Sculpture  1A  and  Sculpture  1B    Enduring  Understandings:  

1. Creative  expression  allows  an  artist  to  express  a  personal  response  to  inner  and  external  prompts,  think  “outside  the  box,”  and  express  our  deeper  concerns.  

2. Exploring  visual  relationships,  aesthetics,  and  the  relationship  between  form  and  space  helps  develop  an  understanding  of  the  world  around  us.  

3. Individual  and  collaborative  creations  that  come  into  manifestation  in  the  classroom  setting  are  a  reflection  of  the  Creator  delighting  in  His  Creation.    They  are  an  integral  part  of  our  shared  human  experience,  brining  the  unseen  to  light,  the  unknown  into  manifestation,  and  inspiration  into  form.  

4. Artists  and  designers  develop  excellence  through  practice  and  constructive  critique,  reflecting  on,  revising  and  refining  work  over  time.  

   Essential  Questions:  

1. Why  do  people  past  and  present  feel  compelled  to  make  art?  2. What  is  the  value  of  understanding  and  participating  in  the  creative  process?  

(Standard  #5  –  Connections,  Relationships,  Applications)  3. What  is  the  role  of  Fine  Arts  in  past  and  present  cultures?  

    List  of  Units:  Sculpture  A  

• Overview/Introduction  • Wire  Project  • The  Human  Form  in  an  Environment  • Found  Objects  • Louise  Nevelson  • Personal  Shrine    

  List  of  Units:  Sculpture  B  • Visual  Language  and  Evaluation  • Richard  Serra  • Alexander  Calder  • Conceptual  Art  • Earth  Artists  • Light  Modulation  Structure  • Human  Form  

 

3-D STUDIES/MIXED MEDIA SCULPTURE A (6150) Grade Level 9, 10, 11, 12 Length: 1 semester Type of Course: Elective Prerequisite: None COURSE DESCRIPTION: 3D Studies has been designed as an approach to open up the visual world to the student with a particular emphasis on 3D relationships. Using historical examples of sculptors who have expanded our view of what working with form and space means, students will explore the language of visual relationships by developing their own creative solutions to specific design challenges using a variety of materials: paper, wood, metal, plaster, wire, glass, paint and found objects. ESSENTIAL QUESTIONS 1. Why do people past and present feel compelled to make art? (standard #2-Creative Expression)

2. What is the value of understanding and participating in the creative process? (standard #5- Connections, Relationships, Applications)

3. What is the role of fine arts in past and present cultures? (standard #3- Historical and Cultural Context) ENDURING UNDERSTANDINGS: Students will gain:

1. Openness to exploring visual relationships, aesthetic valuing, exploring the relationship of form/space and a curiosity about the elements that compose the world around them 2. Understanding that the individual and collaborative creations that come into

manifestation in the classroom setting is a reflection of the Creator delighting in His Creation

3. Understanding and direct experience of the creative process as a tool to be utilized in problem-solving, thinking “outside the box” and as an expression of our deeper concerns

4. Appreciation of generosity and support in the process of developing ideas, structural solutions, aesthetic choices and final creations- towards oneself and others

5. Understanding that the creation and appreciation of art work is an integral part of our shared human experience…bringing the unseen to light, the unknown into manifestation and inspiration into form

ESSENTIAL KNOWLEDGE AND SKILLS: Students will be able to:

