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Art Lesson: Camouflage Color Scheme Paintings

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Students will be introduced to the seven main color schemes and be shown examples to illustrate each color scheme. The teacher will illustrate how you can select a color scheme based on the type of animal they want to draw.

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Submitted by: Carolyn Roberts, (retired) Kinston High School Kinston, NC
Unit: Drawing or Painting
Lesson: Composition with Red Hat
Grade Level: High School (may be adapted for elementary and middle school)
PREPARATION:

1. Make a PowerPoint of works with Red Hats. Include in PowerPoint of Hats through the ages - show how hat styles have changed. What do hats tell us about the culture? What kind of hats are worn for work? for play?

2. Get a collection of hats from a local theater company (or maybe thrift shop or Goodwill). Have student imagine them to be red. Younger students will want to try the hats on so have some disinfectant spray. I can see some of you going from garage sale to garage sale buying outrageous hats and spray painting them all red!

Inspired by Modigliani - this could be about art styles This could be about fashion design.

PROCEDURES:

Summary: Students had to create a work of art that included a "red hat", either as a focal point or as an accent in the picture. The picture could be in color or black and white with the hat in red and they could choose the medium that they wanted to use. Preliminary drawings in their sketchbooks were required prior to beginning the final work.

1. Research hat styles. What style of hat will work best for your idea?

2. Make sketches of the hat - try different arrangements/placements. If the hat is to be worn in a portrait - make sure it fits head properly and is in correct proportion to the head.

3. Make some thumbnail sketches of composition - select best one for composition.

4. Transfer to quality Drawing Paper ( Watercolor Paper , Canvas Panels - whatever you happen to be using). Saral Transfer Paper is available in graphite or white for dark paper.

5. Render in chosen medium - mixed media is good, too.

6. Have a class critique. Give fun awards "Best of Show", "Most Outrageous Hat", "Most Meaningful"

OBJECTIVE:
To create a two-dimensional work of art that includes a red hat
GRADES BASED ON:
Composition

Illusion of depth by using:

Overlapping, size variation, position on page, value (lighter colors in distance/darker colors up close, intensity (bright colors up close/dull colors in distance)

Rules of perspective one or two point. Middle School teachers - think how it might add a spark of interest to your perspective lessons, too ( see example). So many possibilities.

Emphasis - focal point, center of interest

Repetition

Color, shape, pattern, etc.

Color, value (light against dark), texture (smooth against rough), line (thick/thin, curve/straight, light/dark, etc.)

IDEAS:

Person wearing a "red hat" - show mood (Archive), age, show culture (Archive), fashion design - "in the style of" (isms)

Art Parody "Red Hat" - show painting "in the style of" - ex: Mona with a red hat - Change century

"Red hat" included in a still life setup (Archive) - a different kind of portrait - What accessories to add?

Humorous - Monkey swinging through the trees with a "red hat" in his hand

"Red hat" for sale in a shop window

Clown with "red hat" - worker with "red hat"

Santa Claus wears a "red hat"

EXAMPLES OF ARTISTS WORKS: ADDITIONAL RESOURCES MEDIA:

Note: For younger students, you may want to limit choices of media.

LESSON EXTENSIONS:
Expand the unit to 3-D works.... This could become a fashion design lesson as well.
See Red Hat Pin (Made from recycled jewelry parts and Sculpey )

* These are best prints

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Make a PowerPoint of works with Red Hats. Include in PowerPoint of Hats through the ages - show how hat styles have changed. What do hats tell us about the culture? What kind of hats are worn for work? for play? Get a collection of hats from a local theater company.

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Submitted by: Nicole Brisco, Pleasant Grove High School
UNIT: Advance Studio Art - 2-D and 3-D

Grade Level: High School (lessons are adaptable to all high school)

Mixed Media Collage | Community Collage | Rauschenberg Mixed Media | Alice Neal Figure | Intimate Portrait | Reflective Portrait - Identity | Game of Life

Nicole Brisco teaches art at Pleasant Grove High School in Texarkana, Texas. "Art for me is more than a subject, more than an ideology, or a picture in a book. It is truly a life journey." Read Nicole's Philosophy of Art Education.

E-mail Nicole Brisco if you have questions.
Objective:
Students will use figure drawings and their study of the artist Alice Neel to create a finished work using mixed media and text. After researching the life and works of Alice Neel, students will realize that there is a strong connection between the artist and its subject. Students will aim to emulate this connection within their own finished figurative works. Light discussion will be encouraged so that the student and model can begin to understand each other. Students should also use their knowledge on composition to create a strong design.

Alice Neel - Figure Drawing

Below are some ideas that you might follow to give your work originality.

The focus of your finished work should be a definite connection between your art and the viewer. At the end of the six weeks you will have the following due:

1 drawing that shows strong sense of composition and drawing technique. Included must be a strong light source.

1 drawing that shows a strong sense of composition and drawing technique. Included must me a controlled and mature sense of color.

1 drawing that shows a strong sense of composition and drawing technique. Included must be a confident contour line with strong weighted line.

1 drawing that shows a strong sense of composition and drawing technique. Included must be a challenge with media.

Each piece will be worth 100 points. If you have any questions please let me know before they are due. Additional small drawings will be assigned, but it is your responsibility to finish each drawing and allow yourself time to complete each individual assignment.

Graded: Composition (use of space), technique, originality, drawing

Size: No larger than 34X36 (91 x 91 cm). No smaller than 16X20 (40.6 x 50.8 cm)
ADDITIONAL ASSIGNMENTS:
Process Diary including:
Resources Books
Alice Neel - Alice Neel (1900-1984) talks about her life, her ideas on art, and the world at large in this book. She painted well-known figures in art, literature, music, politics as well as her family and friends - depicting them clothed and sometimes naked, thus exposing their vulnerability. Never compromising, she kept to one goal: to paint people as she saw them.

Alice Neel - With 224 illustrations, 86 in color, and essays by curators from various museum venues, this is the most comprehensive and up-to-date view of her work.

Alice Neel: Painted Truths - This book brings together paintings that demonstrate Neel's range and ability, along with insightful commentary from four leading art historians. Although the book focuses on her portraits, it also covers the artist's early social realist paintings and cityscapes, tracing the evolution of Neel's style and examining themes that she revisited throughout her career.

Mixed Media/Layers - Ordinary to Extraordinary Collage

Objective:
Students will select an object of interest using symbolism. Students will then create multiple original drawings to incorporate into their mixed media work. Students will research narrative/symbolic works and mixed media works. Students are to draw from life in their work and use the compositional skills they have learned.

Below is a list of objectives that must be apparent in your finished work: See student art

Minimum of 5 layers

Size between 18X24 (46 x 61 cm) to 24X36 (61 x 91 cm)

One object/Drawing from Life - Symbolic

Strong composition and Visual Movement

Unified colors and theme

Below is a list of starters:
Graded:
Composition (use of space), technique, originality, expression of drawing, layers, use of media, craftsmanship, and aesthetics.
ADDITIONAL ASSIGNMENTS:
Process Diary including:

See additional image for this lesson.

