Collaboration!

Our projects keep getting more complicated with the 3D printer and students keep collaborating to arrive at new exciting projects to print.  We have printed a Camaro and a Bugatti for  the students interested in automobile design.  Here's some students waiting on the Camaro:

Speaking of collaboration, some of the Grade 10s came to me with an idea a while ago.  They wanted to collaborate on a painting of a lion.  There were three students involved -- Lily, Sophia, and Caitlyn -- so we divided a square of MDF board into 9 pieces.  The students then used a transition of value from left to right.  It was quite a project...great job! I noted that each of the students' strengths was visible in each vertical band.  Look for it at the Blyth student art show in the spring.

Numeracy and Art Find a Common Ground

Hello students!

Today we have taken another step with the 3D printer.  We worked as a class to figure out what our builds are costing us, depending on where we source our filament.  ABS filament from our Canadian supplier costs us roughly $70 a kilogram after taxes and delivery.  PLA filament (Plant-based and biodegradable) from Asia costs us $33.50 per kilogram delivered.  Because we can order in values less than $70, duty and taxes are not applied at the border...BONUS!

Here is a picture of our equations!

In the example, a 20 gram print (see the Pacific Rim robot below) with the Canadian sourced filament cost $1.40 to print.  Naturally, this excludes the cost of the purchase of the Makerbot and any ongoing maintenance.  In the second example, the Alexander the Great print that we did came out to be 46 grams.  If we had made the Alexander with the Asia sourced PLA filament, it would have cost us $1.54.  What this equation allows us to do is recoup the costs associated with prints that students would like to make for personal purposes.

Here is Ben's robot:

It is exciting to know that we can get biodegradable filament for the Makerbot!  What a great way to be environmentally conscious in our creating.  "We do not inherit the earth from our ancestors.  We borrow it from our children."

Alexander the Great!

In the British Museum, a marble portrait of Alexander the Great is on display.  It looks like this:

The following is an excerpt from the British Museum's website, www.britishmuseum.org:

Marble portrait of Alexander the Great

Hellenistic Greek, 2nd-1st century BC
Said to be from Alexandria, Egypt

Youthful image of the conqueror king

Literary sources tell us, though perhaps not reliably, that Alexander (reigned 336-323 BC) chose only a few artists to produce his image, and famous names such as the sculptor Lysippos and the painter Apelles were associated with his portraiture. Though none of the famous images have been recovered, many sculptures in different materials, as well as portraits on gemstones and coins, survive. These were mostly produced long after Alexander's death and while the portraits follow similar general characteristics, they also vary in style.

Alexander was always shown clean-shaven, which was an innovation: all previous portraits of Greek statesmen or rulers had beards. This royal fashion lasted for almost five hundred years and almost all of the Hellenistic kings and Roman emperors until Hadrian were portrayed beardless. Alexander was the first king to wear the all-important royal diadem, a band of cloth tied around the hair that was to become the symbol of Hellenistic kingship.

Earlier portraits of Alexander, in heroic style, look more mature than the portraits made after his death, such as this example. These show a more youthful, though perhaps more god-like character. He has longer hair, a more dynamic tilt of the head and an upward gaze, resembling his description in literary sources.

This head was acquired in Alexandria, the city founded by Alexander in 331 BC, and the location of his tomb. Alexandria was also the capital of the longest surviving Hellenistic dynasty, the Ptolemies. From the time of the reign of Ptolemy I Soter ('Saviour') (305-282 BC), Alexander was worshipped as a god and the forefather of the dynasty.

The 3D printer was used to try to bring this to life for the students, and this was the result:

The original sculpture that this portrait was taken from may have been created by Lysippos.  

Lysippos "...was a Greek sculptor of the 4th century BCE. Together with Scopas and Praxiteles, he is considered one of the three greatest sculptors of the Classical Greek era, bringing transition into the Hellenistic period. Problems confront the study of Lysippos because of the difficulty of identifying his style amongst the copies which survive. Not only did he have a large workshop and a large number of disciples in his immediate circle,^[2] but also there is understood to have been a market for replicas of his work which was supplied also from outside his circle already in his own lifetime and also later in the Hellenistic and Roman periods" (source: wikipedia).

Here are a couple pieces thought to have been created by Lyssipos:

 Hermes of Atalante

Socrates

  

Continuing Work with the 3D Printer

Here's a quick update about our work with the 3D printer:

In this photo, Aric is learning more about Form, and technology, all at once.  He is sculpting a 3D image in the program Sculptris.  We then converted it to a .stl file in MeshLab.

We then printed a small rendition of his digital sculpture!

Sculptris Solution?

Yesterday, we had our first multi-
colour print.  It came from the pre-loaded SD card.  It came out nicely:

More importantly, we found a way to print from Sculptris, the 3D design software we have been using.  First, I created a simple 3D head in Sculptris.  I then Exported it from Sculptris, thus creating a .obj file.  I then used MeshLab.  I imported the .obj file into MeshLab.  It looked like this:

I then Exported the project as a .stl file.  MakerWare recognizes and can print .stl files.

 Then it was just a matter of printing. An hour later:

GREAT SUCCESS!  Now we came design in digital 3D as a class and print our work.
Stay tuned!

Another day with the 3D printer!

