluid and continuous lines using the black marker.
• Continue the process of changing poses and creating 1-minute gesture drawings until most students
are comfortable with the exercise.
• Secure gesture drawings in the sketchbook/journals using tape or staples or place in a portfolio.
• Collect the black markers.
MODELING (Presentation of new material, demonstration of the process, direct instruction)
• Distribute the Standard Human Conventions of Figure Drawing Fact Sheet.
• Discuss and demonstrate the standard visual proportions of humans.
o Measure the head of a student from the chin to the crown of the head.
o Measure the total height of the student.
o Divide the student’s total height by the height of the head.
o Compare results with the conventions.
Note: The standard conventions are based on the proportions of an adult human, not that of a child, so
there may be slight discrepancies.
• Compare the conventions and the gesture drawings in the sketchbook/journals.
• Attach the Standard Human Conventions of Figure Drawing Fact Sheets in the sketchbook/journals.
• Demonstrate how to sketch a proportional figure drawing focusing on proportion and with little or no
detail on the lineless chart paper and the chart marker.
• Allow students 4 to 5 minutes to draw a proportional figure sketch with little or no detail using pencil
according to the conventions in the sketchbook/journal.
GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)
• Choose a student to strike a comfortable action pose for 10 minutes.
• Instruct students to draw the figure from head to toe on 12” x 18” white construction or drawing paper
(turned vertically) focusing on proportion using pencil and erasers.
o Draw the body at least 8 inches tall.
o Clothing should be present.
o Facial details may appear but are not necessary.
• Display completed figure drawings or place in portfolios.
DEBRIEF & EVALUATE (Identify problems encountered, ask and answer questions, come up with
solutions, discuss learning that took place and review)
• Give students the opportunity to write a reflection in the sketchbook/journal about the figure-drawing
lesson.
• Questions for reflective writing:
o “What three things did you learn about human proportion from this lesson?”
o “How did knowing the standard conventions of human proportion help when drawing the human
figure?”
EXTENSION (Climate of expectation is created by the teacher that encourages students to do further
research, look for connections and apply understanding and skills previously learned to personal
experiences)
• Find photos in magazines or books of people doing some activity (sport, dance, work).
• Create figure drawings of people engaged in activities from a photo or observation.
• Draw a series of gesture drawings while observing a physical education class, dance class or sport
activity.
Standard Visual Proportions of the Human Body
• The human body is about
8 heads tall.
• The width of a human
body from shoulder to
shoulder is 3 heads
width.
• The distance from chin to
armpit is one head.
• The distance from armpit
to elbow is one head.
• The distance from the
waist to the floor is
about 4 ½ heads
• The distance from elbow
to top of the leg is one
head.
• The distance from top of
the leg to the knee is
two heads.
• The distance from the
knee to the toes is two
heads.
VISUAL ART-GRADE FOUR
CLAY VESSEL
Building a Clay Vessel
Lesson 4
CONTENT STANDARDS
2.3 Use additive and subtractive processes in making simple sculptural forms.
3.1 Describe how art plays a role in reflecting life (e.g., in photography, quilts, architecture).
ESSENTIAL QUESTIONS
• What does the artistic process from inception to completion look like?
• How do I increase my technical abilities and knowledge in order to create art?
• How I apply spatial concepts to art?
• How are the arts a reflection of events in history and daily life especially related to California State
History?
• How does technology influence the arts?
OBJECTIVES & STUDENT OUTCOMES
• Describe how to create a coil method ceramic vessel using the vocabulary of art.
• Create a clay vessel using the coil method.
• Describe how earthen clay was used by at least one culture that founded the State of California.
• Compare and contrast additive and subtractive sculptural processes.
• Describe functional works of art.
MATERIALS & PREPARATION
• Ceramic or air dry clay
• One clay cutter
• Foam plate or 6” x 6” pieces of cardboard, one per student
• Plastic fork, one per student
• Popsicle stick, one per student
• Small water container, one per student
• Table or desk cover (laminated construction paper, brown paper or canvas), one per student
Words to know:
• functional art: art designed to be used as a tool or with a particular function (furniture, clothing masks,
etc.)
• additive sculpture: refers to the process of joining a series of parts together to create a sculpture.
• subtractive sculpture: refers to a sculpting method produced by removing or taking away from the
original material (opposite of additive sculpture)
• clay: a soft, moist material (water or wax based) used to create artworks such as sculpture and pottery.
• kiln: a furnace or oven used for burning, baking or hardening clay into bricks or pottery.
• coil method: using a rope like form that has been rolled from clay in a spiral fashion to create a vessel
• score: to scratch a surface, to make rough
• slip: liquid clay; clay with water added
• vessel: a hollow container
REFERENCES
• Portfolios, Grade: Four, by Robyn Montana Turner, Barrett Kendall Publishing
o Functional art: Blanket, page 92; Architecture, pages 29, 54, 55, and 72
o Vessels: page 118
• Kumeyaay Pottery : http://www.clayhound.us/sites/kumeyaay.htm
o http://www.kumeyaay.info/museums/pottery/
• Mexican Pottery: http://www.mexicanceramic.com/aboutceramics.htm
• Chinese Pottery: http://www.21ceramics.com/English/history/Enhistorybrief.htm
• Ancient and Medieval Pottery: http://www.historyforkids.org/learn/arts/pottery/index.htm
• Building Coil Pots Online: http://www.expertvillage.com/videos/base-coil-pot.htm
o http://www.jhpottery.com/tutorial/coil.htm
o http://www.pottery.netfirms.com/assignments/assign_3.htm
WARM UP (Engage students, access prior learning, review, hook or focus the student for learning)
• Discuss the student’s’ visit to the Kumeyaay craft store SHUMUP KO HUP, in Old Town California State
Historic Park, San Diego. If students have not attended the Old Town Cultural/Historic Program as yet,
visit http://www.kumeyaay.info/shumupkohup/ to learn about the Native American crafts.
• Class Discussion Questions:
o “What is functional art?”
o “What materials did the Kumeyaay use to create vessels?”
o “Where did the Kumeyaay get the clay used in creating ceramic vessels?”
MODELING (Presentation of new material, demonstration of the process, direct instruction)
• Distribute sketchbook/journals to all students.
• Enter the following vocabulary words and their definitions into the sketchbook/journal.
o clay
o vessel
o coil
o score
o slip
If ceramic clay is used: add kiln to the vocabulary entries in the sketchbook/journal.
• Discuss how these words relate to the making of a ceramic, coil vessel. (Note: Use photographs from
the websites mentioned in References, Building Coil Pots Online to illustrate the words and their
meanings.)
• Prepare the teacher’s demonstration workspace by placing a table cover, container with water, a block
of ceramic or air dry clay, a popsicle stick, a plastic fork and a clay cutter in an area easily seen by all
students.
• Show students how to cut the block of clay into 3-inch cubes using the clay cutter. (Note: This step may
be done before class begins and cubes may be placed into sealed zip lock bags.)
• Demonstrate how to create a coil vessel:
o Divide the ball of clay into 4 to 6 pieces.
o Roll each piece of clay into evenly distributed coils about ½ inch thick.
o Scratch or score one side of each the coils using a plastic fork or popsicle stick.
o Apply a small amount of water along the scored surface of one coil using a finger. This water
forms a thin layer of slip to assist in joining of clay pieces.
o Wind this coil into a flat circle beginning in the center.
o Cut the coil when the circle is large enough for the base of the vessel, about 3 inches.
o Smooth the top surface of the circle forming the bottom inside of the vessel using a popsicle
stick and a finger.
o Score the outside edge of the circle.
o Add a small amount of water to the scored surface of another coil.
o Firmly press the scored side of the second coil directly onto the scored surface of the base
around the edge of the circle of clay.
o Continue winding the clay coil on top of itself, creating the sides of the vessel.
o Smooth the inside of the clay vessel, filling in gaps and creating a solid surface. (Note: The
outside of the vessel may also be smoothed, according to preference.)
o Add coils in the same manner until the desired height is reached.
• Distribute a table cover, 6-inch paper plate or piece of cardboard, plastic fork, popsicle stick, small
container of water, and a 3-inch cube of air dry or ceramic clay to each student.
• Direct students to write their name on the paper plate or cardboard. (Note: This paper plate or
cardboard will be used to identify students’ art later in the building process.)
GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)
• Instruct students to create coils, score and slip all connecting surfaces, and build a vessel at least 2
inches tall.
• Guide students through out this building process by reviewing procedures and troubleshooting
problems that may arise.
• Place completed vessels on to the paper plate or cardboard inscribed with the student’s name.
• Place vessels in the designated drying area.
• Lead students through appropriate clean up procedures.
(Note: when vessels are partly dry (leather hard) inscribe the bottom of each vessel with the students
name or initials.)
• When clay is completely dry, the vessel may be moved for display or further completion (see Extension
section of this lesson).
If ceramic clay is used:
• Load dry clay vessels (greenware) into the kiln carefully and fire according to specifications listed on
the outer box of the clay. (Usually Cone 5)
• Let fired the vessels (bisque ware) cool 12 to 24 hours before removing from the kiln.
• Display vessels or continue with surface decoration (see Extension section of this lesson).
DEBRIEF & EVALUATE (Identify problems encountered, ask and answer questions, come up with
solutions, discuss learning that took place and review)
• Class Discussion Questions:
o “How did your clay change from a coil into a vessel?”
o “How did the shape of the vessel change when you began to smooth the inside?”
o “What would you do differently if you could make the vessel again?”
o “How will you use the vessel? “
EXTENSION (Climate of expectation is created by the teacher that encourages students to do further
research, look for connections and apply understanding and skills previously learned to personal
experiences)
• Finish the coil vessel decorating the surface with marker and polyurethane or acrylic paint.
