Artist | Teacher |Researcher
Curriculum Plan
Unit of Learning 1
Week 1 + week 2 - Research
Week 1 + week 2 - Research
Week 1 to 2- Research : Students will take into account the artwork of artists like "Vincent Van Gogh" and Maurits Cornelis Escher. Betty Miller and John Singer Sargent used sketches of hands, feet, and a reclining figure to describe their observational drawing technique and identify the features of their works.
Use lines or forms in accordance with the objectives of the filled-in sections to hone their drawing skills. Make a tone of attention exercises with different drawing tools, such pencils and pens, markers etc..
Think about reference artists that are able to capture a model live drawing and understand the subject matter. Observing student’s confidence rise as their sketching skills notably improve is an experience.
Create numerous sketches using their hands as a guide, utilizing their imagination to add mood and background atmosphere.
Analyze and evaluate their work and understand the concepts underlying the contour sketching of observing hands.
3+4- Exploration and Concept Development
3+4- Exploration and Concept Development
From week 3+4- Exploration and Concept Development: Students will benefit from the contour drawing approach, in which the artist uses lines to create a drawing that is simply an outline in order to sketch the subject's style.
The subject's outlined shape is the main focus, not the small details, instead, emphasize the subject's mass and volume.
Train your hand to mimic the movement of your eye and draw a line that is genuine and accurate to what you are truly seeing.
Continuous line drawing: enable students the right method become more forceful and conscious of the visible appearance of what we are drawing, which will help them transcend stereotyped ways of perceiving and drawing.
Practice drawing while keeping an eye on their speed and reminding them to go slowly so they can capture every portion of the contour (edge) line.
Permit a few false beginnings and encourage multiple attempts on every piece of paper. To choose the finest practice to develop, encourage numerous
5+6+7+8- Create Design
9+10- Evaluation- Exhibition
From week 5+6+7+8- Create Design -9+10- Evaluation- Exhibition: Students will create hand motions that communicate both your emotions and ideas at once.
Incorporate imaginative touches into the backgrounds and give their observational drawings a distinctive look.
observing students' confidence increase as their artistic skills notably improve. The final outcomes are always a potent evidence to learning. The Goals include practicing hand-eye coordination, sketching just from observation, and letting go of preconceived ideas about the subject. By using this technique, pupils will enhance their drawing skills and avoid the frustration of not understanding how to draw better by learning to draw blind contours​​
We proceed to our final paper after practicing. It is most comfortable for students to outline their hand movements in Sharpie after initially sketching them in pencil (contour style, ).
At this time, students have spent the entire class period and a half staring at their hands. They will be urged to attempt a challenging hand gesture, it might go out better than they anticipated. Asking more experienced pupils to hold something in their hand and include it in their picture is a great approach to push them.
They arrange their creations on a second piece of paper after cutting out the five (or more) hand movements they are satisfied with.
We finally move on to contour drawing. Students will still rely on drawing while studying the subject, but they will check their work more frequently—perhaps 80% of the time. Pupils will attempt to take up their pen to record their fingers and lines, keep reminding students that it is only one continuous line that records the hand's outside borders
Unit of Learning 2
Week 1 + week 2 - Research
Week 1 + week 2 - Research
GARGOYLES AT CASTLE CARY
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From week 1 to 2 : The context of unsetting as an alternative to MOUSTACHIOED GARGOYLES Status and "still life” with clay sculpture will be introduced to the students.
We will look at the artwork of Ronit Baranga, Dorina Zieske, These little ceramic objects depict everyday cutlery, plates, bowls, teacups, cupcakes, and pies, but they are covered in mouths and anthropomorphized with fingers gripping what would otherwise be a typical object shape. It will feature examples of sculpture from the modern era.
By analyzing Dorina Zieske's theory, students will investigate "ronit Baranga's method" and attempt to duplicate her concept of facial feature sculpture.
Use lines or forms in accordance with the objectives of the filled-in areas to hone your drawing skills. Make a tone of attention exercises with different drawing tools, such pencils and pens.
Examine the creations of reference artists who understand the subject and capture the process of creating a sculpture.
Create a final series of drawings based on reference photos to give the sculpture texture and atmosphere.
Analyze and evaluate their creations and get an understanding of the concepts underlying facial feature slab sculpture.
5+6+7+8- Create Design-9+10- Evaluation- Exhibition
3+4- Exploration and Concept Development
3+4- Exploration and Concept Development
3+4- Exploration and Concept Development to 5+6+7+8- Create Design-9+10- Evaluation- Exhibition: In order to attain the ideal size—not too thin or too big—students will experiment with clay by creating as many slabs as they can. When using clay, students will be able to manipulate it effectively to build shapes and achieve the ideal proportions for the selected facial feature. After seeing a demonstration and watching a brief video of an artist's process, students start experimenting with layering clay to create a robust structural sculpture. Students will begin using the thumbnail sketches they have created and refining their compositions. Students will learn more about creating a slab artwork of a facial feature that closely reflects the design they are viewing. Students will be encouraged to stack, overlap, and employ excellent sizes by using more structural strategies.
