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

ii

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

iii

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

1

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.

2

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.

3

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.

4

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

5

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.

6

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:

7

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.

9

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.

14

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.

15

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.

16

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.

17

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.

18

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.

19

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.

20

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).

21

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.

22

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.

23

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.

24

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.

25

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