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Bellwork - Week 9
Day 1: Introduce Pen & Ink technique - Page 1 technique sheet with values using hatching, crosshatching, scumbling & stippling

Day 2: Pen & Ink technique - Page 2 - Create 4 value scales with your own technique marks, Find and recreate 4 additional textures found online
Day 3: Begin Mystery Grid in pencil, then use pen & ink to darken the lines. Add in values using the different techniques that have been used in the Pen & Ink worksheet from days 1 & 2.

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Wire Figure Sculpture - THAT ART TEACHER

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This wire figure sculpture lesson is one of my favorite lessons of all time. It is engaging, challenging, and allows for students to explore personal expression. The artist connections are endless, and using the human body as a subject allows students to explore what it means to be human.

Do you have a short attention span like me? This quick video will give you a 35 second snapshot of this technique.

This full length tutorial will walk you through everything we do for this wire figure sculpture. It is classroom and Canvas ready, and my students use it frequently to review steps as they work.

Materials for Wire Sculpting

Buying the right wire will make the creating process more enjoyable. I have added a link to my favorite wire that I order from Blick Art materials. Pliers can make life a little easier, but I tend to mostly work without them. I cut the wire about a yard (both of your arms outstretched) for students to use at a time with just a heavy duty pair of scissors. If you cut too long of a piece, it can be really frustrating for students to wrap around their body parts. They seem to find it easier to just add more wire at key points instead of using one or two really long pieces.

I like to use a hand held staple gun to attach the wire sculptures to the base. The staples make it secure and balanced and I love how finished the painted wood looks. I have a woodshop at my school and scraps are easy to come by. I have also used thick foam board and styrofoam in a pinch, but wood is my preference

Understanding Proportion

We start this unit by discussing human proportion and anatomy. Depending on the grade and ability level of the class, I will either have them draw the human body using references or we will trace a reference image in our sketchbooks. This will be used as a guide as they sculpt and as we draw/trace we discuss the key aspects of human anatomy. There are tons of guides and visuals on the internet for free. I am not going to add the one I've been using because it is not my original material and I have been too busy/lazy to make one of my own!

Gesture and Movement

I have also incorporated live gesture drawing after the previous proportion discussion. Again, it just depends on time constraints and whether it is an intro 3D Design course or a more advanced sculpture class. Another option is to have students copy gestures sketches in their sketchbook to get their brains thinking about how the human body moves and how that can express emotion.

Wire Figure Artist Inspiration

I like to teach using essential questions, and I will often ask my students to explore the question "What is it like to be a young person in the 21st century?" as inspiration for their sculptures. We look at sculptures by Elizabeth Catlett, Alexander Calder and Alberto Giacometti and discuss how their artwork is influenced by the time period in which it was created. I recently discovered artist Barbara Licha and I love how her wire figure sculptures occupy space with wire. Leslie Dill is another artist that is super inspirational and the meaning behind her work makes wonderful cross curricular connections. There are unlimited artists that sculpt the human figure and students always appreciate the challenge of representing the human form.

Time to Sculpt!

This free illustrated guide will help break down each part of the body. It is really helpful for students who want to work more independently, missed instruction or struggled during the live demo.

Students can feel a little nervous about wire sculpting, especially when creating something as recognizable as the human figure. We start out together and I demonstrate step by step using my beloved Elmo document camera. Ten years ago, before I had the love of my life, I would walk around the room holding up my wire sculpture like a game show hype girl. We start with the head and wrap 2-3 times creating an oval. Every student will be slightly different, but I try to get them to work on a similar scale.

Next is the torso. We reference our proportion guide and sculpt about twice the length of the head creating a triangle. It is important to loop wire securely two to three times to create a tight knot. If the wire slides around too much the body will lose it's form.

Next is the pelvic girdle, which may be my least favorite word combination of all time. I call it the Batman Bikini because it gets a laugh from my students and immediately puts a visual in their head. We are talking about the crotch and the butt, so coming at it confidently with humor before the teenage mind gets there first puts me in control of the conversation. This area students tend to struggle with once we move down to the legs. It is a triangle just like the torso, but half the size. It needs to be the same length and approximate scale as the head.