Step-by-step instructions for creating an eye will be demonstrated to students, which would be an excellent subject matter and allow them to express their creativity. Following the creation of sketches by the students, we construct slabs, and I will use a rolling pin to demonstrate. To cut out flawless slabs, a template will be made out of paper, or an organic shape, you can wing it. We carefully use a wooden skewer to draw out designs. Sometimes pupils use the sharp edge of the needle tool to cut too deeply. In addition to creating the slab, students will be required to construct at least three stacked clay layers, using carved and subtractive patterns and textures.
Unit of Learning 3
Week 1 + week 2 - Research
Week 1 + week 2 - Research
Week 1 + week 2 - Research
From week 1 to 2: This unit will introduce students to the remarkable snowstorm paintings of J.M. William Turner, which will help them grasp the subject matter better. The way that nature and modern technology interact will be analysed, understand, and observed by students.
Students will learn about Turner's signature late-style colour tints and shades, which are created in layers of colour with brushstrokes that give the painting structure.
Turner's reputation as one of the most inventive and technically accomplished painters of the 20th century was reinforced by a renewed understanding of the abstract elements of his late colour compositions.
Students will learn about Turner's use of monochromatic colours, which consist of only a few tones of brown, green, and grey with the same colour tone.
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As a point of reference, students will see a painting of Turner. A focal point is created by the silvery, pale light around the boat, which pulls the observer into the picture. Like the waves, the steamboat's smoke forms abstract shapes as it disperses across the sky.
Students will examine how Turner's compositions tend to become more fluid, implying movement and space, and gain a deeper understanding of some of his paintings that are merely colour notations, with hardly any tint on a white background, like Sunrise, with a Boat Between Headlands, and Northam Castle (all from around 1840–50).
Students will learn how to improve the lighting and atmosphere of their paintings. On watercolour paper, students will try a wide range of techniques for creating a sky with storms using paint.
Students will learn how Turner's goal was to capture the wide variety and range of landscapes, many of which were inspired by his own paintings and watercolours.
Students will find out how Turner, who was raised in the 18th-century academic traditions, pioneered the study of light, colour, and atmosphere.
J. M. W. Turner: Snow- Storm: Steam-Boat off a Harbour's Mouth
3+4- Exploration and Concept Development
3+4- Exploration and Concept Development
3+4- Exploration and Concept Development
From week 3 to 4: To help students better understand the fear and anxiety of losing home or belongings, a presentation of pictures and videos of places around the world that were flooded will be shown to them. This will help them understand how living in a world of uncertainty could impact your mental health.
Address topics related to industry, steam power, railroads, and urbanism.
examining the impact of the elements and the conflict between the forces of nature. Different layers of colour are applied to Turner's tints and tones, and the brushstrokes give the painting texture. There are only a few tones of grey, green and brown are present and the hues are monochrome.
Students will paint the streets of the buildings, depicting how Limerick City would appear flooded during a catastrophic storm. Before beginning their actual architectural painting
Students will photograph the locations of Clancy's Strand and O'Callaghan Strand during this excursion. In order to ensure an effective site visit, students will also be taken to Limerick City to capture street photos.
As they take pictures of the streets and stores, students will be asked to work in groups and consider which buildings would still be remain intact and which would sustain the least amount of damage if the area were to experience a flood completely.
Students will be asked to pull out their sketchbooks, choose a street, and sketch the structures in rough form. Filling their sketchbooks with drawings to be worked up later into finished watercolours.
Collaborating and integrating their distinct ideas Students collect as many primary sources as they can. that will be use as a material for creating their final painting
5+6+7+8- Create Design-9+10- Evaluation- Exhibition
5+6+7+8- Create Design-9+10- Evaluation- Exhibition
From week 5+6+7+8- In order to determine the objective for their final project, which will be the final architectural painting, students in this strand will first be shown the success criteria and then collaborate with the class teacher.
•Students will begin assembling by sketching their building on a piece of cardboard about the A3.
•Students using cardboard will measure their building placements carefully because the concept is swamped with water, and it will appear as though the buildings are flooded. In order to give students a sense of how the building would appear when inundated.
•The artwork, "Snow Storm - Steam-Boat off a Harbour's Mouth," by William Turner, will serve as a reference for the students while they work on their painting. It will include atmosphere and a particular colour tone that will convey the mood of the piece.
•Students will convey atmosphere in their paintings by depicting the sky and the building reflecting on the water. In order to challenge themselves, prepare, and evaluate their proficiency in applying water colour, students will work in groups and follow each other's advice while working on their architectural paintings
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students will Take into consideration the crucial components of water that will reflect the buildings as Turner depicted and colours that will create the mood that should be incorporated into their finished painting. Assist the teacher in creating a workshop that will first show the students, step-by-step, how to use your creative abilities to design and draw the best possible building. students will then begin creating their final painting by examining the image from the primary source, drawing the building on their cardboard, adding water colours for the sky (which will be easier to work with), and using watercolour to create the water and ensure that the buildings reflect on it. Once they reach a particular point in the painting process, students will be divided into groups to collaborate, share ideas and advice, and explain their colour choices and atmosphere, which may aid those who are having trouble with their work. Students will practise in a workshop where they will create several small drawings of a sky with various moods and atmospheres. For example, they will illustrate how a rainy sky would appear and how a sunny sky would feel. They will also explain how the weather can alter one's mood and have an impact on one's mental health, either positively or negatively.