Course
Profile Visual
Arts, Grade 11, Open, Catholic and Public
Unit 1: Self-Expression
Time: 22 hours
Activity 1 | Activity 2
| Activity 3 | Activity 4
| Activity 5
The
expectations that represent the three strands of theory, creation, and analysis
related to the study of self-expression in visual art are integrated to form
this unit. In this introductory unit, students explore and reflect upon
self-expression through self-portraiture. (It should be noted that sensitivity
should be used in approaching this subject matter with students from certain
cultures and religions.) Students will analyse the development of
self-portraiture through history and apply this knowledge to their own
creation. A review of basic drawing techniques, the elements and principles of
design and the frontal portrait are integral to the completion of the studio
projects. In evaluation of the final art project, the emphasis is on the
process of selecting design elements and principles to express a message rather
than on product.
|
Activity |
Time |
Expectations |
Assessment |
Tasks |
|
1.
Through the Looking Glass |
3 hours |
THV.01;
CR1.03; CR2.01; CGE1e |
C; A |
Introduction,
course outline, review and practice of contour drawing using mirrors |
|
2.
Elements and Principles of design as a means of expression |
2 hours |
TH1.03;
CR1.02; CR1.04 |
K; T; C; A |
Cooperative
review of elements and principles of design |
|
3.
Self-Portraits through time |
4 hours |
THV.02;
TH2.03; AN2.01; AN2.02 |
K; T |
Historical
survey of self-portraits, art critique |
|
4.
Colossal portraits |
4 hours |
CRV.01;
CR1.02; CR2.01; CR2.02; CR2.05 |
C; A |
Creation
of large scale self-portraits without brushes |
|
5.
“Here’s looking at me kid!” |
9 hours |
TH1.01;
CRV.02; CR1.01; CR2.01; CR3.02; AN1.05; AN1.06; AN2.01 |
K; T; C; A |
Creation
of self-portrait to express ideas and feelings about themselves in an
appropriate media |
Time: 180 minutes
The
purpose of this activity is to provide students with a course overview as well
as an awareness of the emphasis on expression in its various aspects throughout
the course. Students will review and practise their contour drawing skills and
generalized facial proportions. A contour drawing will be completed using
mirrors and/or a photograph. Students choose from a variety of drawing media.
The selection of the drawing medium should relate to the expression the artist
is trying to convey in the self-portrait. The teaching strategies for this
activity have been specifically chosen to establish a positive classroom
environment in which students can develop the rapport needed in Unit 2: Body
Language.
Strand(s): Theory, Creation
Overall
Expectations
THV.01 -
use appropriate terminology to discuss the art materials, techniques, and
styles associated with art forms studied in the course.
Specific
Expectations
CR1.03 -
use personal imagery that relates to the themes and issues explored in their
work;
CR2.01 -
demonstrate skill in both representational and expressive drawing.
Students
must be familiar with basic contour drawing skills and generalized facial
proportion.
·
The
teacher should use these short activities as an introduction to the entire
course: content, assessment, evaluation, classroom and behavioural
expectations, health and safety issues.
·
Introductory
activities have been designed to promote classroom rapport and increase student
comfort level quickly.
·
Activities
offer teachers an opportunity to assess student entry-level characteristics,
and make appropriate program decisions.
·
The
teacher needs to prepare handouts in advance.
·
Appropriate
materials need to be available for student use.
·
If
a set of mirrors is unavailable, student photos could be used.
1. Introductory Activity: The teacher places 4-6 art
reproductions representing a variety of art styles, around the classroom and
guides students to view each artwork through a brief description of each image.
The students are asked to choose an image that has some personal appeal or has
a style of art that they wish to explore. Students stand beside the image that
they have chosen. After choosing a partner from the same group, they explain
why they selected this artwork. Each partner is then responsible for explaining
to the larger group why their partner chose the image. This ensures “listening”
accountability. A spokesperson from the group “volunteers” to explain what the
general appeal was of this image. The teacher leads a discussion, which allows
the students to gain an awareness/understanding that each person expresses
him/herself differently and they are therefore drawn to a wide variety of
images. This observation can be applied to classroom practices as all the
students now realize that although some artwork may not appeal to them, it may
appeal to others.
