Beth Showalter
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GRADE 12 Visual Arts Program Stream (February 2015 to June 2015)

Please note that AVI 4M0 and AWM 4M0 are two different courses that are taught using a similar framework.  The content is different and tailored to each program stream.  There are several common documents which is why both courses are on the same page.  Columns will be used so show where the variations occur, so, please pay attention to the placement of information.  Alright, now that the explanation is over, let's start having fun!

Welcome to AVI 4M0!

Grade 12 Visual Arts, Mixed, focuses on all art forms.  Students are encouraged to continue to build their skills, work with a variety of media, both 2D and 3D, exploring how materials can be used in new ways to create new meaning.  Collaborative, installation-based and community-focused art will be examined as students understanding of the possibilities of art are expanded.

Welcome to AWM 4M0!

Grade 12 Drawing & Painting, Mixed, will focus specifically on how drawing and painting can be interpreted in many new ways.  Students will have the opportunity to examine the traditional methods of these media and continue to build their skills. Students will also examine how drawing and painting can be used in emerging, new ways.
The Grade Twelve program has been designed with several intents in mind.  Students will continue to hone their creative skills as they develop a personal theme that reflects their view of the world.  
  • The first part of the semester will focus on the Creative Process as students work through small projects and continue to develop their technical skills.  Students will explore the Creative Process in depth as they use their sketchbooks as an important analytical, creative, experimental, reflective, historical, cultural and exploratory tool to collect and organize personal information.  
  • Each student will create and develop a personal theme that they will use to develop a body of work (several works of art).  A great deal of this course will focus on independent work, developing works (breaking down the components) and adherence to deadlines.  

At the end of the semester, there will be a Senior Art show where students will install their body of work in a professional manner.   This course will prepare students who decide to apply to post-secondary Fine Art, Design, Illustration, etc destinations.  So,  get ready to explore, take risks, be creative and have fun!  Please refer to my Home page to see the other Common Documents relevant for this class.
fm_-_avi_4m0_-_visual_arts.doc
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fm_-_awm_4m0_-_visual_arts.doc
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The Sketchbook

Your sketchbook is going to be bulging by the end of the semester.  It is where you are going to place and organize your thoughts, experiments, sketches, images, observations, photographs, reflections, etc as you develop your artistic voice.  Everything should be put into your sketchbook.
building_a_sketchbook.doc
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Introductory Unit: The Creative Process

The Creative Process is a formalized method of organizing creative thoughts and the entire journey to creating a work of art.  The beginning of the semester will focus on combining a variety of approaches through the use of creative challenges, revisiting media, introducing various techniques, etc.  
AVI 4M0:
Construction/Hard Hat Project (Mike Holmes Foundation)
The Creative Challenge:  Mike Holmes, an HGTV and local personality, has hosted may programs that feature the trades, construction and high-quality attention to detail.  He is invested in promoting the trades as a viable option for youth.  In June, he will host an event that auctions off hard hats that have been incorporated into artworks.  The Visual Arts department has been given several hats that will be completed by two classes, AVI 3M and 4M.  Ten of these works will be selected for auction.
  • I am Reminded of... create a mind-map of word associations for the project.
  • I am Inspired by...  First - look at your initial word associations and look for themes that emerge, now research (holmes foundation, construction, safety, etc).  Print off pertinent information, image and make sure that you site your sources.  Next - identify and research visual inspirations (artists, design conventions - blue prints, cultures, eras, etc).  Print out images, info and add visual research to your sketchbook.
www.makeitright.ca
  • Now I image this...  Look at what you have assembled in your sketchbook and build on any ideas - work with a peer and share your ideas, you may get more ideas as you talk out your ideas...  Follow-up these ideas in your sketchbook.
  • Let's Focus my Ideas... Begin to design and develop your Design Directions using text and thumbnail drawings to flesh out your ideas.  A minimum of three ideas, please!  You will choose your best idea and present it to the class for feedback - revise if necessary.
  • My Composition looks like this...  Choose your best design direction/thumbnail sketch and enlarge it to full size 9" by 12" by 1.5"
  • I will Experiment with...  This project will be completed using acrylic paint - refer back to your demos and experiments.  Do more if needed to get the effect you want.
  • I will Create my Work...  Do it!
eval_hard_hat.docx
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Unit 2: Clay Leaves
This is a quick, collaborative unit that will lead us into March Break...  The project is going to examine our natural environment and make connections with the various waves of immigration and vibrant diverse cultures that came together to create Canada. 
In Your Sketchbook:
  1. Determine the ecosystem that the Brampton area is in (ex. Carolinian Forest, Plains, Tundra, Boreal Forest, etc.).  Briefly research the identified ecosystem.
  2. Within the above research, pay particular attention to the deciduous trees in this ecosystem.  Identify, get images and put this research (cite sources) in your sketchbook.  You are looking for distinctive silhouettes.
  3. Visually research the First Nations groups who historically and currently inhabit the Brampton area.  Identify the groups and research their visual culture and patterns (Woodland: Huron, Cree, Algonquin, Ojibway, Iroquois, the Neutral, etc).  Put this info in your sketchbook along with citations.  Find out significance of the patterns - everyday, ritualistic, symbolic, etc.
  4. Now, look at your own cultural background.  Visually research patterns and designs, noting where you would find them (see #3), on what surface, in what context, etc.
The Process:
  1. Choose three different leaf silhouettes.
  2. Combine designs from above research #3 and #4.  Keeping in mind to be respectful of ritualistic and religious designs.  (You are making a connection between the people who first came to Canada to this area and your recent ancestors who settled in Brampton.)
  3. Roll out clay slabs using Raku clay - cut out your three designs.
  4. Using low relief, create your designs in the clay slab (additive and reductive processes.).  Make sure that you make each part as perfect as possible before you move on to another part of the design.
Points of Evaluation:
Composition (Design of three Leaves)
Medium (Use of Clay, slab techniques and Low relief)
Time on Task (effective use of time in and out of class)
Attention to Detail (no clay crumbs, effective designs, etc.)
Surface Treatment (glazing, decoration, etc.)

