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HIGH SCHOOL
VISUAL ARTS
CURRICULUM
GRADES 9-12
Approved by the Board of Education, November 2003
Update approved by the Board of Education, May 7, 2009
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RAPID CITY AREA SCHOOLS
300 6th Street
Rapid City, South Dakota
BOARD OF EDUCATION:
Mrs. Sheryl Kirkeby ..................................................................................................................................... President
Mrs. Leah Lutheran ......................................................................................................................1st Vice President
Mr. Doug Kinniburgh................................................................................................................... 2nd Vice President
Mrs. Daphne Richards-Cook............................................................................................................. Board Member
Mr. Arnie Laubach .............................................................................................................................. Board Member
Mr. Wes Storm .................................................................................................................................... Board Member
Mr. Bret Swanson ............................................................................................................................... Board Member
ADMINISTRATION:
Dr. Peter M. Wharton ................................................................................................. Superintendent of Schools
Dr. James F. Ghents ....................................................... Director of Curriculum, Assessment, Instruction
and Gifted Education Services
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9 - 12 VISUAL ARTS CURRICULUM COMMITTEE – 2009:
Nancy Ashley ............................................................................................................................. Stevens High School
Shelley Byers ............................................................................................................................ Stevens High School
Kristi Damrau ......................................................................................................................... Central High School
Lisa Evans .............................................................................................................................. Stevens High School
Bobbi Greenway ..................................................................................................................... Central High School
Jeff Gulbransen .................................................................................................................... Central High School
Melanie Kelley ........................................................................................................................ Central High School
Ardie Tatum ...................................................................................................... Rapid City Academy, Jefferson
6 - 12 VISUAL ARTS CURRICULUM COMMITTEE – 2003:
Nancy Ashley ............................................................................................................................. Stevens High School
Shelley Byers ............................................................................................................................ Stevens High School
Jeff Gulbransen .................................................................................................................... Central High School
Margaret Becket................................................................................................................. South Middle School
Ingrid Arlton ............................................................................................................... Southwest Middle School
Rui Sukut ............................................................................................................................. Dakota Middle School
9 - 12 VISUAL ARTS COMMUNITY ADVISORY COMMITTEE – 2003:
Tom Hancock
Marilyn Jack
Jeff White Bear Claws
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CONTENTS
Introduction ........................................................................................ 1
Vision ............................................................................................... 2
Benefits ............................................................................................. 2
Philosophy ........................................................................................... 3
National Visual Arts Standards Grades 9-12 .................................................... 4
State Visual Arts Standards Grades 9-12 ....................................................... 7
Elements of Design................................................................................ 10
Principles of Design ............................................................................... 16
Secondary Course Offerings ..................................................................... 19
Scope & Sequence Chart – Art 9 (2-Dimensional) .............................................. 23
Scope & Sequence Chart – Art 9 (3-Dimensional) .............................................. 24
Scope & Sequence Chart – Basic Drawing & Design ............................................. 25
General Art terms .......................................................................... 27
Scope & Sequence Chart – Painting .............................................................. 37
Painting terms ............................................................................... 38
Scope & Sequence Chart – Advanced Art ....................................................... 40
Scope & Sequence Chart – Clay Construction & Design ......................................... 41
Clay Construction Terms .................................................................... 42
Scope & Sequence Chart – Advance Clay Construction ......................................... 44
Scope & Sequence Chart – Crafts ............................................................... 45
Craft Terms ................................................................................. 46
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Scope & Sequence Chart – Native American Arts .............................................. 48
Native American Arts Terms ............................................................... 50
Scope & Sequence Chart – Interior Design...................................................... 52
Interior Design Terms ...................................................................... 54
Scope & Sequence Chart – Commercial Art ..................................................... 60
Commercial Art Terms ..................................................................... 61
Scope & Sequence Chart - Beginning Photography .............................................. 62
Scope & Sequence Chart – Advanced Photography .............................................. 64
Photography Terms .......................................................................... 66
Career Education .................................................................................. 76
Career Listing for Artists .................................................................. 77
Suggested Technology Activities ................................................................. 79
Listing of Web sites to explore and visit ................................................. 80
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INTRODUCTION
The High School Visual Arts Curriculum for the Rapid City Area Schools (RCAS) District is aligned with the South
Dakota Content Standards (SD Department of Education and Cultural Affairs), and the National Standards for
Arts Education (The Consortium of National Arts Education Association).
The arts are an integral part of humanity and provide a way for South Dakota students to better understand the
concept of culture. Culture has been defined as the way groups of people approach the world and organize their
lives. The heart of a culture is the guiding principles and beliefs that people deem to be most important. Since
nomadic peoples first sang and danced for their ancestors, since hunters first painted their quarry on the walls of
caves, since parents first acted out the stories of heroes for their children, the arts have described, defined and
deepened human experiences. All people have an abiding need for meaning; to connect time and space, experience
and event, body and spirit, intellect and emotion. People use the arts to make these connections and to express
their individual experiences and creativity.
An education in the visual arts also enhances student computing skills. The inclusion of technology in the
educational environment is a direct compliment to the visual arts. Technology has the power to teach, to motivate,
to captivate, and to transform an ordinary classroom into a training ground for the next generation of artists,
entrepreneurs and government leaders. Virtually all work created on computers uses visual arts elements and
design elements are part of every document.
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VISION
The continued success of civilization to be both dynamic and nurturing ultimately depends on how well we develop
the capacities of our children to live rich, rewarding, and meaningful lives in a vastly complex world. The vision is to
affirm that a future worth having depends on being able to construct a vital understanding of the arts, and that by
doing so, students will be provided opportunities for personal study and fulfillment of self-potential.
BENEFITS
An education in the visual arts benefits society because students of the arts disciplines gain powerful tools for:
Understanding human experiences, both past and present.
Learning to adapt to and respect others’ (often very different) ways of thinking, working, and expressing
themselves.
Learning artistic modes of problem solving, which bring an array of expressive, analytical, and developmental
tools to every human situation (this is why we speak, for example, of the “art” of teaching or the “art” of
politics.
Understanding the influences of the arts, for example, in their power to create and reflect cultures, in the
impact of design on virtually all we use in daily life, and in the interdependence of work in the arts with the
broader worlds of ideas and action.
Making decisions in situations where there are no standard answers.
Analyzing nonverbal communication and making informed judgments about cultural products and issues.
Communicating their thoughts and feelings in a variety of modes, giving them a vastly more powerful repertoire
of self-expression.
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PHILOSOPHY
The visual arts are that aspect of the art matrix, “the indispensable condition,” that connects our imaginations
visually with our world. Experiencing the creative process, we artists (students) give form to our individual
interpretations of life through:
Elements and principles of design.
Various art media and techniques, and technology.
Production.
Study of art history.
The joy of work.
The arts are integral to daily life. They refresh and invigorate us. They teach us to rigorously apply what we learn
in a “hands-on”, authentic way. In a rural and isolated area like South Dakota, schools are often the only place
where the visual arts and art education are accessible.
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NATIONAL STANDARDS FOR THE VISUAL ARTS GRADES 9-12 1.
CONTENT STANDARD: Understanding and applying media, techniques and processes
ACHIEVEMENT STANDARDS a. Apply media, techniques, and
processes with sufficient skill,
confidence, and sensitivity that their
intentions are carried out in their
artworks.
b. conceive and create works of visual
art that demonstrate an
understanding of how the
communication of their ideas relates
to the media, techniques and
processes they use.
PROFICIENT: Students
ACHIEVEMENT STANDARD, c. communicate ideas regularly at a high
level of effectiveness in at least one
visual arts medium.
d. initiate, define, and solve challenging
visual arts problems independently
using intellectual skills such as
analysis, synthesis, and evaluation.
Advanced
2.
CONTENT STANDARD: Using knowledge of structures and functions
ACHIEVEMENT STANDARDS, a. demonstrate the ability to form and
defend judgments about the
characteristics and structures to
accomplish commercial, personal,
communal, or other purposes of art.
b. evaluate the effectiveness of
artwork in terms of organizational
structures and functions PROFICIENT: Students
c. create artworks that use
organizational principles and
functions to solve specific visual arts
problems
ACHIEVEMENT STANDARD, d. demonstrate the ability to compare
two or more perspectives about the
use of organizational principles and
functions in artwork and to defend
personal evaluations of these
perspectives.
e. create multiple solutions to specific
visual arts problems that
demonstrate competence in
producing effective relationships
between structural choices and
artistic functions.
Advanced
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NATIONAL STANDARDS FOR THE VISUAL ARTS GRADES 9-12 3.
CONTENT STANDARD: Choosing and evaluating a range of subject matter, symbols and ideas.
ACHIEVEMENT STANDARDS a. integrate visual, spatial, and
temporal concepts with content to
communicate intended meaning in
their artworks.
b. use subjects, theme, and symbols
that demonstrate knowledge of
contexts, values, and aesthetics
that communicate intended
meaning in artworks.
FOR STUDENTS:
4.
CONTENT STANDARD: Understanding the visual arts in relation to history and cultures
ACHIEVEMENT STANDARDS a. Know and compare the
characteristics of artworks in
various eras and cultures
b. describe and place a variety of art
objects in historical and cultures. FOR STUDENTS:
c. analyze, describe, and demonstrate
how factors of time and place(such
as climate, resources, ideas and
technology) influence visual
characteristics and give meaning and
value to a work of art.
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NATIONAL STANDARDS FOR THE VISUAL ARTS GRADES 9-12 5.
CONTENT STANDARD: Reflecting upon and assessing the characteristics and merits of their work the
work and others
ACHIEVEMENT STANDARDS
FOR STUDENTS:
a. compare multiple purposes for
creating work of art
b. analyze contemporary and historic
meanings in specific artworks
through cultural and aesthetic
inquiry
c. describe and compare a variety of
individual responses to their own
artworks and to artworks from
various eras and cultures.
6.
CONTENT STANDARD: Making connections between visual arts and disciplines
ACHIEVEMENT STANDARDS a. compare the characteristics of works in
two or more art forms that share
similar subject matter, historical
periods, or cultural context
b. describe ways in which the principles
and subject matter of other
disciplines taught in the school are
interrelated with the visual arts
FOR STUDENTS:
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STATE VISUAL ART STANDARDS GRADES 9-12
STATE VISUAL ART STANDARD ONE:
Students will understand and use visual arts as means for creative self-expression and interpersonal communication.
RATIONALE:
Visual arts production provides a means for creativity and self-expression*. Creating visual art provides a way for
students to actively use traditional materials and contemporary techniques to demonstrate personal interpretations
of feelings, thoughts, and ideas. Integration of visual art with other disciplines helps students see relevance and
connections among all curricular areas and increases their knowledge base, self-esteem, and personal confidence.
9-12 STUDENTS WILL:
1. Communicate personal ideas, experiences, or emotions through a variety of visual art media, processes and
techniques.
2. Analyze how visual arts may express concepts, tell stories, evoke moods or emotions, and symbolize ideas.
3. Create* artwork which communicates an understanding of themes or concepts from other disciplines. STATE VISUAL ART STANDARD TWO:
Students will understand the media, techniques and processes used in the production of visual arts.
RATIONALE:
Understanding various media and a variety of production techniques and processes provides students with knowledge
of how to use a diversity of appropriate elements and principles to solve visual arts problems. This knowledge base
provides students the background to effectively interpret and portray emotions and ideas. A well-rounded
understanding of its many components builds a foundation for life-long engagement in and enjoyment of visual arts
9-12 STUDENTS WILL:
1. Analyze the various media and processes used in creating a variety of art forms.
2. Analyze a variety of techniques, which give artwork definition and detail.
3. Determine and apply the appropriate compositional elements and organizational principles to solve specific
visual art problems
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STATE VISUAL ART STANDARDS GRADES 9-12 STATE VISUAL ART STANDARD THREE:
Students will understand the relationship between visual arts and history.
RATIONALE:
When students are given the opportunity to study and experience visual arts which represent other cultures and
time periods, they gain a deeper understanding of their own as well as other cultures. Knowledge of the
interrelationships between people and their art, and the influence one has on the other, helps students develop an
appreciation for and tolerance of differences. The visual arts provide a better understanding of and a common
bridge among cultures throughout the world.
9-12 STUDENTS WILL:
1. Analyze how the visual arts record, preserve, highlight and symbolize the history of humanity.
2. Analyze the role of visual arts in reflecting and influencing the culture and societies in which they are
created.
3. Analyze the influence of significant artists on the evolution of the various forms of visual arts.
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STATE VISUAL ART STANDARDS GRADES 9-12 STATE VISUAL ART STANDARD FOUR:
Students will demonstrate a capacity for critical and sensitive response to various visual arts experiences. RATIONALE:
By describing, analyzing, and evaluating various processes, production techniques, and media used, students
develop the ability to more fully appreciate the visual arts. Students develop the capacity for critical and
sensitive response to the efforts of others by using appropriate criteria to evaluate various forms of artwork.
Students must establish criteria to assess their own art work and view self-evaluation as an opportunity for
personal improvement.