2. Course
Outline: The
teacher introduces the students to the course content, structure, assessment,
and evaluation. The course outline should provide a course description
including the units of study and evaluation categories:
Knowledge/Understanding, Thinking/Inquiry, Communication, Creation/Application
from the Achievement Chart. The term work is weighted 70% and the summative evaluation is 30%. This should be communicated
clearly to students in the course outline. An explanation of the
sketchbook/journal, portfolios, and the culminating unit should be given. The
teacher should explain the class routines and safety procedures for the classroom.
3. Contour and Facial Proportion Review: In preparation for the
self-portrait using mirrors, students complete a review of contour drawing.
Students are grouped with a partner for this activity. Using a variety of
still-life objects arranged by the teacher, students teach their partner how to
make a contour drawing. Students teach this lesson as if their partner was
unfamiliar with this drawing method and begin with basic instructions. The
“teacher” should continue to instruct until their partner has become proficient
at contour drawing and has completed a carefully observed contour drawing of
one of the still-life objects. At this point students switch roles and the
student becomes the art instructor. Students form new pairs to review the
proportions of the face. One student poses while the other draws. They complete
detailed extended contours lasting a minimum of five minutes. All drawings are
kept for evidence of process and improvement and for final self-analysis. A
facial proportions template should be provided to students either as a handout
or a large representation.
4. “The Looking Glass”- Contour Self-Portrait
with Mirror: Using
a mirror or photograph, students complete a self-portrait in which they capture
the character expressed in their own self-image. Students select a drawing
media of their choice to complete an extended contour self-portrait. The media
should compliment the message they are trying to convey in their portrait. For
example, if a student is working from a self-image that is clearly happy, use
of a warm colour can express the mood and a soft medium could allow for wider
laugh lines. After completing their self-portrait, students do a
self-assessment in their sketchbook/journal. Students state their intended
message, the medium selected, a description of two positive aspects of the
portrait and one area for improvement. This is given to the teacher with the
completed self-portrait for an assessment of students’ understanding and use of
the technique of contour drawing and their selection of an appropriate medium
for the desired message.
·
The
student completes a self-assessment in their sketchbook/journal.
·
The
teacher assesses the suitability of the medium to the message and the evidence
of and understanding of the contour technique in the submitted self-portrait.
The teacher records the assessment and suggestions in the students’
sketchbook/journal.
·
Allow
additional time for students as required.
·
Provide
an outline for the written reflection.
·
Accommodations
should be made for students who are not permitted to depict the human figure.
There are alternative activities that fulfill the expectations for this lesson.
For instance, students could expand on the final art activity for the unit in
which a non-representational self-portrait is created. Instead of only creating
one self-portrait, students create a series of non-representational portraits
of family members or friends. Students submit a proposal for the series in which
they explain the intended message and chosen elements and principles of design
for each artwork. Students document technical problems
they encounter in their sketchbook and display the works together once
completed.
Coates,
Tom. Creating a Self-Portrait.
ISBN 0 8230 1010 4
Drawing,
Barron’s Art Handbooks. Barron’s Educational Series, Inc.,
ISBN 0 7641 5007 3
Edwards,
Betty. Drawing on the Right side of the Brain.
ISBN 0 87477 088 2
Kuitor. Rembrandt: Painter of Man and
the Restoration of “The Night Watch”. Videos.
Crystal Publications, Inc.
Portraits by Ingres. National Gallery, 1999.
Video available through Media through the Arts.
Ragans, Rosalind. Arttalk,
2nd Ed.
Sir Joshua Reynolds Artist of the Portrait. RM Arts. 1986. video
Spence. Rembrandt and Dutch
Portraiture. 1997. ISBN 0-76410290-7
Take
5 Art Prints: Self-Portraits. Set of 5 Posters. Crystal Productions, Inc.
Thematic
Slide Sets: Self-Portraits 1450-1898, 1898-1932, 1934 - 1990. Fitzhenry & Whiteside, Markham.
