Contemporary:
Ai wei wei
Kara Walker
Banksy
Historical:
Frida Khalo
Mondrian
Kandinsky
Edward hopper
Friday, November 4, 2011
Wednesday, October 12, 2011
Appropriation in clay
Overview: Students will use basic slab building techniques to create a lidded vessel that is meant to house a specific, predetermined food product. Students will be asked to study graphic design and labels that are associated with their product and incorporate or appropriate elements into their design using slips, engobes and various surface techniques.
The goal of this lesson is to incorporate Olivia Gude's idea of appropriation, while reference historical pottery and vessel that serve specific functions in the creation of a lidded vessel.
By studying the labels we associate with products and asking students to include them in their personal design, we can bring the fundamental elements and principles of design that we around surrounded by in our daily lives to attention.
Objectives:
Students will be able to use basic ceramic technique of building with slabs.
Students will undertand the
Students will reflect on art and design that surrounds us in our consumeristic society.
students will research historical ceramics and functional ware.
"If one grows up in a world filled with cheap, disposable images, these easily become the stuff out of which one makes one’s own creative expression."
The following is a list of Ancient greek pottery containers and what was intended for:
These included vases, jugs, and bowls in all sizes including miniature perfume containers, as well as a range of other vessels with formal functions, such as the small lekythoi used as grave markers.
Alabastron
A small storage container for perfume, it had a wide mouth and a short narrow neck.
Amphora
A tall jug with two handles and a narrow neck. Amphorae were used to store wine or oil.
Aryballos
A small container used to store oil, it had a spherical body a short neck and a wide mouth.
Hydria
A water jar with two horizontal carrying handles. Most hydriai also had a third attached at the back for pouring.
Krater (crater)
Commonly used for diluting wine with water, a krater was a large vessel with a broad body and base and usually a wide mouth. Handles were attached either near the base or on its shoulders. Differing types included: the column krater, the bell krater, the volute crater, and the calyx krater.
Lekythos
Commonly used to store unguents or oils. Lekythoi were often used as funerary vessels.
Loutrophoros
A tall jar for weddings and funerals, with a long slender neck and flaring mouth. Loutrophoroi in the black-figure style were usually funerary vessels.
Oinochoe
A wine pitcher.
Olpe
A jug used to carry water or wine.
Pelike
Similar to the amphora, Pelikai were containers for liquids like wine and oil and were made during the Red-figure period.
Psykter
Used as a wine cooler with a broad body, a cylindrical stem, and a short neck. Later psykters had handles attached to their shoulders.
Pyxis
A container with a lid commonly used to hold jewellery or cosmetics.
Stamnos
A red-figure storage jar with a short neck, a flat rim, and a straight body tapering to a base. Most stamnoi had handles fitted to their widest part.
The goal of this lesson is to incorporate Olivia Gude's idea of appropriation, while reference historical pottery and vessel that serve specific functions in the creation of a lidded vessel.
By studying the labels we associate with products and asking students to include them in their personal design, we can bring the fundamental elements and principles of design that we around surrounded by in our daily lives to attention.
Objectives:
Students will be able to use basic ceramic technique of building with slabs.
Students will undertand the
Students will reflect on art and design that surrounds us in our consumeristic society.
students will research historical ceramics and functional ware.
"If one grows up in a world filled with cheap, disposable images, these easily become the stuff out of which one makes one’s own creative expression."
The following is a list of Ancient greek pottery containers and what was intended for:
These included vases, jugs, and bowls in all sizes including miniature perfume containers, as well as a range of other vessels with formal functions, such as the small lekythoi used as grave markers.
Alabastron
A small storage container for perfume, it had a wide mouth and a short narrow neck.
Amphora
A tall jug with two handles and a narrow neck. Amphorae were used to store wine or oil.
Aryballos
A small container used to store oil, it had a spherical body a short neck and a wide mouth.
Hydria
A water jar with two horizontal carrying handles. Most hydriai also had a third attached at the back for pouring.
Krater (crater)
Commonly used for diluting wine with water, a krater was a large vessel with a broad body and base and usually a wide mouth. Handles were attached either near the base or on its shoulders. Differing types included: the column krater, the bell krater, the volute crater, and the calyx krater.
Lekythos
Commonly used to store unguents or oils. Lekythoi were often used as funerary vessels.
Loutrophoros
A tall jar for weddings and funerals, with a long slender neck and flaring mouth. Loutrophoroi in the black-figure style were usually funerary vessels.
Oinochoe
A wine pitcher.
Olpe
A jug used to carry water or wine.
Pelike
Similar to the amphora, Pelikai were containers for liquids like wine and oil and were made during the Red-figure period.
