Students engage in technical workshops and complete assignments and critiques to prepare a portfolio of their creative projects. They review and update past projects and create new works to finalize their presentation portfolio.
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The 7th grade will carve large spoons from hardwoods. They will use a combination of chisels and carving gouges to shape the spoons, as well as files and rasps to shape handles and the undersides of the spoons’ bowls. They will then finish their spoons with various grades of sandpaper before rubbing them with olive oil or a food grade mineral oil.
The 8th grade will carve decorative boxes from hardwoods. They design the lids first in clay, and then draw their designs on the top. After shaping the overall box with rasps and files to taste, they will carve their designs using chisels and gouges. The next step is to separate the lid from the box by sawing through the block before hollowing out the inside of the box. They finish by drilling a hole for, and carving a pivoting pin. The last steps are sanding every thing as smooth as possible before wiping the wood with a clear or, in some cases a colored stain to seal it.
Students learn how tones of light and dark reveal form. They draw each other's portraits in profile, 3/4 profile, and full face. They work in both charcoal and graphite on white paper, and white chalk and pencils on black paper. Students draw from imagination and work out tonal plane relationships. Many of the skills are used again in block printing.
Students design individual pieces from observation and from imagination to illustrate a theme. The class engraves both rubber and linoleum blocks and, time permitting, woodblocks. Students complete at least two designs and print ten consistently-inked copies for each. Students are evaluated on design, line quality, printing consistency, and class participation.
This class begins with the study of skeleton letters and the Black Letter hand. After working in pencil, students progress to pen and ink. They learn to find the correct height for each hand using the width of the pen nibs. Using triangles, t-squares, and protractors, students rule out their own practice sheets and find the correct pen angle for each hand. The final project is to produce a large page with a quotation chosen by the student in Black Letter, with illuminated block letters incorporating two colors, plus black. Students add an illustration related to the verse to fit around the lettering.
NINTH GRADE ART HISTORY
October 5 to October 30, 2015 (18 days)
This course will cover the History of Art from the Ice Ages through Post-Modernism
This class begins with an introduction to the Modern, Post-Modern, and Classical Realist movements. After this orientation, students study the art and peoples of the Paleolithic era, continuing with the cultures of the ancient Egyptians, the Greeks and Romans, the Early Medieval art and icon painting, the sculpture and stained glass windows of the Gothic Cathedrals, and the Italian and Northern Renaissance. Students compare the lives and works of Leonardo Da Vinci, Michelangelo, Raphael, Dürer, Rembrandt, and Vermeer. Students create at least one or more drawings from each day’s study to complement their notes for the day.
In the Classroom
Participation in discussions, and recall of the previous day’s material is expected of everyone and will be part of your evaluation and grade. I expect everyone to eschew private conversations and to bring the necessary materials for taking notes and illustration to class with them everyday (pens, and pencils, colored pencils, rulers and geometry sets, etc.)
General questions to cover in every essay
·Who made these works, and what kind of people were they?
·What are these works made of, why this material?
·Where in the world did these works come from?
·When were these works made?
·Why did they make these objects, and to what purpose?
·Compare individual works to one another and cultures to each other when appropriate.
In your own words, share your reflections on the material covered each day to create the written portion of your morning lesson book. These must be typed or neatly handwritten. Do not copy other’s work for this; I want to know your thoughts.
Do not fall behind. Each morning turn in your first draft of reflections on yesterday’s discussion, and the final form of the previously corrected draft that was returned to you earlier, along with the appropriate illustration(s).
Take full and complete notes of recall and discussions each day and include these in the back of your book. Notes can be shared, but what you turn into me should be your own writing.
If your bookwork is not current go to homework room during your lunch period.
Final due date for your block book is the last day of class. There will be no extensions, simply turn in what you have completed.
Do an artistic design and illustration for the cover. Include your name, the name of the instructor (me), the title of course, and the date. If your first and last name is not on the cover of your morning lesson book, I will not give you credit for it. Your initials are not enough. There will be at least one, and sometimes more than one; full-page illustration assigned each day to be included in your book. I expect you to lavish time and attention to the characteristics and details of each one. There may be some time in class to at least begin the illustrations. If so I suggest that you draw lightly in pencil during class, and add color at home or during homework room. Beware; do not fall behind in your artwork, as more illustration work will be assigned every day. Some past students have remarked to me that 9th Grade Art History is the hardest class they have ever taken, and this particular Art History block will be one of the longer ones I have taught.
The inspiration for this class is Michelangelo and contemporary artists and teachers who came out of that stream. Students study figure drawing while taking turns doing one, five, ten, and two twenty-minute poses in street clothes for the class. Beginning with a gesture sketch, students learn how to construct the figure in geometric shapes and then make the forms more organic, before finally rendering the drawing visually during a long pose of about forty minutes.
Students study the technique of outdoor painting in oils, striving for the color perception exhibited by French and American Impressionist painters. The teacher demonstrates the application of oil colors from the tube to canvas and students watch a video demonstration of a method of impressionist landscape paintings; then, they begin their own paintings. They paint at least two scenes otudoors on both a gray day and sunny day, returning at the same time each day to study the color. They stand up to paint at easels, juggling their palette knives, paper towels, and an egg carton filled with oil color.
Using oils, students apply the basics of portrait painting to create a final self portrait or portrait of a classmate.
Students design and complete projects in beginning and complex knitting as well as various forms of spinning and simple weaving. WIth these projects, students enhance their own technical skill as well as their understanding of the history and development of textiles.
Veil Painting is a watercolor technique in which pigments are thinned and glazed over one another on white paper to achieve subtle color washes, or 'veils.' The colors are mixed only on the paper, and only one at a time in a wash over dry colors. Students create three paintings with warm and cool luster colors (red, yellow, and blue) and image colors (white, black, green, and peach). The first painting divides the canvas into six panels and students paint pairs of colors in each panel. In a second painting, students transpose a black and white engraving into color masses, using the full palette. A third painting incorporates the Goethean color wheel.
Practice of the arts is essential for the development of rich perceptual capacities of the individual student and provides an excellent basis for thematic group work and problem solving. It also contributes significantly to the following areas of development: 1) Increasing precision of manual dexterity and hand/eye coordination, 2) Exploring the content taught in main lesson in diverse and creative ways, and 3) Learning to see a creative process from start to finish through a series of revisions.
Clay is a great medium to model with when grasped and handled with our hands. Senses, feelings and thoughts are affected. It is transforming that lump of clay into simple universal forms of our environment that strengthens our powers of observation, influences our power of thinking and deepens the knowledge of human development.
In the sixth grade one of the emphasis in art class will be on the process of transforming a lump of clay into spheres, then eggs, then into other shapes such as animals and human figures (in this specific sequence). The interaction and gesture between human beings will also be modeled.
In drawing/shading exercises; the students will explore the relation-ship between light and dark. By avoiding outlines in shading, the student can be free to enter into the living qualities of light and dark as in breathing, they will then rediscover the workings of these forces which lie behind the world of form.Some of the shading/drawing exercises are synchronized with the clay modeling.
I look forward to working with your children this year.
Students use traditional woodworking techniques and methods of joinery in the context of modern design. They consider the importance and logic of traditional building techniques and handcraft in everyday objects and their environments. The class emphasises creating quality craft with basic hand tools. The students work individually or in groups to design and build a functional object, with both structural and artistic integrity. They learn to properly and safely use hand and machine tools, including pull saws, chisels, squares, stationary drill press, and band saw.