Day two: Klein Bottle Complete

Felix Klein first described the Klein bottle in 1882.  He envisioned a "closed manifold, meaning it is a compact manifold without boundary." 

Felix's modern graphic might look like this:

This challenge came from Mr. Morley in the math department...could the 3D printer created a Klein bottle?  If you give it a couple hours...YES!!

Now, wrapping my art mind around this was a little bit difficult, but this is a truly unique project.  It's outside is its inside but it can still hold water?

Now, we are learning to sculpt digitally in 3D.  Here's Erica sculpting on the computer!

Once we complete our sculptures, it is our goal to find a way to print using the Makerbot!

The 3D Printer has Arrived!!

GDCI has an exciting new piece of technology - A Makerbot 3D Printer!!!

When the boxes first arrived...I have to admit I was a little nervous about the set-up!

 I was sure to follow the directions carefully.  I felt like a novice...new tech can be a little intimidating!

Fortunately, it was a pretty smooth install.  In about 20 minutes the Makerbot was up and running!

The students all gathered around. For some, myself included, this was the first time ever seeing an object printed in three dimensions!

For an initial test print, I chose an object that would have real world usability, though perhaps not for me :). We printed a comb.

I may sound like such a newbie, but it was pretty awesome to watch the printer come to life, the spools slowly feeding filament into the extruders.  I realized we were going to need to learn what the components of the printer were.

Here's Hayden with the comb:

And Mackenzie and Christina:

I began to see the irony of choosing a comb as our first 3D print.....

We decided to try printing an architectural structure as our second print.  Wall street!

Trying a cross-curricular approach, we got a Klein Bottle 3D imagery:

The print should be ready for tomorrow!

All things told, it was an exciting first day with the Makerbot!  Stay tuned as we learn together, printing with greater complexity and creativity!

Realism Challenge

Here is a challenge I am issuing to my Grade 11 students: let's get really real!!  O.K., not sure what I mean?  Check out this youtube video:

Now Google the term "realism challenge" and have a look at all of the amazing work artists have been doing!

Now it's your turn!  Pick an object, place it on a sheet of white paper, and replicate what you see.  Take a photo or video of your results and let's see how you did.

Good luck (and if you are in a grade other than Grade 11 and want to try this, I greatly encourage you to do so).  In the mean time, enjoy your March Break in the safest and most fun way you can!

Mr. McClinchey

Awesome Opportunity!!

Follow the link below!!

http://youthartsweek.ca/popupgallery

"The Scream", 2004 Article

The following is a Grade 10 literacy reading selection for Feb. 27, to be completed during silent reading.   Look for explicit and implicit questions at the end: 2004 Article: Munch’s Famous ‘Scream’ and‘Madonna’ Stolen (source: chronicle.augusta.com)

Police fielded a flood of tips but still had no motive Monday for the daring theft of “The Scream” and another Edvard Munch masterpiece by armed robbers who barged into a lightly guarded Oslo museum and ripped the paintings from the walls before the eyes of stunned visitors.

Police, who launched a nationwide hunt for the works, said there had been no word from the thieves, who were widely expected to demand a ransom. “The Scream,” a 20th century icon of angst, is too well known for the thieves to try to sell, experts say.

“It can only be with horror that you react to something like this,” Deputy Culture Minister Yngve Slettholm said by telephone, also expressing shock over what he said was Norway’s first armed art theft. “We can only hope they end up back at the Munch Museum.”

“The Scream” — there are four versions of Munch’s best-known painting — depicts an anguished figure who appears to be screaming or shielding his ears from a scream.

Masked, armed thieves broke into the Oslo’s Munch Museum on Sunday and, as visitors and staff watched in shock, tore “The Scream” and another famous Munch work, “Madonna,” from the walls and loaded them into a car. The getaway car and the picture frames were found by police in Oslo hours later.

Oslo police inspector Iver Stensrud said all resources were being used to search for the national treasures, and that tips continued to pour in. “We are still working on new tips and are hoping for more,” he said on the state radio network NRK.

Stensrud said the police were conducting a broad investigation, and have not focused on specific motives. Experts said the paintings were probably stolen for ransom or as a “trophy” robbery to impress other criminals, since it would be virtually impossible to sell them anywhere because they are so well known.

No suspects yet 

‘The paintings could just as well be in Oslo as anywhere else,” he said. Stensrud said police have been interrogating witnesses, but have no suspects.

“The world screams,” said a headline in the major Norwegian newspaper Aftenposten over international reaction to the theft. Another newspaper, Oslo’s Verdens Gang, said the Munch paintings were stolen on the same date, Aug. 22, as “Mona Lisa” was stolen in Paris in 1911.

The Munch works were not insured against theft, because it was impossible to set a price on them, said John Oeyaas, managing director of Oslo Forsikring, the city-owned company that insure the paintings against damage.

“It was a conscious decision,” he told The Associated Press. “These are irreplaceable, and insurance would mean nothing. The total loss of an irreplaceable item cannot be compensated.... In principle, these are artworks that are not possible to sell.”

However, he said the theft in from one of Norway’s most visited museums raises the question of security.

“How can we make these artworks available to the public while still securing them?” he said.

Second such robbery 

It’s the second time in a decade that a version of the painting had been stolen. Another version of “The Scream” was taken from Oslo’s National Gallery in February 1994, but recovered three months later.