Psykter
Used as a wine cooler with a broad body, a cylindrical stem, and a short neck. Later psykters had handles attached to their shoulders.
Pyxis
A container with a lid commonly used to hold jewellery or cosmetics.
Stamnos
A red-figure storage jar with a short neck, a flat rim, and a straight body tapering to a base. Most stamnoi had handles fitted to their widest part.
Friday, September 30, 2011
Warnings!
Lesson Overview: Students will be making posters inspired by warnings and instructions that they have been told by parents, teachers or their community.
Examples: community - "Don't Drink and Drive"
"No loitering"
parents - "Eat breakfast"
"Get to bed early"
teachers- "Listen and be respectful when someone is speaking to you" etc.
Unit Goal: Ask students to focus on a warning or instruction that they remember being told by one of their parents, a teacher or a community message that they hear repetitively . Each student will create a poster or flyer on the computer so it can be shared with others, incorporating and learning about ideas associated with pop-art, such as repetition and mass production.
Lesson rationale: By focusing on a single message and making visual connections students will be presented with an opportunity to think about what it means, understand the importance (why have they been told this) and share it with their peers and community.
Lesson Objectives:
Students will reflect on the role of their parents and teachers as individuals who strive to guide them and keep them safe.
Students will learn about pop-art artists and ideas
Students will be able to use basic tools on photoshop
Students will learn and demonstrate understanding of the elements and principles of design.
Examples: community - "Don't Drink and Drive"
"No loitering"
parents - "Eat breakfast"
"Get to bed early"
teachers- "Listen and be respectful when someone is speaking to you" etc.
Unit Goal: Ask students to focus on a warning or instruction that they remember being told by one of their parents, a teacher or a community message that they hear repetitively . Each student will create a poster or flyer on the computer so it can be shared with others, incorporating and learning about ideas associated with pop-art, such as repetition and mass production.
Lesson rationale: By focusing on a single message and making visual connections students will be presented with an opportunity to think about what it means, understand the importance (why have they been told this) and share it with their peers and community.
Lesson Objectives:
Students will reflect on the role of their parents and teachers as individuals who strive to guide them and keep them safe.
Students will learn about pop-art artists and ideas
Students will be able to use basic tools on photoshop
Students will learn and demonstrate understanding of the elements and principles of design.
Tuesday, September 27, 2011
The repetition of the 'house' form creates unity. I chose to repeat the single form but each one with slightly different size sides skewing the proportions, adding interest. I also included opposite colors in the house to add contrast. The yellow circular forms also contrast the rigid sharp form of the houses. The final composition is asymmetrical, meaning the image will not reflect itself if it is divided along an axis but there is a sense of balance and movement with the curving center line.
Monday, September 26, 2011
Panorama book, Text & image
This is an example of an exercise that can be done with the Accordion Fold Books
First brainstorm and decide on one 'warning' from your parents, teachers, or in the community that you hear all the time. (I chose to focus on something my mom tells me every night before she goes to bed, "Gina - try not to stay up too late, okay?" I say okay, even though in my mind I have hours ahead of me before I plan on calling it a night). This sentence or expression will be inspiration for the imagery in the accordion book. Through the process ask yourself whether you are supporting or mocking the statement and make it clear to the viewer.
Suggested Materials:
Colored construction paper
Scraps of colored paper or magazines
Paste or glue sticks
Scissors
Colored Pencils, crayons, or markers
Arylic Paint and brushes, paper towels etc.
Estimated time: 2-3 class periods (30 min each)
Age: middle school level or higher
Below are guidelines to consider when creating a composition that includes basic principles and elements of design. Follow these instructions on a lose piece of paper to sketch a composition that relates to your chosen 'warning'.
1. Choose a single shape. This will bring unity to the piece. Make 3 of these. Unity is created because the same basic shape is repeated throughout the composition; Unity is often created by repetition of art elements.
2. Make 10 more of your chosen shape. Make these with variations of size of form. Vary the proportions of the sides of the shapes. Make some of the variations as dramatic as possible. Create contrast. Variety and interest are attained by making variations of the basic shape.
3. Discuss how the arrangement of shapes can create a feeling of movement and rhythm in the composition. (In a classroom setting the teacher and students can experiment together using cut-out paper triangles on an overhead.) After experimenting with possible combinations, paste shapes into place. Try to create a sense of movement along the long horizontal page of the accordion book.
4. Create emphasis and contrast by adding a new kind of shape in a different color.
5. Create emphasis and contrast by adding a new kind of shape in the same or a different color. (You may wish to include a few of these, but be careful to maintain a sense of unity or overall style in your composition.)