Symbolic Community Collage
Objective:
Utilizing the theme of "community", students will select an object that represents this to them. Students will take this object and create a mixed media work that demonstrates the following: design, color, creative use of media, purposeful thinking.
Project:

Brainstorm and select an object. Example: Pomegranate.

Create 2 thumbnails that have the following present: a minimum of 20 images from your object, linear/compartmental design, media, and colors

24X36 (61 x 91 cm) surface.

Think about the following: Graded on:
Robert Rauschenberg - Mixed Media Assemblage
Objective:
Students will research and study the life of Robert Rauschenberg. Student will create a mixed media assemblage using found materials to create a sculptural interpretation of an action or theme. The overall goal to create a strong conceptual representation of their theme while retaining the integrity of the works craftsmanship and three dimensionality. Student should use their knowledge on the element and principles of design to create a strong three-dimensional design. Below are some materials that could be a starting point:

Your finished work should be influenced but not limited to the work of Robert Rauschenberg. At the end of the six weeks you will have the following due.

This work will be worth 100 points. If you have any questions please let me know before it is due. It is your responsibility to pace and use your time well.

Graded: Overall Design, Use of a Three-Dimensional Space, Originality, Craftsmanship.

Size: No larger than 36"X36" (91 x 91 cm). No smaller than 12"X12" (30.5 x 30.5 cm)
ADDITIONAL ASSIGNMENTS:
Process Diary including:
Rauschenberg Prints
Intimate Portraits - "A Look at Human Behavior"
Objective:
They say that humans spend 95% of their lives in uneventful moments, but we as humans usually document the only the most eventful moments such as, birthdays, graduations, births, and special occasions. As artist, we have the opportunity to make these ordinary moments extraordinary. Looking at human nature can be very interesting if you choose to look closely. Students will create a figurative work based on a simplistic time in a friend or family member's life. The overall goal is to connect the viewer with the person represented in the work See student art.

At the end of the six weeks you will have the following due.

This work will be worth 100 points. If you have any questions please let me know before it is due. It is your responsibility to pace and use your time well.

Graded On: Overall Design/Composition, Originality, Craftsmanship, Drawing/Expressive Line, Intimate or Connection to Viewer.

Size: No larger than 4'X5' (122 x 152 cm), no smaller than 18X24 (46 x 61 cm)
ADDITIONAL ASSIGNMENTS:
Process Diary including:

"A Study of Perception" - Reflective Identity
Objective:
Students will create a self-portrait and incorporate the idea of "reflective identity" or how others perceive them. Students will research the theme of identity in artist work and how the artist subtle acknowledgments of identity are represented. The idea of "Reflective" is open to interpretation. See student art

At the end of the six weeks you will have the following due.

This work will be worth 100 points. If you have any questions please let me know before it is due. It is your responsibility to pace and use your time well.

Graded On: Overall Design/Composition, Originality of Reflective Identity, Craftsmanship, Drawing/Expressive Line, and Communication Factor.

Size: No larger than 4'X5' (122 x 152 cm), no smaller than 24"X36" (61 x 91 cm)
ADDITIONAL ASSIGNMENTS:
Process Diary including:

The Game of Life - "A Comparison of the Two"
Objective:
Students will create a finished product based on a memorable childhood game. Students will research the game and how its rules apply to the "Game of Life". Student products will represent their knowledge of drawing, color, and design, as well as, their ability to visually communicate their topic of choice. See student art

Your finished work should be influenced but not limited to your inspiration artist. At the end of the six weeks you will have the following due.

This work will be worth 100 points. If you have any questions please let me know before it is due. It is your responsibility to pace and use your time well.

Graded On: Overall Design/Composition, Originality, Craftsmanship, Drawing/Expressive Line, and Communication Factor, and Life Connection.

Size: No larger than 36"X36" (91 x 91 cm). No smaller than 12"X12" (30.5 x 30.5 cm)

ADDITIONAL ASSIGNMENTS:

Process Diary including:

See additional images for this lesson.

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Lesson Plans by Nicole Brisco - Advance Studio Art

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Students will use figure drawings and their study of the artist Alice Neel to create a finished work using mixed media and text. After researching the life and works of Alice Neel, students will realize that there is a strong connection between the artist and its subject.

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Art Lesson: Painting with Dots Kirkland Style

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Discuss and view Aborigine and pointillism art. Collect images from the Google image category for more examples. Discuss the art of painting with dots. View PowerPoint of Vance Kirkland's style of paintings. Discuss color schemes, form and movement. Have student paint background on heavy paper or Paper Canvas - may be solid or patterned.

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Submitted by: Conni Murray while student teaching at Cherokee High School in Evesham Township, NJ.
Lesson plan in Madeline Hunter format
Lesson: Project Introduction for Designing a Skateboard Deck Graphic
Grade: 9-12 Visual Arts
Integrated Curriculum: Math, Technology Education

Objectives:

Students will be able to generate ten ideas using no more than seven lines to convey action or motion

Students will be able to further develop three of their ten ideas into skateboard design themes according to the parameters (see parameters)

Students will be able to use the elements of art and principles of design to create a visually appealing unique skateboard deck design.

Materials:

Click on the images for full size
Motivation/Focus Activity:
As students enter the classroom, the lesson's objectives will be posted on the board. Students will be given a worksheet with 10 rectangles. They will be told to quickly draw a different design on each using 7 lines that show motion and action (fat, thin, wavy, straight, dotted, angular, organic, etc.). This will be graded.
Instruction/Activities/Technology:

1. Present motivation activity

2. Brief look at the line worksheet

3. Present the skateboard worksheet

4. Instruct students to take the best 3 of their 10 and develop them into skateboard designs

Designs can include:

Added shapes

Added color

Added lines

1. Discuss the bold, high contrast, action graphics of professional boards

2. Present closing activity

3. Present parameters:

Using the provided gessoed tag board, choose the best of your three designs to develop into your finished product

Draw your design on the prepared surface

Using acrylic paints, with/without Acrylic Gloss Medium

Closing Activity:
Day 1:
An assortment of exemplars of professionally produced skateboard designs will be available. The students will be look through the exemplars provided. Project parameters will be presented.

[Since the production phase of this lesson will span approximately five class periods, a brief 'closing' activity for each class after the first should include a review of the material learned thus far in the lesson (adding in points that were made during that days' lesson), an explanation of what will be expected of them for the next class, and praise the work completed thus far pointing out strengths and making suggestions for how to improve various aspects as the project progresses.]

Day 5:

1. When all have completed their work, display in classroom "gallery"

2. Have students volunteer to discuss their own work

Additionally:
Names and addresses of various skateboard companies will be provided. Students will be encouraged to contact the companies independently and inquire about selling their design or entering contests that are offered.