If ceramic clay is used:
• Apply glaze by dipping vessel into a large container of glaze or use paintbrushes.
• Do NOT apply glaze to the bottom of the vessel. Clean all glaze off the bottom of vessels before they
are placed in the kiln.
• When glaze is dry, place in kiln with ½ to 1 inch of space between vessels.
• Fire according to specifications on the glaze containers.
• Let fired glazed vessels cool for 12 to 24 hours before removing from the kiln.
VISUAL ART-GRADE FOUR
WEAVING
Creating an Ojo de Dios or God’s Eye
Lesson 5
CONTENT STANDARDS
2.4 Use fibers or other materials to create a simple weaving.
4.2 Identify and describe how a person’s own cultural context influences individual responses to works of art.
ESSENTIAL QUESTIONS
• What does the artistic process from inception to completion look like?
• How do I increase my technical abilities and knowledge in order to create art?
• How can I demonstrate my artistic knowledge and personal expression through improvisation?
• How are the arts a reflection of events in history and daily life especially related to California State
History?
• How does technology influence the arts?
OBJECTIVES & STUDENT OUTCOMES
• Identify warp and weft.
• Demonstrate the ability to use a variety of fibers to create a weaving at least 6 inches wide.
MATERIALS & PREPARATION
• one folded piece of paper representing a letter
• two 6” sticks per student (e.g., 1/4 dowel rod, natural sticks from trees, craft sticks)
• a variety of yarns and strings
• scissors, one per student
Words to know:
• warp: the vertical fibers attached to the top and bottom of a loom
• weft: the threads woven over and under the warp fibers on a loom
• fiber: a thread or filament from which a vegetable tissue, mineral substance, or textile is formed
• weaving: an artwork made of thread, yarn or other fibers woven together on a loom
REFERENCES
• Portfolios: Grade Four, by Robyn Montana Turner, Barrett Kendall Publishing
o Weaving: pages 92-93; 109, 138-139
• Websites for Ojos de Dios:
o elementary instructions: http://www.dltk-kids.com/world/mexico/ojo_de_dios.htm
o photos: http://www.allfreecrafts.com/nature/ojo-de-dios.shtml
o advanced instruction: http://www.caron-net.com/kidfiles/kidsapr.html
o historical information: http://www.historicalfolktoys.com/catcont/6004.html
o eight sided: http://ojos-de-dios.com/ojodirections.html
WARM UP (Engage students, access prior learning, review, hook or focus the student for learning)
• Play the game, “A Tisket, A Tasket”
o In a large open area (playground or gym), direct all students to form a circle.
o Remove one student from the circle and give them a folded piece of paper representing the
“letter”.
o The remaining students should stand with their arms outstretched, holding hands with
neighboring students, creating 2-3 foot spaces between each student.
o All students stay in place and drop their hands.
o Instruct the student holding the “letter” to begin walking or skipping around the circle while
weaving in and out of the stationary students.
o All students sing or recite the poem “A Tisket, A Tasket”
“A tisket, a tasket,
A green and yellow basket,
I wrote a letter to my love
And on the way I lost it
I lost it, I lost it
And on the way I lost it.
I wrote a letter to my love
And on the way I lost it.”
o When the song ends, the letter carrier hands the letter to the person who is directly in front of
them. The two students change places.
o The game may continue until all students have a chance to weave in and out of the circle.
o Introduce the word warp by identifying the stationary students as “the warp”.
o Introduce the word weft by identifying the letter carrier as “the weft”.
• Instruct students to enter the words warp and weft and their definition in the sketchbook/journal.
MODELING (Presentation of new material, demonstration of the process, direct instruction)
• Distribute two-6” sticks and one 24” piece of yarn, string or fiber to each student.
• Demonstrate how and direct students to place both sticks together, making the tops and bottoms of the
sticks align.
• Tie one end of the 24” yarn or string tightly around the middle of both sticks at the same time, joining
them.
• With the sticks joined in the center, pull the sticks apart until they are perpendicular to each other, forming
a large plus sign. (+)
• Wind the string tightly around one of the four spokes of the +, then over to the spoke on the right.
• Wind the string or yarn around this second spoke and over to the next spoke on the right.
• Continue this process until all spokes have been covered once with the string.
• Keep the crossover yarn on the upper side of the + each time.
• Demonstrate how and instruct students to continue the process of wrapping the yarn around each of the
spokes in clockwise order and crossing over to the next spoke creating a web on the upper side of the +.
GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)
• Instruct students to continue the winding from adjacent spoke to adjacent spoke in a clockwise fashion
placing the yarn or string next to, not on top of, previously wound yarn or string.
• Demonstrate how to tie a new string or yarn to the end of the first fiber creating a change in color.
• Encourage students to plan their choices of color and the length of their strings to create a unique pattern.
• When the sticks are covered to within ½ inch of the ends of all the spokes, tie the string to the end of one
of the spokes to end the weaving.
• Fold a 12” piece of yarn or string in half, aligning the ends.
• Tie both ends of this string at the same time to the end of one of the spokes, forming a loop or hanger.
• Use a pencil to write the students’ names on the ends of the spokes, or place a nametag on the back of
the Ojo de Dios or God’s Eye.
• Display the works in an area where they may be seen 3 dimensionally. (e.g. in windows, from branches of
a tree, from a suspended line in space, etc.)
DEBRIEF & EVALUATE (Identify problems encountered, ask and answer questions, come up with
solutions, discuss learning that took place and review)
• Allow students to sketch their Ojo de Dios or God’s Eye in their sketchbook/journal using colored pencils.
• Encourage students to write or draw changes (color, pattern, fiber) they would make in a new Ojo de Dios
or God’s Eye.
• Ask students to identify which part of the Ojo de Dios or God’s Eye is the warp (sticks) and which part was
the weft? (yarn)
EXTENSION (Climate of expectation is created by the teacher that encourages students to do further
research, look for connections and apply understanding and skills previously learned to personal
experiences)
• Research, write about and present the history of Ojos de Dios in Mexico and South America.
• Create a cardboard loom and a weaving. (See page 138 of Portfolios, Grade Four)
VISUAL ART - GRADE FOUR
MONO PRINT
Making a Mono-Print
Lesson 6
CONTENT STANDARDS
1.2 Describe how negative shapes/forms and positive shapes/forms are used in a chosen work of art.
2.7 Use contrast (light and dark) expressively in an original work of art.
ESSENTIAL QUESTIONS
• What does the artistic process from inception to completion look like?
• How do I combine personal knowledge and intent to create art
• How do I increase my technical abilities and knowledge in order to create art?
• How I apply spatial concepts to art?
• What inferences can be drawn from artistic detail?
OBJECTIVES & STUDENT OUTCOMES
• Demonstrate understanding of positive and negative space.
• Create a mono print that is approximately 50% positive and 50% negative space.
• Create a mono print that uses contrast to create an emotion or idea.
MATERIALS & PREPARATION
• 4” x 6” white construction paper, one per student
• 3” x 5” colored construction paper, one per student
• scissors, one per student
• glue stick, one per student
• 8” x 12“ piece of Plexiglas or laminated tag board or shiny, slick report cover, one per student
• one color of printer’s ink or tempera paint thickened with flour
• brayers or paintbrushes
• newspaper or desk covers
• paper or foam plate, one per student
• Q-tips, cotton balls, wooden skewers, tooth pick, craft sticks or a variety of other disposable items
• 8 ½” X 11” white paper
Words to know:
• space: the emptiness or area between, around, above, below or contained within objects
• positive space: refers to spaces that represent solid objects
• negative space: refers to spaces that are, or represent areas unoccupied by objects
• print plate: a piece of flat material with a design on the surface used in printmaking
• brayer: a tool, usually a hard rubber cylinder used to spread ink over a print plate
• ink: in printing, a thick colored fluid used to reproduce images
• ink plate: a flat surface used to spread printer’s ink evenly over the surface of a brayer
• printmaking: the transferring of an inked image from one surface (the print plate or block) to another
(usually paper)
REFERENCES
• Portfolios, Grade: Four, by Robyn Montana Turner, Barrett Kendall Publishing
o Making a print: pages 32-33,
o Examples of prints: pages 34-35,
o Stencil: page 40
WARM UP (Engage students, access prior learning, review, hook or focus the student for learning)
• Distribute one 4” x 6” piece of white construction paper and one 3” x 5” piece of colored construction paper,
a pair of scissors and a glue stick to each student.
• Demonstrate how and direct students to cut the 3” x 5” colored construction paper into two equal parts with
a creatively cut line. (e.g. curvy diagonal, straight vertical, jagged horizontal)
Note: This is a great opportunity to discuss fractions.
• Demonstrate how and instruct students to cut the two halves into equal pieces with a creatively cut line.
• Place the cut pieces onto the 4” x 6” white construction paper matching edges like a puzzle.
• Pull all the colored pieces of construction paper away from each other but in the same configuration leaving
white spaces around each.
• Glue the colored pieces onto the white construction paper with white background showing between each
piece.
• Identify the colored pieces as positive space (space that represents solid objects) and the white spaces as
negative space (space that represents emptiness).
• Glue or staple these works into the sketchbook/ journal.
• Write the vocabulary words positive and negative space and the definitions in the sketchbook/journals.
MODELING (Presentation of new material, demonstration of the process, direct instruction)
• Cover all student desks and a demonstration area with newspaper or other protective cover.
• Ensure that all students can see the demonstration area.
• Place an 8” x 12” Plexiglas, laminated tag board or shiny, slick report cover in the demonstration area.
• Place a foam or paper plate, brayer or paintbrush and printer’s ink or thickened tempera paint in the
demonstration area.
• Squeeze out printer’s ink or spoon thickened tempera onto the foam or paper plate.
