UNIT OVERVIEW

Title of Unit: Global Connections

Curriculum Area: Art Education 10, 20, 30

Grade level: 10, 20, 30

Time Frame: 20 hours

Developed by: Christine Czajkowski and Shanna Vaughn

Students will explore relationships between the visual arts, their own artwork and global
environment. Students will look at artists who are activists in raising awareness in
regards to global concerns. This unit is meant to transition students to begin a
conversation within the classroom, school environment, local or global community.

Unit Foundational Objectives:

1. Continue to examine contemporary Saskatchewan and Canadian arts in relation to international
trends and the arts around the world.
2. Examine ways that artists may choose to address global issues through their work.
3. Create arts expressions in response to global concerns.
Unit Learning Objectives:
1. Increase understanding of visual artists and their work, Canadian and international
2. Explore the role of arts as social commentary.
3. Gain an understanding of contemporary Indigenous peoples ideas and sociopolitical aspirations
expressed through the arts-national and global.
4. Explore individual artists vision within an international context.

5. Increase their understanding of processes and techniques involved in creating visual art
6. Respond to global issues through their own visual art works.
Expectations (Goals):
1. Students will understand the significance of looking at Saskatchewan and Canadian visual artists.
2. Students will become aware of global concerns and how visual artists begin a conversation with art.
3. Students will be able to translate their knowledge through the medium of painting to continue the
conversation of chosen global issue in an art movement that best represent the conversation.
4. Students will translate their work in an artists statement to accompany their art work.
5. Students will use alternative tools to paint with to enhance a challenge resulting in painting out of
their comfort zone.
Project Synopsis:
Students will examine artists that represent variety of disciplines in discussing global issues in visual art.
Students will use given technique skills and research to individually develop a project reflecting their
interpretation with the medium of acrylic paint.

Strategy Approach:
Holistic Learning:

Students will experience the unit in an intellectual, physical, emotional and spiritual approach by
expressing their new found knowledge, thoughts, and feelings in final project.

Inquiry Learning:

Students will raise inquiry by questioning and critically examining artists who are activist of global
awareness in research.

Materials/tools:

Acrylic paint
Paint brush
Alternative tools to paint with (tooth brush, card, straw, feather, wax crayons, tape, cloth, etc.)
Surface (Cougar paper). Alternative choice is ice block or cardboard in additional possibilities.
Extracting and bonding tools (scissors, glue)
Computer lab for research

Resources:

Saskatchewan Curriculum Art Education Curriculum 10, 20, 30

Beyond the Brush http://www.studentartguide.com/articles/inventive-mixed-media-techniques
The Art Story http://www.theartstory.org/section_movements.htm
Visual Art Vocabulary http://www.kqed.org/assets/pdf/arts/programs/spark/visartvocab.pdf
Visual Art Vocabulary http://www.artmuseum.arizona.edu/vocabulary-art-terms

Assessment:

Students will be provided a criteria outline of expectations prior to beginning the project.
Students will participate in a critique based on essential guidance questions amongst peers and
teacher.
Student will submit a self evaluation with final project.
Students will receive a rubric with comments.
Students will maintain an on going visual journal to express their thoughts and ideas in regards to
the project. This will show the progression of student through out the unit. Can be used as an exit
slip.

Additional Possibilities:

Students can create the project on an ice block for temporary display. All the students blocks will be
displayed outside in a collage/mural for the surrounding community to observe and learn from during
the winter months.
Eco-friendly approach to the project is for students to use recycled materials to create a surface to
paint on.
Field Trip to SCYAP to observe how they use visual art to start a conversation with local issues in
Saskatoon and work on a project with the art educators there.
For students who are done projects earlier may continue working with the same format but in an
alternative medium.
Give students an individual questioner to help determine what global issues are of interest. This will
help them simplify their research of what topic to discuss in their project.

Community Resources:

Students may use found materials from surrounding area for project to be eco-friendly.
Discussing SCYAP philosophy.

