Art Ideas For Primary Teachers - Years 3 to 6 by Teacher Superstore

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d.net Published by: Ready-Ed Publications PO Box 276 Greenwood WA 6024 www.readyed.net info@readyed.com.au

ISBN: 978 186 397 895 8 2

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Any copying of this book by an educational institution or its staff outside of this blackline master licence may fall within the educational statutory licence under the Act.

Reproduction and Communication by others

Contents 4 5 6 7 8 9

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Caught In Plastic Antarctica X-Ray Australia Multi-Culturalism Sports Scene The Frog Panda Name Illusions Eye Comic Faces Complementary Colours Frangipanis Cup Of Tea Sports People Inkblot Australian Icons Starfish Patterns Blending Practice Shading Practice Texture Practice

10-13 14-15 16-18 19-21 22-23 24-25 26-28 29-31 32-33 34-36 37-39 40-41 42-43 44-46 47-49 50-51 52-54 55-57 58-59 60-61 62-63 64-65 66-67

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Teachers’ Notes Handy Hints National Curriculum Links Colour Techniques Explained How To Use This Book

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Assessment Sheet

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Art Ideas For Primary Teachers 2 is part of a two book series. The first book is designed for lower primary students and this book is written for upper primary students. As a casual teacher myself I have created both books to assist teachers, especially casual teachers, by providing them with easy to follow and practical art ideas. The ideas in this book are interesting and provide students with the opportunity to be creative, expressive and imaginative - three requirements of the new National Art Curriculum. Many of the art activities can be integrated into other key learning areas, which is hugely beneficial in today’s busy classroom. Pollution, Australian identity and the importance of multiculturalism are just some of the topics raised by the artworks. The artworks featured in this book utilise materials that are readily available in schools which is advantageous for casual teachers and busy classroom teachers.

Art in the primary school classroom can be a daunting experience for some teachers who lack confidence or extensive knowledge of art and its processes. I have created these art ideas to assist such teachers and hopefully to promote a positive and productive art experience for both the teachers and the students. I remember my love for primary school art was fostered when I was testing The Frog activity (see pages 26-28). The students were enthusiastic and genuinely loved the art experience (they also had green paint in their hair which made me, and them smile!!!). There is nothing more pleasurable than watching a class of happy, enthusiastic students working busily on a successful art activity. Hopefully these art activities will assist you in this delightful experience.

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The art activities in this book will not only help teachers to provide stimulating lessons for their students but they can be used to cater for all levels of artistic abilities. For example, for students with obvious artistic ability, minimal assistance can be given and creativity promoted. For students experiencing difficulty in creating an artwork, it may be beneficial to provide the blackline master templates attached to some of the lessons or give them some assistance to increase their confidence so that they can produce a piece of work with which they are happy. Modifying the lessons can help create a positive environment which is imperative to artistic learning processes. The activities in this book can also be altered in their degree of difficulty by using a different medium or technique, such as substituting pastels for pencils. The lessons can be modified to cater for the abilities of the students and the teachers.

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The most important thing to remember is that art should be a pleasurable and positive experience for all involved, and this book has been written to help teachers achieve this.

Handy Hints • Place newspaper under students’ paintings to protect tables. Newspaper can also be used as a palate for paint. This can create a larger space for blending colours and provides a tidy option for cleaning up - newspaper can be scrunched up and placed in the bin, leaving only brushes to be washed.

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• School chairs and cement in the playground can create a textured look in artworks. Place paper on top of chairs and cemented areas and gently rub or colour in with a desired medium.

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• When cutting out an object, advise students to remove the bulk of the paper first by cutting roughly around the object. They are then working with a smaller piece of paper which can improve control. Advise students to turn the paper as they are cutting as opposed to turning their arms and the scissors. This makes cutting a much easier process. • When painting or using any medium that will smudge if touched, it is useful to encourage students to start in the top corner of the page and work down the page. Which side to start is determined by whether a student is righthanded or left-handed. If a student is right-handed it may be beneficial to start work in the top left-hand corner and vice versa. This can help prevent leaning on work already attended to and thus prevent ‘smudging’. •

• If reusing paint in the next few days, place cling-wrap over it to keep it moist.

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• To obtain a straight edge when painting with a brush, use the straight end of the brush as opposed to the sides. Move this edge sideways in a ‘colouring-in’ fashion. • Before attempting techniques such as blending and shading it is beneficial to do some basic practice first. Complete the activities on pages 62 to 65 to practise blending and shading and for future reference. •

o c . It is useful to have an attempt at the artwork yourself before teaching it to c e h r the class. This will increase your confidence and allow better assistance to be e o t r s s r upe given to your students.

• Art can be a very personal way of expressing emotion and individuality. Care must be given when providing criticism of artworks. It may be beneficial to instead ask students what they liked and disliked about their works and discuss possible solutions for improvement if appropriate.

National Curriculum Links Years 3 and 4 Explore ideas and artworks from different cultures and times, including artwork by Aboriginal and Torres Strait Islander artists, to use as inspiration for their own representations (ACAVAM110)

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Use materials, techniques and processes to explore visual conventions when making artworks (ACAVAM111)

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Present artworks and describe how they have used visual conventions to represent their ideas (ACAVAM112)

Identify intended purposes and meanings of artworks using visual arts terminology to compare artworks, starting with visual artworks in Australia including visual artworks of Aboriginal and Torres Strait Islander Peoples (ACAVAR113)

© ReadyEdPubl i cat i ons Explore ideas and practices used by artists, including practices of Aboriginal •f or r ev i e w pu r po sebeliefs so nl y• and Torres Strait Islander artists, to represent different views, and Years 5 and 6

opinions (ACAVAM114)

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Develop and apply techniques and processes when making their artworks (ACAVAM115) Plan the display of artworks to enhance their meaning for an audience (ACAVAM116)

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Explain how visual arts conventions communicate meaning by comparing artworks from different social, cultural and historical contexts, including Aboriginal and Torres Strait Islander artworks (ACAVAR117)

Colour Colour: The colour wheel tells us how the colours work together, and how different colours are created.

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Primary colours: These are colours that can’t be mixed from or formed by combining any other colours, and they are the basis for making most other colours. They are: red, blue and yellow.

Black and white: Like primary colours, black and white cannot be made by mixing together other colours. They aren’t used in colour mixing to create colours, so they get excluded from colour mixing theory. If white is added to a colour, you lighten it and if you add black, you darken it.

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Warm colours: These are: yellows, oranges and reds. They convey energy, and will induce a ‘cozy’ feeling which will have a warm psychological effect on us.

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Cool colours: These are: blues, greens and violet. They have a calming effect on us, and convey a relaxed mood.

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Secondary colours: Primary colours can be mixed together to produce other colours. These are called secondary colours. They include: green, orange, purple and brown.

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Complementary colours: These are colours that are directly opposite each other on the colour wheel. They are: red and green, blue and orange, and violet and yellow. The reason complementary colours are called ‘complementary’, instead of just ‘opposite’, is because they work so well together.