Unit 3: Found Object Work

This unit is going to be developed by the class to determine the subject matter and medium.  To jumpstart this process this is how we are going to proceed...

Your Initial Challenge:
Using the Inspiration Page or other sites that you have seen online, develop a list of sites (images, addresses, personal comments) in your sketchbook of artists, artwork, etc that inspire and compel you.  Bring your top three sites to class tomorrow (Tuesday) to share with the class.  After everyone has presented their inspirations, we will develop the subject matter and project, together as a class.

Common Trends of the Inspirations presented to the class:
  1. use of found objects
  2. reinterpreting objects/concepts
  3. use of juxtaposition

The Refined Challenge:
Each person has received a small yellow bag with objects in it.  The objects were puzzle pieces of various sizes.  Students are to use the concept of puzzles as their initial inspiration for this project.  The actual puzzle pieces can be present in the work or not (real - implied).  

The Process:
  1. In your sketchbook, document 8 to 10 artists, artworks, videos, sites, etcetera.
  2. Choose your top three of the above step to share with the class (1 page for Mrs. Showalter).
  3. Creation of common brainstorming for full class - in sketchbook (see blog)
  4. Refined Challenge - puzzle
  5. Brainstorm in sketchbook.  (define, historical references/eras, personal references, various types, metaphores, etc.)
  6. Look for themes, trends and common ideas.  Research and document this process in sketchbook.
  7. Edit and refine ideas, begin to create thumbnail drawings
  8. Complete finished work
  9. Deadline: Friday April 17th

Points of Evaluation:
Composition (organization of content)
Subject Matter - Puzzle  (sophisticated interpretation of concept)
Medium/Media (appropriate choice(s) to show idea and skill)
Time on Task (effective use of time in and out of class)
Attention to Detail (finishing touches, pride of end result) 

AWM 4M0:
Introductory drawing techniques.
In your Sketchbooks (sample drawing, description of drawing type/style and your personal comments):
  • Friday: Touch Drawing - draw a self-portrait using your hand(s) to determine hard and soft areas of  your anatomical make-up.  You will tone your drawing to show hardness & softness
  • Tuesday: Non-dominate handed drawings - use your other hand to draw/tone in graphite.  Experience how much practice you had to have to learn how to use a drawing implement (hand-eye control)
  • Wednesday: Ink Wash - paint a portrait using a diluted ink wash - build in layers to develop darknesses.  You may need to let the layers dry in between applications
  • Thursday: Cross-Contour Drawings - use any drawing media and draw a still life - you are creating a drawing that describes the topi-graphical information of your subject matter.  Consider your use of line (thick, thin, solid, broken)
  • Friday: Three Mini-Workshops (Watercolour, Graphite and Pen & Ink)
The Pansy Project
The Creative Challenge: This project is inspired by UK artist, Paul Harfleet, who plants a pansy at sites of homophobic abuse.  He then documents the flower in its location and posts it online to raise awareness.  This site-specific work is a peaceful gesture of quiet resistance and a move for acceptance and equality.  Many other people and artists have been inspired by this project and have started planting pansies in honour of people who have experienced homophobic acts of violence in other parts of the world.

Work through the Creative Process steps outlined beside or on the 'Develop' page.