Procedure:
1. Art Movement, alternative tool usage, painting with emotion and color theory
instructions: Students will go through lessons explaining art movements, how to develop
technique with alternative tools for painting, how to express emotion in painting and painting with
color theory.
2. Research: Students will research a list of activist artists from a variety of art expression disciplines on
how they raise awareness about local or global issues (JR-Humanism, Judy Chicago-Feminism, and Marina
Debris-consumerism). They will describe the reasoning behind it, what influenced the artist to take action,
how their approach was successful, and how it comments on societies around the world.

3. Painting Project: Students will begin their project in consideration of research in their own
interpretation.
4. Artist Statement: Students will write an artists statement expressing their approach, influence, and
reasoning behind creating the project. Further discuss the value their idea holds within a local or global

context and how it may impact the community. Express the technique and specific art expressions used to
complete the project.

5. Installation: Students will brainstorm together to discuss what will be the best approach to
sharing the work of art locally. Suggestions are installing a particular place in the school
environment, local location, sharing space in the World Wide Web.

Day

Lesson Plan
Instructions

Introduction to
project, alternative
tool painting
exercise with acrylic
paint, and begin
foundations.

Continue
foundations in
painting, including
color theory,
principles of design
and visual art
vocabulary.
Develop technique
in painting with
paint brush and
alternative tools.

Foundation,
Learning and
Goal Objectives
Expectation 5

Learning 5

Learning 5

Activity

Assessment

Students will blind

pick an alternative
tool to experiment
with acrylic paint.
This will get them
out of their comfort
zone.
Students will work
on exercise pages
to demonstrate
their understanding.
-Color Wheel
assignment

Art journal

Students will work

with alternative
tools in a jigsaw
format.
-Continue to work
on color wheel
assignment

Art Journal

Art journal

Painting with
emotions. Focusing
on brush stroke
expressions in art
movements.

Learning to paint
with ink, an
alternative medium.

Overview,
connecting what
they have learned
and how they can
apply it to the
project. Give
criteria. Time for
questions.
Research

Research

Foundation 3
Learning 3 (Arthur
Shilling-Ojibwa
Expectations 1

Foundation 1 and 2
Learning 1,2,4
Expectations 1 and
2
Foundation 1 and 2
Learning 1,2,4
Expectations 1 and
2

Students will be
shown videos of
global issues. After
each video they
must express their
feelings with color
choice.
-Discuss the artist
Arthur Shilling
-Assignment with
painting with
emotion
Experiment with ink
as an alternative
medium. Examine
difference from
acrylic.
Discuss everything
learned this week,
how to apply to the
project, look over
criteria.

Art Journal

Give guidelines for

research project.
Computer lab
period.
Computer lab
period.

Art Journal

Art Journal

Art Journal

Art Journal

10

Research-share
proposal with
teacher before
beginning project.
Individual work
period.

11

Individual work
period.

12

Individual work
period.

13

Individual work
period.

14

Individual work
period.

15

Individual work
period.

16

Peer critique with

guided questions

17

Individual work
period.
Introduce artists
statement.

Foundation 1 and 2
Learning 1,2,4
Expectations 1 and
2
Foundation 3
Learning 6
Expectation 3
Foundation 3
Learning 6
Expectation 3
Foundation3
Learning 6
Expectation 3
Foundation 3
Learning 6
Expectation 3
Foundation 3
Learning 6
Expectation 3
Foundation 3
Learning 6
Expectation3

Foundation 3
Learning 6
Expectation 3, 4
and 5

Computer lab
period and make
gestural proposal of
idea for approval.

Art Journal

Art Journal
Art Journal
Art Journal
Art Journal
Art Journal
Art Journal
Discuss critique
manners with
guided questions.
Individual and peer
critique.
Discuss artists
statement
requirements.

Critique

Art Journal

18

Individual work
period.

19

Individual work
period.

20

Due date for final

project with self
evaluation as a
checklist.
Brainstorm how to
install the artwork
to show locally to
share the
conversation.