Hue: This refers to the actual colour with its qualities of yellowness and blueness. Intensity is the degree of purity or saturation of a colour. The more intense a colour, the more of a pure colour has been added. Tint: This refers to mixing a colour with white. The more white added to a colour, the lighter it becomes. Shade: This refers to a colour mixed with black. The more black that is added to a colour, the darker the colour becomes. Tone: This refers to a colour that has been mixed with grey. 7

Techniques Explained Blending (See pages 62-63)

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Shading (See pages 64-65)

Shading is a technique used to make a subject look solid and three-dimensional and therefore more ‘realistic’. To give a subject depth, an artist needs to think about the pattern of light. Where an object is being hit by light, the shade of the colour used will be light. Similarly where there is less light or a shadow, the shade of the colour will be darker. In the example of the panda (see image right) there is a shadow under the jaw-line and nose. A shadow is present because the nose and jaw are in front of the rest of the body. The shadow area is created by adding a little black to the colour, known as shading.

Activity – Blending. Page 62.

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The technique of blending involves creating an area between two colours where they gradually mix. There is a gentle transition from one colour to the other. To blend colours when painting you start with the first colour. As you move along the area, you add a small amount of the second colour. Gradually you add more of the second colour, so that the ratio of this paint is higher than the first colour used. In the example right, the two colours being blended are black and white. If black is the first colour used, a small amount of white is added to the black, while the paint is still wet. More and more white is added until the final colour is white.

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Texture is the surface quality or ‘feel’ of an object. In artistic terms, texture is referred to as ‘simulated texture’ where the artist attempts to portray how an object would feel if it could be touched. Texture can be created via brushstrokes, e.g. using smooth brushstrokes, dabbing of the brush, flicking motions, etc. Texture can also be created by other means such as manipulating the median used. An example may be using a substance such as sand to create a rough textured effect in the artwork.

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Holding A Paint Brush

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To achieve precise effects and good control when painting, a paint brush should be held in the same way that you would hold a pencil or pen, with fingers close to the painting end of the brush (the bristles). The wrist is used to move the brush to gain fine control. For more flowing strokes the whole arm can be used, not just the wrist. It is better to move the brush in different directions instead of just moving it from left to right. A paint brush can also be held by wrapping the whole hand around it. With the palm up, rest the brush handle across the fingers and wrap the fingers and thumb around it. The thumb should be pointing upwards. Use the whole arm and shoulder when using this method to move the brush. 8

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Texture (See pages 66-67)

Activity – Texture. Page 66.

How To Use This Book Each activity page contains: a title, the aim of the artwork, the materials required to complete the artwork, the time that it takes to complete the artwork, discussion points, step-by-step instructions, and summary and reflection questions. There is also a picture of the completed artwork on each activity page to use as a guide.

Example of the completed artwork.

How long it will take to complete the artwork. This will vary depending on age and levels of ability.

Title of the artwork.

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The aim is what the artwork is attempting to achieve.

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The materials that are required to complete the artwork.

Discussion points to guide the lesson and to test and create background knowledge on the subject matter and process of the artwork.

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Step-by-step instructions re how to guide the art lesson.

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Questions to allow students to critique their artworks and provide an opportunity for teacher assessment.

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Caught In Plastic

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Caught In Plastic Aim Of Lesson: To create an artwork that depicts the impact of humans on natural environments, using the technique of painting. Materials Paint Scissors

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Duration

2 x 60 minute lessons

Discussion

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1. Any animal could be substituted for the octopus, e.g. fish, turtle, bird, etc. If creating an octopus start by drawing the outline of an octopus which takes up the entire page. Only draw three legs on this outline (see BLM on page 12). Draw in a face. On a separate piece of paper draw five legs, ideally two lots of two joined together at the top and one single leg (see BLM on page 13). Draw little circles or other shapes on the bottom of each leg to represent markings on the tentacles. Use the provided BLMs if desired. 2. Paint the octopus in one colour. Paint the separate legs the same colour. Paint the water background in colours that represent the sea/ocean (blues/greens). 3. When dry, cut out the legs on the separate piece of paper. 4. Cut three slits for the legs to be inserted at the bottom of the body (see BLM on page 12 for exact positions). Stick the additional legs on the back side of the page with glue or sticky tape. 5. Trace the outline of the face and tentacle markings with a black pen. 6. Cut a plastic bag to size and cut holes in it to enable some of the legs to come through the bag. Fix to the painting.

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What are plastic bags and what are they used for? (We use them to hold and carry objects in.) Where do plastic bags go when they are not used anymore? (Rubbish bin, garbage tips, landfill and sometimes they can make their way into oceans and rivers.) What impact might this have on our environment? (They take a long time to break down in landfills, they can kill or injure wildlife/marine-life.) What animals could get injured if caught in a plastic bag and how? (Marine-life through the waterways, birds can get trapped and unable to escape.) What could we do to prevent this from happening? (Limit production and usage of plastic bags, recycle bags, replace with material or paper bags.) How could we as artists attempt to rectify this issue in society? (Create pictures that show the effects of using plastic bags, to make people think about their actions.)

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Paint brush

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Water Glue or sticky containers and tape water Plastic bag BLMs (see Lead pencil pages 12-13) or white A4 paper

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Summary And Reflection Questions •

Why would we create this artwork and what benefits/issues might it raise? (To raise an important social issue and provide a chance for it to be explored and improved.)

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What do you like about your artwork and what did you learn in the art process?

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Would you have done anything differently in your artwork? 11

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Caught In Plastic

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Caught In Plastic

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Antarctica

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Antarctica Aim Of Lesson: To create an artwork that depicts Antarctica and its surroundings. Materials

• Where is Antarctica? (Antarctica is the Earth’s southern-most continent.) • What living things are found in Antarctica? (Only cold-adapted plants and animals survive there, including: penguins, seals, blue whales, orcas, colossal squids, fur seals, mites, many types of algae and other microorganisms.) • What is interesting about Antarctica? (Antarctica is the coldest, driest, windiest place on Earth. Antarctica is considered a desert, due to its low yearly rainfall. The coldest natural temperature ever recorded there was −89.2 °C.) • How is Antarctica different to Australia? (There are no permanent human residents on Antarctica. The climate of Antarctica does not allow extensive vegetation. Temperatures, poor soil quality, lack of moisture, and lack of sunlight inhibit plant growth. As a result, plant life is limited to mostly mosses and liverworts. Nearly all of Antarctica is permanently covered with a thick layer of ice.) • What does the world do to protect Antarctica? (They follow the Antarctic Treaty. The Treaty prohibits military activities and mineral mining, supports scientific research, prohibits pollution and protects the wildlife and marine-life.) • What do you think Antarctica looks like? (Talk about colours, textures, etc.)

and water containers Black and white pastels Scissors

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White paper Glue Paint brush Lead pencil Water

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Duration: 2 x 60 minute lessons

Discussion

Images of Antarctica and seals Black, white and blue paint

1. On a white piece of paper draw two iceberg shapes with a lead pencil. One iceberg should be a full iceberg that covers the right-hand side of an A4 piece of paper (see the example on page 14). The other iceberg should be half an iceberg - the top half (see picture on page 14). Cut these out using scissors. 2. On a separate piece of white paper glue the icebergs in place. Glue the full iceberg on the right-hand side of the page and the half iceberg on the left-hand side of the page. 3. With a lead pencil draw a very faint line across the page to represent the top of the water. Draw a seal towards the left-hand side of the page. Half of the seal’s head should be above the water line and on the ‘half’ iceberg. 4. Paint the seal with grey paint. Mixing blue with white paint to create a really pale blue, paint the sky in between the two icebergs. Leave the icebergs white. Allow the grey paint to dry before continuing. 5. Add the facial features to the seal using black pastel for the eyes and nose and white for the whiskers. 6. Mix some blue paint with a little bit of white. Water this paint down just a little with water. Paint over the seal under the water line and paint around the edge of the bottom of the ‘full’ iceberg. Add more white paint to this mix and paint the bottom part of the ‘full’ iceberg. 7. When the paint is dry, add some ‘crack’ lines to the icebergs using a lead pencil.