1) define and utilize a common visual language using terms of description: form, line, texture, color, light, shadow, balance, rhythm, contrast, etc. 2) identify and develop a working knowledge of composition and good design 3) identify and discuss various sculptural artists and historical styles: Brancusi, Arp, Moore, Nevelson, Calder, Oldenberg, Goldsworthy, Rodin, constructivism, dadaism, surrealism, minimalism, cubism, etc. 4) develop basic skills in perceiving our visual world with special attention to the relationship of “form and space” 5) create original works in a process that progresses from non-objective 3D pieces through various styles of abstraction to the observation and execution of a more representational piece 6) create works by utilizing various sculptural materials: paper, wire, plaster, wood, found objects 7) execute works in various styles and techniques: assemblage, found objects, tableau, minimalism, mobile, armature, environmental, etc. 8) create a semester-long notebook with ten written explanations of a particular sculptural style and artist complimented with the student's sketch of that artist's work. This will be developed during the course of the semester outside of class time. 9) create an original 3D final project using the techniques we have discovered and experienced during the semester. Each student will present this piece to the class with a verbal explanation of artists and styles that influenced the work and discussion of materials choice and their creative process. Attitude and Responsibility in the Studio: 10) identify creativity as a gift to value, nurture and share 11) embrace creative risk-taking, decision making and experimentation as important lessons in flexibility, commitment and to see self-value as an essential part of the creative process 12) be open to positive and constructive critique to expand one's vision and possibilities 13) create an environment where a positive creative experience is possible for all 14) respect the creations of others with enthusiastic support and positive critique 15) be prepared for class work and submission of assignments 16) safe use of tools and materials 17) best practices in materials storage and equipment use Evaluation: 1) studio projects 2) field trip reflection papers

3) museum visits- responses: written and sketches 4) 10 Artist Unit /portfolio with an original cover 5) final 3D piece, or self-guided walking sculpture tour and write-up A self evaluation sheet with room for the teacher's comments will be filled out for all major works, giving the student a sense of process, progress, and areas for improvement or variation.

SYLLABUS

3D STUDIES/MIXED MEDIA SCULPTURE A Ms. Katie Wolf e-mail kwolf@siprep.org v-mail:(415) 731-7500, ext 767 Weeks 1-4: Overview of forms, surveys, and field trips. Discuss and demonstrate with powerpoint and observation of previously created student work, the visual language of line, texture, color, form and discern the basic approaches to image making and how we "see" and assess our visual worlds. Assignments: 1. Vocabulary of form -- definitions with follow up of class discussion 2. SHETCH and WRITE REFLECTION ON 3 SCULPTURES FROM

THE CASES. Use visual language and thumbnail sketches. 3. PAPER SCULPTURE #1: Explore and experiment with a

monochromatic packet of paper its various natures and discover ways to manipulate it (woven, creased, folded, pierced, crimped, etc.) by creating a tableau piece emphasizing texture, line, form and spatial relationships.

4. Sketch a segment of this first 3D piece; therefore allowing sculpture to guide 2D image as the student improves skills in seeing and sketching.

5. PAPER SCULPTURE #2: Create a second individual paper sculpture using techniques experienced in the first paper assignment. This sculpture #2 must be about 18’ tall and color will be introduced with painted surfaces.

6. In-class critique by students of 3D pieces emphasizing use of correct visual language and positive critical approach. Evaluate piece.

7. Hand in first homework/"artist's unit" -- sketch and written information about one sculptor chosen from the given list. This Artist Unit #1 will comprise the first of 10 Artist Units (5 units completed by mid-term and 10 by semester’s end) that will be included in the Final Portfolio due at semester’s end.

Weeks 5-7: Wire Project: Process of working from an existing form - either a form from nature: i.e., leaf, bug, shell or a mechanical form: wrench, compass, and develop a 5 stage approach to exploring the form. Assignments: Choose a form because of its interesting 3D relationships and develop it from 5 different approaches to image making. 1. First Impression: Contour drawings of elevation, plan, section. Familiarize yourself with the object. 2. Second Impression: Using 20 gauge wire and tools, develop a contour

image of form with emphasis on contour or outline and its 3D aspect.

3. Third Impression: A more developed expression of the original form concentrating on volume and surface detail using several different gages of wire. 4. Fourth Impression: Using various found objects and materials develop a version of the original form that may go beyond the language of reality. 5. Fifth Impression: Sketch any one of the 3D stages of the form you feel is

most engaging. 6. Teacher and student will document the process with a record of the work

in digital image. 7. Critique and evaluate Weeks 8-10: The Human Form in an Environment: Expressing an internal reality as presented in the relationship of figure and place. Assignments: 1. Research and print out contextual information and 3 images each on

artists that work with the human form; Rodin, Segal, Hanson, Marisol. 2. Develop a series of gesture drawings from a life model

