Ms Wagner
Art 2 Major/Minor
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Art 2 Major/Minor

Course:  #7223  ART II          
Art II projects go into the principles of visual planning and organization in greater depth.  Experimental development of two- and three-dimensional forms is based on an understanding of fundamental design principles including balance, dominance, harmony, rhythm and unity.  Stress is placed on the student’s analysis of the visual language:  optical perception, color interaction, spatial representation, mathematical poportion, and the like.  Craftsmanship is emphasized regarding aptitude and skill in the creative use of tools and materials.  The student’s  work will often be discussed in relation to the creative accomplishments of well-kinown artists of the past and present.
Major:  Periods per cycle:  4  Credits:  5  Prerequisite:  Art I Minor   
Minor:  Periods per cycle:  2  Credits:  2.5  Prerequisite:  Art I Minor    
Scroll down for descriptions of individual projects.
I.  Learning Objectives

        The student who successfully completes this course will have learned:
        a.  how to plan a mixed-media artwork in stages, with an awareness of how different media will  combine both physically and perceptually
        b. how to make alterations to an artwork in the process of translating it from one medium into  another (e.g., from a painting to a print, where simplification may be necessary)
        c.  how to approach drawing human figures and other complex subject matter in a variety of      ways, including through study of underlying structures, through study of the figure (or, e.g.,  machine) in action, etc.
        d.  how patterns of light and shade can imply light sources in two-dimensional images
        e.  how linear perspective can be combined with other spatial cues (e.g., overlapping elements,         recession in space, etc.) in ways that may clarify or confuse spatial effects
        f..  how a variety of artists have tackled the theme of self-portraiture, in ways ranging from  objective study to subjective and expressionistic experimentation
        g. how to undertake research for extended art projects (e.g., determining what one needs to find        and to study to create the art work one wishes to create:  finding objects, making sketches, using      reference photographs)
        h.  how to distinguish between and how to combine various modes of drawing, including   drawing from: schema, memory, imagination, observation

II.  Learning Experiences

        In this course, students will:
        a.  work individually and in small groups on a variety of visual art projects defined by the    instructor but refined by themselves
        b.  actively participate in (sometimes slide) discussions of artworks from a broad range of art         history which relate to their own art making
        c.  participate in both individual and group critiques aimed at generating constructive responses       to art work, gaining some mastery of specific vocabulary aimed at making such discussions more  specific and productive
        d.  work to find a balance between fulfilling the requirements of  specific projects (e.g.,     demonstrating mastery of specified skills and concepts) and creating work they find personally  fulfilling and meaningful
        e.  maintain a folder of their own work in an organized fashion, allowing them easy access to   earlier sketches and other materials they may need to enrich their artwork
        h.  exhibit a minimum of  one art work in the annual K-12 Art Show

III.  Course Outline  
Scroll down for descriptions of individual projects.

IV.  Course Materials:

        These will include:  various drawing and painting media, supports, including paper and mat board, one or more printing presses and linoleum plates and carving tools, materials for constructing in three dimensions (e.g., plaster, self-hardening clay, foam core, cardboard, hot glue sticks and hot glue gun, armature wire, newspaper, and pariscraft), and others, art books and slides.  Computers and printers are available, as is a digital camera:  these may be used in working on some projects (e.g., to help create reference photographs).

Description of Individual Projects:

Abstracting From Still Life – Linoleum block print

Begin this by choosing a still life object to draw. You will then abstract from the subject, choosing to emphasize, exaggerate or distort it. You can repeat, overlap, place at different angles, distort the shapes, to modify and abstract the original object. You will make 3 sketches experimenting with composition, striving for
movement, asymmetry and balance.

Choose one drawing to develop with line. After seeing a variety of linoleum cuts, you will develop the drawing with marker to create a range of textures and values with hatching. This drawing will be used as the design for a linoleum block print and should be exactly 12” x 12”. Transfer the drawing to the linoleum with tracing paper, then cut out the block. Remember to CUT AWAY WHERE THE DRAWING IS WHITE, leaving the linoleum to print where the drawing is black.

Print with black ink on white paper, and make at least 4 prints. Then experiment with a variety of colors, mixing inks on your palette and on the linoleum to create new colors, and print at least 8 unique color prints.

When you are finished printing, choose 2 prints to go back into with color pencil or marker.
1. Make 3 preliminary sketches, expressing movement, asymmetry and balance.
2. Choose one to develop into a drawing for your print 12" x 12" and complete with a sharpie. This should have areas of solid shapes and textures, not just outlines.
3. Transfer to linoleum using tracing paper and a soft pencil.
4. Go over pencil transfer with sharpie.
5. Cut away areas that will be white, leaving areas of linoleum to print black.

- Make at least 4 black on white prints.
- Make many unique color prints, using colored inks and colored paper. You can make as many as you want, but choose your best 8 to hand in as the final.
- Choose 2 prints to rework with colored pencil and/or marker, one on a b&w print, the other any print of your choice.
- Make at least 4 black on white prints.
- Make many unique color prints, using colored inks and colored paper. You can make as many as you want, but choose your best 4 to hand in as the final.
- Choose 2 prints to rework with colored pencil and/or marker, one on a b&w print, the other any print of your choice.

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Keara R., 2012

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Sevanna K., 2012

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Shelby W., 2012                                                                                                                 Kelly S., 2012

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Noah S., 2012                                                                                                                           Isaac S., 2012

Drawing Large with pastels

You will choose a small still life object and draw it in color VERY LARGE, much larger than life size. You will mix pastel colors by layering and blending them, using warm colors for highlights and cool colors for shadows.