Time: 120 minutes
In this
activity students create a visual display of each of the elements and
principles of design. A variety of formats for the display are possible.
Examples could be a booklet or three-dimensional classroom display or images
generated using available computer software. Through a co-operative activity,
students prove to their partner that they are knowledgeable about these design
terms using the visual display they created. This knowledge is extended through
a discussion of how the elements and principles of design can be utilized in
art to express an intended message. Students analyse a series of art works to
determine how the elements and principles of design were used to achieve an
expressive image.
Overall
Expectations
THV.01 -
use appropriate terminology to discuss the art materials, techniques, and
styles associated with art forms studied in the course.
Specific
Expectations
TH1.03 -
use appropriate terminology in their oral and written work;
CR1.02 -
select elements and principles of design that best express their idea and
feelings;
CR1.04 -
analyse works of art that use the media and processes they wish to explore in
their own work.
·
Students
must be familiar with the elements and principles of design.
·
Suitable
materials must be available to students. This could range from paper and
magazines to computer software depending on the chosen format for the visual
display.
·
A
selection of slides or reproductions of artworks are needed for the art
analysis.
1. Students are organized in groupings of two to
four students. Each student collects the best example of each of the elements and
principles of design from magazines. The teacher may wish to choose a different
format such as a booklet, three-dimensional display or computer design.
Students confer with each other to ensure that the examples they have chosen
clearly emphasize the intended element or principle of design. The best
examples are placed in their sketchbook/journal with the corresponding label.
This assignment is evaluated as part of the final evaluation for Activity 5
(see Unit 1, Appendix C).
2. Through a teacher-led discussion and an
analysis of a variety of art works, students explore how the elements and
principles of design were used to achieve the desired expression. The following
is a list of possible images to discuss:
·
Menkaure and His Wife, Queen Khamerernebty, from
· The Laocoon Group. 1st century B.C. Marble.
· Goya, Francisco. The Third of May, oil on canvas, 1808
· Munch, Edvard. The Scream, oil on canvas, 1893
· MacDonald, J.E.H. The Tangled Garden, 1916
· Kahlo, Frida. Self-Portrait with Thorn Necklace, oil on canvas, 1940
· Matisse, Henri. The Joy of Life or The Danse, oil on canvas, 1905-06 and 1909
· Picasso, Pablo. The Old Guitarist, oil on panel, 1903
· Van Gogh, Vincent. The Potato Eaters, oil on canvas, 1885
· Van Gogh, Vincent. Starry Night, oil on canvas, 1889
· Boccioni, Umberto. Unique Forms of Continuity in Space. Bronze cast, 1913
·
Lang, Dorothea. Migrant
Mother,
· Varley, F. H. Dharana, oil on canvas, 1932
· Harris, Lawren. North Shore Lake Superior, oil on canvas, 1921
· Coville, Alex. Horse and Train, 1954
· Morrisseau, Norval. Windigo, tempera on brown paper, c. 1963
· Wieland, Joyce. Water Quilt. Wall hanging, 1970
· Reid, Bill. Haida Gold Box, cast gold, 1971
· Danby, Ken. At the Crease, egg tempera, 1972
· Ojig, Daphne. The Indian in Transition, acrylic mural, 1978
3. A slide viewing worksheet should be provided
to students and students should respond to the following two questions for each
art image:
· What expression is conveyed in this work?
· How has the artist utilized the elements and principles of design to achieve this expression?
See Unit 1, Appendix A for an example of the
slide-viewing worksheet.
·
Students
can be provided with definitions and examples for each of the elements and
principles of design.
·
Provide
small reproductions of art images used in the slide survey or use a textbook as
a resource for closer and extended examination of art works.
Brommer, Gerald. Discovering
Art History, 3rd ed. Davis Publications Inc., 1997.
Brommer, Gerald. Elements
& Principles of Design videos. Crystal Publications, Inc.
ISBN 0 87192 299 1
Mittler, Gene. Art in Focus.
CA: Glencoe/McGraw Hill, Woodland Hill, 2000.
ISBN 0 02 662408 7
Ragans, Rosalind. Arttalk,
2nd ed.