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Summary And Reflection Questions •

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What story could you tell about what is depicted in your artwork? For example, what might the seal be doing? Where has it been, where is it going? Does your artwork look like it would be a cold place to be? How have you created this effect? (Pictures of icebergs, white colour for ice, use of ice blue for the water.) Would you like to visit Antarctica? What would you like to see there? 15

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X-Ray

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X-Ray Aim Of Lesson: To portray a realistic depiction of an x-ray through art processes. Materials

Duration

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1 x 60 minute lesson

Discussion

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Have you or do you know anyone who has broken a bone in his/her body? What happened when you or this person had their accident? What is an x-ray? (An x-ray is a picture that is taken to show bones inside the body. An x-ray machine is used to take these pictures. X-rays are often used to see if there are any breaks in the bones.) What bones in the body would most likely break and why? (Small bones such as fingers and toes because they are not as strong as bigger bones such as the leg bone - femur.) What colour are x-rays? (The background is black and the bone structures are white.)

1. On a piece of white paper, trace around your own hand, palm down. Ensure fingers are spread. Using your own hand as a guide, draw in bones where they bend - the knuckles, tops and middle of fingers and wrist (see example on page 16). Use the BLM provided on page 18 if desired. 2. Cut around the outside of the whole hand not yet cutting around the bones. Place hand on black brenex and trace around lightly with lead pencil. This will give a guide on positioning the hand and where the bones are meant to go. 3. Cut out a bone from the drawn hand and using the drawn outline on the brenex as a guide, put it into place. Glue bones as they are cut. 4. Using white pastel, crayon or chalk, trace the pencil outline. Trim black brenex to neaten if desired. Paint a black/dark background instead of using brenex if desired.

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White pastel, crayon or chalk Lead pencil Glue

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Black or dark coloured brenex White paper or the BLM on page 18 Scissors

o c . che -- Portray an x-ray wherer ae bone is broken. -- Use other parts ofo the body using the same t r s s r u e p process as above to create different x-rays. Variations

-- Using white thread, sew the lines around the hand.

Summary And Reflection Questions • • •

Does your artwork look like an x-ray? If so, how have you achieved this? Are you happy with the finished effect? If not, why? How could you have improved your piece?

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X-Ray

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Australia

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Australia Aim Of Lesson: To discuss and reflect on methods to promote bringing all Australian cultures together through an artwork. Materials Dark blue, red, yellow and black brenex Glue

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1-2 x 60 minute lessons

Discussion

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Briefly discuss Aboriginal Australians. Talk about Aborigines being the first people to occupy Australia. Discuss famous Aboriginal people: Cathy Freeman (athlete), Eddie Mabo (indigenous land owner), Lionel Rose (boxer), Ernie Dingo (actor), Evonne Goolagong (tennis player), Albert Namatjira (artist). Display pictures of the Aboriginal flag and the Australian flag. Discuss the significance of the colours on the Aboriginal flag (red symbolises the land, yellow symbolises the sun and black represents the people). Discuss why flags are important to Australians. (They are part of our history and identity.) Discuss events and places where the flag is used. (Sporting events, ceremonies.) Discuss how changing the Australian flag may make people feel.

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1. For the background: draw three stars on white paper. Cut them out. Then draw a rectangle approximately 7 centimetres x 9 centimetres on white paper. Cut it out. 2. Cut four strips of red brenex/paper approximately 1 centimetre wide and 9 centimetres long. Stick onto the white rectangle in a star/cross-pattern (look at the top left-hand corner of the example on page 19). Glue in place and trim excess red paper along the edge of the white rectangle. 3. Glue this rectangle on the top left-hand corner of a piece of dark blue brenex. Glue the stars in the other corners of the flag. 4. For the foreground: cut around the template of Australia on page 21. Place this outline on a piece of black brenex and using a lead pencil trace around this template. Repeat using a piece of red brenex. 5. Draw a horizontal line half-way down the Australia templates on both pieces of brenex using a lead pencil and a ruler. Cut out the bottom half of the red ‘Australia’ and the top half of the black ‘Australia’. Match them up and glue on the blue brenex. 6. Cut out a circle for the sun using yellow brenex. Trim the sun where it hangs over the bottom part of Australia and glue onto the middle of Australia. 7. The blue brenex can be trimmed to give a more ‘even’ effect.

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Black pen or texta BLM on page 21

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Duration

White paper Scissors Lead pencil Ruler

Are you happy with the outcome of your work? If not, what could you have done differently to your artwork? How might your artwork make the people in the community feel and what might be some different opinions people have about it?

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Australia

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Multi-Culturalism

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Multi-Culturalism Aim Of Lesson: To explore the concept of multi-culturalism in our society and portray these aspects in an artwork. Materials Coloured pastels, pencils or textas

Lead pencil

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1. Using a lead pencil, sketch the outline of three people standing next to each other. Sketch them from the shoulders up.

Duration

1 x 60 minute lesson

Discussion

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What is multi-culturalism? (Multiculturalism is a term used to describe the coming together of groups of people in one location who are from varying ethnic backgrounds. Australian society is wellknown as being multi-cultural.) What do you think about multi-culturalism? Do you have a multi-cultural class? What are your peers’ backgrounds? What are some of the differences in appearance amongst races and nationalities? (Colour of skin, different shaped noses and eyes, different hair textures.) Draw some examples on the board. What similarities do all races and ethnicities have? (We all possess the same facial characteristics even though they may look different, e.g. the same eye colours.) How could we create an artwork that portrays multi-culturalism in a positive manner? (Use of soft colours and lines, happy expressions on the faces, all dressed in the same uniform to show inclusion, positioned close together to convey a sense of unity.) How and why would artists convey differences in an artwork? (To celebrate differences.)

2. Thinking about the previous discussion draw the facial features of the people who you have sketched. Create three people from different backgrounds who do not look similar in appearance. Think about appropriate shape and type of line for each different feature, e.g. round shape for races that have rounder noses. Include the school uniform on each person.

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3. When you are happy with the sketches, use desired coloured medium to complete the picture. Remember to use colour that resembles each race.

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White paper

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Summary And Reflection Questions •

Are you happy with your completed artwork? Why? Why not?