Now that the upper body is complete, it is time to work down one leg at a time. I either travel from the point of the triangle down or the hip down to the foot. We get out rulers and measure from the top of our head to the hip (wide part of the triangle) of the Batman Bikini. Believe it or not, and many students do not, the hip to the foot is half of our bodies. It seems wild that our legs make up so much of our frame, but here we are.

This is a key proportion point in the sculpture and I make sure to visually check each one. Students will often make their legs much shorter. I will ask "Did you measure?" and I emphasize the importance of checking the length before moving on to the next step. It is really frustrating to unwrap wire and backtrack, trust me! I've had many personal wire fails.

Proportion Checks

Sometimes students will doubt the proportion to the point of making their legs too short even after demonstrating and checking their proportion guides in their sketchbooks. Some will say "Well, my sculpture is sitting down so the legs are shorter." Which is a great segue to discussing how your skeleton won't change no matter what position your body is in.

This is also a great opportunity to discuss body standards humans have imposed on ourselves. We discuss what it means to be able bodied and how proportion can vary from person to person. I grew up with a disabled parent, and watching my dad navigate the world as an "in-valid" (this is the term he coined for himself when he had to use a wheelchair) made me hyper aware of body sensitivities. Exploring deformity, disability and acceptance of our bodies is a huge theme in my personal art. I want students to be able to challenge what we accept as normal and be aware of how our own bodies navigate in the world.

If I have demonstrated and discussed and a student still is stuck on the topic, I will just say "Okay" and move on. The best way for students to learn is to do it themselves and make mistakes. If they see everyone else's sculpture resembling an accurate skeletal frame and theirs looks a little off, they will usually come to the realization on their own (eventually).

After the length of the leg is measured, we make a small loop to create a foot and wrap it around the ankle 2-3 times. Next we travel to the halfway point of the leg, using our proportion guides, and loop 2-3 times to create the knee. Finally we attach to the pelvic girdle at either the point of the triangle in the center. It depends on where your wire started the leg. It should be thick and resemble a thigh. Sometimes students have just one leg starting and finishing at the point of the triangle. This is what I call uni-leg syndrome and will need to be adjusted before creating the other leg.

This is a satisfying part for students, because they can often make their sculpture stand on it's on two feet (see what I did there). Depending on where the wire ends, we travel back through the waist and torso to create the arms. I recommend looping wire at each key point. It is important to remind students that after we make the skeleton we will bulk them up with muscle mass so this is beginning this process. We usually loop around the waist and either the neck or one side of the large triangle that makes the torso.

I have to remind students at this point not to overwrap their wire around the same areas. For example if you always wrap around the neck, the neck will become overly bulky. Balance is key!

We then move back through the pelvis and torso and loop to create the shoulder and arms. We loop our wire through the wide part of one side of the triangle and loop the hand around mid thigh.

Loop once at the halfway point and then connect to the triangle a little lower than the shoulder. You can create more or less bulk depending on how muscular you want your sculpture to look.

Adding Form and Musculature

After you have your basic skeletal outline, we move on to creating 3D form by looping a series of wire to each body part. I tell students to loop once or twice to each joint as they move around the body. I personally think the torso is the easiest place to start. The head is a little tricky, I tell students it should resemble a whisk or a beach ball. I prefer the look of longer vertical loops instead of really tight circular coils, but to each their own. Some students just two or three vertical loops to each body part and some add a bit more. It depends on their personal style and preference

At this point, students are much more comfortable with the material and work independently. Just like with any other technique, some students whiz through the steps and others stare blankly at their wire as if it's a foreign language. (Which visual art is for most students, right?)

I have not made an illustrated guide for this step yet because....laziness? Procrastination? I will do a live demo and also show clips of my detailed video tutorial around the 10:35 minute mark.

Once their sculptures start becoming more 3D, we return to the discussion of expression. We have looked at many different figure sculptors at this point and have discussed themes through daily art history warm-ups using the artists listed in the beginning of this post.

It is so fun to watch students explore their own experiences and use the human body to portray emotion and mood. Their wire sculptures are so easy to move into multiple positions so they can decide which conveys their idea the strongest.

This short video about Rodin's The Thinker is a great prompt to get students thinking about expression through the human body.

Once the pose is decided, we get out the staple gun and start attaching to our wooden bases. I like for students to paint their bases first, and we reserve a little paint to touch up staples so they don't stand out or blend in with the wire. This is such a fun moment to see their sculpture fully formed and fully balanced.