9-12 STUDENTS WILL:
1. Evaluate works of art in terms of artistic concepts, ideas, or intentions using criteria appropriate for the
style or form.
2. Justify visual art preferences using personal aesthetic criteria.*
3. Evaluate the quality and effectiveness of personal artwork using specific criteria.
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ELEMENTS OF DESIGN
ELEMENTS DESCRIPTION BENCHMARKS
LINE Line can be described as pat of a dot through
space. There are 5 main kinds of lines:
Vertical, Horizontal, Diagonal, Curved, Zigzag.
When a line is used in art work (and technology),
they describe ideas, emotions, objects, and
situations.
Vertical lines move straight up and down and
show dignity and strength.
Horizontal lines run parallel to the ground
and seem to rest or calm.
Curved lines change direction little by little
expressing movement in a graceful, flowing
way.
Diagonal lines slat and signal action and
excitement.
Zigzag lines create confusion and suggest
action.
DIRECTION:
Show speed of movement with vertical,
horizontal, and diagonal lines.
Use curved lines for flowing rhythms.
Use jagged lines for angular rhythms.
Use twisted lines for erratic rhythms.
Cross lines to create points of conflict.
Combine movements for interest.
Combine movements to describe form.
COLOR:
Allow line to advance or recede in space by varying
light and dark value. Accomplished by pressure on
instrument, retracing to darken, moving within a
single line, and use of medium characteristics.
WEIGHT:
Use thin lines for delicate, graceful and fast
moving rhythms.
Use thick lines for heavy, sturdy slow moving
rhythms.
Vary thick and thin quality within single line
movements.
Vary thick and thin quality by character of
medium.
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ELEMENTS OF DESIGN
ELEMENTS DESCRIPTION BENCHMARKS
SPACE Space is the distance or area between, around,
above, below, and within things.
In 2–dimensional art, Space is an illusion or air,
mass, depth, or distance.
The relationship of line, form and color depend
upon the amount and variety of space in which
they exist.
Space is sometimes considered negative form
with a size, shape, and character of its own.
Space and break-up of space are the first
problems in every work of art. The size and
proportion of a 2-dimensional surface and the
amount of and shape of a 3-dimensional air mass
determine the type of line and form to use for
spatial design.
OVERLAPPING:
Have shapes overlap one another.
SIZE:
Make distant shapes smaller than closer
ones.
FOCUS:
Add more detail to closer objects, less
detail to distant objects.
PLACEMENT:
Place distant object higher up in the
picture, closer ones lower down.
INTENSITY & VALUE:
Using colors that are lower in intensity
and lighter in value for objects in the
distance.
LINEAR PERSPECTIVE:
Use slanting lines in objects so they
seem to come together in the distance.
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ELEMENTS OF DESIGN
ELEMENT DESCRIPTION BENCHMARKS
SHAPE-FORM
A SHAPE is a 2-dimensional form described by
line or by contour edge. Shapes are flat and
include length and width.
A FORM is an object with 3 dimensions:
Length
Width
Depth
Forms are grouped as geometric or organic.
Geometric forms could be cylinders, cube or a
sphere. Organic forms could be a rock, tree or
mountain.
Create the shapes below.
Shapes belong in 1 or 2 classes:
1. Geometric Shapes:
These shapes look like they were made
with a ruler. The square, the circle, the
triangle, the rectangle, and oval are part of
the five basic shapes.
2. Organic Shapes:
Shapes that are or are-not regular or
even. These shapes are free-form shapes
that are often found in nature.
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ELEMENTS OF DESIGN
ELEMENT DESCRIPTION BENCHMARKS
COLOR COLOR is what the eye sees when sunlight or some other
light source bounces off an object.
COLOR PROPERTIES:
Hue
Value
Intensity
COLORS ON THE COLOR WHEEL:
The arrangement of the colors on the color wheel was
organized by Sir Isaac Newton in the 18th century.
Primary Colors: Red, Blue, Yellow
Used to mix all other colors on the wheel.
Secondary Colors: Orange, Green, Violet
Result from mixing 2 primary colors.
Tertiaries (Intermediates): Yellow-green, Blue-green,
Blue-violet, Red-violet, Red-orange, Yellow-orange. Result from mixing a primary and secondary color.
Use and understand elements of Color.
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ELEMENTS OF DESIGN
ELEMENT DESCRIPTION BENCHMARKS
COLOR (Cont.)
DEFINITONS:
Value: The lightness or darkness of a color.
Tints: Mix color into white for light value.
Shade: Mix black into color for dark value.
Intensity: the brightness or dullness of a color.
A color’s intensity is changed by adding its complement
(opposite color on color wheel).
COLOR SCHEMES:
Cool Colors: Blue, Violet, Green
Suggest ice, water, foliage, Tend to recede.
Warm Colors: Red, Orange, Yellow
Reminds us of sunshine, fire, etc. Tend to advance.
Monochromatic: Use values and intensities of 1 color.
Analogous: Colors that are side-by-side on the color wheel
and share a hue.
Complementary: Colors that are opposite each other on the
color wheel.
Split-Complements: Use opposite colors, split & choose the
colors on either side of the complement.
Triad: 3 colors that form an equilateral triangle on the
color wheel.
Use and understand elements of Color.
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ELEMENTS OF DESIGN
ELEMENT DESCRIPTION BENCHMARKS
TEXTURE TEXTURE refers to how things feel, or look as
though they might feel, if touched.
TEXTURE:
Gives a tactile, as well as, visual impression.
Adds interest & variety to structural form
enriches color and aids in description &
recognition.
Experienced through the 2 senses-sight &
touch.
VISUAL & REAL TEXTURE:
Visual Texture:
When we see object with texture, we
experience “visual texture”.
Real Texture:
Actual texture or “real texture” is what we
experience when we touch the object
itself.
Use and understand elements of Texture.
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PRINCIPLES OF DESIGN
The principles of design are the ways and the means of compositional organization (the “HOW” as applied to
structural elements. The principles of art are guidelines that govern the way elements go together.
The principles of Design are:
Balance Proportion
Variety Movement
Unity Rhythm
Emphasis
ELEMENTS DESCRIPTION BENCHMARKS
BALANCE The arrangement of elements so that no one part of a
work overpowers, or seems heavier than any other part.
3 TYPES OF BALANCE:
1. Formal /Symmetrical: An even distribution of parts
when one half of a work is mirror image of the other
half.
2. Informal/Asymmetrical: Unequal distribution of
parts. Two unlike objects are made to seem to be
equal weight.
3. Radial: Happens when elements or objects are
centered around a center point.
Use and understand Principles of
Design.
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ELEMENTS DESCRIPTION BENCHMARKS
VARIETY To combine one or more elements to add interest and avoid
monotony by:
Change of Size: Large with medium and small.
Change of Shape: Round with pointed.
Contrast in Value: Dark with medium and light.
Grouping of Colors: Warm with cool, bright with
dull.
Contrast with Texture: Rough with smooth, coarse
with fine.
Change of Movements & Direction.
Use and understand Principles of
Design.
UNITY The blending art elements and principles in a pleasing way
creates unity and a feeling of completeness.
Consistency of style and character.
Clarity of a single or main idea.
Organization of lines, space and tonal quality.
Use and understand Principles of
Design.
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ELEMENTS DESCRIPTION BENCHMARKS
EMPHASIS Stressing or making an element or object stand out over
other parts.
Using emphasis allows an artist to control what part of
the work the viewer looks at first and how long the viewer
will spend looking at each of the different parts through:
Emphasis creates a focal point or center of
interest.
Emphasis is created by contrast, or extreme
changes in an element.
Use and understand Principles of
Design.
PROPORTION The comparative relationship of one part to the whole and
one part to another.
Use and understand Principles of
Design.
MOVEMENT Leads he viewer to sense action in a work of leads the
viewer’s eye throughout the work.
Use and understand Principles of
Design.
RHYTHM There petition of an element to make a work seem active.
Rhythm creates a flow of movement by:
Repeating lines, shapes, colors, values, and
textures.
Tension between the parts or certain parts.
A similarity or resemblance of these parts.
Use and understand Principles of
Design.
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SECONDARY COURSE OFFERINGS
COURSE GRADE # CREDITS DESCRIPTION
ART 9 (2D) 9 1/2 Students are introduced to design and composition with
emphasis on the 2-dimensional format. Students are exposed
to the basic fundamentals, vocabulary, tools, and a variety of
media through drawing, painting, printmaking and mixed media.
Students will be introduced to examples of artists’ works and
their ideas to serve as a source of inspiration and
interpretations.
ART 9 (3D) 9 1/2 Students will create 3-dimensional projects using basic
fundamentals of design with emphasis on subtractive and
additive methods. A variety of materials such as clay, plaster,
wood, paper and wire will be used in creating a multitude of
sculptural forms.
BASIC
DRAWING &
DESIGN
10, 11, 12 1 Students explore a variety of drawing tools, techniques and
subjects. Emphasis on improving observational skills through
the introduction of the elements of design (line, form/shape,
value, color, space & texture) and the principles of design
(balance, variety, unity, emphasis, proportion, movement &
rhythm) using a variety of media. This class is recommended
prior to Painting and Advanced Art.
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COURSE GRADE # CREDITS DESCRIPTION
PAINTING
11, 12 1/2
(Central High
School students
can repeat this
class for
additional credit.)
Students will develop an individual style in painting through the
study of various styles in art history using acrylics, tempera,
watercolor, mixed media, and collage. Exploration of the
basics of color, design and composition, and drawing are the
strong foundation of this class. Development of a portfolio
and a language of art criticism is emphasized. Completion of
Basic Drawing or portfolio acceptance is essential for success
in this class.
ADVANCED ART 11, 12 1/2
(Central High
School students
can repeat this
class for
additional credit.)
Development and creation of ideas toward individual
expression using the elements of art and the principles design.
References of artists from various movements will serve as
catalysts to students in their own creations. Both 2-
dimensional and 3-dimensional projects allow students the
opportunity to explore their own creativity and make choices
(how to carry out a project and make best use of a medium).
Basic Drawing and Painting are recommended prior to this
class.
CLAY CONSTRUCTION AND DESIGN
10, 11, 12 1/2 Students explore clay as a 3-dimensional medium through a
variety of hand-forming techniques including coil, pinch, slab,
and combinations. A variety of projects allow students to
build utilitarian wares or sculptural pieces. Along with learning
the basic techniques, tools, materials and vocabulary.
Students experiment with a variety of decoration processes
(including additive, subtractive, glazing, staining, and use of
mixed media).
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COURSE GRADE # CREDITS DESCRIPTION
ADVANCED
CLAY
10, 11, 12 1/2
(Central High
School students
can repeat this
class for
additional credit.)
Continuation of clay hand-building and wheel throwing
techniques. Emphasis on creating an individual style.
CRAFTS 10, 11, 12 1/2 Students discover a variety of craft techniques with an
emphasis on good craftsmanship. Exploration of various
mediums and equipment used in designing hand-crafted items
(may include fiber arts, glass etching, clay, basketry, jewelry
design).
NATIVE
AMERICAN
ARTS
10, 11, 12 1/2 Students become acquainted with traditional Native American
art form, design & techniques through the use of
contemporary media. Students utilize various methods & skills
of Native American arts within projects.
INTERIOR
DESIGN
10, 11, 12 1/2 Students are introduced to the elements and principles of
design as they relate to interior decorating. Emphasis is
placed on color theory, furniture selection and arrangement,
floor planning, selecting wall treatments, types of flooring,
window covering and lighting. Historical styles and current
trends in decorating will be studied. Field trips to various
related businesses and homes. Computer-related technology is
used to reinforce classroom activities.
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COURSE GRADE # CREDITS DESCRIPTION
COMMERCIAL
ART
10, 11, 12 1/2 Students design creatively with the business world in mind.
Practical information provided on tools, techniques, layout,
typography and graphic design fundamentals. Portfolio
development (and practical applications), exploring team and
individual working environments are stressed. Students
examine commercial art careers.
BEGINNING
PHOTOGRAPHY
10, 11, 12 1 Students learn technological processes and fundamentals of
art as they pertain to photography. They develop individual
expression, creativity, and a sense of culture. Students utilize
photography as a means of record and an alternative method
of communication.
ADVANCED
PHOTOGRAPHY
11, 12 1
(Students can
repeat this class
for additional
credit.)
Students explore further photo techniques and experience the
opportunity of photo-journalism as work is used for student
publications. Creative and critical thought are necessary.
Students develop portfolios that reflect publishing
experience, a mature artistic direction, and a higher level of
craftsmanship.
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ART 9 (2- Dimensional) Emphasis on the elements of art with exercises on line, shape, space, value, color and texture.
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
National Standards
1. a, b
2. c
5. a
SD STATE
STANDARDS
Number one
1, 2, 3
Number two
1, 2, 3
Number three
1, 2, 3
Number four
1, 2, 3
Recognize and use creatively, the
elements of art and principles of
design as they relate to each art
activity.
Be familiar with, and uses of, several
different media.
Develop personal expression and
originality through artwork.
Work independently on art projects
developing craftsmanship and
technique.