Foundation 3
Learning 6
Expectation 3, 4
and 5
Foundation 3
Learning 6
Expectation 3, 4
and 5
Foundation 3
Learning 6
Expectation 3, 4
and 5

Art Journal

Art Journal

Give students self

evaluation to do
prior to handing in
final project. Must
submit final project
with self evaluation.
Brainstorm
installation ideas.

Self Evaluation

Handouts
Contemporary Social Issues Around the World

Slums
Religious Conflict
War Conflict
Crime
Poverty

Racism
Sustainability
Stereotypes
Social class
Inequality
Education
Obesity
Media propaganda
Alcohol and other drugs
Animal Rights
Child Labour
Climate Change
Bullying
Gay Rights
Gun Control
Human Trafficking
Pollution
Gender discrimination
Recycling
Terrorism
Drinking Water
No Electricity Supply
Agriculture

Art Movements
Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their
independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh
opposition from the conventional art community in France. Claude Monet
Post-Impressionism emerged as a reaction against Impressionists concern for the naturalistic depiction
of light and colour. Due to its broad emphasis on abstract qualities or symbolic content, Post-Impressionism
englobes Neo-Impressionism, Symbolism, Cloisonnism, Pont-Aven School and Synthetism, along with some

later Impressionists work. The movement was led by Paul Czanne, Paul Gauguin, Vincent van Gogh and
Georges Seurat
Neo-Impressionism is a term coined by French art critic Flix Fnon in 1886 to describe an art
movement founded by Georges Seurat.
Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry
and other arts.
Cloisonnism is a style of post-Impressionist painting with bold and flat forms separated by dark contours.
The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indpendants, in March
1888.[1] Artists mile Bernard, Louis Anquetin, Paul Gauguin, Paul Srusier, and others started painting in
this style in the late 19th century. The name evokes the technique of cloisonn, where wires are soldered
to the body of the piece, filled with powdered glass, and then fired. Many of the same painters also
described their works as Synthetism, a closely related movement.
Synthetism is a term used by post-Impressionist artists like Paul Gauguin, mile Bernard and Louis
Anquetin to distinguish their work from Impressionism. Earlier, Synthetism has been connected to the term
Cloisonnism, and later to Symbolism. The term is derived from the French verb synthtiser (to synthesize
or to combine so as to form a new, complex product).
Analytic Cubism was developed only by Picasso and Braque during the winter of 1909-10. It lasted until
the middle of 1912, when collage introduced simplified versions of the "analytic" forms. In the analytic
phase (190712) the cubist palette was severely limited, largely to black, browns, grays, and off-whites. In
addition, forms were rigidly geometric and compositions subtle and intricate.
Synthetic Cubism (1913 through the 1920s), paintings were composed of fewer and simpler forms based
to a lesser extent on natural objects. Brighter colors were employed to a generally more decorative effect,
and many artists continued to use collage in their compositions.
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the
beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective,
distorting it radically for emotional effect in order to evoke moods or ideas. Expressionism is notoriously
10

difficult to define, in part because it "overlapped with other major 'isms' of the modernist period: with
Futurism, Vorticism, Cubism, Surrealism and Dada.
Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th
century. It emphasized and glorified themes associated with contemporary concepts of the future,
including speed, technology, youth and violence, and objects such as the car, the aeroplane and the
industrial city.
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and
sculpture, and inspired related movements in music, literature and architecture. Cubism has been
considered the most influential art movement of the 20th century.
Dada was an art movement of the European avant-garde in the early 20th century. Dada in Zurich,
Switzerland, began in 1916, spreading to Berlin shortly thereafter, but the height of New York Dada was
the year before, in 1915. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around
1913 when he created his first readymades. Dada, in addition to being anti-war, had political affinities with
the radical left and was also anti-bourgeois. Dada represented the opposite of everything which art stood
for. Where art was concerned with traditional aesthetics, Dada ignored aesthetics. If art was to appeal to
sensibilities, Dada was intended to offend.
As Hugo Ball expressed it, "For us, art is not an end in itself ... but it is an opportunity for the true
perception and criticism of the times we live in. Dadaism is not a movement it is a non-movement, the only
rule is to not follow any rules.
Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual
artworks and writings. The aim was to "resolve the previously contradictory conditions of dream and
reality." Artists painted unnerving, illogical scenes with photographic precision, created strange creatures
from everyday objects and developed painting techniques that allowed the unconscious to express itself
and/or an idea/concept.
Vorticism was a short-lived modernist movement in British art and poetry of the early 20th century.[1] It
was partly inspired by Cubism. The movement was announced in 1914 in the first issue of BLAST, which
contained its manifesto and the movement's rejection of landscape and nudes in favour of a geometric
11

