ART EXPERIENCES

CONDUCTING THE ART LESSON

• It should involve the thinking of the pupils and the expressing of their ideas.
• Their sharing of ideas fertilizes new concepts and sparks an urge to give expression to them.
• Interest must occasionally be renewed as the young artist meets difficult passage in his work.
He can be helped by one or more of the following:
1. Questions to clarify his idea
2. Getting him away from his immediate problem by diverting attention to some other phase.
3. Letting him talk it over with his neighbor.
4. Helping him over a technical difficulty.
5. Moving his seat temporarily to a spot beside a capable and helpful child.
6. Letting him go see what some of the others are doing.
7. Finding out if he understand directions.
8. Determining whether he has had previous experiences needed for the project.
9. Giving him a chance to start over.
10. Praising his efforts, and assuring him his way of doing something might invent a new
technique or style.
11. Encouraging “difference”: it may not make sense yet, but given time and faith, it may
 REMEMBER…

• If the teacher cannot help a child, and neither can anyone else, let him
try a different medium – if he can’t do a painting, give him toothpicks
and glue and see if he can say anything this way. Let him try clay, paper
design, etc..or, let him go to a quiet spot and review the motivational
filmstrips, film loops, slides, or other simple visuals employed.
 ART ELEMENTS AND
PRINCIPLES
DESIGN ELEMENTS
DESIGN PRINCIPLES
 DESIGN ELEMENTS
1. LINE
Kinds of LINES- straight, angular, curved, broken, thick thin, sweeping, shaded.
Effects of LINES- vertical (suggests upward or downward movement); horizontal
(restfulness); diagonal (energy); circular (fluid motion); jagged (roughness, activity); fine
(delicacy); heavy (boldness).
2. SHAPES
large, small; regular, irregular; voluminous, narrow; geometric, free-forms; solid, open
3. TEXTURE
tactile appearance- fuzzy, sharp, prickly, woven, mossy,
sandy, etc.

4. COLOR
neighboring colors, opposite (warm or cool) colors,
gradation, mixing, intense or subdued
5. VALUE
varying lightness or darkness of color; tints and shades

6. SPACE
areas found between and around objects (positive or negative)
illusion of depth (perspective). Achieved by overlapping, diminishing size,
relative position in picture, bright colors in foreground and subdued colors in
background.
 DESIGN PRINCIPLES

•BALANCE
-An over all visual sense of stability; the items in the
picture are not all on one side; the shapes balance each
other in apparent weight (not form); use of dark color is
relieved by a little light color and vice versa; smooth
areas break monotony of highly textured ones; positive
area include some negative areas.
•OPPOSITION
- Using strong lights and darks
- Using opposing colors (warm vs cool)
- Using large versus small
- Using highly textured versus smooth.
•EMPHASIS
- Making something become the center of attention.
- This can be done by placement, by comparative size, by
color impact, by highlighting, by shading for form, by
greater attention to details.
• SUBORDINATION
- Assisting emphasis by playing down other parts of composition thru subdued color,
diminished size, flattened surface, finer texture, minimum detail.

• REPETITION
- Repeating design elements, to create pattern

• RHYTHM
-using repeats to create a harmonious feeling of movement.
• TRANSITION
- Making a directional effect which leads the eye easily around through
the composition.

• VARIETY
-Finding and inventing different ways of repeating given design elements
to avoid monotony.
THANK YOU
CLAY
 GENERAL INSTRUCTIONS FOR
USING CLAY AND GLAZES
• In teaching clay work to primary children, give them only the barest essentials for
handling their material.
• Avoid telling what the product should look like.
• For intermediate children, broadening the possibilities of what can be done is
important, but again avoid directing the kind, shape, and exact decoration of the
final product.
• His assumed of course, that the usual procedure of making plans for the projects
will already have been made.
• His assumed of course, that the usual procedure of making plans for the projects
will already have been made.
 TO WORK WITH CLAY, THE
SURFACE FOR WORKING
MINIMUM TOOLS ARE:
• Clay will lift easily from newspaper( unless • Popsicle sticks for fashioning
soaked), also from wood and plaster. • Sponge for moistening
• A board for support
• Bowl of water
• Plastic bag for keeping moist.
 OTHER USEFUL TOOLS ARE: CARE MUST BE TAKEN TO:
• Vegetable knife • Maintain even texture –no lumps
• Rolling pin • Have the right consistency of moisture
• Paddle • Avoid air holes
• Brush • Avoid thin spots
• Sculpting tool • Have no thin projecting edges or points
• Join clay parts thoroughly
• Dry finished piece thotoughly
• No piece of clay work should be over an inch thick .
Hollow out thick objects. Do not try to mend dry clay
forms. Clay will mend if still moist by scoring broken
surfaces and applying slip to them and then sticking
together. Let stand. Wipe off excess.
 PREPARATIONS FOR ALL CLAY
WORK
• These directions will not repeated with each project. It is understood they are automatically a
part of all preparations.

• Spread newspaper over table

• Provide small amount of water
 ROLLING SLAB

• To roll of clay evenly. Use a rolling pin and strips of

wood, placing the clay between the strips. These keep
the rolling pin at an even pressure. Blisters appearing in
rolled slabs indicate enclosed air. Prick them and smooth
out. Too many of these mean the clay needs reworking.
 JOINING CLAY PIECES
• Be sure clay is firm but not dry
• Score the sides to come in contact
• Wet the scored areas
• Apply a coat of slip
• Let stand for a few moments
• Press together
• Join with wooden tool
• Fill in tool impressions with more clay
• No piece to be fired should be over one inch thick
• Sculpture should be hollowed out as much as possible.
 OTHER TIPS
• Never apply excessive or sudden pressure to clay
• Cracks in clay mean of the two things-too dry or too much
pressure
• Too much water on clay forms makes them go limp
• Let clay on clothing dry without touching. It will then brush
out easily.
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