• Demonstrate how to roll or brush printer’s ink or thickened tempera paint over one entire surface of the print
plate.
• Explain that the ink or paint in the positive space in the work of art.
• Choose an emotion or abstract idea you wish to illustrate in the print (e.g. love, peace, fear, happiness).
• Demonstrate how to remove ink from the surface forming a design or image that represents the chosen
theme using Q-tips, cotton balls, combs, wooden skewers, tooth picks, craft sticks or other disposable
items.
• Dispose of the items used to remove the ink or thickened tempera when full or no longer needed.
• When about 50% of the ink have been removed, place a clean sheet of 8 ½” x 11” over the print plate.
• Gently press down over the entire surface. Avoid shifting the paper to eliminate smears.
• Carefully peel the paper back from the print plate to reveal the mono print (only ONE original print is created
from the printing plate).
• Note: If you wish to make more prints, alter the print plate by subtracting or adding more ink or paint, add a
new sheet of paper and print again.
• Place the print in the designated drying area.
• Demonstrate appropriate clean up procedures.
If Plexiglas or laminated tag board is used:
• Wash the surface in water and dry.
If a report cover is used:
• Dispose of the inked report cover.
GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)
• Distribute one piece of Plexiglas, a laminated tag board or a slick, shiny report cover to each student. (This
slick and shiny surface is called the print plate.)
• Distribute a paintbrush or a brayer and a paper or foam plate to each student.
• Instruct students to spread the single color ink or thickened tempera paint onto the print plate surface.
• Distribute Q-tips, cotton balls, combs, wooden skewers, toothpicks, craft sticks or other disposable items to
the students.
• Assign an emotion or theme to the students which they will illustrate or depict in the mono-print.
• Instruct students to think of the theme and remove 50% of the ink from the ink plate, disposing of the tools
as they become full or unusable.
• Remind students that the ink is considered positive space and they are creating negative space where it
is removed.
• Distribute one clean white 8” x 12” paper to each student when the print plate is complete.
• Tell students to place the white paper onto the print plate carefully covering the print plate to the edges.
• Allow students to rub the surface of the white paper gently without the paper slipping on the ink surface.
• Ask students to gently peel the white paper from the ink plate surface.
• Place all prints in the drying area.
• Complete clean up procedures.
DEBRIEF & EVALUATE (Identify problems encountered, ask and answer questions, come up with
solutions, discuss learning that took place and review)
• Allow students to enter the term mono-print and its definition into their sketchbook/journal.
• Ask students to recall the steps used in the mono-print process.
Discussion Questions:
o “Did your mono-print reflect the emotion or theme chosen? If so, how? If not, why?”
o “If you could make more mono prints, how would you change the print plate to create unique, one
of a kind prints?”
o “How would those changes affect the theme of the work of art?”
EXTENSION (Climate of expectation is created by the teacher that encourages students to do further
research, look for connections and apply understanding and skills previously learned to personal experiences)
• Create a stencil by cutting out shapes from a laminated piece of construction paper. Place stencil over a
clean sheet of paper. Dab or stamp tempera paint or ink in the cut out areas of the stencil.
VISUAL ART-GRADE FOUR
POSITIVE & NEGATIVE SPACE: PAPER MOSAIC
Understanding Positive and Negative Space
Through Paper Mosaic
Lesson 7
CONTENT STANDARDS
1.1 Perceive and describe contrast and emphasis in works of art and in the environment.
2.6 Use the interaction between positive and negative space expressively in a work of art.
3.2 Identify and discuss the content of works of art in the past and present, focusing on the different
cultures that have contributed to California’s history and art heritage.
ESSENTIAL QUESTIONS
• What does the artistic process from inception to completion look like?
• How do I increase my technical abilities and knowledge in order to create art?
• How does technology influence the arts?
• How does a work of art impact the viewer impact, influence and communicate meaning, concept
and mood to me?
• What inferences can be drawn from artistic detail?
OBJECTIVES & STUDENT OUTCOMES
• Describe contrast in an original work of art.
• Identify positive and negative space in works of art.
• Explore the use of mosaic historically and in present day San Diego.
• Create a paper mosaic that illustrates visual organization and emphasis.
MATERIALS & PREPARATION
• article: Mosaics in San Diego, one per student
• paper tesserae (1/4 in cut or torn papers: construction, wrapping, magazine, card stock)
• 9” x 12” black construction paper, one per student
• glue stick or liquid glue bottle, one per student
Words to know:
• mosaic: An artwork made by fitting together small pieces of colored glass, stone, paper or other
materials called tesserae.
• tesserae: small pieces of material, such as paper, stone, tile or glass used to make a mosaic
• contrast: the state of being strikingly different from something else
• positive space: shapes or spaces that are or represent solid objects
• negative space: refers to shapes or spaces that are or represent areas unoccupied by objects
REFERENCES
• Portfolios, Grade: Four, by Robyn Montana Turner, Barrett Kendall Publishing
o Mosaic: pages 122-23; 140
o Found objects in artwork: page: 136-137
o Using glue: page 133
o Murals and Mosaics: page 120-21
• Websites on mosaics:
o History: http://www.thejoyofshards.co.uk/history/index.shtml
o Nikki Saint Phalle in San Diego:
http://entertainment.signonsandiego.com/profiles/places/269760
o Paper:
http://www.hgtv.com/hgtv/cr_paper_crafts_tips/article/0,1789,HGTV_3295_1373639,00.html
o Elementary Lesson: http://www.rifton.com/resources/articles/activities/mosaics.html
o http://entertainment.signonsandiego.com/places/niki-de-saint-phalle-where-find-here-art-san-
diego/
o www.publisaddress.us/artists/dominguez.html
o www.sandiego.gov (photo)
o http://blog.360.yahoo.com/blog-LZKLBFA5dKsXz.ftsC0Gjho2EQ--?cq=1&p=6111&cs=0
o http://entertainment.signonsandiego.com/places/niki-de-saint-phalle-where-find-her-art-san-
diego/
WARM UP (Engage students, access prior learning, review, hook or focus the student for learning)
• Distribute article, Mosaics in San Diego to each student.
• Allow students to scan or read the article independently.
• Divide the students into partners to read the article a second time, aloud to each other.
• Instruct the partners to list new vocabulary words in their sketchbook/journals.
• Class Discussion Questions:
o “If you have actually seen the works mentioned in the article, describe to the class what you
remember.”
o “Where have you seen other mosaics?”
• Write definitions to the new vocabulary words discovered in the article in the sketchbook/journals.
• Attach the Mosaics in San Diego article in the student sketchbook/journals using staples or tape.
MODELING (Presentation of new material, demonstration of the process, direct instruction)
• Place a hand full of multi-colored tesserae (torn or cut ¼ to ½ inch pieces of paper) on the table of each
student.
• Instruct students to lay the pieces of tesserae out on the surface of the table in a single layer.
• Discuss how the random placement of the pieces is not organized and how the viewer’s eyes move
from color to another color in a haphazard way.
• Direct students to move the pieces of tesserae around in an organized manner using to create a
design.
• Discuss how the organization of tesserae causes the viewer’s eyes to move differently over the surface
of the design.
• Discuss the contrast between the two arrangements of tesserae.
• Direct students to move the tesserae once again, this time into piles according to color.
• Guide students to write the word contrast and its definition in the sketchbook/journal.
• Distribute one 9” x 12” piece of black construction paper and a glue stick or liquid glue bottle to each
student.
• Demonstrate how and instruct students to draw a simple design on the black construction paper with
pencil. (Note: Mention to the students how the grey pencil line on black construction paper is low or no
contrast to the background.)
• Instruct students to place tesserae on the black construction paper inside the drawn shapes in an
organized manner.
GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)
• Demonstrate how and instruct students to glue each piece of tesserae onto the black constructions
paper inside the drawn shape using a glue stick or liquid glue.
• Remember to leave small, evenly spaced areas of black showing between each tesserae.
• Remind students to keep the colors organized so that the finished mosaic allows the viewer’s eyes to
make meaning visually. This shape is considered positive space.
• When the inside of the shape is filled with glued tesserae, instruct students to fill in the background or
negative space with tesserae of one color that contrasts to the colors used inside the positive space of
the mosaic.
• Remind students to keep the tesserae organized and evenly spaced with small areas of black
construction paper showing between the tesserae.
• When the surface of the 9” x 12” black paper is covered with organized tesserae, place in a drying
area.
DEBRIEF & EVALUATE (Identify problems encountered, ask and answer questions, come up with
solutions, discuss learning that took place and review)
• Choose a large, empty space to display the completed, dry paper mosaics.
• Allow the class to take part in the placing of their pieces in a class size mosaic
• Place individual paper mosaic pieces directly next to each other, leaving no spaces, thinking about how
the styles, themes and colors of the works look best together overall.
• Class Discussion Questions:
o “How could the mosaic designs made in paper be used to create a “real” mosaic?”
o “Where would you place that mosaic? Why?”
o “What items would you use as tesserae?”
EXTENSION (Climate of expectation is created by the teacher that encourages students to do further
research, look for connections and apply understanding and skills previously learned to personal
experiences)
• Create a mosaic flowerpot using plaster and stone. (see:
http://www.storknet.com/cubbies/kidscrafts/aug02.htm)
• Collect stone, shells, broken tiles, pieces of broken pottery or china, old jewelry, etc. and use them as
tesserae in a mosaic set in plaster.
Chair #23 Basketball Player La Cabeza
Niki de Saint Phalle, artist Niki de Saint Phalle, artist Niki de Saint Phalle, artist
Famous Mosaics in San Diego
If you visit the San Diego Hall of Champions in Balboa Park, you will see a
10-foot tall sculpture covered with brightly colored pieces of stone, glass and
tile. The name of the work of art is “#19 Baseball Player”. It was created in
1999 by the sculpture artist Niki de Saint Phalle and is in honor of Tony
Gwynn, former San Diego Padre and a member of the Baseball Hall of Fame.