style tending towards abstraction.

Abstract art uses a visual language of shape, form, color and line to create a composition which may exist
with a degree of independence from visual references in the world. Abstract art, nonfigurative art,
nonobjective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not
of identical meaning.
Conceptual Art: Art that is intended to convey an idea or concept to the perceiver and need not involve
the creation or appreciation of a traditional art object such as a painting or sculpture. Many works of
conceptual art, sometimes called installations, may be constructed by anyone simply by following a set of
written instructions.
Installation art is an artistic genre of three-dimensional works that are often site-specific and designed to
transform the perception of a space. Generally, the term is applied to interior spaces, whereas exterior
interventions are often.
Public art is art in any media that has been planned and executed with the intention of being staged in
the physical public domain, usually outside and accessible to all. Called public art, land art or intervention
art; however, the boundaries between these terms overlap.
Land art, earthworks (coined by Robert Smithson), or Earth art is an art movement in which landscape
and the work of art are inextricably linked. It is also an art form that is created in nature, using natural
materials such as soil, rock (bed rock, boulders, stones), organic media (logs, branches, leaves), and water
with introduced materials such as concrete, metal, asphalt, or mineral pigments.
Art intervention is an interaction with a previously existing artwork, audience, venue/space or situation.
It has the auspice of conceptual art and is commonly a form of performance art. It is associated with the
Viennese Actionists, the Dada movement and Neo-Dadaists.
Neo-Dada is a minor audio and visual art movement that has similarities in method or intent to earlier
Dada artwork. While it revived some of the objectives of dada, it put "emphasis on the importance of the
work of art produced rather than on the concept generating the work".[1] It is the foundation of Fluxus,
Pop Art and Nouveau ralisme.[2] Neo-Dada is exemplified by its use of modern materials, popular
12

imagery, and absurdist contrast.

Pop art is an art movement that emerged in the mid-1950s in Britain and in the late 1950s in the United
States.[1] Pop art presented a challenge to traditions of fine art by including imagery from popular culture
such as advertising, news, etc. In pop art, material is sometimes visually removed from its known context,
isolated, and/or combined with unrelated material. Pop art and minimalism are considered to be art
movements that precede postmodern art, or are some of the earliest examples of Post-modern Art
themselves.
Minimalism in visual art, generally referred to as "minimal art", "literalist art" and "ABC Art" emerged in
New York in the early 1960s as new and older artists moved toward geometric abstraction.
Geometric abstraction is a form of abstract art based on the use of geometric forms sometimes, though
not always, placed in non-illusionistic space and combined into non-objective (non-representational)
compositions.
Post-Minimalism refers to a general reaction by artists in America beginning in the late 1960s against
Minimalism and its insistence on closed, geometric forms. In visual art, postminimalist art uses minimalism
either as an aesthetic or conceptual reference point. It is more an artistic tendency than a particular
movement. Artworks are usually everyday objects, use simple materials, and sometimes take on a "pure",
formalist aesthetic.
Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, a
rejection of the idea of autonomous art. The movement was in favor of art as a practice for social
purposes. It had a great effect on modern art movements of the 20th century, influencing major trends
such as the Bauhaus and De Stijl movements. Its influence was pervasive, with major impacts upon
architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.
Postmodernism is a late-20th-century movement in the arts, architecture, and criticism that was a
departure from modernism. Postmodernism includes skeptical interpretations of culture, literature, art,
philosophy, history, economics, architecture, fiction, and literary criticism. It sought to contradict some
aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements
such as Intermedia, Installation art, Conceptual Art and Multimedia, particularly involving video are
13