3. Thumbnail sketches of form/place 4. Use newspaper and masking tape to form the human figure. 5. Using plaster strips build up the volume and surface of the form; the

possible use of Gesso to smooth out surface quality may be desired. 6. Create the environment for the figure, place them together. 7. Critique and evaluate Weeks 10-11: Found object piece: Explore the concepts and decisions utilized in developing a piece of found object sculpture. We will research and study various historically recognized sculptors working in this area that will be a point of departure for student pieces. Assignments: 1. Read pamphlets on Dada and Surrealist style and discuss approach to

shaping space. 2. Assemble objects collected 3. Critique and evaluate Weeks 12-14: Louise Nevelson piece: Collect found objects and develop one unit in the framework of a "box top”; unify various forms by painting one color. All individual units will be displayed together to create one large-scale piece. Assignments: 1. Research and print out contextual information and 6 images pertaining to

Louise Nevelson. 2. Create a single unit of found objects, paint to unify. 3. Compose individual student units to create a large environmental piece. 4. Critique and evaluate.

5. deYoung Museum outdoor sculpture garden. Choose 4 pieces and for each work selected: write a reflection as well a thumbnail sketch. Weeks 15-16: Personal Shrine: Develop a personal statement outside of our studio time (homework) as a piece presented as a personal shrine. Individual objects found and created will be confined within a frame that speaks of the artist's personal concerns, individual style and interests. Assignments: 1. Sketch found objects and create images in the process of developing a

composition that speaks to the individual…a thumbnail of possibilities for your personal shrine. 2D and 3D elements may be used in this work.

2. Create and assemble desired elements. 3. Combine these elements in a framework that sets up a personal sacred place. 4. Present final 3D piece (created outside of classroom time) to the class

with an explanation of concepts, materials, historical references, process and challenges.

~ SEMESTER’S END ~

1. On the last day of class you will turn in your Final Portfolio with an original cover. This portfolio will include all 10 Artist Units, museum reflections/sketches, all small design work, thumbnail sketches and tests.

2. IF you have chosen to create a final 3D sculpture project in lieu of the 2nd semester’s 5 Artist Units, you will present your work to the class on our last day.

3. Final exam is due on the last day of class.

SCULPTORS

David Smith Jean Dubuffet Constantin Brancusi Louise Nevelson Pablo Picasso Claes Oldenburg Alexander Archipenko Robert Smithson Jacques Lipchitz Andy Goldsworthy Raymond Duchamp-Villon George Segal Meret Oppenheim Auguste Rodin Alberto Giacometti Duane Hanson Jean (Hans) Arp Marisol Max Ernst Maria Martinez Isamu Noguchi Naum Gabo Henry Moore Vladimir Tatlin Barbara Hepworth Gaston Lachaise Laszlo Moholy-Nagy Marcel Duchamp Alexander Calder ARTIST UNIT REQUIREMENT Choose 10 sculptors from the list above. For each artist include: 1) a typed page explaining the style and approach of that sculptor's work (materials, color, scale, site, base-treatment) 2) a sketch of the master's work (pencil, oil pastel, paint) 3) 4 printed images of the master’s mature works These assignments are due weekly as requested by the teacher (5 will be assigned before midterm and 5 in the second quarter). The completed artist's portfolio will be due at the end of the semester with all 81/2”X 11” assignments; artist units, museum write-ups, other reflections and smaller sketches.

An original cover design will be a graded component of your portfolio.