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View the finished artworks of your peers in the classroom. How are they similar or different to yours?

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What do you think an audience would think about your artwork? Do you think they would like it? Why?

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Do you think that your artwork realistically represents the notion of multi-culturalism in Australia?

Sports Scene Aim Of Lesson: To allow students to reflect on their personal life experiences to create a sports art scene. Materials Dye/wash Scissors Black texta/pen or pencil Plain paper

2 x 60 minute lessons

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Discussion

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Discuss sporting experiences, the games students have played, are passionate about or that they have observed (e.g. football, soccer, netball, hockey, tennis). Discuss aspects of these games (number of players, positions, uniforms, equipment used, etc.). Discuss the environment in which they are played (inside, outside).

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1. Choosing a sport from the discussion, wash the background of a plain piece of paper accordingly, e.g. green for grass, watered-down black for grey asphalt. 2. While drying, choose a dark coloured piece of brenex. Determine the number of players required for the chosen sport and fold the brenex in a concertina fashion (fold the edge of the paper and turn the paper over and fold the paper back onto itself ). The fold should be big enough to fit a figure on it. Think about how many figures will fit on the page based on their size. If there are not enough figures for the scene, repeat the process on another piece of brenex. Make sure that the figures are a similar size. 3. Draw a figure on the first fold. The figure needs to be solid and not a ‘stick figure’ so that it can be cut out. While the brenex is still folded, cut around the figure, creating several of the same shape. If depicting a ‘team sport’ use the light and dark sides of the brenex to represent different teams. 4. When the background on the plain paper is dry, draw an outline of the field’s/pitch’s/court’s markings. Arrange the figures into their positions and glue into place. Cut small squares for uniforms and draw in appropriate positions or numbers. 5. Cut a small rectangle out of coloured paper and write, ‘I love … .’ (what-ever sport has been depicted) and glue onto the scene.

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Duration

Coloured brenex Glue Paint brush water and containers

o c . che e r o t r s super Summary And Reflection Questions • • • •

Do you think of your sporting experiences as positive or negative? Does your artwork show the viewer something about you and your sporting experiences? Did you find this art process difficult and did you need skill in a particular technique? (E.g. cutting paper.) How have others portrayed their sporting experiences? How do their artworks differ from your artwork?

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Sports Scene

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The Frog Aim Of Lesson: To create an artwork that portrays characteristics of a frog and to discuss possible issues relating to extinction, whilst gaining experience in the techniques of shading and blending. Materials

Duration: 2 x 60 minute lessons

Discussion

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1. Colour the eyes of the frog on the BLM with a pastel or a crayon. 2. Using green paint, begin to paint the top of the frog’s head. Mix a small amount of yellow into the green paint and continue to paint down the frog’s head towards its mouth. Under the mouth continue this process starting with pure green and blending more yellow as you travel down the page. Repeat this process on its arms. 3. Mixing a minute amount of green paint with water, paint the mouth. 4. On a separate piece of paper wash the background green using dye or watered-down paint. 5. Using different shades of green brenex, draw long leaf shapes with a lead pencil and cut them out (approximately 10). When the green background is dry, glue the paper leaves into place, overlapping them. Leave one paper leaf unglued and set aside. 6. When the paint is dry on the frog softly colour the frog’s fingers with pastel or crayon. Cut around the frog. Leaving the frog’s longer arm unglued, glue the frog on top of the paper leaves. Glue the remaining paper leaf (that was set aside) over the lower area of the frog’s body, placing its hand over the leaf. Glue down arms, hand and foot. 7. Organise the ‘real leaves’ around the page, under the ‘paper leaves’ and fix with glue or sticky tape.

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Discuss the effect of shading colours (see pages 64-65). Discuss the technique of blending colours (e.g. to make a lighter green; white or yellow can be added).

Summary And Reflection Questions • • •

BLM (see page 28) Approximately 4-5 real leaves Plain paper Paint brush Water and containers Lead pencil Ruler

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Green and yellow paint Pastels or crayons Glue and sticky tape Green brenex (preferably two shades of green) Scissors Green dye or use watered-down paint

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Name different types of frogs and discuss their appearances. Look at pictures of different species if possible. (There are nearly 4,000 types of frogs, including toads (which are in the frog family) in almost every part of the world. There are: red-eyed tree frogs, common frogs, yellow banded poison arrow frogs, and blue dart frogs.) What special features do frogs have to enable them to survive? (Long tongues to gather food, coloured skin to camouflage themselves, sticky webbed feet to stick to their surroundings.) Where do frogs live and what would be in their habitat and surroundings? (Frogs are found on all continents of the world except Antarctica. They can be found in forests, woodlots, meadows, springs, streams, rivers, lakes, ponds, bogs, marshes, swamps and farmlands.) Do you like frogs? Why, why not? What words describe a frog’s skin? (Green, brown, blue, yellow, smooth, shiny.) Discuss endangered frogs and how we can help keep them from extinction. (Stop using pesticides, stop killing them for food or dissections, build frog ponds at home and at schools, save water.)

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What techniques did you use in this artwork and what were you attempting to achieve? Did you achieve your desired outcome? If not, what could you have done differently? How could your artwork raise awareness?

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The Frog

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The Frog

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Panda

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Panda Aim Of Lesson: To create an artwork that portrays a panda and its beauty through an exploration of shading and blending techniques. Materials

Duration: 1-2 x

60 minute lessons

Discussion

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1. Paint the panda’s ears on the BLM with black paint. When painted, go over the area dabbing the paint brush to give the ears a ‘furry’ look. 2. Wash the brush with water and start painting the top of the panda’s head white. Stop at the bottom of the eye area. (Working in stages down the head prevents the need to lean on wet paint.) 3. Paint the area around the eyes black. When finished put a very small amount of white paint on the brush. Gently paint a small area over the black to create an ‘eyeball’. The result will be a grey colour. Repeat this on the other eye. 4. Paint the nose black. Again put a small amount of white paint on the brush and paint two small lines resembling nostrils. 5. Continue painting the rest of the head and the shoulders white. For the shadow areas put a tiny amount of black paint on the brush and blend it with the wet white paint to create a light grey colour. Paint the lower body black. Dab the brush over the area where the black meets the white. 6. Paint the bamboo a light green colour. Blend a small amount of darker green paint with the wet light green to create lines in the bamboo. Paint the background a light blue colour to represent the sky.

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Water and water containers BLM (see page 31)

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Where do we find panda bears? What do they look like? (Pandas prefer cold, damp coniferous forests between 4,000 and 11,000 feet high in elevation. They need dense bamboo for food and cover. Their basic colouring is white with black ears, eye patches, legs, feet, chest, and shoulders. Pandas have a short tail which is sometimes black. Their fur is thick with coarse outer hairs and they have dense woolly underfur.) What do they eat? (Pandas have a very specific diet consisting almost entirely of leaves, stems, and shoots from various bamboo species. They spend between 10 and 12 hours eating bamboo every day. They have been known to eat meat.) How do they survive in the wild? (Panda bears can climb trees to escape danger. Instead of hibernating in higher, cooler climates the bears travel down to lower elevations with warmer weather and better food availability.) What problems do they face in their environment? Do humans have an impact on them and are they endangered? Why? (Unfortunately pandas are severely threatened due to habitat loss and poaching. Bamboo forests continue to give way to agriculture and human settlements. When bamboo becomes scarce, pandas have nowhere to go for a new supply, and their habitat becomes too small to sustain them.) What else do you know about panda bears? What technique could we use to realistically portray a panda bear? (Dabbing the paint brush to create a ‘furry’ look. Shading to create the illusion of depth, e.g. shadows around the panda’s head and shoulders, blending to form the bamboo.) What can we do to help pandas? (Establish more wildlife reserves, discourage deforestation, educate the public about wildlife conservation and coexisting with large mammals.)