ISBN 0 02 640295 5
Elements
and Principles, Set of 14 Posters. Crystal
Productions, Inc.
See Unit
1, Appendix A – Slide Viewing Worksheet
Time: 240 minutes
In this
activity the teacher will show a series of slides representing self-portraiture
through time. Students will be given the opportunity to discuss the intended
message of each work while analysing the supporting use of the elements and
principles of design to convey this message. After a review of art viewing
strategies students complete a more detailed analysis of one self-portrait from
the historical survey of self-portraits.
Overall
Expectations
THV.02 -
demonstrate an understanding of art of the Western world, including
Specific
Expectations
TH2.03 -
identify style, content, and technique in the artworks studied, and speculate
on each artist’s intent.
AN2.01 -
explain how representational elements and the formal organization of visual
content are used in both the creation and the evaluation of artworks;
AN2.02 -
explain how moods, feelings, and ideas are used in both the creation and
evaluation of artworks.
Students
should be familiar with art viewing strategies and the elements and principles
of design.
A variety
of expressive self-portrait images from a range of periods and styles should be
available.
Students
will need access to resources, from either the library or art room or the
Internet, for research of their selected self-portrait.
If a
teacher has available a series of self-portraits from a single artist such as
Vincent van Gogh, Rembrandt Van Rijn,
Marie-Louise-Elisabeth Vigee-Lebrun, Frida Kahlo or Albrecht Dürer, these artworks can be substituted for an historical
survey of self-portraits. This would allow for students to see the change in
intended message and expression over time.
1. Using a slide viewing worksheet (Unit 1,
Appendix A), students view and record observations from a variety of expressive
self-portraits. Students analyse how the elements and principles of design have
been used to convey an intended expression in the images. The following is a
list of suggested self-portraits to use for the historical survey.
· Jan van Eyck. The Arnolfini Wedding. Oil on panel. 1434.
· Jan van Eyck. Man in a Red Turban (Self-Portrait?). Oil on panel. 1433.
· Albrecht Dürer. Self-Portrait. Oil on canvas. 1498.
· Albrecht Dürer. Self-Portrait. Oil on canvas. 1500.
· Leonardo daVinci. Self-Portrait. Red chalk on paper. c.1512.
· Ottavio Leoni Caravaggio. David with Head of Goliath. Oil on canvas, c.1610.
· Rembrandt van Rijn. Self-Portrait. Oil on canvas, c.1660.
·
Rembrandt van Rijn. Self-Portrait with
· Marie-Louise Elizabeth Vigee-LeBrun. Self-Portrait with Straw Hat
· Gustav Courbet. The Artist’s Studio. Oil on canvas, 1854-55.
· Cornelius Kreighoff. Self-Portrait. 1855.
· Vincent van Gogh. Self-Portrait with fur cap & bandaged ear. Oil on Canvas, 1889.
· Vincent van Gogh. Self-Portrait at Auvers, late 1889-1890. Oil.
· Pablo Picasso. Self-Portrait. Charcoal on paper, 1899 – 1900.
· Alfred Stieglitz. Self-Portrait. Platinum print, 1907.
· Frederick Varley, Self-Portrait. Oil on canvas, 1919.
· Frida Kahlo. Self-Portrait with Thorn Necklace. Oil on canvas, 1940.
· Francis Bacon. Self-Portrait. Oil on canvas, 1958.
· Claes Oldenburg. Self-Portrait. Mixed media, 1969.
· Pablo Picasso. Self-Portrait. Wax crayon on paper, 1972.
· Jacob Lawrence. In the Studio. Gouache on paper, 1977.
· Emily Carr. Self-Portrait. Oil
· Kathe Kollwitz. Self-Portrait.
· Chuck Close. Self-Portrait. Acrylic on canvas, 1997.