Gesture drawings of shapes, objects,
and figures.
Cartooning.
Portrait drawing.
Grid drawing (enlarged landscape or still
life).
Perspective drawings.
Value drawings, variety of techniques to
add value.
Space, positive/negative space.
Experiment with a variety of media:
Pen & ink, charcoal, pencil (colored and
graphite), conte crayon, scratchboard,
printmaking, pastels, tempera,
watercolor.
Color wheel, basic color schemes.
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ART 9 (3-DIMENSIONAL)
Emphasis on the elements of art and principles of design.
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
NATIONAL
STANDARDS
a, b
c
b
a
SD STATE
STANDARDS
Number One
1, 2,3
Number Two
1,2,3
Number Three
3
Number Four
3
Recognize elements of art and
principles of design and use in original
formats.
Know usage of tools and a variety of
techniques.
Work independently on art projects to
develop craftsmanship.
Student’s art should develop personal
expression, originality and creativity.
Clay: small sculptures, containers.
Sculpture: wire, plaster, paper mache,
found objects, mixed media.
Fiber arts.
Jewelry.
Mat board tile collages.
Copper tooling.
Paper: bending, scoring, folding, curling,
and cutting.
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BASIC DRAWING The intent of this course is to practice basic drawing and design fundamentals, and to expose students to a
wide variety of materials and techniques.
REFERENCE
STANDARDS
BENCHMARKS; POSSIBLE ACTITIES;
NATIONAL
STANDARDS
a, b, c, d
a, b, d, e
a, b
a, c
a, b, c
a, b
SD STATE
STANDARDS
Number One
1, 2, 3
Number Two
1, 2, 3
Number Three
2, 3
Number Four
1, 2, 3
Recognize elements of art and
principles of design and use in original
formats.
Know usage of tools and a variety of
techniques.
Critical thinking/evaluation of own
work and others.
Develop skills to aid in self-expression.
Use of elements of art and principles of
design in a variety of media.
Basic shapes and objects drawn with
gesture, blind contour and contour line.
Drawn with pencil, marker, pen and ink,
charcoal, conte crayon, ink wash.
Principles of showing space,
positive/negative, and perspective (one,
two and three point).
Shading techniques (values, stipple,
crosshatch, and scribble). Using pen ink,
scratchboard & pencil.
Design principles with simple shapes and
references through art history.
Art aesthetics, critical evaluation from
recognized works of art.
Printmaking (linoleum,
embossing/collograph, silk screen,
plexiglass drypoint, monoprint.)
Figure and portrait drawing, self-
portraits.
26
REFERENCE
STANDARDS
BENCHMARKS; POSSIBLE ACTITIES;
Color theory (color wheel, values,
intensities and color schemes).
Color (tempera, watercolor, pastels, oil
pastels, ink, mixed media.)
27
GENERAL ART TERMS
TERM DEFINITION
ABSTRACT ART Art in which the subject matter has been simplified or distorted to he point that it
may or may not be easily discerned. Also art which expresses ideas and concepts
through imagery not completely related to the real or natural world.
ACCENT A distinctive feature or quality, such as a feature that accentuates or complements a
decorative style.
AESTHETICS The philosophy of art dealing with the relationship of both the emotional and physical
aspects of art to perception and appreciation.
ANALOGOUS COLORS Colors which possess one hue in common. Colors immediately adjacent on the color
wheel
APPRECIATION Sensitive awareness. Awareness implies a discriminating perception or enjoyment of
art.
ART CRITICISM A special, concentrated way of looking at a piece of art with a purpose to receive
maximum enjoyment and meaning from it.
ART EXPRESSION The act or process of representing ideas, reactions and emotion in art terms.
ASYMMETRY A type of balance that occurs when the elements of design on one side of center are
not identical in appearance or placement to those on the other, yet the sense of
balance prevails.
ATMOSPHERIC
PERSPECTIVE
The effects of the layers of atmosphere and light, between artist and object, that
influence the artist’s perception of distance and result in the illusion of distance to
the viewer.
AVANT-GARDE Very original, experimental art.
AXIS An imaginary line to which elements of a work of art are referred for measurement of
symmetry.
BALANCE The equal or unequal distribution or arrangement of the elements within a work of art.
BIRD’S EYE VIEW View you have if looking down on a scene from an elevated position
28
TERM DEFINITION
BRAYER A roller made of rubber and used for applying ink to a flat printing surface.
BURNISHER A tool that serves especially to smooth or polish.
CALLIGRAPHY Beautiful handwriting
CARICATURE A drawing of a person in which certain features have been distorted to achieve a
humorous effect.
CARTOON A drawing depicting a humorous situation, often accompanied by a caption. A
preliminary sketch similar in size to the work, such as a fresco, that is to be copied
from it.
CENTER OF INTEREST The part of the work which has received special emphasis and around which the rest
of the work is organized.
CHIAROSCURO The treatment (and use of) light and dark areas, patterns and gradation in 2-
dimensional works of art, especially gradations of light and dark that produce the
effect of modeling.
CHROMA Intensity; the quality of brightness and dullness of a color.
CHROMATIC Relating to color perceived to have saturation greater than zero.
CLASSICAL ART A form of art derived from close study of the perfect antique examples from Greek
and Roman cultures. It is highly idealized.
COLLAGE A composition comprised of various materials attached to a common surface.
COLOR An element of visual sensation usually evoked by light stimulating the cones of the
retina of the eye. Color has 3 qualities: 1)Hue: the actual color itself-i.e. red, 2)
Chroma: The intensity or strength of a color, 3) Value: Lightness or darkness.
COLOR WHEEL The genetic manner of arranging colors by relationship on a circle.
COMPLEMENTARY
COLORS
Colors that appear across from each other on the color wheel (red is opposite green).
This color scheme presents the maximum contrast. By mixing complementary colors,
the original intensity is neutralized.
CONTOUR LINES Lines that show the edge of a shape.
COOL COLORS Colors such as green, blue, or violet, which evoke a sense of coolness. They appear
opposite the worm colors on the wheel.
29
TERM DEFINITION
CROSS-HATCHING A technique of modeling or shading used in drawing, involving crossing lines at varied
angles to develop shaded or modeled panes.
CUBISM Art movement in which the subject is visually fragmented to reveal multiple
viewpoints.
CURATOR A caretaker of a portion of museums collections.
DADA An art movement whose silly name was used to express the artist’s personal attitudes
toward art in society.
DESIGN The organization of the elements and principals of art, which create a pictorial or
abstract quality compatible with the idea, emotion or function, which initiates a work
of art.
DIAGONAL LINE Having a slanted or oblique direction.
DISTORTION The altering of an object from its natural appearance or shape.
DOCENT A museum guide who conducts individual and group tours of museum’s collections.
DOME A continuous series of rounded arches with a common center.
DORIC COLUMN Columns with no decoration on the capital.
DYNAMICS The rhythm and movement in art that expresses great action, energy and force.
ELEMENT A basic component or essential part of a work of art.
EMPHASIS Technique used by an artist to place special importance on an element, subject, or
other aspect of a work of art.
ETCHING The process of printing from a flat surface or plate an image, which that has been
scratched or cut into the surface.
EXPRESSIONISM Art movement with the main goal of expression of deeply felt emotions through art.
(Max Ernst, Wassily Kandinsky, Franz Marc, Emil Noide).
EXPRESSIVE To be able to effectively communicate feelings and ideas in visual form.
EYE LEVEL The point of view held by the viewer of a work.
FAUVES French term for “wildbeasts" a group a artists around the turn of the 20th century
with the main goals of experimentation and shocking the public.
30
TERM DEFINITION
FIGURATIVE Portrayal of the human figure.
FINIAL The decorative top or fancy, uppermost tip of the spire of a structure.
FIXATIVE Spry that seals a work so that no further smudging can take place.
FLUTED COLUMN Columns with a decorative pattern of grooves running from top to bottom on each
column.
FORESHORTENING Reducing or distorting shapes to give the illusion of 3-dimensional space as it is
actually seen by the human eye.
FORM 3-dimensional shapes.
FORMAL BALANCE Symmetrical, both sides are mirror images.
FRESCOES A style of painting in which tempera is applied to the wet plaster surface of building
walls.
FUTURISM A small group of Italian artists whose art is the marriage of the qualities of modern
technology with the expressive images of art (Umberto Bocioni, Giacomo Balla, Joseph
Stella).
GENRE A category of artistic composition marked by a distinctive style, form or content. A
realistic style of painting that depicts scenes from everyday life.
GEOMETRIC SHAPES Circles, squares, rectangles, and triangles-mathematical in proportion.
GESTURE DRAWING Loose, quick renderings of a person, animal, or object that captures them in the act of
moving.
GOTHIC A term referring to the Goths, a fearsome Germanic people who destroyed a great
deal of classical art during the 400s; used to describe the architecture of the 1400
and 1500s.
GOUGE A chisel with a rounded, trough-like blade.
GRADATION To gradually change in value of color.
GRAFFITI ART Art that consists of images and words applied to subway walls and trains, buildings and
public fixtures.
31
TERM DEFINITION
GRAPHIC ART In its broad sense, the 2-dimensional arts of design, painting and printmaking. Usually
graphics refers to black and white drawing or to printmaking.
GRAPHIC DESIGNER An artist who solved visual problems by using the elements and principles of design.
HARMONY The development of a relationship of the structural elements into a pleasing unit so
that they do not appear to be in conflict.
HATCHING Drawing a series of parallel lines that are placed close together for dark areas and
farther apart for light shading.
HIEROGLYPHICS Egyptian sacred writings.
HORIZON LINE A line drawn across the picture plane where the earth appears to meet the sky.
HUE Actual name of a color, synonymous with color
INCISE To engrave into a surface; carve.
IMPLIED FORMS Forms that give the illusion of being 3-dimensional, but are represented on a flat, 2-
dimensional surface, like drawing paper or canvas.
INDUSTRIAL
DESIGNER
An artist who designs functional products for public and private use.
INFORMAL BALANCE See Asymmetrical. INSTALLATION ART A work of art that is built temporarily or permanently into a museum or gallery space.
INTENSITY Purity of brightness; strength of color as effected by mixing it with its complement.
INTERPRETATION An informed explanation of the meaning of a work of art.
IONIC COLUMNS Column with short, fluted shafts and scroll-like decorations on the capital
LINE A moving point on the surface of a canvas, paper, slab of clay, or metal printing plate
that forms shapes, gives direction, and creates rhythm and movement within a work of
art.
MASS The perception of filled space. It is the actual or felt space, which is inside any
shape, but not the border between shapes. Mass conveys a sense of weight and
density as well as contour. In composition it is considered the positive factor.
MATTING To frame artwork with mat board or poster board.
32
TERM DEFINITION
MECHANICAL OR
ARCHITECTURAL
DRAWINGS
Detailed renderings of a plan for the assembling of an object, building, or environment.
MEDIA Art materials such as paint, clay, wood, drawing tools, and fibers.
MEDICAL
ILLUSTRATOR
Artists who produce renderings of the external and internal parts of humans and
animals, such as tissues, organs, skeletal systems and cells.
MINIMAL ART A 20th Century art movement that sought to present ideas in the simplest forms
possible.
MODERNISM Art and ideas that stress individuality, originality, universal meaning, and for “art for
art’s sale.
MONOCHROMATIC The use of only one color and its different values in a work of art.
MONOPRINT A process in which only 1 image can be lifted from a flat plate, such as a sheet of
plastic or linoleum.
MONTAGE A composite of separate pieces arranged on a surface in such a way so as to project a
uniform theme.
MOTIF A visual theme or repeated pattern in a design.
MOVEMENT The visual suggestion of action created by the placement of the elements in a work of
art.
MURAL A work of art, usually large in scale, painted on or attached to a wall or ceiling.
NEGATIVE SPACE The unused area between, within and surrounding shapes and forms in an artistic
composition.
NEUTRALS Of or indication a color, such as black, gay, or white, that lacks hue; achromatic.
NIB The point of a marker or pen.
ONE-POINT
PERSPECTIVE
A work in which the artist has used only one vanishing point.
OP ART An art movement whose artists were interested in how the careful arrangement of
lines, colors, and geometric shapes to produce an optical effect.
33
TERM DEFINITION
OPAQUE A medium or quality which is impervious to rays of light or which is nontransparent.
Opaque paints, such as many poster colors, reflect light from their surface, but do not
transmit it to the surface below.
ORGANIC Shapes that are irregular, curvilinear, and not measurable.
PASTEL Sticks of ground pigment.
PATTERN The artistic arrangement of any area or object into a design. A plan or model to serve
as a guide for something to be made.
PERSPECTIVE The ability to render on a flat surface the illusion of depth.
PHOTO-REALISM An art movement in which the artists painted with such precision and detail that their
work resembled a photograph if the image.
PICTURE PLANE The flat surface on which a work of art is made.
PIGMENT Matter that gives color to materials such as paints, dyes, crayons and inks.
POINTILLISM A painting style that consists of the application of small dots, or points of color.
POP ART An art movement that was a reflection of the popular culture, the media, and
advertising images
POSITIVE SPACE The space taken up by the shapes and forms themselves.