Slettholm, of the culture ministry, said it was impossible to totally protect artworks “unless we lock them in a mountain bunker” especially when thieves are willing to use force.

“It is food for thought that the spiral of violence has now reached the art world,” he said. “This is a first for Norway, and we can only be glad that no one was hurt.”

The stolen “Madonna” was painted in 1893-1894, and depicts an erotic Madonna with a blood-red halo in a dark, swirling aura. Munch later produced woodcut lithographs with a similar depiction.

Munch, a Norwegian painter and graphic artist who worked in Germany as well as his home country, developed an emotionally charged style that was of great importance in the birth of the 20th century Expressionist movement.

He painted “The Scream” in 1893, and together with “Madonna” it was a part of his “Frieze of Life” series, in which sickness, death, anxiety, and love are central themes. He died in 1944 at the age of 81.

Questions

1) In what city and country was the painting stolen from?

2) In what year was the "Mona Lisa" stolen?

3) In what year was "The Scream" painted?

4) What do you think is the universal appeal of the painting "The Scream"?

5) This crime seems particulary violent and chaotic.  In what ways is this act similar to the painting and different than art in general?

6) If you could have any one painting in your house, which one would it be?

Group of Seven

In the Grade 11/12 class, we discussed the Group of Seven today.  We talked about their members through history, their connection to the Canadian landscape, and how we as Canadians connect to our environment as part of our cultural identity.  We reviewed the steps of a critique and chose a work from the Group of Seven to practise our four important steps of art critique:

- Description
- Analysis
- Interpretation
- Judgement or Evaluation

As a parting note, here is the quote from Lawren Harris that discussed for your thoughts:

“Art is long. Life is short. A picture can become for us a highway between a particular thing and a universal feeling.” 

Featured Artist: Salvador Dali

"The Persistence of Memory"

Salvador Dali (May 11, 1904 - January 23, 1989)

 "Born in Figueres, Spain in 1904, Salvador Dali is known for his technical skill as a painter and the shocking quality of his imagination. His pioneering spirit was also accompanied by a reverence of tradition and a will for continuity. Dali consistently depicted the landscape of his homeland, one that became synonymous with the landscape of the imagination and of dreams. He forged in his long career a remarkable body of work, and his life demonstrates the richness of living creatively in every aspect of one's existence.

Salvador Dali was the only surviving male child of a prosperous Catalan family that divided its time between Figueres and the coastal village of Cadaqués. Dali attended a prominent art academy in Madrid. From his earliest years as an artist he exhibited his work widely, lectured, and wrote. In 1929 he joined the Surrealist movement becoming its most visible and controversial member. That year, Dali met Gala Eluard when she visited him with her husband, poet Paul Eluard. Subsequently, Gala became Dali's wife, his muse, primary model, and life-long obsession.

 Dali broke with the Surrealist movement in 1939. He and Gala fled Europe in 1940 and spent the war years in the United States where he revised his strategy toward art, rejecting modernism and connecting with other traditions of art. In 1947 Dali and Gala returned to Spain and thereafter divided their time between Europe and the United States. In 1974, Dali organized a museum of his own collection of art, the Teatro-Museo Dali in Figueres. After the death of Gala in 1982, Dali's health declined. His final years were spent in seclusion at his museum. Salvador Dali died on January 23, 1989 in the place of his birth."

- Source: http://thedali.org/about_the_museum/about_dali.php

Snow Day Thoughts!

Just because it's a snow day, doesn't mean we can't still be thinking just a little bit about the Visual Arts.  I wanted to share a few things with you.

Years ago I toured through Italy.  When visiting the many different museums, churches, and galleries I was fortunate to see a great many beautiful pieces of art, masterpieces of human achievement.  Michelangelo's work figured prominently in this tour.  His sculptures and frescoes were so intricate.  The tour guide explained one thing to the group that stuck with me.  She said that Michelangelo would receive large pieces of marble and it was his thought as a sculptor that the statue he hoped to create was already in the marble, he just needed to chip away the pieces to reveal it.  I thought that was such a unique and simple view of his work, and I marveled at the juxtaposition between the complexity of his final product and the simplicity of his approach.  Now I can't say for sure whether or not Michelangelo ever said that, but as we prepare to move into our sculpting unit, it might be worthwhile to keep that story in our minds.

Here is an interesting article about some new research regarding the Carrara marble that Michelangelo used to create "David", arguably his most famous piece:
Michelangelo's Flawed Marble

Enjoy your snow day folks!

Grade 9 contour line exemplar

Note that only the contour lines of the boot are drawn.  No strong shading effect is incorporated.  To quote Wikipedia, "Contour drawing is an artistic technique used in the field of Art in which the artist sketches the contour of a subject by drawing lines the result in a drawing that is essentially an outline.

Are You an Artist?

Written by Eolake Stobblehouse:

You, an artist?

In many cultures on Earth it is not very popular to speak well or even think well about oneself.  This fact is a great evil, since all your abilities come, of course, from yourself, and when you think less of them, you reduce them down and limit them.

And since, unfortunately, the creation of art is seen upon as a rare and special ability, instead of an ability native to us all, calling oneself an Artist is often seen as a big and improper self-compliment. Something one must not do.