FORMS OF ART SCULPTURE 3D, Defines space, Deals with form PAINTING 2D, Presentational, "all at once" MUSIC Linear, Sequential, Takes time LITERATURE Linear, Sequential, Takes time DANCE/THEATER 3D, Defines space, Linear ARCHITECTURE 3D, Domain, Functional

VISUAL LANGUAGE . . . TERMS OF DESCRIPTION • COLOR Emotional Response • TEXTURE Surface treatment "feel with your eyes" • FORM 3D quality, scale and size • LINE QUALITY Indicates direction, movement or boundary Contrast • Creates visual interest and drama Repetition • Pattern creates familiarity Shading • Shadow and light sets a tone or mood Scale • Brings attention to size relationship, can be

unexplained GIVING FORM TO FEELING

Why do people present and past feel compelled to make art? • to bring order out of chaos • to make a personal expressive statement • to make a cultural statement • to record history We make art to express: 1. • THE WORLD AROUND US (reflection) 2. • THE WORLD INSIDE OF US (personal) 3. • THE UNEXPLAINABLE - GOD

PERSPECTIVES OF ART • REALISM 3D, use of perspective to create: • foreground • middle ground • background sense of space, use of refined shading to create the illusion of reality on a flat surface • ABSTRACTION • [L. ab (from) trahere, (to draw)] begins with an object or form in realty and somehow

changes it to create a "new reality" • NON-OJBECTIVE • using color, line and form to create a tone or feeling no

objects from reality are used for image making

"Thanks to art, instead of seeing a single world, our own, we see it multiply until we have before us as many worlds as there are original artists." Marcel Proust "Light reveals to us the spirit and living soul of the world through colors." Alma Thomas "I create my own universe with shapes." -Louise Neveleson "I'm not satisfied with the world the way it is. I can't change it, so I set up my own world -- one that's just the way I like it." Duane Hanson "Signs that have not exact meaning create a sense of magic." You must plant your feet firmly on the earth in order to leap into the air." Joan Miro "The experience of looking at a painting should not seem to end at the frame." "Abstract painting must be as real as those created by the 16th Century Italians." Frank Stella "When you put together things other people have thrown out, you're really bringing them to life -- a spiritual life that surpasses the life they were originally created for." Louise Nevelson

SAINT IGNATIUS COLLEGE PREPARATORY SAN FRANCISCO, CALIFORNIA

3D STUDIES KATIE WOLF, Fine Arts Chair MIXED MEDIA SCULPTURE CLASS

STUDENTS IN THE MIXED MEDIA SCULPTURE CLASS USE A VARIETY OF MATERIALS AND WORK WITH A VARIETY OF TOOLS. MATERIALS TOOLS PAPER WIRE CUTTERS PLASTER PLIERS WOOD HOT GLUE GUN FOUND OBJECTS EXACTO KNIVES CELLUCLAY SAWS PAINT SCREW DRIVERS SPRAY PAINT HAMMER AND NAILS SAFETY AND PROPER USE PROCEDURES ARE EXPLAINED AND ALL CAUTION IS EXPECTED IN THE USE OF MATERIALS AND TOOLS. THE STUDIO IS SUPPLIED WITH A FIRST AID KIT. SAFETY GLASSES MUST BE PROVIDED BY THE PARENTS AND IT IS THE RESPONSIBILITY OF THE PARENTS TO REQUIRE THEIR CHILDREN TO USE THE GLASSES. ________________________________ Parent Student

GLOSSARY REALISM ABSTRACTION NON-OBJECTIVE SURREALISM SYMMETRICAL ASSYMMETRICAL MONOCHROME POLYCHROME PLASTIC GRAPHIC ORGANIC GEOMETRIC BIOMORPHIC BAS RELIEF INTAGLIO ASSEMBLAGE SCALE TABLEAU ARMATURE LAMINATION INCISED JUXTAPOSED FOUND OBJECTS

STUDIO ARTS EVALUATION SHEET KATIE WOLF, INSTRUCTOR

COURSE:______________________________ DATE: ______________________________ NAME: ___________________________________ PROJECT: _________________________________ Score: 9/10 Excellent 8/7 Very Good 6/5 Needs Improvement 4/3 Poor PROCESS: STUDENT TEACHER 1) Effort _________ _________ 2) Incorporation of critique _________ _________ 3) Thought in planning _________ _________ 4) Care in execution _________ _______ 5) Shows good use of Studio Time _________ ________ PRODUCT: 1) Composition _________ _________ 2) Use of Shadow and Light _________ _________ 3) Use of line quality _________ _________ 4) Use of form _________ _________ 5) Creative originality _________ _______