POST IMPRESSIONISM A late 20th Century French art movement that expanded ideas advanced by the
Impressionists (van Gogh, Cezanne, Gauguin).
PRIMARY COLORS Colors that cannot be made by the artist; red, blue, yellow.
PRINTMAKING The process of creating one or more images from a single prepared surface.
PROCESS ART Art movement in which the art would undergo a performance or transformation; Hans
Haacke.
PROOF The initial print in the printing run of a work of art.
PROPORTION The relationship in size of one component of a work of art to another.
REGIONALISM Art movement in which artists returned to the realistic representation of subject
matter characteristic of the part of the country in which they live; Grant Wood and
John Steuart Curry.
34
TERM DEFINITION
RENAISSANCE A French word meaning “rebirth”, the time period that followed the Middle Ages.
REPETITION The recurrence of a single element or of several elements of design within a
composition and in the appearance of unity as well as providing a sense of rhythm.
REPRESENTATIONAL
OR REALISTIC
DRAWING
A rendering that looks like the object or image the artist is viewing or imagining, often
uses perspective, shading and modeling techniques.
RHYTHM The regular repetition of elements, patterns, or movements in a work of art.
SCREEN A fine mesh fabric stretched across a wooden frame; used for silkscreen printmaking.
SCUMBLING Using the side in a back and forth motion of the tool to create a solid area of shading.
SECONDARY COLORS The result of mixing two primary colors in equal amounts: orange, violet, green.
SERIGRAPH A silkscreen print.
SHADE Colors to which darker colors or black have been added.
SMUDGING Using a finger or blending stick (compressed paper) to spread the medium.
SOCIAL REALISTS A group of artists who dealt with themes such as poverty, oppression, and social
injustice.
SPACE The place containing tangible forms, it is absolutely essential to all works of art
because the other elements are composed and developed within it.
SPECTRUM The full range of colors from red too violet, as seen in the rainbow.
SQUEEGEE A t-shaped implement having a crosspiece edged with rubber or leather that is drawn
across a surface to remove water or ink.
STENCIL The profile of a shape cut form paper and used as a pattern to print with.
STIPPLING Using the point of the drawing tool to make small dots to create an area of dark or
light.
STRIATIONS Incised line.
STYLE A characteristic manner of presenting ideas and feelings in visual form.
35
TERM DEFINITION
STYLIZED An artistic style in which the body parts of the figure have been simplified and
reduced to their most basic form, or an artistic room in which an object has been
changed or abstracted from nature in order to fit the artistic rules and traditions of a
culture.
SURREALISM An art movement in which artists combine naturally unrelated events, objects or
situations in a dreamlike scene; Salvador Dali.
SYMBOLIC Art in which symbols are used to represent or suggest ideas or feelings through
association.
SYMMETRICAL A balancing of parts in which those on one side of the center are the exact reverse of
those on the other side.
TERTIARY COLORS Colors between the secondary colors and the primary colors on the color wheel (red-
orange, red-violet, yellow-orange, yellow-green, blue-violet, blue-green). Also, called
Intermediate Colors.
TEXTURE The surface tactile qualities in a work of art; rough or smooth, coarse or fine, shiny or
dull.
THREE-DIMENSIONAL Having width, height, and depth.
THREE-POINT
PERSPECTIVE
The use of 3 vanishing points in a work.
THUMB-NAIL SKETCH Small, quick sketch used as a plan for a larger, finished piece of art.
TINT Color with white added.
TONE Color with gray added.
TOOTH Slightly rough surface of paper.
TRANSITION An abrupt or gradual change in character; light to dark, thick to thin, vertical to
horizontal. Depends on the proximity of like elements of the contrast of opposites.
TRANSPARENT Permitting the passage of light rays; ability to see through certain materials.
Watercolors are transparent.
TRIADIC COLOR
SCHEME
A group of 3 colors generally forming an equilateral triangle on the color wheel; red,
yellow, blue form a triangle.
36
TERM DEFINITION
TROMPEL’OEIL A type of painting that is so realistic that viewers are not sure whether they are
looking at a painting of objects or the objects themselves.
TWO-DIMENSIONAL Having height and width.
TWO-POINT
PERSPECTIVE
The use of 2 vanishing points in a work of art as a whole.
UNITY A principle that helps us see the components of a work of art as a whole.
VALUE The amount of lightness or darkness a color possesses.
VANISHING POINT Point to which all objects seem to recede.
VARIETY A principle that focuses on differences and diversities in a work of art.
VERTICAL LINE Straight up and down.
WOODCUT A relief form of printmaking in which the side grain of a wooden block is cut away and
the design printed from the raised surface. The print is usually bold and simple.
Wood engraving uses the end grain of the wood.
WORM’S EYE VIEW The view you would have if you were lying on the ground looking up; objects lies above
the horizon line.
37
PAINTING
This course offers students creative communication in the visual arts through painting, with emphasis on
basic skills and knowledge of tools for the beginning painter.
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
NATIONAL
STANDARDS
a, b
a,b,c
a, b
a, b, c
a,b
a, b
SD STATE
STANDARDS
Number One
1, 2, 3
Number two
1, 2, 3
Number three
1, 2, 3
Number four
1, 2, 3
Develop skills for a variety of painting
techniques and paint media.
Develop original interpretations from
an assortment of subjects.
Students become aware of major
artists and art movements.
MEDIA: Watercolor, tempera, acrylic,
airbrush
Masonite, canvas panels, illustration
board, stretched canvas, paper, and
matboard scraps/cardboard.
Students combine concepts, elements,
and media to creatively express and
complete original paintings.
Research art history, idea resources,
local galleries and artists to help students
demonstrate and develop their own
personal styles within their projects.
Participate in critiques of their own
artwork and others.
Develop a portfolio.
SUBJECTS: Landscapes, wildlife,
architecture, still life, figure, portrait,
abstract, non-objective.
Classroom text: “Painting”
38
PAINTING TERMS
TERM DEFINITION
ABSTRACT Art in which shapes, forms and colors have been extracted and simplified from their
natural design.
ACRYLIC A quick drying water-based synthetic paint.
ANALOGOUS
COLORS
Colors that are next to each other on the color wheel and have one hue in common.
COLLAGE A composition made from various cut or torn materials pasted to a surface.
COMPLEMENTARY
COLORS
Two colors directly opposite each other on the color wheel.
CONTEMPORARY
ART
Any art currently being produced.
COOL COLOR Colors that appear cool; such as blue and green.
CUBISM The art movement which rendered objects in a geometric form.
DRY BRUSH A watercolor technique where excess moisture is wiped from a brush loaded with paint and
applied to the paper.
ENCAUSTIC A painting medium where melted wax is added with pigments,
FRESCO Water based paints applied to a freshly plastered wall.
GALLERY A place where artist’s creations are displayed to be seen and appreciated.
GESSO A white pigment used to coat a surface and act as a ground for the paints that will be
applied.
GOUACHE A water based opaque paint; sometimes referred to as “opaque watercolors”.
IMPASTO Thick buttery layers of pigment.
IMPRESSIONISM An art style that attempted to capture the rapidly changing effects of light on objects.
INTENSITY The brightness or dullness of a hue.
MATTE A dull, flat surface, without gloss or sheen.
MEDIUM The materials used to produce an art object.
39
TERM DEFINITION
MONOCHROMATIC A color scheme using one color with its many shades and tints.
NON-OBJECTIVE A work having no recognizable subject matter.
OIL PAINT Pigment with an oil base.
OPAQUE A medium or quality that does not let the light show through.
PAINTING The application of liquid pigment to a surface.
PALETTE A surface where paints are mixed before use.
PALETTE KNIFE A spatula-like tool used to mix and and apply paints to a surface.
PASTELS Finely ground pigments compressed into chalk-like sticks.
PIGMENT A finely ground, colored powder that gives paint color.
POINTILLISM Color distributed systematically allowing the eye to mix optically.
POP ART An art style that uses familiar everyday objects,
SURREALISM An art movement that attempts to express and exhibit the subconscious mind or dreams.
TEMPERA A technique of painting using as a medium, pigment mixed with egg yolk, glue or cassein; also
the medium itself.
TRANSPARENT Use of clear or translucent materials.
WARM COLOR Colors that express heat or brightness such as red, orange, and yellow.
WASH A watercolor technique where paint is applied to a wet surface.
WATERCOLOR A painting medium in which pigment is mixed with gum arabic and water.
40
ADVANCED ART For advanced art students to pursue various mediums and to further their development with skills &
techniques improving competency to express their personal creative expressions.
To prepare those students determined upon advanced training and career in art to better meet the
challenges of such an undertaking by giving varied, in-depth art experiences.
REFERENCE
STANDARDS
BENCHMARKS; POSSIBLE ACTIVITIES;
NATIONAL
STANDARDS
a, b, c
a, c
a, b
a, b, c
a, b, c
a
SD STATE
STANDARDS
Number One
1, 2, 3
Number Two
1, 2, 3
Number Three
1, 2, 3
Number Four
1, 2, 3
Using the skills and knowledge from
background art courses, art 9, basic
drawing, clay, and painting, students create
their own direction, personal expression
and creativity in their artwork.
Students use knowledge of a variety of
mediums and experiment with projects on
their own with instructor’s approval and
direction.
Students work on two-dimensional
projects (drawing, painting,
printmaking, computer art) and will
explore three-dimensional work as
well (clay construction, sculpture,
mixed media).
Students explore and incorporate a
variety of media in their finished art
works.
Analyze the compositional features or
qualities in well-known art.
41
CLAY CONSTRUCTION This course introduces students to ceramics as an art form that can be used as a profession or as a hobby.
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
NATIONAL
STANDARDS:
a, b, c, d
a, b, c
a, b
a, b
a, b
a, b
SD STATE
STANDARDS
Number one
1, 2, 3
Number two
1, 2 , 3
Number three
1, 2
Number four
1, 2, 3
Introduce the 3 basic techniques of hand-
building projects in clay: pinch, coil, and slab.
Become familiar with the vocabulary related to
ceramics.
Experiment and become familiar with various
glaze techniques to apply to clay pieces.
Produce projects in different methods of
working in clay using: press mold, sculpture,
and combinations therein.
Introduce students to basic wheel-throwing
techniques.
Recognize the aesthetic appeal pottery has
brought to people for generations
Express ideas, thoughts, and feelings
creatively in the art of creating ceramic
pieces.
View various clay videos for technique
and possible project ideas.
Glaze tile: Make slab with various
textures, and record glazes and stains
used.
Pinch Pot
Coil Pot (use an extruder or hand-made
coils).
Slab Pot: Construct a slab project using a
pattern.
Press Mold: Using plaster or flexible
molds in combination of handbuilding
methods to create a mold.
Clay Mask: research various mask designs
and create clay mask. Use exaggeration
and distortion. Decorate with (beads,
metal, leather, raffia, etc.)
Sculpture: Human figure, animal forms,
and “pop art” project
Decorative relief tile or mosaic tile
design
Create a replica of art in clay using
historical resources.
42
CLAY CONSTRUCTION TERMS
TERM DEFINITION
BANDING WHEEL A turn-table which permits work to be turned and rotated.
BISQUE Pottery that has been fired once.
CASTING Pouring liquid slip into a mold.
COIL Hand-built technique in using rope-like pieces of clay.
CONES Pyramids of clay and glaze that help determine kiln temperatures.
EARTHENWARE A low-fire pottery clay.
FOOT A rim, leg, or base bottom.
GLAZE A glassy coating which fuses to the surface of clay in heat.
GREENWARE Pottery that has not been fired; very fragile and dry.
KILN Oven in which ceramic ware is fired.
KNEADING Process of removing air from clay by working with fingers (similar to making bread).
LEATHER HARD Clay that is still flexible, but not plastic, and is suitable for carving.
LIP The top rim of a pot.
MATTE Dull surface. Not shiny.
OXIDES Chemicals used to color glazes.
PINCH A pot started from a ball of clay and shaped by pressing clay between thumb and
fingers.
PLASTICITY Clay with the correct amount of moisture. Easy to work with hands.
POTTER’S WHEEL A machine in which pottery is made from a wheel.
PYROMETER A small clay rod that indicates kiln temperatures.
SCRAFFITO Scratching a design through one or more layers of glaze.
SLAB Hand-built technique using rolled out flat pieces of clay in construction.
43
TERM DEFINITION
SLIP Liquid clay used as glue to join pieces of clay.
STILT A small piece of kiln furniture used to hold the glazed pieces off of the kiln
surface.
STONEWARE A high fire clay with a rough texture.
TEXTURE Visual or tactile surface quality.
THROWING The process of making pots on a wheel.
UNDERGLAZE A special paint used in decoration. Remains dull unless clear glaze is used.
WAX RESIST A substance used to prevent glazed from sticking.
WEDGING Process of removing air from clay by throwing against a hard surface.
44
ADVANCED CLAY CONSTRUCTION This course is designed for students to further develop their skills and techniques in clay construction.