6. Using colored pencils add lines which will enhance the sense of movement in your piece.
7. Enhance the composition by creating areas of pattern and texture through repetition of points, lines, or shapes.
8. Consider the entire composition. Does it have a symmetrical or an asymmetrical balance? Add shapes or lines to complete the composition.
To start your accordion book, cut 2 strips of paper 6x18" and fold long strips in half. Fold each half to the middle, making a 'W' shape. Attach the ends together to create one long strip. Place an 'X' over the last two rectangles to mark where you will attach the covers. Use the front of this paper to illustrate your warning inspired by your previous sketches. Make sure to include the text as well. Consider the wide panoramic page you have while you create a composition that includes the following Elements and Principles of design; Unity, Repetition, Proportion, Contrast, Variety and Interest, Movement and Rhythm, Emphasis, Contrast, Pattern and Texture.
When finished, flip paper over and adress the back. When creating a composition on this side consider whether you agree or disagree with the expression you chose to work with and focus on that while incorporating text and image. Finish the interior by making an "About the Author" page.
The final step to construct the book is to add a back cover and front cover. Cut two pieces of cardboard to 6 1/4x 4 5/8". You can use and material or medium to design this. Its easiest to complete the covers before attaching them to the book. The goal is to have visual connections to the interior of your book and include a title and author's name. After the front and back are completed and dried glue them to the first and last rectangle of your panoramic pages.
After everything is done think about the quality of your work. Does the book need edges cleaned up, pencil marks erased, touched up under the cover where the glue is showing?
First brainstorm and decide on one 'warning' from your parents, teachers, or in the community that you hear all the time. (I chose to focus on something my mom tells me every night before she goes to bed, "Gina - try not to stay up too late, okay?" I say okay, even though in my mind I have hours ahead of me before I plan on calling it a night). This sentence or expression will be inspiration for the imagery in the accordion book. Through the process ask yourself whether you are supporting or mocking the statement and make it clear to the viewer.
Suggested Materials:
Colored construction paper
Scraps of colored paper or magazines
Paste or glue sticks
Scissors
Colored Pencils, crayons, or markers
Arylic Paint and brushes, paper towels etc.
Estimated time: 2-3 class periods (30 min each)
Age: middle school level or higher
Below are guidelines to consider when creating a composition that includes basic principles and elements of design. Follow these instructions on a lose piece of paper to sketch a composition that relates to your chosen 'warning'.
1. Choose a single shape. This will bring unity to the piece. Make 3 of these. Unity is created because the same basic shape is repeated throughout the composition; Unity is often created by repetition of art elements.
2. Make 10 more of your chosen shape. Make these with variations of size of form. Vary the proportions of the sides of the shapes. Make some of the variations as dramatic as possible. Create contrast. Variety and interest are attained by making variations of the basic shape.
3. Discuss how the arrangement of shapes can create a feeling of movement and rhythm in the composition. (In a classroom setting the teacher and students can experiment together using cut-out paper triangles on an overhead.) After experimenting with possible combinations, paste shapes into place. Try to create a sense of movement along the long horizontal page of the accordion book.
4. Create emphasis and contrast by adding a new kind of shape in a different color.
5. Create emphasis and contrast by adding a new kind of shape in the same or a different color. (You may wish to include a few of these, but be careful to maintain a sense of unity or overall style in your composition.)
6. Using colored pencils add lines which will enhance the sense of movement in your piece.
7. Enhance the composition by creating areas of pattern and texture through repetition of points, lines, or shapes.
8. Consider the entire composition. Does it have a symmetrical or an asymmetrical balance? Add shapes or lines to complete the composition.
To start your accordion book, cut 2 strips of paper 6x18" and fold long strips in half. Fold each half to the middle, making a 'W' shape. Attach the ends together to create one long strip. Place an 'X' over the last two rectangles to mark where you will attach the covers. Use the front of this paper to illustrate your warning inspired by your previous sketches. Make sure to include the text as well. Consider the wide panoramic page you have while you create a composition that includes the following Elements and Principles of design; Unity, Repetition, Proportion, Contrast, Variety and Interest, Movement and Rhythm, Emphasis, Contrast, Pattern and Texture.
When finished, flip paper over and adress the back. When creating a composition on this side consider whether you agree or disagree with the expression you chose to work with and focus on that while incorporating text and image. Finish the interior by making an "About the Author" page.
The final step to construct the book is to add a back cover and front cover. Cut two pieces of cardboard to 6 1/4x 4 5/8". You can use and material or medium to design this. Its easiest to complete the covers before attaching them to the book. The goal is to have visual connections to the interior of your book and include a title and author's name. After the front and back are completed and dried glue them to the first and last rectangle of your panoramic pages.