This statue is a wonderful example of mosaic art.
Mosaic is the art of making patterns or pictures by arranging pieces of
glass, stone or tile and fixing them to a surface with plaster or cement. The
little brightly colored pieces of glass, stone or tile are called tesserae.
Many schools, churches and public buildings have mosaic art that
illustrate their unique community. There is an interactive tile work of art called
“The Children’s Wall” at the San Diego Children’s Hospital that includes 9
forms with moveable parts. Patients and visitors to the hospital can play with
this mosaic! There’s a rocket ship, telephones with keypads, a even a
roadrunner who's feet spin. The Children’s Wall was created by a group of
artists, Mary Lynn and Jesus Dominguez and Ellen Phillips.
Artists throughout history have used this form of art as a way of creating art
that will last for hundreds, even thousands of years.
Coming Together Carley’s Magical Garden #19 Baseball Player
Niki de Saint Phalle, artist Mary Lynne Dominguez, artist Niki de Saint Phalle, artist
VISUAL ART-GRADE FOUR
ARCHITECTURE
California Architecture
Lesson 8
CONTENT STANDARDS
5.3 Construct diagrams, maps, graphs, timelines and illustrations to communicate ideas or tell a story about a
historical event.
5.4 Read biographies and stories about artists and summarize the readings in short reports, telling how the
artists mirrored or affected their time period or culture.
ESSENTIAL QUESTIONS
• What do I need to know in order to artistically respond to the environment?
• How I apply spatial concepts to art?
• How are the arts a reflection of events in history and daily life especially related to California State
History?
• How does technology influence the arts?
• How does a work of art impact the viewer impact, influence and communicate meaning, concept and
mood to me?
• What inferences can be drawn from artistic detail?
OBJECTIVES & STUDENT OUTCOMES
• Identify five important architectural structures in California.
• Read biographic information about people who built historical architectural structures in California.
• Illustrate an architectural structure built in California.
• Become aware of architecture how it reflects the culture in one's own community.
MATERIALS & PREPARATION
• Information Sheets on California Architectural Structures at the end of this lesson, one each per student
• Photographs or actual architectural structures built in California
• 12” x 18” white construction or drawing paper, one per student
• pencils, erasers
• colored pencils or pastels
Words to know:
• architecture: the art and science of designing buildings and other structures
• architect: a person who designs buildings or structures and sometimes supervises the construction
• research: a systematic investigation or study
• renovated: to restore to a good state of repair
• floor plan: The arrangement of rooms in a building
• blueprint: A plan for building something. Traditionally printed with while lines on a blue background
REFERENCES
• Portfolios, Grade: Four, by Robyn Montana Turner, Barrett Kendall Publishing
o Architecture: page 54-55, 56-57, 29
• Instructional Media Center (IMC)
2441 Cardinal Lane, San Diego, Ca., 92123
o As many as 12 reproductions may be checked out at one time.
• Structures in California
o Golden Gate Bridge, San Francisco: http://www.pbs.org/wgbh/amex/goldengate/tguide/index.html
o Golden Gate School Projects: http://goldengatebridge.org/research/school.php
o Getty Museum, Los Angeles: http://www.getty.edu/visit/see_do/architecture.html
o Hearst Castle, San Simeon: http://www.hearstcastle.org/history/the_castle.asp
o California State Capitol Building, Sacramento:
http://www.capitolmuseum.ca.gov/english/teachers/index.html#artarch
• Structures in San Diego
o San Diego Historical Society Architectural Exhibit:
http://www.sandiegohistory.org/exhibits/arch2003/index.htm
o Mission San Diego de Alcala:
http://www.sandiegohistory.org/exhibits/arch2003/images/missionsd.jpg
http://missions.bgmm.com/sdiego.htm
http://missiontour.org/sandiego/index.htm
http://www.letsgoseeit.com/index/county/sd/san_diego/loc08/missionSD.htm
o California Tower, Balboa Park: http://www.c100.org/images/tower1.jpg
o Point Loma Lighthouse: http://www.sandiegohistory.org/exhibits/arch2003/images/lighthouse.jpg
o Hotel del Coronado: http://www.sandiegohistory.org/exhibits/arch2003/images/168549.jpg
o Coronado Bridge under construction:
http://www.sandiegohistory.org/exhibits/arch2003/images/coronadobridge.jpg
WARM UP (Engage students, access prior learning, review, hook or focus the student for learning)
• Display at least three photographs or posters of architectural structures built in California. Note: The
California State Capitol, the Golden Gate Bridge, the Hearst Castle, the Disney Concert Hall or Balboa Park
would be ideal for this lesson.
• Introduce the word architecture.
• Instruct students to write the word and definition in their sketchbook/journal.
Discussion Questions:
o “What kind of structures do you see displayed?”
o “Where do you think you could find these structures?”
o “What kinds of materials do you think were used to create these structures?”
o “When do you think these structures were built?”
o “Who do you think designed and built them?”
• Introduce the word architect.
• Instruct students to write the word and definition in their sketchbook/journal.
• Discuss how architects create blueprints.
• Instruct students to write the word blueprints and its definition in their sketchbook/journal.
MODELING (Presentation of new material, demonstration of the process, direct instruction)
• Choose one of the Information Sheets on California Architectural Structures.
• Distribute a copy to each student or project the selection on an overhead or with a document camera.
• Read the selection out loud to the class stopping for vocabulary words and discussion as needed.
• List important facts on chart paper.
• Divide the class into 4 small groups.
• Distribute Information Sheets on California Architectural Structures to the students in each group, so
that all four remaining structures are being investigated, one in each group.
• Allow students to read the selection silently, writing new vocabulary words and three important ideas in their
sketchbook/journals.
• Distribute one piece of chart paper and a dark colored marker to each group.
• Ask each group to share their important ideas and vocabulary words with their small group.
• Appoint one scribe in each group.
• Instruct the scribe to write the collective important ideas and new vocabulary words on the group’s chart
paper.
• Allow each group to present their findings to the class.
GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)
• Distribute 12” x 18” white construction or drawing paper to each student.
• Choose an architectural structure from California. Note: This structure could be the school building, a
neighborhood business, his or her home or a significant historical structure.
• Make a sketch of the chosen structure by observing it directly or by observing a photograph using pencil.
• Add patterns, details and shading to create an architectural drawing using colored pencils or pastels.
• Instruct students to create background illustrating the environment surrounding the structure.
• Spray works of art with fixative or hair spray when drawings are complete. Note: This should be done when
students are NOT present as the fumes can be irritating.
• Display works or place in individual portfolios.
DEBRIEF & EVALUATE (Identify problems encountered, ask and answer questions, come up with
solutions, discuss learning that took place and review)
Discussion Questions:
o “How do the students’ architectural drawings differ from blueprints?”
o “What techniques did you use to make the architectural drawings look three-dimensional?”
o “What did you learn about the structures when you were drawing them?”
o “Why did you choose the architectural structure in your drawing?”
EXTENSION (Climate of expectation is created by the teacher that encourages students to do further
research, look for connections and apply understanding and skills previously learned to personal experiences)
• Distribute all five Information Sheets on California Architectural Structures to each student for placement in
their own sketchbook/journal.
• Encourage students to research other architectural structures in California. Give them the opportunity to
present their reports to the class.
• Examine blueprints or floor plans of a building.
• Give students the opportunity to create floor plans of the classroom or their bedroom.
The People’s Building
California’s State Capitol
Sacramento, California
Architect: Reuben Clark, for M. F.
Butler
Groundbreaking: 1860
Completion: 1874
Architectural Style: Greek and Roman
In 1850, California became the 31st state. Six years later, an architect, Reuben
Clark, who worked for M. F. Butler, imagined a beautiful building. He drew the
plans for the California State Capitol Building. Mr. Clark knew that hundreds of
years ago, Greek philosophers developed the idea of democracy. He also knew
that Thomas Jefferson used Roman designs when he drew plans for government
buildings in Washington D.C. Mr. Clark decided to use Greek and Roman
architectural designs to represent the democratic way of California’s government
and its connection with the United States of America.
A groundbreaking ceremony was held in 1860 in Sacramento and the construction
began. The capitol building was completed fourteen years later in 1874. The most
significant part of the building is the dome that reaches high above the center of
the capitol. The dome is beautiful both inside and outside and looks a lot like the
nation’s capitol building. Legislative chambers, or rooms for the state senate and
congress, are on opposite sides of the dome. Balconies overlook the activities in
both of these chambers so that people can watch the lawmakers while they are
working. The governor has an office in the building too. As California became
more populated, the capitol building needed to grow also. Two annexes have
been added for governmental offices. The building has been remodeled and
restored twice.
Works of art that show scenes from ordinary life and different times in history from
around the state are located throughout the capitol building. The lawmakers have
commissioned artists to paint portraits of all 36 governors. These portraits hang in
the West Wing of the capitol. Two huge murals are on display in the building.
One shows the discovery of California, major events since 1850 and how the
future may look. The other mural illustrates how the state of California got its
name.
Resource: www.capitolmuseum.ca.gov/virtualtours/architecture/html
Hearst Castle
La Cuesta Encantada
San Simeon, California
Architect: Julia Morgan
Groundbreaking: 1919
Completion: 1947
Architectural Style: Mediterranean
People the world over come to San Simeon, California to visit Hearst Castle, also
know as La Cuestra Encantada (The Enchanted Hill). Hearst Castle is a palace
with 56 bedrooms, 41 fireplaces, 61 bathrooms and 19 sitting rooms! 127 acres
of gardens surround the four large buildings on the estate. There are two huge
swimming pools. One is designed to look like an ancient Roman pool with blue
glass and gold tiles as the lining and is inside one of the buildings. The other
pool, dedicated to Neptune, the Greek god of the oceans, is outdoors and holds
345,000 gallons of water.