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Black, white, green, yellow, blue and red paint Paint brush

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Summary And Reflection Questions • • •

What do you think people would like about your artwork? Is the bear cute, does it look realistic? Why would we create this artwork and how could it help achieve a positive outcome for pandas? What techniques did you use in your artwork? Did you find them difficult?

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Panda

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Name

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Name Aim Of Lesson: To produce a striking and interesting artwork using your name, complementary colours and spatial awareness techniques. Materials Complementary coloured sheets of brenex (see Colour on page 7)

Scissors

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Glue Ruler

Duration

Method

2 x 60 minute lessons

Discussion

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What are complementary colours? (Colours that are directly opposite each other on the colour wheel. They are: red and green, blue and orange, and violet and yellow.) How can using complementary colours create a striking image? (Using these can make some colours seem to ‘pop’ from a scene and grab the viewer’s attention. The reason complementary colours are called ‘complementary’, instead of just ‘opposite’, is that they work so well together.) What are ‘block’ letters? (A plain capital letter written or printed unjoined to a following or preceding letter.) What are bubble letters? (Letters that are drawn solid and that have round edges with no sharp corners or angles.) What form of letter would you like to use in your artwork and why?

1. Write your name or nickname on a sheet of brenex in thin block letters. Try to leave a space of approximately 5 centimetres at each side of the page. Cut out the block letters. 2. Place the letters onto another sheet of brenex. This sheet of brenex should be the complementary colour of the colour used for the block letters. 3. Trace around the letters making the outline approximately 1 to 2 centimetres bigger than the original letters (see the example on page 32). 4. Repeat this process using different sized shapes, e.g. circles, squares, etc. Glue onto brenex with your name on, to create a background.

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Lead pencil

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Summary And Reflection Questions • • • • •

Did you find the processes in this artwork difficult? Did you find an easier way to complete the artwork? Are you happy with the finished product? Why/ why not? Why would an artist create this type of artwork? Does your artwork command the attention of viewers?

Illusions Aim Of Lesson: To create a dramatic artwork through the use of light and dark colours. Materials Dark coloured paint White paper or BLM on page 36

Lead pencil and scissors if drawing own shapes

r o e t s Bo r e p ok u S Paint brush

Duration

1 x 60 minute lesson

Method

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Look at the finished artwork on page 35. What has been used to create a ‘dramatic’ effect? (Contrasting colours, contrasting tones, light and dark shades, scale, etc. The dark and light colours create a striking image.) Would the artwork have the same effect if a lighter colour (other than black) would have been coupled with white? (A lighter colour placed next to white would have blended with the white giving a subtle feel and look to the image.) What is interesting about this work? (Painting every second image in a dark colour creates the same image next to it without having to paint it.) Why would an artist create this type of artwork? (To demand the attention of an audience. This can be a vital aspect of advertising.) Can you think of other patterns that may look effective using this art process?

1. If you are not using the BLM on page 36, use a lead pencil to sketch six identical shapes along the page. To make the shapes identical it may be beneficial to create a template of the shape to trace around. To do this, sketch the desired shape on a separate piece of white paper. Cut around the shape with scissors. Use this shape to trace around and repeat this process along the page. 2. Starting at the edge of the page (left-hand side for right-handers, right for left-handers so that you are not smudging your work as you go), use a dark coloured paint to paint the first shape. Paint only to the line of the next shape. 3. Leave the next shape unpainted and paint the next shape in the same dark colour previously used. Repeat this process along the page.

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Did you use effective colour in your work to achieve maximum impact? What do you like/dislike about your artwork? Did you enjoy using painting techniques or did you experience difficulty with them? Why? Look at the finished artworks of your peers. Do they differ from your own artwork? How?

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Illusions

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Illusions

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Eye

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Eye Aim Of Lesson: To represent the likeness of an eye, focusing on fine detail and the technique of creating texture. Materials Green, blue and brown paint Flesh coloured pastel or pencil Lead pencil Red and black pencil

Duration

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What are the different parts of the eye and their functions? (Pupil: is actually a hole in which light and pictures can be viewed and it is protected by a layer called the lens. Iris: the coloured part of the eye that works with the pupil to control how much light enters the eye. Cornea: the transparent coat of the eyeball that covers the iris and the pupil. Eyelash: prevents particles in the air such as dust from getting into the eye.) What colours can eyes be? (Green, brown, blue, etc.) Discuss the shape of an eye. (Oval.) What technique could we use to portray the iris? (Layering of different shades of the paint being used for the iris.)

1. If you are not using the BLM on page 39, draw the outline of an eye with a lead pencil, taking up most of the page. Observe other students’ eyes as a reference point. Add the inner shape of the eye and the eyeball. Add the pupil. Alternatively use the BLM on page 39. 2. Discuss the effect of light shining in the eye (produces a small white circle that remains uncoloured). Colour the ‘pupil’ with a black pencil. 3. Colour the area surrounding the eye with a ‘flesh’ coloured pastel or pencil. 4. Using a lead pencil, draw the eyelashes. Look at a real eye to determine the direction of the eyelashes. When finished, scatter darker lines through the eyelashes using the lead pencil. 5. Determine the eye colour to be conveyed. If discussing light, draw a small circle in the same position of the iris as the pupil. Do not colour. 6. Look at a real eye to observe the patterns in the iris. Mix paint with water to obtain a lighter shade of the paint being used and use to cover the iris. Using a darker shade of the paint (paint with less water mixed with it than used before) use flicking motions with the brush to imitate the line patterns in the iris, over the layer already completed. 7. When dry, trace around the outline with black texta or pen.

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1 x 60 minute lesson

Black texta or pen White paper or the BLM on page 39 Paint brush Water container and water

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What process did you use to make your eye look realistic? Did you find this activity hard? If so, what aspects did you find difficult? Are you happy with the outcome of your artwork? If not what will you do differently next time?

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Eye

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Comic Faces

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Comic Faces Aim Of Lesson: To explore the notion of comic images in art and create a comic artwork using faces and facial features.