Add to this that since art is so valuable, the vicious or simply small-minded of our population have a great tendency to cut down artists and art in whatever ways they can (of which many are disguised as help), it is seen as a thing to be proven strongly that you should be able to call yourself an artist.

We seriously need to change this.

Let me define it:

If you have ever attempted to create art, no matter successfully or not, and if you would like to continue to do so, if you have an urge to create art, you are an artist.

No ifs, ands, or buts about it.

Critique

What is a critique?

A critique is an oral or written discussion strategy used to analyze, describe, and interpret works of art. Critiques help students hone their persuasive oral and writing, information-gathering, and justification skills.

Below is a sample set of focus questions for an art critique related to four major areas of art criticism: description, analysis, interpretation, judgment. (The number of questions and aspects of specificity will vary according to the art form and number of works in the critique).

Description

Describe the work without using value words such as "beautiful" or "ugly":

• What is the written description on the label or in the program about the work?
• What is the title and who is (are) the artist(s)?
• When and where was the work created?
• Describe the elements of the work (i.e., line movement, light, space).
• Describe the technical qualities of the work (i.e., tools, materials, instruments).
• Describe the subject matter. What is it all about? Are there recognizable images?

Analysis

Describe how the work is organized as a complete composition:

• How is the work constructed or planned (i.e., acts, movements, lines)?
• Identify some of the similarities throughout the work (i.e., repetition of lines, two songs in each act).
• Identify some of the points of emphasis in the work (i.e., specific scene, figure, movement).
• If the work has subjects or characters, what are the relationships between or among them?

Interpretation

Describe how the work makes you think or feel:

• Describe the expressive qualities you find in the work. What expressive language would you use to describe the qualities (i.e., tragic, ugly, funny)?
• Does the work remind you of other things you have experienced (i.e., analogy or metaphor)?
• How does the work relate to other ideas or events in the world and/or in your other studies?

Judgment or Evaluation

Present your opinion of the work's success or failure:

• What qualities of the work make you feel it is a success or failure?
• Compare it with similar works that you think are good or bad.
• What criteria can you list to help others judge this work?
• How original is the work? Why do you feel this work is original or not original?

* Adapted from http://artsedge.kennedy-center.org/educators/how-to/tipsheets/student-critique.aspx

The Creative Process!!!

The following is an excerpt from the Ontario curriculum document regarding the Creative Process in the Visual Arts:


THE CREATIVE PROCESS
Students are expected to learn and use the creative process to help them acquire and
apply knowledge and skills in the arts. Use of the creative process is to be integrated
with use of the critical analysis process (described on pages 17–22) in all facets of the
arts curriculum as students work to achieve the expectations in the three strands.
Creativity involves the invention and the assimilation of new thinking and its integration
with existing knowledge. Creativity is an essential aspect of innovation. Sometimes the
creative process is more about asking the right questions than it is about finding the
right answer. It is paradoxical in that it involves both spontaneity and deliberate,
focused effort. Creativity does not occur in a vacuum. Art making is a process requiring
both creativity and skill, and it can be cultivated by establishing conditions that encourage
and promote its development. Teachers need to be aware that the atmosphere they create
for learning affects the nature of the learning itself. A setting that is conducive to creativity
is one in which students are not afraid to suggest alternative ideas and take risks.

The creative process comprises several stages:
• challenging and inspiring
• imagining and generating
• planning and focusing
• exploring and experimenting
• producing preliminary work  
• revising and refining
• presenting and performing
• reflecting and evaluating

The creative process in the arts is intended to be followed in a flexible, fluid, and cyclical
manner. As students and teachers become increasingly familiar with the creative process,
they are able to move deliberately and consciously between the stages and to vary the
order of stages as appropriate. For example, students may benefit from exploring and
experimenting before planning and focusing; or in some instances, the process may
begin with reflecting. Feedback and reflection take place throughout the process.