George Hearst made lots of money in the Gold Rush of 1948. He purchased
40,000 acres of land in San Simeon and Santa Rosa. He continued to buy more
land and when he died he left 250,000 acres to his wife, Phoebe Apperson
Hearst. Their only son, William Randolph Hearst, inherited the land when his
mother died. William, his family and friends would camp on the property, but in
1919 he decided to contact architect Julia Morgan to build “a little something”.
Together they planned and build Hearst Castle. It was completed in 1947.
The main house, called Casa Grande, has three guesthouses. All four buildings
are designed in Mediterranean style. Casa Grande has two huge towers that
look a lot like a cathedral in Spain. There is a library with more than 4,000
books. Throughout the castle, there are so many pieces of art and antiques that
it is considered a museum. The State of California operates the Hearst Castle as
historical monument where thousands of people come to visit each year.
Resource: www.hearstcastle.com
The Golden Gate Bridge
San Francisco, California
Architect: Joseph B. Strauss
Art Deco Designer: Irving Morrow
Groundbreaking: 1933
Completion: 1937
Architectural Style: Modern with Art
Deco details
The Great Depression was a time in American history when many people were out of
work and needed money. The federal government decided to create jobs to help
people make a living. One of the ways in which the government created jobs was to pay
for huge construction projects throughout the United States that helped to modernize
our country. The Golden Gate Bridge was one of those projects. The Golden Gate
Bridge is a suspension bridge that connects the Presidio area of the City of San
Francisco and Marin County. It crosses over the Golden Gate strait, the place where
San Francisco Bay joins with the Pacific Ocean. The strait is approximately 3 miles
long.
A suspension bridge is a kind of bridge that has one or more towers built over piers.
The Golden Gate Bridge has two towers. These two towers hold cables that are
anchored and stretched from one side of the bridge to the other. The roadway or girder
hangs from the main cables (horizontal) and hanger cables (vertical). All the weight of
the roadway and the vehicles that pass over it must be supported by the cables and the
towers! A suspension bridge is especially good for spanning long distances because
the bridge can actually move in the wind and still stay strong.
Joseph B. Straus, who was also the chief engineer, designed the Golden Gate Bridge.
Construction on the bridge began in 1933 and lasted for four years. Steel parts of the
bridge were created in Jew Jersey, Maryland and Pennsylvania, loaded onto train cars
and shipped to Philadelphia. There the steel was loaded onto ships that brought the
parts to San Francisco through the Panama Canal. From 1937 to 1964 the Golden
Gate Bridge was the longest suspension bridge in the world. Most people think the
bridge is gold in color, but it is painted orange! This color lets ships see the bridge from
far away, especially in the fog that often appears in the San Francisco Bay.
The Golden Gate Bridge is a toll bridge too. A toll bridge requires that every vehicle pay
a toll to cross from one side to the other. The money that is collected is used to
maintain the bridge. 38 painters and 17 ironworkers are responsible for repairing and
maintaining the bridge. Their jobs are to constantly check and repair the bridge.
Did you know that 9 million people visit the Golden Gate Bridge every year?
Resources:
www.greatbuildings.com
www.pbs.org/wgbh/amex/goldengate/tguide/index.html
www.goldengatebridge.org
www.matsuo-bridge.co.jp/english/bridges/basics/suspension.shtm
The Disney Concert Hall
Los, Angeles, California
Architect: Frank O. Gehry
Groundbreaking: 1999
Completion: 2003
Architectural Style: Urban
The Walt Disney Concert Hall in Los Angeles looks like a huge curved modern sculpture
instead of a building. Frank Gehry, who grew up in Los Angeles and is known around
the world for his innovative architecture, designed the concert hall. It took him three
years to design the complex. Mr. Gehry says he designed the building from the inside
out. He wanted the audience and the musicians to feel close to each other, so he
designed the inside of the concert hall to feel cozy. The concert hall has 2,275 seats, so
making it feel cozy was really difficult!
The inside of the concert hall is designed to make the music sound clear and beautiful
from every seat. There are no private boxes so each seat has a good view. The curved
wooden ceilings, skylights and large rear window make the inside of the concert hall
beautiful to look at too. The pipes for a specially designed organ are part of the design
and make concerts a unique experience.
The outside of the building is made up of huge curved geometric shapes that are made
from shiny stainless steel and stone. There is a different view from every side of the
building, making it fascinating to see. Between the large sections of the building are
gardens and two outdoor amphitheatres. The whole complex includes a 2,500-car
garage, a restaurant, a café, a bookstore and a gift shop. The lobby and the garden
areas are used for mini concerts and performances throughout the day. The Walt
Disney Concert Hall takes up an entire city block, 3 1/2 acres, in the Bunker Hill area of
downtown and is California’ smallest state park.
Lillian Disney, donated $50 million dollars to the city of Los Angeles in 1987 for this
world-class concert hall, named after her husband and creator of Mickey Mouse, Walt
Disney. The Los Angeles Philharmonic, the Los Angeles Master Chorale and the Roy
and Edna Disney/California Arts Theatre use the concert hall for their performances all
year around.
Resources:
www.frommers.com/destinations/losangles/A33111.html
www.architectureweek.com/2003/1217/design_1-2.html
www.arcspace.com/gehry_new/index.html?main=/gehry_new/disney/disney.htm
Balboa Park
San Diego, California
Architect: Bertrum Goodhue
Panama California-Exhibition: 1915
California International Exhibition: 1935
Rehabilitation: 1946 to Present
Architectural Style: Spanish Colonial
San Diego was a tiny city with 915 houses 2,301 citizens in 1870. The trustees of the
city set aside 1400 acres of canyons and hilltops for a city park. They wanted to
preserve the natural beauty of the city for future generations.
Kate Sessions loved gardens, so in 1892 she asked to lease 30 acres of the park for a
plant nursery. She agreed to plant 100 trees a year throughout the park. She helped
turn the rocky dirt into flower gardens and lawns with nature trails throughout the hills.
A Park Improvement Committee was formed in 1902. The committee hired Samuel
Parsons as a landscape architect to design a plan for the “City Park”. The city wanted a
name for the park, so a contest was held. The park was named after the Spanish
explorer, Vasco Nunez de Balboa, the first European to see the Pacific Ocean.
World Fairs are huge, international celebrations to exhibit scientific, industrial,
technological and artistic accomplishments. Two world fairs were held in Balboa Park.
The first one, from 1915 to 1916, was called the California-Panama Exposition. The
museums, the Cabrillo Bridge and the Spreckels Organ Pavilion were all designed and
built at that time. Bertram Goodhue, an architect from New York used Spanish Colonial
style in his designs.
Richard Requa was the director of architecture and landscaping for the California
Pacific International Exposition held from 1935 to 1936. He added building with Indian
Pueblo architecture and Mayan design. Restoration on the buildings goes on all the time
to keep Balboa Park beautiful.
Resource: www.sandiego.gov/park-and-recreation/parks/balboa/history.shtml
VISUAL ART-GRADE FOUR
COMPLIMENTARY COLORS
Self Portrait Painting in Complementary Colors
Lesson 9
CONTENT STANDARDS
1.3 Identify pairs of complementary colors (yellow/violet; red/green; orange/blue) and discuss how artists
use them to communicate as idea or mood.
2.8 Use complementary colors in an original composition to show contrast and emphasis.
4.5 Describe how the individual experiences of an artist influence the development of specific works of art.
ESSENTIAL QUESTIONS
• How do I combine personal knowledge and intent to create art?
• How do I increase my technical abilities and knowledge in order to create art?
• What do I need to know in order to artistically respond to the environment?
• How does a work of art impact the viewer impact, influence and communicate meaning, concept and
mood to me?
• What inferences can be drawn from artistic detail?
OBJECTIVES & STUDENT OUTCOMES
• Name and identify pairs of complementary colors in works of art including their own.
• Create a painting using pairs of complementary colors in close proximity or adjacent to each other.
• Describe and use contrast and emphasis in an original painting.
• Describe how an artist’s mood or outlook may be represented in his/her work.
MATERIALS & PREPARATION
• A color wheel with primary, secondary and intermediate (tertiary) colors
• A reproduction of Vincent Van Gogh’s Self Portrait with Bandaged Ear and Pipe
• Tempera paint: red, yellow, blue, green, orange and purple
• Brushes, one per student
• Water containers, one per student
• Paper towels, one per student
• 9” x 12 “ white construction paper, one per student
• Palette or Styrofoam plate, one per student
Words to know:
• color wheel: colors arranged in a specific order (red-orange-yellow-green-blue-violet) in the shape of a
circle
• complementary colors: colors opposite one another on the color wheel. Red/green; blue/orange; and
yellow/violet are examples of complementary colors
• contrast: enhancement of the apparent brightness or clarity of a design provided by the juxtaposition
of different colors or texture
• emphasis: special importance, value, or prominence given to something
REFERENCES
• Portfolios, Grade: Four, by Robyn Montana Turner, Barrett Kendall Publishing
o Creating a Portrait: page 100
o Complementary colors: page 25, 100
o Color Wheel: page 24, 156
• Van Gogh’s Self Portrait with Bandaged Ear and Pipe
o http://www.vggallery.com/painting/p_0529.htm
o http://www.safran-arts.com/42day/art/art4mar/vangogh/selfpipg.html
WARM UP (Engage students, access prior learning, review, hook or focus the student for learning)
• Examine Vincent Van Gogh’s Self Portrait with Bandaged Ear and Pipe and a color wheel.
• Locate the prominent colors Van Gogh used in the painting on the color wheel.