2. After a review of art viewing strategies, the
teacher will examine with the students the last few images from the historical survey,
to demonstrate the process of review and critique. Students record notes on an
art viewing strategy work sheet during this review. From the previously viewed
images, the students select one image to analyse in depth. Using the suggested
art viewing strategies from Unit 1, Appendix B, students complete their
critique. Students will research the period, style, and information about the
selected artist, using library resources. Teachers encourage students to record
research in their sketchbook/journals and the most pertinent information will
be summarized on their viewing strategy worksheet. As this is the first
detailed art analysis completed in the course, only a written assessment will
be made by the teacher. In Unit 2, this process will be evaluated.
The
teacher completes a written assessment of the art viewing strategy worksheet to
confirm completion and understanding. Suggestions can be given for improvement.
·
Provide
a key word list of art terms used for the historical survey of images.
·
Provide
a completed sample of an art viewing strategy worksheet.
·
Provide
assistance with research.
·
Ensure
that the art viewing strategy worksheet has lines for written answers.
·
Use
postcard-size reproductions or books for the images.
·
For
enrichment, a student could complete comparative research of two artists.
www.artlex.com
Bell,
Julian. 500 Self-Portraits. Phaidon
Press Inc., 2000. ISBN 0714839590
Discovering Art History Slides.
Keys,
George, Joseph J. Rishel, et al. Van Gogh Face to
Face: The Portraits.
ISBN 0500092907
Smith,
Graham et al. From Ansel Adams to Andy Warhol:
Portraits and Self-Portraits from the
Thematic
Slide Sets: Self-Portraits 1450-1898, 1898-1932, 1934-1990.
Take
5 Art Prints, Self-Portraits.
Great Museums of the World CD ROM series. Crystal Productions, Inc.,
Countertop Software. 1999.
Unit 1,
Appendix A – Art Viewing Worksheet
Unit 1,
Appendix B – Art Viewing Strategy
Time: 240 minutes
In this
activity, students will create a very large portrait using the elements of
colour and texture as tools of expression. To create this portrait, students
will only use their fingers, hands and /or other non-traditional painting tools
rather than brushes. The use of fingers and hands for paint application will
provide students with a wide range of expressive possibilities for paint
application. It is also suggested that the students use a monochromatic colour
scheme for the portrait that compliments the intended expression. The portrait
is done on a large scale in order to use size and proportion to increase the
visual impact of the expression. The learning strategies of the previous
activities will be utilized and extended in the creation of this studio
project. The ‘Colossal ‘ portrait is part of the
documentation of process for the whole unit and is evaluated in the final
rubric for the unit (see Unit 1, Appendix C: Expressive Self-Portrait Rubric).
Overall
Expectations
CRV.01 -
produce artworks using a variety of materials, tools, processes, and
technologies safely and in ways that are appropriate to the content of their
work.
Specific
Expectations
CR2.01 -
demonstrate skill in both representational and expressive drawing;
CR2.02 -
demonstrate an in-depth understanding of one or more of the following:
painting, printmaking, sculpture, photography, artwork
produced using new technologies;
CR1.02 -
select elements and principles of design that best express their idea and
feelings;
CR2.05 -
use materials, equipment, and processes safely when producing artworks.
·
Students
need to have a working knowledge of the elements and principles of design and
colour theory and the psychology of colour.
·
Basic
painting skills
·
Adequate
supplies of liquid tempera or other nontoxic media,
in a range of colours.
·
Twigs,
spatulas, pieces of sponge, carpeting or textured fabric, q-tips etc. Keep skin
sensitivities in mind when selecting these tools.
·
“Colossal”
size (24" X 36") heavy cartridge or Mayfair-style paper in adequate
quantity for class.
·
If
self-portraits are to be done, a suitable quantity of mirrors will be needed
(student photos could also be used.)
1. Students will select either to complete a
portrait or self-portrait from a suitable source. To assist with proportion and
placement, large sheets of paper should be divided in half, horizontally and
vertically, lightly with a pencil. Students lightly draw the outline of the
face on the paper. The facial outline should fill the entire page creating a
“colossal” portrait.
2. On a scrap piece of paper, students should
try to develop a variety of paint techniques using their fingers, side of their
hand, tip of their fingers etc., to be used in the creation of their portraits.
If other non-traditional tools are used, samples should also be completed with
the techniques used recorded on the sheet for reference. Teachers remind
students to develop ways of creating contrasting values to be used for shading
in the contours of the face.