AWM4M Course Outline

Visual Arts, Portfolio, AWM4M The development of sound learning skills is essential to the success of our students.  Teachers and students will work together to understand and further the development of student learning skills in the areas of initiative, work habits, organization, team work, and independent work. Portfolio preparation emphasizes individual development in drawing, painting and three dimensional artworks and is intended for students pursuing Fine Arts after high school. Students are encouraged to make decisions regarding their immediate artwork as well as their career goals. The creation of a portfolio with both in-depth thematic exploration as well as varied handling of media is a requirement. The development of a sketch book and the completion of ten major works are integral. A properly documented portfolio presentation and written critique will be an integral part of basis of a summative evaluation. Students applying to post-secondary programs will follow portfolio guidelines as set out by each institution to which they apply. A combination of evaluation techniques will be used:  conferencing and informal verbal feedback, formative and summative assessment with numerical grades/levels based on student progress, including studio and written assignments, quizzes and tests, as well as self, peer, and teacher evaluation. Formative evaluation will make up 70 % of the final mark. Summative evaluation will make up 30 % of the final mark. The marks will be weighted according to the following: Knowledge and Understanding 20% Thinking and Inquiry 20% Communication 20% Application 40% The summative project is administered towards the end of the course.  It takes the form of a specific performance task studio project with written research and support materials. Note: Mastery of craftsmanship and sensitivity to the material is a large component of this course, however, image building and awareness in relationship to the chosen media is also stressed through intensive research, brainstorming and creative problem solving. Students will be expected to build on past experiences in creation/application skills. Marks reflect the student’s effective use of all preparation time, the effort and skill demonstrated. I read a really good example for expectations of a good art portfolio.  I wanted to share it with you: A good portfolio should contain from 12 to 20 works of art. If a student has taken a number of art courses, a variety of media should be represented. Copies of published work are unacceptable. An interpretation of a masterwork could be considered, but paintings and drawings copied from magazines or photographs taken by anyone but the artist are just not done. Originality and creativity cannot be stressed enough. Size of the work is not important, though variety in media is desired. Consider including something less than perfect if the student has stretched and shown imagination. The following are the three important skills to include in a portfolio: 1. Drawing: a portfolio should have good examples of drawing in a variety of media such as pastels, colored pencil, magic marker, ink, charcoal, and conte crayon. A sketchbook could be included. The best drawings are familiar objects, people, nature, and architecture. 2. Painting: acrylic, oils, pastels, watercolor paintings. Drawings made with colored media could take the place of painting in the portfolio. 3. Design: include a poster, publicity flyer, photographs, or layout to show ability to combine a variety of elements. Include pieces that show you have a grasp on color theory, proportion, linear and atmospheric perspective. Include pieces that presented a challenge to you. Here are some examples(none of these are required, they are just to explain the concept): An overhead view of an open container holding an object of personal importance. An image that conveys a "caged in" feeling. An album cover depicting someone's life. Two unrelated objects juxtaposed in a way that suggests a possible relationship. Two circles, one inside the other. Fill the larger circle with designs that represent classical music and the smaller circle with designs that represent jazz or rock music. A distorted landscape that expresses a human emotion such as anger, sorrow, jealousy or happiness. An object with interesting reflections in it, i.e. chrome hub cap, metallic box, glass bottle. A book cover. An action figure positioned or distorted to fit the shape of a letterform. Source: answers.yahoo.com

AVI4M Course Outline

AVI4M

This course focuses on the refinement of students' skills and knowledge in visual arts. Students will analyze art forms; use theories of art in analyzing and producing art; and increase their understanding of stylistic changes in modern and contemporary Western art, Canadian (including Native Canadian) art, and art forms from various parts of the world. Students will produce a body of work demonstrating a personal approach.


Grade Distribution:
As per ministry requirements the final grade for this course will be broken down as follows:

•  Summative activities conducted throughout the course 70%
•  Final culminating activity 30%

These two areas will be broken down as follows:

• Knowledge/Understanding 20%
• Thinking/Inquiry  20%
• Communication 20%
• Application 40%

Students will also be assessed as per ministry requirements on learning skills, which include independent work, teamwork, organization, work habits/homework and initiative.  These skills will be assessed separately based on the expectations outlined on the performance wall rubric.

The course will use technology in two primary ways.  It will be used as a tool for teaching art history.  The students will also be able to optionally use technology as an artistic tool of self-expression.

Assessment and Evaluation
All work submitted in this course will be assessed and evaluated using the standards set by the Ontario Ministry of Education.

Provincial Standards of Achievement Chart:
- Summative assessments form the basis of your mid-term mark and 70% of your
final mark.
- Only those summative tasks which have been successfully completed will be included in the calculation
- Summative tasks submitted after their assigned deadline WILL NOT be included in the calculation
UNLESS PRIOR CONSULTATION WITH THE TEACHER HAS OCCURRED WITH APPROVAL
- The number of summative assessments included in the calculation will determine the maximum level of achievement
Formative Assessment: Within each unit students will be assigned a number of tasks where they will receive direct feedback on their progress and learning.  These tasks and the resulting feedback are designed to improve student learning and to provide a foundation for the successful completion of the summative tasks assigned in each unit.
Summative Assessment: Within each unit there will be at least one summative assessment task that incorporates the knowledge and skills learned throughout the unit. These summative assessments form the basis of your mid-term mark and 70% of the final mark.   Summative tasks are evaluated using one or more of the achievement chart categories.

UNITS OF STUDY

Unit 1: Drawing
- Review of Creative Process
- Reinforcement of drawing techniques:  e.g. value, perspective, line, balance
Assignments Include:

• Two major drawings (one black & white, one colour) with encouragement to experiment with different drawing materials, such as  pencil crayons, drawing pencils, conte, charcoal, soft and oil pastel, etc. An emphasis is paced on instructor guidance, submission and resubmission in order to achieve exemplary work.

Unit 2:  Painting
Assignment:

• Study of Acrylic or tempera on canvas or MDF board

Unit 3:  Printmaking
- Review of the printmaking design process
- Review on carving tool and Dremel tool use
- Review of Printing Press use
Assignment:

• Optional Linocut or Woodcut Print, maximum size for press

Unit 4 Sculpture

- Design Process
-Review steps of Creative Process

Assignment:

• Self-Hardening Clay Sculpture (with tempera paint cover)

Unit 5: ISU (final summative 30 % of total mark)
The format for submission is the same in Grade 12  as it was in Grade 11, but with the exception that the focus for Grade 12 is to create a work that is highly personal.  An example might be to represent a part of your interests or history in the piece.

