Unit One: From Source to Expression

Educating students to see critically and think creatively is an important aspect of the visual art curriculum. Just as teachers provide experiences to empower students through written and spoken language, so teachers should provide students with experiences to help them interpret visual information and express themselves using the language of visual art. Students should be encouraged to observe details in their surroundings, to explore the relationships between objects and their environment, and to search for meaning in visual images.

Mini-unit 1: Observation

This mini-unit is based on the idea that students and artists can get ideas from things they see around them.

Suggested Activities	Possible Resources
Sample Theme: The Natural Environment -- Body Proportion The students will: purposefully use the elements of art and the principles of design in their own work begin to understand the use of the principles of design in the work of others and increase the ways they use the principles of design in their visual art experiences begin to challenge themselves to take risks and develop an awareness of problem-solving as basic and essential to the creative process.	Note: Most resources listed in this column appear in Arts Education: A Bibliography for Grades 6 to 8, 1994. Citations appear in full in the bibliography, alphabetized by title.
Find examples of different sizes and shapes of the human body; for example, a baby, toddler, bodybuilder, etc.	Magazines, art work, media, etc.
Study the principles of proportion/scale as they relate to the human body. Make a portrait of a friend using these principles as guidelines.	Art books with information on proportion and scale
Look at how artists have changed the proportions to achieve different expressive qualities. Examples include the following: J. Fafard -- larger head than normal, D. Hall -- elongated shadow, P. Mondrian -- elongated heads and necks, etc. Have students use the previous portrait as a starting point, and then exaggerate and distort it to achieve an expressive quality. This could be done by drawing or sculpting larger hands, feet, eyes, etc., or eliminating some segments altogether. Discuss the expressive qualities of colours and use a colour scheme which will enhance the exaggerated or distorted image. Perception The students will: apply their understanding of the elements of art and the principles of design when discussing, analysing, developing and reflecting on visual art works discover a variety of sources of inspiration in visual art continue to hone skills of observation and image-making in order to become more aware of the detailed information and stimuli in the environment.	Saskatchewan Art Works slides #57, 59 Artists At Work, I Don't Have to Work That Big (video, MHP )
Have students examine in detail hands and feet by doing contour drawings. Bring reflective objects to the class, such as mirrors, Christmas tree ornaments, etc. Have students hold the mirror, ornament, etc. in one hand and do a large study of the hand and the reflected image. Distortion should be encouraged in the reflected image.	Refer to M. C. Escher's work for examples
Design exercises which will encourage students to look at the body from different points-of-view from those they normally see (three-quarter view, back view, worms-eye-view, etc.). In this way, foreshortening can be introduced and students will be challenged to really look at what they are depicting.	Art books and works which have examples of artists using foreshortening Reference books on drawing technique
Study how our perceptions change as we change points-of-view. Look at artists' works which have different points-of-view; for example, A. Herivel, B. Anderson and M. Lanoo. Why did the artist choose this point-of-view? Design an art work from a different point-of- view, such as a worm's view or bird's-eye view.	Saskatchewan Art Works slides #11, 31, 49, 62
Look for examples of high contrast in the media. Why is it used so often? Make studies of the head using a great deal of contrast (strong light from one side in a darkened room). These studies will help the students to see shapes and understand that a work of art can look like a person even if an eye is not described or the hair has no texture.	Newspapers and magazine advertisements using high contrast
Teacher Note Remember to incorporate the elements of art and the principles of design into discussion and activities whenever appropriate. Simplicity The students will: develop an understanding of the different concerns and purposes in representational and non- representational art works demonstrate an open-minded approach to diversity of ideas and artistic style, and respect informed opinions that differ from their own demonstrate the ability to suspend judgment and actively participate when viewing art works.
Look at examples of skin, hair, thumbprints, etc. under a microscope. Microscopes can show a whole other world. Have students draw large charcoal/pastel drawings of microscopic images. Understand that not all art works need to have a focal point and that in abstract art artists often use certain elements or qualities from real objects to express an idea or feeling without concern for maintaning a likeness to the actual object. Teachers may want to make connections to "fractals". Discuss how unity can be achieved through simplicity. Find examples of abstract and representational art which students can discuss in relation to their own works.	Reproductions of art works which are abstract or simplified Books with information on fractals, such as Fractals: The Patterns of Chaos by J. Briggs
Have students study body movement by doing gesture drawings. Go to the gym to observe a class. Do a number of gesture drawings. Vary the time spent on each drawing from 10 seconds to two minutes. Go back to class and have students change the organic/spontaneous lines into geometric/rigid forms. Compare and contrast the two figures. What music would suggest the movement of the two figures?	Reference books on drawing technique
Observe examples of artists using a few lines to suggest motion; for example, G. McMaster, Picasso, Tintoretto, L. Johnson, C. Schultz, etc. Use wire to make sculptural lines in space which suggest motion. Have students attach their sculpture to a base.	Saskatchewan Art Works slide #65 Reproductions of art works where a few lines suggest motion
The Unusual The students will: develop co-ordination and skills for using appropriate tools, technology, materials and techniques demonstrate the ability to research materials independently to increase their understanding of visual art increase their understanding of the contributions of various artists, past and present, to the field of visual art understand and use various aspects of the creative process when developing works of art (choosing an idea or topic, brainstorming, identifying focus, adapting, reflecting, refining) investigate how visual artists use symbol and other means to convey meaning.
Bring old bed sheets or tablecloths which a couple of students could drape over their bodies. Ask the students to draw the draped shapes in a variety of poses. Look for examples of simplified form such as Henry Moore's or John Nugent's sculptures, and discuss the similarities between the students' and the artists' work. If a skeleton is available, draw the skull and individual bones or draw the entire skeleton. Try a wet-on-wet technique of paint or ink applied to wet paper to add to the mystery of the skeleton drawing. Observe the negative spaces or shapes made by the bones and use them to aid in the drawing of the overlapping areas.	Sculpture: A Resource Kit for Teachers (kit) by Gallery of Ontario Sculpture by A. Peklarik Saskatchewan Art Works slide #68
Observe examples of artists using the skeleton in art works, such as videos, tapes, posters, prints, etc. The works tend to be morbid, frightening and often bizarre. The bizarre has been used by artists for centuries. Research artists from the past who use this in their works. Use the skeleton image to design a bizarre image.	Reproductions of art works with skeleton images
Discuss how many drawing methods (exaggeration, distortion, colour, unusual point-of-view, contrast, simplicity and the bizarre) are used in film to create a mood. View the introduction to a bizarre film such as The Adams Family, Frankenstein, etc. and look for examples of these techniques in the filming, special effects, make-up, costuming, etc.	Excerpts from a horror or suspense film
Discuss other techniques that are used in film to create illusions; for example, stopping the camera and removing the character from the scene for vanishing, or stopping the camera on one object and starting again on another for the illusion of transformation. Double exposure is used for ghostly appearances or slow motion for the feeling of a dream. Research the life of George Méliès, a magician who became the first person to make monster and horror movies. Is there a connection between magic and film? Work in groups to develop ideas, plan and film a video using some of these techniques.	Books on films and film- making Movie Magic (video)

Unit One Continues