3. After completing their samples, students use
their knowledge of the psychology of colour to select a hue suitable for a
specific mood or expression. The colour should be reflective of the character
intended in the portrait. The painting is completed using a monochromatic
colour scheme to allow students to concentrate on facial textures and values.
Use of a monochromatic colour scheme rather than a palette of colours, helps
the student to maintain the impact of the chosen hue rather than diffusing the
effect.
4. Students begin their portrait with a quick underdrawing or underpainting.
Students then apply colour to their portrait using the techniques they have practised.
Students should use techniques to emphasize light and shadow, similar to a
value drawing or a representational painting using brushes.
5. The artworks can be displayed in the school
or art room for students to view. Students will complete a self-assessment of
their work and a peer assessment of another student’s Colossal Portrait. With a
partner, they complete the peer assessment in their sketchbook. The following
are questions that students could use for both the peer and self-assessment:
·
What expression is conveyed
by this portrait?
·
Do the elements of colour,
texture and value compliment the expression?
·
Describe two strengths in
the artwork.
·
Describe one area for
improvement.
Self and
Peer assessment rubric (Unit 1, Appendix C)
·
Students
use a school photograph instead of a mirror, if painting a self-portrait.
·
The
use of some non-traditional painting tools such as twigs or plant leaves, may require the use of protective gloves or
attention to skin sensitivities for some students.
·
Give
additional time for the painting.
·
Provide
students with a stand to hold the mirror. Book stands are sometimes available
from the Business department within a school.
Scholastic Art Magazine. Scholastic Art Publications,
February 1995. (Issue on the work of Chuck Close and Self-Portraiture
Armstrong,
Tim. Colour Perception: A Practical Approach to Colour Theory. Parkwest Pubns. 1993.
ISBN 09062174X
Brommer, Gerald F. Exploring Drawing.
Brommer, Gerald F. &
Nancy Kline. Exploring Painting.
ISBN 0871922878
Gibson,
Ray. I Can Fingerpaint. E D
C Publications, 1998. ISBN 0746029497
Greenberg, Jan & Sandra Jordan. Chuck Close Up
Close. ISBN 0789426587
Larson,
Karl V. See and Draw: From Observation.
Sheaks, Barclay. Drawing Figures and Faces. Watson-Guptill Publishing, 2000.
ISBN 0823000621
Tate,
ISBN 089134148X
Unit 1,
Appendix C – Expressive Self-Portrait Rubric
Time: 540 minutes
In this
activity students create an expressive self-portrait using their choice of the
elements and principles of design to convey an intended message. Unlike the
previous portraits, this artwork can be non-representational allowing students
to choose from a wide variety of methods to portray their image. Students
choose an appropriate media for the intended message. Evaluation for this
artwork will be based on documentation of the process, selection of the
elements and principles of design and media choice. Emphasis in the evaluation
is on process not product, although technical skill will be included in the
evaluation. Use of the sketchbook/journal to document process and research is
required.
Overall
Expectations
CRV.02 -
produce a body of creative work that represents a progressive record of their
studio development in both technique and expression.
Specific
Expectations
TH1.01 -
explain how the application of the elements and principles of design supports
the concepts and ideas expressed in their creative work;
CR1.01 -
use varied and extensive research in the preparation stage of studio work;
CR2.01 -
demonstrate skill in both representational and expressive drawing;
CR3.02 -
document their creative process by including in their portfolios evidence of
the research and resources they used; as well as their rough sketches, plans,
revisions, and final artworks;
AN1.05 -
explain the significance of the symbolic and conceptual aspects of their work;
AN1.06 -
explain the decisions and strategies used to communicate particular meanings in
their artworks;
AN2.01 -
explain how representational elements and the formal organization of visual
content are used in both the creation and the evaluation of artworks.
Students
should have a clear understanding of the elements and principles of design.
A wide
variety of materials should be available to students. (Students should select a
media for the self-portrait.)
Some
suggestions for optional studio projects are:
·
A
memory cube, where each of the six sides represents a facet of the
student’s past, present and future which is depicted symbolically.