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
NATIONAL STANDARDS
a,, b, c
a, b
a, b, c,
a, ,b, c
a, d
a, b
SD STATE
STANDARDS
Number One
1, 2, 3
Number two
1, 2, 3
Number three
1,2, 3
Number four
1,2,3
Recognize and use creatively the elements
of art and the principles of design as they
relate to the art activity.
Review hand-building projects in clay:
pinch, coil, slab, and press mold.
Knowledge of ceramic vocabulary.
Introduction to interested students of
wheel-throwing technique.
Exploration of creative ways to decorate
pottery.
Research of various glaze techniques and
applications of them to various clay pieces.
Research and recognize historical
influences of pottery design using
technology, professional periodicals, and
clay books.
Exploration of various clays such as
porcelain and raku
View clay related videos.
Create decorative and functional clay
items using hand building and wheel-
throwing techniques.
Possible projects: stylized teapots,
garden pieces, sculpture, historical
pieces,
Decorate surfaces with carving,
scraffito, burnishing, colored clays,
latex or press mold additions, stamps,
and mixed media.
Glazing techniques such as wax resist,
dripping, pouring, crystals, mason
stains, and underglaze.
Create a relief tile or mosaic design.
Raku: Research on internet the
history, process, and types of raku
projects artists create.
Create a raku project and participate
in the firing process.
45
CRAFTS This course offers students the opportunity to become familiar with and develop skills in a variety of craft
process and techniques.
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
NATIONAL
STANDARDS
a, b, c, d
a, d, e
a, b, c, d
a,b,c,
a, b, d
a, b, c
SD STATE
STANDARDS
Number One
1, 2, 3
Number two
1, 2, 3
Number three
1,2, 3
Explore and become familiar with variety
of craft processes and techniques.
Develop awareness of design elements and
principles as they relate to each activity.
Recognize and develop skills for good
craftsmanship
Express ideas, thoughts, and feelings in a
personal way with a variety of craft media
and materials.
Show growth in problem-solving ability to
solve problems in project.
Demonstrate greater skills in handling
tools and materials to express ideas.
Research ideas
Experiment with various techniques
of paper manipulation (paper folding,
stencil cutting, paper-making,
marbelizing, and printmaking
Glass etching using stencil designs
Jewelry design using copper
enameling, fimo, clay, ceramic beads,
and found objects.
Fabric designs using stamping,
stenciling, or batik processes.
Basket designs using coil method, pine
needles, or reeds.
Copper repoussage” (relief tooled
design )
Wood fabrication of items
Mosaic tiles designs using hand made
tiles
46
CRAFT DESIGN TERMS
TERM DEFINITIONS
APPLIED ART Art made to be functional and decorative.
BATIK A wax resist process for decorating fabric.
COILING An ancient technique using core to make a basket.
CORE The foundation material such as rope used for basketry.
COUCHING The process transferring newly formed sheets of paper from mold to felt.
CRAFTS Different areas in the applied arts.
DECKLE The frame or mold used to form a sheet of paper
ENAMEL A glass coating fused to metal.
ETCHING A scratching or burning into a surface.
FINDINGS The elements that joins or closes a piece of jewelry.
FIRE Heating clay in a kiln.
GLAZE A thin, transparent layer of paint that turns to glaze when fired.
KILN An oven used to fire clay or fuse enamel.
MACRAME’ The art of knotting using the square knot, half-hitching, or alternating square knots.
MOSAIC Small bits of colored glass, ceramic tiles, or stones set in cement or grout.
PRINT An image that is transferred from a prepared surface to paper or fabric.
RELIEF PRINTING A printmaking method in which the image to be printed is raised from a background.
PULP Pulverized cellulose suspended in water used for papermaking
REED A fiber or material used to weave a basket.
SCALEX A product used to inhibit build-up of oxides on heated metal.
SCRAFFITO Scratching a design through a layer of unfired enamel.
SLIP Clay and water mixed and used to join pieces of clay.
SPOKES Individual reeds used as the skeleton for a basket.
STENCIL A cut-out design used to paint or etch over.
THREADS Small rods of colored glass used in enameling.
47
TERM DEFINITIONS
WARP Threads that run lengthwise in weaving.
WEFT Threads that travel across the warp weaving.
48
NATIVE AMERICAN ARTS AND CRAFTS This course introduces students to the practical application of traditional Native American arts and crafts
and allows students to become familiar with and develop skills in a variety of native crafts.
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
NATIONAL STANDARDS a, b, c, d
a, d, e
a, b, c, d
a, b, c,
a, b, d
a, b, c
SD STATE
STANDARDS
Number One
1, 2, 3
Number two
1, 2, 3
Number three
1, 2, 3
Number four
1, 3
Introduce students to the practical
application of traditional Native American art
forms.
Students utilize various traditional and
contemporary methods and skills of several
Native American arts & crafts to complete
required projects.
Develop an awareness of the culture of the
Native Americans through a study of their
arts.
Express ideas, thoughts and feelings in a
personal way and apply the elements and
principles of design through Native American
activities.
View videos to learn about Native American
culture and history, art forms, and artists.
Study symbols & legends of the Native
Americans and write a story using
pictograms
Create painted pictographs or carved
petroglyphs,
Design and paint a winter count, hide
painting
shield, and parfleche’ container.
Study the art of beading with loom, lazy
stitch, gourd stitch, or peyote stitch and
create finished items such as bracelets,
key chains, or beading on leather pouches.
Explore various designs in sandpainting and
create a finished painting.
Study designs of the Southwest pottery.
Use the coil method to create and
decorate the clay pots to resemble the
early designs.
.
49
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
Review examples of Native American
weaving and basketry. Design and create a
coiled basket form or small weaving that
has decorative or functional purpose
Introduce the legend of the dream catcher
and create a dream catcher
Create a clay storyteller sculpture.
Design a Kachina doll using paper mache’
50
NATIVE AMERICAN ARTS TERMS
TERM DEFINITIONS
FETISH A shaped stone that resembles an animal and is used for good luck or to ward off evil
spirits.
HIDE Rawhide or leather from an animal.
IKOTOMI A trickster.
KACHINAS Hopi or Zuni ancestral spirits personified in dances or doll form.
LAZY STITCH A beading stitch used by the Plains Indians for geometric designs.
LEGEND A story passed down by word of mouth from generation to generation.
LOOM A frame used to weave cloth, rugs, or beading.
MOTIF A design or image that is repeated to form a pattern.
PARFLECHE A carrying case made from rawhide and decorated with geometric designs, commonly
found on the Great Plains.
PETROGLYPHS Rock art or simple drawings carved or painted on rock.
PICTOGRAMS Simple drawings or paintings painted on hide or rock.
POTTERY The craft of making objects from clay.
RAWHIDE Untanned animal hide.
SAND PAINTING A dry painting using sand, cornmeal, rock, etc. originally done by a shaman/holy man.
SCRIMSHAW The art of scratching a line design into ivory or bone.
SHAMAN A medicine man used his special healing powers through sand paintings.
SHARD A piece of broken pottery.
SHIELD A circular piece of decorated rawhide carried for protection.
SINEW Animal tendons or waxed thread used as sewing thread.
SYMBOL A decorative mark that has special meaning.
TIPIS A cone shaped structure made out of buffalo hides and home to Northern Plains
Indians.
51
TERM DEFINITIONS
TOTEM POLE A carved cedar post showing carved and painted animals and the family crest.
WARP Threads attached lengthwise to a loom.
WEAVING Craft where strands of fiber are interlocked to make cloth/rugs.
WEFT T heads that travel through warp threads on a loom.
WINTER COUNT Record of outstanding yearly events painted on a large animal hide. Symbols radiate in a
spiral from the center.
YUCCA A native plant; the stems, when chewed, made paint brushes. Spines could be used as
needles and roots could be made into soap.
52
INTERIOR DESIGN This course introduces students to the use of design elements and principles in designing and decorating
interior rooms.
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
NATIONAL
STANDARDS
b, c, d
a, c, d, e
a, b, c, d
a, b, c,
a
a, b, c
SD STATE
STANDARDS
Number One
1, 3
Number two
1, 2, 3
Number three
1,2
Number four
1,2,3
Introduce and become familiar with
architectural styles of homes
Recognize various styles in decorating.
Become familiar with the history of
furniture.
Utilize the elements and principles of
design in various activities.
Develop decorating knowledge that can be
used in present and future life of student.
Introduction to career options in the field
of interior design.
Read and complete chapter handouts
from text: Homes Today and
Tomorrow.
View videos on architectural styles.
Collect various examples of housing
styles and identify (use magazines,
take photos of local homes, or search
internet).
Introduce furniture styles with slides
and photos. Practice identification of
styles with handouts and internet
research.
Utilize the elements and principles of
design in decorating activities in
designing a room and creating a color
board.
Identify color schemes.
Read and create floor plans to scale
using graph paper and computer aided
design program.
Study and practice the basics of
furniture arrangements using floor
plans and templates
53
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
Increase knowledge of various wall
treatments, floor coverings, and
window treatment using current
decorating magazines, resource people
Decorating videos and field trips to
related businesses.
Practice faux painting techniques such
as ragging, sponging, stenciling, etc.
Selecting and buying furniture using
the internet and visiting furniture
store.
Use decorating knowledge from class
to create a final project. Ex. (Repaint
furniture, paint a wall, and build a
model room…)
54
INTERIOR DESIGN TERMS
TERM DEFINITIONS
ADAPTATION A piece of furniture that has some features, but is not an exact copy, of an older
furniture design
ALKYD PAINT A substance made of a synthetic resin, which produces a washable, durable surface
when applied to walls and ceilings.
ANALOGOUS A color scheme made up of two or more colors that are next to each other on the
color wheel.
ANTIQUE An object having special value because of its age; to be classified as an antique, a
piece of furniture must be at least 100 years old.
ARMOIRE A free standing closet with doors in which clothing may be hung or stored flat.
ASYMMETRICAL A type of balance in which dissimilar objects are placed at unequal distances from a
center point, still giving the feeling of equal weight on both sides.
BALANCE A principle of design that produces a sense of rest and occurs when the visual weight
of objects is balanced on each side of a center point.
BALLOON SHADE A window shade made of fabric that creates a puffed effect when the shade is
raised.
BAY WINDOW A window with an angular or rounded sash that projects beyond the face of and
exterior wall.
BLUEPRINT A reproduction of a technical drawing showing a detailed floor plan of a structure.
BUNGALOW A small house with one or one-and- half stories, and overhanging roof, and a covered
porch.
CABRIOLE LEG A form of furniture legs that curves outward and then narrows downward into an
ornamental foot.
CAPE COD HOUSE A compact one or one-and-half story house with a pitched roof and a central chimney.
CASE GOODS Furniture pieces that are not upholstered, such as chests, desks and tables.
55
TERM DEFINITIONS
CAST IRON A strong metal made of iron and other elements that is melted in a furnace and
poured into a mold to make such items as stoves, sinks, and bathtubs.
CHAIR RAIL A decorative molding fixed on the wall about 3 feet up from the floor to prevent the
backs of chairs from damaging the wall.
COMPLIMENTARY A color scheme made up of two colors that are directly opposite each other on the
color wheel.
CORNICE A horizontal, molded projection that completes a wall or building: inside, it is trim and
around the top of the room where the ceiling and wall join; outside, it is molding under
the eaves of the roof.
DORMER A structure that projects through a steeply sloping roof; also a name for a window
set into this structure.
EMPHASIS A principle of design that, when used, causes one object or area to stand out or
dominate.
FLOOR PLAN A diagram, usually drawn to scale, of a room or building: drawn as if seen from above.
FLUORESCENT LIGHT A type of artificial light produced by chemicals inside a sealed glass tube that
transform ultraviolet rays into visible light.
FORM An element of design referring to solid objects, which require space: also called
shape.
GAMBREL ROOF A two-sided roof with two slopes on each side: the upper slope being flatter than the
lower slope.
GATELEG TABLE A table with legs on each side that can be swung out to support drop leaves that pull
up from the sides.
GRADATION A type of rhythm of design achieved by gradually increasing or decreasing color, size,
or pattern.
HIGHBOY A chest of drawers that is mounted on legs.
HUE The specific name of a color.
56
TERM DEFINITIONS
INCANDESCENT
LIGHT
A type of artificial light produced when electricity passes through a tungsten
filament that is in a glass bulb.
INTENSITY The brightness of dullness of a color.
ISLAND A freestanding storage and countertop unit in a kitchen.
JALOUSIE WINDOW Window with a series of horizontal, adjustable louvers, or slats, made of glass or
metal.
JAPANNING The process of applying Japan, which is a glossy black lacquer, to furniture.
LATEX PAINT A quick drying, water-based paint often used on interiors.
MANSARD ROOF A roof with two slopes on all four sides, the lower one is very steep while the upper
one is almost flat.
MOLDING A strip of wood used for decoration, usually applied to finish off a window, door, or
wall.
MONOCHROMATIC A color scheme that uses the tints and shades of one color on the color wheel.
NEUTRAL A color scheme based on the use of large areas of white, black, gray, or near-neutral
colors such as beige or brown.
PARTICLEBOARD A type of board made of wood particles that are pressed together with heat and
glue.