Click on the images for full size
Special Needs Modifications:
ESL, LD, ED Modifications:
Demonstration is key to their understanding the parameters of the assignment
Utilize interpreter - other students who speak both and English and _____
Work one-on-one if necessary once the other students have begun to assure they understand what is expected of them
Frequently observe their progress and provide additional assistance/guidance as needed
Physical proximity is imperative during the art production phase of the lesson
Depending upon the students' IEP, reduce the requirements of their work of art
Depending upon the students' IEP, allow the students to present their oral critique in partnership with one of the other students (GT student with compassionate nature) or help the student as they present by instructor providing prompt questions or cues for the student.
GT Modifications:
Work one-on-one if necessary once the other students have begun to provide suggestions on higher-level artistic components they could include.
Frequently observe their progress and provide additional suggestions/guidance as needed.
Ask them to help guide other students in the class utilizing them as a peer-tutor as appropriate.
Homework:
If the students do not complete their work in a timely fashion, they will be required to work on it after school (in the art lab) or at home.

Additional HW assignment (see attached)
Assessments:
10 pts for 10 rectangle worksheet - 1 pt for each correctly produced rectangle.
90 pts for the 3 skateboard idea designs - 30 pts for each correctly produced design.

New Jersey Core Curriculum Standards for Visual and Performing Arts Addressed:
1.1.A, 1.1.B, 1.1.D. 1.2.D, 1.3.D, 1.4.A, 1.4.B
Resources: Books:
Disposable: A History of Skateboard Art - Longtime skateboard artist Sean Cliver put together this staggering survey of over 1,000 skateboard graphics from the last 30 years, creating an indispensable insiders' history as he did so.

Skateboarding - This book uses bite-sized instructions and killer original photography to introduce kids to the action-packed world of skateboarding.

Art, Skateboarding and Life (Book & 2 DVDs) - Chapters are driven by interviews, narrative text and non-stop full bleed visuals that trace Howell's journey through pro skateboarding, the action sports industry and allied segments of the DIY movements within art, music and design.
Skateboard Companies: Check these websites for contact info:

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Art Lesson: Designing Skateboard Deck Graphics

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Students will be able to generate ten ideas using no more than seven lines to convey action or motion. Students will be able to further develop three of their ten ideas into skateboard design themes according to the parameters.

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Art Lesson: Art & Math Mural Integration

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Students will be able to make connections between math and art, and to see how math is everywhere! Each student will feel pride after contributing to a beautiful mural! Brainstorm as a class to decide what type of mural they want to create.

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Don't tell the students the name of this lesson- Reveal things in stages as described. Pass around the magazine pages and ask the students to pick three pages they like. This is accomplished by using the pages you have picked to cut out and design with them a valentine, or love story image to give as a valentine collaged on the Bristol board.

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Students will select an age of interest in their childhood and research what that refuge provided for them. Students will create a work of art that depicts this meaningful time in their life. Each work should focus of content, composition, color, and media exploration.

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Submitted by: Barbara Rhodes, retired art teacher

Unit: Drawing/Design/Painting
Title of Story: Phoebe
Total Sessions: 3

Level: Advanced Middle School / Freshmen
Total Points: (100 points per class period) = 300

Media:
Your choice of colored media ( Watercolor Paint - Colored Pencils - Crayons - Acrylic Paint ) ; #2 Drawing Pencils for sketch; Sharpie Fine Point Markers to ink final lines.

Vocabulary:
Foreground, Middle ground, Back ground.

Purpose:
To see what each student's level of development is at this time. This project will help indicate imagination level as well as ability to handle chosen media and level of drawing ability.

General:

You are to tell a story with the use of visual information. Show the PowerPoint before you begin. The elements that you must include in this drawing/painting to help tell your story are:
1. A character - woman or man or alien or child or cartoon character (can not be known cartoon character)
2. A pet
3. A background
4. A foreground
5. An object in the character's hand
6. Enhance the head area with something that helps tell your story (hat, jewelry, makeup, etc.)
7. Help tell your story about your character by your choice of footwear.
8. Use a border design, like a picture frame, to enforce the tale you are telling
9. Use something in the composition to tell what your character's occupation is.
10. Use something in the composition to tell the viewer what your character's personality is.

Click on the images for full size

Alternative approach:
Use the same ten elements in your art story but instead of making up your own character use Phoebe and illustrate the following story as well as add more than just what the words tell us.

"Looking at Phoebe is always a pleasure. Unpredictable, but always a pleasure. She was at that time well into her sixties, but it is, has always been, impossible to equate Phoebe to the passing years."

"I saw the thick stockings, the stout boots, the worn and faded blue-jean skirt. Over these she wore a man's shirt and cardigan (probably inherited from Chip); There were gold chains about her neck, and a tartan scarf, and on her head, inevitably, a hat."

"She always wore hats, broad-brimmed, deep crowned, rather dashing. She had taken to wearing them to protect her eyes while painting out of doors, from the cold, white glare of the Cornish light, and they had become so much part of her that she very often forgot to take them off. This hat was rich brown, decorated with gray gull feathers stuck into the ribbon band. Beneath its kindly shade, Phoebe's face, the skin netted with lines, twinkled and smiled at me. The smile revealed teeth that were pearly white, so white that they were never mistaken for what they were, false teeth, too perfect to be real. Her eyes were the deepest speedwell blue, their brightness challenged only by the turquoise-and-silver earrings that dangled on either side of her face."

Daily Goals:

1st Day Do a completed sketch by the end of the period
2nd Day Add color and ink lines by the end of the period
3rd Day Finalize by the end of class - double check the list of elements and make sure you have them all covered.

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You are to tell a story with the use of visual information. The elements that you must include in this drawing/painting to help tell your story are: A character a pet,a background, a foreground or an object in the character's hand.

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Submitted by: Barbara Rhodes, retired art teacher
Title: From Your Imagination
Total Sessions: 3
Total Project Points: 50

Media: Tempera Paint ; India ink ; String; Drawing Paper (approximately 23" X 9" / 58.4 X 22.9 cm); Sharpie Fine Point Markers
Vocabulary: Back ground, contrast, mud, complementary colors, outline, enhance, organic.

Background:
Looking at clouds and finding objects is a game that many of us have played. You will just take it up a notch by creating your "clouds" on paper with the use of colored paint and some "happening" lines created with inked string. There is a need for all of us to exercise the creative side of your brain so relax, don't talk so your left side of your brain does not get in the way and find that image that is totally from your imagination. Once you have found the image share it with the rest of us by adding lines and flattening the background with one color.

You will need to know your Color Wheels so you do not get 'MUD'. Try to keep the complementary colors such as yellow and purple, blue and orange, red and green from mixing on your paper so you do not get muddy colors.
Purpose:
To see what each student's level of creativity is at this time. This project will help indicate imagination level as well as ability to handle chosen media, ability to follow directions and level of drawing and painting ability.

You are to produce a finished piece of art that reflects the same or higher quality than the examples on this page. You are to enjoy the making of art and be aware of the time restrictions we have to work within. You are to be careful and not get the media on your clothes or anyone else's clothes. Wear a smock or old shirt.