Here is the latest rubric I've used for this assignment. It's not perfect, but it helps students understand their objectives and it fits my district's grading practices.

This is a tough assignment in many ways, but it has one of my best outcomes out of all of my sculpture lessons. Fighting with wire can be challenging as is understanding and applying typical human proportion. Expressing personal experience can be tricky for young artists at first, but I find that students rise to the occasion and their personal expression blossoms as they work.

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# data[].attributes.attachment_link.title
Wire Figure Sculpture - THAT ART TEACHER

# data[].attributes.attachment_link.description
This wire figure sculpture lesson is engaging, challenging, and allows for students to explore personal expression.

# data[].attributes.attachment_caption
Wire Figure Sculpture - THAT ART TEACHER

# data[].attributes.attachment_link.readable_text
This wire figure sculpture lesson is one of my favorite lessons of all time. It is engaging, challenging, and allows for students to explore personal expression. The artist connections are endless, and using the human body as a subject allows students to explore what it means to be human.

Do you have a short attention span like me? This quick video will give you a 35 second snapshot of this technique.

This full length tutorial will walk you through everything we do for this wire figure sculpture. It is classroom and Canvas ready, and my students use it frequently to review steps as they work.

Materials for Wire Sculpting

Buying the right wire will make the creating process more enjoyable. I have added a link to my favorite wire that I order from Blick Art materials. Pliers can make life a little easier, but I tend to mostly work without them. I cut the wire about a yard (both of your arms outstretched) for students to use at a time with just a heavy duty pair of scissors. If you cut too long of a piece, it can be really frustrating for students to wrap around their body parts. They seem to find it easier to just add more wire at key points instead of using one or two really long pieces.

I like to use a hand held staple gun to attach the wire sculptures to the base. The staples make it secure and balanced and I love how finished the painted wood looks. I have a woodshop at my school and scraps are easy to come by. I have also used thick foam board and styrofoam in a pinch, but wood is my preference

Understanding Proportion

We start this unit by discussing human proportion and anatomy. Depending on the grade and ability level of the class, I will either have them draw the human body using references or we will trace a reference image in our sketchbooks. This will be used as a guide as they sculpt and as we draw/trace we discuss the key aspects of human anatomy. There are tons of guides and visuals on the internet for free. I am not going to add the one I've been using because it is not my original material and I have been too busy/lazy to make one of my own!

Gesture and Movement

I have also incorporated live gesture drawing after the previous proportion discussion. Again, it just depends on time constraints and whether it is an intro 3D Design course or a more advanced sculpture class. Another option is to have students copy gestures sketches in their sketchbook to get their brains thinking about how the human body moves and how that can express emotion.

Wire Figure Artist Inspiration

I like to teach using essential questions, and I will often ask my students to explore the question "What is it like to be a young person in the 21st century?" as inspiration for their sculptures. We look at sculptures by Elizabeth Catlett, Alexander Calder and Alberto Giacometti and discuss how their artwork is influenced by the time period in which it was created. I recently discovered artist Barbara Licha and I love how her wire figure sculptures occupy space with wire. Leslie Dill is another artist that is super inspirational and the meaning behind her work makes wonderful cross curricular connections. There are unlimited artists that sculpt the human figure and students always appreciate the challenge of representing the human form.

Time to Sculpt!

This free illustrated guide will help break down each part of the body. It is really helpful for students who want to work more independently, missed instruction or struggled during the live demo.

Students can feel a little nervous about wire sculpting, especially when creating something as recognizable as the human figure. We start out together and I demonstrate step by step using my beloved Elmo document camera. Ten years ago, before I had the love of my life, I would walk around the room holding up my wire sculpture like a game show hype girl. We start with the head and wrap 2-3 times creating an oval. Every student will be slightly different, but I try to get them to work on a similar scale.

Next is the torso. We reference our proportion guide and sculpt about twice the length of the head creating a triangle. It is important to loop wire securely two to three times to create a tight knot. If the wire slides around too much the body will lose it's form.

Next is the pelvic girdle, which may be my least favorite word combination of all time. I call it the Batman Bikini because it gets a laugh from my students and immediately puts a visual in their head. We are talking about the crotch and the butt, so coming at it confidently with humor before the teenage mind gets there first puts me in control of the conversation. This area students tend to struggle with once we move down to the legs. It is a triangle just like the torso, but half the size. It needs to be the same length and approximate scale as the head.