1. What surprised you about this process? 2. What would you change now upon reflection? 3. What do you want viewers to “feel” when they see your work? 4. Title

3-D STUDIES/MIXED MEDIA SCULPTURE B (6155)

SCULPTURE B Katie Wolf Fine Arts Chair

COURSE DESCRIPTION: Sculpture B continues the exploration of the visual world -- its relationship of form and space -- in the context of historical examples, environmental impact, creative self-expression and collaborative pieces. ESSENTIAL QUESTIONS

1. Why do people past and present feel compelled to make art? (standard #2-Creative Expression) 2. What is the value of understanding and participating in the creative process? (standard #5- Connections, Relationships, Applications) 3. What is the role of fine arts in past and present cultures? (standard #3- Historical and Cultural Context) ESSENTIAL KNOWLEDGE AND SKILLS: Students will be able to: Contents: 1. Define and utilize a common visual language using terms of

description: form, line, texture, color, light, shadow, balance, rhythm, contrast etc.

2. Identify and develop a working knowledge of composition and good design.

3. Identify and to be able to discuss various sculptural artists and historical styles

Skills: 4. Develop basic skills on perceiving our visual world with special attention to the three Dimensions;.

5. Work in a process that progresses from non-objective 3D pieces through various styles of abstraction to the observation and execution of a more representational piece.

6. Work in various sculptural materials: paper, wire, plaster wood, found objects.

7. Execute work in various styles and techniques: assemblages, stabile, mobile, environmental, and collaborative effort

8. Create a semester-long portfolio including 10 Artist Units: a written explanations of a particular sculptural style of an individual artist’s work, 4n printed images of that same artist’s work and an 8 ½” x 11” student sketch of that artist's work. These 10 Artist Units will be developed during the course of the semester outside of class time. An original cover for the portfolio, a creative statement related to the coursework, will be required for final presentation.

9. Create an original 3D final project using the techniques we’ve discovered and experienced during the semester. Each student will present this piece to the class with a verbal explanation of the artists and styles that influenced the work, a discussion of the materials used, an explanation of the creative process experienced and the meaning the artist intended for the piece created.

Attitude: 1. See creativity as a gift to value, nurture and share.

2. See creative risk-taking, decision making, and experimentation as important lessons in flexibility, commitment and understand the value of identifying

one’s creative urge as an essential part of the creative process . 3. Be open to positive and constructive critique to expand one's vision and

possibilities. 4. Create an environment where a positive creative experience is possible for

all. 5. Respect the creations of others with support and positive critique. 6. Be prepared for class work and submission of assignments on time.

EVALUATION: 1. In Studio projects 2. Research and Homework 3. Reflection Papers 4. Midterm exam 5. Final Portfolio with original cover

6. Final 3D piece 7. Final exam

A self-evaluation sheet with room for the teacher's comments will be filled out for all major works, giving the student a sense of process, progress, and areas for improvement or variation.

SCULPTORS

JULIO GONZALES LOUISE BOURGEOIS MAGDALENA ABAKANOWICZ DONALD JUDD ARNALDO POMODORO MARK di SUVERO PABLO GARGALLO JACOB EPSTEIN FRANK STELLA (3D works)

JEANNE-CLAUDE CHRISTO JONATHAN BOROFSKY EVA HESSE SOL Le WITT DALE CHIHULY LAWRENCE WEINER KATHARINA FRITSCH RICHARD LONG

Choose ten sculptors from the list above and compile a portfolio; 5 will be assigned in the first half of the semester and 5 in the second half= 10 Artist Units total. An “Artist Unit” is comprised of:

1. A typed page of research explaining the context, style and materials and approach of that sculptor's work.

2. 4 printed images of the chosen artist’s work 3. An original sketch you create of the master's work

Five of the artist units will be assigned before mid-term (due when assigned by teacher) and the remaining five are due as the teacher assigns them during the last quarter of the class. All 10 Artist Units will be included in the final portfolio due on the last day of class. The Artist Unit and final project (also due at the semester's end) are work to be done outside of class time and are considered the major homework assignments for this studio course.

