Elements of Art

Elements Of Art from Slideshare

Welcome to Art 1!

Art1 syllabus-2019 from Kara Smith

Portraiture

http://www.virginie.fr/illustration/mathilde-cretier/images/portfolio-1/#img3199

Self-Reflective Initials

Symbolic self reflective Initial

In this lesson plan, you will design and construct a 3- dimensional letter using one of your initials. The surface will be decorated with descriptive words and images creating a collage that is personally meaningful and unique to the your identity. You can use photos, magazine clippings, drawings and paintings.

Essential Questions:
 1. Who are you? 
 2. How can you express yourself visually and symbolically? 
 3. What do you want people to notice about you?

Steps:
1. In your sketchbook, write a journal entry about yourself that answers the essential questions.


2. Brainstorm and sketch out different things that symbolize who you are.  You can use words and drawings.


3. Go through magazines and find images that represent who you are, cut out and save.


4. Practice different fonts and draw your initial in your sketchbook.


5. Design the shape of a letter on drawing paper using a pencil. The letter should be a minimum of 2- 1/2” thick in all areas, but may be up to 14” x 22” in overall size. Cut the letter out and use it as a pattern to trace onto both chipboard pieces, then cut out.

6. Take one chipboard letter, right- side-up and glue paper cups onto it, staggering them up and down so the cups fit together, see (A). The more cups used, the stronger the letter will be. Allow glue 
to dry until tacky (or longer), then glue the top letter in place, being careful to align it with the bottom letter. Allow to dry completely.

7.     Dampen a sponge and place it onto a plate. Cut paper tape into a variety of lengths. Dampen the adhesive on the tape and press an end on the top side. Smooth gently around and adhere it to the back side. Continue until all surfaces are completely covered with at least two layers of paper tape. Apply the tape as smoothly as possible, avoiding excessive overlapping.


8. As an option, apply two coats of acrylic gesso to make the surface white and help seal any edges. Allow the gesso to dry between coats.


9. Embellish the surface of the letter with descriptive words, images and symbols that are meaningful to the your personal identity.


10. Create an artist statement explaining your piece, what it represents, and what you want the viewer to understand by viewing your piece.  

11. Prepare to read your artist statement and explain your work to the class.           
          

 Some options for surface decoration include:       

1. Drawing: Coating the packing tape with acrylic gesso will create a smooth, white surface for   drawing with colored pencils or markers; see example on page.

2. Collage: Collect photos, magazine cut- outs, colorful paper, tissue and more. Apply them decoupage-style to the surface of the letter. Gesso is not needed as a primer for this technique.

3. 
Painting: Priming the surface with gesso first will make colors brighter and easier to apply. Use acrylic or premium-grade tempera colors to create designs.

Blick Art Video - Creating a 3D letter

Artsonia - Initial Examples

Welcome to Art 1!!!

Art 1 syllabus from Kara Smith

Portraiture - featuring Kehinde Wiley

https://www.youtube.com/watch?v=Soa78qtQcYw

https://www.youtube.com/watch?v=5pwkZh8Ljug

PORTRAITS FOR A NEW CENTURY:

KEHINDE Wiley art lesson

Let's look at contemporary portrait painter Kehinde Wiley. His timely artworks are exciting to students and teachers alike as they confront the social and political issues that dominate many of today’s news cycles.

 

Kehinde Wiley, Barack Obama, 2018

His powerful works are well-known in the art world and gained wider notoriety after being featured on the television series “Empire” in 2015. The recent decision to have Wiley paint Barack Obama’s official presidential portrait has no doubt cemented his popularity for decades to come.

Wiley is best known for painting young black people he encounters and placing them in revamped versions of traditional portraits. The glory, power and prestige once reserved only for white subjects is transferred to modern black men and women wearing everyday clothing. His paintings fuse the past and present in ways that force us to confront our notions of wealth, importance, race, and gender.

At left: Kehinde Wiley, Napoleon Leading the Army over the Alps, 2005; At right: Jacques-Louis David, Napoleon Crossing the Alps, 1801

Wiley’s bold backgrounds often feature flowers and greenery or intricate baroque patterns that clash with the photo-like realism of his subjects. Many of his portraits are larger than life and stand over six feet tall. Looking at Wiley’s portraits, it’s impossible to miss the gaze of his subjects. They make eye contact and hold the viewer in place, towering over and transfixing them until they ponder the decisions the artist made and the meaning he hoped to convey.

"There is a political and racial context behind everything that I do. Not always because I design it that way, or because I want it that way, but rather because it’s just the way people look at the work of an African-American artist in this country."
-Kehinde Wiley

Race is an inescapable element of Wiley’s work. We experience it in light of the culture that surrounds us. We connect the meaning of the art to his race and the race of his subjects. How would our perspective change if he or the people in his paintings were another race? Regardless of Wiley’s intentions, his work speaks volumes about us and our society. This topic alone can provoke hours of conversation.

KEHINDE WILEY ART LESSON

Comparing Mary, Comforter of the Afflicted I, 2016, with the original

In the artwork above, Wiley uses religious iconography and modifies it to fit today. He replaced Mary, a symbol of comfort, protection, and virtue in Christianity, with a black man holding a child. How do you explain the juxtaposition of these artworks?

DISCUSSION QUESTIONS

·         What’s going on here? What do you see that makes you say that?

·         Who is this man? What is he doing?

·         Explain the expression on his face. What do you think he is thinking?

·         What symbols do you notice in this artwork? (Note the Illuminati eye, shackles, blindfold, and the feather headdress.) What could these things symbolize?

·         What does afflicted mean? How do you see “Afflicted” in this artwork?

·         Examine each character in the artwork (or use one of the activities below). Who are they? What do they think/feel?

Lighting

Lighting -

LIGHTING CAN MAKE OR BREAK THE QUALITY AND MOOD OF YOUR PHOTOGRAPH.  SEE THE PRESENTATION BELOW FOR TIPS, DIRECTIONS AND DUE DATES ON YOUR NEXT WEEKLY PHOTO ASSIGNMENT. 

GOOD LUCK!