Now that the upper body is complete, it is time to work down one leg at a time. I either travel from the point of the triangle down or the hip down to the foot. We get out rulers and measure from the top of our head to the hip (wide part of the triangle) of the Batman Bikini. Believe it or not, and many students do not, the hip to the foot is half of our bodies. It seems wild that our legs make up so much of our frame, but here we are.

This is a key proportion point in the sculpture and I make sure to visually check each one. Students will often make their legs much shorter. I will ask "Did you measure?" and I emphasize the importance of checking the length before moving on to the next step. It is really frustrating to unwrap wire and backtrack, trust me! I've had many personal wire fails.

Proportion Checks

Sometimes students will doubt the proportion to the point of making their legs too short even after demonstrating and checking their proportion guides in their sketchbooks. Some will say "Well, my sculpture is sitting down so the legs are shorter." Which is a great segue to discussing how your skeleton won't change no matter what position your body is in.

This is also a great opportunity to discuss body standards humans have imposed on ourselves. We discuss what it means to be able bodied and how proportion can vary from person to person. I grew up with a disabled parent, and watching my dad navigate the world as an "in-valid" (this is the term he coined for himself when he had to use a wheelchair) made me hyper aware of body sensitivities. Exploring deformity, disability and acceptance of our bodies is a huge theme in my personal art. I want students to be able to challenge what we accept as normal and be aware of how our own bodies navigate in the world.

If I have demonstrated and discussed and a student still is stuck on the topic, I will just say "Okay" and move on. The best way for students to learn is to do it themselves and make mistakes. If they see everyone else's sculpture resembling an accurate skeletal frame and theirs looks a little off, they will usually come to the realization on their own (eventually).

After the length of the leg is measured, we make a small loop to create a foot and wrap it around the ankle 2-3 times. Next we travel to the halfway point of the leg, using our proportion guides, and loop 2-3 times to create the knee. Finally we attach to the pelvic girdle at either the point of the triangle in the center. It depends on where your wire started the leg. It should be thick and resemble a thigh. Sometimes students have just one leg starting and finishing at the point of the triangle. This is what I call uni-leg syndrome and will need to be adjusted before creating the other leg.

This is a satisfying part for students, because they can often make their sculpture stand on it's on two feet (see what I did there). Depending on where the wire ends, we travel back through the waist and torso to create the arms. I recommend looping wire at each key point. It is important to remind students that after we make the skeleton we will bulk them up with muscle mass so this is beginning this process. We usually loop around the waist and either the neck or one side of the large triangle that makes the torso.

I have to remind students at this point not to overwrap their wire around the same areas. For example if you always wrap around the neck, the neck will become overly bulky. Balance is key!

We then move back through the pelvis and torso and loop to create the shoulder and arms. We loop our wire through the wide part of one side of the triangle and loop the hand around mid thigh.

Loop once at the halfway point and then connect to the triangle a little lower than the shoulder. You can create more or less bulk depending on how muscular you want your sculpture to look.

Adding Form and Musculature

After you have your basic skeletal outline, we move on to creating 3D form by looping a series of wire to each body part. I tell students to loop once or twice to each joint as they move around the body. I personally think the torso is the easiest place to start. The head is a little tricky, I tell students it should resemble a whisk or a beach ball. I prefer the look of longer vertical loops instead of really tight circular coils, but to each their own. Some students just two or three vertical loops to each body part and some add a bit more. It depends on their personal style and preference

At this point, students are much more comfortable with the material and work independently. Just like with any other technique, some students whiz through the steps and others stare blankly at their wire as if it's a foreign language. (Which visual art is for most students, right?)

I have not made an illustrated guide for this step yet because....laziness? Procrastination? I will do a live demo and also show clips of my detailed video tutorial around the 10:35 minute mark.

Once their sculptures start becoming more 3D, we return to the discussion of expression. We have looked at many different figure sculptors at this point and have discussed themes through daily art history warm-ups using the artists listed in the beginning of this post.

It is so fun to watch students explore their own experiences and use the human body to portray emotion and mood. Their wire sculptures are so easy to move into multiple positions so they can decide which conveys their idea the strongest.

This short video about Rodin's The Thinker is a great prompt to get students thinking about expression through the human body.