PIGMENT Substances in objects that reflect or absorb light, affecting the color of the
objects.
PLAIN WEAVE A type of weave in which each warp yarn passes alternately over and under one weft
yarn.
PRIMARY The basic colors- red, yellow, and blue – from which all other colors, are derived.
Primary colors form a triangle and are equal distance apart on the color wheel,
PROP0RTION The principle of design that concerns the relationship (based on size and shape) of
objects or parts of objects to one another and to the design as a whole.
RADIATION A type of rhythm of design achieved when lines move outward from a central point.
57
TERM DEFINITIONS
RANCH HOUSE A one-story home, characterized by open corridors, a picture window, and light
construction.
RATTAN A strong, flexible palm-tree stem used to make wicker furniture.
REEDING Carved ornamentation consisting of a series of convex vertical lines that resemble
thin reeds of tall grass.
REPETITION A type of rhythm of design achieved when certain colors, lines, forms, or textures
are repeated.
REPRODUCTION An accurate copy of an original.
RESILIENT
FLOORING
A semi-hard surface that returns to its original shape after stress: available in both
tile and sheer form.
RHYTHM A principle of design that creates an effect by using certain colors, lines, forms, or
textures in a consistent pattern.
ROMAN SHADE A window shade that is designed to be drawn up by cord into a series of horizontal
accordion folds and lies flat against a window when down.
SALTBOX HOUSE A frame house that has two stories in the front and one story in the back topped by
a roof with a long rear slope.
SAMPLE BOARD A board prepared by an interior designer on which sample materials and pictures of
furniture, appliances, and accessories are arranged around a floor plan to give a client
an opportunity to review a design plan.
SCALE A principle of design that, like proportion, concerns the relationship of parts to each
other and to the design as a whole: concerns especially the relationship between sizes
of objects of areas. A design in which all the elements are in good proportion to each
other is said to be in scale.
SECONDARY One of three color-orange, green, and violet - derived form mixing equal amounts of
two primary colors.
SHADE A hue to which black has been added, creating a darker value.
58
TERM DEFINITIONS
SPLIT-
COMPLEMENTARY
A color scheme made up of one color and the two colors on either side of its
complement on the color wheel.
STENCILING A type of wall decoration created by painting through cutout areas in paper plastic,
or metal templates.
SWAG A type of window treatment that is draped across the top of a window in a flowing
manner.
SYMMETRICAL A type of balance in which like objects is placed in the same positions on both sides
of a center point. (Mirror image).
TERITIARY COLOR A color produced by mixing a primary and a neighboring secondary color on the color
wheel. Often called intermediate colors.
TEXTURE An element of design that refers to the surface of objects and describes how it
looks or feels.
TINT A hue to which white has been added, creating a lighter value.
TRAFFIC PATTERN The easiest, most direct route people use to get from one room to another part of a
home.
TRIADIC A color scheme made up of any three hues that are equal distance apart on the color
wheel.
TRUNDLE BED A low bed on rollers that can be stored under a higher bed during the day and slid out
a t night.
TURNING The process of spinning and shaping a piece of wood on a lathe.
UNITY A principle of design that occurs when all the parts of a room or home are related by
one design idea. Also called harmony.
VALANCE A short piece of decorative material across the top of a window.
VALUE The amount of black or white color.
VARIETY A principle of design that occurs when different styles and materials are combined
VENEER A layer of fine wood applied as an outer finish on furniture made of less expensive
wood.
59
TERM DEFINITIONS
VENETIAN BLIND A window blind consisting of horizontal slats that can be adjusted to regulate the
amount of light being admitted: the entire blind can be raised and lowered.
VERTICAL BLIND A window blind consisting of vertical slats that can be turned to adjust the amount of
light being admitted: the entire blind can be pulled across the window.
WARP In weaving and fabric, the lengthwise threads.
WEFT In weaving and fabric, crosswise threads.
WICKER Material made of thin; flexible twigs, branches, and stems (usually rattan) and used
to make baskets and furniture.
WINDSOR CHAIR A wood chair characterized by stick legs and spindles driven into a plank seat: a
simple design requiring not screws or nails.
WING CHAIR An upholstered armchair with a high back from which large side pieces project.
WORK TRIANGLE The triangle in kitchen formed by drawing imaginary lines connecting the sink, range,
and refrigerator.
WROUGHT IRON A metal – almost pure iron – that is durable and can be hammered and shaped into
decorative accessories and furniture.
60
COMMERCIAL ART This course introduces students to creating designs related to advertising media with the business and
commercial world in mind.
REFERENCE
STANDARDS BENCHMARKS POSSIBLE ACTIVITIES
NATIONAL STANDARDS
a, b, d
a, b, c
a, b
a, b
a. b,
a, b
SD STATE
STANDARDS
Number One
1, 2, 3
Number two
1, 2, 3
Number three
1,2, 3
Use design elements and principles design
layouts
Relate work expectations and specific
techniques to the commercial art field.
Analyze commercials and ads to see how
the aesthetic and artistic appeal promotes
products
Develop computer skills and use as a tool
for creating printed materials.
Learn how to match creative skills to the
needs and desires of the client.
Evaluate and critique professional and
student work.
Develop a portfolio.
Design an alphabet using unique and
creative lettering
Design descriptive words using
creative lettering.
Create logo designs for a business or
trademark.
Design letterheads and business
cards
Plan a layout for a package design
Plan a layout and design for magazine
layout.
Illustrate a drawing for story or
bookcover
Design posters for school events and
community happenings.
Design brochure or flyer to promote
a business
Use grid method to enlarge a image
to complete in paint, markers, ink,
etc.
61
COMMERCIAL ART TERMS
TERM DEFINITIONS
BUSINESS CARD Small car that provides name of business/person, address, phone, fax, e-mail address,
etc.
CAMERA READY Lay out design or art ready for photographic reproduction.
COPY Written work used in printed material.
FONT Lettering styles found on the computer.
GRAPHIC DESIGN The field of art that uses pictures and words to communicate messages.
ILLUSTRATORS Graphic artists who create printed materials.
LAY OUT The arrangement of words and pictures on a page.
LETTERHEAD Stationary that provides logo, name address of a business or company.
LOGO A special image or design representing a company, product, or business.
MEDIA Describes all types of communication available to present a client’s message.
PASTE-UP Putting together all material on a board (or with computer software) to complete
artwork.
PICTOGRAMS Stylized designs used to identify objects.
PORTFOLIO Samples of completed work to show prospective clients or agencies.
ROUGH Preliminary plans of a layout to show a client.
TARGET BUYERS Who the company is aiming to sell to – (the market).
TYPE FACE Styles of lettering to use in printed materials.
TYPOGRAPHY Designing with type.
62
BEGINNING PHOTOGRAPHY This course offers a blend of technology and aesthetics. Students learn principles of photography,
fundamentals of art, and technological processes. They are encouraged to explore photography as a form
of creative expression, recreation, communication, and as a means of record.
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
NATIONAL
STANDARDS
a, b, c, d
a, b, c, d
a, b
a, b, c, e
a, b, c, d
b, c
SD STATE
STANDARDS
Number One
1,2,3
Number Two
1,2,3
Number Three
1,2,3
Number Four
1,2,3
Experience an introduction to the field of
photography including history, definition,
purposes, and equipment.
Exercise sound visual composition based on
elements and principles of art as applied to
2-dimensional art.
Learn about the role of art criticism in
photography and exercise informed
judgment.
Develop a working knowledge of exposure,
and understand the relationship between
type of light, film speed, shutter speed,
and aperture.
Understand and utilize range of value.
Have a working knowledge of film, paper,
enlargers, and various darkroom supplies.
Know how to develop film.
Know how to print a contact sheet.
Know how to print a black and white
photograph.
Pinhole cameras from common
containers. Serves as an introduction
to the relationship between light and
photographic exposure. It also serves
as an introduction to the darkroom
process.
Photography with strict boundaries.
Expose an entire roll of film within 10’
square. This forces students to look
thoroughly into familiar surroundings
for creative expression.
Contrast. Thematic contrast and
technical contrast are used to invoke
impact. This activity encourages
investigation into type of light.
Story Illustration. An
interdisciplinary approach with visual
arts/language arts. Students
photographically illustrate a written
work of their own or of another
student.
63
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
Recognize methods of digital image
capture and acquisition.
Understand fundamentals of image editing.
Exercise reasonable file management.
Vantage Point. The angles from which
photographs are taken offer students a
creative aspect to everyday surroundings.
Reflections. These can be staged or can
occur naturally. They can be found on
many available surfaces.
Architecture. There are as many varied
styles of architecture as there are
preferences among students.
Portraiture. Lighting, positioning,
expression, and props/backgrounds all
combine to invoke mood and personality in
portrait images.
Landscape/Nature. These can include a
combination of close-up photos and/or
horizon lines.
Montage. Texture and representational
images are combined by contact methods,
digital layers or filtration, or sandwiched
negatives.
Hand-Coloring. Dyes, sepia toner, and oil
paints, and digital editing tools are used
to hand-tint black and white photographs.
Creative Darkroom Techniques.
Experimentation with solarization
(Sabattier Effect), reversals, and
photograms.
64
ADVANCED PHOTOGRAPHY This course is designed for students who have a profound interest in photography. It offers exploration of
further techniques and media as well as experience in photojournalism. Self-motivation and self-discipline
are necessary for success because expectations are patterned after the working world of photography.
Third year students develop portfolios that reflect publishing experience, a mature artistic direction, and a
higher grade of craftsmanship.
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
NATIONAL
STANDARDS
a, b, c, d
a, b, c, d,
a, b
a, b, c, e
a, b, c, d
b, c
SD STATE
STANDARDS
Number One
1,2,3
Number Two
1,2,3
Number Three
1,2,3
Number Four
1,2,3
Photojournalism: An ongoing unit as
Advanced Photography students are
responsible for supplying photographs for
the student yearbook and newspaper
publications. Creativity, composition, and
impact are continually emphasized.
History of Photography: A selection of
historical photographers is presented to
offer students examples from which they
can pattern themselves.
Current Trends in Photography: A library
of current literature is available to
students through the internet, bound
literature, and current periodicals.
Students are encouraged to keep
themselves aware of new ideas,
equipment, and techniques.
Emulsion Transfer and Image Transfer.
A Polaroid process of transferring
images to foreign surfaces.
Low Light. Exercise various aspects of
low light photography. High-speed
films may or may not be used.
Large-scale printing. Second year
student’s experience 11x14 size
enlarging and third year students
experience 16x20 size.
Infrared. Experimentation with
specialty film and its sensitivity to light
beyond a visible range.
Panalure. Experimentation with a
specialty paper whereby black and
white prints are produced from color
negatives.
Digital imaging. Photographs are
captured digitally and then manipulated
with Adobe software.
65
REFERENCE
STANDARDS
BENCHMARKS POSSIBLE ACTIVITIES
Communication: Students use photography
as an alternate form of communication.
Expressive technique, media, and subject
matter are used.
Creativity: Students are encouraged to
exercise original thought. The search for
new answers to old problems enhances
critical thinking skills.
Portfolio Development: Students in their
third year are required to establish a
portfolio of quality work. The intent of
which is for obtaining scholarships,
employment and/or acceptance into post-
secondary programs.
Emotion and Expression. Impact weighs
heavily in this project as students
convey expressive ideas exclusive of
facial expression.
Abstract. Students study examples of
abstract photography and practice
abstract expression.
Photo Essay. This project offers the
opportunity for in-depth research with
pictoral depiction of the breadth and
depth of an idea.
Halochrome.
66
PHOTOGRAPHY TERMS
TERM DEFINITIONS
5 STAGES OF IMAGE
PRODUCTION
1. Creating the Image
2. Storing the Image
3. Viewing the Image
4. Editing (modify or correct) the Image
5. Outputting the Image
ACETATE BASE Base support for film emulsions.
AGITATION Method by which fresh solution is brought into contact with the surface of sensitive
materials during photographic processing.
ANALYSIS Using theory and composition to break down an image.
ANTIHALATION
BACKING
Dye used on the back of most films capable of absorbing light which passes straight
through the emulsion.
APERTURE PRIORITY Semi-automatic camera on which the photographer sets the aperture and the camera
automatically sets the shutter speed.
ASA Speed rating for photographic materials devised by the American Standards Association.
The system is in the process of being replaced by the ISO system.
ASSYMETRICAL
BALANCE
Equally weighted with varied elements.
BACKLIGHTING Lighting from behind the subject.
BASE Support for a photographic emulsion.
BAYONET MOUNT A lens mount system using flanges by which lens is aligned and seated in the mount and
turned slightly to lock it in place.
67
TERM DEFINITIONS
BROMIDE PAPER Most common type of photographic printing paper. It is coated with an emulsion of silver
bromide to reproduce black and white images.
B SETTING Shutter setting that allows the shutter to stay open while the shutter release button is
pressed.
BURN Add light for a certain amount of time during the exposure of paper to darken an area of a
photograph.
CABLE RELEASE Method of releasing the shutter by means of a remote cable.