·
Intersecting profiles, where students complete two profile cutouts
of their head and shoulders. These cutouts are
assembled together to create a free-standing sculpture. One cutout
is cut in the middle, halfway up from the bottom and
the other is cut halfway down from the top. The cutouts
are then interconnected using these slots like a paper doll stand is assembled.
The resulting eight surfaces are used to represent the student’s inner self in
the past, present and future. Images may be symbolic, representational, or
abstract.
1. In preparation for the expressive
self-portrait and as part of the documentation of the art process, students
consider the message they want to convey about themselves in the expressive
self-portrait. Students create a chart in their sketchbook/journal using the
following three headings:
·
Ten words that describe me,
·
Three words that a partner
verifies,
· Three words that a family member or mentor verifies.
In the first column students record ten
descriptive words that they think reflect them. These words should be
descriptive of their emotional, physical, intellectual and social
characteristics. With a partner, students discuss whether the chosen words
accurately describe the student. In the second column, “Three words that a
partner verifies”, three words that the partners agree describe the student
are recorded. Each student finishes the chart for homework and has a family
member or mentor verify three words that they think accurately describe the
student. These words are recorded in the third column of the chart.
2. Using the chart they have created in their
sketchbook/journal, students choose two elements and one principle of design
that will allow them to convey the three qualities that describe them. For
example, an energetic person might choose a bright colour to reflect this
characteristic. Students again verify, with their partner that the elements and
principle of design that they have chosen, complements the message they are
trying to express.
3. Based
on the descriptive words from the chart and the elements and principle of
design they have chosen to express this message, students must decide what
media and techniques they want to use for their self-portrait. Students choose
a media that compliments the intended message of their self-portrait. The
self-portrait can be representational, abstract or symbolic.
4. In their sketchbook/journal, students create
a plan for the self-portrait. A written description and visual sketch of the
expressive self-portrait should be completed. The expressive portrait should
convey an intended message by emphasizing two elements and one principle of
design, and be completed in a media that compliments the expression. Students
may wish to research an artist whose media or style is similar to their idea
for this studio project. Magazine, newspaper and hand drawn images can be
collected to compliment the plan. The artists that have been studied in the
previous activities may also be useful in the preparation. Once students have
made a final decision for the expressive self-portrait, they conference with
their teachers to explain their plan. Students provide a materials list for the
teacher in order to ensure that materials are available.
5. Students create the expressive self-portrait.
Students are encouraged to document technical problems they encounter and
solutions they develop in their sketchbook/journal. For example,
experimentation and solutions to difficulties with drawing techniques are
documented in the sketchbook/journal. Remind students that the process and
research for this studio project is evaluated.
See Unit
1, Appendix C for the Expressive Self-Portrait Rubric
·
Provide
students with appropriate suggestions for the expressive self-portrait or an
example.
·
Provide
additional time as required.
·
Provide
a written outline of the steps in the creation process.
·
As
an enrichment activity, encourage a student to research and explore an
unfamiliar media suitable to the desired process or the teacher presents the
student with a studio project in which there is more problem solving required
by giving them limitations in the options that they may use. For example,
complete the self-portrait studio but use other elements to give the same
effect as colour.
Barron’s Art Handbook. Portraits, Parramon, 1999. ISBN 0-76415108-8
Brommer, Gerald. Elements &
Principles of Design videos. Crystal Publications, Inc.
ISBN 0 87192 299 1
Edwards,
Betty. Drawing on the Right side of the Brain.
ISBN 0 87477 088 2
Larson,
Karl V. See and Draw: From Observation.
Sheaks,
Barclay. Drawing Figures and Faces. Watson-Guptill Publishing, 2000. ISBN 0823000621
See Unit
1, Appendix C – Expressive Self-Portrait Rubric
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Artwork |
What expression is conveyed in
this artwork? |
How has the artist used the
elements and principles of art to achieve this expression? |
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Artist: Title: Date: Media: |
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Artist: Title: Date: Media: |
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Artist: Title: Date: Media: |
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Artist: Title: Date: Media: |
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Description
1. Create a visual inventory of what you see in
this artwork (indoor scene, trees, intense colours…).