  • Begin by choosing something small to draw, not too simple and not too complex. You can choose from the art room or bring something from home.
  • Do a small value study (drawing in pencil with shading) in your sketchbook.
  • Attach a piece of heavy brown paper to a large piece of foam core, wrapping around the sides and taping to the back. The foam core will be your support.
  • Majors: 32” x  40”
Minors: 20 “ x 26”
  • Set up your subject on a table with your chosen lighting and select a (color) paper to place underneath it (this will appear as the background color on your drawing).
  • Set up your drawing on an easel.
  • Sketch the subject lightly with pencil, filling most of the sheet of paper. Include the cast shadow underneath it.
  • On a separate small sheet of brown paper, test what pastel colors to use to mix and create the midtones, warm highlights and cool shadows of your subject. I.E., if you’re drawing the red cat sculpture, highlights would be red with white and yellows/oranges, and shadows would be red with blues/purples/black.
  • Draw your subject, layering and blending colors to make the midtones, warm highlights and cool shadows.
  • Draw the cast shadow with cool dark colors, and add the background color lightly.
  • You can blend the pastels with your hands, erasers, soft tissues or a soft cloth.
  • When its finished, put 3 light coats of fixative on it, letting it dry between coats.

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Sevanna K, 2012                                                         Keara R., 2012                                          Noah S., 2012

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Ryan P., 2012                                           Isaac S., 2012                                  Amanda B., 2012                         Robert H., 2012

Creating a Landscape

Ways to create the illusion of deep space/depth:
1. Change in size
2. Overlapping
3. Placement on page
4. More detail close up, less detail farther away
5. Becoming fainter and lighter the farther in the distance
6. Atmospheric haze – blue
7. Foreground – Middleground – Background - Sky
8. Horizon line

Photoshop Collage
Begin this unit by collecting photos to use in creating your own landscapes, then collage them together in photoshop. Apply the above methods to create the illusion of depth in your pieces. You goal is to create at least 3 unique, believable landscapes with a foreground, middleground and background. In at least one collage, include an incongruous element that will work in terms of perspective, but will not belong there in reality – i.e. a palm tree on an iceberg, a polar bear on a tropical island, a flower garden in desert sand dunes, etc.
The majority of your images will come from online. You can also use personal photographs and photos from books in the art room and library (you can scan them).

Collect your photos first, I will be showing you how use photoshop to cut, modify and paste together your images to make an original landscape. Use at least 4 different photos to assemble together to make each original landscape.
After you have made 3 different collages, choose the best one to make a painting of.

Painting Your Landscape
You will make a painting of your collage on a larger scale than the collage – you will paint it on a 16"x20" canvas board. Begin by drawing the basic shapes of the landscape in pencil.  

You will then reproduce the colors in the collage. Start by choosing 4 colors in the collage that you will need to mix.  Analyze them – are they light/dark, bright/muted, warm/cool? Look at the selection of paints available and choose the closest to what you want to make, then choose what paints you need to mix in to change it. For instance, for a light purple-grey, start with purple, add white to lighten it, then add a small amount of its complement, yellow, to make it more grey. Experiment with paint colors and amounts until you get the right color. Keep a color chart of what you have mixed and want to use in your painting, and write down what paint colors you used, so you can refer to it the following classes. These are your color notes.

1. Collect photos from artbooks in the room, and online.
2. Make 3 collages of landscapes in photoshop. They can be any format. Remember to include an incongruous element in at least one collage.
3. Choose one to make a painting of.
4. Draw the landscape on your canvas board, making any necessary changes to increase the illusion of depth.
5. Mix your paint colors and make a page of color notes with at least 10 colors.
6. Paint the landscape.

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Keara R., 2013                                                          Albert C., 2013                                 Henri L., 2013                                          Noah S., 2013

Inventing an Animal, and Creating an Original Environment for it.

Make a sculpture of an imaginary animal with a particular attitude or personality by composing it from parts of different animals. Research real animals in nature and choose at least 2 animals. NO SNAKES. From these 2 real animals (or more) you will select some body parts and combine them together to create a new imaginary animal. (An example from mythology is a Pegasus that has the body of a horse and wings of a bird.) Remember – what attitude or personality do you want your animal to have?


1. Research at least 4 different animals and save pictures to use as reference.

2. Make a drawing of your animal. THIS IS REQUIRED.
Experiment with different ideas and be original, remember - personality!!!

3. Make a small scale sculpture (at least 2 inches tall) in clay that will be your prototype, a small model that you will work from. THIS IS REQUIRED.

4. Your final sculpture must be at least 8 inches long or tall and cannot have large solid areas of clay. Large masses must be hollow. Make the body first, hollow it out, then make the legs and any other parts (head, tail, wings, etc.) and score and slip to attach.  I will demonstrate how to do this.

5. Incise at least 2 different surface textures in the clay for your animal – does it have skin, scales, fur, feathers?

6. Take your time with this project and work on your CRAFTSMANSHIP. If you construct it in one class you haven’t worked on it long enough.

7. When it is dry, paint it with acrylics, considering the different textures (i.e. fur, feathers, scales) and different colors/patterns of the parts of your animal, (what color feathers or what pattern fur – i.e. leopard, tiger, zebra).

After you have completed your animal sculpture, you will create an original environment for it by making a photo montage in Photoshop. You will then insert a photo of your animal into the environment in such a way so that it looks like the creature naturally inhabits that world.

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Reggie B., 2013                                                 Shelby W., 2013                         Kelly S., 2013                                  Keara R., 2013                                   Jessic S., 2013

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Ryan P., 2013                                                           Isaac S., 2013                                          David G., 2013                                           Matt C., 2013

 Last Modified: 17 September,2015
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