Click on the images for full size.
The Steps are as follows:

Apply tempera paint to your paper in an expressive, free-flowing, organic manner. Place newspaper under your paper for easy clean up. Be careful not to over manipulate your paint so you can avoid the dreaded 'MUD'

Carefully apply an ink covered string to the surface of your painting. You want a variety of shapes and spaces created when the ink connects with the surface. Remove the string and let it dry.

Using the black lines and color changes to inspire you, find an object that will occupy approximately 2/3rds of the surface of your painting. Bring out the object by outlining it with a black sharpie

Help 'pop' your object by flattening your background with one color of paint. Mix enough to cover the amount of surface you have (it is very hard to get the same color if you run out) and only apply it with one stroke. Two strokes with cause the underlying paint to start bleeding through and mixing with your top coat. You can try a light coat of mat clear spray on your original paint to keep it from bleeding through so easily.

Daily Goals:
1st Day Apply paint and inked string
2nd Day Outline found object and start on background. Be sure to save your paint so you can have it to complete your background the next class period
3rd Day Finalize by the end of class - Bring your art up to be graded along with your assessment.

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Looking at clouds and finding objects is a game that many of us have played. You will just take it up a notch by creating your "clouds" on paper with the use of colored paint and some "happening" lines created with inked string.

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Submitted by: Barbara Rhodes, retired art teacher

Unit: Watercolor Painting
Total Sessions: 2

Level: Middle School / Freshmen
Total Points: (25 points per class period) = 50
Purpose:
For the students to experience a variety of watercolor application techniques. This will broaden the number of solutions they will have to answer the specific needs in their future compositions.

Media:
Prang Watercolor Pan Sets - Water in a container - Salt - Coffee - Alcohol - Wax Crayons and/or candle - Newspaper - Tissue paper - Paper towel - Straw - Rubber Cement - Liner Brush - Plastic warp - Container with colored soapy water

Vocabulary:
Texture, spatter, stipple, scumbling, dry brush, transparency, liner brush, resist, wash

As Mrs. Patterson demonstrates each technique you will take a 3x3 piece of paper and try the same. Be sure your name and technique is on the back of each paper square BEFORE you add paint to it. The Techniques are:

1. Flat wash - The most basic watercolor technique is the flat wash. It is produced by first wetting the area of paper to be covered by the wash, then mixing sufficient pigment to easily fill the entire area. The pigment is applied to a sloping surface in slightly overlapping horizontal bands from the top down. Rinse your brush out in clean water and blot or squeeze out the excess the water. Carefully pick up the bead of paint that runs across the bottom of the wash using the wick action of your brush. If you draw up too much paint you will lift the color off the paper. Once complete the wash should be left to dry and even itself out - don't be tempted to work back into a drying wash, the results are usually disastrous!
TIP: Try practicing your flat washes with different colors and intensities. Each color has its own physical properties that affect how they feel and flow in washes.

2. Graded wash - A variation on the basic wash is the graded wash. This technique requires the pigment to be diluted slightly with more water for each horizontal stroke. The result is a wash that fades out gradually and evenly.

3. Alcohol - Dipping a Q-tip or other object into the alcohol you can tap and drip alcohol directly into a wet wash of watercolor. As the alcohol hits the wash it repels the paint, pushing it away while leaving a lighter tint of the wash exposed. If the wash is wet, you have to repeatedly drop alcohol onto the open areas to keep the flowing paint at bay. As the watercolor wash continues to dry you can try some smaller splatters of alcohol throughout the area. During evaporation there passed a peak time for the effect to work best. Set the painting aside to dry. Alcohol and watercolor don't mix well. The results of their fight on the paper are strangely organic in nature and not achievable using any other technique. The "fish eyes" are a signature of this technique.

4. Wax resist - To preserve white areas or lines in water media, try resists. If you use wax-based colored pencils, like Prismacolor, watercolor slides right off. Draw with a white crayon or drag candle or paraffin wax across rough paper to achieve texture. You'll love the sparkle effect, but use sparingly. If you want to remove the wax, lay the painting face down on brown paper and run a warm iron over the back. The wax will transfer to the brown paper. For a fine line, place a sheet of wax paper (waxy side down) on your paper and draw on the wax paper with a sharp pencil, using enough pressure to transfer the wax line without cutting through the paper. Remember, when using clear or white wax resist, you can't see the lines until you lay the wash. So be sure you know where you want your lines. You can also use liquid frisket, masking tape, oil pastel as a watercolor resist.

5. Newspaper resist - Tear or cut a piece of newspaper to protect an area of your paper from an application of color. Paint from the newspaper to the painting surface so the edge of the newspaper is not caught by your brush and curl up the edge and ruin the crisp edge you were trying to achieve.

6. Color lift-Off - Most watercolor pigment can be dissolved and lifted off after it has dried. Staining colors such as Phthalo or Prussian blue, Alizarin, Windsor Red, Yellow or Blue are difficult to remove and are best avoided for this technique. The process for lifting off is simple - wet the area to be removed with a brush and clean water then blot the pigment away with a tissue. Using strips of paper to mask areas of pigment will produce interesting hard edged lines and shapes.

7. Coffee - Sprinkle coffee on your wet wash and watch it spread in the wetness and change the tonality of your color.

8. Salt - Have some table or crushed salt to hand as you need to sprinkle it onto a wet wash to create snowflakes or light spots in your painting. The salt soaks up the paint, creating a little star around each bit of salt. Apply the wash. Put the paper down flat. Watch it drying and just before it loses its shine sprinkle on the salt. Leave the paper flat to dry thoroughly. Be patient! When it's completely dry, brush the salt off with your hand or a clean, dry brush. When you apply the salt is crucial. If the wash is too wet, the salt will absorb too much paint and melt, creating large light areas. If the wash is too dry, the salt won't absorb enough paint and you won't get any snowflakes. Don't use too much salt as it ruins the delicacy of this effect and don't try to arrange the grains of salt, it should be random. To create a blizzard, tip the painting a little so the paint and salt slide to one side. Note: The use of salt may influence the pH of the paper, and thus its longevity or archival properties, so try to keep the time the salt is on the paper to a minimum.

9. Splattering - You splatter the paint off your brush by rapping the edge of the loaded brush against your finger. The paint appears to fly off chaotically. If your brush is sopping wet you can't control much when you throw it. Try using your finger to rap the ferrule of the brush against. This releases the paint in a more controlled manner. If you want big splats, squeeze several drops of watercolor out of your brush from a height of 3' to make big splats. Toothbrush splattering - There are a couple ways to charge up a toothbrush. You can dip it directly in a paint puddle, but it is hard to fill the bristles evenly with paint. You can apply the paint with a paint brush. The advantage of doing it this way is that you can add as much paint as you need easily and in a controlled manner. You don't want the paint dripping from the toothbrush.