described as postmodern.
Intermedia was a concept employed in the mid-sixties by Fluxus artist Dick Higgins to describe the often
confusing, inter-disciplinary activities that occur between genres that became prevalent in the 1960s.
Thus, the areas such as those between drawing and poetry, or between painting and theatre could be
described as intermedia.
Multimedia artwork also frequently engages senses other than sight, such as hearing, touch, or smell. A
multimedia artwork can also move, occupy time, or develop over time, rather than remaining static as with
traditional media. Another frequent trait of multimedia artworks is the use of advanced technology, such
as electronic or computer-generated sound, video, animation, and interactivity.

14

Criteria Outline
Must reference one visual artist, social issue and art movement.
Must demonstrate understanding of alternative tool technique.
Must demonstrate understanding of principles of design and color
theory.
Demonstrate creative and meaningful planning in the proposal.
Must submit self evaluation, artist statement with visual art
vocabulary and project.

15

Critique Guidance Questions

-Did you challenge yourself?
-To what extent does the work effectively represent the research?
-Evaluate the composition (principles of design and color theory)
-Discuss what works and does not contribute to the project as a whole.
-What are the strong areas of the artwork?
-What could be done to make it stronger?
-Can the visual eye easily read the project?
-View the project from different directions in the room.

16

VISUAL ARTS VOCABULARY

Asymmetrical: A balance achieved through the use of unequal parts or elements. (For example: imagine a beach
ball by the side of a stick and two baseballs on the other side balancing out the picture.)
Balance: A principle of art and design concerned with the arrangement of one or more elements in a work of art
so that they appear symmetrical (identical compositional units on either side of an axis) or asymmetrical (not
identical) in design and proportion.
Color: Element of art derived from reflected light. The sensation of color is aroused in the brain by response of the
eyes to different wavelengths of light. Color has three properties: hue, value, and intensity.
Composition: The arrangement of forms in a work of art.
Content: A work of art is usually discussed in terms of its subject matter, form and content. Content refers to the
intellectual, psychological, spiritual, narrative or aesthetic aspect of the work.
Contour drawing: An outline that shows only the edge and not the volume or mass of an object. Sometimes
called blind contour if the artists in not looking at their paper, only at their subject.
Contrast: Use of opposites near or beside one another (light and dark, rough and smooth).
Cool colors: mostly green, blue, violet (purple).
Dominance: The difference in importance of one aspect in relation to all other aspects of design. What stands out
most in a work of art.
Emphasis: Principle of design concerned that stresses one element or area in a work of art to make it attract the

17

viewers attention first.

Exaggeration: Increasing or enlarging an object or figure or one of its parts to communicate ideas and feelings.
Federal Arts Project: Government program established during the Depression to create jobs for American
artists.
Focal point: The center of interest of an artwork; the part you look at first.
Form: An artist uses form as a vehicle for rendering a particular type of subject matter. The formal elements of a
work consist of the groupings and combinations of shapes.
Gouache: Pigments ground in water and mixed with gum to form opaque watercolor. Gouache resembles school
tempera paint or poster paint.
Hue: The name of a color red blue, yellow, etc.
Intensity: Brightness of a color.
Line: An identifiable path of a point moving in space. It can vary in width, direction, and length. Horizontal lines
tend to create a sense of calm in a picture. Vertical lines tend to create a feeling of stability. Diagonal lines tend to
create a feeling of dynamic movement.
Medium: The specific material used by an artist, such as oil and brush; also, the vehicle used, such as sculpture,
painting or photography.
Motif: Unit repeated in visual rhythm. Units in a motif may or may not be an exact duplicate of the first unit.