SCULPTURE B SYLLABUS

WEEK 1 ~ VISUAL LANGUAGE AND EVALUATION 1.) Review "Terms of Art" page and define glossary; begin to utilize this visual language in the context of our course work; written and in class discussions and critiques. 2.) Select three sculptural' works from the display cases that can be identified in these styles of image meaning: 1) non-objective 2) abstract 3)realism/representational. Create a sketch for each work. For each piece chosen, describe and critique using as many of the glossary terms as appropriate: After your full description of the piece include the following concepts in your typed evaluation for each sculpture.

1. What drew you to this work and why? 2. What are the strongest and the most subtle elements that the artist has

employed? 3. Describe and explain how form and space were used.: Geometric,

biomorphic, constricted, open, patterned, repeated, asymmetrical, balanced, visual boundaries?

4. How was color used? (choice of warm/cool colors, primary, secondary, complementary, gradation, shades, tints, hues, contrast, accented areas and to what end?

5. How was surface quality treated? Uniformly, varied, refined, coarse, applied, reflective, painted only, and to what end?

6. Presentation Style: How has the piece been prepared for visual presentation? Base treatment; directly standing on surface, multiple legs or elements, suspended, framework?

7. Artists Intention: What is the feeling, intention, and meaning of this work? How did the artist achieve this for the viewer to discover?

WEEK 2-3 Richard Serra Non-objective; line directing form and space.

1. Use Internet and traditional resources to discover the work of Richard Serra. Print out 6 images of his work and contextual information of his style.

2. From these resources begin to develop a tableau paper piece in his style. Draw at least three possible approaches (thumbnail sketches) to the assignment. Discuss with your peers and the teacher in making your final selection for your sculpture.

3. Use of various materials to bring your “Serra” piece to life in the studio. 4. Using studio time, refine and redirect your piece through

completion. 5. Evaluate your work using the rubric and written evaluation

WEEKS 4-7 Alexander Calder. A process from 2D to 3D

1. Use all resources to rediscover the work of Alexander Calder. Gather, print out and present examples of his drawings, wall-hung work, stabiles and mobiles.

2. From these resources develop a series from flat to sculptural. Four stages must be manifested on this exploration.

1. Create four non-objective and/or abstract thumbnail drawings defining form and space in composition as Calder might. Choose one to “blow up” on canvas board and paint.

2. Create one wall-hung piece. Y Create several thumbnail sketches then choose one: your selected sketch must "spring" to 3D life as it emerges from the wall to incorporate at least several elements that are 3D. This piece will combine a 2D wall-hung framework from which some elements will be 3D. Evaluate your work using the rubric and written evaluation.

3. Create one stabile in the style of Calder. Pay special attention to the static base elements as they relate to the moving mobile elements. Evaluate your work using the rubric and written evaluation.

4. Create one mobile in the style of Calder. Evaluate your work using the rubric and written evaluation.

5. MOMA Tour of the Museum of Modern Art-reflection and sketches due after our visit.

WEEKS 8-9 CONCEPTUAL ART

1. Use all resources to research and define this style and to explore 4 different conceptual artists. Bring printouts for each of the 4 artists to class for use in developing your original piece.

2. Develop thumbnails and manifest a conceptual piece that can be "visually" presented on a wall or wall/base style environment.

3. Evaluate your work using the rubric and written evaluation. WEEKS 10-11 EARTH ARTISTS - Nature, Scale, Environment

1. Research three artists whose style is known as earth art. Print out and bring contextual information and 3 images per artist to class for use in developing your original piece.

2. Develop and manifest a work of art inspired by the style of one of these artists.

3. Evaluate your work using the rubric and written evaluation.

WEEKS 12-14 LIGHT MODULATION STRUCTURE Form and Function 1. Use all resources to discover the light fixtures of Isamu Noguchi and

Frank Lloyd Wright. Print out contextual information and 4 images of each artist’s work and bring to class for use in developing your original light modulation structure.

2. Present three different thumbnail sketches for possible development.

3. Your final piece must be 1.) an engaging work of sculpture unlit and 2.) a structure that modulates light through its own body and also the environment it lights when illuminated.