10. Stippling wet/scumbling - Random overlapping wet brush strokes over another dried layer of paint.
11. Stippling dry - Creating dots by tapping your watercolor dry-brush on the surface of the paper to create a pattern. It works better if your brush tip is spread out. From a distance, the colors appear to blend.

12. Dry brush - Dry brush is the almost the opposite watercolor technique to wet in wet. Here a brush loaded with pigment (and not too much water) is dragged over completely dry paper. The marks produced by this technique are very crisp and hard edged. They will tend to come forward in your painting and so are best applied around the center of interest.

13. Straw

14. Rubber cement masking - Watercolorists traditionally paint whites by leaving the white of the paper. To do so, these areas need to be protected from being painted inadvertently. This means you must plan ahead for where those areas are going to be and take care to not paint over them by mistake. An easier way to handle this is to mask them with pieces of tape or masking fluid or rubber cement. Masking fluid or rubber cement is applied with an old, worn-out brush (never a quality or new one) to those areas that are to be protected then allowed to dry. To remove the mask, rub it gently with a clean dry finger or rubber cement pickup. Keep in mind that the way you prepare the surface can affect the properties of masking fluids. Just as watercolor applied to damp paper soaks into the surface, masking fluid behaves in a similar fashion, rather than sitting on the paper's surface as it should. Many product manufacturers caution the user to apply the material on dry paper, as wet paper softens the sizing and speeds absorption.

15. Liner brush - Use of a longer hair brush that holds enough watercolor to make a long line yet is thin so the line can be thin.

16. Plastic warp - Once you have a wet layer of paint, tear off a piece of plastic wrap larger than the area you painted. This must be accomplished while the paint is wet. Lay the plastic over the area and squench, stretch and move it around until you have an interesting shapes, edges and gathered areas. Set it aside to dry flat and undisturbed. Do not take the plastic wrap off until it dries completely.

17. Color transparency

18. Soap bubbles - these can be done by blowing with a straw into a bowl of soap and colored water and letting those bubbles flow onto your paper or go outside and blow bubbles with a wand (can be made from a twisted wire) and capture the bubbles on your paper. Remember if the bubbles will paint your paper they will paint your clothes.

Daily Goals:
1st Day Follow Mrs. Patterson. Do not get behind; Be sure to label all squares with your name and name of technique.
2nd Day Finish squares - Bring your art up to be graded along with your assessment.
Extra credit is available in the form of instructions on how to hold the brush and how to control the brush. See Mrs. Rhodes for the handouts (limited number - you might have to share them).
Books:
Zoltan Szabo's 70 Favorite Watercolor Techniques - Learn how from Zoltan Szabo, one of the most revered watercolor teachers in America. Using the same ease of approach that made his workshops so popular, this book makes watercolor painting simple, straightforward and fun.

The New Encyclopedia of Watercolor Techniques - Filled with a complete range of water-based media, it presents more than 30 techniques-explained with easy-to-follow instructions and step-by-step photography to guide and inspire.
See this watercolor demonstration by Elizabeth Tyler Share Your Art!
Do you have student work representative of the watercolor techniques above? If so, feel free to submit them to this page.

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The purpose of this lesson is for students to experience a variety of watercolor application techniques. This will broaden the number of solutions they will have to answer the specific needs in their future compositions. The most basic watercolor technique is the flat wash.

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Submitted by: Barbara Rhodes, retired art teacher

Painting Unit: 4th 9 Weeks Painting Assignment

Instructions on what needs to be included:
1. Your eye - from a mirror
2. Create something that starts and is established in one section and flows from that section to another section
3. Cultural image (can be a pattern found dominant in one culture such as a Persian rug, or an image/object that represents the beliefs or life style of a particular culture, such as a Buddha, Moroccan architecture, Eiffel Tower or a sombrero)

4. An egg
5. An easily recognizable Master's reproduction detail (your choice)
6. Part of a mechanical object
7. Your signature
8. Landscape/Seascape as seen through a door, a key hole, a crack in the wall or a window. 3 areas need to be developed:

A) the area in front of the door, key hole, crack or window;

B) the actual door and door frame/the key hole and hardware that helps define it, such as the door knob/the crack in a painted wall or brick wall or paneled wall or a wall papered wall/window and window frame;

C) the landscape or seascape located beyond the door/key hole/crack/window during a definite season.

9. A container with text and a logo (soft drink can, juice box, snack box, round oatmeal container, Comet Cleanser can, milk carton or container, etc)
10. The face of a bird, fish, reptile, or other animal.
11. A chair
12. A black and white section inspired by your first black and white acrylic painting.

Instructions:
You have a basic design format you are to use.
You can alter it slightly, if necessary. Your final must consist of 24 sections with 2 large circular areas included in the 24 sections. There are to be NO DIAGONAL DIVISION LINES. If you change the format be sure, at the time you are graded, you can give a strong reason for the changes. (See the example design below)

No more than two areas can be non-objective abstract areas.

Just a suggestion: Consider treating the piece as a stained glass window with use of heavy black lines defining the edges of the divisions.

The basic design format is already a balanced design. Do not destroy the balance by having a large black and white area on one side and no other black and white area. Also balance contrasts, warm and cool colors, visual weight, and detail. The best ways to do that is to "Balance as You Go" and use the mirror trick while turning your art all 4 ways.

Your grade at interim report time will be based on your work ethics and the amount you have completed. (A= constant work plus 75% of the area near completion; B=wasted time and 75% of the area near completion or constant work plus 50% of the area near completion; C= wasted time and 50% of the area near completion; D=wasted time and 30% of the area near completion: F=wasted time and 25% or less near completion)
Materials Books
Acrylic Revolution: New Tricks and Techniques for Working with the World's Most Versatile Medium - Acrylic Revolution is your essential, all-in-one guide for acrylic painting techniques and more. It features over 101 ways to break through the boundaries of conventional painting and re-define the creative potential of this all-purpose medium.

Lee Hammond's Big Book of Acrylic Painting - This resource is packed with the best of Lee Hammond's lessons and tips on working with acrylics, including more than 80 step-by-step exercises and demonstrations that will have you creating amazing paintings in no time flat.

Acrylic Painting - Acrylics are plastic-based tube pigments capable of producing vivid colors and dramatic textural effects on canvas or paper. This book instructs in the many styles students can achieve with acrylic paints, and concludes with step-by-step projects in still life, landscape, cityscape, and human figure paintings.

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Paint your eye from a mirror. Create something that starts and is established in one section and flows from that section to another section. Use a cultural image (can be a pattern found dominant in one culture such as a Persian rug, or an image/object that represents the beliefs or life style of a particular culture, such as a Buddha, Moroccan architecture, Eiffel Tower or a sombrero).

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Submitted by: Barbara Rhodes, retired art teacher

On this page are a collection of art lessons that involve a Digital Camera and Photoshop . For the most part, all the lessons take one class period. The media varies from collage and Acrylic Paint to Colored Pencils and Watercolor Paint .