2. List the major events in history that
occurred at the same time this artwork was created.
3. Describe the elements of art used in this
artwork (line, shape, form, space, texture, colour, value, pattern).
4. Provide a brief biography of the artist and
information about the artistic style.
Analysis
1. Describe how the principles of art were used
in the artwork to organize the elements of art (balance, harmony, gradation,
proportion, contrast, variety, movement, emphasis, unity, rhythm).
Interpretation
1. Based on what you have learned about this
artwork, what do you think the artist was trying to say?
2. What feeling does the artwork evoke in you?
3. Do you think there are symbols in this
artwork which reinforce its meaning? Describe how these work.
4. Do you think the artist effectively organized
the elements of art through the use of the principles of art?
Judgement
1. Do you like this artwork? Why? (Base your
answers on what you have learned)
2. Do you think this artwork is a significant
artwork in the history of art? Why?
|
Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
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Knowledge/ |
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Demonstrates
an understanding of the elements and principles through clear and accurate
visual display (Activity 1) |
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demonstrates a limited understanding of the elements and principles |
-
demonstrates some understanding of the elements and principles |
-
demonstrates a considerable understanding of the elements and principles |
-
demonstrates a thorough and insightful understanding of the elements and
principles |
|
Illustrates
knowledge of elements and principles through choices for studio, as indicated
in sketchbook/journal or on art viewing strategy worksheet (Appendix B) |
-
demonstrates a limited understanding of the elements and principles |
-
demonstrates some understanding of the elements and principles |
-
demonstrates a considerable understanding of the elements and principles |
-
demonstrates a thorough and insightful understanding of the elements and
principles |
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Thinking/ |
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Problem
solving – “Colossal” portrait-evidence of making connections between design
tools and desired message |
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demonstrates a limited connection between design tools and message |
-
demonstrates some connection between design tools and message |
-
demonstrates a considerable connection between design tools and message |
-
demonstrates a thorough and insightful connection between design tools and
message |
|
Planning
– clear and thoughtful plan, plan connected to final product, rough sketches
and revisions |
-
demonstrates limited evidence of planning |
-
demonstrates some evidence of planning |
-
demonstrates considerable evidence of planning |
-
demonstrates thorough and insightful evidence of planning |
|
Research
– evidence of varied and extensive research, resources listed |
-
demonstrates limited evidence of varied and extensive research |
-
demonstrates some evidence of varied and extensive research |
-
demonstrates considerable evidence of varied and extensive research |
-
demonstrates thorough and insightful evidence of varied and extensive
research |
|
Self Assessment – evidence of
decisions/strategies to communicate a particular personal message |
- demonstrates limited connections between
decisions and message |
- demonstrates some connections between
decisions and message |
- demonstrates considerable connections
between decisions and message |
- demonstrates thorough and insightful
connections between decisions and message |
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Communication |
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Choice
of media accurately and effectively communicates the intended message |
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demonstrates limited accuracy and effectiveness |
-
demonstrates moderate accuracy and effectiveness |
-
demonstrates considerable accuracy and effectiveness |
-
demonstrates high degree of accuracy and effectiveness |
|
Choice
of two elements and one principle accurately and effectively communicates the
intended message |
-
demonstrates limited accuracy and effectiveness |
-
demonstrates moderate accuracy and effectiveness |
-
demonstrates considerable accuracy and effectiveness |
-
demonstrates high degree of accuracy and effectiveness |
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Creation/ |
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Skill
evident in media control |
-
limited skill shown |
-
moderate skill shown |
-
considerable skill shown |
- high
degree of skill shown |
|
Construction
methods show care and consideration (may not apply to all media) |
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demonstrates limited care and concern, major construction flaws |
-
demonstrates moderate care and concern, minor construction flaws |
-
demonstrates considerable care and concern, no construction flaws |
-
demonstrates high degree of care and concern, no construction flaws and shows
innovation |
Note: A student whose achievement is below
level 1 (50%) has not met the expectations for this assignment or activity.
Course
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