4. A variety of materials and tools as well as the light source (tea lights) will be available to you in the studio.

5. Evaluate your work using the rubric and written evaluation.

AN EVENING RECEPTION FOR THE ARTISTS and THEIR FAMILIES WILL BE SCHEDULED IN STUDIO 108.

WEEKS 15-16 HUMAN FORM - Representational Form in an Environment

1.Use all resources to discover four artists who have celebrated the human form in a variety of styles; bring printouts to class for use in developing your original work.

2.Present two possibilities in sketch format that places at least one human form in an environment. Any stylistic presentation is possible.

3. A variety of materials and tools will be available in the studio. 4. Evaluate your work using the rubric and written evaluation.

~ SEMESTER’S END ~ 1. Final Portfolio due the last day of class. 2. Final projects presented to the class on our last 2 days. 3. Final exam due the last day of class.

RUBRIC

Points Student Teacher 20 Composition:

Relationship of form and space

10 Shape of Forms: positive space

10 Shape of Space negative space:

15 Color emotional mood

10 Surface Treatment

15 Presentation Style Base Treatment

20 Care in Execution

What most surprised you about this sculpture? Could you improve this sculpture? How? What one word would you use to describe this work?

GLOSSARY REALISM ABSTRACTION NON-OBJECTIVE SURREALISM SYMMETRICAL ASSYMMETRICAL MONOCHROME POLYCHROME PLASTIC GRAPHIC ORGANIC GEOMETRIC BIOMORPHIC BAS RELIEF INTAGLIO ASSEMBLAGE SCALE TABLEAU ARMATURE LAMINATION INCISED JUXTAPOSED FOUND OBJECTS

FORMS OF ART

SCULPTURE 3D, Defines space, Deals with form PAINTING 2D, Presentational, "all at once" MUSIC Linear, Sequential, Takes time LITERATURE Linear, Sequential, Takes time DANCE/THEATER 3D, Defines space, Linear ARCHITECTURE 3D, Domain, Functional

VISUAL LANGUAGE . . . TERMS OF DESCRIPTION • COLOR Emotional Response • TEXTURE Surface treatment "feel with your eyes" • FORM 3D quality, scale and size • LINE QUALITY Indicates direction, movement or boundary Contrast • Creates visual interest and drama Repetition • Pattern creates familiarity Shading • Shadow and light sets a tone or mood Scale • Brings attention to size relationship, can be

unexplained GIVING FORM TO FEELING

Why do people present and past feel compelled to make art? • to bring order out of chaos • to make a personal expressive statement • to make a cultural statement • to record history We make art to express: 1. • THE WORLD AROUND US (reflection) 2. • THE WORLD INSIDE OF US (personal) 3. • THE UNEXPLAINABLE - GOD

PERSPECTIVES OF ART • REALISM 3D, use of perspective to create: • foreground • middle ground • background sense of space, use of refined shading to create the illusion of reality on a flat surface • ABSTRACTION • [L. ab (from) trahere, (to draw)] begins with an object or form in realty and somehow

changes it to create a "new reality" • NON-OJBECTIVE • using color, line and form to create a tone or feeling no

objects from reality are used for image making

STUDIO ARTS EVALUATION SHEET KATIE WOLF, INSTRUCTOR

COURSE:______________________________ DATE: ______________________________ NAME: ___________________________________ PROJECT: _________________________________ Score: 9/10 Excellent 8/7 Very Good 6/5 Needs Improvement 4/3 Poor PROCESS: STUDENT TEACHER 1) Effort _________ _________ 2) Incorporation of critique _________ _________ 3) Thought in planning _________ _________ 4) Care in execution _________ _______ 5) Shows good use of Studio Time _________ ________ PRODUCT: 1) Composition _________ _________ 2) Use of Shadow and Light _________ _________ 3) Use of line quality _________ _________ 4) Use of form _________ _________ 5) Creative originality _________ _________ What surprised you about this assignment? Upon reflection, what would you change about this piece? What so you want viewers to feel when engaging with this art? Title?