Over and Over

Take one object, like this man on the right, and create three views. Cut them up and reassemble them into an interesting composition. To have a more polished piece of art take the cut up composition and transfer it onto another surface so it goes from a collage to an actual painting or drawing. Instead of a man you might want to try a simple still life. Remember to start simple because it becomes more complex just with the steps that need to be taken. You can always make your art more complex but it is hard to go the other way.
With a Camera
Take at least three if not more shots of a person or object (make sure the object is highly recognizable, such as a bicycle). Keep the same distance for all photos so the subject will be the same size in each. Use three of your best shots. Collage them. You can draw on top of them if you feel it would enhance your art. Take a photo of your art.

Tint Can Be Used To Unify

A tint is when you add white to a color. You can create a piece of art, objective or non-objective, and unify it by adding white to all of the colors so it becomes pastel in nature. Select your subject. If you are painting you just add white to all of your colors. If you are drawing use pastels and apply white chalk over your whole piece. When you apply the white chalk apply it in diagonal dashes within each color's area. Do not just take the side of the chalk and cover the paper. That will make a mess. If you wanted to do this in colored pencil you would apply your color and apply white pencil over it or select all light colors. Notice how the painting of the teacups is almost a monochromatic piece. Monochromatic is when only one color and its shades and tints are used.
With a Camera
Take one of your photos and use it as a basis for this piece. It can be interpreted in a realistic, impressionistic or non-objective manner.

Solarize The Image For Some Sophistication

On some cameras they have a solarize control that flattens the colors into simpler areas. The easiest way to do this is to take a photo with a camera such as this. The next easiest way to accomplish this is to take your own digital photo and use a program such as Photoshop to solarize it. The other way is to draw an outlined drawing and determine what is dark, medium and light. If you are doing a pencil drawing apply the pencil in dark medium and light shaded defined areas or use line patterns in each section. The line patterns would also have the light, medium and dark shad characteristics. If you are doing it in paint think in terms of paint by number. The dark color is number 1, the medium color is number 2 and the dark color is number 3. There can be more than three values but too many values take away for the flatness of this type of art.

With a Camera
As mentioned above check for a solarize function on your camera. Not all cameras have this function. If it does not then take your photo and upload it to a computer that has Adobe PhotoShop and 'enhance' your photo with the poster function. Print the altered photo in a small enough format to be able to use the opaque projector without it getting too big.

Patterns Within Shapes

On separate sheets of Tracing Paper draw an outline of the basic areas of three or more people in motion or animals or leafy plants, etc. Take the tracings and arrange them so they interlock/overlap and create an interesting composition. If you are drawing this then transfer the image onto Drawing Paper . If you are painting this enlarge the image with the opaque projector. Use cheap colored markers and fine point black sharpie to outline and fill in each area with a different color combination. If you are in painting use Acrylic Paint and Sharpie Fine Point Markers . Be conscious of contrasts (lights against dark and complementary colors placed next to each other). Balance the colors and patterns so the paper does not get too heavy on one side (hold your art up to a mirror to check it).
With a camera
Take your camera to lunch or to a sports game or to football/basketball/softball etc. practice. Take a variety of shots and upload to the computer so they can be printed off. Each shot should be as large as the paper unless you are in painting and want to do a large composition. For a large composition you will use the opaque projector and you will need a much smaller original. If these are your friends you might want to incorporate their initials or name into the patterns that are on their image.

Unrelated Grounds

Let one element of your art set off the other element by being unrelated. Emphasize the difference even more by applying your media in two different ways. The background could be underdeveloped and the foreground could be detailed and realistic. Notice how the yellow in the sky "S's" down behind the largest object in the foreground. Try to tie the two elements together in some subtle way.
With a camera
Combine a photo that was taken by your outside with a photo of a still life that you have taken.

Spontaneous Art

This painting/drawing should take no more than five minutes. First have in mind what object you are going to paint/draw. For painting start with watercolor and a brush tied to a stick. Hold the stick at the very end as you are applying the brush to your paper. This will give you a free flowing stroke. Do a second layer with Acrylic Paint and the stick-brush. Place the colors where you think they should be. For drawing use the ink and a brush-stick to apply the ink to the paper. Start the first layer with watered down ink. Let it dry and do the second layer with stronger ink (not watered down). Some time during this process (drawing and painting) also use the splatter technique. Wear a smock and be sure other people are away from you when you splatter. Be careful of 'mud' and overworking your piece.

With a camera
Take a photo of the object that you want to paint/draw. Take the copy (full page) and transfer it onto your drawing paper with acetone. Let it dry and do your quick drawing/painting on top of it.

Politicians Can Be Such Clowns

Once you have finished learning how to draw and shade a face, take it up a notch. Find a photo of a famous person, politician, entertainer, etc. who is easily recognizable. Draw and shade in pencil the person, just like you see him in the photograph. Next, with Colored Pencils , add the clown makeup and wardrobe. Help promote the clown theme with objects and scenes in front and behind the person. Do three or more layers of colored pencil on the clown and fewer layers of colored pencil on the rest of the picture.
With a camera
Take a picture of a person you know (friend, teacher, preacher) and change their image into a clown.

Books
Adobe Photoshop CS6 Classroom in a Book - Creative professionals seeking the fastest, easiest, most comprehensive way to learn Adobe Photoshop CS6 choose Adobe Photoshop CS6 Classroom in a Book from the Adobe Creative Team at Adobe Press. The 14 project-based lessons in this book show readers step-by-step the key techniques for working in Photoshop CS6 and how to manipulate images, edit motion-based content, and create image composites.

The Adobe Photoshop CS6 Book for Digital Photographers (Voices That Matter) - Scott shows you step by step the exact techniques used by today's cutting-edge digital photographers, and best of all, he shows you flat-out exactly which settings to use, when to use them, and why. That's why the previous editions of this book are widely used as the official study guides in photography courses at colleges and universities around the world.

Photoshop CS6 For Dummies - Want picture-perfect photos, every time? Get up to speed on the most popular professional photo-editing software on the market: Photoshop. In this new edition of Photoshop CS6 For Dummies, expert Peter Bauer shows you how to use the latest Photoshop tools to change a background, adjust brightness, improve color, or fix flaws. Richly illustrated in full color, this edition covers all the updates in Photoshop CS6, the gold standard for image-editing programs.

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Art Lesson: Quick Lessons Using a Camera

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On this page are a collection of art lessons that involve a digital camera and Photoshop. For the most part, all the lessons take one class period. The media varies from collage and acrylic paint to colored pencils and watercolor paint.

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Art Lesson: Body Art Literature Sculptures

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Students read The Seven Ages of Man soliloquy and design tattoos representing a symbol that they believe they would choose at three of the stages of their lives. Instruct students to choose three of the seven stages to use for the tattoos they will apply to their cast.