CAMERA A light-tight receptacle designed to gather light rays and resolve them as an image.
“Camera” is the Latin word for “room”. Modern cameras can record the resolved image
permanently by means of light-sensitive film.
CASSETTE Container holding measured lengths of film which may be loaded into the camera.
CMYK Cyan, Magenta, Yellow, Black. The four colors in the inksets of many photo-quality printers.
Some printers use six ink colors to achieve smoother, more photographic prints. The two
additional colors are often lighter shades of cyan and magenta.
COLOR MODE The way colors are represented in the digital image.
COMBINATION
PRINTING
The printing of more than one negative onto a single sheet of paper to achieve a particular
effect.
COMPOSITION Selection and arrangement of elements in a photograph.
CONTINUOUS TONE Term applied to monochrome negatives and prints, where the image contains a graduation
of density from white through gray to black.
CONTRAST The difference between the darkest and lightest areas in a photo. The greater the
difference, the higher the contrast.
CROP Adjusting the size of the image to include what is essential.
DARKROOM A facility designed for the handling, processing, and printing of photosensitive materials
and capable of maintaining levels of ambient illumination compatible with these activities.
DENSITY Amount of silver deposit produced by exposure and development (relative opacity).
68
TERM DEFINITIONS
DEPTH OF FIELD The distance between the nearest point and the farthest point in the subject which is
perceived as focused.
DESCRIPTION Objectively labeling visual components of an image.
DIGITAL
PHOTOGRAPHY
The production, viewing, or reproducing of photographic images by electronic means.
DIGITAL WORKING
LAYER
Objects are placed in separate layers and can be freely moved under and over each other.
Objects can always be added, and any object can be removed or changed without affecting
the others. The final result is the composite of all layers, which can be "flattened" into one
layer for conversion into a JPEG, BMP, GIF or other bitmapped file format. The original
image can be maintained in its layered format for future modifications, such as in
Photoshop's proprietary PSD format.
Layers will allow individual editing without adjusting the whole product.
DODGE Block light for a certain amount of time during exposure of paper to lighten values in an
area of a photograph.
EASEL A device placed at the base of an enlarger and designed to frame the image, hold the
enlarging paper in proper position, and create borders during exposure.
EMULSION Light sensitive material which consists of a suspension of silver halides in gelatin.
ENLARGER A device used to project negative images in varying scale onto photosensitive materials for
the purpose of making prints larger or smaller than the original negative.
ENLARGEMENT A print larger than the negative used to produce it.
EXPOSURE The product of the intensity of light and the time the light is allowed to act on the film.
FILE SIZE Depends on the number of pixels in the image.
FILL THE FRAME Filling the photographic image with subject matter.
FILM Photographic material consisting of a thin transparent plastic base coated with light
sensitive emulsion.
FIXATION Chemical bath which converts unused halides to a soluble silver, making the image stable in
white light.
69
TERM DEFINITIONS
FIXED FOCUS Camera lens that has no method of focusing the lens.
FLASH Artificial light source giving brief but bright illumination.
F-STOP NUMBERS Numbers on the lens barrel indicating the size of the aperture relative to the focal length
of the lens.
FOCAL LENGTH The distance between the rear focal point of the lens and the focal plane (film), when the
focus is set at infinity.
FOG Density produced on a negative or print by chemical processing or accidental exposure to
light, which does not form part of the photographic image.
FORMAT Horizontal or vertical layout
FRAMING Use of environment to border and emphasize the subject.
GELATIN Medium used on photographic materials as a means of suspending light sensitive halides.
GRAINS Exposed and developed silver halides which have formed black, metallic silver grains,
producing the visible image.
GREYSCALE A photo made up of varying tones of black and white. Grayscale is synonymous with black
and white.
HALATION Diffused image usually formed around bright highlights of the subject. It is caused when
light passes straight through the film, strikes the camera back and is reflected back
through the film.
HIGH KEY Photograph which contains large areas of light values with few midtones and shadows.
HISTOGRAM A graphic representation of the range of tones from dark to light in a photo. Some digital
cameras include a histogram feature that enables a precise check on the exposure of the
photo.
HOT An area in a photo that is too light and lacks details.
HOT SHOE Camera location for attaching a flash.
IMAGE EDITOR A computer program that enables you to adjust a photo to improve its appearance. With
image editing software, you can darken or lighten a photo, rotate it, adjust its contrast,
crop out extraneous detail, remove red-eye and more.
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TERM DEFINITIONS
IMAGE RESOLUTION The number of pixels in a digital photo is commonly referred to as its image resolution.
Combination of total number of pixels available in an image and the size at which it is
output results in a specific number of pixels per square inch.
INCIDENT LIGHT Light rays falling upon or striking a subject.
INFRARED Light that occurs beyond the red end of the electromagnetic spectrum and invisible to the
human eye. It can be recorded on specially sensitized film.
INTERPRETATION Exploring the meaning of an image.
JPEG A standard for compressing image data developed by the Joint Photographic Experts
Group, hence the name JPEG. Strictly speaking, JPEG is not a file format, it's a
compression method that is used within a file format, such as the EXIF-JPEG format
common to digital cameras. It is referred to as a lossy format, which means some quality is
lost in achieving JPEG's high compression rates. Usually, if a high-quality, low-compression
JPEG setting is chosen on a digital camera, the loss of quality is not detectable to the eye.
JUDGEMENT An informed evaluation of an image.
LARGE FORMAT A camera that uses large sheet film.
LATENT IMAGE The invisible image produced by exposure which can be made visible by development.
LATITUDE The degree by which exposure can be varied and still produce an acceptable result. The
degree of latitude varies with emulsion type. Faster films tend to have greater latitude
than slower films.
LEAD-IN LINES Environmental objects that visually lead to the subject.
LENS A device consisting of one or more elements, usually transparent, designed to direct and
focus light; in photography, used to focus an image onto a focal plane.
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TERM DEFINITIONS
LIGHT Electromagnetic radiation, including infrared, visible, ultraviolet, and x-rays, that act upon
the optical faculties and photographic emulsions.
LOW KEY Photograph in which tones are predominately dark and there are few highlights.
MACRO
PHOTOGRAPHY
Photography which produces an image larger than the original subject without the use of a
microscope.
MEGABYTE (MG) A measurement of data storage equal to 1024 kilobytes (KB).
MEGAPIXEL Equal to one million pixels.
MERGER Subject too close to an object or the edge of the photo.
MONTAGE Composite picture made for a number of photographs.
NEGATIVE The image produced on a photographic emulsion by the product of exposure and
development, in which tones are reversed so that highlights appear dark and shadows
appear light.
NEGATIVE CARRIER Supports the negative between the light source and the enlarging lens of an enlarger.
NEUTRAL DENSITY
FILTER
When you use a Neutral Density (ND) filter on your lens, it allows you to optically cut out
the amount of light going through the lens, but otherwise does not [ideally] affect image
quality. Usually used on bright sunny days to cut down on the amount of light and thus
allowing the photographer to use a slow shutter speed for recording effects depicting
motion (e.g. "water as a cloud").
NORMAL LENS Describes a lens with a focal length approximately equal to the diagonal of the film format
with which it is being used.
OPACITY The light stopping power of a medium.
ORTHOCHROMATIC Used to describe an emulsion which is sensitive to blue and green light, but insensitive to
red.
PANCHROMATIC Photographic emulsion sensitive to all colors of the visible spectrum.
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TERM DEFINITIONS
PANNING Technique for photographing moving subjects. While the shutter is open, the camera is
swung in the same direction that the subject is moving. This creates a blurred background
with a focused subject. The technique works best with shutter speeds below 1/15 sec.
PATH OF A MOVING
OBJECT
Offering visual room for the illusion of motion.
PATTERN Repetition of an element.
PERSPECTIVE The relationship of size and shape of three-dimensional objects represented in two-
dimensional space. Linear perspective is represented by diminishing size and converging
planes. Aerial perspective is a depth effect produced by haze where objects lose form and
are essentially recorded in terms of shape and color and give a visual impression of
distance.
PHOTOGRAM Pattern or design produced by placing opaque or transparent objects on top of a sensitive
emulsion, exposing it to light and then developing it.
PHOTOGRAPHIC Writing with light.
PHOTOGRAPHIC
PAPER
Paper coated with a photosensitive emulsion and used for making photographic prints.
PICTURE PLANES Consideration of foreground, midground, and background.
PINHOLE CAMERA Camera without a lens which uses a very small hole pierced in one end to allow light to pass
through and form an image on the back of the camera which can be covered by film.
PIXEL Picture Element: digital photographs are comprised of thousands or millions of them; they
are the building blocks of a digital photo. Each picture element can measure Illuminance.
POSITIVE Prints or transparencies in which values correspond to tonal range of original subject.
PPI Pixels Per Inch
PRIMARY COLORS The three primary additive colors of the spectrum in terms of transmitted light are blue,
green and red. In painters’ pigments, primary mixing is considered to consist of blue,
yellow and red.
PRINTING-IN Additional exposure is given to selected areas of the print.
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TERM DEFINITIONS
PROCESSING The sequence of steps whereby a latent photographic image is converted into a visible,
permanent image.
RAW The RAW image format is the data as it comes directly off the CCD, with no in-camera
processing is performed.
RESIN-COATED
PAPER
Printing paper with a water-repellent base. RC papers can be processed faster, require
less washing, and dry more quickly than fiber-based paper.
RETICULATION Cracking or distorting of the emulsion during processing, usually caused by wide
temperature or chemical-activity differences between the solutions.
RGB Red, Green, Blue: the three colors to which the human visual system, digital cameras and
many other devices are sensitive.
RINSE Brief clean water wash between steps of a processing cycle which reduces carry-over of
one solution to another.
RULE OF THIRDS Division of 2-D space to calculate placement of subject.
SABATTIER EFFECT The part-positive part-negative effect formed when an emulsion is briefly re-exposed to
white light during development and then allowed to continue development.
SAFELIGHT Darkroom illumination of such limited wavelength and brightness that it does not affct the
photosensitive materials being handled. Materials of different sensitivities require
different safelights.
SATURATION How rich the colors are in a photo.
SHUTTER The center of interest or central idea; the person, place, thing, or view photographed.
SHUTTER SPEED How fast camera shutter operates affecting exposure.
SINGLE LENS REFLEX A system of viewing where the viewfinder is directed to the lens through a series of
mirrors.
SOLARIZATION Reversal or partial reversal of the image by extreme over-exposure. Similar results can be
achieved with the Sabattier effect.
STANDARD LENS A lens with a focal length approximately equal to the diagonal of the film format with
which it is used. Also known as a normal lens.
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TERM DEFINITIONS
STOP BATH Chemical bath whose purpose is to stop development by neutralizing unwanted developer.
This increases precision of development and prevents carry-over of one chemical into
another during processing.
STOP BATH Chemical bath whose purpose is to stop development by neutralizing unwanted developer.
This increases precision of development and prevents carry-over of one chemical into
another during processing.
STOPPING DOWN Reducing the size of the lens aperture and thus the amount of light passing into the
camera. It increases depth of field.
SUBJECT The center of interest of central idea; the person, place, thing, or view photographed.
SYMMETRICAL
BALANCE
The same composition left to right or top to bottom.
TANKS Containers for holding chemical solutions for processing films and plates. Some are for
darkroom use only, others for daylight loading and others must be loaded in the dark,
but can then be used in daylight.
TELEPHOTO LENS Compact lens construction which provides a long focal length with a short back focus.
TEST STRIP Trial and error method of calculating exposure in photographic printing. A number of
exposures are given to a strip of emulsion over important areas of the image to help
judge the correct exposure for the final print.
TEXTURE The surface character of an object, e.g. rough, smooth.
TONE Refers to the strength of grays between white and black. It relates to the brightness,
lightness and darkness of a subject and is determined by illumination.
TONERS Used to change the color of the photographic print by chemical baths. Through a
system of bleaching and dyeing, the black metallic silver image is converted to a dye
image.
TRIPOD Framework for stabilizing the camera.
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TERM DEFINITIONS
TTL Abbreviation of “through-the-lens” as referring to a metering system in which a suitable
light-sensitive mechanism within the camera body measures exposure from image light
passing through the lens.
TWIN LENS REFLEX A system of viewing where the viewfinder leads to one lens and another lens leads to the
film.
VALUE An infinite range of grays from black to white.
VANTAGE POINT The angle from which the photo is taken.
VIEWFINDER A mechanism on a camera that indicates to the photographer the details the camera will
record and commonly, the details that will be in focus.
VIGNETTING Printing technique where the edges are faded out toward the border of the print.
WASHING Final part of the processing cycle that removes the residual chemicals and soluble silver
from the emulsion.
WETTING AGENTS Chemicals which, when used in minute quantities, reduce the surface tension of water.
They are usually added to the final wash of films and plates to improve draining and thus
prevent drying marks from forming.
WHITE BALANCE A function on the camera to compensate for different colors of light being emitted by
different light sources.
WIDE-ANGLE LENS Lens with wide covering power. It has a focal length less than the diagonal of the film
format with which it is being used.