Class Discussion Questions:
o “Which colors did Van Gogh use next to each other in this painting?”
o “Are those colors next to each other on the color wheel?”
o “What ideas do you think about when you examine this painting by Van Gogh? Why?”
o “What kind of feelings do you think Van Gogh was trying to express in this painting? Why?”
• Write the words complementary colors and the definition on the board or chart paper while students
write the word and definition in their sketchbook/journals.
• Use a color wheel (Portfolios: Grade Four, page 156) to locate and identify each pair of complementary
colors.
• Locate the pairs of complimentary colors in Van Gogh’s Self Portrait with Bandaged Ear and Pipe and in
Malachowski’s Little Girl in Blue (Portfolios: Grade Four, page 100)
MODELING (Presentation of new material, demonstration of the process, direct instruction)
• Distribute one 9” x 12” piece of white construction paper, a pencil and an eraser to each student.
• Demonstrate and instruct students to sketch a simple face and neck (portrait). Note: You may choose to
sketch self-portraits, historical figures, aliens or animals.
• Review how complementary colors, used in close proximity or adjacent to each other, produce vibrant
contrast and can emphasize the emotional content of a work of art.
• Demonstrate how and instruct students to plan how areas of the portrait will be painted with pairs of
complementary colors, using a pair of colors for the face, a different pair of complementary colors for the
background, and a third pair of complementary colors for the clothing
• Mark each area of the portrait with a word or initial using pencil.
• Demonstrate how to begin painting the portrait using complementary color plan and tempera paint.
GUIDED PRACTICE (Application of knowledge, problem solving, corrective feedback)
• Note: The following process may be done in more than one class periods.
• Distribute one paintbrush, one container of water, one paper towel, and one palette or foam plate to each
student.
• Distribute 1 to 2 tablespoons of tempera paint to each student. Use the same color for the entire class.
(Red)
• Instruct students to paint the area or section of their portrait that has been planned for that particular
color.
• Remind students that they will eventually have several colors of paint on their palette and they should
not spread out the paint, but rather keep each new color in separate, small areas.
• Note: No mixing of colors should be done in this painting exercise.
• Ask students to clean their brushes thoroughly and place them on the clean paper towels when this task
is completed.
• Distribute 1 to 2 tablespoons of the complementary color to each student on their palettes. (Green)
• Instruct students to paint in the parts of the portrait that correspond to this new color.
• Repeat this process, cleaning brushes, distributing one new color at a time in complementary color pairs
until all areas of the portrait are painted.
• Direct students to place wet works of art in an appropriate drying area and complete all clean up
procedures.
DEBRIEF & EVALUATE (Identify problems encountered, ask and answer questions, come up with
solutions, discuss learning that took place and review)
• Display the complementary color portraits in a large area so that all students can view the works,
including Van Gogh’s Self Portrait with Bandaged Ear and Pipe.
• Class Discussion Questions:
o “Do the portraits look finished or complete?” Defend your answers.
o If they do not look complete, “What could be done to complete the portraits?”
o Van Gogh’s self-portrait was painted days after he cut off his own ear in desperation. “Is Van
Gogh’s mood or outlook represented in his portrait? What clues do you have?”
o “Is your mood or outlook represented in your painting? How?”
EXTENSION (Climate of expectation is created by the teacher that encourages students to do further
research, look for connections and apply understanding and skills previously learned to personal
experiences)
• Students may create a color wheel with primary, secondary and intermediate (tertiary) colors place
appropriately in their sketchbook/journal.
• Allow students to use small amounts of tempera paint to create details and patterns on the portraits.
Fourth Grade Visual Art Lessons Materials List
• One large ball (basketball size)
• One large box (approximately 18” x 12” x 12”)
• Other geometric forms (cone made of paper, paper towel tube, etc.)
• Flashlight or directional desk lamp
• Pencils, one per student
• Art Erasers, one per student
• Stumps and/or tortillons, one per student
• Sketchbook/journal, one per student
• 12” x 18” white construction paper, one ream per class
• Ruler or straight edge, one per student
• Copy paper, one ream per class
• Fixative or aerosol hair spray, one can
• Lineless chart paper tablet, one per class
• one black chart marker, one per class
• Black medium point felt tip marker, one per student
• One folded piece of paper representing a letter
• 2-6 inch sticks (e.g., 1/4 dowel rod, natural sticks from trees, craft sticks), per student
• a variety of yarns and strings
• scissors, one per student
• Ceramic or air dry clay
• One clay cutter, one per class
• Foam plate or 6” x 6” pieces of cardboard, one per student
• Plastic fork, one per student
• Popsicle stick, one per student
• Small water container, one per student
• Table or desk cover (laminated construction paper, brown paper or canvas), one per
student
• paper tesserae (1/4 in cut or torn papers: construction, wrapping, magazine, card stock)
• 9” x 12” black construction paper, one per student
• glue stick or liquid glue bottle, one per student
• A color wheel with primary, secondary and intermediate (tertiary) colors
• A reproduction of Vincent Van Gogh’s Self Portrait with Bandage and Pipe
• Tempera paint: red, yellow, blue, green, orange and purple
• Brushes, one per student
• Paper towels
C
Brushes-8" A05153-1008 1 brush = 1 stu 32
Eraser A21507-1024 1 box = 24 stu 2
Glue Bottle A23872-1064 1 bottle = 1 stu 32
Paper 9x12, A11406-1023 1-50 pk = 1 stu 32
Wh
Clay Cutter A30357-0000 1 cutter 1
Color Wheel A04988-1005 1 wheel 1
Fixative A21707-1105 1 can 1
Paint,TMP,Blue A00018-5008 64 oz 1
Paint,TMP,Gr A00018-7008 64 oz 1
Paint, TMP, Or A00018-4508 64 oz 1
Paint,TMP,Red A00018-3008 64 oz 1
Paint, TMP,Vio A00018-6508 64 oz 1
Paint, TMP, Yel A00018-4008 64 oz 1
Paper, Easel A52924-1005 1-50 sheet pad 1
Pad
Paper 12x18, A11406-1027 1-50 pk 1
Wh
Paper 9x12, A11406-2003 1-50 sheet pk 1
Black
Paper Stumps A22856-1048 48 piece set diff 1
sizes
Paper Tesserae A60974-1001 1 assortment 1
Posterboard A13100-1022 1-50 sheet pk 1
Sticks A60433-1002 1-1000 pk 1
Yarn, Red A65226-3120 1-3oz skein 1
Yarn, Blue A65226-5130 1-3oz skein 1
Yarn, Yellow A65226-4060 1-3oz skein 1
Yarn, Purple A65226-6610 1-3oz skein 1
Yarn, Green A65226-7130 1-3oz skein 1
Yarn, Orange A65226-3350 1-3oz skein 1
Yarn, Black A65226-2000 1-3oz skein 1
Yarn, White A65226-1000 1-3oz skein 1
Total 228.88
Ordering Information:
Dick Blick Art Materials
1844 India Street
San Diego, CA 92101
619/687-0050
262@dickblick.com
San Diego Unified School District – Visual and Performing Arts Department
California State Content Standards
Core Learnings
GRADE FOUR
VISUAL ART
1.0 Artistic Perception
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills unique
to VAPA
1.1 Perceive and describe contrast and emphasis in works of art and in the environment.
Recognize and describe the juxtaposition of dissimilar elements, comparisons between two or
more elements of art or the difference between the lightest and the darkest areas (contrast) in
compositions and the environment.
Recognize and describe special stress given to an element to make it stand out or be noticed
(emphasis) in compositions and the environment.
Select a work of art that clearly illustrates emphasis and explain why it was chosen using the
vocabulary of visual art.
1.2 Describe how negative shapes/forms and positive shapes/forms are used in a chosen work
of art.
Identify unoccupied areas (negative) and areas representing solid objects (positive) in works of
art.
Analyze how positive and negative space can be used to create mood and emotional response
to works of art.
Analyze how size and placement of positive space affects negative space.
1.3 Identify pairs of complementary colors (yellow/violet; red/green; orange/blue) and discuss
how artists use them to communicate an idea or mood.
Locate and name pairs of complementary colors and their relative placement on the color wheel.
Explore complementary and non-complementary color combinations and their affect on mood,
emotional response, and association (flags, holidays, sports teams, school colors, etc.)
1.4 Describe the concept of proportion (in face, figure) as used in works of art.
Discuss size relationships of one part to the whole and one part to another in faces and figures.
Explore realistic and non-realistic proportion.
Explore how artists manipulate proportion to create emphasis.
1.5 Describe and analyze the elements of art (color, shape/form, line, texture, space and value),
emphasizing form, as they are used in works of art and found in the environment.
Identify cubes, spheres, pyramids, and cones (basic geometric forms) in works of art and the
environment.
Analyze the physical environment using the elements of art.
2.0 Creative Expression
Students apply artistic processes and skills, using a variety of media to communicate meaning and intent
in original works of art.
2.1 Use shading (value) to transform a two-dimensional shape into what appears to be a three-
dimensional form (e.g., circle to sphere).
Draw two-dimensional shapes (circles, squares, triangles, rectangles, etc.) and transform them
into transparent three-dimensional forms (spheres, cubes, pyramids, etc.).
Draw or paint solid forms using shading to create the illusion of depth, including shadow cast by
the objects.
2.2 Use the conventions of facial and figure proportions in a figure study.
Draw faces and figures demonstrating the appropriate use of following conventions: corner of
mouth lines up with pupils, size of the head multiplied eight times equals the height of the total
body, finger tip to finger tip of side spread arms equals the entire length of the body, the center of
the entire head is at the top of the nose, right between the eyes.
2.3 Use additive and subtractive processes in making simple sculptural forms.
Create sculptures by joining parts together (additive sculpture), using three or more parts or
pieces.