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Submitted by: Sue Galos

Retired teacher from St. Clair Secondary School, Ontario, Canada

Level: Secondary Introduction

Procedures:
For this assignment you will create a watercolor painting using the following three steps:

Step 1:
Make a square near the middle of your paper approximately 4" x 5" or 4" x 4" (10 x 12.7 cm or 10 x 10 cm). You may also use a circle if you wish with a diameter of 4" (10 cm). About 2" (5 cm) outside of your first shape, draw a second larger image. The outside of your paper will serve as the third rectangle shape. Sketch an outline design of your image that fills the entire paper. The shapes you drew break the image into three different boxes (See B&W image). When drawing your picture you may make your lines realistic or create your own when going from shape to shape, as long as they meet up with the image in the other shapes. When painting the first box, make it look as realistic as possible using original colors and a variety of watercolor techniques.

Step 2:
In the second larger shape, paint it with neutral or opposite colors and use different watercolor techniques.

Step 3:
In the third box you can repeat the colors from the first box or use a different color scheme. This box doesn't have to be realistic; it can also be crazy. Your finished painting should have three or four techniques present.

Watercolor Techniques, Textures, and Devices

1. Masking Tape Block: Use masking tape to cover up specific shapes and lines and place washes over them. When the paint is dry, remove the tape and paint details into the area

2.

Rubber Cement Block: Same procedure as for masking tape but you must allow the glue to dry before places washes. The results are looser than tape sin the glue is not as easy to control.

3. Wax Crayon Resist: This may be done with colored crayon or clear wax sticks; you apply wax were ever you wish to repel the watercolor. Since wax resists water, when you paint over a waxed area, the paint beads up and creates interesting textural effects.

4. Scraping for Light Areas: it is possible to scrap some of the pigment away after the shine has disappeared from the wash to create lighter values in the wash area, but timing is important... too soon and you will make dark lines; too late and nothing happens

5. Tissue Blot: You can create soft, cloud like textures by blotting a damp wash with tissue

6. Scratching with a Pointed Implement: By scoring the paper before or after you lay down a wash, you cause indentations in the paper into which the color from the wash pools, causing fine dark lines, a great technique for fine detail.

7. Scrunched Paper Towel Blot: Because paper towel is stiffer than tissue, the blot results in a combination of hard and soft edges that can be used to represent rocks.

8. Eraser: After the paint is dry, you can lightly soften areas and create fuzzy, gentle tonal variations by erasing

9. Table Salt: Salt sprinkled into a wash creates starry effects because the salt absorbs the pigment in the paint. This technique can be used to create the effect of sand and snowflakes. This technique works best if the salt is applied before the pigment settles into the paper.

10. Sponging: You can sponge paint onto the paper to create textures. These can be used to suggest leaves.

11. Dry Brush: Applying watercolor to a dry surface with a dry brush can create fine linear textures that simulate grass, shrubs, branches, etc., and are usually done as finishing touches to a painting.

12. Splatter: Paint can be applied to a wet or dry wash area by splattering from a toothbrush to create effects such as falling snow, fog, rain, what water, etc.

13. Wet-on-Wet: Drops of paint can be applied to damp washes causing blossoms of colors as they bleed into each other. This can be an interesting out-of-focus background effect.

14. Crumpled Saran Wrap: Can be applied to create interesting dark-edged shapes that can be further painted when dry and used to simulate rocks, fields, etc.

15. Washes: Are Transparent, even layers of color used to work into large background areas such as skies and water. You start with damp paper and a loaded brush. Make a firm stroke across the paper, load the brush again and make a second stroke. This is continued until the area is completed.

16. Graded Washes: Graded washes that vary in density and color from one side to the other. You begin with damp paper and load the brush with paint, stroking evenly across the page. Continue until the color loses saturation.

17. Softening Edges: If you want to blend to create the effect of 3D, after you lay down the color, quickly rinse and wipe your brush, pulling along the wet edge. Continue to rinse and extend the edge until it has lost its crispness. This technique is an excellent tool for lending the effect of realism to a painting.
Materials Books
The New Encyclopedia of Watercolor Techniques - This vivid and informative book brings this technique to the modern-day artist. Filled with a complete range of water-based media, it presents more than 30 techniques-explained with easy-to-follow instructions and step-by-step photography to guide and inspire.

Zoltan Szabo's 70 Favorite Watercolor Techniques - Learn how from Zoltan Szabo, one of the most revered watercolor teachers in America. Using the same ease of approach that made his workshops so popular, this book makes watercolor painting simple, straightforward and fun.

Also see Barbara Rhodes' Watercolor Techniques

Sue's Home | Printmaking Handouts | Printmaking Gallery | Watercolor Handouts | Watercolor Gallery

Figure Drawing Gallery | Corel Draw Portraits | Pastel Assignments

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Drops of paint can be applied to damp washes causing blossoms of colors as they bleed into each other. This can be an interesting out-of-focus background effect. Crumpled Saran Wrap: Can be applied to create interesting dark-edged shapes that can be further painted when dry and used to simulate rocks, fields, etc.

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Submitted by: Michelle East, Art Teacher (3rd-HS Art)
Michelle's website: http://createartwithme.com/
Title of Lesson: Beyond the Border
Grade level: High School
Description:
This lesson is geared toward upper middle school and high school art. It can be modified to upper elementary by shrinking the size of the paper and using ink pens for the contour lines. For elementary students who have difficulty drawing rectangles, a ruler may be used.

The "Rule of Thirds" is used to create a focal point in the picture. This rule applies both horizontally and vertically. Watercolor painting techniques were covered prior to this lesson. This watercolor lesson is one of several on this website you could use.

Goals / Objectives:
Learn how each of the elements and principles works to make the work successful as a painting.
- Create a unified composition by incorporating elements used within the border also beyond the border
- Explore the use of color as a means of emphasis inside the border and contrast through black & white design beyond the border.

Materials Needed:
Illustration Board (multi-media), Watercolor Paint , Crow Quill Pens and India ink
Book:
Creating Textures in Pen & Ink with Watercolor - This is a wonderful book for anyone interested in pen and ink drawing. Instead of trying to explain techniques in detailed text, the book shows you step by step with color illustrations. It is written for all levels and the instructions are easy to follow. There is information on types of lines, value and contrast. A wide variety of techniques are also covered including dry surface, damp surface, wet on wet, spatter, blotting, impression, stamping and salt and alcohol.

Discuss:
1. Line-leading lines or compositional lines
2. Color, color schemes, color contrast
3. Value & Lighting
4. Cropping
5. Balance- visual

Instructions:
1. Choose your subject matter. Ideas include colorful insects, butterflies, birds, flowers, candy, sea-life with flowing fins or tentacles.
2. Using a sketchbook, draw at least one rough sketch of your design.

a. Start with a light contour line for the outside border. 3.5" (8.9 cm) from each side of the paper, draw a rectangle.
b. Use the Rule of Thirds to place your focal point.
c. Expand your design beyond the rectangle to the outside border of the paper.

