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Lesson Plans


Re: Secondary School Visual Arts Groups

[ Thread ][ Subject ][ Author ][ Date ]
suzette milam (smilam)
Mon, 15 Feb 1999 12:54:40 +0000


Hi H.S.Trenchies,
I'm with Bunki in the success of the magazine picture assignment. I think it
is a great test in mixing ability for the kids in a fun project. Art Sherwyn
gave us that tip at a workshop. You've never seen that many tongues hanging
out in sheer concentration.
Here is my succession of color theory in Art1 basic art:

Color theory notes with watercolor sets and color pencils. The discovery and
note taking process engaged!
I demonstrate on big chart paper what their note page will look like along
with them. We do all the vocabulary and see the magic of color mixing
together. You know, I am always amazed at high school kids reaction to making
a secondary color with watercolor sets. I can't believe it is the first time
they have done it, but it usually is the first time for many kids. (two days)

Color wheels(12 piece) with tertiary too! The tints and tones in concentric
circles.A cut out repeating pattern is traced into each piece (ie.snowflake).
A spot is reserved to place the complement in the design with each piece. The
mechanics of setting the wheels up is something that has taken me a few years
to perfect. Working with a compass in high school is as exciting as mixing
secondary colors for the first time. (two days set up, 7 to 10 days to paint).

I do a 1 day lesson/note taking on subject matter types based on Betty Humes
chart. Only I have a bunch of card size masterpieces on all the tables. Each
kid has a handout with blank boxes for each subject matter type. I show an
example of say, still life on the overhead, define it and then ask students to
find and hold up an example of a still life from the masterpieces on their
table. Then they draw an example on the handout while I draw an example on my
handout on the overhead.

The following day we divide a 20x24 size paper into four sections with a one
inch border. Label under each section: Warm Colors "What are they, John?" Put
them there or you will have a problem later. Then on top right section Cool
Colors (pick on someone again). Bottom left section Complementary and bottom
right Monochromatic. Then make sure they have notes out and you have a
display, have them choose four different subject matter for each painting.
Write it in the border and check for understanding by giving scenarios. "Mike
can I make one painting a cool color landscape and another with a warm color
landscape .... Why? "How about if I use red in this cool color portrait, Meg?
Why not?"

Color test is last. I make a big production by using the word "test". It makes
it all so official. This is the project Bunki was talking about with the
magazine picture. Just make sure you cut out the piece, not the kid, or they
will make it to easy. You can cheat by cutting out differing levels of
difficulty for various abilities. I tell the kids if they complain while I'm
cutting out the piece they will mix and match, I will make it bigger. They are
bursting to yelp a complaint, but twist and wrench in silence as they wait for
you to finish the cuts. Then snatch the piece away and scurry off to the "TEST
OF MIXING".

By then it is the end of the second quarter and I include all the vocabulary
questions in the final along with the element and principle stuff.YAHHHHHHH!

Suzette Milam
Porterville High
Porterville, Ca.

> Let's start with a color theory problem, Intensity! Complementary
> pairs and
> their effect on painting and shading. What do you high school
> teachers do
> with this concept in your classes? If we can give some good lessons
> then we
> all can improve our teaching. How about it?
>
> Ken Schwab
> San Jose CA