Once the pose is decided, we get out the staple gun and start attaching to our wooden bases. I like for students to paint their bases first, and we reserve a little paint to touch up staples so they don't stand out or blend in with the wire. This is such a fun moment to see their sculpture fully formed and fully balanced.

Here is the latest rubric I've used for this assignment. It's not perfect, but it helps students understand their objectives and it fits my district's grading practices.

This is a tough assignment in many ways, but it has one of my best outcomes out of all of my sculpture lessons. Fighting with wire can be challenging as is understanding and applying typical human proportion. Expressing personal experience can be tricky for young artists at first, but I find that students rise to the occasion and their personal expression blossoms as they work.

Subscribe so you never miss a post.

# data[].attributes.attachment_link.title
Wire Figure Sculpture - THAT ART TEACHER

# data[].attributes.attachment_link.description
This wire figure sculpture lesson is engaging, challenging, and allows for students to explore personal expression.

# data[].attributes.attachment_link.description
It is a fun way to find animals at random. I was looking for a tool like this online, and while there are some that already exist they do not have any images to go along with the names.

# data[].attributes.attachment_link.description
It is a fun way to find animals at random. I was looking for a tool like this online, and while there are some that already exist they do not have any images to go along with the names.

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1. Bellwork - Week 1

Day 1

1. Begin Printmaking Project 2 - introduction

2. Do the Column 1 Activity - steps 1-5

3. Post notes to Padlet

Day 2

1. Do the Column 1 Activity - step 6 - begin sketch for 1 color print

EQ: What is Printmaking?

LG: We will be learning about Linoleum Block printmaking and the similarites & differences from other types of printmaking.

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Bellwork - Week 8

1. Do the Column 1 Activity - step 6 - begin sketch for 1 color print

2. Do the Column 6 - Day 2 activity - Transfer image to the Linoleum block

3. Add sharpie marker to the parts that you want to print.

EQ: Why do you want your sketch on your linoleum block?
LG: We will be transferring the sketch to the linoleum block.

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Bellwork - Week 9

1. Do Day 3 Activity

2. Review safety with tools

3. Begin carving linoleum

EQ: Can carving on linoleum be dangerous?
LG: We are learning safe carving techniuqes when working with Linoleum block tools.

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Bellwork - Week 10

1. Review safety with tools

2. Finish carving linoleum

EQ: Which blade is used for detail carving?
LG: We are learning which tools can be safely used to carve Linoleum blocks.

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Bellwork - Week 11

1. Continue carving linoleum

2. Revisit safety instructions

EQ: Why is it important to keep your hands behind the carving blades when cutting curves?
LG: We are learning how to rotate the linoleum block safely to make smooth curved cuts.

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Bellwork - Week 12
Day 1 - Finish carving linoleum
Day 2 - Demo making printing jig, students make their own jig

EQ: Why is it important to have a printing jig for the printing plate?
LG: We are learning how to set up a jig to produce well centered, clean prints.

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Bellwork - Week 13
Day 1 - Demo printing process, define Artist print. Students start print a series of 5 prints from the Linoleum block
Day 2 - Students finish printing. Add series number, Title & name to each of the 5 prints
Day 3 - Introduce Reduction Block print, multiple colors, students begin looking for reference images for 6x8 print.

EQ: Why is it important to get a smooth roll of ink onto the printing plate?
LG: We are learning the steps of printing a good print.

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Bellwork - Week 14
Day 1 - Finish drawing 6x8 design for Reduction Block Print project
-Introduce self critique
Day 2 - Transfer the design from tracing paper and label the 3 colors on the 6x8 Linoleum block - Reduction block print

EQ: How is Reduction Block print different from a standard Linoleum block print?
LG: We will be learning about the subtraction method of Linoleum block and how additional colors can be added to a block print.

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Bellwork - Week 15
Day 1 - Begin carving away the white areas
Day 2 - Finish carving away the white areas

EQ: Why do we carve the white areas away first?
LG: We are learning about the hierarchy of colors in print and the order the inks need to be printed.

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Bellwork - Week 16
Day 1 - Make 6x8 printing jig
Day 2 - Demo registration marks, start printing of first color

EQ: Why are the registration marks important when adding more than 2 colors to a print?
LG: We are learning how registration marks and jigs help line up the plate so the colors are placed on top of each other. This reduces the chance of an out of registration double image.