18

Pattern: Two-dimensional decorative visual repetition. A pattern has no movement and may or may not have
rhythm.
Pictorial space: The illusion of space, whether three- or two-dimensional, created by an artist on the twodimensional surface of the canvas or paper.
Proportion: Principle of design concerned with the size relationships of one part to the whole and one part to
another.
Rhythm: Principal of design that repeats elements to create the illusion of movement. Visual rhythm is perceived
through the eyes, and is created by repeating positive spaces separated by negative spaces. Alternating rhythm
is when the visual rhythm set up by repeating motifs but changing position or content of motifs or spaces between
them. Flowing rhythm is created by repetition of wavy lines. Progressive rhythm is a visual rhythm that
changes a motif each time it is repeated. Random rhythm is a repetition in no apparent order with no regular
spaces. Regular rhythm is achieved through repeating identical motifs using the same intervals of space
between them.
Shade: The dark values of a color (adding black).
Shape: Geometric shapes look as though they were made with a straight edge or drawing tool; square, circle,
triangle and oval.
Organic shapes are also called free form. These shapes are not regular or even. Their edges are curved and
angular or a combination of both.
Space: (or negative space): is the element of sculpture, which refers to emptiness or areas between, around,
above, below or within objects.

19

Subject matter: The topic of interest or the primary theme of an artwork.

Texture: refers to the way things feel or look as though they might feel if they were touched.
Tint: light values of a color (adding white)
Unity: The arrangement of one or more of the elements used to create a feeling of completeness. Everything in
the work seems to belong and contribute to the overall picture.
Value: Light or dark; the variations of light and dark on the surface of an object. The lightness or darkness of a
color.
Variety: Principle of design concerned with difference or contrast.
Warm colors: red, orange, yellow.

Self Evaluation

20

Studio Habits of Mind Student Self-Reflection Rubric

Studio Habit

Develop
Craft

The materials and tools I

used were chosen
intentionally and applied
with care.
I skillfully incorporated new
techniques as well as made
connections to my
previously made
artwork/ experiences.

The materials and tools I

used were chosen carefully.
I applied new techniques as
well made connections to
other artwork/ experiences.

I put some thought (with

teacher help) into the
choosing of the
materials/ tools.

I put little to no thought

(even with teacher help)
into the choosing of the
materials/ tools.

I attempted new
techniques and tried to
make connections to other
artwork/ experiences.

I did not try new

techniques and there are
no connections to other
artwork/ experiences.

I challenged myself to
embrace my art making
problems and developed a
distinct focus within my
work.

I challenged myself to not

let my art making problems
hinder my work too much; I
developed a focus within my
work.

I let my art making

problems influence my
work and my focus lost
clarity because of it.

I let my art making

problems take over my
artwork and my artwork
lost focus as a result.

I imagined and practiced

many ideas/ processes before
and during my art making.

I considered and tried out a

few ideas before and during
my art making.

I started and continued my

artwork with little
envisioning or practice.

I started and continued

my work with no
consideration of how it
might turn out.

My work clearly conveys an

idea, mood, or place that
expresses some part of me.
My work shows an awareness
of other viewers.

My work communicates an
idea, mood or place. My
work somewhat shows an
awareness of other viewers.

My work somewhat
communicates an idea.
There is little awareness of
other viewers.

It is not clear what my

work is communicating
or how it reflects me.
There is no awareness of
other viewers.

I spent an extensive amount

of time observing my subject
matter, art making processes
and / or the environment
around me that I may have
otherwise missed.

I spent time observing my

subject matter, art making
processes and/ or the
environment around me that
I may have otherwise
missed.

I spent limited time

observing my subject
matter, art making
processes and/ or the
environment around me.

I spent no time
observing my subject
matter, art making
processes and/ or the
environment around me.

Stretch &
Explore

I took risks in my art making

and learned from my
mistakes. I taught my peers
with new ways of art making.

I challenged myself to
explore a new idea or try
out a new media but I still
played it safe.

I experimented with a new

idea or media but my
finished work reflects what
I always do.

I stayed with what I am

familiar with and/ or
reproduced someone
elses work or ideas.