During the ISU process, there are multiple items that need to be handed in, both over the course of the project, and on the final deadline (which for this year will be in the beginning of June.)  These are the items required for a Visual Arts ISU:

Over the course of the project: 

1. ISU Concepts: This, as the title suggests, is a listing of concepts. Its purpose is to quickly sum up a list of possible ISU topics, and for grade 11, a minimum of five different topics are required. Thumbnails (small sketches) are highly recommended. (Meeting with the teacher will be ten times smoother with thumbnails.)

Teacher: “Begin by thinking of 5-7 ideas / concepts you’d like to explore for you ISU. Conduct research on each of these concepts, with a particular focus on artists who have done similar work before. Also begin thinking about how to “personalize” these concepts, so that they are meaningful to you. You will meet with the teacher to discuss your ideas, so be prepared to show thumbnail sketches and research images. It is important that you be able to justify why you want to do something, and how the work will be meaningful and original.”

2. Proposal: After a topic is chosen from the ISU Concepts, students are expected to expand on the topic. Though you may think “Oh, it’s only a proposal,” it’s a very important part of the ISU (and worth quite a bit of your final mark), so make sure to spend some good time on it. The Proposal must be written according to the following guidelines:

A. Concept1. Rationale: What do you want to do for your ISU and why do you feel this is an important and worthwhile task to take on? What will this piece of work “add” to your portfolio?
2. Theme: What are some possible subjects/themes/concepts that you wish to address in your series of work? How did these subjects/themes/concepts come up in your “brainstorming” session? Which questions prompted you to come up with your idea?
3. Subject Matter: Explain how you will explore your subject/theme/concept in your series of work. What is the artistic problem/concerns you wish to address (content: ideas related to theme, sub-topics, different ways it can be explored. stylistic: elements/principles, composition, approaches [controlled vs. painterly, etc], and artists or artistic movements that will serve as inspiration. technical: media and techniques)

B. Media/Materials/Dimensions: What is the media (area of traditional or non-traditional arts) that you would like to work in? What are the materials that you require? Where can these materials be accessed and what are any additional costs required? What are the dimensions of your piece?

C. Timeline: How long will the work take to complete? When are your projected completion dates? Include a calendar outlining your specific daily goals.

D. Research/Mentor:
Research: Include images with names of artists/explanations of work that you may use as inspiration. You must cite all sources, so include a bibliography.
Mentor: Who can serve as a mentor to you during this process?

E. Thumbnails: Include at least 10 thumbnail sketches to illustrate your ideas.

3. ISU Process Check: This is the Visual Art’s equivalent of a Mid Point Proposal.   Essentially it’s a short meeting with the teacher in the middle of the ISU timeline. The teacher will record what’s been done (or what hasn’t been done), give suggestions, and either tell you that “You’re too slow, you need learn to work faster,” or “This is good, you’re making progress. Keep it up.” Obviously, the latter feedback is preferable.

Teacher: “The unit will be marked in its preparatory stages as well as when the work the work is completed. If the work is being carried out in a way that cannot be evaluated, you must give detailed sketches and notes regarding its process. Select materials to suit style, technique and budget. Have all materials ready for use, work should not be delayed because of unavailable materials.”

On the final deadline:
*The funky thing with Visual Arts is that there’s no single final deadline. Each of the final deadline items have individual deadlines, which is nice because it helps you organize and see when each item is priority. 

4. Final Product: This is the most important part of the ISU: the end product, the thing that’s been made as a result of the ISU learning process. The form of the final product will depend on the ISU topic.

5. Process Binder: The process binder is a comprehesive booklet of the ISU, summarizing the step-by-step process culminating to the final product. It usually includes the following, give or take a few headings: Concept (as seen in the ISU Proposal), Inspiration, Resources/Mentors, Thumbnails, Materials/Scale, Process, Final Product, Conclusion, and Works Cited. Sometimes creating the process binder can be as challenging as the actual ISU; it’s not something to be ignored until the last minute. 

6. Formal Presentation: This is a 10-15 minute presentation, made in front of the teacher and class.  The Visual Arts Formal Presentation is  an overview of the ISU.

AVI3M Course Outline

Visual Arts, Grade 11, University College (AVI3M)

This course provides students with opportunities to further develop their skills and knowledge in visual arts. Students will explore art works that explore a wide range of subject matter, and will evaluate art works, providing grounds for their aesthetic judgments.  They will also examine historical and cultural contexts of Western art (including Canadian art) and art from various world cultures to support their study of specific media.


Grade Distribution:
As per ministry requirements the final grade for this course will be broken down as follows:

•  Summative activities conducted throughout the course 70%
•  Final culminating activity 30%

These two areas will be broken down as follows:

• Knowledge/Understanding 20%
• Thinking/Inquiry  20%
• Communication 20%
• Application 40%

Students will also be assessed as per ministry requirements on learning skills, which include independent work, teamwork, organization, work habits/homework and initiative.  These skills will be assessed separately based on the expectations outlined on the performance wall rubric.

The course will use technology in two primary ways.  It will be used as a tool for teaching art history.  The students will also be able to optionally use technology as an artistic tool of self-expression.

Assessment and Evaluation
All work submitted in this course will be assessed and evaluated using the standards set by the Ontario Ministry of Education.