Materials

r o e t s Bo r e p ok u S Pastels, crayons or pencils

Lead pencil

Coloured brenex

White A4 paper

Duration

Method

2 x 60 minute lessons

Discussion

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Why would artists produce comic pictures and where do we find them? (To make people laugh, to make a jibe at someone, to talk about a serious issue in a lighter way. Artists can work for newspapers, magazines and publishers of comic books to earn money. Some artists produce caricatures of people for a living.) Are cartoons a new tradition in the art world? (Cartoons have been produced for years and years.) Discuss well-known comic characters and talk about their features (e.g. Bart Simpson has spiky hair, large eyes and an exaggerated jaw-line). What makes a comical feature? (Use of straight and curvy lines for facial features, features that are larger than real life, exaggerated features.) Discuss different feelings and emotions and how they are represented via facial expressions. Act out different facial expressions in front of the class - the rest of the class can take turns naming the expressions, e.g. angry, sad, bored, etc. Discuss how artists can exaggerate features to make them comical. (Over or undersized features, different shaped features.)

1. Draw three ‘head shapes’ (circles/ ovals) on A4 paper using a lead pencil. Choose three different emotions and draw related ‘comical’ faces and hair using exaggerated features. Look at the example on page 40 and brainstorm some ideas in a group. 2. Colour the faces and features with pastels/crayons or pencils. If creating a separate background, cut around the faces with scissors. 3. For the background, cut strips from different coloured brenex, making the strips all the same width. Glue onto a separate piece of paper. 4. Glue faces onto the background.

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How do you think the audience will perceive your artwork? Did you achieve the desired outcome in your artwork? If so, how have you achieved this? When could you use comic images again in future artworks?

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Complementary Colours

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Complementary Colours Aim Of Lesson: To create an artwork that displays the effect of using complementary colours. Materials Red, blue, green, yellow, purple and orange crayons and paints

Water and water containers

Paint brush

Ruler

r o e t s Bo r e p ok u S Method Lead pencil

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Discussion •

What are complementary colours? (They are colours that are directly opposite each other on the colour wheel - see Colour on page 7.)

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What colours harmonise together? (They are: red and green, blue and orange, and violet and yellow.)

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How can using complementary colours create a striking image? (Using complementary colours can make some colours seem to ‘pop’ out from a scene and grab the viewer’s attention. The reason complementary colours are called ‘complementary’, instead of just ‘opposite’, is that they work so well together.)

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White paper

1. Using a white piece of paper length-ways, divide the page into six equal sections by ruling five straight lines. The lines should be approximately just under five centimetres wide. 2. Fully colour each section with a different coloured crayon, pressing quite firmly. There needs to be a red, blue, green, yellow, purple and orange section.

© ReadyEdPubl i cat i ons 3. Paint over the first section with the complementary (e.g. if the crayon section isl red, paint over it •f orr evi ewcolour p u r p o s e s o n y • with green paint, etc.). While the paint is still wet use

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the end of the paint brush to scrape a pattern into the paint. The crayon should become visible underneath the paint.

4. Repeat this for each section - using different patterns.

Summary And Reflection Questions

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Did you enjoy completing this artwork? Why/why not?

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What kind of audience do you think would appreciate this artwork? (People who like contrasting colours, people who like fine detail, people who like abstract artworks.)

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Does your artwork look similar to your peers’ artworks? Why/why not?

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Frangipanis

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Frangipanis Aim Of Lesson: To produce a realistic image of frangipani flowers in their natural environment, through the use of blending and three-dimensional techniques. Materials Pastels

Blue wash

Glue

Lead pencil

BLM on page 46

Real frangipanis or images of frangipanis

r o e t s Bo r e p ok u S Method White A4 paper

Duration

1 x 60 minute lesson

Discussion

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What are features of flowers? (Petals, stamen, pollen, stems, leaves, thorns.) Why can flowers be considered beautiful objects? (Flowers can affect all of the human senses as they are brightly coloured, emit a variety of fragrances, come in assorted shapes and have soft petals.) What can we use flowers for? (To cheer people up if they are sick, as decorations, as fragrances and oils.) What do frangipanis look like and what artistic techniques could we use to depict frangipani flowers? Look at pictures or real frangipanis if possible. (Blending of leaves, use of paper to represent the curling of the petals.)

1. Draw leaves and branches on a piece of paper lightly with a pencil or use the BLM on page 46. 2. Discuss the effects of darker shading on objects that sit behind others. Demonstrate colouring a small section of a leaf (sitting behind another leaf ) a darker shade of green. 3. Using a dark green pastel, outline the leaves and the leaf markings. Colour the leaves heavily with a light green pastel over the top of the dark green markings. These should still be visible under the light green colour. Colour the branches. 4. Dye or wash the background blue and leave to dry. 5. Draw a frangipani petal after discussing its shape on a plain piece of paper. Cut out and use this petal as a template to make another 15 petals if making three flowers. 6. Glue flowers together. Start by gluing one petal onto the right-hand side of the first. Continue around using five petals for each flower. 7. Colour the middle area with yellow pastel. To curl the petals curl the left edge of each petal around a pencil and hold for a minute. When the background is dry glue the flowers on.

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Summary And Reflection Questions • • •

Did adding the three-dimensional qualities (the curled pieces of paper) to your artwork make it look more realistic? Did you find this activity hard? If so, what aspects did you find difficult? Where would be an appropriate location to display your artwork besides the classroom? (E.g. places that need lightening and cheering up.)

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Cup Of Tea

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Cup Of Tea Aim Of Lesson: To create a realistic image of a kettle and teacup through the use of mixed-media. Materials Coloured paint

r o e t s Bo r e p ok u S Method Tea bag label and tag Paint brush

1 x 60 minute lesson

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2. Paint the objects with desired colours. Choose a light colour for the background so that the objects are clearly defined. Paint the background. For an easy option for the background use a dabbing technique with a paint brush.

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Why would we create this type of artwork? (To represent likeness of objects in our environment.) What type of artists would create this type of artwork? (Artists who enjoy creating still lifes, artists who are attempting to provide someone with a realistic view of the environment. This type of work may be used in creating portraits, advertising, etc.) What is mixed-media art? (Mixedmedia art includes using more than one medium in an artwork.) What are the mediums used in this artwork? (Paint and found objects: tea bag label and tag.) How can using mixed-media prove effective in creating artworks? (Makes the image look more realistic by giving it texture and a three-dimensional effect. This makes it look like the object is coming out of the page.)

1. With a lead pencil, sketch a cup and saucer and a kettle sitting on top of a table. Discuss proportion - the kettle needs to be bigger than the cup. If students are experiencing difficulty, provide them with the BLM on page 49.

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3. Position and glue a tea bag label and tag on to the artwork so that it is dangling over the side of the tea cup.

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Duration

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4. Paint steam emerging from the kettle.

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Summary And Reflection Questions •

Why would people like or dislike this type of artwork?

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What did you use in your artwork to create a sense of realism? Was it effective?

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Cup Of Tea

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Sports People

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Sports People Aim Of Lesson: To create an interesting and imaginative artwork using ‘sports equipment’ to create figures. Materials Coloured pencils or textas

r o e t s Bo r e p ok u S Method White paper

Duration

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1. Using a lead pencil draw three main ‘equipment people’ using most of the space on the page.

2 x 60 minute lessons

Discussion

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2. Surround with other smaller equipment and add facial or body parts to these. 3. Colour with pencils or textas, or any other desired mediums.