Understand
the
A rt W orld

I spent time discovering

aspects of artwork from
other artists that I may have
missed before.

I spent some time

discovering aspects of
artwork from other artists.

I spent just a small amount

of time examining others
artwork.

I ignored any and all

others artwork.

I am very conscious of my art

making process and my
honest self-evaluations
reflect that.

I am aware of my art
making processes and my
self-evaluations reflect that.

I am becoming more aware

of my art making processes
and my self-evaluations are
starting to reflect that.

I am unaware of my art
making process and/ or I
have no self-evaluations
of my work.

Engage &
Persist

Envision

Express

Observe

Reflect

The A rt of Education | www.theartofed.com

Rubric

21

22

Name: ___________________________ P ainting Title:

____________________________________________
Rate
Yourself

Painting'Rubric
Composition'and'Design:'

Teacher
Rating

071!Art!exhibits!lack!of!planning!in!the!design!and!composition.!
2!Ideas!are!expressed!with!no!unity!in!composition.!
3!Composition!demonstrates!limited!knowledge!of!the!Principles!and!Elements!of!Design.!
4!Artwork!exhibits!good!composition!and!design!elements.!
5!Artwork!exhibits!masterful!execution!of!the!Principles!and!Elements!of!Design!(Line,!composition,!
space,!movement,!balance,!emphasis,!pattern,!unity,!color,!contrast,!rhythm,!texture,!value,!form)'
Color:'
071!Color!choices!do!not!represent!the!idea!and!application!is!poorly!done.!
2!Ideas!could!have!been!expressed!better!with!other!color!choices!and!better!application.!
3!Color!choices!and!application!shows!some!knowledge!of!color!theory!and!relationships.!
4!Artwork!exhibits!good!color!choice.!!Color!is!effective!in!expressing!the!idea.!
5!Color!choice!and!application!enhances!the!idea!being!expressed.!!Advanced!color!theory!is!
demonstrated.!!The!use!of!color!is!attractive!and!appealing.'

Technique:'

071!Work!exhibits!critical!errors!in!the!use!of!materials!or!skills!specific!to!the!task.!
2!Work!exhibits!the!use!of!materials!or!skills!with!a!few!errors.!
3!Work!exhibits!appropriate!use!of!materials!and!skills!with!no!errors.!
4!Work!exhibits!some!level!of!understanding!in!use!of!materials,!techniques,!and!skill.!
5!Work!exhibits!mastery!of!the!materials,!techniques,!and!skill.

Creativity'and'Originality:'

071!Artwork!shows!no!evidence!of!creativity!or!originality.!
2'Artwork!includes!an!idea!but!lacks!originality!of!idea!or!technique.!
3!Artwork!includes!unique!ideas.!
4!Artwork!includes!several!unique!ideas!and!an!exploration!of!multiple!ideas.!
5!Artwork!includes!many!unique!ideas!with!creative!execution!of!ideas.!!Student!has!taken!the!
technique!being!studied!and!applied!it!in!his/her!own!way.!!The!students!personality/voice!comes!
through.'

Craftsmanship'and'Presentation:'

071!Artwork!is!incomplete.!
2!Artwork!is!completed!with!minimal!effort!and!carelessly!lacking!in!neatness.!
3!Artwork!is!completed!with!minimal!effort,!little!craftsmanship,!and!few!finishing!touches.!
4!Artwork!is!completed!with!good!effort,!displaying!craftsmanship,!and!meeting!requirements.!
5!Artwork!is!completed!with!substantial!evidence!of!effort,!finishing!touches,!and!good!presentation!
and!craftsmanship.

Work'Ethic'and'Participation:'

071!Does!not!complete!assignment!and!is!often!offJtask.!
2!Completes!assignment,!sometimes!offJtask.!
3!Completes!assignment!and!uses!time!wisely.!
4!Works!diligently!and!completes!assignment!beyond!basic!requirements.!
5!Carries!out!assignment!to!completion,!goes!far!beyond!the!requirements.