Websites for further inspiration:
www.thepansyproject.com
www.dayofpink.org
www.matthewshepard.org
www.ok2bme.ca
eval_pansy_project.docx
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Unit 2: Portrait Painting
Together, the class is going to paint self-portraits.  Mrs Showalter will model the process and walk everyone through the process.  We are going to use a limited palette of mostly earth tones with Rubine Red (Yellow Ochre, Raw & Burnt Umber, Raw & Burnt Sienna and Titanium White).  
The Process:
  1. Using the above palette, put a undercoat on your canvas board.
  2. With a mirror (no photos!) lightly block in the anchor points of your face on your canvas using white conte (eyes, brows, nose and lips - you don't need anymore!).  Enlarge your face composition; bigger is easier to paint than smaller as you have more room to work.
  3. Using a combination of natural light and artificial, position yourself so that you can see the most volume/shape in your mirror - this will be your painting position from now on.  Everyone is using a mirror and an easel for this painting.
  4. Look in the mirror and start blocking in the highlights - DO NOT MIX A 'SKIN TONE' (it doesn't exist), rather use light values for the highlights.  Once you have blocked in the highlights, begin blocking in the shadows - use dark values.  Don't worry about perfect toning - you are blocking and building a foundation or a map for the painting that will occur over the top of this layer.
  5. Using your blocked highlights and shadows as a guide, begin a more refined layer using transitions and toning to accomplish this.
  6. Lightly block in your hair - don't go crazy!  It has highlights and shadows as well.
  7. Eye brows and lashes as well as other facial hair will be applied towards the end of the painting.
  8. Use finer brushes as you begin to build in the precision details.
  9. Work in small groups to support each other in giving positive feedback, tips, suggestions, etc - sharing your own learning with a classmate and accepting feedback from classmates to improve, strengthen work (alternative viewpoints).
Points of Evaluation:
Composition (use of space, light & shadow)
Portrait (recognizable, proportional anatomy)
Medium (Use of acrylic and limited palette)
Time on Task (effective use of time in and out of class)
Attention to Detail (finishing touches, pride of end result) 
Collaboration (productive working with another colleague to support their work and learning on this project - positive feedback)

Unit 3: Juxtaposition Diptych

You will create a diptych (an artwork composted of 2 elements/parts/pieces) around a juxtaposition concept.

Choose one pair from the following list to develop your subject matter for this project:
  • Night - Day
  • Before - After
  • Inner - Outer
  • Light - Shadow
  • Sick - Healthy
  • Natural - Artificial
  • Real - Unreal

Please Consider:
Please ensure that you move beyond the literal and obvious...  
  • How will you show both concepts?  
  • What medium/media will you choose to use in this work?  Why?
  • What story or narrative will you try to share with the viewer?  How? 

Process:
  1. In your sketchbook, collect at least 3 examples of strong diptychs - write why you feel this, and try to determine the scenario that the artist is sharing.
  2. Choose one of the pairs from above.  Brainstorm in your sketchbook.
  3. Look for themes, trends and interesting ideas personal to you that you want to further explore.  Research and document this process in your sketchbook.
  4. Develop your best ideas and create thumbnail drawings.
  5. Complete your work
  6. Deadline: Friday April 24th


Points of Evaluation:
Subject Matter (exploration of juxtaposition pair)
Composition (organization of images)
Medium (skill of chosen medium/media)
Diptych (creation of 2 pieces that work together to strengthen each other)
Time on Task (use of time in and out of class to meet deadlines)
Attention to Detail (Finishing touches, pride of work)

Common Information for Both Courses

Please find posted below information, reference material, etc for both classes.  Also make sure that information from the Home page in the Common Document area
composing_a_work_of_art.docx
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composition_inspiration_techniques.doc
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questions_to_consider.docx
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Theory Fridays

Developing an awareness of the world in our immediate community to the entire world and everything in between is the goal of Theory Fridays.  Initially, Mrs Showalter will provide the content for Theory Fridays, however, students will submit a variety of selections after the first month.  During this portion of the semester, students will get to choose from a list of approved student-generated list of conversation-starters.  

You are responsible for responding to the content presented and use it to begin a 'conversation' in your sketchbook; fill at least one full page, 9" by 12",  in your sketchbook.  Click on the button for additional information.
Theory Friday

Body of Work

You can start to read the information about creating your body of work.   A couple of words of caution: please don't begin without me.  You can start to experiment in your sketchbook and think about what you would like to do.
our_voice_p1.pptx
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our_voice_part_2.pptx
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Studio 111 Blog
4M Student Sites/Blogs

The Installation

Each student needs to consider how their work is going to be installed at the Senior Art Show.  It is important that you consider how your work will be received by the audience at the show.  This means that you need to consider your theme, how you want/need to extend it to enhance your body of work.  You are creating a 3D space for the audience to experience your work.

Installation Plan:
  1. Write out your theme (update if necessary).
  2. Identify your pieces (medium, size, etc).
  3. Assemble a list of physical needs. (Do you need a wall?  Will you need to suspend your work?  What will you use to install/attach your work to a surface?  Do you need an outlet? Etcetera...)
  4. You will create 2 to 3 ideas for the next point:  How are you going to enhance your theme in how you display your body of work?  What does this look like?  What do you need to get, make, assemble this?  Do you have a specific location in mind?  You will use images/sketches and dot points to illustrate your ideas.


The Senior Art Show

All students will participate in The Senior Art Show which will take place on Thursday June 5th, 2014 from 7:00pm to 9:00pm. 
artist_statement-name_plates.doc
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The Final Evaluation

The process will begin June 6th.

and now it's time to leave the nest...  Keep in Touch and Good Luck!

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