Create sculptures of various size by removing or taking away from a block of original material
(subtractive) using appropriate media (plaster mixed with vermiculite, balsa wood, etc.) and tools
(spoons, butter knives, etc.)
2.4 Use fibers or other materials to create a simple weaving.
Identify warp (set of materials that run lengthwise in a loom) and weft (set of materials that run
crosswise) in a weaving.
Use yarns, strips of fabric, strings, organic materials, etc. to create weavings at least 12 inches
long.
2.5 Use accurate proportions to create an expressive portrait or a figure drawing or painting.
Plan a work of art by creating a series of drawings (thumbnail sketches) that communicates a
mood, emotion or concept and draw or paint at least one portrait or figure drawing based on the
preliminary sketches using line, shape/form, color, texture, value and space and correct size
relationships.
2.6 Use the interaction between positive and negative space expressively in a work of art.
Create a series of sketches by manipulating positive and negative space demonstrating a mood
or idea.
Create a work of art that communicates a mood or idea, by purposeful use of shapes
representing solid objects (positive space) and shapes or spaces representing unoccupied areas
(negative space).
2.7 Use contrast (light and dark) expressively in an original work of art.
Create a work of art using highly contrasted light and dark areas to represent a mood or idea.
Create a work of art that explores direct and diffused light and its effect on objects, including
shadow, depth and mood.
2.8 Use complementary colors in an original composition to show contrast and emphasis.
Create a work of art purposefully using complementary colors (red/green; yellow/violet;
blue/orange) to show high contrast.
Discuss the effect that complementary colors have on emphasis in a work of art
3.0 Historical and Cultural Context
Understanding the Historical Contributions and Cultural Dimensions of the Arts
3.1 Describe how art plays a role in reflecting life (e.g., in photography, quilts, architecture).
Describe how art reflects heritage, historical events record keeping, society, etc. (from cave
paintings to contemporary art).
Identify art in the classroom, at home, and in the community and discuss how it reflects the lives
of students and others.
3.2 Identify and discuss the content of works of art in the past and present, focusing on the
different cultures that have contributed to California’s history and art heritage.
Name at least five cultures that continue to have impact on the development of California’s
culture.
Examine the artwork from each of these cultures and discuss how visual art plays a role.
3.3 Research and describe the influence of religious groups on art and architecture, focusing
primarily on buildings in California both past and present.
Research the art (including statues and architecture) created by, or in the style of, religious
groups that impacted the development of California and describe how the influence still affects
architecture being created today.
4.0 Aesthetic Value
Responding to, Analyzing and Making Judgments About Works of Art
4.1 Describe how using the language of the visual arts helps to clarify personal responses to
works of art.
Discuss how visual art vocabulary (the elements of art: line, shape/form, color, texture, value and
space and principles of art: emphasis, contrast, movement, repetition) allows one to describe,
analyze and explain responses to works of art.
4.2 Identify and describe how a person’s own cultural context influences individual responses
to works of art.
Explain how a person who has studied a culture may see works of art differently than a person
who knows nothing about the culture.
Discuss how their own fourth grade culture my influence their appreciation of works of art.
4.3 Describe how the subject and selection of media relate to the meaning or purpose of a work
of art.
Describe the qualities of lead and colored pencil, markers, tempera and watercolor paint, pastels
and ceramic clay, and the effects associated with each (e.g. watercolor can be used when hazy
or transparent areas are desired, tempera can be used when sharp or bold effects are desired)
4.4 Identify and describe how various cultures define and value art differently.
Research how functional and non-utilitarian art objects are used in two or more cultures and
discuss findings.
4.5 Describe how the individual experiences of an artist may influence the development of
specific works of art.
Read about the life of an artist, examine works created by that artist and hypothesize how life
experiences may have influenced his/her works.
5.0 Connections, Relationships, Applications
Connecting and Applying What is Learned in the Arts to all Disciplines and Subject Areas and to Careers
5.1 Select a nonobjective painting, work in small groups to interpret it through
dance/movement, and then write a paragraph reporting on the arts experience.
Analyze a painting that has no recognizable objects or images (non-objective), interpret the
painting through dance/movement and perform it with others.
Record in a journal a description of the work of art, the interpretation, and translation to
dance/movement.
5.2 Research twentieth-century artists who have incorporated symmetry as part of their work
and then create a work of art, using bilateral or radial symmetry.
Write a one-page report or give a short presentation on a contemporary (twentieth century) artist
who used symmetry.
Create a bilateral or radial symmetric work in response to the research
5.3 Construct diagrams, maps, graphs, timelines, and illustrations to communicate ideas or tell
a story about an historical event.
Create a visual representation of a significant historical event from California’s history (diagram,
map, timeline, illustration, model)
5.4 Read biographies and stories about artists and summarize the readings in short reports,
telling how the artists mirrored or affected their time period or culture.
Read a biography or story about an artist, summarize the reading; give a short report detailing
the artist’s influence and reflection of the time period.
Visual Arts Glossary
abstract - artwork in which the subject matter is stated in a brief, simplified manner, little or no attempt is
made to represent images realistically, and objects are often simplified or distorted.
additive sculpture - refers to the process of joining a series of parts together to create a sculpture
aerial perspective - aerial or atmospheric perspective achieved by using bluer, lighter, and duller hues for
distant objects in a two-dimensional work of art
aesthetics - a branch of philosophy; the study of art and theories about the nature and components of
aesthetic experience
analogous - refers to closely related colors; a color scheme that combines several hues next to each other
on the color wheel
arbitrary colors - colors selected and used without reference to those found in reality
art criticism - an organized system for looking at the visual arts; a process of appraising what students
should know and be able to do
art elements - line, shape/form, color, texture, space and value
assemblage - a three-dimensional composition in which a collection of objects is unified in a sculptural work
asymmetry - balance that results when two sides of an artwork are equally important but one side looks
different from the other; different appearance on opposite sides of a dividing plane or line
atmospheric perspective - see aerial perspective. The effect air space has on the appearance of an object.
Details on the object decrease, tones become less vivid.
background - the part of the picture plane that seems to be farthest from the viewer.
balance - the way in which the elements in visual arts are arranged to create a feeling of equilibrium in a work
of art. The three types of balance are symmetry, asymmetry, and radial.
bi-lateral - having two equal sides.
body - the physical structure of a person or an animal
ceramic clay - clay that comes from the earth, gets hard when it dries and must be fired in a kiln for
completion
character - a person in a novel, play, or movie, the distinctive nature of something
characteristics - a feature or quality belonging typically to a person, place, or thing and serving to identify it
circle - a round plane figure whose boundary consists of points equidistant from a fixed point
cityscape - a landscape about the city.
clay - a soft, moist material (water or wax based) used to create artworks such as sculpture and pottery.
coil - a length of something wound or arranged in a spiral or sequence of rings
collage - an artistic composition made of various materials (e.g., paper, cloth, or wood) glued on a surface.
color - the visual sensation dependent on the reflection or absorption of light from a given surface. The three
characteristics of color are hue, value, and intensity.
color relationships - also called color schemes or harmonies. They refer to the relationships of colors on the
color wheel. Basic color schemes include monochromatic, analogous, and complementary.
color theory - an element of art. Color has three properties: hue, value, and intensity.
color value - the lightness or darkness of a color
color wheel - colors arranged in a specific order (red-orange-yellow-green-blue-violet) in the shape of a
circle.
complementary colors - colors opposite one another on the color wheel. Red/green, blue/orange, and
yellow/violet are examples of complementary colors.
composition - the organization of elements in a work of art.
cone - a solid form with a circle at the base and tapering to a point.
content - message, idea, or feelings expressed in a work of art.
contour drawings - the drawing of an object as though the drawing tool is moving along all the edges and
ridges of the form.
contrast - difference between two or more elements (e.g., value, color, texture) in a composition;
juxtaposition of dissimilar elements in a work of art; also, the degree of difference between the lightest
and darkest parts of a picture.
construction - the building of something
cool colors - colors suggesting coolness: blue, green, and violet.
crayon - a stick of colored wax used for drawing.
cube - a solid square form, a box
culture - the skills and arts of a given people in a given period; civilization.
depth - distance from the nearest to the farthest point of something or from the front to the back
design - the plan, conception, or organization of a work of art; the arrangement of independent parts (the
elements of art) to form a coordinated whole.
diagonal - the transverse or slanted orientation of a line, shape or form.
different - not the same as another or each other; unlike
distortion - condition of being twisted or bent out of shape. In art, distortion is often used as an expressive
technique.
dominance - the importance of the emphasis of one aspect in relation to all other aspects of a design.
dovetailing - a projecting part that fits into a corresponding cut out space. A way of fastening.
electronic media - media that includes computer, television, video, digital, etc.
elements of art - sensory components used to create works of art: line, color, shape/form, texture, value,
space.
emphasis - special stress given to an element to make it stand out.
expressive content - ideas that express ideas and moods.
fabric - a material from fibers, woven.
fasten - close or join securely
figurative - pertaining to representation of form or figure in art.
figure - representation of form; a person’s bodily shape
focal point - the place in a work of art on which attention becomes centered because of an element
emphasized in some way.
foreground - part of a two-dimensional artwork that appears to be nearer the viewer or in the front. Middle
ground and background are the parts of the picture that appear to be farther and farthest away.
form - a three-dimensional volume or the illusion of three dimensions (related to shape, which is two-
dimensional); the particular characteristics of the visual elements of a work of art (as distinguished from
its subject matter or content).
free form - a type of shape or form that is not geometric or found in nature, a blob.
function - the purpose and use of a work of art.
functional art - art designed to be used at a tool or with a particular function (furniture, clothing, masks, etc.)
genre - the representation of people, subjects, and scenes from everyday life.
geometric - describes mathematical shapes and forms like circles, squares, cubes and spheres.
gesture drawing - the drawing of lines quickly and loosely to show movement in a subject.
glue - an adhesive substance used for joining objects or materials.
graphic device - a design used as a tool to direct or identify.
harmony - the principle of design that combines elements in a work of art to emphasize the similarities of
separate but related parts.
height - the measurement from base to top or (of a standing person) from head to foot
horizon line - the line where the ground meets the sky.
horizontal - the left to right or across orientation of a line, shape or form
hero/heroine - a man or woman who is admired or idealized for courage, outstanding achievements, or noble
qualities
hue - refers to the name of a color (e.g., red, blue, yellow, orange).