After everything is done think about the quality of your work. Does the book need edges cleaned up, pencil marks erased, touched up under the cover where the glue is showing?
How to Make Accordion Fold Books
Objective: Students will follow steps to create a unique book form and learn to consider the layout of their paper when arranging a composition.
Materials:
Colored construction paper
Covers - 6 1/4 x 4 5/8" (Cardboard or heavier weight papers are ideal for the covers.)
Strips to make pages - 6 x 18" (Use at least 2 strips per book, if you want longer pages you can use more.)
End papers 6 1/8 x 4 1/2" (Make using Line Game project or use scraps of decorative paper. such as wrapping paper)
Directions:
Fold long strips in half. Fold each half to the middle, making a 'W' shape.
Glue one page at the end of the strip to another. Press accordion folded pages into a stack.
Center covers on top and bottom. Glue on covers.
Paste endpapers into book. Endpapers cover the inside page where the regular pages are glued to the cover.
Materials:
Colored construction paper
Covers - 6 1/4 x 4 5/8" (Cardboard or heavier weight papers are ideal for the covers.)
Strips to make pages - 6 x 18" (Use at least 2 strips per book, if you want longer pages you can use more.)
End papers 6 1/8 x 4 1/2" (Make using Line Game project or use scraps of decorative paper. such as wrapping paper)
Directions:
Fold long strips in half. Fold each half to the middle, making a 'W' shape.
Glue one page at the end of the strip to another. Press accordion folded pages into a stack.
Center covers on top and bottom. Glue on covers.
Paste endpapers into book. Endpapers cover the inside page where the regular pages are glued to the cover.
Thursday, September 22, 2011
Potential Project Ideas - inspired from class, discussions, and readings
~Warnings - in which student artists created painted wood plaques of warnings they're been given by parents.
~Get involved in communities - individual art works, thematic shows, documentaries, posters, flyers, installations, murals, zines, comics in the school newspaper, etc.
-Ceramics 'clay club' sales, good way to get students excited to create work and community to be involved.
-Inspired by expressive lines in kandinsky's paintings. create surface texture and a form that compliments it in clay.
- Worksheets to start off project - scavenger hunt type. For introduction to pottery wheel have students look thru books and right down example of form they like. why? glaze type they like why? set? texture? altering? etc.
~Get involved in communities - individual art works, thematic shows, documentaries, posters, flyers, installations, murals, zines, comics in the school newspaper, etc.
-Ceramics 'clay club' sales, good way to get students excited to create work and community to be involved.
-Inspired by expressive lines in kandinsky's paintings. create surface texture and a form that compliments it in clay.
- Worksheets to start off project - scavenger hunt type. For introduction to pottery wheel have students look thru books and right down example of form they like. why? glaze type they like why? set? texture? altering? etc.
What is Art Education?
Principles of Possibility: Considerations for a 21st-century Art & Culture Curriculum. By Olivia Gude
"The essential contribution that arts education can make to our students and to our communities is to teach skills and concepts while creating opportunities to investigate and represent one's own experiences- generating personal and shared meaning." p. 6
"The essential contribution that arts education can make to our students and to our communities is to teach skills and concepts while creating opportunities to investigate and represent one's own experiences- generating personal and shared meaning." p. 6
About Me
I am currently a student at SUNY New Paltz. I started school as an undirected Visual Arts major, with the idea of teaching eventually in the back of my mind. I have always been drawn to working with kids and sharing what I know, and learning with others tools to help us all achieve what we desire.
In the beginning I was exploring different medias, I took painting, drawing, graphic design and sculpture classes, but after I finished basic ceramics I was hooked on this versatile material. I decided that I wanted to enroll in the BFA program with a concentration in ceramics.
While fulfilling other credits I had the chance to get to know my peers who were in the New Paltz Art Education program. As I began to inquire more about the classes offered and the curriculum, including required field work, I decided that it would be silly not to take advantage of such a well developed program while I was here and had the opportunity.
After graduating and moving into the work field and on to get my masters I hope this passionate combination of experiences and hard work with give me unique qualities to offer as a teacher.
In the beginning I was exploring different medias, I took painting, drawing, graphic design and sculpture classes, but after I finished basic ceramics I was hooked on this versatile material. I decided that I wanted to enroll in the BFA program with a concentration in ceramics.
While fulfilling other credits I had the chance to get to know my peers who were in the New Paltz Art Education program. As I began to inquire more about the classes offered and the curriculum, including required field work, I decided that it would be silly not to take advantage of such a well developed program while I was here and had the opportunity.
After graduating and moving into the work field and on to get my masters I hope this passionate combination of experiences and hard work with give me unique qualities to offer as a teacher.
Friday, September 2, 2011
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