Provincial Standards of Achievement Chart:
- Summative assessments form the basis of your mid-term mark and 70% of your
final mark.
- Only those summative tasks which have been successfully completed will be included in the calculation
- Summative tasks submitted after their assigned deadline WILL NOT be included in the calculation
UNLESS PRIOR CONSULTATION WITH THE TEACHER HAS OCCURRED WITH APPROVAL
- The number of summative assessments included in the calculation will determine the maximum level of achievement
Formative Assessment: Within each unit students will be assigned a number of tasks where they will receive direct feedback on their progress and learning.  These tasks and the resulting feedback are designed to improve student learning and to provide a foundation for the successful completion of the summative tasks assigned in each unit.
Summative Assessment: Within each unit there will be at least one summative assessment task that incorporates the knowledge and skills learned throughout the unit. These summative assessments form the basis of your mid-term mark and 70% of the final mark.   Summative tasks are evaluated using one or more of the achievement chart categories.

UNITS OF STUDY

Unit 1: Drawing
- Elements and Principles of Art Review
- Reinforcement of drawing techniques:  e.g. value, perspective, line, balance
Assignments Include:

• Two major drawings with encouragement to experiment with different drawing materials, such as  conte, charcoal, soft and oil pastel, etc.
• Negative Scratch Board (with emphasis on use of positive and negative space)

Unit 2:  Painting
Assignment:

• Study of Acrylic on Canvas
• Mixed-media Creation

Unit 3:  Printmaking
- Review of the printmaking design process
- Instruction on carving tool and Dremel tool use
- Review of Printing Press use
Assignment:

• Woodcut Print

Unit 4 Sculpture

- Design Process
-Review steps of Creative Process

Assignment:

• Self-Hardening Clay Sculpture (with tempera paint cover)

Unit 5: ISU (final summative 30 % of total mark)

During the ISU process, there are multiple items that need to be handed in, both over the course of the project, and on the final deadline (which for this year will be in the beginning of June.)  These are the items required for a Visual Arts ISU:

Over the course of the project: 

1. ISU Concepts: This, as the title suggests, is a listing of concepts. Its purpose is to quickly sum up a list of possible ISU topics, and for grade 11, a minimum of five different topics are required. Thumbnails (small sketches) are highly recommended. (Meeting with the teacher will be ten times smoother with thumbnails.)

Teacher: “Begin by thinking of 5-7 ideas / concepts you’d like to explore for you ISU. Conduct research on each of these concepts, with a particular focus on artists who have done similar work before. Also begin thinking about how to “personalize” these concepts, so that they are meaningful to you. You will meet with the teacher to discuss your ideas, so be prepared to show thumbnail sketches and research images. It is important that you be able to justify why you want to do something, and how the work will be meaningful and original.”

2. Proposal: After a topic is chosen from the ISU Concepts, students are expected to expand on the topic. Though you may think “Oh, it’s only a proposal,” it’s a very important part of the ISU (and worth quite a bit of your final mark), so make sure to spend some good time on it. The Proposal must be written according to the following guidelines:

A. Concept
1. Rationale: What do you want to do for your ISU and why do you feel this is an important and worthwhile task to take on? What will this piece of work “add” to your portfolio?
2. Theme: What are some possible subjects/themes/concepts that you wish to address in your series of work? How did these subjects/themes/concepts come up in your “brainstorming” session? Which questions prompted you to come up with your idea?
3. Subject Matter: Explain how you will explore your subject/theme/concept in your series of work. What is the artistic problem/concerns you wish to address (content: ideas related to theme, sub-topics, different ways it can be explored. stylistic: elements/principles, composition, approaches [controlled vs. painterly, etc], and artists or artistic movements that will serve as inspiration. technical: media and techniques)

B. Media/Materials/Dimensions: What is the media (area of traditional or non-traditional arts) that you would like to work in? What are the materials that you require? Where can these materials be accessed and what are any additional costs required? What are the dimensions of your piece?

C. Timeline: How long will the work take to complete? When are your projected completion dates? Include a calendar outlining your specific daily goals.

D. Research/Mentor:
Research: Include images with names of artists/explanations of work that you may use as inspiration. You must cite all sources, so include a bibliography.
Mentor: Who can serve as a mentor to you during this process?

E. Thumbnails: Include at least 10 thumbnail sketches to illustrate your ideas.

3. ISU Process Check: This is the Visual Art’s equivalent of a Mid Point Proposal.   Essentially it’s a short meeting with the teacher in the middle of the ISU timeline. The teacher will record what’s been done (or what hasn’t been done), give suggestions, and either tell you that “You’re too slow, you need learn to work faster,” or “This is good, you’re making progress. Keep it up.” Obviously, the latter feedback is preferable.

Teacher: “The unit will be marked in its preparatory stages as well as when the work the work is completed. If the work is being carried out in a way that cannot be evaluated, you must give detailed sketches and notes regarding its process. Select materials to suit style, technique and budget. Have all materials ready for use, work should not be delayed because of unavailable materials.”

On the final deadline:
*The funky thing with Visual Arts is that there’s no single final deadline. Each of the final deadline items have individual deadlines, which is nice because it helps you organize and see when each item is priority. 

4. Final Product: This is the most important part of the ISU: the end product, the thing that’s been made as a result of the ISU learning process. The form of the final product will depend on the ISU topic.