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As a class or in groups discuss sporting equipment based on sporting experiences and those used by athletes. Write down responses. Take turns acting out the actions and movemnets used when using different sporting equipment (e.g. gripping a golf club and swinging it, throwing a ball at a hoop). Discuss and demonstrate sporting equipment that could be used to portray different body parts heads, legs, arms, face, body, etc. (e.g. ball for a head, bat for arms/ legs). Why would we create this kind of artwork? (To make people smile or laugh. To use our imaginations. To think ‘outside the box’.) Look at different sporting equipment available in the classroom as a reference point if possible.

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Does your artwork look like others produced by your peers? Why? Why not?

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What aspects of your work are you happy with?

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Inkblot Aim Of Lesson: To create a dramatic artwork using the shape of an inkblot. Materials Black or dark coloured brenex

Scissors

Lead pencil

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Method

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1. Draw the outline of an inkblot on a white piece of paper. Before drawing the inkblot, cut the white piece of paper to fit inside the black brenex, leaving approximately two centimetres of black showing around the edge. Alternatively use the BLM provided on page 54. 2. Paint inside the inkblot with black paint. 3. On a separate piece of paper draw the outline of another inkblot or once again use the provided BLM. Leave this blot white. Cut around the outside of the inkblot using scissors, including any ‘blots’ not joined to the main inkblot. Cut out all the ‘splats’ coming off the body of the inkblot so that there are several different pieces of paper. 4. Glue these pieces to the outer edges of the black brenex so that some of the ends are hanging off the edge. When all the ‘splats’ are pasted on, glue the main painted inkblot in the centre of the black brenex. 5. Children can paint a black/dark background instead of using brenex if desired.

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What is an inkblot? (A pattern made when an art medium is spilled.) What do they generally look like? (Generally there is a dense section of the medium in the centre with small parts spilling towards the edges of the page.) Can you sometimes see images in an inkblot due to its irregular shape? What makes inkblots interesting? (Their irregular shape, may see different shapes, patterns or images in them.) Do people use inkblots? (Psychiatry tests.) Why might people see different things in inkblots? (People have different experiences in their lives and different understandings about things in the world.) What genre (type) of art may this be referred to? (Abstract.) How could we create an artwork that looks like an inkblot (e.g. shapes that contain smaller and larger areas).

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White paper

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Duration

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Summary And Reflection Questions • •

What do you like about your artwork? Can you see any shapes in your artwork that resemble a real-life object? Swap your artwork with a peer. Can you see any real-life looking objects in the shape of his/her inkblot? What can your friend see in yours?

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Inkblot

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Inkblot

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Australian Icons

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Australian Icons Aim Of Lesson: To discuss, portray and reflect on Australian cultures, identities and landmarks through creating an artwork. Materials

r o e t s Bo r e p ok u S Lead pencil

Duration

Method

1 x 60 minute lesson

1. Use the BLM on page 57 with 12 different shaped boxes inside - Tasmania makes up the 13th box.

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BLM on page 57

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Coloured pencils or textas

Images of Australian icons

Discuss Australia’s famous icons, including natural, human-made structures, symbols and objects. (Natural features: Uluru, the Great Barrier Reef, beaches, national parks, etc. Human-made structures: Centre Point Tower, the Sydney Opera House, Sydney Harbour Bridge, etc. Symbols: coats of arms, kangaroos, team logos, etc. Objects: vegemite, thongs, acubras, wattles, meat pies, lamingtons, etc.) Discuss where these can be found in Australia and what makes them unique. Discuss Australian clothing and food (e.g. vegemite, lamingtons, thongs etc.). Record responses from the discussion. Look at images and pictures if possible.

2. Choose icons from the discussion and with a lead pencil draw these into the boxes. You should have 13 icons altogether. Think about the size of the icons and what will fit best in each box. Think about the location of the landmarks and draw them appropriately, e.g. draw Centre Point and the Harbour Bridge closer to New South Wales; Ayres Rock closer to the Northern Territory, etc.

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4. For the background choose one of the icons used in the drawing and enlarge it as if it has been wrapped around Australia. Colour it.

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3. Colour the icons using pencils or textas.

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Summary And Reflection Questions •

How could we use our artworks in society? (They could function as good advertisements to promote Australia and show people from overseas what our country has to offer. Good for tourism.)

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What is your favourite picture in your artwork?

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Look at your peers’ artworks. Do their pictures differ from yours? What do you like about their artworks?

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Australian Icons

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Starfish Aim Of Lesson: To use the technique of blending to create an interesting artwork. Materials Red, yellow and blue paint

Glue

Water containers and water

Lead pencil

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2 x 60 minute lessons

1. Draw five starfish shapes in varying sizes on a white piece of paper. Other shapes can be used if desired. Cut around the shapes.

Discussion

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What are primary colours? (They are colours that can’t be mixed from or formed by combining any other colours, and they are the basis for making most other colours. They are: red, blue and yellow.)

© ReadyEdPubl i cat i ons What are secondary colours? •f orr evi ew pur posesonl y• (They are colours that are made from mixing two primary colours together. They are: green, purple and orange.) Look at the example of the completed artwork on page 59. What process/ technique has been used with the paint? (Blending.) Do you think this would be an easy technique to employ?

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2. Organise the shapes on a separate piece of white paper, overlapping them slightly. Choose two primary colours that mix together to make another colour (e.g. blue and yellow, red and yellow, blue and red). Starting with one colour (e.g. blue) paint approximately a third of the page starting from the edge, painting over the shapes in that area. The shapes need to be held with one hand while painting over them to ensure that they don’t move. 3. Mix the two chosen colours together and paint the next (middle) third of the paper repeating the above process. After thoroughly washing the brush, paint the remaining third with the other colour (e.g. yellow).

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White A4 paper

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Paint brush

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Scissors

4. Before the paint dries, carefully lift the shapes from the paint (it may help to slide a pencil underneath).

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How did the artist create this work? Brainstorm ideas and discuss the advantages and disadvantages of each idea as a class or in groups.

5. When the shapes are dry, choose a few, and glue them onto the outer sides of the page on the opposite colour (e.g. glue the blue shape onto the yellow section) so that they are hanging over the edge of the page.

Summary And Reflection Questions

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Was your attempt at blending paint successful? Are you happy with the finished product?

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Is the shape that you used to paint over recognisable? Does it look different to the shape that you started with? If so, does it change the outcome of your work?

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Look at the finished artworks of your peers. How do they differ to your artwork and what do you like about them?

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Starfish

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Patterns

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Patterns Aim Of Lesson: To create an interesting artwork by exploring the concept of symmetry.

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What is symmetry? (A shape has symmetry when one half of it is the mirror image of the other half.) Where do we find things that have symmetry? (Symmetry exists all around us. We might see it in buildings, animal shapes such as red-back spiders, some people’s faces/bodies, reflections in the water.) Why would artists use symmetry in their artworks? (Many people see it as being a thing of beauty and it can be fascinating and interesting.) How can we show a line of symmetry? (Draw a straight line or fold something down the middle so that both halves look the same.) Look at the example on page 60. Brainstorm as a class or in small groups how this ‘look’ may have been achieved and any difficulties associated with creating symmetry.