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Bellwork - Week 17

Day 1 - Carve out for saving of first color
Day 2 - Carve out for saving of the first color
Day 3 - Do printing of second color

EQ: What can affect the coverage of ink on a brayer?
LG: We are learning the techniques for good ink coverage on the brayer to get a consistent amount of ink on the printing plate.

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Bellwork - Week 18

Day 1 - Do printing of second color
Day 2 - Carve out saving of second color

EQ: Why is it important to not get too much ink on your brayer?
LG: We are learning how ink that is too thick affects the next layer of ink that is printed.

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Bellwork - Week 19
Day 1 - Carve out for saving of second color
Day 2 - Continue printing of black
Day 3 - Continue printing of black

EQ: What makes a good print?
LG: We are learning to see how registration, ink thickness, clean jigs and good brayers can combine to affect the quality of a print.

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Bellwork - Week 20
Day 1 - Finish printing of black
Day 2 - Self critique of final project

EQ: Why is it important to reflect on past work?
LG: We are learning the process of self critique and how it can affect our future work.

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Bellwork - Week 1
Begin Unit 1
Day 1: Demo drawing weighted contour line, students will do 1 detailed contour line drawing of their backpack.
Day 2: Demo drawing of cross contour of hand, students will do 1 detailed cross contour drawing of their hand.
Day 3: Demo drawing of continuous contour of a chair, students will do 1 detailed cross contour drawing of an observed chair in class.

LG: We are learning the different types of line techniques that we will transfer to 3 dimension space using wire.

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Bellwork - Week 2
Day 1: Blind contour

Day 2: Introduce wire artists and wire wrapping techniques

LG: We will be learning how to take a line and transfer it to a 3 dimensional space combining techniques we learned from the different types of contour lines and the different types of wire artists.

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Bellwork - Week 3
Day 1:
-Value scale - applying it with different hardnesses of graphite
-6 techniques for applying value

Day 2:
-Split up into groups of 3 to photograph chosen hand position. 1st person will model the hand, 2nd person will shine the light, 3rd person (artist) will take the photo. Post photo
-Begin outline of Surrealistic hand project

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Bellwork - Week 4
Day 1: Project introduction

Introducing wire artists Alexander Calder. Photographing self. Draw 3 self portraits using continuous contour.

Day 2:

Critique self portraits

Begin reproducing the 3 continuous contour drawings using wire.

LG: We are learning about Alexander Calder and how he influenced the art world with his wire sculptures. We will be making a wire self portrait using his continuous contour technique.

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Bellwork - Week 5
Day 1: 3D Modeling of face

Begin adding the 3rd dimension to the flat wire contour face.

Day 2:

Continue adding 3D wire supports to model of self portrait.

LG: We are using the wire techniques to add the 3rd dimension to the wire self portrait.

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Bellwork - Week 6
Day 1: 3D Modeling of face

Add second flat section perpendicular to the first plane to further develop the 3rd dimension to the flat wire contour face.

Day 2:

Continue adding 3D wire supports to model of self portrait.

Day 3:

Continue adding 3D wire supports to model of self portrait.

LG: We are learning how to stabilize a 3D model to stand independently.

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Bellwork - Week 7
Day 1: Introduce unit 3: Pen & Ink

Pen & Ink history

Watch preparatory video

Pass out supplies

Pen anatomy

LG: We are learning about the history of Pen & Ink and the anatomy of the pen to better understand the pen as a drawing tool.

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Bellwork - Week 8
Day 1: Begin sketch

1. Begin introducing the pen & ink project, find 3 reference photos of an animal

2. Choose one and crop it to an interesting and unique composition.

3. Start drawing your composition in your sketchbook in a 9x12 lined out area

Day 2: Finish sketch

1. Finish drawing your composition in your sketchbook in a 9x12 lined out area

LG: We are using multiple reference photos to create a more realistic work that includes details from each image.

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Bellwork - Week 9

Day 1: Outline project

Once the outline sketch is complete, LIGHTLY outline onto 9x12 project paper

Day 2: Begin project

Begin using the explored pen & ink textures and techniques to draw your project.

LG: We are using the techniques that we have learned for mark making with the quill pen to create textures and lines in our pen & ink project.