X-
SYNCHRONIZATION
Mechanical synchronization of shutter and flash or use with electronic flash units.
ZOOM LENS A lens constructed to allow continuously variable focal length without disturbing focus
within a certain range (e.g. 80-200mm).
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CAREER EDUCATION
Career education is that aspect of education, which results in preparing one for life’s work. Students need facts
about careers in art and related fields, the futures they offer, and the preparation necessary to enter them.
Professional artists or designers who work in one of the many career categories in the visual arts have created
much of the human-made environment. The buildings in which people live, work, and shop are the creation of
architects and interior designers. Art directors, magazine designers, and illustrators compose the magazines,
books, and catalogues that people read. Industrial designers create the vehicles in which people drive and ride, the
appliances and utensils used for preparing food, or the toys children play. Fashion illustrators and designers design
the latest clothing fashions. Computer technology has increased the need for graphic designers and computer
graphic specialists to design web pages, advertising and animated computer games. As people become aware of the
visual appearance of the environment the demand for professionally trained individuals in environmental design also
increases.
Career awareness can take place in every art course by inviting resource people who work in an art-related field
from the community to do a presentation. Invite a counselor from the guidance office or a representative from
schools and colleges that specialize in art-related fields to discuss possible careers in the art field.
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CAREER LISTING FOR ARTISTS
ADVERTISING LAYOUT INDUSTRIAL DESIGNER
AIRBRUSH ARTIST INTERIOR DECORATOR
AIRPLANE DESIGNER INTERIOR DESIGNER
ARCHAEOLOGIST JEWELER
ARCHITECT JEWELRY DESIGNER
ARCHITECTURAL DRAFTSMAN LEATHER ARTIST
ART APPRAISER LETTERING SPECIALIST
ART CONSULTANT LITHOGRAPHER
ART CRITIC MAKEUP ARTIST
ART HISTORIAN MECHANICAL DRAFTSMAN
ART RESTORER MEDICAL ILLUSTRATOR
ART SALESMAN METALSMITH/GOLDSMITH
ART SUPERVISOR MOSAIC ARTIST
ART TEACHER MURAL SPECIALIST
ART THERAPIST MUSEUM DIRECTOR
ARTIST IN RESIDENCE MUSEUM EDUCATOR
AUTOMOBILE DESIGNER MUSEUM PHOTOGRAPHER
BOOK-JACKET DESIGNER NEEDLEWORK/APPLIQUE ARTIST
BOOKBINDER NEWSPAPER ART CRITIC
CABINET MAKER PAINTER
CANDLEMAKER PRINTMAKER
CARICATURIST PHOTOENGRAVER
CARPENTER PHOTOJOURNALIST
CARTOGRAPHER PORTRAIT ARTIST
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CARTOONIST PORTRAIT PHOTOGRAPHER
CERAMIST PROGRAM DESIGNER
COMPUTER GAME DESIGNER SCENE AND SET PAINTER
COMPUTER GRAPHICS DESIGNER SCULPTOR
CONSTRUCTION DRAFTSMAN SENIOR CENTER ART COORDINATOR
CULTURAL ARTS CENTER INSTRUCTOR SET CONSTRUCTION DESIGNER
CURATOR SHOWCARD ARTIST
DENTIST SIGN PAINTER
DOCENT SPECIAL EFFECTS DESIGNER
ENVIRONMENTAL ARTISTS SPORTS EQUIPMENT DESIGNER
FABRIC DESIGNER STAINED-GLASS ARTIST
FASHION CONSULTANT TAILOR
FASHION COORDINATOR TEXTILE AND FIBER DESIGNER
FASHION DISPLAY SPECIALIST TOOL DESIGNER
FASHION ILLUSTRATOR TOPOGRAPHER
FRAMER URBAN PLANNER
FURNITURE DESIGNER WEAVER
GLASSBLOWER WEB PAGE DESIGNER
GRAPHIC DESIGNER WOODCRAFT ARTIST
GREETING CARD DESIGNER
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SUGGESTED TECHNOLOGY ACTIVITIES
Today artists and illustrators use computer art applications to combine images and make multiple copies in varying
sizes. The computer offers the advantage over conventional art techniques because it can quickly make a two-
dimensional object look three-dimensional. Some of the computer art applications provides tools or menus to add
textures, colors, and backgrounds that can change the surface quality of an image. Students can experiment with
simple draw and paint programs. Encourage students to scan their original work and use the computer programs to
manipulate and create a new piece of computer generated art. Students can create a CD portfolio of their art
projects work using the digital camera.
Travel the Internet to five or six art museums listed the Artist’s Passport using the Glencoe Online Art Web Site.
http://www.glencoe.com/sec/art. Students and teachers can visit the Studio Cyberspace, where creative
adventures on the Internet begin. This is an overview of what is available on this site:
Be a Museum Curator
Artists’ Favorite Places
Archeologist’s Journal
Museum Tour
Architectural Tour
Cultural Treasures
Artists and the WPA
Visiting and Artist
Critique Website
Pictures Worth 1,000 Words
Meet the Masters
Explore Art Schools
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Art Exploration
http://www.getty.edu/artsednet/resources/Sampler/f.html
Visit the Getty Center ArtsEdNet for a good introduction to art resources using works from the Getty
collection.
Matisse
http://www.paceprints.com/modern/matisse/matisse-main.asp
This site is a good introduction to the artist and his works, and contains several examples of Matisse's art.
Georgia O'Keeffe
http://hudson.acad.umn.edu/OKeeffe.html
This site has two of O'Keeffe's paintings on display, Oak leaves, Pink and Gray (1929) and Oriental Poppies
(1929). A short description accompanies each picture. Some very bright and colorful images when enlarged.
http://www.ellensplace.net/okeeffe1.html
Artistic history of contemporary American artist, Georgia O'Keeffe. Her works are inspired by surroundings
in Texas; New York, especially the Adirondacks; and the deserts of northern New Mexico. Includes the
artist's comments and several works.
The Posters of Toulouse Lautrec
http://www.sandiegomuseum.org/lautrec/index.html
Possibly one of the best sites on the artist,Toulouse Lautrec. This page has links to sites that have
background information on the artist, images of over 20 posters of Toulouse Lautrec, information on the
artists life, bibliographies, and information on printmaking and printmaking history.
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Kandinsky - Lyrisches (Lyrical)
http://www.boijmans.rotterdam.nl/engels/collec/mk/mk4.htm
This is an exciting collection of works by Wassily Kandinsky and other artists from the Rotterdam Museum,
includes several nonobjective works.
Twentieth Century Art
http://witcombe.sbc.edu/ARTH20thcentury.html#Early20century
This site provides an overview of art of the early twentieth century, and then lists links to some of the
influential artists of that time. What are some of the art movements of the twentieth century? Which early
twentieth century artist do you like the best, and why?
WebMuseum: Gauguin
http://www.oir.ucf.edu/wm/paint/auth/gauguin/
Explore the use of color in the expressive paintings of Gauguin. Provides some background information on styles and
art movements, as well as links to several other artists to investigate their use of the principles of art.
Kandinsky
http://www.boijmans.rotterdam.nl/engels/
collec/mk/mk4.htm
Start with this single image by Kandinsky and examine his use of the principles of art. then use the forward and
back buttons to view more examples of modern art and the principles.
Monet
http://webpages.marshall.edu/~smith82/monet.html
Extensive list of links to images of Monet's works, organized by museum location. Each picture downloads
quickly so tudents may view a large image of the artist's work.
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Graphic Design
Special Interest Group on Computer Graphics (SIGGRAPH)
http://www.siggraph.org/home.html
This site is full of information from a leading computer graphics organization, and includes examples and
techniques useful for anyone interested in this technology field.
Graphic Designer
http://gallery.sjsu.edu/
This is an interesting site giving information and examples of student art from San Jose State University
School of Design.
Animation Art at Animation and Fine Art Galleries
http://animationandfineart.com/Animation/Anim.html
View individual drawings, storyboards, and colorful cells from some of the well-known animation studios.
Learn about animation art. Remind students that these images are copyrighted.
Ansel Adams
http://www.zpub.com/sf/history/adams.html
Here you can view black and white photography and find out about this nature photographer who devised
innovative printing techniques to obtain dramatic effects with his photography.
@rtifacts
http://www.arts.ufl.edu/art/rt_room/@rtifacts.html
This site contains an index of famous artists' birthdays and an art timeline, both of which provide easy and
interesting visuals for students to follow. Includes games of Art Scrabble and Art Trivia which engage
students in learning about art history.
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Museum D'Orsay
http://www.paris.org/Musees/Orsay/Collections/Paintings
A visit to this site will expose students to the works of some of the 19th-century European artists, such as
Monet, Degas, Daumier, and Miller. Provides a link to a second collection of 19th-century European artists.
MOMA The Museum of Modern Art
http://www.moma.org/
Visit a comprehensive collection of modern art. Includes photography, sculpture, video, paintings, and more.
Gives detailed information on the museum in New York.
WWW Pop Art: Index
http://www.fi.muni.cz/~toms/PopArt/Overview/america.html
This site contains links to many modern and Pop artists and their works.
Architecture
Frank Lloyd Wright
http://lcweb.loc.gov/exhibits/flw/flw.html
Visit the Library of Congress exhibition on Wright's architecture. Includes several images and explanations
of his architectural style.
Native American Art Sites
Native American Jewelry
http://www.indiansun.net/education.htm
This site provides background information on Native American jewelry and pottery. The site displays images
of artworks from several different indigenous groups and provides historical information about these groups
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Kachina Dolls - Eagle Wing Indian Art
http://www.getty.edu/artsednet/resources/Maps/kachina.html
This site describes the history of Kachina dolls and explains their use in, and types of, ceremonies. It also
gives research synopsis based on Kachina dolls.
Chetro Ketl 3-D Great Kiva
http://sipapu.gsu.edu/html/kiva.html
Enter this site and view a 3-D image of an ancient Native American Kiva. Students will really enjoy exploring
the Kiva and discovering hidden niches in the walls of the dwelling.
Dance Costumes
http://www.powersource.com/powersource/gallery/
objects/dance.html
Investigate various American Indian powwow outfits modeled here by students. Includes comments about
the outfits, their history, and their use in dancing.
History of Beadwork
http://indy4.fdl.cc.mn.us/~isk/art/beads/art_bead.html
Take an in-depth look at the history of the art of beads and beadwork from early times to present-day
computer designing.
Beadwork Designs
http://indy4.fdl.cc.mn.us/~isk/art/beads/art_bea2.html
Discover the double needle applique technique of Peyote beadwork and loom woven beadwork. Includes
directions and illustrations of designs for young beadworkers.
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Basketry
http://indy4.fdl.cc.mn.us/~isk/art/basket/pomo.html
Thirteen baskets of the California Pomo Indians are superbly illustrated. Information on the materials used,
traditions, and their very interesting history are included.
Rock Art--Petroglyphs
http://www.crystalinks.com/petroglyphs.html
This site contains links to artifacts, rock art, petroglyphs and carvings from ancient cultures throughout
world history.
The American Craft Museum
http://www.americancraftmuseum.org/acm/
Visit this site to find out just how wide-ranging this field of art is. Visit an exhibition on quilts, explore
Native American work, or even view an exhibit on "Defining Craft."
Virtual Ceramics Gallery
http://www.ilpi.com/Artsource/vce/VCEhome.html
View several ceramics works. Click on an image and find out more about the piece and the artist who created
it.
The Sculpture Center
http://www.sculpturecenter.org/index.htm
The Ohio Outdoor Sculpture Inventory presents this site for the preservation of outdoor sculpture in Ohio.
Lots of places to visit from this site. Choose: Window to Sculpture or Works by Young Sculptors.
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Virtual Sculpture Gallery
http://www.stonecarver.com
Learn how stone is quarried and carved. Find out about the tools, techniques and traditions of carving. The
gallery also has a wide assortment of pictures of sculptures ranging from animals to fireplaces to gargoyles
and grotesques! There are some excellent images.
Good sites for:
Clipart
www.tudogs.com
www.coolgraphics
www.snowcrest.net/kitty/
Museums Tours
Museum of Ancient and Modern Art
http://www.mama.org/
exhibits – The Primitive Face: Masks of Africa
Joslyn Art Museum
http://www.joslyn.org/
Native American collection
Cincinnati Art Museum
http://www.cincinnatiartmuseum.com/
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National Museum of Art
http://www.nga.gov/exhibitions/
Collection tours – painting, sculpture, graphic arts, and decorative arts.
Escher
Some Online in-depth tours include: Picasso
Calder
Pollock
Architectural Tours
Virtual Exhibition Tours Van Gogh
Calder
Smithsonian
http://www.si.edu/resource/tours/art/start.htm
http://www.cnam.fr/fractals.html
Drawing:
One point perspective by Harold Olejarz
www.olejarz.com/arted/perspective/index.html
Perspective Drawing by Jan Garner
http://mathforum.org/sum95/math_and/perspective/perspect.html
Sanford: A Lifetime of Color
www.sanford-artedventures.com/
Lesson Tutor Inc.
www.lessontutor.com/artgenhome.html