Ruler

White paper

1. Cut four strips of black brenex approximately 3.5-4 centimetres wide and 21 centimetres in length. 2. Fold each black strip of brenex in half lengthways and cut out four shapes at relatively equal distances apart. Place the four shapes which fall out aside. 3. Fix the strips to the top of a plain piece of paper (positioned length-ways). The strips should be the same distance apart - look at the example on page 60. 4. Cut the brenex that hangs over the bottom of the paper. This should result in the brenex strips being the same length as the white paper. 5. Glue each strip into place. 6. Using the shapes cut from the first strip, position them in the centre of the white strip, next to their cut out position. Repeat this process for all the strips and their shapes to create symmetry.

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Glue

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Scissors

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1-2 x 60 minute lessons

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Black or coloured brenex

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Materials

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What is symmetry? What do you think an audience would think of your artwork? Did you find working on this artwork difficult? If so, why?

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Blending Practice

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Blending Practice Aim Of Lesson: To allow students to gain knowledge and experience in the technique of blending colours and create a reference for future artworks. Materials Different coloured paint

Plain paper

Paint brush

Ruler

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Duration

1-2 x 60 minute lessons

Discussion •

What is blending? (The technique of blending involves creating an area between two colours where they gradually mix. There is a gentle transition from one colour to the other.)

1. Draw three boxes on a plain piece of paper as shown on page 62. Start in the first box. Choose a coloured paint to use. Begin painting with this colour starting from one side of the box. If using the right-hand side of the box, it may be easier to turn the sheet upside down so that your hand isn’t rubbing and smudging the area already completed (this is only for right-handers. It will be the opposite for lefthanders). Continue painting with this colour, about half-way across the box.

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Water and water containers

2. It is really important with blending to work while the paint is still wet. Without washing the paint brush, apply some white paint to the brush and start painting where you have stopped painting previously. The white along with the colour remaining on the unwashed brush will blend to make a lighter colour. To achieve a gradual finish start rubbing in the lighter shade with the darker shade. Continue this process until the white paint is dominating the first colour used.

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Why do we use blending? (It is a technique used to give a subject a feeling of depth, therefore making it more realistic.)

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Do you know how to blend colours?

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3. For the second box choose a different colour and using white again, repeat steps 1 and 2, but start from the top or bottom of the box and work up or down.

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4. For the last bigger box, try using two primary colours that blend together to make a different colour. This could be blue and yellow which will produce green in the middle, blue and red which will produce purple in the middle or red and yellow which will produce orange in the middle. Follow steps 1 and 2, starting with the darker more dominant colour and gradually add the other colour as you move along.

Summary And Reflection Questions • • •

Why do we use the technique of blending and what does it do to our artworks? Are you happy with your blending? If not, how could you improve it next time? Did you think the technique of blending was hard? 63

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Shading Practice

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Shading Practice Aim Of Lesson: To allow students to gain knowledge and experience in the technique of shading and create a reference for future artworks. Materials

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Duration

1-2 x 60 minute lessons

Discussion

Sharpener

Eraser Plain paper Ruler

1. Draw four boxes on a piece of paper as shown on page 64. Start shading in the first box. Choose one side of the box and make this the darker side. If using the right-hand side of the box, it may be easier to turn the sheet upside down so that your hand isn’t rubbing and smudging the area already completed (this is only for right-handers. It will be the opposite for left-handers).

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Why do we use shading? (It is a technique used to make a subject look solid and threedimensional and therefore more realistic.) Do you know how to shade?

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colouring over the area (like layering) to obtain a darker shade. As you work your way across the box the shading gets lighter and lighter until you are barely pressing the pencil on the page at all. This should be a lot lighter than the shade that you first created.

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What is shading? (It is a technique using dark and light shades of a colour, to portray the position of light.)

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enough depth to the darkest tone)

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2B lead pencils or any ‘B’ pencils (lighter grades won’t give

3. If the colouring is too dark in an area, use an eraser to gently rub out and re-apply shading if required.

o c . the same process with boxes 2, 3 and 4. Use che4. Continue e the example on pageo 64r as a guide. t r s super Summary And Reflection Questions •

Why do we use the technique of shading and what does it do to our artworks?

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Are you happy with your shading? If not, how could you improve it next time?

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Did you think the technique of shading is hard?

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Texture Practice

This texture looks: smooth rough flat furry soft

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This texture looks: smooth rough flat furry soft

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This texture looks: smooth rough flat furry soft

Texture Practice Aim Of Lesson: To allow students to gain knowledge and experience in creating texture in their artworks and create a reference for future artworks. Materials

Texture Practice

This texture looks: smooth rough flat furry soft

Duration

1 x 60 minute lesson

1. Draw three rectangles as shown on page 66. Start in the first rectangle. Decide which texture you are going to create and choose a coloured paint to use. In the example provided on page 66, the first texture created is smooth. To obtain this look use long, steady, controlled strokes all moving in the same direction as each other. Use this method to paint the entire area of the rectangle. If the paint being used is light and streaky a second coat of the same coloured paint needs to be applied to eliminate evident brushstrokes. This will make the paint appear ‘flatter’ and ‘smoother’.

How could we use a paint brush to create different textures and what look would these textures create? (Smooth strokes - ‘flat’ look, dabbing - ‘furry’ look, flicking - ‘rough’ look.)

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2. Choose a different texture type to create in the next box. In the example on page 66, a ‘furry’, ‘fluffy’ texture has been created. To achieve this look put paint on a paint brush and use a dabbing motion. By pressing harder or lighter you can change the look of the texture. Similarly, the texture can look different by dabbing more paint in a particular area than another. Experiment with this.

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Why do we use texture in our artworks? (To portray how the object would feel if it could be touched.)

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Plain paper

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Paint brush (preferably small)

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This texture looks: smooth rough flat furry soft

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Water and water containers

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This texture looks: smooth rough flat furry soft

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Different coloured paint including white

o c . final rectangle on page 66 provides an example che3. The e r of a ‘rougher’ lookingo texture. To achieve this, put tand use long wavy strokes, r s s r paint on e a paint brush u p moving in different directions. A different coloured

Create a word bank as a class. (Examples of words in word bank: flat, furry, soft, wet, smooth, feathery, bumpy, rough, puffy, sandy, gooey, shiny, bubbly, smudged, dull, shiny, fluffy, jagged, hairy.)

paint can be added over the top to create a further ‘textured’ look.

Summary And Reflection Questions •

When your work is dry, critique your work and identify what texture was achieved in your artwork. Circle the appropriate texture located under each box on page 66.

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Did you achieve your desired textures? 67

Assessment Sheet Circle the equipment that you have used when creating your artwork. paint

paint brushes

water

lead pencils

pastels

crayons

coloured pencils

glue

scissors

white paper

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coloured paper other r o e t s B r e oo p u k What did you enjoy S using in your artwork? Draw a picture or write.

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. te o Yes I could have tried harder c . che e r o t r s s r What did you learn about in your art lesson? Write or draw a picture. upe Did you try your hardest? Circle your answer.