Studio'Responsibility:'

071!Chooses!not!to!help!in!cleanJup,!shows!lack!of!respect!for!supplies,!materials,!and!equipment.!
Does!not!leave!work!area!clean!for!the!next!student.!
2!Allows!others!to!do!most!of!the!work,!minimally!participates!in!room!and!material!maintenance.!
3'Does!share!of!studio!work!and!clean!up,!when!asked.!
4!Willingly!participates!in!preparation!and!cleanJup,!responsible!for!work!area!and!respectful!of!
materials.'
5!Consistently!demonstrates!commendable!studio!behavior,!shows!respect!for!self,!others,!others!
art,!and!materials.!Displays!responsibility!and!provides!help!to!others.! !!!
!

Total'Points'(Possible'35'Points)

'
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

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Research guidelines
-Research material which presents various points of view
-Research must reflect the intention of the final art project
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-Make appropriate connections to the final project based on research

-Must use credited sources.

Artist Statement
Explaining your art work
Title: ___________________________________
Mediums: ______________________________
Artist: __________________________________
Answer each section in a full paragraph with complete sentences.
Describe yourself Who are you? Who are you as an artist?

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____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
__________________________________________________________________

What mediums and technique did you use to create your art work? How did you make it? What
were your intentions for the project?
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
__________________________________________________________________
Describe the social issue. What is the meaning behind the content of the piece? Why did you
choose to incorporate the particular social issue? Who are you giving a voice that was
silenced? Include evidence.
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
__________________________________________________________________

What do you want others to understand about your art piece based on the content? What do
you hope they will learn?
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
__________________________________________________________________

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Do you think using art as a tool to start a conversation about a social issue is a positive
motive?
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
__________________________________________________________________

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wwwwww

What Will I Learn in Painting?

Color schemes: Monochromatic, Complementary,

Triadic, Analogous, Spilt-Complementary

Intensity: The brightness or dullness of a color.

SHADES
Value: The lightness or darkness of a color.
YELLOW

Asan artist, I can integrate the

characteristics of the toolsof a
selected media in original artworks
to support artistic purposes.
FLATCHISELED

YELLOWGREEN

YELLOWORANGE

As an artist, I can
analyze how the
principles are combined
to communicate
meaningin the creation
of, presentation of, or
response to visual
artworks.

ROUND
GREEN

ORANGE

BLUEGREEN

REDORANGE

BLUE

BRIGHT

Principlesof Design:
Balance
Contrast
Movement
Rhythm
Pattern
Emphasis
Unity

FLAT
ROUNDPOINTED
ROUND

BLUEVIOLET

RED
REDVIOLET

FILBERT

VIOLET

BAMBOO
TINTS

As an artist, I can use various paintingtechniquesto

suggest value, depth and implied texture in my work.

Color +white=Tint
Color +black=Shade
Color +gray=Tone
Intensity: The brightness or dullness of a color
Value: The lightness or darkness of a color

Paintingvocabulary:
matte
gesso
tempera
acrylic
watercolor
wash
fresco
encaustic
intensity

impasto
glaze
pigment
binder
vehicle
mural
canvas
large-scale
grid

color harmony
palette
critique
varnish
transparent
opaque
under-painting
composition
hue

Flat wash

Graded wash

Variegated wash

Masking

Lifting

Wet-on-dry

Dry brush

Salt

Resist

Scraping

Sanding

Glazing

Wet-in-wet

Blotting

Feather out

As an artist, I can
develop my 8 Studio
Habits of Mind:
Develop Craft
Engage & Persist
Envision
Express
Observe
Reflect
Stretch & Explore
Understand Art World

As an artist, I can emphasize the

subject of my artworkand make it
aesthetically pleasingto the viewer
by how I arrange my composition.

The Golden Ratio

The Rule of Thirds

Ways to organize a composition:

Cropping
Repetition and rhythm
Balance (symmetrical, asymmetrical,
and radial)

The Art of Education www.theartofed.com

Illustrator

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