Icon - a representative image or figure.
illusion of depth - the organization of shapes in an artwork to make a flat surface look as if it has deepness.
illustrate - to explain through drawing or painting
installation art - the hanging of ordinary objects on museum walls or the combining of found objects to create
something completely new. Later, installation art was extended to include art as a concept.
intensity - also called chroma or saturation. It refers to the brightness of a color (a color is full in intensity only
when pure and unmixed). Color intensity can be changed by adding black, white, gray, or an opposite
color on the color wheel.
landscape - artwork with land as the main subject
line - a point moving in space. Line can vary in width, length, curvature, color, or direction.
linear perspective - a graphic system used by artists to create the illusion of depth and volume on a flat
surface. The lines of buildings and other objects in a picture are slanted, making them appear to extend
back into space.
line direction - line direction may be horizontal, vertical, or diagonal.
line quality - the unique character of a drawn line as it changes lightness/darkness, direction, curvature, or
width.
logo - a trademark or symbol that represents a business or company.
loom - a frame or machine used to hold yarn, threads or other fibers for weaving.
maquette - a small preliminary model (as of a sculpture or a building).
mass - the outside size and bulk of a form, such as a building or a sculpture; the visual weight of an object.
media - plural of medium , referring to materials used to make art; categories of art (e.g., painting, sculpture,
film).
middle ground - area of a two-dimensional work of art between foreground and background.
mixed media - a work of art for which more than one type of art material is used to create the finished piece.
monochromatic - a color scheme involving the use of only one hue that can vary in value or intensity.
mood - the state of mind or feeling communicated in a work of art, frequently through color.
motif - a unit repeated over and over in a pattern. The repeated motif often creates a sense of rhythm.
movement - the principle of design dealing with the appearance or creation of action.
multimedia - computer programs that involve users in the design and organization of text, graphics, video,
and sound in one presentation.
natural shapes - shapes or forms found in nature.
negative space - refers to shapes or spaces that are or represent areas unoccupied by objects.
neutral colors - the colors black, white, gray, and variations of brown.
nonobjective - having no recognizable object as an image. Also called nonrepresentational.
non-utilitarian - art created to be viewed only, not used as a tool or with function.
observational drawing skills - skills learned while observing firsthand the object, figure, or place.
one-point perspective - a way to show three-dimensional objects on a two-dimensional surface. Lines
appear to go away from the viewer and meet at a single point on the horizon known as the vanishing
point.
opaque - not transparent, solid.
organic form - refers to shapes or forms having irregular edges or to surfaces or objects resembling things
existing in nature.
oval - having an elongated shape, like that of an egg
overlapping - to extend over a part of something else.
paint - a mixture of pigment with oil or water used to cover a surface.
paintbrush - a brush for applying paint
palette - a flat surface on which you prepare paints for use in an artwork; a particular range , quality or use of
color.
papier mache - strips or pieces of paper soaked in a watery paste, placed over an armature. The form
hardens when dried.
patchwork - needlework in which small pieces of cloth in different designs, colors, or textures are sewn
together
pattern - anything repeated in a predictable combination.
performance art - a type of art in which events are planned and enacted before an audience for aesthetic
reasons.
perspective - a system for representing three-dimensional objects viewed in space on a two-dimensional
surface using foreground, middle ground and background.
placement - the action of putting objects in a particular place or position.
point of view - the angle from which the viewer sees the objects or scene.
portfolio - a systematic, organized collection of student work.
portrait – artwork with a person or people as the main subject.
positive - shapes or spaces that are or represent solid objects.
primary colors - refers to the colors red, yellow, and blue. All other colors can be created from primary
colors.
printmaking - the transferring of an inked image from one surface (from the plate or block) to another
(usually paper).
principles of design - the organization of works of art. They involve the ways in which the elements of art are
arranged (balance, contrast, dominance, emphasis, movement, repetition, rhythm, subordination,
variation, unity).
print plate - a piece of flat material with a design on the surface used in printmaking.
properties of color - characteristics of colors: hue, value, intensity.
proportion - the size relationships of one part to the whole and of one part to another.
puppet - a movable model of a person or animal that is used in entertainment and is typically moved either by
strings controlled from above or by a hand inside it.
pyramid - a solid form with a triangle at the base tapering to a point.
quilt - a bed covering created by enclosing a layer of padding or batting between two layers of fabric and held
in place with lines of stitching which may be decorative.
radial - branching out from the center, circular
realism - a style of art that portrays objects or scenes as they might appear in everyday life, recognizable
subject is portrayed using lifelike colors, textures and proportion.
rectangle - a plane figure with four straight sides and four right angles, esp. one with unequal adjacent sides,
in contrast to a square
rectilinear - formed or enclosed by straight lines to create a rectangle.
reflection - personal and thoughtful consideration of an artwork, an aesthetic experience, or the creative
process.
rendering - to depict or draw realistically
replicate - to duplicate or repeat.
representational - to present a likeness
rhythm - intentional, regular repetition of lines of shapes to achieve a specific repetitious effect or pattern.
rubric - a guide for judgment or scoring; a description of expectations.
scale - relative size, proportion, used to determine measurements or dimensions within a design or work of
art.
sculpture - a three-dimensional work of art either in the round (to be viewed from all sides) or in bas relief
(low relief in which figures protrude slightly from the background).
seascape - a landscape about the sea or ocean.
secondary colors - colors that are mixtures of two primaries. Red and yellow make orange, yellow and blue
make green, and blue and red make violet or purple.
self-portrait - artwork about the artist
shade - color with black added to it.
shape - a two-dimensional area or plane that may be open or closed, free-form, geometric or natural. It can
be found in nature or is made by humans.
similar - resembling without being identical
size - the relative extent of something; a thing's overall dimensions or magnitude; how big something is
sketch - a drawing without much detail, usually completed in a short amount of time; sometimes used as a
rough draft for a later work of art.
slogan - a motto associated with a business, group or organization.
space - the emptiness or area between, around, above, below, or contained within objects. Shapes and forms
are defined by the space around and within them, just as spaces are defined by the shapes and forms
around and within them.
sphere - a solid round form, a ball.
splicing - weaving end strands or pieces together for fastening.
square - a plane figure with four equal straight sides and four right angles
stencil - a thin sheet, cut so that designs can be repeated exactly when ink or paint is applied.
still life - arrangement or work of art showing a collection of inanimate objects.
structure - the way in which parts are arranged or put together to form a whole.
style - a set of characteristics of the art of a culture, a period, or school of art. It is the characteristic
expression of an individual artist.
stylized - simplified; exaggerated.
subordination - making an element appear to hold a secondary or lesser importance within a design or work
of art.
subtractive sculpture - refers to sculpting method produced by removing or taking away from the original
material (the opposite of additive).
symbol - an object used to represent something.
symmetry - balance created by making both sides of an artwork the same or almost the same.
tear - to pull apart or rip into pieces
template - a shaped piece of metal, wood, card, plastic, or other material used as a pattern for processes
such as painting, cutting out, or shaping
tertiary colors - the uneven mixture of two primary colors or the combination of one primary color and the
secondary color next to it on the color wheel.
texture - the surface quality of materials, either actual (tactile) or implied (visual). It is one of the elements of
art.
theme - an idea based on a particular subject.
three-dimensional - having height, width, and depth. Also referred to as 3-D.
thumbnail sketch - a small sketch done to test or try new ideas for larger works of art.
tint - color lightened with white added to it.
tone - color shaded or darkened with gray (black plus white).
transparent - able to see objects on the other side or through.
triangle - a plane figure with three straight sides and three angles
two-dimensional - having height and width but not depth. Also referred to as 2-D.
two-point perspective - a system to show three-dimensional objects on a two-dimensional surface. The
illusion of space and volume utilizes two vanishing points on the horizon line.
traditional media - media that includes pencil, paint, clay, etc. but not electronic media.
unity - total visual effect in a composition achieved by the careful blending of the elements of art and the
principles of design.
value - lightness or darkness of a hue or neutral color. A value scale shows the range of values from black to
white.
value scale - scale showing the range of values from black to white and light to dark.
vanishing point - in perspective drawing, a point at which receding lines seem to converge.
variety - a principle of art concerned with combining one or more elements of art in different ways to create
interest.
vertical - the up and down orientation of a line, shape or form.
virtual - refers to an image produced by the imagination and not existing in reality.
visual literacy - includes thinking and communication. Visual thinking is the ability to transform thoughts and
information into images; visual communication takes place when people are able to construct meaning
from the visual image.
visual metaphor - images in which characteristics of objects are likened to one another and represented as
that other. They are closely related to concepts about symbolism.
volume - the space within a form (e.g., in architecture, volume refers to the space within a building).
warm colors - colors suggesting warmth: red, yellow, and orange.
warp - the vertical fibers attached to the top and bottom of a loom.
watercolor - transparent pigment mixed with water. Paintings done with this medium are known as
watercolors.
weaving - an artwork made of thread, yarn or other fibers woven together on a loom.
weft - the threads woven over and under the warp fibers on a loom.
zigzag - joined diagonal lines; a line having abrupt right and left turns
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