3. When done with a sketch you're happy with, have your design approved by the teacher. Once approved, begin drawing it on the illustration board.
4. Start out drawing the final version of your draft by making sure your rectangle is 3 1/2" (8.9 cm) in from each side of the paper.
5. Lightly draw your main subject matter.
6. Don't fill your paper outside the rectangle with the background. Only extend parts of the background in ink to the edge of the page.
7. Paint the main subject of your picture with watercolors both inside and outside the rectangle. Only the colored part of the background should appear inside the rectangle.
8. Use India Ink to apply the contour lines and shading (using cross-hatching or something similar) on top of the watercolor portion when it's dried. Do the same beyond the border of the rectangle but do not add color. This part will only be black and white.

View More examples at: http://createartwithme.com/border-art-lesson/

Students illustrated continuity throughout the picture both inside and outside the rectangle. The picture shows a unified composition throughout the picture. Students successfully created an area of the picture that shows emphasis by using color. Students used both positive and negative space well.

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Learn how each of the elements and principles works to make the work successful as a painting. Create a unified composition by incorporating elements used within the border also beyond the border. Explore the use of color as a means of emphasis inside the border and contrast through black & white design beyond the border.

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Submitted by: Walaa Hossam
Week: 7, 8, 9, 10
Grade: 10
Topic: Divisionism / Pointillism
Useful Websites/Links
http://www.theartstory.org/artist-seurat-georges.htm

Learning Objectives
To Know/Understand:
1. Biography of George Seurat
2. Vocabulary Words: Pointillism, Georges Seurat, complementary colors, primary colors, secondary colors

To Do/Produce:
1. Students will create a watercolor pointillism painting based on Georges Seurat's artwork.
2. Students will learn about pointillism and apply this new technique to produce a piece of artwork.
3. Students will re-visit/learn color theory - primary colors, secondary colors, complementary colors, and how to mix and create colors.
4. Students will strengthen their drawing skills.
Resources Needed & Materials and Resources:

Materials:
Prior knowledge to build upon:
Georges Seurat is chiefly remembered as the pioneer of the Neo-Impressionist technique commonly known as Divisionism, or Pointillism, an approach associated with a softly flickering surface of small dots or strokes of color. His innovations derived from new quasi-scientific theories about color and expression, yet the graceful beauty of his work is explained by the influence of very different sources. Initially, he believed that great modern art would show contemporary life in ways similar to classical art, except that it would use technologically informed techniques. Later he grew more interested in Gothic art and popular posters, and the influence of these on his work make it some of the first modern art to make use of such unconventional sources for expression. His success quickly propelled him to the forefront of the Parisian avant-garde. His triumph was short-lived, as after barely a decade of mature work he died at the age of only 31. But his innovations would be highly influential, shaping the work of artists as diverse as Vincent Van Gogh and the Italian Futurists, while pictures like Sunday Afternoon on the Island of La Grand Jatte (1884) have since become widely popular icons.
Introduction/Warm up:
Get out: rough draft paper, 12x18" (30.5 x 45.7 cm) white paper, watercolor paints, Q-Tips, newspaper, paper towels, water cups, and examples of Georges Seurat's artwork. Make sure to have enough copies of Georges Seurat's biography for each student.
Day 1:

Discuss and read about Georges Seurat.

Discuss and make a class list of different rain forest and jungle animals.

Teacher will show example of project and examples of Georges Seurat's artwork.

Go over evaluation sheet and expectations.

Students will draw a rough draft of a jungle or rain forest animal plus a background environment.

Day 2:

Students will draw their final copy of their animal and background on good white 12x18" paper.

Teacher will demonstrate how to create a pointillism painting using Q-Tips and watercolors.

Teacher will explain how to physically mix colors together and how you can visually mix colors, by placing colored dots next to one another.

Students will begin painting their pictures using the pointillism technique.

Day 3:

Students will continue to paint their pictures. Day 4:

Students will continue to paint their pictures. Day 5:

Students will continue to paint their pictures. Day 6:

Students will finish painting their pictures. Once the paints are dry, students have the option to outline, with marker, their pictures and background.
Comments & Feedback

Motivation - Instruction:

Discuss and read about Georges Seurat.

Discuss and make a class list of different rain forest and jungle animals.

Teacher will show example of project and examples of Georges Seurat's artwork.

Go over evaluation sheet and expectations.

Teacher will demonstrate how to create a pointillism painting using Q-Tips and watercolors.

Teacher will explain how to physically mix colors together and how you can visually mix colors, by placing colored dots next to one another.

Activities for Less Able students:
Work on more simple drawings.
Critical Thinking Method(s) Used:
Value(s) Approached:
1. Integrity

2. excellence

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Submitted by: Walaa Hossam Week: 7, 8, 9, 10 Grade: 10 Topic: Divisionism / Pointillism Useful Websites/Links http://www.theartstory.org/artist-seurat-georges.htm Learning Objectives To Know/Understand: 1. Biography of George Seurat 2. Vocabulary Words: Pointillism, Georges Seurat, complementary colors, primary colors, secondary colors To Do/Produce: 1. Students will create a watercolor pointillism painting based on Georges Seurat's artwork.

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Level: High School Art Education Lesson Plan

Art Elements: Line and Shape

Art Skills: Digital Photography, Composition, Rendering

Art History: Pop Art, Realism
* Get more free lessons like this, on our Lessons Page
Kids always love creating portraits of themselves and their friends. As a teacher, however, I get tired of seeing (and teaching) the same straight-ahead, centered-composition, no-background selfies and portraits. So how do we get away from those portraits? How do we do something different?

It's actually pretty simple-add a new element to the portrait. Instead of a boring blank stare from your subject, get the subject busy with something; in this case, they will be eating or drinking. This addition will make the portrait more exciting for your students, more interesting for the viewer, and most likely an all-around better piece of art.

This great Art Ed lesson plan is 100% FREE to download! Use it in your classroom and share with your colleagues. For more free lessons like this one, visit our Lessons Page and download them all!

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Palatable Portraits: Free Lesson Plan Download - The Art of Ed

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Level: High School Art Education Lesson Plan Art Elements: Line and Shape Art Skills: Digital Photography, Composition, Rendering Art History: Pop Art, Realism * Get more free lessons like this, on our Lessons Page Kids always love creating portraits of themselves and their friends. As a teacher, however, I get tired of seeing (and teaching) ...

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Level: High School Art Education Lesson Plan

Art Elements: Line and Shape

Art Skills: Ideation, Drawing, Design

Making Connections: Social Studies, Current Events
* Get more free lessons like this, on our Lessons Page
This lesson will challenge your students to view their world through a different lens. Students hear straightforward news stories every day. This project asks the students to think about these news stories and then design a parallel illustration that recreates the information using symbolism, metaphor and allusion. Don't forget to ask for artist statements to help students solidify their thoughts.

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Meaningful Metaphors: Free Lesson Plan Download - The Art of Ed

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Level: High School Art Education Lesson Plan Art Elements: Line and Shape Art Skills: Ideation, Drawing, Design Making Connections: Social Studies, Current Events * Get more free lessons like this, on our Lessons Page This lesson will challenge your students to view their world through a different lens.