5. Process Binder: The process binder is a comprehesive booklet of the ISU, summarizing the step-by-step process culminating to the final product. It usually includes the following, give or take a few headings: Concept (as seen in the ISU Proposal), Inspiration, Resources/Mentors, Thumbnails, Materials/Scale, Process, Final Product, Conclusion, and Works Cited. Sometimes creating the process binder can be as challenging as the actual ISU; it’s not something to be ignored until the last minute. 

6. Formal Presentation: This is a 10-15 minute presentation, made in front of the teacher and class.  The Visual Arts Formal Presentation is  an overview of the ISU.

AVI20 Course Outline

Visual Arts, Grade 10, Open (AVI2O) 

This course emphasizes learning through practice; building on what students know and introducing them to new ideas, materials, and processes for artistic thinking and experimentation.  Student learning will include the refined application of the elements and principles of design, while incorporating the
creative and design processes.  Students will also learn about the connections between works of art and their historical contexts.  Course objectives will be achieved through a comprehensive program.

Grade Distribution:
As per ministry requirements the final grade for this course will be broken down as follows:

•  Summative activities conducted throughout the course 70%
•  Final culminating activity 30%

These two areas will be broken down as follows:

• Knowledge/Understanding 20%
• Thinking/Inquiry  20%
• Communication 20%
• Application 40%

Students will also be assessed as per ministry requirements on learning skills, which include independent work, teamwork, organization, work habits/homework and initiative.  These skills will be assessed separately based on the expectations outlined on the performance wall rubric.

The course will use technology in two primary ways.  It will be used as a tool for teaching art history.  The students will also be able to optionally use technology as an artistic tool of self-expression.

Assessment and Evaluation
All work submitted in this course will be assessed and evaluated using the standards set by the Ontario Ministry of Education.

Provincial Standards of Achievement Chart:
- Summative assessments form the basis of your mid-term mark and 70% of your
final mark.
- Only those summative tasks which have been successfully completed will be included in the calculation
- Summative tasks submitted after their assigned deadline WILL NOT be included in the calculation
UNLESS PRIOR CONSULTATION WITH THE TEACHER HAS OCCURRED WITH APPROVAL
- The number of summative assessments included in the calculation will determine the maximum level of achievement
Formative Assessment: Within each unit students will be assigned a number of tasks where they will receive direct feedback on their progress and learning.  These tasks and the resulting feedback are designed to improve student learning and to provide a foundation for the successful completion of the summative tasks assigned in each unit.
Summative Assessment: Within each unit there will be at least one summative assessment task that incorporates the knowledge and skills learned throughout the unit. These summative assessments form the basis of your mid-term mark and 70% of the final mark.   Summative tasks are evaluated using one or more of the achievement chart categories.

UNITS OF STUDY

Unit 1: Drawing
- Elements and Principles of Art Review
- Reinforcement of drawing techniques:  e.g. value, perspective, line, balance
Assignments Include:

• Major Grid Drawing
• Blues and The Visual Arts
• Hand Drawing

Unit 2:  Painting
Assignments Include:

• Study of Watercolour on Paper (incorporating silhouette)
• Study of Acrylic (including vinyl painting, pointillism painting)
• Study of Tempera (including colour wheel, and colour wheel application) 

Unit 3:  Printmaking
Introduction to linocut printmaking
- Design  Process
- Analysis of historic printmakers

Assignment:

• Linocut Print

Unit 4 Sculpture

- Design Process
Assignment:

• Foam Block Sculpture (with tempera paint cover)

Unit 5: ISU (final summative 30 % of total mark)

For the ISU project you will be assigned a movement, or period, of art history.  The ISU will consist of a two part project.  The first part is a five paragraph essay and the second part is creating a piece of artwork.

Part One - The Essay

In a well-constructed essay that follows the attached rubric, please explain what you have learned about the movement that you were assigned.  This will involve researching the movement, and explaining many factors such as:

• the events or artistic styles that helped bring this movement into being
• the major artists involved 
• the style of the movement
• what types of materials were involved (ie. oil painting, fresco, bronze, etc.)
• and any information you found that you think is worth mentioning in your essay.

As a target audience for your essay, I want you to explain what you have learned as though the person you are addressing is completely new to the art world and your essay will be a concise reference (like a wikipedia entry).  Speaking of wikipedia, it will not suffice to simply cut and paste from internet sources without giving proper citations.  Failure to properly cite constitutes plagiarism, so please avoid this sort of academic dishonesty.  Research your movement and understand it - then convey your understanding in your essay.

Part Two - As the overall goal of this project is to build a timeline on the wall of art history, you will be given a 12" x 12" piece of masonite board that you will use to create an example of art that might have come from the movement you studied.  This project will be marked according to the performance wall system of evaluation.  Be sure not to rush this project, but rather attempt to achieve a high degree of accuracy and relevance to the period that you have been assigned.  You project will hang on the wall in the art room as a reference to future students!

You will be given time in the computer lab to work on your research and essay.  

Essay Rubric:

Course Level/Grade Achievement
Level 4      
80-100%
Very high to outstanding level of achievement. Above provincial standards.

Level 3
70-79%
High level of achievement. At the provincial level.

Level 2
60-69%
Moderate level of achievement. Below, but approaching, the provincial standard

Level 1
50-59%
Passable level of achievement. Below the provincial standard

Below
50%
Insufficient achievement of curriculum expectations. Credit will not be granted.