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Bellwork - Week 10

Day 1: Work on filling in details for the Pen & Ink project
Post progress
Day 2: Work on filling in details for the Pen & Ink project
Post progress

LG: We are using quill pen texture techniques to add gradation to the textures we are using.

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Bellwork - Week 11

Day 1: Work on filling in final details for the Pen & Ink project
Post progress

Day 2: Finsh Pen & Ink project, post project and do self critique

LG: We are looking at our finished Pen & Ink project and reflecting on how the textures and techniques were used.

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Bellwork - Week 10
Day 1:  Work on Mystery Grid in pencil, then use pen & ink to darken the lines. Add in values using the different techniques that have been used in the Pen & Ink worksheet from days 1 & 2.

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If additional time is availablehttps://padlet.com/christinekanter/watercolor-pen-and-ink-3xvlt2prc8j03n8w

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Bellwork - Week 11
Day 1: Finish Mystery Grid
Day 2: Begin introducing the pen & ink project, find an animal and crop it to an interesting and unique composition. LIGHTLY outline your composition on the 9x12 project paper. Once the outline is complete, begin using pen & ink textures and techniques to draw your project.

EQ: How does a quill pen differ from a ballpoint pen?
Learning goal: We are practicing quill pen textures so we can improve our pen techniques for our project.

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Bellwork - Week 12
Day 1: Pen & Ink: Finish sketching outline guides for pen & ink project
Day 2: Pen & Ink: Begin using pen & ink techniques for textures found in their selected image.

EQ: How many textures can be used in a drawn image?

Learning goal: We are using quill pen texture techniques for our project.

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Bellwork - Week 13

Day 1:

Sketch outline for flower using the Rule of 3rds

Day 2:

Transfer outline to scratchboard using chalk

Begin adding the lightest highlights to the scratchboard

EQ: Why is the Rule of 3rd important?

LG: We will be learning to make a composition using the Rule of 3rds for a stonger, more interesting image for our scratchboard.

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Bellwork - Week 13
Day 1 & 2: Work on filling in details for the Pen & Ink project
Day 3: Post progress

EQ: Which texture is the easiest to produce with pen & ink?

Learning goal: We are using quill pen texture techniques for our project.

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Bellwork - Week 14

1. Begin sketching ouline of instrument on white tracing paper.

2. Demo taping outlined images onto scratchboard

3. Demo chalking back side of outlined images

4. Begin using the tools to define the highlights first

EQ: Why is it important to have a guided outline while doing a scratchboard?

LG: We will understand how a guided outline is necessary when doing a scratchboard.

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Bellwork - Week 14
Week 14: Continue developing pen strokes for details

EQ: How can textures be altered using different pen strokes?

Learning goal: We are using quill pen texture techniques for our project.

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Bellwork - Week 15

1. Demo taping outlined images onto scratchboard

2. Demo chalking back side of outlined images

3. Begin using the tools to define the highlights first

EQ: Why is it important to have a guided outline while doing a scratchboard?

LG: We will understand how a guided outline is necessary when doing a scratchboard.

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Bellwork - Week 15
Week 15: Focus on pen strokes, hatching & cross hatching for darker areas.

EQ: How is shading be darkend using different pen strokes?

Learning goal: We are using quill pen texture techniques for hatching & cross hatching for the project.

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Bellwork - Week 16

Continue using tools to add mid-tones using scratchboard techniques

EQ: How do you add value to a scratchboard?

LG: We will be adding hatching & crosshatching to define the mid-tones of our scratchboard.

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No Bellwork
Week 16:

1. Finish pen & ink project.

2. Do Artist critique for final.

EQ: What can be included in a self critique?

Learning goal: Learning about the 4 different parts of a critique.

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Bellwork - Week 17

Finish scratchboard project

EQ: How do you blend shadows and highlights in a scratchboard?

LG: We will be adding hatching & crosshatching to blend the values of our scratchboard.

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Bellwork - Week 12

Day 1:

Go through History of Scratchboard PowerPoint - column 1

Introduce tools - column 2

Sketch of sphere using white charcoal pencil on black paper - column 3

Day 2:

Using the Scratchboard tool, create 4 spheres - one with each technique listed.

Cover Rule of 3rds

Search for flower & crop it using Rule of 3rds - post image

EQ: How is scratchboard different from pen & ink?

LG: We will be learning to use scraping tools on scratchboard to take away the top inked surface while leaving the white clay and supporting paper undamaged.